KimiDesu I SALUTE! *Salutes*

2d animators still exist...

@@t3ddyb34r5 So does 3D and Live actions, who are taking over...

sadly it has been around for years even in japan. oh well. 2d never disappeared.

* Cough * * Cough * AMB Animation Academy * Cough *

such a nice thoughtful comment, and captures a lot of what I love about this channel, too

Oh dear- lol

i'd just quit till next week-

They also taught me that way. In my opinion, it's garbage. It totally kills the gesture and doesn't necessarily make you any faster.

You and Toniko are one of the bests.

Е

@Dreams * hi

I hope y’all collaborate someday!

@@hayopepper5593 👀

It’s because there spying on us at all times 👁👄👁

yay sycra! do you still do animations? i stopped for a while, might get back into it. but i remember seeing you comment on sinix about his goofy animations he did.

Aside from flipping and the dot to dot method, There is a technique called place and trace. Its hard to explain it in words, but its when you align your drawings on top of each other so the heads of both drawings are overlayed on top of each other. From there, position the drawing with your inbetween so all drawings match the position.

kzfaq.info/get/bejne/rNmKdtVh3cnPlWQ.html Go to 10:32

Looks like someone is learning in quarantine. I AM TOO

I like to do it on a separate later, and use a multiply blend effect since I'm more casual about how I treat shading (I normally don't like shading my animation). When I did work for studio la cachette's Worlds 2016 opening animation, I had to color my shading with blues and yellows to let the color artists/clean up artists down the line to know which parts were high lights and what parts were shadows. It depends on what the production is asking for.

@@TonikoPantoja I see, awesome! Will keep that in mind, thank you for answering :D

Timestamp - 14:28

29:32

A good practice would be to determine your line of action, and then adjut the head, torso and pelvis along with it. As for the order, it depends what you're comfortable with. I like starting with the torso and pelvis because it determines the angles and twists of the body, which the head and appendages (limbs) attach to (and i can also determine what angle those need to be first. The legs and feet are crucial for keeping things planted.

@@TonikoPantoja Hi, thanks for taking the time to reply! If its okay, I have another question. How can I have perspective and form in my drawings while preserving the energy/feel in a loose drawing? In the video you said not to worry too much about form but what if I'm animating in a camera angle with lots of movement towards/away from the camera. Or even something where the hips and torso are rotating alot?

Never too many drawings, never fast enough.

Not really, you can train your brain or your eye, but even office paper and pencil is more effective for learning, if you can't get access to sketchbooks or an art tablet.

Luck thnx. Well i do have a sketchbook.

It will be considered!

@@TonikoPantoja I guess, some diffusor or something like that plus another station of your current mic would help a lot more than a new mic. For example, a bookshelf with books totally random organized in size etc is a cheap way to diffuse the sound waves of your voice (to get rid of the hall). And you could put your mic on another spot, where it doesn't face to your PC or touches the table where your PC is on top, to avoid recording the buzz of your PC (this little buzzing noise in the background). Just test a bit around with what you already have. A new mic is not always the solution. :) And, of course, thank you so much for your content! I really love what you do!

That's definitely a topic I'll cover on sometime, but if I were to show that now newer artists would immediately take the approach you mentioned as the "correct" or "one true way" to animate, which I have seen many times when I taught animation. Students will follow a method or structure without thinking about why it works, and why it doesn't work in all situations. The point I want to get across in the video is to be ok with drawing fast, loose, and not having to worry about what is functional or not right now. Those things can come in later once the newer artist learns to be ok with letting loose.

Besides, if artists wanted to find a short hand they'd like to try out that animators have used, they can check that video out anyways. For those who don't know, this is the video that sk3tch is talking about. kzfaq.info/get/bejne/e7WSZKWaz7Ommok.html

@@TonikoPantoja Yeah, I guess that's fair. I find that most people who take a method and say it's the correct or true way are people who don't really have a method themselves... so they need something for the time being to bridge that gap.. but then it seems like.. as people get more experienced.. they branch off into things that work more for them... and kind of like your shorthand video.. they'll use different approaches depending on the situation. It's like.. once you've done it enough you can pretty much use any method... cause you really understand how it works... I've questioned many times whether this can be taught by someone else, because experience and mileage seem to be the best teacher for this, which is difficult for any instructor to give you. I guess the only reason I bring up the shorthand thing is cause that seems like a faster method.. seems like the more simple approaches are more easily adaptable because its easier to build on top of them.. For me personally I'd been thinking about the shorthand thing for a long time.. and stripping it down to the shorthand and drawing what you see as the shorthand seemed to be the conclusion i came to.... but.. it's not like I saw the shorthand method.. and knew it right away.. instead it was time and having to repeat drawing something over and over again.. that finally turn the light on when i saw the shorthand method for like the 100th time or whatever it was. It's weird.. sometimes you see the proper method or a method that will really help you out.. but you just don't realize it, even though it's there right in front of your face. I think you can still be fast and loose even with a shorthand method.. but i see your point. Anyway it'll be interesting to see your video on using more of a shorthand method, when you do it. Keep up the great work.