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Thursday, September 19, 2024

Poppy Update

 


Decided Poppy looked a little too much like Mickey Mouse, so I decided to update her model a bit to resemble more of a jerboa. Still not totally sure what her deal is, and I've been trying, and not really succeeding, to design similar doodle-critter-characters to have her interact with. I have a vague idea she could be a "Litlin", one of several species of diminuitive demihumans who live in a world where "giants" (normal people) once ruled the Earth, but had mysteriously vanished years ago, leaving Litlins to navigate a suddenly vast and empty world. Or maybe she's a human-sized knight errant. Or maybe just a farmer caught up in shenanigans. Who knows? Likely, if I don't come up with something specific for her soon, she'll join the massive pile of other characters I came up with for something, then never followed through.

Update: More Poppys




Saturday, September 14, 2024

Poppy

 

Attempting to design some simplistic toons for more animating. So here's a new adventurer demihuman girl. No idea what's up with her yet. We shall see as her escapades unfold!



(first version)

(slight FPS edit)

And here's a little animation of her! Putting up two versions, as I can't decide which speed works best for the final moment of the clip. Meant to do something longer, but I got distracted by other things. Definitely need a lot of work on model consistency, but some of that is me rushin' to get some proof of concept done today. Not sold on her color pallet yet, or general design, but maybe I can tweak it more.

I find myself already hitting hard technical limitations on Fresco; pathing is way less useful than I thought it might be for little background elements, and moreover, there's a hard FPS cap; I wanted to have the clouds slowly and consistently move across the sky, but they kept going too fast and I couldn't line up the loop consistently. Looping the ground was also a tremendous pain to line up properly and still couldn't help but get glitched.

Fresco and Procreate are good for cute little looping gifs, but I think I'm going to have to upgrade to Krita or Blender sooner rather than later. Assuming my interest actually stick around longer than another week.

Wednesday, September 11, 2024

Skull Slash

 

Animation is a medium I've only had the barest and briefest of interests in before, but suddenly, I've found myself wanting to play around with it lately. This was made using Adobe Fresco. Initially, I was starting to use Procreate, but Fresco has some more features that make for a better workflow in creating simple animations (such as a easier UI layout for animating on different layers). While I don't think it would be good for full-throated animation production, simple little bits like this its pretty solid for. Still has some irritating flubs to it, but I'm also only toe-dipping here.

Fresco is a fully loaded illustration program that I believe is basically just all the illustration features of Photoshop forked off into its own program. Astonishingly for Adobe, it's also (almost) entirely free. You can pay a subscription for a couple extra brushes and materials and bigger cloud storage, but I can easily do without those. Even the animation system is, as far as I can tell, fully featured without needing to pay for it. Considering this is Adobe, I'm sure at some point they'll start pay walling it, but so far, so good!

I don't know that I'll go hard into this medium outside of some simple tinkering. Something as crude as this test sample doesn't take too long to make, but any serious animation effort would take monstrously more time and effort, not to mention kill the shit out of my arm, versus even just doing a comic. Still, in lieu of actually coming up with comics to make, its good to try out new things.

By the way, just who is this mighty skull character? We saw in before in my squiggle-vision post. Given how you want to keep things simple for animation, especially starting out, maybe this goofy guy will be a nice animation mascot to try things out with.

Saturday, August 24, 2024

Discovering Hard Round Opacity

 




Hard Round Opacitive Brush. Have you seen this? Have you heard about this?

I'm lead to believe that if you're a digital artist, this is literally one of the first brushes you find out about and learn to use. I had no idea it existed until earlier this year, and it suddenly explains so much the look of digital art, painting, and coloring techniques. Even when looking up tutorials on shading, this thing never came up, instead it was always "use the air brush" or "turn down opacity on a whole layer used just for shading." Somehow, in all this time, a brush that actually alters opacity with pen pressure never tripped my radar.

This was apparently one of four main brush types utilized in Photoshop, which it seems two or three generations of digital artist cut their teeth on. By the time I actually tried getting into digital art, though, there were a ton of other alternative art programs, and as I played through the various brush types, if I ever did stumble on an opacity-pressure brush, it somehow never clicked. I was always much more concerned with finding a good basic line brush or playing with the special effects brushes. When I wanted a "paint" brush, I would try to find paint-texture brushes, most of which never really looked that much like paint to me.

It is a common wisdom in the digital art community that one should not get too hung up the types of brushes you use; there is no single magic brush that instantly levels up your own skills. However, there are certain brush functions that utilize certain mechanics that cannot be replicated with just any old brush. Soft Round (air brush) and Hard Round are two different mechanics, and if I'd just known the different options, maybe I could have had a less frustrating time with "soft" shading.

Chalk it up to my lack of actually sitting down and taking learning art more seriously. I barely think to actually look up tutorials, but when I do, I sometimes don't know what precisely I'm looking for. Just like how I should really use references a ton more than I do, its just when I start drawing, I don't even know what I'm aiming to make most of the time I'm just laying down lines, and sometimes, that flows into doing a drawing, and I'm halfway through it before it even occurs to me that "hey, maybe I should look up an image". And two-thirds of the time that happens, I don't have immediate internet access for research material, so I say screw it and keep winging it.

Sometimes, though, you just don't know what you don't know. An under considered obstacle to many a self-taught person is not even knowing when there are alternative possibilities to doing something, because what may seem incredibly obvious to one person just doesn't even occur to them. I'm laying it on a little thick here; I'm talking about discovering the Hard Round Opacitive as some great revelation with a little tongue-in-cheek bemusement at myself. But truly, never having encountered anyone talking about it until I stumbled into a random brush tutorial for a program I don't even use, several years after getting into digital art, is one of those perfect examples of why its important to not only have access to learning resources, but to actually know about them, and how to find alternative avenues to things you may not have considered before.

That's why you get an endless line of newbie artists who've never had an art teacher or mentor to show them incredibly basic shit, coming onto art forums and making the regulars sick and tired of that dreaded question, "What kind of brush do you use?" Sure, in most respects, the brush doesn't matter if you're learning basic level stuff. But to assume every person is looking for a "makes me look like a master artist with no effort" brush is sometimes missing what the actual question is, from someone who might literally not know the difference between an air brush and an opacity brush, or might not have any idea what a blending mode is.

Squigglevision Tests

 






Made with Procreate. Never really had an interest in doing animation or video generally, but I kept seeing this "squigglevision" (aka boiling lines) style of character art around, and felt like trying it. You just redraw the same figure a couple times, tracing back over the first image, but making sure the lines are slightly off, and set an animation loop. I think there's a technique to doing it just right, and varying the line wiggle in specific spots to get the ideal boiling effect, but these are just some sloppy first attempts. It's kinda fun, does give a little more life to a sketch, but it's a effect best use for very simple cartoony models.

Several art programs have animation tools built in, but I just never tried them before. Doesn't seem so hard to use for at least short clips, but I imagine a full animation attempt must be a total nightmare. Even this quick slap up really emphasizes how much more work goes into a couple frames, and I'm not even trying to simulate motion or separate elements yet! Imagine trying to do squigglevision while also having synchronized lip movements for speech? No wonder you need teams of people doing this stuff!

Friday, August 9, 2024

Taco

 


Mmm, lunch.

Practicing the watercolor brushes in CSP, plus used the new "rough ink" pen.