References and Resources

savedchicken: Heres all the WIP pictures together in hopes that...

Thu, 16 May 2013 20:23:23 -0700

1. plastic mesh (for embroidering?), thick wire, small plastic zipties

2. thin cereal box cardboard cut to shape, taped and hot glued together onto the base in pic 1.

3. paper macheing over the cardboard. Materials are blue autoshop towels and concentrated sta-flo liquid starch. Link to how its done in the description.

4. The only difference here is that they are painted. With acrylic and AFTER i primered the surface!

5. Eye coverings are flat marbles from the craft store and faux black fur. Fur is all hot glued on (lol) and theres some super thin stretchy fabric in the tear duct holes so it can be seen out of.

savedchicken:

Heres all the WIP pictures together in hopes that they help show the process for people!

Materials used are listed as captions!!!!!!! QUQ Paper mache technique for #3 is HERE

My cosplay/costume blog shared with my 2 cousins is HERE.

Thanks for all the kind words friends!

dyemelikeasunset: Tutorial: Feet and Shoes A little old, but...

Wed, 15 May 2013 15:08:15 -0700

dyemelikeasunset:

Tutorial: Feet and Shoes

A little old, but hope it helps!

Character Design References (characterdesigh)

Tue, 14 May 2013 19:09:53 -0700

Character Design References (characterdesigh):

briannacherrygarcia:

crispy-ghee:

Character Design is using Pinterest, an online pinboard to collect and share what inspires you.

DEAR TIM I HAVE CONCEPTS TO COMPLETE DUE IN AN HOUR WHY DID YOU LINK THIS THIS IS THE MOST DISTRACTING THING YOU COULD’VE LINKED

CLICK IT FOR THE LOVE OF GOD CLICK IT.

funismajin: antiale: 4 all u kids who wanna study some figure...

Thu, 09 May 2013 20:56:01 -0700

funismajin:

antiale:

4 all u kids who wanna study some figure drawing/anatomy

Figure Drawing For All It’s Worth - Andrew Loomis >PDF download<

Mastering Drawing The Human Figure - Jack Faragasso >PDF download<

Figure Drawing Design and Invention - Michael Hampton >PDF download<

Dynamic Figure Drawing - Burne Hogarth >PDF download<

All the downloads are free they only take a little bit time to download because these are big files!

YES

carryalaser: WATERCOLOUR CHEAT CODES I made really quick...

Mon, 29 Apr 2013 18:03:51 -0700

carryalaser:

WATERCOLOUR CHEAT CODES

I made really quick tutorials full of swatches to send my mom who wants to take up watercolour painting for a hobby. I’ll share them here as I find time to type what I wrote her.

—-

The first two pictures illustrate discoveries in mixing skin-tones. I try to find paints that make it faster/easier to mix skin colours - even if you’re adept at making these tones out of other colours, the right combo of purple and yellow can cut out a lot of time and money. The one I have most success with is “violet gray”, then “permanent magenta” for darker and wider ranges, and “purple lake” when I was cheap and it was on sale.

Mix these (sparingly) with raw sienna. The darker the purple the less you’ll need to add to your yellow (yellow ochre works as well). Ultimately, watercolour is tricky to mix so if you’re not confident right away make sure to paint swatches before putting a loaded brush to paper, otherwise be ready to mix with water on the paper.

For a lighter, paler, redder skin tone, raw sienna + brown madder is what I prefer, although as you can see in the first image (about half-way down the page on the left), “cadmium yellow pale hue” and “cadmium red deep hue” work just as well, and might be cheaper on you. With that combo, however, it’s easier to get stuck mixing a ton of orange.

Back to permanent magenta, it’s great with browns to get darker tones, not just for darker skin but for shading. I keep three browns on my “skin” palette (last pic), “burnt umber”, “burnt sienna”, and “vandyke brown”. Mix it with some skin-tone, even just a little, to keep it from looking straight-out-of-the-tube.

So mix your skin tones, make a few test swatches to figure out how much water you need (every brush behaves differently), and lay down some washes.

