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Thanks for everything.

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Gorgeous designs by HACCHAN.

Character models look stellar.

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The early Gaang!

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This seriously bugged me in ATLA.

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If you ask for my favorite kind of animation, it's the way Marie enters.

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Love everything about this.

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Tried grayscale to colour for the first time.

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Im jealous of the artist that can draw Toriyama cars

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This was one of my favorite scenes to do while working on Captain Underpants. It presented a problem though: In three seconds Cap needs to enter through a window. Fall. React. Get Up. Hide behind a TV. How do you cram all that in such a short timeframe? Easy. Ask Team Rocket.

Wait, that's not them. How about....

That kinda looks like them. Play the footage.

There we go! I love how Meowth is animated in perspective but these two just WOOP right up. These early episodes are full of animation cheats that add a nice snap and comedic feel.

There's barely any inbetweens in this scene! I had none for Cap getting off the floor nor when turning around with the tv. Pressure can aid an artist in finding creative solutions for tight schedules.

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The painting emerged without much preliminary work. Characters came immediately. Their shape language informed the objects around them.

With the street being a character itself, I changed the composition to be more of a voyeur's p.o.v.

I wanted to tell a small story of two characters holding hands while they emerged from darkness.

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This monster is always wet despite never being near water. It's his drip, ya dig?

Okay, I gotta confess. I've never been to New York City. But I imagine it looks like classic Sesame Street, Good Times, and Shaft.

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Just saw How Do You Live (Boy and the Heron). In short, it delivered but this isn't a review, we're chatting about a single animator. Avoiding all trailers I was surprised to see this opening scene:

That's definitely Shinya Ohira, I thought.

Often I wonder about the process of an artist bringing a concept to reality. Starting life as an idea, it gets filtered, drained and blemished through the process of reaching the audience.

When I see Ohira's scenes I become aware of my heartbeat as if it's synchronizing with his.

Though I first saw his work on Akira, this short from the Animatrix was THE ONE. I still call it "Ya Know, The Skateboard Kid" and people know exactly what I'm talking about.

Ohira's opening scene in How Do You Live was left uncorrected which worked with the nightmarish atmosphere of the sequence. I'd imagine bringing his work on-model has to be hell.

You're watching an anime and suddenly, THAT SCENE pops up. Kill Bill, Howl's Moving Castle, Ping Pong, you know the ones.

In animation, they want you to stay on-model, keep the show cohesive, but speaking as one that works in the industry, I want to be seen.

You're watching something and get asked, "Wanna see something really cool?" and you get this crazy animation flex. I want to see artist go wild. Gimme THAT SCENE!

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