This is the first couple steps I would expect a layout artist to take when translating my storyboard poses to layout. First-to understand what the character is doing and feeling, and second to analyze how to construct that sensibly and fix any mistakes in the rough.
For example, in the layout, I fixed the nose.
I, like most people did tone down the pose a bit, but that's because I was spending brainpower slowly analyzing everything.
What I normally do, is after I analyze a drawing and make something stiff, I will draw it again looser. Then judge it to see if it is as strong or stronger than the storyboard statement.
This was a tricky one below.Kaspar is rooting through the sock drawer. He is being sneaky and doesn't want to get caught, so he looks over his shoulder to see if he is waking up the Rangers.
Again, I toned down some of the proportions (face to body) but I also fixed some scribbly parts. I made the feet more solid.
By flattening them at the bottom, and bulging them at the top. Remember this tip!
I have puposely left out details, like fur and stuff because it confuses everyone.
I wanna see everybody get this far:
Make the emotional story statement.
Solid construction.
Fix obvious mistakes.
Maintain angular curves (don't make all the curves even or parallel)
Make sense? Ask questions if you are not sure.
Your best friend
Johnny
23 comments:
This answers some questions of mine, I get really insecure when I'm working from other talented people's drawings, I have a tendency to even things out and soften edges all in the name of model. Sadly I'm usually working on shows where the real model is more boring than the previous guy's interpretation. It's nice to see how you work from your own stuff.
thank you for this John!
I have to tell you I was heartbroken since I thought you closed this oh-so-useful blog for everyone. Now I can see that either your felt like showing some mercy, or it was a horrible mistake that scared (me) us all.
Thanks John, while many of us, amateur 'creators' do not have as much time as we would like to fully practice our craft, your blog is an outstanding resource to keep us from falling in cartoon illiteracy.
Maybe someday I'll be good enough (or find the time) to enroll in your Cartoon College. But in the meantime, rest assured that even if we don't comment or show as much activity as others do, we find valuable information that sticks with us... Well, I can only speak for myself, but hopefully you'll get the point.
Keep it up Sensei K!
Your fan/friend/grasshoppah'
Toncho
Wonderful!
Should we take some of the other storyboard sketches from this sequence?:)
Cheers
This is an "on-model" question.
I'm taking a stab at this drawing. I can't tell if his big forearm is covering his tail, or if that's supposed to be his fingers.
- trevor.
Very interesting to see you do two phases of your own work: what they have in common and what you've improved.
since the raggedy details confuse, do we leave them out entirely or add them back in once we try to animate it?
Wow! This is a great post John. It's just the info I was looking for. Once again thanks for these posts on your blog. It really motivates and inspires me to work on my own cartooning, applying your lessons.
BTW any time frame for the release of the SPUMCO book?
I've been following your blog for a while now, and I love every bit of it. You really help in answering the things those 'schools' think they're talking about. Thank you for all the work you've put into animation in general. Please keep it up, we really need it. :)
Okay.... I did two of your original doodles.
Here they are.
Thanks for running this blog, John! I'm pretty sure my classmates would flip if they knew how many of the "fine art" things I've learned came from your blog!
And I finally decided to post the Preston Blair stuff I've done.
http://clean3d.wordpress.com/
Great drawings John! You entertained me with the strip and schooled me with this post....I love the solid construction of the full body shot, and I looked to the the flattening of the bottom of the legs/feet. Thanks for the tip!
Kasper is hilarious lol! I like the crazy look in his eye of your rough, very subtle. The face construction sketch keeps the same glare but puts it in perspective, nice! Kasper is one devious bear......more adventures?
Hi John
Tried my hand at a Kaspar layout.
Thanks again John. With layout an artists drawings for a specific concept can be turned from rough sketches into clear refined visuals.
Thanks for another insightful lesson John! The notes on the clean-ups alone are a treasure trove of knowledge!
I tried some, here
thanks for all these great lessons and tips once again!
Why don't the schools teach this stuff... anyway, here's my drawings of the Popeye toy!
Hi John,
Am I on the right track?
Kaspar Board Tighten Up
I'm sorry if my message has little-to-no relation to your post, John, but I've been a busy little beaver this past while.
In short, I've been practicing digital inking in Adobe Photoshop with the notes you have provided on your blog.
Here's the link.
I hope you can critique it, and maybe provide me some pointers on how to improve it.
From an aspiring animator/ cartoonist
For some reason this exercise intimidated me, but I tried it anyway. Your roughs are so full of ideas and expression, this is huge fun.
I took another whack at Kaspar here!
Hi john did this practice, not sure if i'm doing it right. I can't tell if i simplified too much
Kasper Practice
John, what shape are you using for Kaspar's cranium?
I'm basing his head shape on a circle (because it's easier to make relative measurements from) but it looks like it's actually a flattened oval like George Liquor.
Paul.
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