So I will share my "other" art for the next few months as most of the character assets will be under wraps at least until we publish the app. But I have other quick art to share along the way and I can still talk about the process and provide the resources and journey textually, right?

So the next couple of days I'm looking at PERSPECTIVE. I need to nail it down for my Duke Day For Annie as well as for the other projects (Whateverafter, Becoming and Lytee).  As a matter of fact as soon as I finish the post I'll be sitting through this one: Four point perspective, and later on review some videos on animating in FLASH.

When I say nail it down, that means at one point I'm going to have to get obnoxious about drawing everything I see. I've found if you do it so much you don't have to "think" about, have a REAL grasp, it has an immediacy and power and you become fearless. I had actually learned this in artschool. I had avoided hands and feet as a kid, because they were too "hard". Granted my then-drawing teacher Ed Douglas had the modernist mantra droning in my ear, but it was still a joke enough that when I would draw it I would also label it: "This is not a CHAIR!".

Even then with the text and image.

But we were to draw hands and feet for a week, and a strange thing happened. After a few days of frustration, I not only started concentrating on the relationships, but fell in love with creating their image. I did compulsively, obsessively, can't-sit-my-butt-down-without-drawing-hands-and-feet for a month. Now I understand their forms so well, I can "draw" a hand from memory, because I understand how their forms work and relate. Which doesn't take away from the best way to draw, LOOKING at what you're drawing. It all just adds to the image, I think.

I did the same thing with the letters "r" and "s", when studying calligraphy. They were my problem letters. So I did them ad nauseum with the same process. By gummy my "r"  have rhythm and my "s"es are downright springy!

In other words, embrace what you avoid, often times you do it because you KNOW you lack. So give yourself that spontaneity and power.

Last night watching a bit of the tube, I could only allow it if I were drawing. To my surprise, I'd drawn Oscar enough he fell off the tip of my Sharpie. Which is fabulous because it will be easy to create a number of images of him and more naturally animate him.  Probably to get a little freer with him as well. Now to give myself the rest of the characters this week. Today I think will be kingfisher, koala and if I have the time, Duckbilled Platypus, because I keep "seeing" him.

Till then, this is my current "Agy" project for my Cafe Press Store, Imagyne. I have another one that is more calligraphy and writer, oriented, Agy Shtuff. My sister had suggested doing a series of "eyes". I had thought about play on words (this means Snake Eyes, in case it's not clear, lol).

Mama got back-- OUTBACK!

Any good writer knows  you have to have backstory, background. It's the same for illustrators. In this new venture of ebooks, the great hope is to animate the books. In order to do that, all the characters have to be made separately so they can be activated as it were. So thinking about the illustrations for this has been a different process. I was lucky through a series of posts to have found Tom Bancroft's books mentioned earlier. They've not only helped with considerations of how to build and animate the characters, but also with how those characters act within their environment. In this case, I'm trying to think of the background (and approaching it) as another character.

Because of time constraints, consistency and my computer's limitations, my plan has been (we'll see if it actually works out that way, HA!) to paint one overall background. I can crop for closeups and build on it. This is the very early planning stages, but I can already visualize Oscar's sleeping log, and where he looks in the waters edge while Kingfisher dives for a meal. Have to reference more flowers and mulberry bush and gum trees, and place them within, will also need to RENDER this (this is a very rough sketch). I also found a great blog on Background art... just a mighty fine thing (coming from someone who always resented having to concentrate her drawing on anything she didn't want to and that would be surroundings, until I realized that surroundings ARE part and parcel to story and character): animation backgrounds with Rob Richards

I need to get new ear buds, I think when I do, I'll put on some outdoor sounds (maybe I can find an actual billabong recording ala Edgar Winter?) when I do the finished renderings, but I'm loving the process! I think I will also include my thoughts on my own book (Duke Day for Annie) as I'm working on them simultaneously and hoping they will both be presentable before Christmas. Yeah, when I take a bit of the pie it's not a small bite, I oftenshove the whole thing into my open maw!

So the ROUGH background!

Back to it! I'm excited and glad to be back working. I share an update, and hope to be working on process and such as well as sharing it all in the upcoming weeks. First, I had a few epiphanies over the interim weeks. I need to simplify, clarify and color-ify (is that a word? It is now!) my work.
     Ebooks are differenter than publication. One of the reasons I wanted to do this project, I knew it would help my own personal projects. I love animals, but being able to paint someone else's pictures (like teaching) means I can rethink some of my projects because the process is self-clarifying. I will share the finished second illustration and a few changes, because it will no longer BE the second illustration.  I'm currently reading Will Terry's WONDERFUL, must read-blog (to me at least! http://willterry.blogspot.com/) and already stumbled over an affirmation (remarkable how comforting it is to have that kind of reinforcement, kind of like I'm on the "right track").
      In his post on "I live to Create" he shows his process of one of his drawings. Somewhere down the line he notes how his character wouldn't fit through the door. "This is where I realized that my little mouse would never fit through the door. Sometimes when I get working along I lose objectivity and this is a good example. I had to come to terms with the fact that if I wanted it to look right I would have to spend an extra hour or so fixing my mistake. So, I had to cut out little mouse and move her forward in front of her vegetable basket. In the past I would have settled. In the future I'm sure I'll be able to spot the places where I settled in this image."  Not to mention, the fact I learned a few neat tricks (I actually "mastered" Photoshop, because I've taken his online course through his Folio Academy).
      Anyhow, this has been true for me. In this example, you can see the original drawing of the characters in Oscar's dream sequence...

     What I realized after I'd colored most of them, the proportions didn't work. I enlarged and cut and pasted and learned quite a bit in the process. I now feel enough confidence changing in the middle (or even the end) isn't so scary and far superior to not being happy with the result. 
     What I ended up with...

      I like it far better as far as proportions go (HA! the ADD, dyslexia which CAN be amusing and informative kicked in, and I'm going to talk about how it is to work with THOSE kinds of differenter, and I'd written "propoortions" before I corrected. Talk about FREUDIAN, lol!). But now I don't care for the colors or composition. It's interesting, but it's too busy and I don't think it will translate to a small screen, which is a goal. 

     I'll be reading the rest of Will's blog before I restart, but restart I must. Don't get me wrong. I will probably use this as a start, and I will more than likely keep some of this flavoring (not to mention I have to be considerate of the REAL colorations and animals. Who knows, I may cut and paste, remove, redraw and play with this particular drawing. But I'm sure what I end up with, won't look like this, and I will like it better. It will be more of what Oscar ordered, because I can tell, he'd really love to have his story told to the very best of my ability. So another cup of peach tea and then back to the mulberry tree, with me!