2013 - Sheridan College (Animation and Illustration) Hopefuls - Page 16
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  1. #451
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    Quote Originally Posted by Dunnstar View Post
    S' pretty bad here Official. Looks like a freaking snow-tsunami.

    Kawaii: she/he mentioned 3.3 being their score.
    Oh lord! the snow ;A; its gonna be shoveling the snow round 2 tonight! xD

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  2. #452
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    Quote Originally Posted by J. Cui View Post
    Yep. My portfolio's still up at http://jcuidado.blogspot.ca. I don't know if that'll help cuz I didn't draw anything memorable haha.

    [EDIT] I got in last year btw. It's not the strongest portfolio but I'll leave it up here if you guys want to look through it for reference/self-reassurance.

    [EDIT 2] I got around 3.35, I think. More importantly, I got all 3s on everything except a column of 4's (storyboard) and a row of 4's (probably proportion?).
    http://sheridanritualsacrifice.tumbl...marking-system
    This post here discusses the weighted score system and the importance of doing especially well on the storyboard section.
    cool, I also agree that storyboarding is the most important section since its the most heavily weighted. Since you got in, did you accept the offer? What would you recommend I do to make a strong storyboard?

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  3. #453
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    Quote Originally Posted by denaliah View Post
    cool, I also agree that storyboarding is the most important section since its the most heavily weighted. Since you got in, did you accept the offer? What would you recommend I do to make a strong storyboard?
    Yep I'm in my second semester in the program now, procrastinating thanks to the snow day.

    For the storyboard, it's very important that the character is on model, and each panel is very legible. While it may sound impressive to put in loads of detail, it's better if the panels are simple and clear. There should be enough information in there that whoever's looking at it will know exactly what's going on and not need to guess. If whatever you're planning to add doesn't strengthen the storytelling ability of the panels, don't add it. I would sketch out the panels and ask some people if they can tell what the story is, and don't get frustrated at them if they don't get it.

    Also, I wouldn't recommend attempting anything super complicated. Don't sacrifice continuity just so you can cram some epic into 4 panels. You'll have opportunities to do that later. The point of this is to see if you can apply an existing character to a simple, clear, believable story, not if you can write the next Inception.

    Some wise shit:
    1) Something that is obvious to you may not be obvious to everyone else.
    2) True genius lies in simplicity.

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  4. #454
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    I've been looking at room line drawings of various portfolios and a decent amount of them seem like they were done digitally. Is that also a thing that's allowed?

    Is it ok to submit the final ones in regular pencil with some under-drawing of structure in blue pencil or are we supposed to do the final ones digitally? (I'm not mailing in my portfolio, I'm submitting it in person)

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  5. #455
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    The whole portfolio should be done traditionally with the exception of submitting personal artwork(they still prefer traditional though). You have to show under structure in your work since it is a part of the mark. People sometimes even do layout with multiple color pencils to clear up something for both themselves and the corrector(e.g red for horizon line and drawing lines from the vanishing point then going in with blue to block in the forms, then other colors for characters, details etc.) just don't make it eye-straining xD

    CHECK OUT MY FRIEND'S SB OVAH HERE >> deer's sketchbook


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  6. #456
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    These are some life drawings I've done in a class, I know I'm bad with hands and feet but critiques on proportion, structure, and whatever would be awesome so I know where to improve for my portfolio ones.

    Links:
    http://imgur.com/WBBafEs
    http://imgur.com/19FBFPM
    http://imgur.com/V3v9rht
    http://imgur.com/o9xXaaF

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  7. #457
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    @pepe-silvia - You're biggest issue in my eyes is flexibility. Your drawings are very stiff and a lot of that comes from the neck.

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  8. #458
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    Whoa- sorry that posted like 10 times. I don't know how that happened but I deleted all of them except one because it ended up looking like I was trying to spam the thread

    @OfficialLamp - thanks for the critique, do you have any tips on how I could improve on flexibility?

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  9. #459
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    Pepe: yeah, fluidity will really enhance these drawings. It's not so much the neck. just try and get long connected lines running throughout the body. The body almost always makes S, C, or the boring I lines. and I don't just mean short s' or c's. Long S's that ride along the entire body. keep that in mind when you're trying to capture the curve and shape of the body. For proportion, just watch your legs, they're getting a wee bit stumpy, the head is also a very awkward shape. (i know you're combining two distinctive shapes, but the junction should be smooth.

    Kamil
    here we go.


