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How I Animate

The Technique:

I draw the frames and then I use the liquify tool to push the lines into the next frame and redraw them where I need to. This allows me to keep the lines consistent, but gives me the control of frame by frame animation bc I am still making each frame manually! I also use 3d models as reference to help me with the angles! Super important to use reference while you animate (and with art in general), if youre no good handling 3d models then act it out and record yourself!

The Theory:

i think most people are at least loosely familiar with the 12 principles of animation (if youre not, heres a 2.5 minute video showcasing them!), but may not necessarily know how to employ them. the main 3 i tend to focus on when I animate is rhythm, telegraphing, and inertia so ill cover those there 👍

1. Timing & Rhythm

Timing is how you space out your frames both in how long an individual frame is held for, and also when you drawn an inbetween of two frames you can favour one frame slightly more than the other instead of drawing the exact average of the cels, giving the favoured cel more timing weight.

Left line has the cels evenly spaced out on the timeline, right holds the first cel for longer and the second cel slightly favours the last frame. It creates a more interesting rhythm to the animation! Rhythm is how I think of animation timing. Theres a beat like a song to every animation I make, and creating an interesting beat is what makes an animation fun to watch (for me, anyway):

2. Anticipation / Telegraphing

Before I animate a big change in movement, I like to telegraph that its coming. Usually this is doing a little counter movement in the opposite direction, but thats not the only way to telegraph a motion, e.g. eye movement can telegraph a head turn!

3. Follow-through / Overshoot / Inertia

Unless the movement is mechanical, it wont come to a hard stop and will have some level of bounce or easing out to it. How much "bounce" you add will have a big impact on how the animation feels, but a very subtle bounce will add a natural feeling to the end of a motion.

Secondary animations will use a lot of this, note that the head and the hand have a small amount of continuous motion (primary animation), and then the hair has a lot of bounce and inertia (secondary animation which reacts to the primary animation). Note the different amounts applied to the braid vs the sideburn vs the bangs

anyway! I hope this was insightful ❤️ if you like my art you can commission me by the by :)

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YEAH BABEY

after making so many things you hit a point where you think. you know what. at any given moment theres nothing stopping me from being Austin Powers. then at some point. You will be Austin Powers.

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Run

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I’ve worked on this piece off-and-on for the last few years, and it’s finally time to release it into the world🔥 Critical Role has been such a great escape for me, such an inspiration creatively, and an excellent reminder that our imaginations can bring us together in beautiful ways 💕

So anyways - ‘Vox Machina, FUCK SHIT UP!’

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infinite tea dragon for all your tea needs:)

[prompt: tea, butterfly, wyrm]

kinda following @kmccaigue 's list:)

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Sound on

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Thinking about Laika again

I finally found a brush I like on procreate!

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GOOBER TIME

For a while now I've been utterly enamored with the Sky: children of the light design framework and wanted to make a sky costume for eons but could never settle on an outfit (´°ω°`) but! staring down the barrel of autumn, it nudged me into settling on a fall-ish outfit set!!

"picking out" the outfit was a lot of fun. i say picking out in quotes because you might note that uuuuhhhhhhh a lot of what i made isn't actually an in game cosmetic haha (they're all based on actual collectables i swear)

about the costume itself: the mask is made of 8mm EVA foam painted with acrylics. I got the baby smooth finish by priming with PVA glue, painting in thin acrylic layers, doing 4 gloss clear coats, and a final layer of matte sealant (mr super clear). when the lights are on i have literally zero visibility so the eyes are interchangeable!

The cape and staff sash are made of red neoprene scuba and dual tone red and black fur (the burgundy arctic alaskan husky long pile fur line from big Z). I used satins, chiffons, and a linen for the rest of the apparel. I also used fairy lights in the fur and a clear ornament for the neck detail.

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Did you check the weather? - Jeremy Miranda , 2024.

American , b. 1980 -

Acrylic on board , 7 x 8 in.

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Iris Scott - Lunar Eclipse, 2020 - Oil on canvas

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Etymology map of the word “horde”

by ulughann

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