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FunkyAl
Mar 28, 2010

Your vitals soar.


Right now I'm traditionally animating a short subject cartoon about a duck fihgitng a minotaur in a boxing match. You can see some footage of it here! https://www.youtube.com/watch?v=gKUKAB1Z9Wc

here's what the movie looks like before it is dumped into the computer and spit back out



pixelbaron posted:

Yeah, that kind of magic.

One way magic creators develop a trick is they come up with the overall effect/payoff/presentation (what the audience/camera/whatever is going to see) first and then work backwards from that point to figure out how they are going to achieve that magic moment in the best way possible. The way it worked for me this time around was the opposite: I was talking with someone about how they could utilize a couple of magic items they had and came up with something interesting during the course of the discussion that I mentally made a note of to develop further. So I developed the method first and then had to dick around and build up an interesting presentation.

Over the years, various magicians interested in magic theory have classified effects into various categories, like so:

Production (appearance, creation, multiplication)
Vanish (disappearance, obliteration)
Transposition (change in location)
Transformation (change in appearance, character or identity)
Penetration (one solid through another)
Restoration (making the destroyed whole)
Animation (movement imparted to the inanimate)
Anti-gravity (levitation and change in weight)
Attraction (mysterious adhesion)
Sympathetic Reaction (sympathetic response)
Invulnerability (injury-proof)
Physical Anomaly (contradictions, abnormalities, freaks)
Spectator Failure (magician's challenge)
Control (mind over the inanimate)
Identification (specific discovery)
Thought Reading (mental perception, mind reading)
Thought Transmission (thought projection and transference)
Prediction (foretelling the future)
Extrasensory Perception (unusual perception, other than mind)

This is just one example of effect classification, but this sums up everything that can be done in magic. Every piece of magic has one or more elements of the above, so you figure out what elements your trick has and then you research how to go about doing it. Each category above is going to have hundreds of variations depending on the objects you use and what you are doing, those variations are going to have improvements and subtleties added over the years , and so on, until the present day 2018.

To a certain degree you have to leave a portion of your ego at the door because there's no way to create something completely new and original in magic, you are always standing on the shoulders of someone else. You are usually coming up with some new way to present something, or a better way of doing something, or finding something that has been forgotten for 300 years and putting a modern spin on it.

That's kinda the gist of it.

dope as hell!!

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FunkyAl
Mar 28, 2010

Your vitals soar.


art transcends the political binary, its something deep and beating in the hearts of all men regardless of their character or idealogies.

smallmouth posted:

I take the snake in the second to be a reference to the crushing of the serpent's head in Genesis 3--Trump is fulfillment of a messianic prophecy for that kook. Apparently Trump is better than Jesus because his heel is not bruised.

seconded, this guy is creating religious paintings, his gods just happen to be the founding fathers, his messiah the flashing booming image that comes into his house on the tv all day every day.

who are the gods of the leftist pantheon? who are your gods, mine are porky pig.

FunkyAl
Mar 28, 2010

Your vitals soar.


doug tennapel is conservative and deeply some sorta weird christian and i think this is what makes his great work great and his bad work ham handed. like you need that sort of lunacy and biblical knowledge to create a work as compelling as the neverhood, but it can close you off being so committed to certain kind of introspective thought process, which i guess is the struggle we all go through, and why a lot of art can be expressed or viewed through lenses of extreme ideologies or religions or pokemon maniacs. you need to learn what the character of "jesus" is to express yourself in the form of a painting about jesus, or else it will not reach people who like jesus. or dislike jesus! but the more you know about jesus, the deeper the painting will be. however, this may incur the side effect of believing in jesus

FunkyAl
Mar 28, 2010

Your vitals soar.


You got any pen recs? Whats a good solid technical pen. Anyone like nibs? I love em but cannot always give them the ritualistic care they require to live

FunkyAl
Mar 28, 2010

Your vitals soar.


Al! posted:

i always feel like i shouldnt give reccommendations because im not a real artist but i always used to carry a set of prismacolor fine line markers that were excellent for doing tiny highly detailed landscapes

something awful user al! are you my doppel-ganger or am i yours.....

thanks for the pen recs btw everybody, I'm going to save them for when i start making comics again in......october

FunkyAl
Mar 28, 2010

Your vitals soar.


