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Result in thread: Animation help
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1st May 2013, 11:11 PM #81
Kupocake

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On the topic of other methods to animate, you could just get a light table and one of these round pegbars, tape it down onto your light table, use a hole puncher on printer paper, and animate the traditional way like animators have done for the last 80 years or so.*

That's honestly a lot cheaper and less frustrating than Flash. And this method forces you to really learn the animation principles because you won't have the benefit of motion tweens and the like.

*Most traditional animators use an ACME peg bar and not a round peg bar, but an ACME hole puncher is expensive as hell so round peg bars are definitely more accessible.
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Result in thread: Animation help
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30th Apr 2013, 6:05 PM #82
Kupocake

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killersteak:
Kupocake:It's not designed for animating at all. Flash is probably a better choice.


The way Flash is going I'd say it's not designed for animating any more either.


Lots of programs used by the animation industry should not be used anymore because of lack of updates/changes in program interface, but it's still used anyway. Flash is one of them. ToonBoom Harmony is another for traditional/2D animation. And why on earth any studio would use 3DSMax for animating is mindboggling.

There's still good ol' Macromedia Flash 8 which crashes like mad, but at least that one is designed with animation more-or-less in mind.
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Result in thread: Animation help
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29th Apr 2013, 5:05 PM #83
Kupocake

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I know how that feels. I've studied animation for the last 4 years, got hired to animate sometimes, but I still don't know much about animation. It's a ridiculously tough subject and there's a reason why some animators spend 20+ years on the same film (see: The Thief and the Cobbler).

Here's what I recommend if you really want to pursue animating skills. Buy this book or this one. The first one is by the director of Who Framed Roger Rabbit, the other one is by the director of Pocahontas and animator for a bunch of Disney films. Even if straight up toony stuff isn't your style, these two books really dissect animation and make it easier to understand. Try animating something simple like bouncing balls before you move on to animating characters (it's a lot easier to animate a ball than it is to animate a fully articulated human being).

Do some simple exercises after you do some bouncing balls. Just like you need to practice sketching to get better at drawing, you need to animate to get better at animating. The flour sack exercise is one of the most well known and easiest to get into. Then try doing things like character walk cycles or run cycles. Or come up with really simple scenes like your character opening a door. Save dialogue scenes for later, those can be one of the toughest to learn.

Also make sure to animate really roughly. When you first start off, your characters should not be very detailed (general shape for the face and body, don't draw in things like hair or clothes). Once you can get a basic body moving, then you can put clothes and hair on and tie it down.

Hope this all helps. Animation is a beast. But don't get discouraged, you aren't alone in feeling that you can't animate what you want out of your head. It takes time and a lot of practice. Most of all, have fun. Animating is really one of the most exciting mediums out there.
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Result in thread: Animation help
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29th Apr 2013, 4:46 PM #84
Kupocake

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Photoshop is a pretty awful animating program, honestly. It's not designed for animating at all. Flash is probably a better choice. The other one I recommend is Pencil, which is a free animating program.

Also, I recommend you to not trace when you're drawing over the next frame. Start off each scene with thumbnail sketches of the general action of what you want to do on another piece of paper. Then work on your scene based on your thumbnail sketches. Tracing is the easiest way to make your animation look stiff and lifeless. Instead, try drawing the first frame/drawing, and then draw the last frame after that so you can get a much broader action. Then, draw the frames in between. This is a really simplified/beginner's guide on how to animate, but that's generally how it's done.

I also recommend working in 24 frames per second (24 FPS), while working on 2s or 4s (this means 12 drawings every second, or 6 drawings every second).

My advice is kind of all over the place and unspecific, but "how do I animate well" is an incredibly broad question and hard to actually answer. Animating is a skill that takes time to learn, just like comics or drawing. People have dedicated their lifetimes in pursuit of how to animate well.
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Result in thread: Animation help
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29th Apr 2013, 4:17 PM #85
Kupocake

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What kind of program are you using, and can you name any specific animated pieces that you want your animation to look or feel like (online Flash cartoons, short films, full-length movies, etc.)?

It's really hard to give any tips without knowing the animation style you want. Because advice for limited animation done on Flash is going to be a lot different than full animation done with paper and pencil.

But there is one universal truth for animation: it's going to take a hell of a lot of time.
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29th Apr 2013, 12:14 AM #86
Kupocake

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I'm typing this from my phone so bear with me.

- The banner that CF has a specific upload slot for does NOT have to be the same as the banner for your site. Delete that piece of code and put in your own image.

