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@melodico88
1961

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Concept arts for Brandon Aumanâs short Turtles Take Time and Space
Director: Rie Koga Main Character Designer: Kaori Matsuo
What are your thoughts on including fanart in your portfolio while applying to studios? I'm currently working on my portfolio and have a lot of fanart pieces I'm proud of but I'm worried about the etiquette of including it.
So I wrote a whole thread about this on twitter, actually! Iâll recount it here:
âso to clarify: #fanartgotmepaid doesnât mean âfanart guarantees you a job,â nor does it mean âyou canât get a job without fanart.â #fanartgotmepaid just means that fanart isnât always a Scarlet Letter that immediately colors a potential employerâs opinion of you.Â
I like to think that the personal art you do can be roughly broken down into three motivations: Conception, Self-Improvement, and Enjoyment (take this with a grain of salt! there are other motivations â commercial, vindictive, goofabouts â Iâm just focusing on the heavy hitters):
Conception, meaning âI have a specific creative vision I need to commit to paper.â Concept, idea, composition, style, what have you.
Self-Improvement, meaning âI want to better myself by practicing or taking on a challenge.â Trying that new brush, studying folds, etc.
And finally Enjoyment, meaning âI physically/emotionally enjoy the process of making art, and choose to do it because itâs fun/therapeutic.âÂ
Art fulfills each of these to varying degrees; sometimes a piece can be all three at once, but it doesnât have to. Thatâs up to the artist. Fanart will almost always include some degree of Enjoyment. We make fanart because we love a thing, because it provides a familiar framework. For example, here are some pieces of fanart Iâve done that are PURELY for Enjoyment:
âŠThese arenât going to win me any awards, they arenât going to get me any jobs! But theyâre good, theyâre fun, and Iâm glad I did them (and not to mention, any art is better than no art! Like playing a cover of a song, drawing fanart is still building artistic muscle memory).
NOW, letâs talk about fanart that gets you hired. Compared to the above, what is it about some fanart that gets the attention of employers? Generally, employers are hiring you for what YOU bring to the table. If fanart is the hook, your particular vision is what reels them in. No one ever got a job just because they drew a Sailor Moon that one time. You get jobs because you treat fanart as a tool in your toolbox. Are you redesigning characters? Interpreting them through a compelling stylistic lens? Rendering them in a fresh way? Thatâs your vision.
So here are some examples of my fanart that HAS gotten the attention of employers, with some rough notes on why I think they stand out:
The reason I was hired for Bioshock wasnât because of Disney princesses: I was hired because of my eye for historical costume design. You arenât hired for fanart, you arenât hired for the hook: Youâre hired for your vision. Youâre hired for what keeps them interested.
If you want to draw fanart purely for Enjoyment, that is completely rad and fine! Appreciating an IP by way of creation is pretty amazing. And if you want to use fanart to pursue a professional career, find a way to balance that Enjoyment with Conception and Self-Improvement!
Long story short: do fanart or donât, live your bliss, and maybe analyze your motivations for making art once every blue moon. And for the love of god, maybe donât make blanket statements condemning entire swaths of professional and amateur artists? Just spitballinâ.
Today I gave my students a quick presentation on some of the basic considerations for composition, which I am now sharing with you! Iâve given them separate talks about color and tonal value/contrast, which are also super important compositional concerns. (Iâll be sharing those presentations too once I properly format them)
I personally love learning about different compositional techniques. Itâs fun to think about the ways that the brain views & sorts images, and how we can trick it into feeling a certain way or looking at certain aspects of an image first! Itâs easy to fall into compositional ruts (which I am also guilty of) because a lot of art gets by with mediocre, though serviceable, compositions. If you can generally understand whatâs happening in an image then itâs generally fine. However, itâs the truly great compositions, where everything in the whole image has been considered and âclicksâ together, that bump up an illustration to a visual slam dunk. NC Wyeth is one of my favorite artists for this reason: his compositions are rock solid, varied based on the imageâs intent, and always enhance the mood or action he is depicting.
