Aspire to Inspire - Artwork, Music and Musings.

Where art, design, music and performing arts collide into one amalgamated crushing noise and filtered through my brain, down to my fingers and on to a website. My name is Bryan Hancox and welcome to my world.

rgfellows:

dandraco:

hollyoakhill:

do you ever think about how little Michelangelo cared

All right, everyone, grab a chair and sit back because I’m going to share with you what I learned about Michelangelo and the Sistine Chapel in my Art History Class.
The man NEVER wanted to paint the damn thing. But the pope at the time “forced him to” According to my teacher. Michelangelo hated this man, I MEAN REALLY HATED HIM. So did a majority of people. The pope’s nickname translated literally means “Terrible pope”.
And the working conditions were awful. He had to work on his back with all that paint, which is filled with some toxic shit that gave Michelangelo a limp for the rest of his life. (Also, our teacher made us get on our backs and try drawing with both hands JUST to prove how bad and uncomfortable it is.)
At the time, the ceiling was so high, you could barely see it. You need binoculars to get a good look at what’s up there, by the time people could see the paintings, there was a lot of weird symbolism that Michelangelo hid up there.

This one? The creation of the sun and moon? God is mooning you. And the pope and all others after him prayed under that without knowing.

This one? At the time, dissecting was sacrilegious and everyone found out how behind God was what looked like half a brain. blah blah, science, science, that pissed everyone off.
And also, ALLLLLLL the men and women in the Sistine Chapel are all on fucking steroids. My teacher described the women’s bodies as "Men bodies with boobs slapped on."
And then there is this:

Now this is the back wall. Michelangelo actually wanted to paint this one after he finished the ceiling. (and there was a different pope too, I believe.) However, originally, EVERYONE in that painting was naked. And they didn’t like it. Adam and Eve naked? That’s cool. But Jesus? Now you crossed the line. So the pope at the time hired someone else to censor it and give the important figures clothes. He worked on it for 6 or 9 months before he died.
And then the symbolism in this one is great. Somewhere in the right, there are homosexuals in heaven. (No matter what, the Vatican will say “Those straight men are happy” I’ll get to that in a second), Michelangelo painted himself near Jesus, and the terrible pope is in hell with a snake biting his balls.
And if you were to point ANY of this out to the Vatican, they will deny all of it and claim Michelangelo was a catholic hero. In fact, when they discovered the symbolism around the 60s or 70s, the guy who told the Vatican was kicked out of the Vatican for life.
TL;DR: Michelangelo hated the pope and made the best “fuck you” of all time.

YO. ALL OF THIS^. Michelangelo was hella grumpy all of the time. It was fantastic.
However, as beautiful as this commentary is, I’m gonna make a little correction. The Pope isn’t the one in hell getting his balls bitten; that guy is actually the Papal Minister of Ceremonies a the time, Biagio de Cesena. 
See, when Michelangelo was painting this, as you said, lots of people were uncomfortable with all of the nudity (especially because the Last Judgement [back wall mural] was painted much later when nudity in religious art was even more controversial than before), but the dude who was the angriest was de Cesena. 
He was so angry that he reportedly burst in on Michelangelo while he was working (which is already a big no-no because Michelangelo’s requirements for working were mostly “fuck the hell off and leave me alone or else I quit and I will stab you in the eye with my paintbrush/chisel”.). He then proceeds to tell Michelangelo that this fresco is disgusting and obscene and shame on him etc etc. He also referred to it as “i stui di nudi”, which means “A stew of nudes” which is one of the best descriptions of a thing ever, if you ask me. 
So Michelangelo, probably on the cusp of homicide is like “Thank you for the notes. Now get the fuck out,” and de Cesena reluctantly does. 
Later, he comes to see the finished product and finds that Michelangelo had painted his portrait down in Hell to represent the Minos, King of the Dead. He has the ears of an ass and the above described crotch biting snake:

Upon seeing this and being enraged, de Cesena went to the Pope to demand that it be changed and that Michelangelo be punished. However, the Pope was SO incredibly done dealing with Michelangelo’s snark, tantrums, and general hatred of the world and everyone in it, that he didn’t want to do shit. 
The Pope’s response to him was literally to say “As Pope, I have a lot of influence on Earth and up in Heaven, but I have no jurisdiction in Hell. You’re shit out of luck.” 
And it stayed.
Michelangelo, grade A artist, snark master, and professional dick.


An amusing quick art history lesson, how could I not share this?

Reblogged from megadarkscarecrow

rgfellows:

dandraco:

hollyoakhill:

do you ever think about how little Michelangelo cared

All right, everyone, grab a chair and sit back because I’m going to share with you what I learned about Michelangelo and the Sistine Chapel in my Art History Class.