- Color is a bit difficult to explain. Additionally, color can be a very personal preference kind of thing. I personally am not a fan of very saturated pieces, but some people like that. Also, since you are working with Mario as your main inspiration, you can feel free to disagree with me. But here's my explanation anyway.

There are 3 components to color - value, hue, and saturation. Value is how light or dark something is. A night sky has a darker value than a noontime sky. Hue is what most people call color (the brown dog, the red chair, etc.). And then there's saturation, which is how intense a color is. Sunsets tend to be a very saturated orange, for example. Combine these three together and you got the full spectrum of color, and what people consider a good palette is a combination of colors with varying amounts of value, hue, and saturation.

The problem with Wanderers is that your color palette uses a lot of many hued colors that are all very light valued AND very saturated. The hues are reminiscent of Mario colors, but the Mario games mix things up by only having a few saturated things, like the character sprites, and then lowering the saturation and value on the background to make the characters pop out. And even then, they don't use super intense colors, the saturation is only mid-high intense. This is why your 3rd page's blue works better than your 1st's. It's not as saturated, not as light valued.

Color is one of those things that's hard to be a natural at. Look at your favorite color comics, games, and art with a critical eye, practice coloring, and you'll get the hang of it.

Hope it helps. I'm now officially tired of tapping at my phone. @_@

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28th Apr 2013, 9:44 PM #87
Kupocake

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MediocreMind:Awh, this got mean before I could do it.

It's too bad too, lot of potential in a thread like this as long as certain principles of basic common courtesy were followed. Use the Random tab to find five comics you might not have otherwise noticed and talk about the first couple of pages.

Mind you, I would have expected people to stay away from actually criticizing (seeing as it's not asked for), but just mentioning a short little blurb about what the comic is like could have helped spread around new stuff for us all to read.

Bummer.


Perhaps we should make a new thread then? "Great Random Selection Webcomics" or something along those lines. Because I do like browsing through the random selection tab (I wouldn't have suggested it if I didn't) but this thread has turned into a sour note because of the critique. Good webcomics should be spread, but bad ones... best to keep the criticisms to yourself, unless asked for it.
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28th Apr 2013, 8:26 PM #88
Kupocake

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Here's my initial impressions on looking at your comic.

- Really unattractive website layout. It's a default template, but it makes your webcomic feel cheap. Your banner is also really hard to read because of the very saturated rainbow lettering (yeah I'm aware that's a Mario thing. Still hard to read, still unattractive).

- Color choices for the comic makes it hard to look at. The sky looks like that default turquoise color in the color palette of MSPaint, which is an intensely saturated color that hurts people's eyes and once again, makes your comic look cheap. Your colors get better on the latest page somewhat, but the characters are still really saturated.

- Text size is too small. This is even worse in the later pages. When you make comic pages, I understand that you're probably going to make the page much bigger than it actually is, then shrink it, then put it online. It's important to check back and forth between what your upload size will be and your regular working size. I have to get really close to my monitor to read the text on the latest page. And if you're making your reader do that, they're less inclined to read anyway.

I didn't want to comment on the story/jokes or the art because that would be another critique post in itself, not to mention that I'm not big on Mario fancomics so it would be unfair for me to critique. Anyway, hope that helps.
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28th Apr 2013, 5:05 PM #89
Kupocake

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If you truly wanted to play the random game with ComicFury, hit the Random Selection tab and read the third one suggested. It's like playing Russian Roulette with comics. :V

Anyway, thanks for exposing Second Valkyrie. It's a great looking comic, even if I also dislike unnecessary fantasy intros.
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Result in thread: When thumbnailing
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27th Apr 2013, 8:46 PM #90
Kupocake

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CateranLlama:

And may I say you have depressingly tidy thumbnails Kupo. /cry Mine would take a pretty serious translation effort to make them generally comprehensible. And I fold mine a lot so I can put them in my pockets and whip them out to scribble in the dead times at work.


I always thought of my thumbnails as pretty messy! I do find it interesting that a number of people do the thumbnails alongside the script/dialogue notes. I work from script (in screenplay format) to thumbnails, so I don't actually start on any drawing whatsoever until I have the writing and story figured out. After writing, I look at my script critically from a storyboard artist's or a director's standpoint, and frame the scenes I see into panels. Then I arrange them into a pleasing page composition.
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Result in thread: When thumbnailing
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27th Apr 2013, 6:18 PM #91
Kupocake

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Here's the complete thumbnails for chapter 1 of Cans of Beans. I usually aim to do all my thumbnails before I even start on the chapter, or at least some 10 pages ahead of my current page.