For extra reading, some online compositional resources that Iâve found helpful or interesting include: Creative Illustration by Andrew Loomis (download it for FREE. Such a great book all-around.) Gurney Journey (check out the âCompositionâ tag, but really everything he posts is great) The Schweitzer guide to spotting tangents Cinemosaic (a blog by Lou Romano with some truly WONDERFUL compositions captured from various films) Where to Put the Cow by Anita Griffin
Happy composition-ing!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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God help me, I graduated with a bachelor's in illustration over a year and a half ago because I wanted to follow my passion and do art for a living, but I'm here today without so much as a single professional gig under my belt because I can't find a way to balance that and my 40hr/week job. I'm constantly miserable, my coworkers keep asking me whats wrong because I always look like I'm on the verge of tears(I am), because I can't even sketch on the clock or I get sent home. I need real help.
I understand your pain. And itâs something that even people in art-related jobs have to deal with. How do you make enough time to work on your own art when youâre exhausted by the work you need to do to survive?
Thereâs no easy answer, but a lot of methods. Some people get up earlier and sketch for an hour before they go to work. Some people work at lunch. Some after their day job, and even more on the weekends. You have to find a way to make time to do what you need to do to advance your art, keep working on the portfolio, or art will always be a side gig, or a hobby. The only other way is to find an art-related job and then work your way up from there.Â
Itâs hard and it takes dedication and discipline, but this is literally the point that you make yourself a professional artist. Are you an artist who is working a job to fund their art career while they develop OR are you a working person who does art on the side? Do you want to be an artist more than you want a social life? Do you want to be an artist more than you want that extra hour of sleep? Do you want to be an artist enough that you will keep looking for a job that gives you room to make art too, or is an art-related job? Keep striving, keep trying to find something better, keep drawing. It may take time, but thereâs no time limit on being an artist.Â
I suggest the daily practice time, because just doing it is a kind of art meditation that will make you feel better as you go. It can start at 15min, or 30min. Work your way up. Do it first thing in the morning, because you are proving to yourself that being an artist is your priority to yourself, then put your pencil down, secure in the knowledge that the shitty job is in the service of a higher goal. Then pick that pencil up again the next morning, and the next. Donât do nothing, because something small doesnât feel like âenoughâ â Youâre planting a seed that will grow until it encourages you to do more and more. Just get started now.
âAgent KillFee
your jobs are cool! may i ask, what do you have to major in to be able to work as a character designer? I'd like to work in a similar field, but i dont know where or how to start
Hi
Thank you very much for your support :)
I m french, I love speaking english, but please forgive me if there is some english spoken mistakes :
To answer your question I would like to give you some advices and not a tutorial about how to become a character designer or how to draw cool stuff. You can find many tips about graphic design all over tumblr I suppose :)
I have to say that I m teacher since a long time, and more recently I had the chance to teach through Gobelins school as character design/ storyteller teacher.
I would prefer to share with you some informations that nobody use to share but who are much more important than graphic tutorials so I recommand people who read this post to share it a lot :)
I think the most important things I have understood to become art director / character designer is :
1/ practicing, I guess you have to find tutorials about drawing, you have to find life drawing lessons, you have to practice life drawing a lot, nude drawing a lot, you have to find a way to tell a lot of stories, thrygh comicbooks, animations, writing books, fiming..
2/ always focusing first on storytelling in your character design, and not only about âestheticâ , (I will talk more about it below)
3/ and staying curious of discovering many different influences from every kind of Arts or cultures or ages. (I will talk more about it below)
To be franck, I didnât learn this job through my art school (Gobelins), but through my differents jobs as storyartist, comicker, character designer in real productions.
I mean that you can not do a proper design if you donât have a strong story behind.
I also mean that my skills as a storyteller (storyartist, writer) are absolutely essential to be a good character designer / art director. for sure, 100%. I have became a better art director when I became a better storyteller (and I still have so much to learn of course)
A good design has to tell a good story. If not, whatever this design is good looking and with nice shapes, with nice brush photoshop made, it is not a good design but a vain design. You can not become a good character designer and less a good art director if you donât understand that deeply.
The designs below from Ratatouille Pixar movie, are not about doing great esthetic designs (but they are also great good looking in that example) but they are first of all, created from a great story and created to push the story and to tell the story : you can understand relatonships, behaviours of each character, who is main character, who is second character, through these line up (below)
Pixar artists doesnât care about puting graphic details, cool details, they remove all the details who donât push their story deeper. Pixar artists care about what they are talking about. They want to stay readable, clear, coherent, meaningfull for the audience. This is the main difference between them and for example most of the designers from video games who lost themself in too many meaningless details in their designs (I love video games by the way^^ but they are not good example for you to follow to become a good designer for animation industry)
A good design has to be readable in one second, does not need subtitles to be uderstandable to an audience. thatâs all. the rest is vain.