The Ayshkerbundy posted:

https://twitter.com/_ibcf_/status/950078736942051328
I joined this server a few days ago and I feel that some of you guys might be interested in it (particularly FunkyAl)

Already a member! But thanks for the heads up ayshkerbuddy, and hes right folks its good poo poo. good board.

FunkyAl
Mar 28, 2010

Your vitals soar.


I'm sad and mad and down about a lot, but I don't think I'm ever down about art. No matter what, it's always the thing I most like to do. It's like my oasis in the desert....

I saw 2001 a space odyssey in 70mm the other day and it made me remember everything I loved about cinema. I couldn't be even a little cynical about it!


Kanine posted:

random thing but does anyone struggle with having too much reference and getting overwhelmed? like recently ive found that keeping my reference down to just a handful of really good images helps me immensely in clearing out "mental clutter" and related problems

Don't use depend too heavily on online images for reference, they're all as flat as drawings are. Reference real world objects and do studies of masters of various art movements

FunkyAl
Mar 28, 2010

Your vitals soar.


How's everyone going on their quest for deeper meaning......I forgot what I meant by it, myself

FunkyAl
Mar 28, 2010

Your vitals soar.


Go to art school and Have Fun

FunkyAl
Mar 28, 2010

Your vitals soar.


Triumph is i think when the art matches the music in your head

Yo do any of you guys have good freelance resources...like where do people post seeking that

FunkyAl
Mar 28, 2010

Your vitals soar.


avshalemon posted:

a hall of psychological funhouse mirrors

I think you should work with this burden and make any new paintings you create appear to be explicitly interacting with each other

FunkyAl
Mar 28, 2010

Your vitals soar.


mutata posted:

I'm happy Lasseter is gone given what we know about the environment he was cultivating at Pixar. There are sooo many amazing people there who are just waiting in the wings to tell good stories. Doctor will do well, I think (and hope). Lee over Disney Feature is a perfect choice as well.

Then again, I hate Cars and the whole Cars universe, and that was Lasseter's baby so maybe I'm biased.

My hope is that Disney completely collapses in the next five to ten years and the people "waiting in the wings" realize that they could have just made their own poo poo the entire time, instead of spending fourteen years developing hyperrealistic water churning effects for a bugs life 2: flik's miserable

FunkyAl
Mar 28, 2010

Your vitals soar.


mutata posted:

Need money to eat and live, etc. Also it turns out people who make water effects, for example, are FX artists who like being paid to make effects.

If like twenty disgruntled pixar employees saved and invested and pooled together a little money over a few years, they could leave and produce their own movie at their own studio, in some garage. Places like bisney/bixar are held together by the false contention that only they know how to make an animated movie, and that animating a movie requires constantly the most cutting-edge technology ("magic") and a huge isolating campus with eight million amenities. Its a lot riskier and theres no garuntee itll work or anyone will make money, but it seems like more fun to me than making increasingly bland cgi funventures for your two bosses, a rapist and an algorithm

I saw Sherlock Gnomes at the theater earlier this year, and the most impressive thing about it was the water effects. The rain, the churning, it was all really phenomenal. But obviously, the movie sucked, the photorealism didnt help it at all. Is there a point to spending so much time and money generating aesthetic effects that are functionally and creatively disconnected from the films purpose? Did the film ever have a purpose, besides that the first one was mildly successful and they could make another one? Does any big cgi film?

What is the purpose of the human creative impulse?


Kanine posted:

quick question: do u like to listen to music when you work, if so what kind?

https://youtu.be/IYrySQsMjdE

Have you ever watched a moooonbeeammm

As it slid across your windowpaaane

FunkyAl
Mar 28, 2010

Your vitals soar.


mutata posted:

Ehhhhhhhhh you're not wrong in general, but some people (A) like Disney and enjoy working for them and having benefits, (B) don't want to switch from having a well-paying job on comfortable campuses working on guaranteed high-profile high-budget projects with like-minded people and top-of-the-field artists and TDs to launching a business from the ground up, chasing funding, and pitching to an indifferent and over saturated audience. Most people who start their own teams end up doing everything EXCEPT producing art. Different strokes.