In the middle of the first piece of paper is a gradation in a skin tone (violet gray + raw sienna) from really warm (“brown madder”) to really cool (“turquoise”). This was done wet in wet, to show what kinds of tones you get from adding warm and cool colours.

To the left on the bottom are a couple light washes of colours painted over a skin tone (same ol’ raw sienna + violet gray) to show how different colours look on this mix when applied dry on dry. Blue (I used turquoise again) is great for some shadows, implied stubble, and veins close to the skin, reds and most browns for warmer shading, yellow for jaundice or boogers… you get it.

On the bottom right is an example of really warm vs. really cool shading on the same skin tone mix (just guess). The initial skin tone wash is a bit warm for the cool side, but the contrast makes the shadows really evident. Different colours in shading will have different effects that way. The only surprise here is the use of dark blue “indigo” which is great for coming close to black when mixed with other colours.

On the second page are two more noses, different skin tones, and just three extra passes with skin tone washes - although difficult to tell because I was lazy and didn’t wait long enough for them to dry after the 2nd pass. The extra passes aren’t particularly warm or cold leaning, but simply draw off of the initial tone I placed.

IMPORTANT: These little quick studies serve to be as economical as possible, using few colours but still not looking just like an awkward mix of red and yellow or brown and yellow. For a more detailed or accurate representation of skin tones, a ton more colours might be added - for instance the darker skin tone on the right would have more pinks, and of course different parts of the body appear to be tinted differently. Also never forget no matter what colour or how dark skin is, skin is shiny. Be mindful of even diffused light. At the same time - perfect representation of skin is hardly necessary. More expressive colour treatment rules.

But ultimately - colour in skin - who cares! Just play around with colours you like, build a base that’s easy for you to mix quickly for wet on wet or however you prefer to work. Play with colours on different planes or surfaces of the body, with light, and take everything I say as a tips - not rules - ‘cause watercolour is really unpredictable and that is often the best part.

Another note: I use pencil tins for palettes, it keeps things portable, easy to mix, minimal paint waste, and I can rearrange paints easily to make mixing easier. I usually have three but you could get away with one or two. If you try it out, keep the paints and empty space clean with jut a bit of water and the wipe of a cloth/kleenex.

—-

The third picture shows a really quick, easy, natural black mix I make. It’s simply “Hooker’s Green, Dark” and “Dioxazine Violet” at almost equal quantities. You can mix it with a blue or red or yellow for a warmer or cooler black, depending on which you need. I included some gradation and overlapping swatches. Just keep in mind black can be very powerful in watercolour, or any opaque application of the paint, so use it sparingly and with a plan in mind.

—-

Despite my shitty watercolour sketches up here, I spent a huge amount of being a child working at a cooperative gallery with some contemporary and purist watercolour painters alike so I picked up a lot. If anyone wants me to be more specific about something, or maybe produce a more specific guide or sketch for a problem you have, let me know and I can try to help out.

These were things my mum asked for and that I produced with her knowledge of the medium in mind, so if it really did interest you but you’re stuck on something, or found something I said vague and confusing, let me know.

reapergrellsutcliff: Grell Sutcliff Cosplay Teeth Tutorial! By...

Sat, 27 Apr 2013 16:51:01 -0700

reapergrellsutcliff:

Grell Sutcliff Cosplay Teeth Tutorial!

By popular demand! Since I’ve had so many people ask. I hope this is helpful to someone!

Here are some links to a few of the items you might have difficulty finding. Though everything you can get at a grocery store or hardware store, except the plastic pellets.

Thermoplastic Fitting Pellets

Acrylic Fingernails

Clear Liquid Nails

A few more tips I forgot to mention above:
Clean of any extra glue with a clean q-tip, and avoid getting the glue on the front of the tooth. - If the edges of the teeth don’t match up, wait until the glue is dry, and you can file down the tops of the teeth a bit until it’s a closer match. - When removing the retainer pull down carefully, and use both hands. - You can drink with these in, but I recommend -only- cold water. Don’t try to eat with them in. - Pointy teeth are sharp! Be careful, you probably will cut yourself.

