This is Part 3.
I love all of these pencil sketched characters as examples. I don't know who made this but it's remarkable.
The most difficult part about animating as of now is the dialogue and the amount of movement. Sometimes you have to redraw the same facial expression or gesture two times or more but I don't know, I gotta really get into more research. I looked into the dialogue chapter of the Preston Blair book and I'm starting to get it.
I love a good feel of characters letting loose and engaging in this style of manner, but there's something so unexpectedly different about the old animated dialogue effect. Back then I boldly assumed that animators had a tool they used to easily make these scenes work.
They had mirrors to look at their reflection, in some of the pictures they make these funny faces and I dunno it makes me happy to see that they're having a good time.
I'm obsessed with the way the Disney characters move their mouths especially in the early 40s. Ward Kimball animated a scene in The Nifty Nineties (1941) and it's so smooth and almost surreal. That man was a legend.
What I also noticed in these small key references in the world of classic animation was these thin lines on the bottom of the characters. Can't tell what those actually are but I really like them. Seems useful.
Again this is from the book, Disney's Illusion Of Life. Absolutely engaging and comforting. The Disney studio was a little bit serious and strict with what they can create. I wouldn't mind it since I'm an observant artist myself.
Disney animators discussing and expressing themselves in quotes like this makes me want to make my own films. I love their honesty, their deep sense for things and I can tell that these people were decently normal and geniuely good people.
Here's some more drawings of Leuis inspired by my recent studies.
I use my phone to draw this. It's sorta the beginning of intermediate professional drawing. I geniuely love it. I popped up my clipboard and it's funny to see all of the coloring of this drawing on fold. The first image looks like an actual cel drawing.
I sorta like giving him different accessories. Here's him in a yellow hat like Curious George.
Designing human designs feels satisfying and unique. While I love the animal cartoons, I love drawing humans too.
The kings of expressions like Three Stooges, and Bing Crosby really influence me. They both have changed my way of life and inventiveness in particular.
I fully wanted to set these style of characters in eastern 1940s college days.
When I watch the regular average animated shorts/movies, they tend to be passable and watchable, but nobody seems to care whatsoever. I know that my favorite cartoons or my favorite animation studios aren't invested by everyone, but at least they have some sort of audience.
That's why I tend to avoid over a thousand of animated shorts and slightly campy movies that don't tend to interest me. I'm a very humble and cautious person, I never watched a film that made me uncomfortable.
Back to the drawing board, when it comes to the types of character designs I like to draw, I don't tend to make it too complex like anime or sci-fi.
For example this drawing of Spunky. Looks extremely appealing. I always found those cartoons cute, I need to watch more of this little fella's cartoons.
The next topic is the "primary audience", the viewers, the overall experience from other people's perspectives.
The term "animation is only for kids" is utterly dumb and really disrespectful to art itself. Not joking, they don't get the actual medium of what it's like to animate and achieve all that hardwork for everyone to appreciate. While we all know what to expect from controversial opinions within these topics, there's this quote from Walt I find relatable and true.
Ey, that's what my dream is too Walt.
I'm more drawn to newly conceptual, interesting novelty films.
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