>>>>> in a word : a good design is like an ICON, it has to become iconic. For that purpose,you have to create a strong synopsis, a strong story then to imagine from that story  a strong, pure concept, pure idea to illustrate this story through one or several designs.
so a good design is about thinking good, not really drawing good⊠:))
 some other great and iconic designs readable in one second without knowing the movie, yes they are not drawing but it does not matter :
So : Do your personal stories, practice scriptwriting as much as drawing, all the time . As you can see, my last design are done from my personal project. I never split drawing and scriptwriting.
I mean donât wait to get an art school to practice seriously, donât wait to get a great job as character designer to practice. Practice seriously through many personal projects that you write yourself. So great companies and projects will come to you.^^
_____
learn how to write story through many scenario book or filming book:
here some books I suggest you to read as soon as possible and as much as possible:
in english I guess it is this one: but I m not certain sorry:
âfilmingâ from Eisenstein:
http://www.amazon.com/Lessons-With-Eisenstein-Vladimir-Nizhny/dp/0809013509
in french : âlecon de mise en scene dâEisensteinâ
http://www.eyrolles.com/Audiovisuel/Livre/lecons-de-mise-en-scene-9782907114059
This book from Eisenstein is the most important book I have read about storytelling, and nobody knows it. Thomas Astruc, âMiraculousâ creator, is the one who told me about it. There is a lot of books about scenario, storyboard, but none of them will learn you how about filming. This book explain you how the great director put deep meaning in their filming. This book tells about the scenography in a sequence. It explain you how to put meanings everywhere in a story, from the background design, through the character design, and to the storyboard of course.
another book I like is : Story from Mc Kee:
http://www.mckeestore.com/Robert-McKees-book-STORY_p_11.html
Why this book in particular? because it is made from âthe Poeticâ from Aristote. It is a very shematic book, hard to read, just take your time, take notes, make some exercices from it to understand it. It learnt me a mental grammar about how to think about a story.
____
so: conclusion : I have done a whole feature film screenplay about this personal project. My design are really stronger because they are made from a proper and strong story. This is the most important advice I could give to you.
My deep meaning is : a good drawing means something, tell a story. A good drawing is a drawing that you have thought about before you have started to draw.
Then I can give you some advices about my method of course but believe me, they are nothing compared to thoss about storytelling:
_ gather a lot of documentation and materials when you want to create a design. avoiding clichĂ© is knowling deeply your subject. As I m doing a story about russian revolution and I m not russian, I try to gather many many information about the russian history , russian mythology, russian revolution, russian clothesabout this century, russian peopleâŠ. This is not only about esthetic materials but about feeling the whole picture of your subject. so you have to read a lot, not only gather pictures.
_ Avoid to follow the âmodeâ but mix it.^^
I suppose you know we can not create stuff from nothing. We have to start from some pointin Art. But :
To create a new and interesting stuff, you have to mix two ancients stuff (at least) , not starting from only one influence.
My graphic style is a mix between many many influences. I donât do âjapanese stuffâ, or âdisney stuffâ, or âcomics stuffâ, or âeuropean stuffâ, I have mixed everything I have learnt in my life.
Try to stay very curious of all kind of influences ; not only animation but Art in general, litterature, arcitecture, cinema, travelling, history of Arts (I have a History of art 2nd college degree which helps me a lot in my graphic researches). Try to stay open minded in every kind of cultures.
By example : Tezuka, creator of the manga, was very influenced by Disney. Kurosawa, best director ever, was very influenced by american cinema, georges lucas was very influenced by Kurosawa when he did Star WarsâŠ..etcâŠ
Try to discover as many art pieces as you can, never give up that in you whole life to stay inspired.
Personally I ma big fan of History, History of Arts, History of whatever in general. This is the main material I use for my work.^^
For that purpose , try to read many books, old books, shakespeare, Dostoievski, Homere, mythology books, whatever you want but really meaningfull books not only recent best seller(which are great of course^^ but do not focus only on them). this is a main part of your work , this is not lazyness donât worry^^
same for movies: you can not tell good stories if you have nothing to tell :D : take the time to watch as many movies as you can, this is a main part of your work , this is not lazyness donât worry^^Â :
here some directors I love:
_ Kurosawa
_ Melville
_ Jonnhie To
_ Zemeckis
_ Nicolas Winding Refn
_ Mc Tiernam
_ Kurick
_ Takahata
_ Spielberg
My favorite movies :
_ Pusher II
_ Silence of the lambs
_ Benhur
_ Dersu Uzala
_ 10 commandements
_ Spartacus
_ Rush
_ Ikiru
_ Yojimbo
_ Kaguya princess
_ Munich
_ Mad max fury road
_ die hard 1
_ Hardboiled
_ A.I.
