Sticking the Value

I've looked this up a few times now, so I better stick it here to make it easier to find. Dice Tsutsumi has an awesome quick little step by step of how he paints. What's so interesting is how much he maintains his value, he establishes his value in the first rough sketch, then everything that comes after maintains that value. It has me thinking that that approach might be one of the reasons that Frazetta is so impactful. When you have a strong dynamic composition in just black and white ink, and you approach it this way holding onto your dynamic value composition, then you're just plussing it, not changing it.

When to apply

Clearly a big part of getting a film job is being in the right place at the right time. Obviously getting your reel seen when a companies ramping up for crunch is perfect, the question always has been, when is crunch. JHD did an interview where he talks about it a bit (around 10 min mark)

Paraphrased:

Companies are usually not looking in May, all the blockbusters come out then, the shows ended around March/April. Christmas is the crunch for most shows, so easier to find work then. Maybe internships start in May but actual jobs later, summer is difficult but late fall is easier. @ 12min

Frank Barton Vinamilk

Another from the Frank Barton company.

Vinamilk "Probi" from Frank Barton on Vimeo.

I just like this style, it's so simple. Makes me think of Mark Craste point about the simpler it is the easier it is to empathize and project with.



*found on LineBoil


wow I've been not busy with this blog lately, course I did have heart surgery a few weeks ago (I had a hole in it (since birth) so it was working extra hard, now it's patched up and finds working a regular amount laughably easy.))

Backwater Gospel - Making Of

So, when the Animation Workshop showed up on the scene last month this was the other notible short. Dark atmosphere.

The Backwater Gospel from The Animation Workshop on Vimeo.

By: Bo Mathorne, Tue T. Sørensen, Arthur Gil Larsen, Rie C. Nymand, Mads Simonsen, Thomas H. Grønlund, Esben Jacob Sloth, Martin Holm-Grevy


ran across this making of it later. What's interesting to me is the way Bo Mathorne builds the characters (jump in to 1 min in) Flat projections bent into shape, and the mouth is just cut outs.

Bo Mathorne, Making of The Backwater Gospel from Bo Mathorne on Vimeo.

interesting to me because the new paradigm means letting go of trying to do the Pixar, Dreamworks, Bluesky render every grass look. Keith called it, the more you can simplify the less the eye worries about it, add a little noise and you can get by with so little.

Drawing Inspiration

Awesome short! There production blog.

Drawing Inspiration from Wesley Louis on Vimeo.

Directed By
Tim McCourt

and Wesley Louis

Story by Steve Stamp

Written By Tim McCourt and Steve Stamp

Animators - Wesley Louis, Tim McCourt, Laurent Rossi, Robert Robinson Paul Lacolley, Nick Lennox, Micheal Plummer, Geoff King, Kristian Antonelli, Chris Halls

Backgrounds and Layouts - Paul Bloomfield

Compositing - Paul Bloomfield

Music - Alex Mattinson

Sound Designs by Matt Davies & Mark Apicella

Produced by Dexter Dash

Executive Producer Henry Scholfield



* found at On Animation