Enjoy the tutorial! )

deviantart: A step-by-step breakdown of *Qinni’s short animated...

Fri, 05 Apr 2013 12:48:00 -0700

deviantart:

A step-by-step breakdown of *Qinni’s short animated film, “Night Light.”

qinni:

The whole film took me altogether about 5 grueling months (usually 10-12hours a day) to do. I often felt my butt was going to grow into the chair I usually sat at.

Please note that this was simply my way of doing my film to achieve the soft-shaded style I wanted; there are many other ways of doing this and some are a lot faster with different results~! :)

My film on DeviantArt | My film on Vimeo

My film gifs on Tumblr

You can see my storyboard animatic here (although the original had music, but like I mentioned, my placeholder music was by Joe Hisaishi, you know, Miyazaki’s composer, so it’s not really legal to upload it).

This tut differs a bit from my dA version, because tumblr lets me put the combination of gifs and jpegs :D.

Here’s a book that will really help you start animating:

The Animator’s Survival Kit

here’s some books that are good for composition, storytelling and colours:

Dream Worlds: Production Design for Animation

The Art of Pixar: The Complete Color Scripts and Select Art from 25 Years of Animation

Prepare to Board! Creating Story and Characters for Animated Features and Shorts

I hope these helped

I ask that no one removes the credit or source for this tutorial/guide please. thanks :)

pornjunkyard: numboars: hotcookingmama: hOLY CRAP there was a...

Wed, 27 Mar 2013 17:14:39 -0700

pornjunkyard:

numboars:

hotcookingmama:

hOLY CRAP there was a post going around about running out of undos SO IT GOT ME THINKIN: ”HUH IT’S DUMB THAT ADOBE HAS SIX FREAKING CREATIVE SUITES AND THEY HAVENT INVENTED A WAY TO LET YOU UNDO MORE THAN 4 TIMES”

BUT ALAS THERE IS A WAY AND I JUST MADE A VISUAL FOR IT (CUZ IDK VISUALS ARE COOL)

BASICALLY YOU BUST OPEN YOUR PREFERENCES->GENERAL->PERFORMANCE AAND YYOU CHANGE THOSE HISTORY STATES SO NOW YOU CAN HAVE UP TO 1000 FREAKIN UNDOS HOLY NUTs

IF YOU ALREADY KNEW ABOUT THIS BEFORE THEN WOW KUDOS TO YOU BRO IGNORE ME IM RLY SLOW LEARNER

This is a very helpful guide for those of you who love to undo.

There you go, buncha casuals-

rosenview: How to take your wig from gross to great! This isn’t...

Sat, 23 Mar 2013 13:47:23 -0700

rosenview:

How to take your wig from gross to great!

This isn’t a new method at all, but instead my results using this tutorial.

While the before shot is pretty terrible photo quality to begin with, you can see the wig is basically a ratty, gross-looking mess.

Find a tank or bucket and empty a capful of fabric softener into it (more softener if your wig is longer).

Add enough water to submerge the wig, and make sure to flip it inside out before you put it in the water. Swish it around to make sure it’s saturated, and then let it soak for a few days. I left mine is for a little over two days, but I would suggest leaving it in closer for the five days the original tutorial suggests.

Lay the wig out on a towel to dry. I didn’t wash out the fabric softener, and when it was damp instead of dripping, I put it on a wig stand.

After it’s completely dry, brush through it with a wig brush, or at least a brush with wire teeth. Plastic teeth will create static and no one wants that.

If you need a wig brush, try checking out beauty stores. Failing that, you can usually find wire brushes at pet stores, and they work as well as any wig brush.

Spray lightly with dry shampoo or sprinkle with talcum powder. Brush your wig again after a few minutes to help disperse the powder and keep your wig from looking chalky. You may experience a small amount of shedding during the brushing process, but it shouldn’t be anything too severe.

And there you have it!

pornjunkyard: Paint Bucket Resources: Tutorial: plastic keychains kaiami: I know a ton of you have...