_ Contact
_ Compare yourself with the best artists in the world, not with your classmate in your artschool. If you want to be the best, and do the best production, be demanding and challenge yourself. Comapre your stuff to Pixar, Laika, Dreamworks, oldschool japanese mangaka and animator, ancient painters. Ask yourself why they are better than me? What should I do to improve myself? a lot of answer are not in the esthetic way but in the storytelling way believe me.^^
_ Donât be shy, donât be afraid to bother professional artists, show your work to professional as much as you can, ask them advice, be respectful with them and do whatever they will tell you to do to improve yourself. The only way to thank a teacher or a professional who helps you is to work harder and to follow his advices hardly.
_ Work full time, this is like a olympic game, this is serious : you have to be the best to get that kind of extremely competitive job. You need to implicate yourself a lot. You need to find a routine, you canât work part time for this job. stay very implicated, stay extremely enthousiast.
_ To become better than other, thatâs simple : work twice, triple more than other students. really. When a teacher, your boss seems satisfied, it does not have to be the end of the job.You have to impress people, not only satisfied them. Even if your boss seems satisfied, continue to improve your work after the deadline, until it is really great.
_believe in your potential but stay humble all your life, even after school, keep learning form others, never think you are the best.
Letâs stop for now, I hope it will help you and others people who wants to improve themself :)
Hello! I am an art student, and also a big fan of your art. I was wondering if you could give me some tips and pointers on how to give my character more personality. I always can tell what your characters feeling at that moment. Which is a really awesome thing! Haha! Happy holidays!đ -Gwynne
Hello Gwynne,
thanks for your kind words.Â
I try to first envision the characters Iâm drawing as real people. And try to think and feel what they may be thinking and feeling in that moment.
In order to do this to the extent that the drawing is âstrongly feltâ by the viewer, I believe that the artist needs a large visual vocabulary for human behavior. And to do that, itâs my belief that people need to be very empathic. That means, you need to be able to see other people and be very sharp-eyed and aware of their thoughts, feelings, and attitudes, and really understand it. Iâve seen many solid draftsmen who can communicate complex forms in dimension very well, but not those unspeakable human nuances or subtitles. And itâs my personal belief(subject to change as I grow) that it is because they donât have the same sensitivity or empathic observation capacity as they probably could if they were aware.Â
I try to observe other human beings as much as I can, and try to understand them as much as I can. I do believe my appreciation of my own empathy toward others, however big or small it may actually be, helps me create characters with believable personalities.
Some commissions I did for my dear friends.
HOW TO MAKE YOUR ART LOOK NICE: Mindsets
For those wanting to improve their work ethics, here are some friendly reminders that can help improve the way you view your art.
I PROMISE THE NEXT ONE WILL COVER DRAWING CONCEPTS THIS TIME!
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Reference and Style | Color Harmony | Contrast

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How to Make Your Art Look Nice: Lighting
Think your drawings are lacking that extra âoomphâ? Maybe adding a little bit of lighting can help!
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The âHow to Make Your Art Look Niceâ Series
Flow and Rhythm |Â Thumbnailing | Mindsets | Reference and Style | Color Harmony |Â Contrast
DEAN CORNWELL Wartime Evacuation Oil on Canvas 40âł x 29.5âł
Canine Paw - Mini Tutorial (fixed) by sphynxpunk
Hello! Sorry to disturb you but I would like to ask you a question(perhaps already asked ) about career perspectives, on storyboarding and visual development. It is possible to get professional experiences without having pursued formal education? I just a french student who wants to know if it's necessary to enter schools like EMCA or Gobelins ,in order to get freelance jobs. (I think these schools are very expensive,but it's my opinion). I wish you a good continuation for your amazing work. :)
Hi
Forgive me I didnât see your answer, I was really very busy these weeks because I was moving from a continent to another..
