Monday, November 12, 2007

Korea Notes 3


In many productions I've worked on-even when we have strong expressive dynamic layouts, the animation will come back soft and mushy and all the pose artists are dumbfounded.

Here are the two main reasons that happens:

These notes could just as easily apply to many American shows today. That second set of blanded Boo Boos is still more lively than many prime time cartoons I've seen!

Many service studios, once you have convinced them to actually use your drawings, will not add any breakdowns and will merely inbetween your poses-and use even timing. This makes the characters float from pose to pose and you don't feel any of the poses.
Please excuse the million exclamation points. I was in quite a frustrated state the day I scribbled these notes out!


Chris said...

When are are you putting your Korean notes and all the other great lessons from this blog into a book? I've learned more about layouts, backgrounds, character design & storytelling here than I have from any other single source. I would certainly shell out a few bucks to have it all printed out and bound!

Ben Forbes said...
This comment has been removed by the author.
amir avni said...

John, regarding the charts on 'JK_koreanotes10.jpg': do the narrow lines indicate in-betweens and wider lines indicate keys?

Can you note where you want the accents and cushioning on a simple chart or do you have to indicate that in thumbnail drawings or in writing?
Would pose number 5 be considered an 'extreme' or a 'breakdown'?

Nacho said...

Hello John, I Am nacho and study fine arts in Spain. I am a follower and your admirer and I would like to congratulate you for each and every of your creations. They seem to me to be fantastic the way in which you manage to mix the expressiveness, the good humor, the perversion and the animation. Really you manage to do that I laugh.

Regards... Nacho Molina

Trevour said...

I agree with Chris. I thank you each and every day for providing this stuff online for free! But you could also upload all these production notes to and set a price, and the book is available print-on-demand. Just like CafePress, but with books instead of apparel. You must have hundreds of pages of useful direction!

I know I'd buy a few copies for me and my like-minded pals. Something like this would really sell and fund your cartoon-makin' even further!

Taber said...

Loving these bits of layout advice John, thanks again!

JohnK said...

Thanks everyone for the encouraging cxomments.

Hey, Amir! Don't you have a bunch of animation teachers to answer those questions?

Make them earn their tuition!

Bitter Animator said...

Great notes. I bet you get nervous putting stuff down as detailed as that breakdown in case every single movement in every single scene tries to mimic that, right?

Actually, you've done great stuff on the layouts but, due to the room for error, I'm curious as to your list of ingredients for your full pre-prod package to avoid mistakes.

I remember very early on in my career I was doing work for hire on an overseas production and I can't count the number of times either the slugging simply didn't work or we got notes back that began with "I know what it has in the boards but what we actually meant was..."

PCUnfunny said...

I am going to admit I am ignorant on several of the technical terms used in animation but the images say it all. These notes seem like common sense to me and it's appauling you had to explain this John.

PCUnfunny said...

"That second set of blanded Boo Boos is still more lively than many prime time cartoons I've seen!"

Very sad but true.

NateBear said...

It's ok. I always use a lot of exclamation points. But then I do actually exclaim a lot in real life. So abusing style rules acceptable practice if it actually reflects your emotions.

David Germain said...

One note I'm always given is that I have to keep things moving slowly for the kids.

Have you ever gotten notes like that?

PCUnfunny said...

"One note I'm always given is that I have to keep things moving slowly for the kids."

What do they mean by that ?

R. Banuelos said...

Hey I have a general question, anyone who wants to shed some opinion on this subject.

It appears as though a large number of current artist working on new cartoons are big fans of John K. and Spumco, even creators of shows and some read the blog as well.

My question is then why do these very talented artist who follow John K's theories produce an unfunny and boring cartoon?

My theory was that perhaps they are trying to bring their own style or something like that to it.

Ren and Stimpy took important tools and methods that people like Clampett formed and it built from those, why does this not happen for other series?

Even looking at Rocko to Camp Lazlo, why is Camp Lazlo no where near as good as Rocko's? Does it all really amount to weird executives?

It's late.

Any takers?