symbols of cymbals

yep. cardboard back scratchers

people i didn't see while not out sketching them

I spent some time not drawing people I didn't see and these two where probably the most prominent out of the whole none of them. There wasn't quite an unbunch to look through i can tell you. After i finished not doing it I had a good stand up and no cup of tea.
I learnt a valuable lesson though... and if we can all do that every day then by the end of a month we'll have learnt 30 lessons (unless it's february)

less4on four four

click on image to gain an insight into how exactly the big wigs animate jelly headed bowls of spuds traversing a beauty spot on a neato summers morning day day when they have left their arms at home or in the shop, that's a 'store' to any readers from New bangers or Montreally good. Oh thanks

Lesson 12. the theory of 'Dog'

One of the common causes of dog animation in cartoons is a story (or 'plot line' as we call it in hollywood) about some sort of canine. If you refer to lesson 'zark' I am sure you will guess my next point.... yeah that's correct. Dogs have four legs... which is triple + one hard to animate. For this reason Montgomery Clift sat down with boffins in 1867 (the golden age of radio) and invented the 'sat dog' approach to the problem of the four legs. This method demands that if a dog or dogs are to be depicted in a cartoon film they should be sat down. Pretty much anything dog shaped can and will look fine sat in the direction of down. This weeks assignment will be go out and buy some dogs and observe them like Teste Zoom Bang does in Spain. If you cannot afford a several dog then go to a neighbours house and peer through the windows at anything sat down on the chairs. Do not forget your patented leather 'animators balaclava' though. With all the weirdos about these days you can't be too careful.

animation lesson number five

Lesson seven is about the creation of interest in your film or movie or film. in the above example you can see clearly that there is a tension in the air and the young revolutionary fellow is all too aware of his own mortality. Obviously you will be unable to summise your own story in so few lines. I am however, a proffessional of many years standing and so can instantly capture the imagination and attention of the viewer, drawing them into the story itself. Such lofty accomplishments will come in time but firstly i suggest you make a simple scene wherein a man who has recently lost his umberella on a bus (very common, making it more easy to animate). he of course purchases another, well you never know do you? On returning home he finds that his original umberella is by the door where he left it and not as he thought 'lost'. As you can see this is a straight forward, up and down premise. for added simplicity use stop motion animation and nothing but eggs. good luck

animation lesson number zark

Lesson number one is simple. When making a walk cycle first thing to do is design a character with no legs. Obviously one leg is easier to animate than two. this logic naturely concludes that animating 0 legs is easiest of all. On you go then kiddies, give it a red hot go

yeah yeah yeah....no

Did yer notice how coronation street is filling up wi' cockle knees and all that pavlova? yeah, well i did and let me tell you kind faced idiot that you are... I plan on doing something about it!

they're selling dreams in creams

they're selling dreams in creams
Hot love swinging from beams
laughter 'til you bust yer seams
bus journey ball room in your jeans
All day sunshine parks with themes
No matter the direction that a fellow leans
old cripples or cheeky teens
no one will question what it means
to have your dreams realised by marketing teams.