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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
weedle-testaburger noooo-ugh
racingbarakarts

I used to have geese so here’s a tip for everyone:

If a goose is attacking you, don’t run. No matter what, stand your ground. They can fly but when they’re mad, they don’t usually try to fly. Hold your hands in front of you, ready to grasp. When the goose gets close, grab it by the neck bit closest to the head and squeeze. Not tight enough to choke the goose, but tight enough so they can’t break free. You can hold them until they calm down or just do the next step right away. The next step is literally just to chuck them as far as possible and run for your life. It makes the goose know you’re in charge and you have a better chance of getting away. Trust me I’ve done this so many times that I’ve lost count

myblogisnotinteresting

I can’t tell if this is a shitpost or actual advice. But I do know geese are the fucking worst.

racingbarakarts

Actual advice! Just yeet a goose

61below

Yeet the geese

Source: racingbarakarts throw geese
rainplace-animates

Being on Model-

One weakness I find in 2D animation is to put ‘strict’ emphasis to staying on model, and that every extreme should look perfectly like the model sheet.  While every extreme look very pleasing in freeze-frame, the movement may not breathe properly and appearing confined.  

Take for example, when we’re being photographed, there are many instances that we’d appear odd-looking and even don’t look like ourselves.  But in motion, we look just as we would in every way.  Only when taking images of a statue, then every angle is perfect and just as it looked…

Pending on personal preference to form or movement, a delicate balance can be reached between the pleasing drawing and the way it moves…

In context to animation performance- being on model is also to let the model breathe (as it should).  

image

I love to let force fully dictating the outcome of shapes… As a result, it’s often difficult to find a drawing that is presentable in freeze-frame (This scene is also from Warner Bros. ‘Quest for Camelot’).

form vs force on model breathe form distortion animation performance
rainplace-animates

Amplifying Force-

In speech, one way to emphasize a certain word is to pronounce it louder in contrast to the overall tone of a spoken phrase. Similarly to animation, contrasting sizes of shape is used to amplify a force through motion.

How the contrasting sizes came to give an impression on screen is depending on each unique circumstance, an interaction between sizes, velocity, scene’s perspective and direction of movement in relation to timing.  It is relying more on a unique personal ‘feel’ that often break general technical rules in extreme conditions.  

For example, technique requires cushion drawings to decelerate into a stop, but in the extreme cases, a movement might need to pop into a stop without cushion to feel right in motion.  Likewise, size inflation of a body part might be in an orderly build up or an abruptly pop from smaller to large, holding its inflated state in several frames or just a single frame…  

Inflating size of body part to amplify a certain force was often explored in the 30’s and 40’s, (a time when animation was more carefree to express and less constrain by technical do’s and don’ts, such as when Mickey Mouse is conducting the stars in Disney’s Fantasia, his hands inflated to a larger size than normal condition to accent his forceful conducting authority).

image

Here another scene sample from Warner Bros. ‘Quest for Camelot’.  I animated the griffin and my friend Ralph Fernan animated the falcon.

animating force exaggeration volume distortion timing
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