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If you’re not keeping up, Cartoon Network sold off most of its original programming over the last few years to run exclusively on HBO Max, but after a merger with Discovery, HBO has taken them all down, including those that were still in production, for what is long story short a big tax write-off.

And it’s not a simple matter of them just airing or streaming somewhere else now. It’s a very complicated issue of rights and contracts and money but essentially it’s very possible that these shows will never be available again in official capacity and their creators will never see another penny from them again, either. Some completed episodes may also be lost media, indefinitely.

For a couple of series, such as Mao Mao and Infinity Train, Cartoon Network has gone back and scrubbed all tweets, youtube clips or other mention of the series existence, confirming they likely no longer have the rights to take them anywhere else.

The tweet today by the art director of Tig N’ Seek made me saddest.

A lot of people this week have simply given up on their industry careers, seeing years of their life’s work just vanish into a corporate vault overnight. Being able to point to your work on a streaming service had apparently even become a pretty critical part of the portfolios they now rely on to get new jobs.

Streaming media went from an optimistic new frontier to even worse than cable TV so suddenly.

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Production Art “Adventures of the Gummi Bears” (1985)

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My Love (Moya Lyubov) is a paint-on-glass-animated 2006 short film directed by Aleksandr Petrov and based on Ivan Shmelyov’s 1927 A Love Story (Istoriya Lyubovnaya). It takes place in the 19th century Russia and tells the story of the sixteen-year-old boy Anton who is torn apart by his feelings for a pure and gentle girl and a femme fatale. Watch it here.

Paint-on-glass animation is a technique for making animated films by manipulating slow-drying oil paints on sheets of glass. Aleksandr Petrov is the most well-known practitioner of this technique; he has used it in seven films, all of which have won numerous awards. 

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AW: Do you have any particular message or theme that you would like to deliver to the audience of [Wolfwalkers]?

TM: Yes, I suppose ultimately the film is about seeing beyond the assumed boundaries of society and its expectations of us. That we can transform ourselves according to our true nature and find our “tribe”, as it were, without having to mold ourselves to fit our society.

- Wolfwalkers, Animationweek

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Would you be interested in nabbing the storyboard from the SPN anime series? https*//www*ebay*com/itm/222164873223

Our primary target are scripts from the live action show, but if someone donated scans we'd add them to our SlideShare and put the link on the SupernaturalWiki's Supernatural: The Animation page.

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Scroll down for the FIRST 300 THREE HUNDRED how to THINK when you draw TUTORIALS, in ALPHABETICAL ORDER! Enjoy, link, pin, share! Cheers!

We have a HUGE, totally TOP SECRET TUTORIALS BOOKS KICKSTARTER coming up on a SECRET DATE  in MARCH 2021!! The ONLY WAY to know about it is to mail “Add me, Lorenzo!” to SecretKickstarter@yahoo.com to be on the SECRET LAUNCH MAILING LIST - if you’ve joined our mailing lists in the past, you’re already on it!

Lorenzo!

