Bloodwing Angel Chronicles Webcomic Thumbnails

Here are the thumbnails for a six page sequence. These thumbnails measure 2 inches by 3 inches, which I blow up to fit in a 7.5 inch by 11.25 area for my original pencil pages. I then scan the cleaned up penciled pages as jpegs, adjusting the contrast to get the darkest line...which then gives my drawings an "inked" feeling.

Note that I lay out the caption boxes and dialog balloons at this earliest stage, so that I can incorporate them into the layout for posing. I'll put in the lettering per "A", "B", etc.

How to Make Animation Tip# 1: Thumbnail Story Reel

 Click on the link below to get to YouTube.

https://youtu.be/iWW6uYy_0Ys

I’m developing my second Snuffy & Zoey cartoon and documenting my progress with a series of videos showing the stage of production I’m currently at. Titled “Animation Tip #1: Thumbnail Story Reel” shows how I start the entire production process by scanning thumbnail storyboard panels and creating a basic story reel with sound and music.

Squash and Stretch More Than Bouncing A Ball (Part One)

The first full episode of my YouTube series is now live!
If you enjoy it, please subscribe and leave a comment on my YouTube channel.
I'm now editing the next video, and as I plan on maintaining a weekly schedule, it will be posted on my channel Saturday, October 28.

Old School Field Guide Area & Basic Scanner

Old School 12Field Guide scanned on basic home scanner

As part of my mission to keep old school animation alive, I want to point out inexpensive ways to create it.

One of the biggest expenses in creating animation electronically is buying a Cintiq or some such tablet. The mistake is to think that having the latest equipment will make your art better.

Getting the largest Cintiq to draw on doesn't mean you'll be able to draw better, it just means you'll have the ability to draw more complex designs. But since most modern day animation is being watched on small devices like iPhone, iPads and computer screens, I suggest character designs should be simple in order for facial expressions to be legible.

And if you want to draw those simple characters on paper, you can use 8.5 x 11 inch paper, scan it on a basic home scanner/printer, and import those JPEG files into a basic animation/coloring program.

Let me point out to you that all those classic Warner Brothers, Disney, Max Fleischer, MGM, and Terrytoons theatrical short cartoons were drawn on a maximum 12 field area...and projected onto screens at least 15 feet  high and 45 feet wide.

My 16-year-old Epson scanner

One of my rough poses scanned on my old scanner

The following three Popeye animation poses appear to be drawn on 8.5 x 11 inch paper.

Here's a scan of some Batman and The Joker animation poses I drew on 8.5 x 11 inch paper for that series of Zeller's Batman TV commercials run in Canada back in 1988.

I want to encourage you to think simple...you can get great results with basic tools!

Nelvana Seminar Notes (circa 1981): Part Three

These are the third and final set of notes from my Nelvana seminar. Please remember that I was asked to explain my personal method of animating (and the Frank and Ollie tomb "Illusion of Life" had not yet been published). We were all youngsters, experimenting on our own and trying to learn from each other.

The third seminar session consisted of answering questions that were handed in by animators a week after the first two sessions. I believe that the material covered in this series is as relevant today as it was 30+ years ago.
 

The following is how I rough out my full-size poses after working out my thumbnails.

Above is my first rough pass at a Quadhole key pose.

Above is my second rough pass at a Quadhole key pose...I mold the character's form over the forces I laid out on the first pass, making subtle changes as I feel the body reacts to those forces. This pose would be cleaned up on a third sheet of paper.

The next three sheets show how I filled out the basic posing and interpreted the timing of the previous examples shown in sessions one and two. Please refer to the exposure sheets in session one to see how I described the action with particularity. I find that writing it out in this manner forces me to analyze the movement in terms of "anticipation, action, and reaction".

If you have a mind to, you can cut out the poses (registering them by their leg placement and shifting of weight), then film them in sequence as a rough pose test, using the exposure sheet for timing.

Nelvana Seminar Notes (circa 1981): Part Two

This post contains the notes from the second of three seminars I gave at the Nelvana Studio back in 1981. The Quadhole artwork included here is a portion of what I handed out during those lectures, helping to illustrate my personal creative process in molding my animation. In a future post, I'll include the rest of the artwork with those third session notes.

 

 

To see how the phrasing of Quadhole's acting works with his dialog, please refer back to my exposure sheets in my previous post.

Nelvana Seminar Notes (circa 1981): Part One

It's been a very long time since I last posted. I always promised myself that I wouldn't write just anything just for the sake of posting something on my blog. Now I have a topic that I believe will be of interest to those visiting here.

Recently in a communication with Ken Duncan (Owner/Executive Producer of Duncan Studio), Ken said "John, when I was in Paris in the 80's I thought I saw some 'how to' notes that you'd done during Rock 'n Rule.....
1- Am I delusional?
2- If not, are they available to see?"

