Monthly Archives: May 2012

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How to Draw the Human Face

1. Begin by drawing a circle. This will create the basic shape of the head “refer to slide 1″

2.Draw an upside down triangle from the square keeping the triangle relatively equally proportionate to the head. “refer to slide 2″.

3.Draw in half oval shapes on each side of the circle and triangle. These will make the basis of the ears. be sure to be aware of the placement of each ear as the ears are usually planted between the circle and the trinagle. “refer to slide 3″

4.Draw an intersecting diagonal and horizontal line across the face. This will create the placement for the eyes mouth and nose “refer to slide 4″

5. keeping your placement even you can now draw in the shape markers for your eyes nose and mouth. “refer to slide 5″

6. Now you will begin drawing in your detail on the face. The most important part is to get your key markers and then you can go crazy with it. “refer to slides 6-8″

Podcast:

Research Post 3: The future of animation

The animation industry has been in a battle between the old versus the new (Carlson, 2003).In recent years we have seen the evolving state of animation features as CG has taken over the market for animated films. Even today, we are starting to see the effects of new technologies and how they are bringing animation closer and closer to the real world with movies now flawlessly combining 3-d animation with live-action film.

technological industries on the rise

In recent years, we have seen a huge amount of growth in the animation industry, particularly in technology. With the release of ground-breaking technology such as the “i-phone” and android, we have seen the animation industry take flight into new avenues of business such as apps (Weinberg, 2012). Digital media has become the leading new industry as the world has transcended into the age of information(Cashmore). In the last few years, Texas has become one of the leading states of the video game industry (Strassman, 2011) . It seems that animation is  now becoming an integrated part of our lives as it leaks into multi-media industries that have become part of everyday life.

Animation Industries Unknown

On the surface we think of Pixar films and the latest video games on the market when animation comes to mind, However there is an underlying animation industry that many do not know about. Now-a-days, animation is practically used in everything. Medical animator’s use the technology to illustrate functions of the human body which has effectively helped prospective doctors and workers in the medical field understand the functions of the human body(“animated biomedical productions,” ).  Legal Animator’s use animation in forensic science which helps forensic scientists solve crimes (Naillon). Animation has extended into a slew of fields which prospective future animator’s should take into consideration.

 

Resources

Carlson, J. (2003, February 10). http://jeffcarlson.typepad.com/thought/2003/02/the_future_of_a.html.

Weinberg, J. (2012, April 26). http://uk.news.yahoo.com/appys-2012–angry-birds-rule-the-roost-in-rapidly-growing-industry.html.

Strassman, M. (2011, June 23). http://www.cbsnews.com/2100-18563_162-20073815.html.

Cashmore, P. (n.d.). http://mashable.com/2011/10/11/digital-media-future/.

animated biomedical productions. (n.d.). Retrieved from http://www.medical-animations.com/

Naillon, B. (n.d.). http://www.ehow.com/about_6127575_forensic-computer-animation.html.

 

 

Interview with Stephan Martiniere Part:2

I had the pleasure of interview Mr. Stephan Martiniere who is a world famous digital and book cover artist. In this interview we discussed some of Stephan’s own personal experiences in the animation industry as well as some of his techniques. Stephan’s art work can be viewed on his website.

Interview Pt:2

A: So you have a very unique style, but in the past did you have any issues with style, or do you have any issues now?

B: It was a blessing and a curse at the same time depending on which part of the industry I was getting involved. When I started animation for TV, I was already very comfortable with drawing cartoons as well as drawing very realistically. I was really interested in story-boarding which eventually lead me to become a director. That part of the industry was a blessing because I had a choice to work on many different projects based on my versatility in style. It became a curse in that all these years in animation I was primarily drawing, mainly in pencil or marker; I was rarely painting and when I did my color works were done mainly in colored ink, consequently, it took me a lot longer to establish a painting style that was my own. TV Animation is an industry in which you have to adapt as an artist to a product, and if you’re a good artist, you can shift your style to whatever needs to be done. It took me a long time to learn how to express myself as an artist. When Photoshop happened, it gave me an opportunity to create something that was truly mine.

A: .conceptualizing; it’s all something that we do but many artists have a hard time getting their ideas on paper. can you talk to us a bit about your process, and how you go about working on a project and how you get from beginning to end.