The man NEVER wanted to paint the damn thing. But the pope at the time “forced him to” According to my teacher. Michelangelo hated this man, I MEAN REALLY HATED HIM. So did a majority of people. The pope’s nickname translated literally means “Terrible pope”.

And the working conditions were awful. He had to work on his back with all that paint, which is filled with some toxic shit that gave Michelangelo a limp for the rest of his life.
(Also, our teacher made us get on our backs and try drawing with both hands JUST to prove how bad and uncomfortable it is.)

At the time, the ceiling was so high, you could barely see it. You need binoculars to get a good look at what’s up there, by the time people could see the paintings, there was a lot of weird symbolism that Michelangelo hid up there.

This one? The creation of the sun and moon? God is mooning you. And the pope and all others after him prayed under that without knowing.

This one? At the time, dissecting was sacrilegious and everyone found out how behind God was what looked like half a brain. blah blah, science, science, that pissed everyone off.

And also, ALLLLLLL the men and women in the Sistine Chapel are all on fucking steroids. My teacher described the women’s bodies as "Men bodies with boobs slapped on."

And then there is this:

Now this is the back wall. Michelangelo actually wanted to paint this one after he finished the ceiling. (and there was a different pope too, I believe.) However, originally, EVERYONE in that painting was naked. And they didn’t like it. Adam and Eve naked? That’s cool. But Jesus? Now you crossed the line. So the pope at the time hired someone else to censor it and give the important figures clothes. He worked on it for 6 or 9 months before he died.

And then the symbolism in this one is great. Somewhere in the right, there are homosexuals in heaven. (No matter what, the Vatican will say “Those straight men are happy” I’ll get to that in a second), Michelangelo painted himself near Jesus, and the terrible pope is in hell with a snake biting his balls.

And if you were to point ANY of this out to the Vatican, they will deny all of it and claim Michelangelo was a catholic hero. In fact, when they discovered the symbolism around the 60s or 70s, the guy who told the Vatican was kicked out of the Vatican for life.

TL;DR: Michelangelo hated the pope and made the best “fuck you” of all time.

YO. ALL OF THIS^. Michelangelo was hella grumpy all of the time. It was fantastic.

However, as beautiful as this commentary is, I’m gonna make a little correction. The Pope isn’t the one in hell getting his balls bitten; that guy is actually the Papal Minister of Ceremonies a the time, Biagio de Cesena. 

See, when Michelangelo was painting this, as you said, lots of people were uncomfortable with all of the nudity (especially because the Last Judgement [back wall mural] was painted much later when nudity in religious art was even more controversial than before), but the dude who was the angriest was de Cesena. 

He was so angry that he reportedly burst in on Michelangelo while he was working (which is already a big no-no because Michelangelo’s requirements for working were mostly “fuck the hell off and leave me alone or else I quit and I will stab you in the eye with my paintbrush/chisel”.). He then proceeds to tell Michelangelo that this fresco is disgusting and obscene and shame on him etc etc. He also referred to it as “i stui di nudi”, which means “A stew of nudes” which is one of the best descriptions of a thing ever, if you ask me. 

So Michelangelo, probably on the cusp of homicide is like “Thank you for the notes. Now get the fuck out,” and de Cesena reluctantly does. 

Later, he comes to see the finished product and finds that Michelangelo had painted his portrait down in Hell to represent the Minos, King of the Dead. He has the ears of an ass and the above described crotch biting snake:

image

Upon seeing this and being enraged, de Cesena went to the Pope to demand that it be changed and that Michelangelo be punished. However, the Pope was SO incredibly done dealing with Michelangelo’s snark, tantrums, and general hatred of the world and everyone in it, that he didn’t want to do shit. 

The Pope’s response to him was literally to say “As Pope, I have a lot of influence on Earth and up in Heaven, but I have no jurisdiction in Hell. You’re shit out of luck.” 

And it stayed.

Michelangelo, grade A artist, snark master, and professional dick.

image

An amusing quick art history lesson, how could I not share this?

My line test for a washing line where I have used traditional materials to be used as reference material when importing to digital via Toon Boom. There are problems with the animation as the poles and the hill move, this creates a strange zoom effect, I may fix this via After Effects with compositing the sheets and line over the top of the first frame. 

Lesson learnt - When animating, although the main focus is important (the motion of the sheets), I must be more vigilant and check secondary objects/characters as it will affect everything. 

A slight breakthrough - Gesture

As I’ve been doing more traditional based animation on paper, I’ve realised how useful my gesture studies have been. By simplifying the subject via economy of strokes, it can help with understanding the dynamics behind the study but also cut the time. Every frame I draw I get less precious with my lines, cutting down on obsessing over sections. I’m proud to say that I can see myself getting better with each stroke of the pencil.