Thu, 14 Mar 2013 19:28:07 -0700

pornjunkyard:

Paint Bucket Resources: Tutorial: plastic keychains

kaiami:

I know a ton of you have been waiting for this one. Teaching you to make your own plastic keychains!

To start off, I think the biggest question everyone has is what I use to make them. I work with shrink film. You might be familiar with Shinky Dink brand shrink film as a kid. I use Grafix brand white inkjet shrink film. The inkjet kind is relatively pricey compared to the regular kind. If you’re using regular, I don’t recommend you stick it in your printer. Sharpie markers would be good for that.

Alright, now open up the file with the images that you’re working with. Make sure your images are a lot bigger than you want your finished product to be since they shrink significantly.

You’ll also want to lighten the opacity to about half. I go somewhere between 50-60%.

Now print your image out! I’ve found that it works best for me when I have it at the plain paper setting, and standard print quality.

Holepunch with a 1/4” holepuncher BEFORE you shrink them. It’s so much more work to have to punch holes when your plastic is thick!

Cut out your design, leaving the amount of border you want.

Set them on a tray for convenience. An aluminum foil sheet works too, but I recommend cookie trays because they are easier and quicker to get out of the oven.

Preset heat. Your shrink film package will tell you what temperature to set it at, but I find that it isn’t always accurate for me. I generally set temperature to 350 degrees or so.

Put them in the oven. Remember to keep track of time! I leave them in for about a minute and a half.

After time is up they should be super small! Magic!

If your charms are not flat, put something heavy on it right out of the oven when they are still hot and malleable.

If you’d like to, you can seal them now. In my last two batches, I used clear topcoat nail polish. The problem with that is that I need between 3-5 coats of it, and it takes a while to dry. I’ve been experimenting with modpodge.

For lariats, you can use jump rings or lobster clasps.

Here is one that I made that wasn’t sealed. The finished texture after shrinking is a little bit rough. There’s nothing wrong with leaving them unsealed, but because they are inkjet printed, the colors wash right of without protection.

This is one that was sealed with modpodge. The colors become a little more vibrant and smooth and water resistant. Things often get stuck on when applying or drying so be careful.

These ones down here were sealed with clear nail polish. They come out shiny if you put enough coats, but the grainy texture will still be there.

Well, there ya go! Have fun making your own keychains!

Super Lazy Undercolour Tutorial

Sun, 10 Mar 2013 18:03:22 -0700

rendigo:

highwaytohelia:

Ok i’m too lazy to Tutorial but basically this is how you get your blacks to look really nice and punchy and not grey and washed out. You need Photoshop to do this.

If you’re working in Sai, here’s what you have to do.

Take your black lineart layer, set it to Multiply and then select only the black lines. The only way I figured out how to do this is to select your whole lineart layer, then move it a line bit with the cross shaped move tool thinger and then moving it back.

Then go to Selection and Invert it so everything except the black line art is selected. Then go back to Selection and click Increment once or twice, depending on how delicate your lineart is. Make sure that the selection is now INSIDE your lineart and not touching the edges very much, if at all.

OK cool.

Now copy that and paste in on a new layer under your original black line art.

Now you gotta go to Photoshop because Sai does not have a CMYK mixer. You can save your Sai file as a photoshop file and it’ll keep your layers and everything.

Now here’s the thing about printing. You never want to exceed 260 when you add your color percentages together. Have you ever had a comic book and the ink comes off on your fingers? That’s because there’s too much ink which is caused by exceeding around 260 in your colors. Paper can only take so much ink before it gets gross.

So, it’s time to mix your undercolor.

This comes to 250. So that’s fine. You don’t have to use this exact mix, this is just what I was taught. You should experiment and see what kind of black you think looks best!

Okay, so take that new layer. Assuming you came from Sai and were working with your line art where everything else was transparent, you should be fine and can just lock the opacity. If not, you’ll need to select the black however you usually do in photoshop with the channels.

So on that DUPLICATE LINEART layer, lock the opacity and color all the black lines with this new mixed black.