B: Well the process is different based on what you’re working on. When I’m working on a movie, I read the script and then I work closely with the production designer or the director. It’s a collaborative process where you bring your talent and vision to help realize their visions. At the beginning there is a lot of blue sky process where you flesh out the big ideas, the mood, feel and look of the environments, then, the process becomes more granular and you can end up working on a variety of things such as characters, costumes, props or vehicles. Every needed piece of the film is important. When I do book covers, it’s a very different approach. A book cover is first about selling a book with one image. The cover becomes a tool to grab the consumer’s attention and convince them to buy that book. Artistically, it’s a very personal process because book covers don’t require you to be at the service of a big story, so it’s more about who you are as an artists and the style that you have. Book covers in some ways are very rewarding artistically because you have much more freedom to explore your own creativity, take risks and explore new approaches and techniques;  you don’t have that much freedom when working in film.

A: Advice, People that

B: DON’T DO IT!!! I want No competition!!

A: laughs

 B: I am joking of course, but seriously, if it’s what you want to do, you first need to acquire the basics and foundations. You have to practice all the time as it takes years to develop artistic skills. It’s also about how you think about ideas and bring them to life. Research is also very important and knowing what’s out there can make a big difference. It’s also important to know the players and the competition. 10 or 15 years ago, when I started, there was no internet and it was extremely difficult to get into contact with anyone.  You may have known who Walt Disney was but how did you go about getting in contact with anyone that worked for him? I encourage young people to take full advantage of the technology and learn as much about who’s working in the industry as well as how to work.

 

 

 

Interview with Stephan Martiniere Part:1

I had the pleasure of interview Mr. Stephan Martiniere who is a world famous digital and book cover artist. In this interview we discussed some of Stephan’s own personal experiences in the animation industry as well as some of his techniques. Stephan’s art work can be viewed on his website.

Interview pt. 1

A: I understand that you have a particular focus in science fiction and fantasy art. What motivated you to tackle such a technical genre, and what gives you inspiration.

B: The context in which I grew up motivated me the most. I grew up in an environment in which I was constantly surrounded by comics and I was constantly reading comics. I was interested in everything that was fantasy and spaceships and monsters. There was nothing that particularly lead me to the genre, it was just a preference.

A: So your work typically goes one way or another, you fantasy tends to be very fluid and organic, and then you contrast that with a lot of your science fiction which tends to be very technical. Is there a reason that you go to each extreme for that or is it that over the years that’s just how it came out.

B: When I do science fiction that involves something very technical, the way I use Photoshop seems to be more relevant in terms of using it more as a photo manipulation tool. I also use a technique that I developed over the years which is a subtractive technique. I create a very pure straight erasing tool to make very precise straight lines. Because the art is very technical in nature it tends to make more sense to use these techniques. When it’s Fantasy, It involves things that are more organic such as characters, vegetation, and clouds. These things are more curvy and whimsical in nature. The painterly approach seems to be the better approach in conveying the softness and roundness of these things.

A: Take us back to the beginning of your career and talk to me about your experiences when you first got into the industry, and were there any hurdles or surprises that you encountered when you first started working in animation.

B: Before I started school, I wanted to be a comic book artist. Being surrounded by comics it seems to be the logical choice. I didn’t think very far into the multitude and subtlety of careers that you could choose as an artist. I didn’t even know that you could be an animator, and I was watching cartoons all the time. My world was really comic books. My views changed when at age fifteen I got accepted at “Duperre”, a famous art school in Paris. In addition to the classic disciplines such as anatomy, perspective, drawing, painting and sculpture, the 4 years program was broad enough to allow me to discover and practice a variety of disciplines such as photography, architecture, advertising and a banquet of other exciting  artistic courses. After completing the program I was unclear about what to do next. I applied to another school to become an art teacher; I was even accepted to the prestigious art school ‘Les Beaux Arts” but comic book still being close to my heart, I choose the closest thing to it and went to the animation school “les Gobelins” for a two year program. At the end of the first year, I was hired to work on an animation production for inspector gadget in Japan. It was a summer job and I was only to be there for 1 month, but eventually 1 month became 2, and then 3, and then they offered to hire me full-time. Suddenly, finishing the animation program became unnecessary This was a career move. I accepted the offer still thinking to myself I would eventually go back to comics; it never happened, and that was the beginning of my career.