Okay, decided to whip this up because of the following reasons:
1) I get this question a lot. Apparently there are a ton of folks out there that are really new to paypal and while I don’t mind helping, having a good reference page for folks that shows you exactly what to do will cut down the time I spend explaining it.
2) I’ve had two flags on my account in the past year because no one check the “No Shipping Required” box. So Paypal comes to me and says “Hey you didn’t ship our their thing!!!” but I do digital commissions…there’s nothing to ship! So this step is really important!
3) I often have to give out my Paypal email over and over for this and I figured having it in one spot might help!
There will be a new page on my blog with these images and I’ll try to keep them up to date if Paypal happens to change their format! Hope this helps you guys!
(Interested in commissioning me? Check out this page here!)
Putting this on my art blog ‘fo my folks.
NEVER MENTION ANTHRO CHARACTERS, FURAFFINITY/DEVIANTART/INKBUNNY/ETC., ANYTHING OF AN ADULT NATURE OR ANYTHING EVEN MILDLY QUESTIONABLE (EVEN AVOID THINGS LIKE TRANSGENDER). PAYPAL IS A SHITTY SERVICE AND WILL LOCK YOUR ACCOUNT DOWN WITH ALL THE MONEY INSIDE IF THIS HAPPENS.
Oh my god, seriously???
A lovely fuck-ton of animal paw references (per request).
My partner w4lrider is not going to have a place to live very soon.
Zed is very kind, and very sweet. Zed needs a place to live badly.
If any of you in the Kissimmee, Orlando, or St. Cloud area can give zed a place to stay until zed can join me in Texas when I move there, please please contact zed or me. Please.
I’m adding onto this for context.
My mom is moving to Indiana. Right now, I have no choice but to move with her. This is a problem because A: she is severely abusive, and B: moving means ripping me out of everything I know. I’m autistic so it’s very hard for me to deal with major changes, especially something like moving.
I’ve lived in this town my entire life. And yeah, it’s a shitty town, but everything I have is here. My only friend is here. I don’t want to leave him. Not now, at least.
I cannot live in Indiana. I hate it there. I already have depression and severe anxiety, which I’ve been progressively improving on, but moving will set back almost four years of progress. I can’t imagine being there without getting suicidal again. I don’t want that. I really don’t.
I don’t currently have a job or my license. I have my permit, and I was slowly learning how to drive. I was working on getting disability, but I suppose that case will be dropped soon. I’m willing to help out with chores or anything needed around the house, but I cannot financially provide. I’m sorry.
If you can help, or know anyone who can, please message me. I’m 20 years old, I shouldn’t need to follow my abusive mother anymore.
Quickest way to improvement? Practice. It’s a simple bit of advice that rings with absolute truth. Articles, tips, mentors, and study will never get you as far as rolling up your sleeves and getting down to work, be it animation or any other skill. Today we’ve compiled a list of exercises, like animation push-ups, that will get your art skills buff and toned.
Maybe you still need convinced of how important the “Art of Doing” is? Look no further than the early days of animation, especially at the Disney studio. Here were a group of animators (before being an animator was even a thing) who HAD no books to read, or websites to visit, or even experienced animators to ask. They learned via the age old art of hands-on training, experimenting and discovering as they went. And some would argue they created some of the greatest animation to ever be seen. Masterpieces like the dwarfs dancing in Snow White or the terror of the Monstro scene in Pinocchio. So be like them! Get out there and do animation!
Some of these exercises you may have done or seen before; some maybe not. Consider doing each of them, even if you did once previously, because returning to an old exercise to see how much you’ve progressed is a very valuable experience.
Level 1 Exercises
(Do not discount their simplicity! Here you have the principals of animation, which all other animation is built on. They are worth your time and effort.)
- Ball Bouncing in place, no decay (loop)
- Ball Bouncing across the screen
- Brick falling from a shelf onto the ground
- Simple character head turn
- Character head turn with anticipation
- Character blinking
- Character thinking [tougher than it sounds!]
- Flour Sack waving (loop)
- Flour Sack jumping
- Flour Sack falling (loop or hitting the ground)
- Flour Sack kicking a ball
Level 2 Exercises
- Change in Character emotion (happy to sad, sad to angry, etc.)
- Character jumping over a gap
- Standing up (from a chair)
- Walk Cycle [oldie but goodie!]
- Character on a pogo stick (loop)
- Reaching for an object on a shelf overhead
- Quick motion smear/blur
- Taking a deep breath [also tougher than it sounds!]
- A tree falling
- Character being hit by something simple (ball, brick, book)
- Run Cycle
Level 3 Exercises
- Close up of open hand closing into fist
- Close up of hand picking up a small object
- Character lifting a heavy object (with purpose!)
- Overlapping action (puffy hair, floppy ears, tail)
- Character painting
- Hammering a nail
- Stirring a soup pot and tasting from a spoon
- Character blowing up a balloon
- Character juggling (loop)
- Scared character peering around a corner
- Zipping up a jacket
- Licking and sealing an envelope
- Standing up (from the ground)
- Pressing an elevator button and waiting for it
- Starting to say something but unsure of how
Level 4 Exercises
- Character eating a cupcake
- Object falling into a body of water
- Two characters playing tug-of-war
- Character dealing a deck of cards out
- The full process of brushing one’s teeth
- A single piece of paper dropping through the air
- Run across screen with change in direction
- Sleeping character startled by alarm then returning to sleepy state
- Opening a cupboard and removing something inside
- Putting on a pair of pants
- Opening the “world’s best gift” and reacting
- Any of the above exercises using a very heavy character/object next to a very light character/object. Enhance the differences the weight change makes!
