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"The Man Behind the Slaughter." Trying to work more on perspective and composition.
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My animation process (in a GIF!)
So you've learned the 12 principles of animation but don't know where to actually apply them? Fear not!! For here is my step-by-step process, very very condensed, into one singular giant GIF.
Hope it helps!
(You may need to open it in a new tab to read the text)
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i lay in bed sick for two weeks straight. first there’s body temperature i never knew was possible for a human to have, then there are coughs that feel like they may be the last ones i could ever have in my life, then there’s weakness, then my five year old phone falls down from the bed ending up completely broken, then the bed sheets become something i couldn’t bear to see anymore. then i get up, go outside and unexpectedly find myself at the offer of a somewhat steady part job at this small italian restaurant we’ve been visiting every sunday sharp for the last year and a half except for these two weeks i spent lying sick in bed. we are leaving the bar for the night when R. asks me if i’d like to help her at the bar a couple hours a week.
“i have no experience or anything,” i say, feeling extremely daft. “i’m not even sure i can talk to people properly. i never really could.”
“it’s okay,” she says. “you’ll be polishing the glasses. it’s not hard. i’ll teach you everything.”
on our way home A. says, “it could be good for you, you know. being among people and trying something new,” and i feel like he’s right.
Reblogged
i lay in bed sick for two weeks straight. first there’s body temperature i never knew was possible for a human to have, then there are coughs that feel like they may be the last ones i could ever have in my life, then there’s weakness, then my five year old phone falls down from the bed ending up completely broken, then the bed sheets become something i couldn’t bear to see anymore. then i get up, go outside and unexpectedly find myself at the offer of a somewhat steady part job at this small italian restaurant we’ve been visiting every sunday sharp for the last year and a half except for these two weeks i spent lying sick in bed. we are leaving the bar for the night when R. asks me if i’d like to help her at the bar a couple hours a week.
“i have no experience or anything,” i say, feeling extremely daft. “i’m not even sure i can talk to people properly. i never really could.”
“it’s okay,” she says. “you’ll be polishing the glasses. it’s not hard. i’ll teach you everything.”
on our way home A. says, “it could be good for you, you know. being among people and trying something new,” and i feel like he’s right.
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how do you consistently draw the same character without it looking weird or off every different time?? also how do i coordinate faces, i always make the eyes too far apart or too big or too small or make the mouth too close to the nose or chin edge. If you have any advice I'd really appreciate it since it looks like you have your art shit figured out 🙏
Oh man SO so much of it is just practice, and you're not alone! I honestly think everyone struggles with a sort of "generification" of their characters' features the more they draw them, even seasoned professionals. There's a tendency to just sort of average everything out into an unrecognizable mush over time, and it takes a lot of conscious effort to push back against that.
Here are a couple tips and tricks that I've found to be helpful over the years:
- Make turnarounds and model sheets. There's a reason animation/game studios do this, and it is because we are all still bad at drawing a consistent face. Despite being gainfully employed. What are we, graphic novelists?? We wish. Anyway it's a great way to familiarize yourself with your character's face from multiple angles, and it gives you a single source of truth to return to anytime you need a refresher:
- Gather real-life reference. Anytime I'm designing a character I'm pulling together a ton of reference of actual people who look, to some degree, like the character in my head. It's always a collection of analogues, never just a single person, but it can be a great cheat sheet for understanding how your character might move, emote, etc:
- Make a 3D model. I know it seems daunting, but with the advent of programs like Blender and Nomad Sculpt it's becoming remarkably more accessible. Heck, even James Gurney was sculpting maquettes out of clay for Dinotopia back in the day! It doesn't have to be particularly detailed—just a sort of proportionate lump will do—but it's another great way to have dynamic reference that you can rotate and light accordingly:
- Practice, practice, practice. Make expression sheets for your character! Either right there on the spot, just start drawin' expressions, or you can slowly collect drawings of your character that you like, as you draw them, and compile them all in one place for your own reference. Need to draw your character's head from a weird angle? Maybe you've already drawn it before and you can copy your own homework! Doesn't count as stealing when the call's coming from inside the house 😎
I'd love to pretend there's a magical point where you can just immediately rotate your character's head in your brain like some sort of photorealistic apple in a twitter meme, but a lot of the time it's reference, hard work, and whole lotta repetition. 😐👍🏼
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Puss in Boots 2: The Last Wish - Puss to the Gaolhouse (deleted Scenes) by Neil Ross