It s very hard to answer but it is a very good question. :)
I guess everything is possible. Every paths are possible. Mine is not really normal too⊠Try to learn from the choice you will do. Thatâs all. I honestly feel that I m doing the opposite of other people , in the opposite chronological way. I m 34 and I m entering a big company only now. But I also feel that every of my choices made me stronger in order to be able to enter to that company now. I could not have done the classic way. So listen to yourself.. unclassic path make you stronger, but are harder to follow.
My main answer is :  You should choose your own path and trust yourself. Donât follow other people âs path if it does not fits you
If you feel you want to work, donât go to school. If you feel you are too much alone and you need more feedback, go to school.
 more specificly : I know very good storyartists and directors who has not been in an art school. Most of them are much better than many of other who has been in art schools. a very good reason is : there is no good storyboard class in france. True story. But I know also many great directors storyartits and concept artist have also been in art school. It depends of the person.
I guess it is easier to go into an art school. It reassure your parents, you are like a train moving through rails. You feel safe.Â
If you choose to not go into a school, you can succeed but it will be harder. But it doesnât mean you wonât succeed. It be will harder, thatâs all. You will have to grow up and so, why not? And thatâs great because when you will got what you want, you will be proud of yourself.
Yes you wonât have all the skill like art student, but you will have humanity skills, growing up skill and believe me, thatâs much more precious.. know who you are and what make you different and interesting, and use it in your work.. and of course work twice, or three time more than other people.Â
negative point of starting freelancing directly : Â you will have to be careful of your own skill, of questioning yourself in order to improve yourself. Because you will start working on bad jobs, and it may kill you creativity if you are not careful. Even when you start a job after having go to art school..Â
main word is : choose well your jobs, focus on your integrity, of why you are doing this job. If you are not satisfied by your job, donât complain and start working harder. the best you will be, the most choice of jobs you will have.But if you give up, you may loose your creative energy. This is what bad art job can bring you.Â
I m not trying to convince you but to tell you whatâs good and bad, in each paths, in my own opinion and experience of course. you choose what you want at the end.
Danger with art school in general in france, is they donât teach you the real production pipe line. so you are trained about art but not work.Â
About starting professional life; Why not, again, I have learnt most in my professional experience. But the problem is to loose yourself, to only focus of earning money and not anymore about learning stuff, about exploring your own artistic world.Â
So my main advice whatever you choose, Â is to stop working for companies or school as often a possible, Â during a few months, a year if possible, or only during week ends, in order to do your own stuff. Even if you have a family to feed..Â
remember : art schools or art jobs will never make you become an artist. Only you, your creative energy, and your curiosity can make you growing up as an artist. Donât wait anything from anybody. So donât wait to be there or there to go to museum, to read, to watch many movies and not only animation, and not only recent movies, and not only english spoken movies, to travel, to meet new people, to try new art stuff..
donât play with your artistic energy. Take care of yourself. Time is most important than money.Â
Money and job proposal will come if you are the best in your work, donât worry about it.. Energy, artistic integrity are the keys of whatever you will choose.. listen to yourself and stay enthousiast whatever you will choose.
I guess everything is a matter of balance. I hope it is helpful!
requested by @metaljupiter

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1. Ah Fai was a chief animator for McDullâs animated features. Heâs super cool. Ultimate senpai.Â
2. Previous post on breakdowns right hereÂ
Some thoughts on acceleration and force
I presented this in the order of how I slowly understood the trick of delivering force -Â first an abstract concept of impact taught by Ah Fai, then a more complicated discovery on the acceleration pattern, last back to a more abstract concept of breakdowns.Â
Like Iâve previously stressed, 2D animation is everything but one single approach. Thereâs no one rule that rules them all, but interchangeable ideas with math, or physics, or music, etc. Thereâs no âperfectâ animation either, but what is perceived as organic and dynamic. E.g., using the Fibonacci numbers to animate didnât bring me a perfect animation! On the other hand, a tiny change in the pattern could already make the feeling of force so much more powerful.Â
Not so much of a tutorial than a personal experience. I hope you find this interesting hahahaÂ
*snaps fingers* THATS WHAT IT IS! Iâve always felt the difference but Iâve never been able to put my finger on it! Thanks so much for sharing :D
Illustrations of Gorilla anatomy from: âDes CaractĂ©res Anatomiques des Grands Singes Pseudo-Anthropomorphes.â Archives du MuseÌum d'histoire naturelle, Paris t. VIII (1855) by G. L. Duvernoy
Source:Â University of Wisconsin Digital Collections