[spoiler]
Image: http://i.imgur.com/B7dkAsZ.png
[/spoiler]

Time-wise, I try to limit how much I spend on each page-thumbnail to no more than a few minutes. But I do a ton of reiterations trying to figure out which one is best. This is where you should be spending the most thought on (not necessarily the most time), because this dictates the general page flow, the page composition, panel composition, and story beats. On certain areas, I do put in a quick value study, especially if it's relevant to the story.

So, time-wise? Enough. Effort? A lot.
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Result in thread: Epic Desktop thread
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24th Apr 2013, 3:52 PM #92
Kupocake

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My life part 1:
Image: http://i.imgur.com/r6KOq1hl.png

Otherwise known as Adobe Premiere madness for all the animated scenes my partner and I are doing with all the sound files and other nonsense.

My life part 2:
Image: http://i.imgur.com/LsifNucl.jpg

Otherwise known as iCal with every freaking event, planned work hours, and detail planned on for every day of my life and Skype, because I need to talk to people. Also, Anxiety List on the top-right corner telling me what I need to do by the end of every day.

My life part 3:
Image: http://i.imgur.com/CBKQ9SFl.jpg

Otherwise known as my Desktop. The artist is Kaneoya Sachiko because I have a thing for guys with upper lip hair, clearly.
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Result in thread: Advice on colors!
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24th Apr 2013, 6:40 AM #93
Kupocake

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I like B better. A hurts my eyes with its saturation, especially on the skintone with red combo. But if your intention is to make a very saturated comic, then go with A.
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24th Apr 2013, 3:46 AM #94
Kupocake

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snarkington:
Kupocake:You mean something like this
[spoiler]Image
HEE HEE HEE[/spoiler]


......
......
......kohai

I noticed you


S-Sempai, I-I.... BAKA! KYAAAAAA!
-runs away with glassy tears as sakura blossoms fall-
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24th Apr 2013, 3:37 AM #95
Kupocake

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snarkington:
I DON'T KNOW HOW TO GET SEMPAI TO NOTICE ME *SOB*
oh wait you mean you, okay well you should draw them something really sexy and then accidentally show it to them like

oh whoops

*trips*

my sexy drawings

I hope sempai didn't see

(I hope sempai sees)
(I want sempai to know how hot my graphite is)


You mean something like this
[spoiler]
Image: http://i.imgur.com/9g3oiKzl.jpg

HEE HEE HEE[/spoiler]
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24th Apr 2013, 3:11 AM #96
Kupocake

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Snark, how do I get sempai to notice me??
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22nd Apr 2013, 8:23 PM #97
Kupocake

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In the 4th grade, I was drawing a really silly Pokemon comic in my notebook. It wasn't anything big, but the main character was a Jigglypuff and had an older brother that was a Wigglytuff and was friends with a Diglett because that was about all I could draw. But, I guess drawing Pokemon comics was not a good idea when the teacher was lecturing about beavers, because she snatched the notebook off my desk and RIPPED it apart while screaming at me. Then she went back to teaching.

That was the day I swore to avenge my fallen doodles.
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Result in thread: The Movie of the Book?
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19th Apr 2013, 2:18 AM #98
Kupocake

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Books and movies are two very different storytelling mediums, to be quite frank. They both have their pros and cons, and when one transitions into the other, a lot of the effect is lost because they are two different mediums.

In books, you get the advantage of being able to explore the inside of a character's head without feeling contrived as well as the ability to read at your OWN pace, which allows you to be able to soak in the world you're reading. In movies, you only get to see a character thinking without knowing their thoughts, and under a certain time limit which may not give you enough to fully understand the world, the characters, or the gravity of situations.

So when people say something like, "the book did it better," it's because the writer usually wrote with the understanding that readers get to better understand what's going on in the characters' minds, as well as fully appreciate every little detail. When transitioned into movies, these effects are somewhat lost which makes things difficult for the screenwriter. It's why in Interview with a Vampire, you understand why Louis suffers the way he does in the book, but in the movie he just appears whiny and emotional.
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Result in thread: STYLE SWAPPING
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18th Apr 2013, 8:16 PM #99
Kupocake

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quetzlsacatanango:You have inspired me, so here is Dude Brosmith from Cans of Beans in 90s Rob Liefeld style.
Liefeldian tropes helpfully enumerated for those unfamiliar with EXTREME AWESOMENESS.

Image

No shoulder pads, that would just be piling on.


OH SWEET JESUS.
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18th Apr 2013, 3:39 AM #100
Kupocake

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I have only this webcomic strip to answer your question.
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