For People Crazy About 2D Animation!

Acme Punched! is for people crazy about 2D animation. It may be enjoyed by beginners and others, but it is aimed at animators who know already something about the process of animation and the basics of character animation. In large part, it will attempt to provide a deep look into the problem solving that goes on in my head as I work out a scene, often in step-by-step posts that I will sometimes enter in "real time", without knowing in advance what the outcome will be. Mistakes and false starts will not only be included but emphasized, so that the creative process of animation will be portrayed realistically. And, while my own bias is for 2D drawn animation, many of the effects and principles discussed here can apply to CGI 3D animation as well. I hope the blog will prove useful and instructive for all.

-Jim Bradrick

Thursday, December 27, 2012

No. 22, Drawings into Digital: Part 4--Painting

Once you get your gaps closed (see Part 3), the painting is easy.  One thing you want to be sure to do right, though, is manage your palettes. Coloring anything that you might want to color again, without saving and labelling the color systematically, will be a mistake.

 Here is a shot of the basic Animate Pro palette:

Pretty simple, isn't it?  But this palette is just a jumping off place.  You can create hundreds or thousands of colors if needed, just by clicking on the New Color button, which is the + button at upper left.  Click  inside the color box, and you will be taken to Toon Boom's master palettes, where your choices are virtually limitless.

Here is my palette for the colors to be used in this scene:

In my case, I am still at a stage of production where I am not quite sure if the colors I am using for my characters will be the final choices.  But having labelled them Man Skin, Man Overalls, Fox Red, or whatever, I can then come back and change those colors in the palette, and everything that has been paiinted with the color of that name will change accordingly.  So not being sure of my colors turns out not to be a problem.

Here's an example of the first frame of the scene showing three layers (from the bottom: man, fox, tail) all assembled.

First frame of the scene, painted and assembled, but without the background.
Following are a couple of examples of the painted artwork of shots mentioned in earlier posts about this scene.

A shot of a fast motion double image of the fox, showing how I handled the coloring of the second "ghost" image.

A frame showing the fox's fur all bristled out, just after he shakes himself.

And finally, here is the last frame of the scene in full, anti-aliased render mode:

Next: The Whole Scene!

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