How to draw ANGRY EXPRESSIONS How to draw ARMS part ONE How to draw ARMS part TWO How to draw BASKETS How to draw BATTLE DAMAGE How to draw BEARDS How to draw BIRD HEADS How to draw BIRD WINGS How to draw BOOKS How to draw BOTTLES and GLASSES How to draw BOXES How to draw BREAKING GLASS How to draw BRICKWORK How to draw CABLES and WIRES How to draw CAKES and DESSERTS How to draw CAR CHASES How to draw CATERPILLAR TRACKS How to draw CAVES How to draw CHAINS How to draw CHANGING ONE THING How to draw CHARACTERS (3-SHAPES) How to draw CHARACTERS (FLIPPED-SHAPES) How to draw CHARACTER SHAPES How to draw CHOCOLATE How to draw CITYSCAPES How to draw CLOAKS AND CAPES How to draw CLOUDS How to draw COMIC COVERS How to draw COMPOSITION   How to draw COMPOSITION USING TRIANGLES How to draw CONTRAST How to draw CONVERSATIONS How to draw CREATURE TEETH How to draw CROSS-CONTOURS How to draw DETAIL AT DISTANCE How to draw DOLPHINS How to draw EARS How to draw EYE DIRECTION How to draw FABRIC How to draw FEET AND SHOES How to draw FEMALE HANDS PART ONE How to draw FEMALE HANDS PART TWO How to draw FLAGS How to draw FOOD TRUCKS How to draw FOREGROUND MIDGROUND BACKGROUND How to draw FORESTS part ONE How to draw FORESTS part TWO How to draw FORESTS part THREE How to draw FORESTS part FOUR How to draw FUR How to draw GAME BUILDINGS How to draw GEMS and CRYSTALS How to draw GHOSTS How to draw GLASSES and GOGGLES How to draw GIRL’S HAIR How to draw GOLD How to draw GRASS How to draw HAIR (1940s styles) How to draw HAIR IN MOTION How to draw HAPPY EXPRESSIONS How to draw HEAD ANGLES How to draw HELICOPTERS How to draw HOOVES How to draw HORNS How to draw HORSE HEADS How to draw ICE How to draw IMPACT DEBRIS How to draw IN 3D How to draw INTEGRATING LOGOS How to draw INTERIOR BASICS How to draw IN-WORLD TYPOGRAPHY How to draw JOURNEYS part ONE How to draw JOURNEYS part TWO How to draw JOURNEYS part THREE How to draw JUMPS How to draw JUNGLE PLANT CLUSTERS How to draw JUNK HOUSES How to draw JUNK PILES How to draw LAMP POSTS How to draw LAVA How to draw LIGHT RAIN How to draw LIGHTNING and ELECTRICITY How to draw MECHANICAL DETAILS How to draw MUSHROOMS and FUNGUS How to draw MONSTER HEADS How to draw MONSTER TENTACLES How to draw MONSTER TRUCKS How to draw MOUNTAINS How to draw NEGATIVE SPACE How to draw NEWSPAPERS How to draw NOSES How to draw OVERGROWN VEGETATION How to draw PEBBLES AND GRAVEL How to draw PERSPECTIVE BOXES How to draw PERSPECTIVE (1-POINT) part ONE How to draw PERSPECTIVE (1-POINT) part TWO How to draw PIGS How to draw PILLOWS and CUSHIONS How to draw PIRATE SHIPS How to draw POD HOUSES How to draw POURING LIQUID How to draw RABBITS AND HARES How to draw ROBOT ARMS How to draw ROBOT HANDS How to draw ROCK FORMATIONS How to draw ROCKET THRUST How to draw ROSES How to draw RUNNING FIGURES How to draw SAND How to draw SAUSAGE DOGS How to draw SEA WEED   How to draw SHADOW COMPOSITION How to draw SHOULDER ARMOUR How to draw SIEGE WEAPONS How to draw SILHOUETTE THUMBNAILS How to draw SMALL FLAMES How to draw SMALL, MEDIUM, LARGE How to draw SMOKE EFFECTS How to draw SNAKES How to draw SNOW How to draw SPACE How to draw SPACE BIKES How to draw SPACE HELMETS How to draw SPACESHIPS How to draw SQUIRRELS How to draw STAIRS How to draw STICK FIGURES How to draw STONE COLUMNS How to draw SWORD FIGHTS How to draw TATTOOS How to draw THE HORIZON How to draw TIKI STATUES How to draw TRAIN TRACKS How to draw TREASURE CHESTS How to draw TREE BARK How to draw TREE ROOTS How to draw T-REX How to draw TWO-TO-ONE SPACING How to draw USING THE SHATTER TECHNIQUE How to draw VEHICLE STANCE How to draw VEHICLE THROUGH-LINES How to draw VINES How to draw VINTAGE PLANES How to draw WATER How to draw WATER REFLECTIONS How to draw WEBS How to draw WOODEN HOUSES How to draw WOOD part ONE How to draw WOOD part TWO

[afterhoursanimationschool]

Part 1 of my Design and Layout for Comics lecture! 

Here’s part 2: https://gingersnappish.tumblr.com/post/614575142440517632/part-2-of-my-design-and-layout-for-comics-lecture

[afterhoursanimationschool]

And now for something I find personally fascinating: the extensive animators notes for King of the Hill. an insane amount of detail work went into making the show is grounded and realistic as possible. This is only part one.

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As animation production continues even in the current quarantine culture, we imagine a world of animation remakes of live-action films — or simply of animated stories finding a broader audience.

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More Popeye model sheets—Fleischer only this time.

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Roger Rabbit animation art. Some model sheets, pages from the style guide, cels and art from the shorts.

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This is why we don’t make art for the awards.

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Settei from The Last: Naruto the Movie.

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Hello! May I ask how you draw? I'm currently learning how to myself and would be highly interested into a step to step process by you! Like from sketch to the done thing (no color necessary)

Hello there!

I dunno how I feel about showing how I work/giving advice to someone who’s learning (and I say it as a pro artist who went through years of traditional art education) because when I do the illustrations you see here on my tumblr I BREAK THE RULES you’d learn though life drawing routine, and give in to bad habits, and my methods are rather unplanned and chaotic which makes it difficult to pinpoint significant stages. But I used my portable potato to take some photos during working on my last piece, so I’ll throw it here with a bit of an explanation of what’s going on.

Before I begin - and because you’re about to look at a mess of a WIP - I’d like to give you some general advice that generally makes life easier when you draw (again, things that I learned in traditional arts education - another artist might advise you the complete opposite, dunno!)