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    Alright this should help convey my critique. It's a very interesting action, for the the thumb and the pointer to make sense, we need to be seeing abit more of the side of the hand and to show that, you're gonna need to overlap the fingers. I shouldn't really see that 'u' gap inbetween them. Just the fingers jutting behind each finger. (if that makes sense?)
    The palm is abit long, shortening it slighty. the fingers are alittle lanky, i would fatten them.

    Then you need the pointer to be really PRESSING into the string, you can do this the best by showing a sharp angle. and it smooshing into the thumb. my last suggestion is just have the string more at an angle, that sells the action better.

    your first picture is much better, only thing is with the thumb pushing up, it's traveling inward, so you shouldn't really see any space, just palm.

    Much improvement though Kamil. just try and keep the hand at eye level, alot of the distortion looks like perspective issues.



    @offical: Your pose is just too stiff, no real action. why don't you redo that one from before. That one was really quite good.
    I'll post up my hands tomorrow.

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  10. #460
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    Question: For the layout, is two point perspective recommended? Do they penalize room drawings in one-point? I ask because I'm terrible at two point perspective and only slightly better at one point, haha.

    Also: @Dunnstar, Thanks, I'll keep that in mind. Are the S's, C's and I's you're referring to the same as the line of action? I was taught that it's good to get a line of action down first so that you know how the body is moving before you block in the shapes.

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  11. #461
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    Quote Originally Posted by pepe-silvia View Post
    Question: For the layout, is two point perspective recommended? Do they penalize room drawings in one-point? I ask because I'm terrible at two point perspective and only slightly better at one point, haha.
    hey! I have been told that they will not penalize you for doing one point perspective but they prefer to see eithier one one point perspective of the room and one two point perspective of the room or both two point. My friend that is in animation right now said that you will get more points if you use two point. Also, your life drawings require a more fluid approach its too stiff as of now. Let your life drawings show a story. If that makes sense xD

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  12. #462
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    hey guys, here are some rough expressions I've drawn out. he's a bit less stylized compared to the front view I posted before.. not sure if I should go with this version or have that extra flow from before, I'm trying to simplify him somewhat. also I've still gotta add the goggles in but yeah :B
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  13. #463
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    hello there, first time poster. my portfolio is not going well. im starting to wonder if animation is really the calling for me because ive been excessively shading and rendering everything. in my head, i know that they like understructure and lines and stuff, but ive never drawn like that. id look at something id done and then think "man a few shadows on that would make it look better" and then bam the whole thing's practically coloured. heres an example, from my animals:



    i was just going to leave it in the portfolio but i thought itd be a shame not to take the opportunity granted by this baord. my hope was that since they caution shading as a method of covering up structural problems, that maybe itd be okay if my drawing achieves both? granted, i dont know if it does. basically im looking for somebody to tell me whether to scrap it or leave it, and then ill try combing through the rest of my portfolio with the same eye.

    thanks, help a sister out? OTL

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  14. #464
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    Hey floppybutts! looking pretty good, although your sad face expression ain't to clear. I'll try to add more crits when I come back from school.

    CHECK OUT MY FRIEND'S SB OVAH HERE >> deer's sketchbook


    >>DeviantArt|SketchBook<<
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  15. #465
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    Hey guys, sorry to keep continuously posting on here asking for your thoughts, these are two characters I've been working on. Which one do you guys think is stronger? I'm torn between the two and I need to choose one to fix up further.

    Links:
    http://imgur.com/0zeI4W3
    http://imgur.com/4n6aKJs

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  16. #466
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    Hey guys, sorry to keep continuously posting on here asking for your thoughts, these are two characters I've been working on. Which one do you guys think is stronger? I'm torn between the two and I need to choose one to fix up further.

    Links:
    http://imgur.com/0zeI4W3
    http://imgur.com/4n6aKJs

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  17. #467
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    @miraine - It's a nice drawing and all, but it really isn't what they're looking for. You're not being judged on shade, your not being judged on color, don't make the things you are being judged on more difficult to see. Go with their recommendations.

    @pepe-silvia - The animal for sure. Though, I'm not completely sure if it's a cat or a dog. push it one way or the other, still needs work.

    I'm working on the storyboards right now, and I'm just getting really peeved at the fact that we have to draw a character on model but are only given one view. I guess that's part of the test? Kind of stupid.

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  19. #468
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    @Official Dude I totally agree >_<, there are also some parts of the character which seems to not work as 3d shapes for example john's does not seem to work at head angles close to front view or any angle looking below his jaw and nose. It just does not "feel" right. So annoying. >_<

    CHECK OUT MY FRIEND'S SB OVAH HERE >> deer's sketchbook


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  20. #469
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    Dunn you went a little far on the pinky and finger next to it; I dont think they are at that angle

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  21. #470
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    Quote Originally Posted by J. Cui View Post
    Yep I'm in my second semester in the program now, procrastinating thanks to the snow day.

