But it’s those lines that go “in” rather than “out”. You are using inward sloping lines to describe many of your characters. As an exercise, try using outward, rounded, voluminous lines to draw EVERYTHING. Humans are fleshy lumps connected together by other fleshy lumps.
Each mass is either in front of or behind other masses and as a designer, it’s your job to tell the animator where it is. As a designer, you are providing a technical blueprint for the location of masses. Only occasionally allow a concavity to connect two convexities.
Look at the work of Robert Ryan Cory (spongebob), Tom Herpich (Adventure Time) or Phil Rynda (AT / Gravity Falls) - master character designers - for examples of this. If you need to, trace a couple of their drawings and you will see what I mean.ģ) AVOID GRAPHIC DETAILS - Some shows use a graphic style it’s very appealing and looks clever when done right. But in animation, everything needs to move in space - so if you use a graphic element - it needs to correspond with an actual 3D thing that can move. Therefore it is better to start with a voluminous style and then revert to graphic elements where appropriate. Do not jump straight to graphic representation if you do not yet know what you are representing. Look at the work of Tiffany Ford and Jasmin Lai for amazing examples of volume expressed graphically.Ĥ) STUDY JAMES MCMULLEN - To truly understand volume, and fully respect your subject, you should read very carefully High Focus Figure Drawing by James McMullen. Slow down and think about drawing “around” your subjects. It’s a truly meditative experience when you get there. Think about the weight and mass that your characters, props and effects are experiencing. Many students from SVA - Tomer Hanuka, Becky Cloonan, Rebecca Sugar, James Jean - studied under McMullen’s philosophy and you can see this common richness in their work.
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