If your curious about cels I've done some fairly basic practice and have talked to one of my lecturers about animating on cel and learned a small few things that might be useful, such as house paint being a good substitute for cel paint
Dylan! Thank you for your kind words, and for reading! I'm always open to and curious about processes, feel free to share any time if it strikes you as timely, or if you have a general suggestion :) I'm not working with cels yet but rooting around. I'll note that I can hit you up for questions too, in the future!
Love your 'Elizabeth' animation! Really interesting to see the development of your set-up and the thinking behind it. And it's so interesting to see how an animator's individual priorities and preferences in their set-up effect the end result and its 'style'. Thanks so much for the shout-out too! :) Great post!
Ooh thank you so much Edwin! Do you have artists top of mind when you speak of priorities/preferences in their set-up markedly/apparently affecting their style? Visual, otherwise?
I guess its the way this happens with every single (independent) animator that is interesting, no-one has exactly the same set-up, often for reasons to do with how they like to work as much as the result they are after. Your post was so interesting to see how a set-up can develop because I suppose mostly we don't see or know how a lot of independent animators actually work as its not documented much. But for interesting and kind of next-level 'down shooter' set ups I think Clive Walley's was in another league - ending up with a totally unique and mindbending multiplane rig that won an Invention in Industry Award by the National Eisteddfod of Wales! (and now resides happily at the Royal College of Art where its still being used by students). Some info and pics of how his rig changed over time here https://www.edgeofframe.co.uk/clive-walley/
I'm fascinated! I feel often like my ignorance about animation and its technical aspects ironically helps me a lot. In that I think I start from first principles much more instead of a baseline that was customized/optimized for another artist, another concept. Looking up Clive Walley and the EOF post now...
Yeah I'm with you on that for sure, figuring out your own technical solutions can really benefit your work and make it 'your own' - especially when using software and digital tools, which can tend to flatten out and homogenise. Ignorance and mistakes are my bread and butter!
I love all the hacks and improv and repurposing of household objects as setup rigs :)
🥰🫶🙏
If your curious about cels I've done some fairly basic practice and have talked to one of my lecturers about animating on cel and learned a small few things that might be useful, such as house paint being a good substitute for cel paint
Also I forgot to say its fascinating getting to read about your process and how you work. Thank you so much for sharing it and I wish you the best
Dylan! Thank you for your kind words, and for reading! I'm always open to and curious about processes, feel free to share any time if it strikes you as timely, or if you have a general suggestion :) I'm not working with cels yet but rooting around. I'll note that I can hit you up for questions too, in the future!
Love your 'Elizabeth' animation! Really interesting to see the development of your set-up and the thinking behind it. And it's so interesting to see how an animator's individual priorities and preferences in their set-up effect the end result and its 'style'. Thanks so much for the shout-out too! :) Great post!
Ooh thank you so much Edwin! Do you have artists top of mind when you speak of priorities/preferences in their set-up markedly/apparently affecting their style? Visual, otherwise?
I guess its the way this happens with every single (independent) animator that is interesting, no-one has exactly the same set-up, often for reasons to do with how they like to work as much as the result they are after. Your post was so interesting to see how a set-up can develop because I suppose mostly we don't see or know how a lot of independent animators actually work as its not documented much. But for interesting and kind of next-level 'down shooter' set ups I think Clive Walley's was in another league - ending up with a totally unique and mindbending multiplane rig that won an Invention in Industry Award by the National Eisteddfod of Wales! (and now resides happily at the Royal College of Art where its still being used by students). Some info and pics of how his rig changed over time here https://www.edgeofframe.co.uk/clive-walley/
I'm fascinated! I feel often like my ignorance about animation and its technical aspects ironically helps me a lot. In that I think I start from first principles much more instead of a baseline that was customized/optimized for another artist, another concept. Looking up Clive Walley and the EOF post now...
Yeah I'm with you on that for sure, figuring out your own technical solutions can really benefit your work and make it 'your own' - especially when using software and digital tools, which can tend to flatten out and homogenise. Ignorance and mistakes are my bread and butter!
Just watched “Elizabeth” three times ❤️ it’s fascinating getting a peek
at your process & world.
What an unexpected pleasure and honor! My literary friends being curious about my visual work :D Thanks so much for reading, dearest Jen.