When will the film be released? Sometime this summer!
Is the film done? Yep!
Then why not post it now? We’re submitting the film to film festivals, and some of them have rules about putting the film online. We just want to make sure we have enough time to run it through the festival circuit, but we are eager to share it with you as soon as we can!!
How much will it cost to watch it? Free!
Where will you upload it? Vimeo and/or Youtube - but don’t worry, we’ll post about it here, and on our facebook!
Can I share it once it’s online? Yes! BUT - please do not share by downloading and reuploading the film to your facebook/tumblr/instagram/youtube/etc. That’s stealing. To share it, copy and paste the link (that we will provide!) or use the reblog button on Tumblr or the share button on Facebook! Thank you!
How long is the film? A whopping 4 minutes and 5 seconds :)
Can you make it longer? No, this is a student film made by two people - Beth and Esteban were solely responsible for all of the visual aspects of the film, including storyboards, character design, character and set modeling, texturing, rigging, camera layout, animation, set dressing, lighting, rendering, and compositing. That’s a lot of work for two people! Plus, as a thesis film for our college program, there was a required time limit.
Will there be a sequel? Slow down! We haven’t even released it yet!
Will it have subtitles/will it be dubbed in my language? There is no dialogue, so there won’t be any need for subtitles or dubbing.
What are the characters’ names? Sherwin (red hair) and Jonathan (dark hair). And sometimes we call the Heart Shirley :)
How old are they? Around 13 or 14
Did you change Jonathan’s ethnicity? Yes! While we were designing the characters, our only consideration was that Jonathan’s eyes be (dreamy) blue. But when we got into production, we made a few adjustments so that Jonathan was mixed Latino. Esteban was born and raised in Mexico, and we wanted to give an extra personal touch to the character.
Can I draw fanart of the characters? Sure! We’d love to see it if you don’t mind sharing it with us!
Are you still accepting Kickstarter donations? No, our Kickstarter campaign ended in December. However, if you would like to donate for festival submission fees, we have put a donate button in the sidebar of our tumblr page! There are no rewards attached to these donations, though, so don’t feel obligated!!
Will the Kickstarter rewards still be available to buy? It’s pretty likely that we’ll open an online store to buy t-shirts and prints, so we’ll let you know if/when that’s available! Thank you for your interest!
Thank you for your support! If you have any other questions, please let us know! <3
Hello! I really love your work and I was wondering what kind of brushes you use for coloring and lineart? Anyway, I hope you have a nice day!!
Hey there, thanks so much! I use Paint Tool SAI, and have a brush set downloaded and installed that gives me a lot of extra brushes that don’t come with the default program! You can download it here, if you want it, it’s got some cool stuff in it!
So the first one I use is the normal Ink pen, with the size somewhere between 4 and 20, depending on how big the drawing is! I don’t really change the brush size while inking, so all my lines are really just the same consistency (line weight isn’t something I really worry about very much in my art?? lol whoops) I also sketch with the Ink pen.
The other I use is the Nib Pen, and I use it when I want lines with a more traditional / rough texture! I draw with it between the size 4 and 9, and I usually play around with the density of the texture (Crust, in this case) until it’s the right amount of crispy for me, haha! I sketch with this too!
I mostly color/shade/render with the Ink tool, but when I want to add glowy effects or make it look slightly more painterly, I use the Wet Brush with the Tonto texture, cuz I like the square/glitch look it gives, I think it’s really cool, haha!
Coloring is my Least Favorite Part of the drawing process, so I don’t really have any fancy Tips or Tricks. These are the layouts I’ve come to use the most after experimenting a lot with the density/blending settings of the brushes!
So it turns out staying up 2 nights in a row to write a story and make a comic dub results in a crash and full system reboot on the third day for me. I set this to render last night, then overslept and couldn’t upload until now lol.
I was like 1000% sure I was going to dub @zarla-s‘s father’s day comic the moment I saw it. Flowey in handplates? Oh lordy[BEGIN EMOTIONAL MELTDOWN]
In addition, as some of you already know, I wrote a one-off continuation of the comic [here]. Because I’m so familiar with another story that involves Flowey and a lot of needless Papyrus suffering by a certain @unrestedjade, this simply had to happen. I’d say I’m sorry…but I’m not >:3
Funnily enough, @robynred also wrote a [story] that continues the comic, and uploaded it basically the same day lol. It’s a bit different, but just as gutting.
always take partial or full payment up front, unfortunately there’s always that one guy who will “change their mind” and not want the picture you made for them. At least you’ll have some money for your work done.
always have a large watermark on any picture you show someone who hasn’t fully paid off the commission so they can’t run off with it.
make sure you check paypal invoice to see that its for a goods n services and its not for friends/family. Also make sure it doesn’t expect shipping info but you can set it to service rendered manually.
always have your references ready when you get a commission
many of us artists are open to helping you come up with a pose or something if you’re not sure!
make sure you have your payment ready too and can pay via some commonly accepted method (paypal)
if you change your mind after contacting your artist but before the commission is finalized and paid, please be honest and tell them so they don’t think they potentially have money coming in when they don’t. We’re often depending on commission dollars for food and such so its nice to know.
make sure your payment is for goods n services because this protects you too if you get a bad artist who doesn’t put up a picture or gives you a bad one
A brief and badly written tutorial on how I do low poly work as promised Ow<)/
//I’m very sorry to those just learning 3D, as half of this probably won’t make any sense. It’s tough but you can make amazing things once you get your head round it, and there’s a huge array of tutorials already out there that can help you get started.//
Cel shading in Maya is super easy. I just slap a light angle based ramp shader onto my model, plug in two diffuse(Kd) maps, and set up a directional light. That’s it. This is what my scene set up looks like.
and here are the two diffuse(Kd) maps I used:
The shaders are located up on the shelf under the toon tab. Select your model then click on one of them to apply it. (there are other ways to get to them but I’m not going to go over it to keep things simple)
Over in the Attribute Editor plug in your maps and set up how you want them to transition. (At this step I work out the shadow transitions in gray and white without the maps plugged in. This helps me see the shadow shapes better and make adjustments to the model without having to adjust UVs.)
Remember to turn off filtering in your image file node. Filtering will make your maps appear blurry.
At this stage you can call it done but it wont have cast shadows. to get those working scroll down to the shadow settings turn the Shadow Mode to constant color or shaded color and plug in the same shadow color map. Use shaded color if you plan on using transparency maps. other than that I don’t know the difference between the two.
Next go over to your light and set the shadow color to something really light (I use straight up white or grey) and check to see that Raytrace shadows are on. Then fix your render settings so it doesn’t look like crap and turn on Raytracing. And that will give you cast shadows.
*Note: I have noticed that sometimes the cast shadows make really awkward square shadows especially on more complex models that have subtle plain changes and relatively low poly counts. I haven’t done too much trouble shooting on this so I just fudge it by adjusting the transition edge on the toon shader. You can see what I’m talking about around the dancer’s mouth in the interpolation image.
I never got the hang of screencapping but when importing video frames to layers in CC from long videos, I was so frustrated that the trim controls were inaccurate and would skip sections of frames. Then I looked around and discovered the render video feature. In this tutorial, I’ll show you how I use render video to make smaller, more manageable video clips for importing into layers. This is my first tutorial so I hope things are clear.