Vandalism or Compensation

I am totally devoting every ounce of my being towards the realization of my 24 hour film. Totally. They'll need to assemble a legion, NAY, A MIGHTY HORDE of troubadours to chronicle the saga of my dedication to creating short films within dictated time frames. When the High Scions of short animated film making in the distant future speak of this era to their neophytes, they will recount the tales of my

I'm just shitting you.

What I have now is barely on par with a Naruto AMV. 

Crawling and stuff yo.

Of course, that's not to say I've been on this for 20 hours. This little thing called Rocrastination-Pay had a lot to do with it. I've been realistically working for about 30 minutes. Anyway, I'm just taking my 53rd consecutive break. 

Halloween fanart/dodging real work post. 

Lily of the Valley

We have an animation due in less than 50 hours, and I've put about as much work into it as I have towards my dream of becoming an airbender. 

This is my lift and toss character. He's a magician, though he's more of a Geller than a Houdini. From my experiences at unsuccessfully animating him, I can honestly say that I prefer my good friend the Bouncing Ball, who was a far better conversationalist. 

Here's a "layout" for Caple's class. I say "that" because, as Scott says, it's really more of a smattering of tones than a layout. Also, apparently my laptop screen displays blacks as a sort of light gray. On normal computers, this "layout" is basically a black box.

This is actually our first for reals storyboard. The draftsmanship leaves a lot to be desired, but I personally like the story. It gets mixed reception though, unsurprisingly, since it requires a few pieces of culturally specific background information, as opposed to just being funny by its own right. This is something I need to work harder on in the future, assuming I still have one after this weekend's animation assignment.

 And Thursday sketches. They are all from some kind of Thursday, because our supplementary elective course is just such ripe ground for fostering creativity. I like to attribute this phenomenon to the soft hum of mildly partisan rhetoric, which is probably what Homer's muse sounded like.

Finally, a painting. An actual, honest to goodness no jokes pigment on pulped tree bark painting. I realized that as far as my current abilities are concerned, I'll never have a real gouache painting that I can be proud of. In light of this revelation, I think it's better to sort of come to terms with what I CAN accomplish now, and set some kind of starting point that I can look back on as I try to improve. I like the lighting in the tonal better, but it has a few major tangents that I didn't notice until the very end. The painting itself has inferior lighting and sense of space, and the character size relationships are distorted. 

It's more like 49 hours now. Sleep is only a prelude to more animating, and in some insane way, I feel like putting off sleep will help put more conscious time between me and the animation. EXTREME procrastination, or slow descent into animation induced madness?

But For Me, It Was Tuesday

So when I was about half way through this painting, it occurred to me that being depicted as a Merman With Wings (TM) was not exactly the kind of thing that floats people's boats. In fact, if I was to hazard a guess, I would say that witnessing one's image being distorted in such a manner would likely attribute to their boat being met with an earlier and possibly more devastating end. Functionally, this painting has more in common with your average high yield nautical explosive than any form of caricature. I got the idea from a conversion in our Tuesday Pound Resign Texture, and that's all I've got on the subject.

Yeah, and once again, all these sketches are from Thursday, which seems to be the only day that I can clock in consecutive hours of sketching time. I don't think I even touch my sketchbook on any other day. I meant to have two more paintings ready for this post, but with schoolwork being what it is, both of those paintings currently have about as much form and compositional clarity as a tiled roof covered in pigeon crap...or a Pollock painting (ZING!).

And then there's this. I messed up a lot of the timing towards the end, and went really lax with detailing the splashes. The entire cycle is, on twos, barely two seconds long, which means everything feels rushed. Some of the motion keys don't read at all, and the entire sequence leading from the splash to the repeat is just sloppy as all hell, with all kinds of weird distortions. I wish I had more time to work out the timing issues, but really, c'est la vie.