    For the storyboard, it's very important that the character is on model, and each panel is very legible. While it may sound impressive to put in loads of detail, it's better if the panels are simple and clear. There should be enough information in there that whoever's looking at it will know exactly what's going on and not need to guess. If whatever you're planning to add doesn't strengthen the storytelling ability of the panels, don't add it. I would sketch out the panels and ask some people if they can tell what the story is, and don't get frustrated at them if they don't get it.

    Also, I wouldn't recommend attempting anything super complicated. Don't sacrifice continuity just so you can cram some epic into 4 panels. You'll have opportunities to do that later. The point of this is to see if you can apply an existing character to a simple, clear, believable story, not if you can write the next Inception.

    Some wise shit:
    1) Something that is obvious to you may not be obvious to everyone else.
    2) True genius lies in simplicity.
    Can I send you my roughs for my storyboard for critique? I'm keeping the story and the layout I just need some help on what I could do to make it simpler and easier to read.

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  22. #471
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    The character for the storyboard is actually sooooo annoying. The construction doesnt help replicate the character in multiple angles...

    -_-

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  23. #472
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    Quote Originally Posted by miraine View Post
    hello there, first time poster. my portfolio is not going well. im starting to wonder if animation is really the calling for me because ive been excessively shading and rendering everything. in my head, i know that they like understructure and lines and stuff, but ive never drawn like that. id look at something id done and then think "man a few shadows on that would make it look better" and then bam the whole thing's practically coloured. heres an example, from my animals:



    i was just going to leave it in the portfolio but i thought itd be a shame not to take the opportunity granted by this baord. my hope was that since they caution shading as a method of covering up structural problems, that maybe itd be okay if my drawing achieves both? granted, i dont know if it does. basically im looking for somebody to tell me whether to scrap it or leave it, and then ill try combing through the rest of my portfolio with the same eye.

    thanks, help a sister out? OTL
    If anything, the shading takes away from the form

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  24. #473
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    I was thinking the same thing. I kept trying to draw John in the front view but it just doesn't seem to make sense. I know that much of that can be attributed to me not being the best artist, but I'm glad to know I'm not the only one having trouble replicating the characters at different angles.

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  25. #474
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    Im definitely leaving the storyboard for last! I tried drawing john today and its just not working!! Ill probably end up drawing Jane xD

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  26. #475
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    @Dunnstar Hey thanks Dunn, I figured out where the perspective distortion came from. I was holding it above eye level on purpose thinking that if I drew it from that angle that it will come out more dramatized xD. Looking at your correction I can see better ways of emphasizing the action.

    @Nickels Well actually it was a quick draw over to show me how to improve the overall quality of the performance so it was exaggerated but in the right direction, and when story boarding it is just better to keep it simple so that way less things could go wrong and it would be much easier to make it clear to the audience because of how simple the story is. Things can be both entertaining and simple.

    Hey guys I wanted to say that I figured out a way to work with john although my angle choices with his poses are quite limited(at least to myself). Anyway I wanted to share my room drawing rough. Right now I am not sure how to clean it up at all and I did find some issues and mistakes after scanning. Anyway here it is, I hope I don't have to go through an overhaul that I can't afford >_<.


    CHECK OUT MY FRIEND'S SB OVAH HERE >> deer's sketchbook


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  27. #476
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    @miraine: I don't know what to say on the "is animation right for me" question. I can tell you, that all the shading and rendering, while nice looking, is distracting. I know when I saw that sheridan wants you to "leave the structure". I thought the process was really unnatural, but 5 months later, I'm really starting to see the benefit of drawing the structure. (the way they want) So I guess my point is, give it a Herculean try and i'm sure you'll see the benefits.

    Also you could give illustration a shot too, if you really don't like the process.

    @pepe: I actually have no opinion on which is better. start posing one and you'll see which functions better.
    @Kamil: Quick look just shows alot of the furniture isn't size appropriate. He' feels too small for the chair and bed.
    @fluffy: It's far too light. I can't tell how the structure is going but generally I see a good surprise emote, but the other 3 feel too generic. You should really be pushing the personality. I don't know why, but I feel that guy, would be one of those guys who blush while grinning, his cheeks really bunch up against his eyes. I don't know, I guess I just mean, get some personality in the other emotes (Like your surprise one)
    @storyboards: I'm actually.. not struggling with that section surprisingly.

