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after that you can just merge everything or dont (i didnt merge it) and then you would get:

some stuff to mention:

ty for the compliment i appreciate it <33

sorry if my handwriting is hard to read xd

along the making of this tutorial thing i had no idea where this was going, so i just decided to do a tutorial on how i did certain details of water and shit

there were multiple different things i did for drawing water while i made the comic so it seemed more appropriate to just do a tutorial(?)/explanation on what i did and how i did it

some of this information may not be accurate since im not a pro at art or anything i just learn from what i see  

some parts mostly consisted of trial and error since water is a pain in the ass (dont be afraid of that)

there are other people who could have given a better tutorial and process than me, and this is just what i know, so maybe this helped you and others in some way, who knows  ¯\_(ツ)_/¯

I drew a quick chart about good wrist and finger exercise before playing Splatoon (or engaging in any other intense activity such as but not limited to gaming in general, programming, drawing, computer work etc.) As with all stretching exercise, these should only be done in moderate speed. You only want to loosen up, not break your hands!! … and it kinda exploded on twitter haha

Masters of Anatomy

Exercise 50: Subsurface Scattering by CGCookie

~2021 UNDERTALE/deltarune

2d Animation - Smearing

What is smearing? Smearing is a multitude of techniques used in animation to bridge two or more frames to create the illusion of motion through methods like blurring, warping, distortion, and a few others.

I wanted to start of with a fresh animation to demonstrate some movements.

It looks like it can definitely use some extra information to convey the motion of the sword. This is where we starting thinking about how to smear the object(s).

The most common approach that I’ve noticed that animators take, especially newer animators, is that they warp the whole object. As in they have a point A, and a point B, and then they just have a “mass” of implied motion in between those points.

Here’s a still shot

It works quite well with objects like swords. So here’s what my attempt looked like.

It definitely helped explain the movements more, but I’m not sure I liked it.

Thankfully there are other “types” of smears that we can look at to try to see if they fit in this particular animation.

The next one I wanted to try was “speedlining.” This is basically when you distort the edges or add speedlines to the edges to make the object appear in motion.

Here’s an example

and the still shot:

notices how the edges appear more sketchy. This one is really common and it can be executed in different ways.

Here’s my attempt

I really like this type of smearing, even though it still lacks some of the motion that the first iteration lacked. The speedlines really add character to the motion that would otherwise be missing in a normal warp, but I still needed that smear to bring it to the point where it needed to be.

So here’s what some call “doubling.” (and just as a side comment, I don’t think any of these have “official names” other than just smearing)

Here’s the still shot

This was a really well executed smear which I don’t think would have worked the same if you would have just warped the faces.

Here’s another slightly different execution

with the still shot

It’s like a distortion mixed with doubling, and that’s what I like about smears.. you can mix and match things you feel would work in the particular scene.

So here’s my mix n’ match smear.

Not the best execution, but for our purposes I think it works well.

Motion blurring is really powerful as well. Film uses it all the time, as does 2d animation. Notice the force of the impact being pronounced with the added blur at the head.

Here’s the still shot

There are a few other smears I thought were interesting because it just speaks to the way our brain interprets these frames without even considering the logical implications of the individual frames.

Here’s one example

I don’t know if you caught that, but here is the still shot:

The guy has a knob for a hand. It works so well, you don’t stop to think about implication of that hand’s morphology. 

Here’s another one that doesn’t make too much sense.

Like what is this

That’s Imaishi. It’s part of why we love that animator so much. It’s part of his style and character. It conveys an emotion that would otherwise be absent in a “realistic” smear. Animation doesn’t have to make sense. It just has to look good.

LINKS(aka tutorials by ppl who make better tutorials):

Paneling 1

Paneling 2 (text heavy)

Crossing the 180°

Simple comic panel Tutorial

Guide to comic panels (+OTHER LINKS)

Comic strip artists kit

LETTERING

Webcomic Guide by Tapastic users!

Lettering by ZombieSmile

How I draw comics (also by ZombieSmile)

an ask about comics part 1

Start a webcomic?

A thing about perspective

If you dig yourself mor einto it, you’ll find more and more helpful things, even for a style you might want in your comics and whatever more! But I should probably stop the link spam here…. 

But if you have any more questions, ether you want to know form me or if I know a tutorial, go ahead and ask!!