lukethreepwood:

themarysue:

jillthompson:

arcaneimages:

Millicent Patrick - The Creatures mother. 

And people say I’M dressed up when I wear a skirt and heels at my drawing table…Yay all around!

Disney animator Millicent Patrick’s work as sole designer of the Creature From the Black Lagoon was downplayed by a male coworker who then received credit for it for half a century. 

Literally my most favorite classic monster/design  of all time, and it was made by this bad-ass lady.

(via upperstories)

One of our creative directors actually applauded my animation today. I uploaded it for review and a few minutes later, she yelled “EMILY!” From across the hall. I peeked over my cubical wall toward her office and she started clapping. “I love it!”

This animation’s style has an ancient cave art feel to it. Hopefully since both of our creative directors seem to really dig it, I’ll get to do more like it in the future on other projects.

And I finished it in exactly the time I’d estimated for it. On budget. Ahyeeaah

*Adding “vehicles” to the never-ending-mental-list of things I wish I could draw better*

crudecuttlefish:

“Missing Texture Vision”

Everyone at one time or another has encountered this pink and black checked yet terrifying missing texture error induced horror.

Poster by: CrudeCuttlefish

This just happened to me today. Oh and some prop models disappeared as well, good times. I’m amused by how SFM replaces lost models with huge flashing 3D letters that say ERROR. Well, I’m amused for a moment because it looks weird, then I’m annoyed because I have to figure out WHY the heck those models are missing.

whereigeek:

upperstories:

Good Books - Metamorphosis

by Buck

Hot. Damn.

Wow

So interesting! I would love to know exactly how they did this. I’m sure it’s a combination of effects. I would love to make stuff like this!

A thing I drew. They’re chit-chattin’ about Russian stuff, I assume.

SUPER SERIOUS ARTSY PHONEI’m a director now. (ha ha)

One day, my friends and I drove out to this surreal-looking field with a broken old phone and a camera, and made a masterpiece (sarcastic laugh). It was my idea, so I “directed” and later had fun editing it and adding some over-the-top fine-artsy effects to complete the mood.

I later learned that there is a 2 minute film contest at the Fargo Film Festival. The only requirement was that the film be under 2 minutes. I’d never intended the thing we made to be submitted to a freaking film festival. But my friends were all like, “DO IT!” So I did. And to our surprise, it was accepted. A few weeks later, our “film” played on a legit giant freaking theater screen at a legit film festival. Now that the Fargo Film Fest is over, I have made our “film” available for public viewing.

I didn’t know how other people would take it, but the audience at the film festival gave the punchline a good laugh, which made my day.

smalllindsay:

thedavidoreilly:

This is a simple motion-diagram thing I made when talking about animation to non-animators.

This is an awesome visual explanation of the technical principles of timing, ease, and settle in animation! We get asked about this a lot, and this here is an excellent tool to showcase how these apply to making realistic and believable movement. Wonder why flash tweeny animation often looks off and weird? it’s because it’s spaced out like the top one. Vary up your frames, yo!

thedavidoreilly:

Not sure if this is interesting for you guys. 

Around 6 years ago (gasp) I did a bunch of lectures on animation theory. One subject was how textures of movement have evolved over the years, alongside the more obvious progression of design.

I made these videos to illustrate more clearly how contrast in timing was something that has a clear progression from the 30s to the 90s. The timechart below each clip represents relative change in space between drawings - from the ultra linear early animation - to the soft bouncing of Classic era Disney - to the exaggerated Warner Bros style - brought to it’s peak by John K (in my opinion). 

Sorry about the quality on these gifs. I’ll post more stuff like this if theres any interest.

Very interested! please do!

(via harpollo)

Re-learned once again today that yes, you must counter-animate the biped simple FK rig on ones. No, you can’t be lazy and just guide the arc with a few more breakdowns and hope that will patch the wiggles.

On ones. Every time. Every limb that’s contacting anything in FK mode. I keep thinking I can cheat at counter-animating in FK, and the biped simple rig keeps reminding me that’s a silly thing to hope for.

—-unless I’m just doing this wrong…Most of my experience is in IK, I may just not have a good working method for FK yet—

If any CG animator out there knows what I’m talking about, and knows of a more efficient way to counter animate in FK besides keying through every arc on ones, making marks on my monitor and correcting every stray key, please give me your advice?

The pipeline has a hole in it, so it’s R&D day! I’m finishing something and can’t start the next something because the voice talent isn’t scheduled to come in and record for a few days. So in the meantime, I’m doing R&D, which translates to, getting to experiment with different styles and techniques, which also translates to, getting to basically make whatever I think is cool for a day! And if I make something they like, we get to do a piece in that style in the future.  LET THE ANIMATION SCIENCE BEGIN!

This scene has been giving me trouble. The last two days I felt like it was me vs. animation, and I was losing. But today I fixed it all. Today, I WON.

Yessssssssssssssssss

Animating definitely has it’s emotional ups and downs haha.