Running Indian: Skin Color Test

I just finished the coloring of his skin and the tones I had picked out and animated. I like how the forms animate in color, but I am not convinced this is how I should do it. I think the lightest skin tone on the legs and belly confuses more than they do any good, so I am doing a pass where I take them down to the mid-tone brown.

All in all a good test and a nice preview to how it will look when the coloring is done.

Running Indian: Animation

About a month ago I finished the first pass on this animation. The first pass took about half a days work. I finally had some time today to continue my work on it.
Today I've straightened out some arc issues and I feel it's ready for me to move along.

I did a fast color pass on the legs and feet to experience if the kick forward will flash or disappear in the entire shape. It is through color and value that I would like to make this clear as much as in silhouette.

Here's the linetest

Here's the color test

I was positively surprised with the colortest and I believe it will be possible to find the right color for underneath his feet to have them stand out, yet not flash. I set the colortest up against another background than white to ease the eye as it will be when a real background is made in the same value as the blue I chose.

Running Indian: Thumbnails

Some time ago I did a drawing of an indian man. I, along with my mother, thought that this was a very successful drawing and I really wanted to take the character further and use him for some animation. The drawing can be seen further down the page.
At first the idea was to do a close up scene with him using the drawing as a keyframe to get started. However, the God of Doodles had another plan! While doing a playblast of a scene for Cartoon Saloon I started to sketch him in a full-out run. The sketch had a good raw energy to it (first one was the one down in the right corner) and I kept on going almost keying out the poses for the run.
I did the sheet in about half an hour, threw down a few notes, scanned them in and started working them over in TV-Paint adjusting them for animation.
I love the feeling of being on a roll putting every line down in just the right manner. (Not every line maybe...look to the lower left corner) Feeling the flow of what the drawings would be like in motion.
when I sketched these out I tried to have in mind all the time how to take it further than a simple generic run. How to add an interest to every sketch, while still having it compliment the previous ones. When every sketch is strong enough on its own to show what's going on, then the foundation for an appealing animation is laid out.
Going into the first pass on the animation the drawings will have to be adjusted to unfold an overall pleasing flow playing out the motion intended. This can be a very hard compromise, I think. Maintaining the uniqueness and strength of the sketch while toning it down to be a part of the continuity is a delicate process. In the end it should only make the scene better, so the compromise should be to strengthen the animation without taking too much away from the single frames.
Next post I'll show how I am trying to get through this process safely with strong drawings together making a strong animation.
As always I am very interested in hearing your thoughts on the matter, so please don't hesitate to leave a comment, thanks.

Another scene in the bag!

Above clip is copyright property of Cartoon Saloon

(Text incoming)

Seanduine silhouette animation

Here are the two first scenes I have animated for the short film, Seanduine, accompanying an old Gaelic folk song. The song is about a young woman marrying an old man for his gold. My classmate, Louise, animated the old man chasing the donkey in the bottom scene.
Enjoy!

(The clips above and below are copyright property of Cartoon Saloon)