There are a LOT of artists who go through Dis who feel the way you do, certainly. They pretty quickly cycle out though. The ones who stay are generally the ones who like it.

There's PLENTY wrong with the Mouse (I worked for them for years and they shut my division down and laid us all off), but I don't blame people for wanting to work there.

I don't blame people for wanting the job either, I just think a lot of the problems people have both within and outside of places like disney could be easily solved by the people working there. If everybody there, the top of the field artists and TDs and renderers and everybody, all quit at once and started their own things, we'd probably have a healthier media landscape and people like lasseter would be less able to abuse their power, because the power would be less consolidated in once place like that. And I know thats a huge stretch, but philisophically I think its important to realize a company can't actually work without the input of the individual actors.

Internet Kraken posted:

So then they do that and it bombs because, regardless of quality, movies live and die by their advertising budget. Sure the quality of the movie might be amazing and it could be a cult classic but that's small comfort when you are suddenly unemployed and have to claw your way back into a highly-competitive job market.

It'd be nice if we lived in a society where people could freely explore creative interests without worry but the world can't even agree that putting children in cages is bad so that's not gonna happen. I'm pretty sure most people at Pixar are quite happy to have gotten a job with their talents, even if it they don't get to be the creative director. Besides, every day at work they build skills that will help their own personal creative pursuits, which I think is pretty desirable.

Perhaps, but in a smaller production like that you're contending with a lot less pressure than a studio-level movie is, for a smaller audience, for a larger total percentage of the film's profits. You don't need to have your movie advertised on cans of pepsi to turn the profit you need, you just need to find ways to effectively reach the niche audience your hypothetical film would hypothetically need to. The question of HOW to do that is the huge obstacle, but there's all sorts of options available to you that a big company wouldn't be flexible enough to try. (example: tour a film city to city, buy local ad space as you go as opposed to dropping a big sum on one national campaign, strategically build online buzz and anticipation for film arriving in YOUR TOWN.) Failure is of course the most likely outcome of this kind of endeavor, but that risk is an essential part of true creative freedom. And in the end, your failure is probably going to more impressive and teach you more than most people's successes.

Here's Ralph Bakshi talking about what I am going for https://www.youtube.com/watch?v=WApcUBcVMos Ralph did it! So why can't anyone else?

FunkyAl
Mar 28, 2010

Your vitals soar.


When the world ends i am going to move back to the jungle and eat a banana and scratch my balls

FunkyAl
Mar 28, 2010

Your vitals soar.


Tollymain posted:

i dont even have the strength to focus long enough to cook a meal anymore lmao

like sure big pharma blah blah blah but also i need something to work for my bullshit that isnt multiple ounces of weed a month

speaking as someone who was smoking about daily for the past couple years, quitting weed is probably also gonna help your focus and motivation. Ive been on "the wagon" about a month and am noticing i am much sharper than i have been for a while

FunkyAl
Mar 28, 2010

Your vitals soar.


Great art is sometimes cathartic and you can only make something cathartic if you understand what it means to suffer, and it can only be understood by people who have also suffered. It's less about the actual act of suffering and more about what you construct out of whatever your life experience is

FunkyAl
Mar 28, 2010

Your vitals soar.


I'd be interested in hearing what the different things you want to do are!

FunkyAl
Mar 28, 2010

Your vitals soar.


Its simpler thank you think; Just move to the ocean and spend the next several million years evolving into a dolphin, and then die and become a skeleton

FunkyAl
Mar 28, 2010

Your vitals soar.


i've defenitely seen those and badly would like a book of em. they remind me of galapagos. the book not the place.

folks, what are some of the predominant art movements today. what names would you ascribe to the things people do. there's more than post-webinar gutless dada out there, what do you call it! what do you call yourself, i say I'm a "furry neorealist" but, also say this as the caveat that it is more of an expressionism thing than an identity thing. furry neorealist expressionist. cartoonists.

FunkyAl
Mar 28, 2010

Your vitals soar.


