I’ve neglected this site. One of my goals this year is to spend more time making art and sharing it with people. I’ve excited to see myself move forward and I know sharing work will be a major part of that.
As part of my commitment to make more work and promote that work, I entered the yearly Sketching the line TTC contest. I’m excited to see who the winners are and proud of the many Toronto artists who are entering.
See my official entries: Skecthing the line 2017
It’s been awhile. For image makers like me D.B. Dowd’s blog on Illustration and visual culture is a must read. I’m so glad I bumped into this blog.
In art, finding your voice matters. It’s long hard work, and their are no guarantees.
This article by illustrator John Hendrix is the most important guidance I think I’ve ever had on the topic. It’s kind of like a mantra now, I refer to it whenever I can.
“The people who make the movies are scared of silence” he said, “so they want to paper and plaster it over,” he said…What really matters is the underlying emotions–that you never let go of those.
Reading the Words of Miyazaki is always inspiring and revealing. His ways of filling the screen with such lush visual variety yet giving his characters so many quiet moments are astounding. Robert Ebert comments on these moments in his review of
Spirited Away. It’s a great read.
Update: I need to add this amazing video tribute to Miazaki and his films:
Recently, I watched a video where Designer, Mig Reyes, gives some backwards advice, asking creatives to break things, and start with something ugly. Since I saw that video, I’ve been trying to get this thinking into my creative process. I tend to shun the bad stuff, ignoring it like an embarrassing younger sibling. Distancing myself from my mistakes is really counterproductive and I admit that the imperfect steps that help me get to the end of the work are incredibly important.
As Mig says “Ugly is part of the process”.
That is always true for my work as well. It can be scary and frustrating, but more often than not, ugly becomes a beautiful place to start. In the spirit of embracing the broken, I took my latest project and documented how I got from ugly to appealing. I’ve give myself projects when I’m not animating, to reinforce my skills and keep working. The latest is a series of animated valentines which I send to friends. I wanted to add to the series of animals I created (just two so far) and picked my favourite animal the rabbit.
Using reference images and videos I sketch out some possible solutions.
I also use a few post-it notes to stick to simple shapes. I get some interesting shapes and plunge into illustrator to create my masterpiece. Wow, ugg-gly. I need to think a bit more about this. Something got lost in the translation between analog and digital. I take a step back and consider what I want this character to look like.
Starting with pastel colour and thinking of my other pet love characters, I know I want a pastel palette, but not too pastel. I want something muted but still lively. Maybe something with a Wes Anderson kind of feeling.
There was a lot of experimenting but I finally narrowed it down to these colours with some accents colours.
I create a stronger character and I’m happy with the colours, but the eyes are weird. They look glassy. It’s consistent with the wide eyes of the other characters but it just doesn’t feel rabbit like enough. I’ve been sticking to the use of hearts shapes wherever I can but for this project the constraint is not working so I let it go.
I try a whole different attitude and I feel it starting to coming together. I do need some lids for animating the character but I can redesign those later. Right now I need to figure out what attitude I’m looking for in this character even if it breaks from the emotional attitude of the others. I experiment with the eye colour and size for a bit and settle on large loops. Just to be sure now that I’m less afraid of breaking things, I try a few more rough shapes to analyze the jaw, nose and chin placement.
I try one final placement reversing the jaw shape but I still find the pear-shaped face more pleasing so I got with it.
OK, something I’m happy with. It’s a good base for animation later on and I can easily create other parts and shapes will be required for more natural movement. Some shapes can be distressed in After Effects but it’s always nice to have some exact shapes for parts like paws. I work digitally but I think in a traditional puppet-style way when animating. That means I often replace shapes at times rather than distort them. This has been a good exercise.
Breaking things apart and switching up my process makes me look forward to being wrong instead of always trying to get it right.
The process is proving useful to me.
Props to Creative Mornings
This month, “Ugly” is the theme of Creative Mornings, a set of inspirational breakfast talks for creative of all kinds. It’s held in cities worldwide, so visit the site to find the one nearest you. You can see the full version of Mig’s talk there too.
In the new year, I plan to re-read The Way of the Screenwriter. Specifically, I’m trying to figure out what my priorities are for my next animated project and using it’s advice. Amnon Buchbinder’s book “The Way of the Screenwriter” is an excellent resource to discover ways to make your characters and stories strong.
Story [he says] is a living thing.
I’d say that’s true about anything visual I create.
I’m using his ideas about motive, plot lines and character to make my images stronger too. His style of writing is visual, making his examples incredibly easy to understand. This poetic book reminds me of a book Rilke might like. I can’t wait to see it’s impact on my work.
Cartoon Saloon, an amazing animation studio in Ireland, has realeased a new feature which is playing over the Christmas holidays at TIFF Bell Lightbox until January 8, 2015. Song of the Sea, will be a beautiful feast for the eyes go see it!