Things to keep in mind:
- Reading these exercises will do as much for you as reading about push-ups would do for your physical muscles: NOTHING. If you want the benefit, you must animate them. Take a deep breath and just do it.
- Do not forget the famous words of Ollie Johnston: “You’re not supposed to animate drawings [3D models]. You’re supposed to animate feelings.” If a character isn’t thinking, they aren’t alive, and the animation has failed.
- Keep it simple! There is no reason to over complicate any of these exercises. Going back to push-ups, would push-ups be harder if while doing them you also recited the Gettysburg Address? Yes. Would they be any more beneficial? No. Keep things nice and simple and clear.
- Do your best. There is no reason to do these exercises poorly. Give it your all. You don’t have to show anyone, these are for you. You owe it to yourself to try your very best. Something not quite right? Take the time to fix it.
- As always, have fun. Push ups are not fun. Animation is supposed to be. Be joyful in your work!
Have any questions about the exercises above? Leave a comment below and we’ll answer them the best we can! Someone else may be wondering the exact same thing, so you’ll help them too. Likewise if someone is looking for possible exercises, why not share a link to these and give them a hand?
Article featured on AnimatorIsland.com
Article composed by J.K. RIKI
MARCH 18, 2013
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Folks welcomed the hand reference I posted, so here’s some foot reference.
As an artist you’ll draw A LOT of feet, especially feet that REST ON THE GROUND. Don’t be one of those artists who hides feet behind grass or mist all the time. Print these out and draw ‘em.
I included the knees because you’ll need to know how feet connect with legs; draw ‘em up to the knee.
Let me know if you have questions!!!
small tutorial for newbies to anatomy :) hopefully this is understandable and helpful !
littlemisscloudy said: Oh gosh no anon, hello! I was wondering if you had any tips for anatomy? If it wouldn't be a bother...or anything.
Here’s a small tags’ worth of tips on anatomy?
So I was chatting with the lovely Justin Oaksford yesterday, and he casually asked if I used photo reference for my recent Rolemodels piece- not as a bad thing, but because the pose and the camera angle read well. Pretty sure I grinned like an idiot when he brought it up because, goddammit, I’m proud that the work shows! I’ve felt like my work has been somewhat stilted as of late- I could feel myself subconsciously trending towards easier angles, easier poses, easier expressions just because it’s slightly less frustrating for my brain to process- so getting that confirmation from a colleague was pretty damn satisfying.
I think there’s a tendency for artists to take pride in being able to draw out of your head, and, while that’s an admittedly important skill, what’s actually important is what that skill implies- it implies that you’ve internalized reference. That you’ve spent so much time looking at the world around you, studying it, drawing from it, breaking it down, that you’ve amassed an extensive mental library that you can draw from. You are Google reborn in the shallow husk of a human being.
But heck, the world’s a big place- what are the chances that you ever get to a point that you’ve internalized all of it? Internalized it AND ALSO are never going to forget it ever? Probably no chance at all. Sorry buddy. So rather than bemoaning the fact that we don’t have impenetrable search engine cyborg brains- yet- you sure as hell better still be using reference to fill in/refresh those empty shelves in your mental library. You shouldn’t have worm-ridden books about dinosaur anatomy from the 60’s in there. Stegosauruses with brains in their tails? CLEAN THAT SHIT OUT.
So my general process for using reference of any sort is:
- loose thumbnails and brainstorming. If you have an idea, get that raw thing- unadulterated in it’s potential shittiness- onto paper. Good art is a combination of both instinct and discipline, so you don’t want to entirely discount those lightning strikes of brilliance. Or idiocy. Happens to all of us.
- research and reference. Start gathering and internalizing whatever reference is pertinent to your piece- could be diagrams, art, photos, good old-fashioned READIN’, whathaveyou. Please note that this doesn’t mean find one picture of a giraffe- this means find tons of photos of giraffes, read about giraffes, understand giraffes, and learn how to incorporate that knowledge into your art with purpose and intent (Justin uses the word “intent” a lot so I’m stealing it). Don’t blindly copy what you see, but understand how to integrate it in an interesting and informed manner.
- studies and practice. Could be lumped in with the previous step, granted, but it’s worth reiterating- if you’re drawing something new, it’s worth doing some studies. You discover things that you wouldn’t otherwise by just staring at them. It’s weird how I’m still learning this- “Gee golly, six-shooters are way easier to draw now that I’ve drawn a ton of them!” Yes wow Claire BRILLIANT. Gold star.
- go for the gold. Finally, I’m sure it goes without saying, you integrate all of that research and knowledge into your initial thumbnails. If you learned something about anatomy, or fashion, or color, or butts, now you can drastically improve your original idea with this newfound knowledge. Also, per the images above, this is also your chance to improve on the reference- photos are a fantastic tool, but trust your instincts. Cameras can’t make informed decisions.
…So that’s my soapbox- it’s pretty easy, and it’s totally worth it. Research and reference lets you stand on the shoulders of giants- it lends legitimacy, specificity, and allure to your work that wouldn’t be there if you were just drawing out of your head 100% of the time. To put it simply- it makes your work ownable. It makes you stand out.
It makes you a better artist. :)
Wonderful! One of my least favorite excuses during critique was when the artist would say “but that’s how it looked in my reference photo!” when called out for something in their piece looking awkward or wrong. Reference is a helpful tool, not a rigid map for what the final should look like.
Wisdom from Sherm Cohen by way of Character Design References!