Adorable and touching! Those flowers in his mouth just look fit to collapse...all the more precious.
Reminds me I oughtta make an animation test out of this one dog two blocks over - rough collie missing her right foreleg... when running she has the most adorbable galumph, and it takes her about a minute of shambling to stand up from a lounging position. It'd be a challenge, eh?
Ah, children and dogs. Only they can get away with presenting wilted dandelions in a clenched fist as a profound gift of love. (Wheras we have to cultivate bonsais or buy our own orchids or assemble our own and hope that we didn't say "I want to fuck your cat" in Victorian Flower Code.)
Walk cycles always have one leg that drags too long, that looked perfectly balanced in still frame but look oddly limpy in animation. One of my personal solutions was a John Carey walk. Some of his animation for Bob McKimson (think the opening of "Rebel Rabbit") he was using a model with legs so stumpy with strides so widely planned, that he simply bulled ahead and moved the character in the most cartoony strides you ever saw... as in, the characters moved so far and stretched so fast that on the down pose, their crotch was inches off the ground. XD Reminder to myself that animation sometimes needs to goddamn move!
For reference, the only ones you need to know is that Lilies are "I'm Sorry," a Cabbage means "wealth" while a lettuce means "I hate you" (there's a distinction to be made), roses are a love thing, tulips are a monogamy thing, and Coriander and Tilia are "Let's Fuck."
You ever seen "The Grey-Hounded Hare?" For a racing cartoon set at a Greyhound track, none of the animators ever do a straight walk or run cycle. It's quite liberating. [link]
Talk to the guy who wrote his college essay about Information Addiction. I pursue stupid trivia at all costs.
There any cartoons that you recommend? Just for the fact that watching them makes you break old habits?
It took liberal doses of John Hubley's UPA work to make me realize that design didn't HAVE to be a pointless and masturbatory end in itself...that you could have (a la Rooty Toot Toot) the design compliment equally stylized and dramatic animation; or that you could use design to strengthen and clarify already dramatic poses (think of Bobe Cannon and Bill Melendez' work in "Punchy De Leon" and "The Magic Fluke." The scene of the Fox building a new pot to catch the water in "Leon" - it's either Cannon or Larriva - compare that to Ben Washam's animation of the same gag in "A Feather in His Hare." They have the same problem (of clarity in all that rushed action where density of information creates the gag) and use the same solution of simple designs with strong silhouettes and angular movement - but look at how differently they emphasize it. Just keep yourself from stagnating, hon, watch the masters. Ehrt eure deutschen Meister, dann bannt ihr gute Geister; und gebt ihr ihrem Wirken Gunst, zerging' in Dunst das heil'ge röm'sche Reich, uns bliebe gleich die heil'ge deutsche Kunst! [link] )
UGH, i dont even know. I just spent the morning watching all the goeblins stuff i've missed over the last year of tomfoolery, but I still like the oldies and all their crazy animation and stretchy frames, and the wonky designs and animation of the UPA stuff, but in the end I have this crazy fixation with more subtle/natural/detailed animation. I guess a lot of people do though.
OHH you. hahaha. Do you have specific sites you frequent to keep up with animation news, besides maybe cartoon brew?
Thanks! I see a lot of that from folks who've only learned how to draw dogs by looking at other people's dog drawings, stylistically and anatomically and whatnot. I always feel like I'm repeating poses a lot, but it's surprisingly rare to find the exact same pose and expressions when I look through my folders!