Well, I had to make a gif with Pikachu eventually. :P I used some Blur and Glow effects for some fun (and coolness). Try opening it in a new tab if it doesn’t want to play smoothly.
Made in Toonboom Animate.
cool i guess
uhh why did pics of the csssa laundry room with like 1000 notes just appear on my dash?
I think this is the first time I have made such a big impact on students’ lives. Through this empowerment program I was able to watch my first group of students improve so quickly and put so much effort into our lessons. Its an ineffable feeling of pride and maybe wonder to be a part of such an important thing to them.
busy internship means no time to blog, which is fine with me but maybe not you guys my friends :) i will be back later!
soooo I have exciting news…
A few months ago, a fellow CSSSA 2013 alum, Hannah Yerington, approached me about doing some illustrations for a poetry book she was making. Her book is a collection of her own poetry, with themed sections: Seeds, Sprouts, and Flowers. I made illustrations for her to fit with each theme.
The book was just published, and it’s very lovely and gorgeous and I’m very thankful to have worked with her on it! I am now a published illustrator, and that’s pretty amazing!!
The book is for sale on her website (link below) if you’d like to buy one, or read some of her lovely poetry!
Hannah was my roomie at CSSSA and I must testify she is a wonderful person and a beautiful writer!
Jackie is a pixie-rocking CSSSA animation alum who is going to do great things in the animation world!
Im so proud of them both and Im looking forward to my own copy of the book!!
Lavoisier is having none of your shit.
Heeeey so fun fact: the woman in that painting is Lavoisier’s wife, Marie-Anne Pierrette Paulze, who not only acted as Lavoisier’s lab assistant but also translated English and Latin texts into French so he could read them. But she didn’t just translate, she pointed out errors in the chemistry in some of the texts. Her observations of these errors convinced Lavoisier to study combustion, which led to his discovery of oxygen. She was also critical to the publication of Lavoisier’s Elementary Treatise on Chemistry in 1789. She kept strict records of every experiment they conducted together and drew detailed diagrams of all their equipment. She also threw amazing parties and invited all the brightest minds in science so her husband could pick their brains. After Lavoisier was guillotined she secured all of his notebooks and equipment for posterity.
In short: NOBODY KICKS MADAME LAVOISIER OUT OF THE LAB.
Also, a side note: My historian husband-to-be pointed some things out to me about this painting. Notice that Madame Lavoisier is looking at the viewer, and all the light is on her, while Lavoisier himself is physically smaller than her, in shadow, and looking up to her in reverence. This isn’t a candid photograph- all of these choices are deliberate. The painting isn’t of Lavoisier- Madame Lavoisier is meant to be the central subject.
I can just imagine Lavoisier telling all his colleagues that his wife is really the one with all the clever ideas, and them patting him on the back and telling him he’s sweet for saying so.
I LOVE IT
can firebenders bend hot people
18k notes and i still havent got a simple “yes/no” i fucking hate this website
I WANT THIS ON A SHIRT
Now this is going on YouTube and you look like an ass!
- All living creatures, fictional or not, have anatomy. Equally true of an amoeba, an angle worm, a mastodon , and a Grinch.
- If you want believability in your characters, you must have visual consistency. In animation, each character must move according to its own anatomical limitations: Daffy duck must move with Daffy Duck’s anatomy, Donald Duck with Donald Duck’s structure. The amoeba’s anatomy seems to have only one restriction - its bulk; like an inflated baloon, it can vary its shape, but it cannot change its volume. That is, if you want a believable amoeba
- All animals - humanized animals or animalized animals - must appear to stand, walk , run or skip under the stablizing pressure of gravity in order to achieve believeability
- There is no sympathy without believability, no real laughter without sympathy.
- In the sympathetic recognition of any character there must be some evidence of one’s own self, one’s own weaknesses, one’s own mistakes, no matter how well self-concealed, buttoned down or pigeonholded.
- The flimmaker as well as the viewer must be able to find the character within himself. We cannot fashion personalities from what we SUPPOSE another person to be.
- If you start with character, you probably will end up with good drawings. If you start out with drawings you will almost certinly end up with limited characters, caught in the matrix of your limited drawing. Therefore…
- It is not what or where a character is, nor is it the circumsances under which he finds himself that determine who he is. It is only how in a unique way he responds to that enviorment and those circumstances that identifies him as an individual. hopefully, an interesting character becomes interesting because of that uniqueness among his contemporaries.
- For identity, you do not DRAW differently, you THINK differently. It is the WHO of the character , not the WHAT that counts. Walk- through circus clowns depend upon WHAT they look like for their brand of comedy. That is WHAT they are. Comedians depend upon HOW they move for comedy and pathos - their wonderful who-ness.
- As the writer John Buchan said, you will never succeed in playing a part unless you convince yourself that you are it.
- Animation means to invoke life, not to imitate it.
- no great children’s book, film or fable was ever written for children. It was written for the witer, the artist , the flimmaker. Again, the mark of any ’ great work ’ for children, from one by Beatrix Potter to a book br Dr. Seuss , can be easily identified: if it can be read with pleasure by adults it is probably a very good, possibly a great, childrens book.
- you cannot write DOWN to an audience or to your subject. you must write UP to them with the certainty that you cannot ever do justice to your subject, but must bend every creative nerve and muscle of your heart and brain to its full capacity in an attempt to do so.
- The least you owe an audience is the best you can do
- No art form can exist without restrictive disciplines. Most of the great paintings in history have been caught in the terrible discipline of the rectangle. The flimmaker finds himself trapped in the exact and severe disciplines of both the rectangle an time. Most cinema features are in a time warm of 90 to 120 minutes, most animated cartoon shorts in a confinement of 6 minutes.
- You must not complain of your restrictions. If you cannot live with them, find a discipline you can live with.
Above is a section from Chuck Jone’s book Chuck Reducks. I’ve bolded some of my favorite and most inspirational rules. Forgive me some spelling errors. I was staring at the book while I was typing so I wasnt really watching the screen haha.
if you ever wonder where i got my useless sense of humor from, i just asked my mom to get me food while she’s running errands and she replied “okay, from starbucks or from petco?”
your sense of humor is flawless
maybe the sense of humor gene is in our mitochondrial dna and passed down from our mothers
because it’s the case with me too