Reference

I few screen grabs from that Lauren Montgomery Atom Eve I colored last week. Not really indicative of my usual process but if you have coloring questions, now is the time to ask.

Hey all! I have been asked by a few people to post WIPs of my work so here’s a “tutorial” of sorts to give you an idea of how I make my pictures!

Prepare yourself for a long, boring post, haha.

1. So firstly I make a super rough sketch in Photoshop, capture the general mood/compositions etc.

2. I take my sketch into Illustrator and vector a solid, darker, block of colour, this is the lineart. I then vector another block of colour on top. I don’t use strokes or effects on any of my art, the colour and lineart are all vectored individually. 

3. Wireframe of my vectors. I switch wireframe on and off constantly while I work so I can view the sketch underneath.

4. Doing more complicated shapes like hair take a lot of time. I block in the shape first to make sure it has a good, strong silhouette before I add any colour on top.

5. Filling in more details…As you can see, I’ve completely changed the hands from the sketch haha. A lot of tweaking happens in the vector stage.

6. Starting to fill the hair in, lots of layers and repositioning stuff.

Old style guide I did for Tangled back in the day.. Some great quotes from Bill Moore, famous design teacher at Chouinard, establishing a great way of approaching and studying shapes*

Hope everyone has a great Christmas and New Years!!! Thanks to all 20,000+ followers following this tumblr; truly it encourages me that there is a audience out there and motivates me to do more work*

I am not really good for colors, so I do a lot of “tries and errors”

1. Ah Fai was a chief animator for McDull’s animated features. He’s super cool. Ultimate senpai. 

2. Previous post on breakdowns right here 

Some thoughts on acceleration and force

I presented this in the order of how I slowly understood the trick of delivering force - 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. 

Like I’ve previously stressed, 2D animation is everything but one single approach. There’s no one rule that rules them all, but interchangeable ideas with math, or physics, or music, etc. There’s no “perfect” animation either, but what is perceived as organic and dynamic. E.g., using the Fibonacci numbers to animate didn’t 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. 

progress will fuck you up

6hr Guyver painting. Last one for the book. Video on Vimeo

Howdy humans. Tomorrow, saturday the 15th august 2015, I’ll be signing copies of the collected edition of Annihilator in GOSH, london. To commemorate this, I offer up a silent clip of Max Nomax being born onto the page, along with his cosmic organ. A rare insight indeed into the mercurial ways of the Irving Art-Muscle.

I few screen grabs from that Lauren Montgomery Atom Eve I colored last week. Not really indicative of my usual process but if you have coloring questions, now is the time to ask.