Technique Questions

[Seth]

Originally Posted by rcatizone

I'm anxious to hear Don's answer, but to help in the meantime...

Expression isn't just in the mouth. It's in the eyes.

When the character has a muzzle, or some of the long-nosed style commercial cartoons I have done, you have to work out what are the best angles to keep the nose or muzzle from hiding that expression. The head angle must also work for the emotion. (You don't look down when doing a big smile.)

Along with that, sometimes you need to cheat the mouth a little more to the camera side. Not draw it incorrectly for the perspective, but think of the character pulling his lips and facial muscles more to the side.

Expressions are "sort" of a formula, so you should be able to transfer it to any animal.

Last, watch Lion King and see how they worked more 3/4 and front shots so the lion heads could appear more "vertical" and mimic a human.

Best,
Rick

Wow! Thank you so much! This was very helpful. It's giving me a new look on drawing animals. I didn't notice until now, but I do always seem to draw my characters with their nose down on every emotion. Ooops!
Hey, Thanks again!

[Don Bluth]

Originally Posted by Seth

Hey Don,

This probably isn't that great of a question, but it's one that I've been stuck on for quite some time. How do you approach emotions for cartoon animals? Whenever I draw an animal their muzzle always seems to get in the way of the emotion. And even if I can make a certain kind of emotion work with one type of animal, I can never transfer it over to another kind of animal. It's stumped me for years.
Thanks.

If you understand the feeling or emotion in yourself, put it on your face and look in the mirror. What you see yourself displaying in the mirror should be easy to put on the face of a character. Animation on characters faces are designed to resemble the human face, ie., mouth, chin, ears and cheeks.
The muzzle would be similar to a person with a very large nose.

Don

[arifnbd]

Hello sir,

i have purchased a metronome what you have( i have seen it on the dvd)..but, still did`t get the idea how to use it.....it would be great you show us the uses for animation....may be a new tips in the animation tips section...

Regards,
Arif

[Moneyguns]

When I draw I always try to finish what I'm working on in the moment I start it because if I end up having to work on it later It's really hard to get back into my subconscious mind and then I tend to destroy my drawing.

Dose anyone have any advice? Basically the problem is I have a really really really hard time entering that drawing state of mind or my subconscious.

[joedorsey]

I've been working little bit by little bit on this dog walk animation. In the process I have to force myself to get into the drawing mode.

I try to find a time during the day where I have the fewest distractions. Usually, it's at night when the kids are in bed and when I know I'll probably not get many cell phone calls. Poking around the message boards and animation blogs calms me down, so I do a bit of that.

Then I'll look over what I've done and try not to over-analyze my drawings, but be proud of how far I have come. Speed and greater skill will take time. I tend to tighten up when I draw, so having a moment to mellow out helps me loosen up mentally.

I know this sounds kind of like Animation Meditation. It's what works for me and you have to find what works for you. Don listens to music. Richard Williams works in silence. It all depends on the person.

[Moneyguns]

Thanks, I'll remember that.

[Moneyguns]

DOSE ANYONE KNOW THE ANSWER TO DRAWING AND FRUSTRATION!???
Seriously

[Sidney]

Different for everyone really.
I like to approach it with my "I really don't care out this sketchbook" sketchbook.
I commit nothing to it. It's there to mood move me into a solid piece if I need help feeling out a character or an object. Be it what ever it is I'm currently working on I use this discard technique to avail the eraser syndrome and to keep a steady focus before turning to my fresh paper for a finished work.

I remember a time in highschool when I drew like crazy on lined paper only to have it be my better work because I knew it wouldn't amount to anything spectacular.
When the time came to apply the skill to unlined paper I found it to be of poorer quality.
Technique found. I applied this over time only to find myself not erasing so much because I anticipated my next line with confidence.

The approach lends a hidden gem of uninhibiting yourself from the evil eraser.
My approach but not neccessarily for everyone.

[Moneyguns]

That's a good idea Sidney. Thanks for the tip. I'm going to try that next time.

Dose no one else get frustrated? Are me and Sidney the only ones that got hit? Dose everyone else just have the touch or something?

[WillW]

I'm always frustrated with my work haha, though I see it as a positive thing. I see frustration as the backbone to becoming a great artist, With frustration your always thinking of improving. If you start getting comfortable with your art you no longer strive to improve. It can also have the side effect of making you feel like you should give up but you should do your best to fight against it.