I think neo dadaism is administered and exploited by corporations moreso than it is a reaction to them

FunkyAl
Mar 28, 2010

Your vitals soar.


avshalemon posted:

right now i'm working on a few things but this is the strangest



trying to get a native australian forest growing in colourful plastic waste receptacles, i have seventeen species so far and hope to end up with three hundred or so, and then if i can make enough noise about innovation and sustainability and engagement with the byproducts of our throwaway culture, maybe somebody will pay me to arrange them in public to be contemplated by the people for 2-3 weeks

looking forward to the show opening, in a way you will be "throwing away" those ideals. What kinds of plants are they!

Is contemporary art defined by its relationship to the present or a certain presumption about its relevance? (or materials? the people who make it, something like that) All art is a depiction of what can only be the past, so the only way art is contemporary is that it can move people, in the present, from the past.

FunkyAl fucked around with this message at 03:46 on Jul 22, 2018

FunkyAl
Mar 28, 2010

Your vitals soar.


Also the painting is hella good, its a completely obvious, universal visual anyone can get but it takes a genius to think of that

FunkyAl
Mar 28, 2010

Your vitals soar.


Fortis i think you should try diversifying your output! bsf's clearly a project youre passionate about and comitted to finishing, but if its the only way people can access your work its going to be a harder sell the longer and more involved the story gets. It doesnt have to be fanart, it could be sketches or work in other media or ideas or pieces from other projects youre working on, or tangentially related stuff from the blasphemous fantasy world, or short comics or whatever! How about a side story where the slug king is a high roller at a casino, trying to attract some casino woman, or a better idea, for example! Fresh stuff that can draw people into the work youve already made.


Fortis posted:



Well, thing is, it was that post in the general webcomics thread about a week ago. As you pointed out, it was probably poor timing. I was all amped up about it because usually I just post a link and head on my way, but this time I curated like 12 fuckin example pages and put a lot of effort into it. And those text only posts got clicks while this one got none. So that hit me kinda hard!

Otherwise I haven't been putting enough effort into shilling myself I guess. I don't really know where to go to advertise these days and I didn't know how to get people interested when I did (maybe my project wonderful ads were bad?)

You should also not beat yourself up about these, i dont know if theres Really anyone who was sucessful because of forums posts or pw ads. Maybe josh lesnick was but thats because he was selling porn to teenagers. Those avenues didnt work for you but there might be others that will. Its not about the amount of effort you apply, but how effectively you can apply it. I think.

FunkyAl
Mar 28, 2010

Your vitals soar.


What do you guys think the good solutions are for advertising? Ive been thinking the reason tumblr and twitter arent very helpful is beacuse theres not a lot of options wrt who youre targeting the comic too. You can tag things like #comics or #sliceoflife and theres a higher likelihood that youll reach someone, but its all individual people whose interests already fall in that category, who are looking out for it, which becomes ESPECIALLY unhelpful when the comics scene is as diverse in subject matter as it is. So what are the ways to find and direct people who would like your work, to your work? How do you target groups? Personally i want to try buying a billboard in a funny and strategic location but it will have to wait...until the time is ripe

Instead of porn i think we should all focus more on casual "hangout nudity," and to this effect i am offering a spectacular prize to the poster who can identify the three pages of duck comics in which nemo the duck's penis is visible

FunkyAl
Mar 28, 2010

Your vitals soar.


How come kink poo poo never makes me reflect on the complex ramifications of the act of loving someone?

FunkyAl
Mar 28, 2010

Your vitals soar.


Tollymain posted:

what youre looking for is usually called aftercare


that there is a kink hashtag for the basic, intuitive act of showing your partner affection after sex says more about internet kink content than i ever could

FunkyAl
Mar 28, 2010

Your vitals soar.


Here is my thought more specifically, and written less like a online b-hole: human sexuality is a beautiful, complicated thing and i think theres an incredible depth to the subjects you can explore related to it. But when i look at online content, kink and fetish stuff and all that i feel aliented by most of it. Its like everyone is focused on one act or one property, whatever their "kink" is, to the exclusion of all the other vital components that make sex sexy. Who are you with? How did you get there? How do you feel about them? How does sex change your perception of them? Does it change their perception of you? Where does love come into it? Is love leaving it? Where does love come from in the first place? Maybe its corny to ask, but where IS the love?

