Challenges of the week give artists the opportunity to create new and fantastic art based on a weekly theme set by the challenge moderators. They are also a great place to develop core skills.
Being featured on ConceptArt.org can get your artwork viewed by millions of artists a month including big industry leaders.
|Color and Light||1.1||Do Assignment|
|Color and Light||1.2||Do Assignment||1.3 | 1.4|
|Illusion of Space and Atmosphere||1||Do Assignment|
|Personal Art||1.1||Do Assignment|
I usually animate to music. I also animate funny, absurd, or ridiculous things as my attention span is pretty short. This is like my sketchbook, except with animations. Atrocious animations.
Sprite for little dog:
Sprite for the daddy dog:
As experimentation, I'd suggest you are heading the right psychotic direction.
The more you do, the better you become. I am getting used to the workload first.
Another stupid dachshund, this type is dressed in little doll clothes so I call them "moppies". I am writing a script that involves a family of moppies that end up shooting eachother dead.
Melting and mutating seal probably from a nuclear explosion:
haha, very funny stuff. You do a lot with very little. It's a rare talent. The last head turn is actually pretty solid too.
When you animate, do you use onion skinning or do you flip between the next and last frame? I strongly recommend flipping. There are some construction issues in the last dog head that could have been seen while drawing if you flipped
That girl is really good. Flipping is alternating between 3 frames: the last frame, the current frame, and the next frame. You do that by pressing the , and . buttons. I think. On my keyboard they're the < and > buttons. It takes some practice to get the hang of, but by doing that, you force yourself to rely on your persistence of vision rather than seeing multiple drawings at once. And persistence of vision is what animation is all about anyway
It assumes you're using pose to pose animation. But it even works for straight ahead and setting up the key poses.
Oh that, I use that too. Another student taught me that. I make few keyframes, and then animate between those keyframes, and so on. I switch between < and > and press F7 to start a new keyframe between keyframes, so on. But, I use the onion skin along with it.
How does persistence of vision help?
It's like a flipbook, when you look at multiple frames in succession quickly, it gives the illusion of movement. With animation, it's all about the movement. Which is why when you freeze frame cartoons from Disney, etc, you'll see frames that are often just blurs and smears. As an illustration, they couldn't work. But as animation, in movement, they work better than a solid illustrative type drawing would without the blurs or smears.
Stuff like that can only be achieved well with flipping.
The key to using the < and > buttons is not necessarily to go back and forth to previous frames to work on them individually, but rather to flip through them quickly to give the impression of movement (like a flipbook) so you can work on each of them simultaneously.
I mean, different people use it in different ways, and to differing effects, but I know that with my own work, I had issues with keeping volumes consistent, construction, and drawings looking wonky when I used onion skinning exclusively. Now I haven't used onion skinning for the better part of a year and don't even miss it.
Very entertaining SB! I especially like the blue girl turning her head and the "goo". I can really feel the volume of the subjects when i look at those two animations. The animations to music were great to! I'm new to animation so I don't have much advice I'm afraid, I just stoped by to get inspired and mention that I like your stuff
Last edited by jantmoen; July 23rd, 2012 at 10:26 PM. Reason: Typo
very good try guys!