tag:blogger.com,1999:blog-27501132.post9144265824170049589..comments2024-03-24T16:25:05.751-04:00Comments on Mayerson on Animation: Exaggerate the EssentialsMark Mayersonhttp://www.blogger.com/profile/00065971589878678848noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-27501132.post-851988927444173742014-10-29T18:20:23.513-04:002014-10-29T18:20:23.513-04:00Your students have probably been watching a lot of...Your students have probably been watching a lot of the workflow videos animators from Dreamworks and Blue Sky have posted on Vimeo. I took an iAnimate class with a senior animator at Dreamworks who studied at Gobelins, and he said that despite Gobelin's training being impeccable, he really didn't understand nuanced body mechanics until he did more live action reference at work. After doing shots with live-action as ref for a year in a production, the body mechanics and way people actually move become second nature and you can begin experimenting. It's like drawing from life before starting to exaggerate or cartoon. It also reduces the reliance on aniamtion formulas. And with live action you can try a bunch of things and have a basis from where to exaggerate. <br /><br /><br />Ccsnoreply@blogger.comtag:blogger.com,1999:blog-27501132.post-75393089944578820742014-10-16T22:06:48.348-04:002014-10-16T22:06:48.348-04:00Great post. Another thing in the life drawing cla...Great post. Another thing in the life drawing classes I teach: NO HEADPHONES; they're complete distractions, and lead to lazy habits and poor drawing skills. The room is dead quiet. Concentration is key. And no shading, at least not until the second half of the year. Describing the form with line alone forces one to pay attention more. Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27501132.post-39272375584711018832014-10-14T11:51:04.220-04:002014-10-14T11:51:04.220-04:00Just would like to add the works of French caricat...Just would like to add the works of French caricaturists Ricord, Morchoisne and Mulatier as great influences when I was in school. <br /><br /> https://www.google.ca/search?q=Ricord+Morchoisne+Mulatier&client=firefox-a&hs=PSl&rls=org.mozilla:en-US:official&channel=nts&tbm=isch&tbo=u&source=univ&sa=X&ei=DUU9VIXGMJKfyASJv4HoBg&ved=0CCYQsAQ&biw=1582&bih=769#rls=org.mozilla:en-US:official&channel=nts&tbm=isch&q=Ricord+Morchoisne+MulatierJPilothttps://www.blogger.com/profile/07948005987931788144noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-9023888177870515452014-10-14T01:15:23.135-04:002014-10-14T01:15:23.135-04:00I'm finding the same thing in teaching Charact...I'm finding the same thing in teaching Character Design. I'm really tired of seeing characters that slavishly adhere to photorealism without any sense of caricature or visual stylization. As instructors, one can only lead the horse to water, though... (sigh)Pete Emsliehttps://www.blogger.com/profile/01451607722482352366noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-21380434194693539562014-10-13T11:26:10.462-04:002014-10-13T11:26:10.462-04:00Fantastic post. Carefully using live-action refere...Fantastic post. Carefully using live-action reference is a great way for a student to kick-start and augment of how the body moves and what kind of timing works, but it can quickly go from a very useful aid and rough guide to a debilitating crutch.<br /><br />In particular, using it slavishly for acting choices means your animated characters will never do anything more interesting than you can do as an actor.Kevin Kochhttps://www.blogger.com/profile/03106628232118096961noreply@blogger.com