Speaking of such, I've been practising my 'on-model' capabilities on previously-ref'd characters (and did work for Tom Bancroft's focal point contests, of course... [link] ), the one of which at the moment is your redesign of Anchor. Looking through this for further research into your unique way of drawing noses, see the description of this, and realize that I've drawn Anchor with the most flexible neck in all christendom.
See, long necks are expressive as hell, the problem is they only work in animation if the production is 'indie-sized.' Most assistants will never get the hang of drawing emotions with neck motion, and artists several steps away from the source of the poses will have issues fitting the necks in into horizontal screen ratios. (Several genius designs get caught by this - you ever see Nico Marlet's 'Oogway' design for 'Kung Fu Panda?' The neck was like a yard long, expressive, and it looked GORGEOUS. Then the hacks couldn't learn to fit it into the screen dimensions, and decided to just chop off two feet worth of it!)
I also seem to draw her (Anchor) with long snout and blobby head shape...I'll have to work on her, then. ^^ When you draw her, there's this appealing sense of blocky forms in the compositions - like Rowland Wilson, Will Eisner, or (I love this guy) Abe Levitow. I oughtta try to capture that. The CalArts Cannon Flow lines are of no use in her design - and it's refreshing as hell. (Some of her poses are more difficult than others, but eh.)
Oogway was incredibly well animated for Dreamworks, right? He actually moved like an old man with kung fu muscles and tortoise anatomy - and it was completely believable! 0.e
But you having issues with necks? Here's your tip - the skin on the neck isn't connected to the muscles, it kinda slides around and is pulled, but the muscles ripple under it. (If you're going to animate a character like Anchor with a patterned neck actually turning her head, it'll help immensely for you to understand the way the skin is pulled. I drew marker images of one of my character's markings on my neck once, then filmed it and studied the timing to get her markings in the right places...but I'm insane, so whatever works for you.)
(Sorry about the earlier Anchor comments - just realized I'm probably so enthusiastic about that one that I come off as a stalker or something. XD)
Lately i've been drawn towards more blocklike designs, but Anchor is so up in the air right now that I would never pinpoint her directly to one model.
I actually didn't like kung fu panda as much the first time I saw it, but since then it's grown on me so much. The art books are so fantastic on their own!
I really need to do more tests with Anchor though, I generally dont have as many issues moving patterns over the moving neck as I do just drawing the neck in general, although maybe not so much for dogs as with humans. (harhar, gatorgirl's scarf was to help hide that issue)
She's in that phase where she's growing ever more amorphous? Yeah, styles evolve and beyond some point the character will dictate what she wants. But your stuff seems to have such strong shapes...it's a way of seeing the world, I guess. (I used to be good at it, now I'm not so sure.)
It has more meat on its bones than pretty much anything Dreamworks ever did since 'Private Ryan.'
Well, the whole point of the tests is to spot a flaw or such in the design. And I'd say your only hurdle for Anchor is that her neck height seems to vary between shots. It's one of those things that doesn't seem to be a problem until you try to animate it. Just had to revise a model of Sharpears to reflect this last night...and it's never a pretty sight when you have to scrap work. Necks are a pretty rewarding subject for small studies... so many interesting planes. Moulding them in flat colour probably wouldn't be the best idea, so probably pastel smudges or something? Just thinking out loud... (Scarf? Functional design, FTW. I can't draw human ears as well as I should (they're fascinating designs) and some of my humans just have shallow disks of negative space against their hair.)
There's a dividing line between 'fan' and 'stalker,' and when the project in question is a) a personal project, b) not really a project yet, and c) as yet unmade, and yet you still act like an overeager intern for it, yeah, that's a little too stalkerish for my comfort.
Im notoriously horrible about not sticking to model. I looove the loose fluid rough stages of animation so much that I tend to have my fun with that but rush through and struggle with the cleaning up portion. Necks and hands and overall anatomy I think I need to study more. Always something new to learn!
And lol! ears, yes, I don't think i've taken the time to properly draw those either..
Haha well shall I start beating you away with a stick?!
I tend to do test animations without doing the model sheets first, and the proportions would go haywire. So much erasing I could have avoided...that's more what I'm talking about. (The fluid roughs are attractive, but you need to train your eye to see the underlying pose first. And there's always something new to learn, but the evil thing is you can't learn it all at once.
Yeah. I've been studying your Gatordog sheets and can't tell where her ears and skull attach... ^^
Don't bother. I have my own films to work on (am working on), and any 'taking this seriously' bit will soon pass.
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`anmari has been spreading her infectious positivity throughout our community for over 6 years. Throughout this time Ana has been at the core of all things devious, passionately developing an eclectic gallery, helping organise devmeets, participating in chat events and also recently completed dedicating her time as a Community Volunteer. We are absolutely delighted to bestow the Deviousness Award for May 2013 to `anmari, congratulations! Read More