Work holistically. Forget them satisfying-to-look-at clips on instagram showing someone produce a hyperrealistic portrait starting from an eye, with each and every element emerging being finished before they proceed to another part. It takes a lot of talent, yes, but these are ppl redrawing a photo in a kind of a mechanical manner. Most artists don’t work this way. Especially if you’re working without a reference, or if you’re doing a life drawing - your process will be layering and changing and finding what works best to give an impression of what you’re drawing rather than reproduce the exact image, and your artwork is likely to look messy most of the time.That said: don’t start with the details. Don’t spend too much time on a particular part while neglecting others. Your goal is to keep the whole piece at the same level of ‘finished’ (even though it’s unfinished - do I make sense?) before you’re confident that everything is where it should be and proceed to the details. So sketch out the composition first. See how things fit, what’s the dynamics. You’ll save yourself from limbs sticking out from the frame, odd proportions etc etc.

Because it’s a game of relationships between different parts of the picture/scene. I ask you not to worry about finishing a single element before laying out the rest because you’ll find that said element will look different once the other part appears! For instance - you might think that the colour you picked for a character’s hair is already very dark. But once you’re done with the night sky background, you’ll find that it’s in fact too light, and doesn’t work well with the cold palette. You’ll have to revisit different parts of the image as you go to balance these relationships and make the picture work as a whole.

Give an impression of something being there without actually drawing it ‘properly’- because details are hard, mate. You’ll see that my lineart usually has hardly any, and my colouring is large unrefined stains, but the finished thing looks convincing. Like, fuck, I can never focus on how Crowley’s eyes are really shaped. So I just turn them into large glowing yellow ellipses crossed by a line, and heard no protests so far.

Don’t panic if you messed up (you probably didn’t anyway). It might turn out to be a completely unnoticeable mistake - because, remember, things work together to balance each other, so another finished off prominent element will probably drown that badly placed line that looked so visible and out of place a second ago. 

It might not look good before it’s finished. I’m mostly immune to it after years of drawing, and my recent illustrations all follow a specific method (ykno, my sunset glow effects and all that) so I can kinda predict the next stage. But I do my linearts on a specially picked crap paper, I don’t bother erasing the smudged graphite, and it looks messy af until I make the background white in Photoshop. Conclusion: you might have a moment of doubt as you work through a piece, but try to break through it - I often suddenly start to like what I cursed a minute before! - and try to finish it even if it’s meant to be bad. This way, looking through your past pieces, you’ll see the progress. And trust me, I can’t even look at my art from literally three months ago. It’s normal.

Now, pics! The sketches are paler in real life, but I increased the contrast a little so you can see something.

1. Laying out the composition! 

I wanted to just show them kissing, but I got carried away due to some Art Nouveau inspiration. As you might have noticed, most of my illustrations are quite self-contained (ykno - they look like a sticker on a plain background). So I wanted a tight swirl bordered by Aziraphale’s wings creating a sort of rounded, yin-yang like bubble around them. Consequently I made the whole composition revolve around their heads. 

2. Adding more details to the sketch. It’s messy af. It will be messy until I’m done. It’s fine.

3. These are the fineliners I use for the linearts! They are made by Uni-ball and come in light and dark grey. I also sometimes use the guy on the left - ‘Touch’ sign pen by Pentel, when I want more brush-like, wider strokes. I work in grey because when I scan it and do my usual boring trick with sunlight highlights - which is an Overlay mode layer in Photoshop - the highlights ‘burn out’ the lines too and make them vanish a little, and the lighting effect gets more striking. I also like to use the light grey ones to make something look pencil-y without actually using pencil, because pencil fucking smudges.

4. It smudges! So because I am right handed, I start inking from the right hand side, no matter how tempted I am to do their faces first.

5. You can see the composition directions here. I made it intuitively, but ofc some ppl actually use grids etc to lay out their drawings.

6. See how pale ans thin the lineart was at first? I kept adjusting it as new inked parts were appearing. It starts to look nice and consistent now! 

7. Finished lineart? There are some mistakes which I later corrected in PS. Notice that Aziraphale’s face has hardly any details on it - I tried to make the drawing suggest his expression rather than risk overdoing it. 

8. Photoshop time!! You can totally do what I did here even if you don’t have a graphic tablet. I used Curves tool to enhance the lineart, then Quick Selection Tool to select the background around around my sticker-like piece and filled it white (on a new layer ofc). I keep this white layer on top of the layer order so it works as a mask as I colour. I decided I did not like the hatching shading underneath Aziraphale’s halo, so I erased it with a Stamp tool (because I wanna keep the textured grey fill my crap paper naturally gives me!). It’s done roughly but won’t be visible once the thing is coloured. 

9. And the reason why I keep the grey shade instead of easily getting rid of it by using Curves/Levels is because when I set this layer to Multiply mode and colour underneath, it gives me this nice desaturated look like from an old cheap paper comic page. It works as a natural filter! But of course I can’t do bright colours this way, so all my glowing highlights happen ABOVE the lineart layer - on a separate layer in Overlay mode! 

Finished thing here!

_____

Commission infoBuy Me a Coffee - help me with my transitioning expenses!Prints and stickers and things on my Redbubble!

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my singing voice is good for showers and mornings in the kitchen and drunken nights and lullabies for babies who need sleep and im okay with this

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attended junji ito’s artist talk today and his literal advice to all artists/cartoonists can be summed up with “go to fucking sleep”