    Hand drawings as promised. Room coming up, friday! Critiques please. so I can finalize this and put it in "DA GOLDEN ITOYA FOLDER"

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    Last edited by Dunnstar; February 12th, 2013 at 12:14 PM.
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  28. #477
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    You need to work on the thumb area (toe nail to long) and the first finger (strangely bent) on the first picture. Also on the second you are missing a joint from the thumb, same goes for the fingers (and fix those bone areas they are not supposed to be like knuckles). Try making a more basic sketch, like connecting cylinder for instance, I almost always do that doesn't matter if there is foreshortening or not it's best to get the hand perfect. Other than that clean drawings and good form. And is this is a rubber duck, if yes try making it more squishy (if it is I don't really know, since on the second picture it looks like it's made of a stronger material).
    Edit: Kamikazel fix your vertical lines, everything looks unstable because of that. Take a ruler and do it straight like the other lines. Almost everything (even the chair) needs to be straightened and don't be afraid of fixing or redoing, when you make mistakes and fix them you won't repeat them. It's better to go through all the hard moments early so that you can have not so hard ones in the future. Get where I am going? You have to progress.

    Last edited by platformerbg; February 12th, 2013 at 07:23 PM.
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  29. #478
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    I'm having a ridiculously hard time with the layout drawings, I really don't know if I can pull off 2-point perspective. Is it as hard as I think it is? I mean, I keep trying to draw rooms and just box in the objects (as in beds, nightstands, doors etc), going strictly by the rules of perspective, but everything always comes out looking a bit weird. But then when I draw things freehand, ie, not using the exact rules or drawing from the vanishing points, they make much more sense to my eyes. Are the judges looking for a really technical drawing that goes by all the perspective rules, drawing from the vanishing points and everything or is it better to do something in between the two that shows your sense of proportion and space and stuff, while still paying attention to perspective rules, but not going strictly by them?

    Another thing I've noticed is looking at some people's successful layout drawings from previous years, their lines don't exactly match up and it seems like they didn't really measure everything out exactly, they kind of just winged it and approximated the measurements and vanishing points (but they still end up looking good). Is it better to approximate or go strictly by the rules of the book?

    Anyway, I think the room drawings are going to be the hardest part for me.

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  30. #479
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    @Dunnstar Thanks, although I am not sure about your crit. I think you might have meant that the furniture is too small for the character rather than the other way around because that is what I've noticed so please correct me if I am wrong >_<. For your hand, looking at your portfolio as a whole you seem to have a good grasp on the foundation of form and perspective. Right now the difference between your last hand drawings and this one is that the newest one is much more proportionally accurate after receiving criticism. I feel that the problem might extend from not drawing what you see and this is something quite important since the best reference you have is from life itself. This is a foundation which is highly emphasized at the APW(This is what I got from talking to one of the students there), they even start off doing tons of contour exercises to begin with as well as gestures before teaching construction and perspective because this is a very important foundation. Try and just take the time to draw what you directly observe without bias and you will see the difference.

    @platformer Thanks for the crit about the verticals especially on my life drawing part of my portfolio, I get where you were going about how failing and fixing leads to my progress as an artist and that is why I personally don't mind doing it. I just have this added external fear which extends from lack of portfolio time as well which supplements the fear of amending and dwelling on one piece for too long that I won't have enough time for any other.

    EDIT: Probably something weird to update on but I figured out how john's nose moves in space! If you look carefully there is a tiny overlap indicating that his nose is actually wider than it appears to be in the view it was placed in so now understanding this I can actually create a box form to help rotate the nose in space

    Last edited by kamikazel33t; February 13th, 2013 at 07:12 AM.
    CHECK OUT MY FRIEND'S SB OVAH HERE >> deer's sketchbook


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    Thanks Platform and Kamil (and yes, I did mean, furniture too small, my mistake) Easy enough fixes, though thumb will need rehaul and yes its a rubber ducky, gotta play with getting it squishy.

    One thing Kamil, I do have to make a slight disagreement with platform. The guy at Sheridan told me to avoid rulers, because it gets all 'mechanical'. Its surprising how straight you can make lines without rulers. I admit it takes alot of practice but no time like the present. Alot of people just ignore the freehand rule and do it ruler style. It's up to you.

    pepe: you wont usually be able to fit both vanishing points on the paper, you will have to eyeball it a bit. it's a freehand drawing afterall. Just sit down in a room and draw what you see, establish a horizon line. and draw, forget the vanishing points! draw, and you'll start to understand it! Start with gesture room drawings.

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