Keep the original lineart at Multiply.

And that is pretty much it. I am not sure how well it shows up on a regular ink jet printer, but with a printing press (which they still use for books!) the difference is very noticable.

So yeah, if you want your blacks to be rich and nice for print, this is a good idea.

If you’re just publishing digitally though? It does not matter a single bit, this is ONLY for print.

Also if you use color hold lines, obviously, do not put the undercolors under your color hold! It will make them muddy and gross.

this looks crazy useful! thanks helia! :33

milkydayy: rebloggable by request! Any tips on digitally painting teeth? jewel-may I can try!...

Sun, 03 Mar 2013 07:30:29 -0800

milkydayy:

rebloggable by request!

Any tips on digitally painting teeth? jewel-may

I can try! okay what i usually do with teeth is basically these 5 steps

warning make sure you look at real teeth references or your own so you dont get that weird ass looking crap up there

i just did those really quick for these and theres prolly teeth there that dont even exist but ANYWAY

step 1: mouth yea

step 2: lay down a dark color for the teeth inside the mouth

step 3: make the color even darker at the corners of the mouth

step 4: paint in your teeth! remember that although teeth are “white” it is important to keep in mind your lighting, and white isn’t usually the best choice to paint them in with, make them lighter at the front and gradually darker as you approach the corners of the mouth

step 5: darken whatever else you need to darken, add gums if they’re showing, w/e etc etc

Another thing to keep in mind is when painting teeth you don’t want to go in too detailed with them, otherwise it can end up looking really creepy/ugly/bad (unless that’s the look you’re going for)

here are some teeth ive painted if that helps, notice how only one of them is really detailed because the look i was trying to go for was a more unusual/creepy kinda thing

hope this helps!!!!!!!!!!!!!!

viivus: Oh no it’s a COLOURING WALKTHROUGH The last time I did...

Fri, 22 Feb 2013 00:43:20 -0800

viivus:

Oh no it’s a COLOURING WALKTHROUGH

The last time I did one of these I felt it was inadequate because all I did was flip through the layers of a completed piece. So this time I took screenshots as I drew!

Other notes:

This is only my method for fast colouring; if I had, say, metallic objects, or fur to colour I would likely paint it with none of the shadows layer masking business, which seems to work best on objects that aren’t particularly shiny.

If you look at the timestamps, apparently I took about an hour an a half to colour this.

Smoothing out the shadows was done with a hard round brush with flow and opacity controls turned on. (it’s a default brush.)

Finished product can be found here. I hope this is helpful!

tooraloora: anndruyan: This is a summary of college only using...

Fri, 15 Feb 2013 16:47:09 -0800

tooraloora:

anndruyan:

This is a summary of college only using two pictures; expensive as hell.

That’s my Sociology “book”. In fact what it is is a piece of paper with codes written on it to allow me to access an electronic version of a book. I was told by my professor that I could not buy any other paperback version, or use another code, so I was left with no option other than buying a piece of paper for over $200. Best part about all this is my professor wrote the books; there’s something hilariously sadistic about that. So I pretty much doled out $200 for a current edition of an online textbook that is no different than an older, paperback edition of the same book for $5; yeah, I checked. My mistake for listening to my professor.

This is why we download.

Alternatives to buying overpriced textbooks

Textbooknova

Reddit

Bookboon

Textbookrevolution

GaTech Math Textbooks

Ebookee

Freebookspot

Free-ebooks

Getfreeebooks
BookFinder
Oerconsortium

Project Gutenberg

Never, EVER buy the newest edition of a book.

I PROMISE you there are cheaper alternatives, even if your professor says the old version is totally useless. 9 times out of 10, that’s completely false.

rufftoon: e1n: storyshots: Drawing from films Drawing from...

Sun, 10 Feb 2013 12:13:04 -0800

rufftoon:

e1n:

storyshots:

Drawing from films

Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.

The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.

Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.

Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.

What to look for:

Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?

Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?

Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.

Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?

Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).

Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?

This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.

Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.

Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…

Since I’ve had people asking me about storyboarding and how to learn it or what exercises to do. Emma Coats tells you all you need to know in this post.

Reblogging because it IS a very useful exercise! You can even do it as a warm up drawing exercise before you start the day. It will get your brain (and hand) in the right mindset.

hclark70: extradan: helpfulharrie: Source:...

Thu, 07 Feb 2013 22:00:06 -0800

hclark70:

extradan:

helpfulharrie:

Source: The13thBlackCat

excellent!!

this - especially for draenai

Nedroid Fun Times: Photoshop Tips! Isolating Lineart

Thu, 07 Feb 2013 04:57:44 -0800

Nedroid Fun Times: Photoshop Tips! Isolating Lineart:

nedroidcomics:

Hello! Here is a short tip detailing a technique to put scanned lineart on its own layer in Photoshop. As with most things in Photoshop, there are various ways to do this, but this is just one.

Start off with your lineart! This can be something you’ve scanned, or something you’ve simply drawn…

404-fucknotfound: Read More

Sun, 03 Feb 2013 21:53:58 -0800

404-fucknotfound:

Read More

Listen up, accent lovers!

Sun, 03 Feb 2013 12:52:37 -0800

Listen up, accent lovers!:

crab-cakes:

highfunctioningsparkleaddict:

allison-argented:

This site gives you the wonderful opportunity to listen to and learn about every accent in the English language. Whether it’s a British, American or foreign accent you’re looking for, you’ll find it on this site!

this is basically the coolest thing ever.

this…is super cool…

kecky: fictograph: Someone asked me to make this answer...

Wed, 23 Jan 2013 16:57:42 -0800

kecky:

fictograph:

Someone asked me to make this answer re-bloggable, so I deleted the other one and here we go!

Asker (waitiknow):

hi! I was just wondering if i could get your look on this. if I want to be a concept or production artist, should I aim to go into Illustration, Animation, or Computer Animation? I’ve been looking around and initially thought I’d just aim for Computer Animation, but I’m getting worried there seems to be a bit of a lack of design focus in comparison to regular Animation,and it seems like a lot of graduates from the program have moved on to doing 3D modelling etc(sorta lookin at CCA and Ringling?)

Me (fictograph):

Terms are confusing, huh? There are two sides to the entertainment world:

pre-production designs the look and generates the animatic. little, if any, of their work is seen in the final film/show.

post-production creates the product. Their work is the final show.

The university majors you’ve listed prepare students in differing amounts for either side of production. Note, that in the United States, there are more jobs in 3D post-production than in pre-production or 2d post-production.

Illustration is about taking a concept and presenting it in a 2D format, meaning it’s a good foundation for pre-production concept design. You will learn how to make a beautiful, message-conveying piece but might struggle to finish images quickly. You won’t learn how to animate and thus will struggle in post-production. There aren’t many illustration jobs available to new talent.

2D/Traditional Animation (I’m assuming this is what you mean by “Animation”) teaches you how to do 2D post-production animation. Therefore, you will learn how to draw series of pictures that simulate movement as well as storyboarding and composition. Your teachers will be more concerned with movement and sketching rather than finished imagery. Note, 2D animation jobs outside the mobile gaming industry may ask you to move outside the US.

Computer Animation teaches students how to use tools in 3D post-production. There are many areas you can specialize in to fit into the 3D pipeline. However, there is less emphasis on drawing and design. Many Computer Animation students don’t draw at all. These jobs are the most plentiful within the US since it takes more folks to make a movie than to design it.

If you are interested in character design and storyboarding for animated films and television shows, I would recommend studying “2D/Traditional Animation.” This will give you a strong drawing foundation in a style suited to animation, and it will also give you a firm foundation on shot design and composition. Since it bridges aspects in both pre- and post-production, you will have more job opportunities.

Friend (blindsprings):

I also recommend this! You can learn 3d programs on your own, or through shorter classes, but if you can get classically trained it’s ALWAYS a plus! Remember, there are far fewer jobs in preproduction than in production, so think wisely!

Some really good info from somebody working in the industry!!! :D