HOME | DD

ParadoxBroken In reply to Dynamocha [2014-08-30 05:29:25 +0000 UTC]

Yep.. I probably should have payed more attention to the lines.  Im sure even if I added more frames it would still be twitchy. xD

👍: 0 ⏩: 1

Dynamocha In reply to ParadoxBroken [2014-08-30 08:27:08 +0000 UTC]

It would be more twitchy if you do that lol XD
I haven't used Flash in years, but I'm guessing you could use keyframes to smoothen it a little?

👍: 0 ⏩: 0

ParadoxBroken In reply to TrueMadayar [2014-08-29 09:39:04 +0000 UTC]

Aww. thanks bro!  I'm still learning but.. In the future I wana get better than this.  I know the whole motion is unnatural as frick.  

Wana work on the comic though. ><

👍: 0 ⏩: 1

TrueMadayar In reply to ParadoxBroken [2014-08-29 10:41:24 +0000 UTC]

It's not really about natural movement in animation. I mean, sure, some try to be all perfect in their animation, but nothing beats motion capture technology in that department. So you can't become very close by drawing animation, anyway. I'd suggest not to waste too much effort on that part - and use the possibilities that drawing gives you.

As in many comics and animations of Ligne Claire style, it's not the realism of the motion that takes you in but the absence of distraction. You can punctuate what's important for the story, whilst keeping it realistic enough by, for example, making the eyes-nose-face ration life-like. The big difference to Anime/Manga is that the eyes have a natural size, as do the hands and other body parts, that's the touch of realism.

The motions can be a tad unnatural, maybe even wanted so. Many ligne claire comics have a tad more serious topics, one of the most common these days for example is war. If you use the more "surreal" motions in a serious setting, it gives it both a more artistic vision and a ...well, creepy realism. We all know people don't really fall like that, for example, or move and turn in what seems to be stop-motion, but we know that perception alters in stressy situations, and thus it befits such situations.

In fact, though, I can't think of any non-emotional settings in ligne-claire-animation. If you'd draw your little happy redhead in a happy setting and animate it, it would have some sort of...emotional melancholy, automatically, since the drawing style kinda is moved in that direction. Guess you need a good story to remove that part, because ligne claire is so often used for life-like settings, and those always have something sad about them. Because life is that. It's never only happy.

So, even if it's just an animatic, it's good enough already! And with practice you'll become even better. Focus on the character and stories you want to tell, and I believe you'll get it told - in your style.

👍: 0 ⏩: 1

ParadoxBroken In reply to TrueMadayar [2014-08-29 12:45:30 +0000 UTC]

Thanks bro.  I read everything btw.  (I like reading).   I might have to look up Ligne Claire.  
But yea Feyona is part of a story I'm doing.  (Been building that story for many many years).

If I ever complete this comic.. Melodious? The entire thing?  I want to work on that, but it won't
be something you'd expect my oc to be a part in.  Shes like.. a plot device.

Like Rei Ayanami in Evangelion, she's basically the epitome and icon of that series.
I just have to take care of not making her a mary-sue.  

👍: 0 ⏩: 1

TrueMadayar In reply to ParadoxBroken [2014-08-29 13:55:29 +0000 UTC]

Ligne claire (clear line) drawing was basically invented by Hergé, who made the Tintin comics. It doesn't use shading and nearly no contrast, but strong colors and very clear lines, no blurs. Realistic backgrounds are also a part of the scene, whilst the figurines themselves are more cartoonish. Many ligne claire artists have extensive architectural and natural science background knowledge and create incredible backgrounds from actual photos, drawings, videos or places they visited or know very well.

The entire scenery thus makes the artform rather "flat" on paper, but gives it a clear flair brilliant for fantastic stories in realistic settings. Personal favourite of mine is the still-active but storywise sadly not as good artist Roger Leloup, who's "Yoko Tsuno" comics not only feature an incredibly strong female main character, but also play both in France and Germany, which during my youth was not as common as it is now, especially in comics Germany was hardly represented.

Every character is also a plot device. But the plots often develop due to the character's personality, sitations where its emotions or thoughts create conflict that other characters would not have. It depends on where you place them and how you involve them in the story.

And it's rather easy not to make a character a mary-sue. Just make her human. Pick both strong and weak points, and make them realistic on the border of surrealistic - because humans, man, they random as fuck.

👍: 0 ⏩: 0

ParadoxBroken In reply to Agetian [2014-08-29 06:01:01 +0000 UTC]

I dunno If I'm gonna finish it to be honest. :/  I suck at animation rite now.

👍: 0 ⏩: 0