Episode 2 of #KnightsOfGuinevere is available NOW on YouTube! Layouts, volume 2 (part 1/4 🧵): Directing animation (still) means directing drawings! ✏️ HANDS: one kind of thing, among those that exist at the intersection of “tricky to draw” and “hard to get rid of”. Others in this category include eyes, noses, lips, ears, and the skull. Another thing that they’ve all got in common is that they’re real rewarding to get right. Here are some hands that I drew! 🖐🏾 The hands that we draw must be free to move (and sometimes be right in the viewer’s face) in order to have our characters fully emote, and so I tend to be particular about how their movement is informed by their underlying structure and mechanics. Styloid processes of the radius and ulna crown the forearm, extensor tendons of the back of the hand raise berms of shadow from the wrist to the knuckles, tender pockets of muscle and fat along the metacarpals will bulge out from contortions of the palm. ...Not all that stuff will make it into just any drawing, but having that background is important for giving these fiddly body parts some character. Big thanks to animators Jen Adams and Ammar Alarjawi for their wonderful hand performances included in this thread. More drawings to come, will be uploading more soon! #animation #glitchproductions

#KnightsOfGuinevere Thank you, everyone, for watching the second episode! 10M views in less than 3 days! 🥹 Layouts, volume 1 (part 1/5 🧵): Directing animation (still) means directing drawings! ✏️ This episode was the first wherein I was working from start to finish as Character Layout Director. These are some of my drawings from the episode’s first sequence! With the absolute legend Animation Director @DouglasDeAzev15 joining us and weaving the score of moving performances on the show with our growing squad of animators, I could dedicate time to set the foundation for consistent, striking character art with the newly established Character Layout team: at the time, working with @rnn_tweet and @awk3005. What we call “Character Layout”, “CHLO”, “CharLay” exists as an intermediate step, between animatic and animation. The animatic provides us with story context and continuity, and the basis of how shots are going to be composed and timed; while rough animation is a diagrammatic description of how to ink and paint the moving performance in full. Storyboarders drafting the animatic must work quickly and roughly in order to cover enough ground and portray the full runtime of the show — they each must avoid getting mired in the fine, fine details. Animators are many, and come from many different upbringings as artists, but have to converge upon drawing the same few characters in the same few settings — they each avoid getting mired in fighting against what they themselves love to draw and see in a performance. So then, our job in Character Layout is in developing upon the animatic and setting the animation up for success. 💙 So much more to come, will be uploading more soon! #animation #glitchproductions