This is all of course maybe silly to ask of content that is intentionally masturbatory and to make $$$$ but i think a lot of porn artists could be reaching more, theres too much thats like an escalating series of inhumanly gigantic asses, or various video game cartoon characters having specific things done to them, or blah blah blah blah.

I like jess finks work and ovens, for instance, because they approach those kinda feelings in their work. Sex with depth. Like in real life, but still ultimately far less fullfilling. But closer.

FunkyAl
Mar 28, 2010

Your vitals soar.


gmc9987 posted:

I'm guessing that for a fair number of people, not having to reflect on all that is one of the benefits of looking at porn. Sometimes people get horny and just want to get off and maybe they don't need to push the boundaries of narrative art to do so.

Personally, I would like to see some of what you're discussing up there show up in mainstream non-porn stories. Sex is used as shorthand for a lot of things - like, a quick way to show people are in love or as a reward for saving the world - and there are a lot of other, more interesting ways to show these relationships that are definitely way harder to do. For that matter, i think too much emphasis is placed on romantic leads in stories, shoving any non-romantic relationships out of the picture almost entirely.

To me anyway, expecting these kinds of existential questions to be addressed in material designed specifically for people who are acutely horny and want to become not-as-horny seems like kind of a frustrating path to be on.

It is less that i expect it, or think all these considerations should be exhaustively answered by artists, but more that there is a certain human tenderness lacking at the core of a lot of sex-adjacent work i see online and i worry that its making people colder. This might just be a problem i have with porn in general though.

And i agree with your second point, except that i think i would like to see way more emphasis on romance in movies and that the reason "getting the girl" tropes and such are so uninteresting is that the mainstream stuff,isnt asking these questions either

FunkyAl
Mar 28, 2010

Your vitals soar.


avshalemon posted:

my book is all about aftercare, the sex is over and done with by the time the story starts and they're stuck in the interminable part of the relationship where one partner is insane and the other one is trying to stop them from killing themselves, but then due to inadequate amounts of aftercare the insane one dies anyway and turns into an undead deep-sea jesus that kills people with xenosonic frequencies, as is inevitable in this age of sham marriages

Av i want to read your book!


avshalemon posted:

i mean it has this too

legit read this as you confessing you have a fetish for ovens

Whats hotter than an oven?

FunkyAl
Mar 28, 2010

Your vitals soar.


Doctor_Fruitbat posted:

Digital, I guess, since that's the easiest option for me to play around with during lunch at work. I am just not up to speed on colour theory at all though.

Don't overthink it! Color theory's vital for understanding color and how it relates to itself and what kinds of color combinations are effective but eventually you're going to start noticing relationships outside of what it can suggest to you and thats when your work's gonna "become itself" so to speak. Always keep your eyes open, always look at how light and color are interacting with objects in the real world. You DO have an eye for judging and picking color, or else you would not be able to see color, so this is what you refine. I'd also recommend getting a limited palate of cheap watermedia in addition to digital, its easier to figure out how colors blend that way.

FunkyAl
Mar 28, 2010

Your vitals soar.


Internet Kraken posted:

I'm trying to understand colour theory and running into a pretty big issue.

so I understand the concept of warm and light colours. I get that you usually want your lighting and shadows to be close to opposite on the colour wheel. What I don't get is, when you go to actually apply this to a drawing, what shade of these colours you should use. Cause if I just use coloured lighting near its max hue value it looks weird as hell in most cases. How close to white are supposed to make it? How close is the shadow supposed to be to black? Am I missing something obvious here? It just feels weird.

Observation will help you here more than anything. Look at how the light changes, spilling on an object over the course of a day, paint a white wall and try to get the colors its reflecting while still maintinging its "whiteness," See how different colored lighting affects the local color of things like skin (ideally irl but movies are good practice for this) and other stuff.

Other than that, I think the question of "what color to use" is better answered by "what tone do I want?" No colors ever just white, even white aint just white, and barely anything is the most saturated form of the color. You have thw whole spectrum to choose from and theres no color it "should" be but the one suggesting the feeling you want it to.