Well, Ken is not delusional...and after searching through my files I found the original typed notes that were xeroxed and handed out at Nelvana during the production of Rock & Rule. Basically, it was an explanation of my approach and work-flow method, going from initial thumbnails through to tie-down drawings.

Originally, there were 20+ pages in my handout for the three session seminar, which took place over three afternoons, using poses of my character Quadhole the Policeman to illustrate my approach. Because of the amount of material covered, I've decided to post them all here as a series. I have also supplemented the examples with Cindy Schlepper development material I created months after this seminar was given.

(Note: At that time, Frank Thomas and Ollie Johnston's bible "The Illusion of Life" had not yet been published. Young animators such as ourselves were basically learning from our own experiments...studying the silent results on the studio's Lyon Lamb Video Animation System...not seeing if it worked with the dialog until it was shot on 35mm film and synced up on the flatbed.)

The following are my original typed notes from the first session. I'm including the exposure sheets and samples of my thumbnail analysis of a couple of Cindy Schlepper scenes.

 

These above poses were my very first exploratory sketches of Cindy Schlepper.

 

 

 

Above are my thumbnail analysis of the first time we see Cindy.

Cindy has arrived at Club 666 and is excited. "Oh, Boy! Mutants in the foyer!"

The following exposure sheets are for a Quadhole scene---the poses of which were originally handed out as a packet including the typed notes. I'll be posting those drawings in the next installment...and you can then cross-reference them with these sheets.

For those who are not familiar with the process, there's a lot to digest on these pages.
Hope you find it informative and useful.

Thoughts On Developing Educational Mobile Game #1

To me, one of the most important elements of a successful educational game for preschoolers is the ability to capture their attention. One way to do this is to have characters who show appealing personalities. The younger the child, the bigger the language barrier is to communicating the character's personality. Thus, I'm using pantomime to convey personality in the game play actions.

The preschool player should be entertained by the way the character performs the actions chosen.

I'm also planning a variety of ways each character can do a specific action, so that the player won't become quickly bored with the actions they are controlling. I want various versions of the actions be programmed to come up in random order, so that it'll be a surprise to the player which one appears. It'll be like the character has made it's own decision how to perform the action.

Various Bear Actions Across The Screen

The Animator's Team

Historically, the best way of producing animation in terms of both creativity and hitting production quotas was to set up animation units, whereby the various members of a unit could concentrate on certain aspects of bringing a scene to life. This was how the Disney studio set up its animation teams. At its most successful, it made for a great sense of pride and security amongst the team members that they could count on one another to get the job done.

It was also a great way of having an apprenticeship program by which everyone had the opportunity of being trained to go up to the next level; or it became apparent that a person could not handle the next stage and he/she'd gone as far as ability would let them. (The fact there was studio politics that stood in the way of deserving talent does not diminish the validity of this team concept.)

Before there were animation schools, on-the-job training was the only way to learn more than just the basics (which you can teach yourself). Even today, an apprenticeship program would be the best way of developing animation talent. But that would mean a commitment by the studio to keeping its artists employed from production to production.


The following is a basic Old School Unit the way I remember it on the feature Raggedy Ann & Andy:
1) Animator
2) Rough Inbetweener
3) Assistant Animator
4) Breakdown Assistant
5) Clean Inbetweener

Work flow:
The Animator draws the rough keys and eccentric partials. These are shot for a pose test. When the pose test is okayed by the director, the scene goes to the Rough Inbetweener who rough inbetweens the entire scene for the first action pencil test.

Once the director okays the rough pencil test, the Animator may go back in and add the important lip sync (if he hasn't already included it in his rough pass). The Assistant Animator then cleans up the keys, making adjustments so that the character is on model, and checks the exposure sheets to make sure that any leveling of the figures, overlays, etc. are correct.


The Breakdown Assistant then cleans up and completes any eccentric partials and crucial inbetweens, leaving the Clean Inbetweener to finish off the rest of the drawings.

But let's not come away with the mistaken idea that working this way was a bed of roses. The pressure on the artist to produce has always been enormous. The following is a 1976 cartoon by Eric Goldberg showing a bit of foxhole humor during my last few days on Raggedy Ann and Andy. I was leaving to start my first gig as an animator at Nelvana...and there was the assumption that I would be introducing Hollywood animation production methods to that studio in the Great White North.

Forms and Forces By Master Animator Bill Tytla #2

I never cease to enjoy looking at Bill Tytla's work.

Here are some rough poses of Grumpy being washed by three other Dwarfs (Bashful, Sneezy, and Sleepy). These drawings are of pure forces affecting form. The choreography of the interaction between the four characters is amazing. Study these well. This is pure animation...no Motion Capture here.


These drawings appeared in the December 1978 issue of CARTOONIST PROfiles as illustrations for Grim Natwick's article about Bill Tytla, who had passed away ten years earlier on December 29, 1968 at the age of 64.

Pose A

Pose B

Pose C

Pose D

Pose E

Pose F

Pose G