wisdom

I think it's important to remember there is no definite right way to animate. Just like there is no right way to draw. Lots of drawings can tell a story. Lots of styles can look good.

Whatever sort of job awaits me in the future, I'm going to make sure I always keep on trying to learn this art form.

Animation is really great. 

Sure it takes skillful drawing and attention to 'details', but unlike just inking static details on a drawing, it's about being deadly conscious of how your lines change, contort, flex, bubble and boil from one frame to the next so that you can strongly depict (e)motion that you desire.

As one who's never practiced drawing a character consistently from one image to the next 120+, no surprise it's taken me a painfully long time to grasp this concept. But, at long last I finally am beginning to crack this art form that's been mind-boggling for so long.

The possibilities have only truly dawned on me now; if you know your character, know how to interpret the movement you want, there are no limitations but skill, time, patience and your energy.

And that's a great tool to wield. Seriously.

To paraphrase what one of our teachers said, sure you can visually capture someones attention with a strong yet static use of shapes, color and such, but motion is what grabs people in and keeps them hooked. You just have to wave something in someones face to witness this theory at work.

 But even if you study animation and have to break it down into a very formulaic, nitty-gritty process, and become so fatigued when it looks downright janky and gross, I think it's important to watch your work through the eyes of a child (one that's very excited over the new Pokemon movie) and remember exactly what it was about those drawn characters that kept your eyes glued to the screen. These characters, their stories, their world, all told in moving lines.

I'll always regard animation, and the elements that go into making it, as something that can be surreal or realistic, heartbreaking or hilarious, disturbing or comforting, exhilarating or serene, in ways that other art forms cannot emulate.  And all that will begins with some scribbly lines. Beautiful.


(When I get better at it I'll probably have less vague stuff to say about it. :) )


I think it's no lie to say our 2D animation teacher had little sympathy for learners.

This year has been intense. Crazy. I don't usually post walls-o-text. but this is a special occasion.

 One of the more important lessons I've learnt from Calarts is, whats done is done. I have a habit of regretting lots of things, not having learnt something quicker, realized something sooner, drawn something better.

But time is linear. There is not move but forward, to forget those smaller woes, like shame, frustration and anxiety.  They are just phases that feel like the end of the world, but are so insignificant in the larger sceme, and tend to only hinder you from progressing anyways.

Lots of these auras surrounding, will urgently tell you to not only change 'how you draw', but to a big extent, way of seeing the world. Isn't someone's way of drawing eyes gleam information into what they think is most important about them? For some artists they are beautiful almost decorative things, to others, they're the most vital mode of expression,  to some eyes, don't matter much when emotions can be communicated other ways.

  Ive been exposed to people that tried to divide up these features and approaches to drawing into the lumps of 'good' and 'bad' art...... this idea only evokes vehemence in me. 

 I've come to learn, there is always room for improvement and to be influenced in a positiive way by another artistic approach, WITHOUT having to turn into some copy-cat mini-me of another's style, god forbid, simply an 'industry' style.  I dont think there is any one 'right' style for drawing & animation, or atleast, you can't  convince me there is. 

Honestly,its been as much as an emotional roller coaster as an artistic struggle. The two are mostly insepperable. I

I guess there was a point when i starting getting really sick of all this analysing art. And not just 

The transition to Calarts life has practically taken the whole year, but n

I'll be honest and say most of out 2D animation 1 class this year was a fluke. (just do your research if you wanna know) Having someone who insisted they 'were teaching' us when instead were just shoving their own drawing doctrine down our throats. 

The greatest thing i've learnt is..., you can't please everyone.  'Haters gonna' hate' is so applicable it hurts. When you have a teacher that's practically a hater, and when you come from a educaion background that accepts teachers words as written truth (yeah, private school), It sure it hurts to know someone doesn't really like you(r stuff). But even then, They are just a person, with their own aesthetic preferences and whatever. Shrug them off. There is a balance between taking critique, and letting someone dump their shitty biases on you. 

Many of the artists I love aren't afraid to use hard lines, wonky lines, messy lines, they simplify anatomy and play with shapes, may have unorthodox color choices, may flatten features or push poses, create  dynamic, fun stuff, but most of all.... tell strong stories and create (mostly) lovable characters with their art. Their art may be the  opposite of  a the ' solid, fleshed out' (*coughdisney*) character  type, but i've always felt so so much more from seeing visceral,imperfect drawings.... Like that the person who drew that line is much closer than you think. Imperfect and prone to bouts of twitchy fingers that misplace lines.(Like me). 

 'good draftsmanship' . Seriously, what does that word even mean, Michelangelo style? Milt Kahl level?

Judging from how I draw, It's plain to see I didn't spend my childhood copying the Vitruvian Man.

I think I can confidently say most of my (badass) generation has been influenced by both old and new, eastern and western. As kids we probably watched many classic cartoons. But into our teens, the new wave of animation,  comics and video games...grabbed hold of us, fascinating with their  bigger variety of aesthetic and storytelling styles that leave the olden' days in the dust. (IMHO) 

I choose Expressionism over whatever-the-hell-they were doing before that. I will stick by this for as long as my hand can pick up a pencil. 

Everyone worries about where in 'da industry' they'll fit in. I don't really care anymore. 

I often hear people say they either  'can't animate' or 'can't design' .....but it's not true. . I've learnt that you just have to know WHAT the task at hand is... animating, designing, storyboarding whatever,...and that will inform you  HOW to approach your drawing. (like consistency and volume while animating, but mostly appeal for designs) Everyone has strengths, but that doesn't mean you can't strengthen another skill with effort.

that technical skills is something i need to remember. like in storyboarding not having the character awkwardly cut off