FunkyAl
Mar 28, 2010

Your vitals soar.


You guys ever think about multimedia? There's always the idea in your head but who knows how it comes out and how the lens changes it. A camera's lens replicates something close to an approximation of the human eye, but it is difficult to pin down your eye's own approximation in the form of a drawing or a painting. the process of the media of each changes the end result, if a painting can never be "photoreal" like a photograph can but its merit is jusdged at least in part by its relation to that, either in trying to approximate photorealism or trying to stray from it. Even a photo is only photo real, and not the really real. what's real that a photo cannot replicate but a drawing can? what can motion do? If there's so many ways to approach and idea or explore a concept, why not use now all the available options? I've been thinking I want to create related works in different media or genres of media but i also don't want to make it dense and unreadable. Like approaching an orb from many angles, like how the orb the earth has many stories at many points, I want to just make a world to inhabit concepts in. But if it's like a world, if we are reading that "world's" media, it makes sense that the media is diverse. Is media all we know about places we've never been, is it all we know about the past? Why live in "living" media when the best it can depict is the recently dead? This post is in the past baby, you're reading the past! Can cheating death cheat life? The imaginary things one depicts from their head are not real, clearly, but are the expressions you make of them? The lines are all there, do they mean anything? Why and how do they mean something?

FunkyAl
Mar 28, 2010

Your vitals soar.


lofi posted:

Timecubism?

Yes.

FunkyAl
Mar 28, 2010

Your vitals soar.


Al! posted:

i think about multimedia cdroms like, all the time. is that what you mean?????





one of the projects i've been kicking around in my head for a very long time but have only made a few abortive attempts on is to create a series of fictional interpretive centers, like you see in national parks in something like unity or unreal engine. it's probably my strongest "game design" idea but unfortunately i get frustrated trying to do 3d modeling to the point where it's physically uncomfortable to continue working on it.

I mean it all! Multimedia's an incredibly diverse concept I think....a film is audiovisual, so were operas, they count as multimedia....CD-Roms totally! Sketches of Things that would later be paintings or tapestries. A movie based off a book. ARGs to promote dumb 2000s movies. etc

FunkyAl
Mar 28, 2010

Your vitals soar.


Never forget shadows aint just for form...theyre for drama!

FunkyAl
Mar 28, 2010

Your vitals soar.









I wrote a little thing in my sketchbook....and here it is! There is at least one very conspicuous typo

FunkyAl
Mar 28, 2010

Your vitals soar.


When is something art? What point does the art begin, is it a point in your soul? What's to a song that makes you feel it? Everyone can sing, so how come some people clearly can't? Is it real? Did it change you? Can it change you? What's changed you lately?

FunkyAl
Mar 28, 2010

Your vitals soar.


Fair points all! However there's defenitely a difference between things that are art and things that are of observable quality. Art I think is related to truth and creating meaning within a life. There's a reason people have always marked their environment or created myths and music and images and rituals, you can forge meaning within the fact not just that you lived, but were of a certain time or tribe or place or feeling or any aspect of an human animal living and sensing. It reflects your life and environment and is some way real. But would you call propaganda art? There's an art to it, like there's an art to all design, but does intentionally manipulating and obscuring symbols for the purposes of a state or other entity rob it of its true soul? How about people using principles of design to create eye catching packages? Can you actually call the image on a box of oreos art? It's more like copywriting. What do you call a bazooka joe comic? You can make art within a commecial context, but if you let it get too commercial something does bleed from it. The sistine chapel is about as good as the avengers movies. Both are worthless in the eyes of grizzly man. Or pinocchio!

veni veni veni posted:

I always find “what is art” conversations to be silly, because I believe there is good art and bad art, but it is all art, and it’s all totally subjective and not even worth discussing.

Subjectivity is most of what makes something worth discussing

Somebody fucked around with this message at 04:53 on Oct 8, 2018

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FunkyAl
Mar 28, 2010

Your vitals soar.


incredible flesh posted:

21st century performance art peaked early with 9/11

just you wait for "the 9/11 kids"

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