I should do a second of animation as a warm up before each drawing/animation. 

"Hi. I really like you tumblr. Is this mostly your art and animation? It's really slick! So I just made a post on my tumblr asking people to reblog with "why you like music." Since your tumblr title is all about inspiring people to create, it would mean so much to me if you could get the ball rolling by reblogging my image. It would be nice to be reminded that people still need music instead of just watching Netflix and cat videos. :'("

Asked by sidewalkatlas

Hi, thanks for having a look at my blog it’s really appreciated. Majority of my posts are techniques and research but there are some chunks of my work on here. I’ll reblog when I get back from band practise :)

1 of 4 Ball animations exploring a scrolling/parallax items and or background. The ball in this video is based off of a beach ball, I think that that some of the squash and stretch frames as well as the height of the first two bounces are too bouncy. I think this is because of the person in the video throwing the ball downwards, giving the ball more kinetic energy in the first bounce. Overall I’m reassured with this line test as it is showing my development in timing and pacing is well observed, such as in the later bounces of the animation where it is more ‘floaty’, like a beach ball.

The Bouncing Ball - Trial by Fire and Error (Also known as Timing and Spacing)

As you’ve seen previously, currently at University we’re going back to fundamentals to strengthen our skills in traditional animation. These exercises will give us invaluable experience and knowledge at understanding the Timing and Spacing, which will develop our feel/groove (a nice analogy in music terminology for timing and spacing), through animating via frame by frame rather than inbetweening.

Our task since animating our first ball has changed to using the density of three different balls which was also shown in the Ted talk video posted previously. Along with the density changes we must have a parallaxing/scrolling background, so that we can show the camera following the ball as it goes through its motion. Finally we were also asked to push the animation of a bouncing ball so that it retains a cartoon-ish quality, creating a forced dynamic bordering on ridiculous. 



The video above is a great animator named Jazza ( his channel is a brilliant resource for animators and works hard to be a great contributor to the animation community) who shows how to recreate the conditions to make a parallaxing background on Adobe Flash. By understanding the placement of background items in conjunction with placement of the primary object, we can understand how to recreate this process in traditional means. As stated in the video, the more items place in the background with a few passing foreground objects (processed at different frame rates/speed of course), the illusion of travel can be achieved.

I have also found reference material on YouTube (as I don’t own any of the objects stated in requirement needed to study), showing the difference in bounces in correlation to density of materials:

Reblogged from dcjosh

mattwnelson:

katwylder:

mattwnelson:

ricelily:

All these pages are 8.5x11, 300 dpi. Feel free to print it out in full size if you like physical copies

Comics and Comic Artists

Jake Wyatt- deviantart tumblr

"Welcome To Summers"

"Soliloquy"

Suggested Reading/Books:

Scott McCloud’s “Making Comics” (entirely done in comic format)

Exercises/Practices/Tutorials:

Lettering

Speech Bubbles Mistakes

Paint Bucket Resource

Storyboarding and Camera angles

What is DPI?

Transferring Traditional to Digital (Photoshop Tutorial)

This has got some good stuff, but I would like to see a team of old-school letterers with pitchforks and torches storming the front yard of whoever wrote “never hand write dialogue”. POPPYCOCK.

An excellent point. Some of my favorite webcomic artists actually hand-letter their strips, so there are definitely people still doing it.

The important thing, whether you use a font or hand-letter, is that your lettering is legible.

Yes, that I can agree with. :)

A good source of knowledge on developing a comic book. I’ve already got 4 treatments to work on once I’ve got more time, this may help develop it.

My take on animating a ball via traditional methods via applying what I’ve learnt from my studies. Sadly there’s a strobe over the video due to the lamplight interfering with the shots. The ball gets smaller as it goes, indicating a diagonal vanishing point, it’s not a bad attempt considering this is my first try.

A TED Education video on the two most important elements to understand in animation which are Timing and Pacing. Without either of these principals the whole fabric of animation unwinds and ceases to create the illusion of movement. The video above looks at these fundamentals of animating a ball through a scientific eye, showcasing the difference that pacing can make and how it can be applied to an animation so that the movement could emulate specific materialistic properties. 

Other fundamentals aren’t directly discussed in this video (such as arcs, squash and stretch etc), but Slow In’s and Out’s are shown via the pacing of faster and slower movements throughout the duration of the video. 


.

"You may get asked this a lot, so please excuse my ignorance - but how do you go about constructing character expressions and body language and such? Thanks!"

Asked by freeglassart

makanidotdot:

Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:

1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.

First, just get down the big shapes of your expression, just like you would for a pose.  

So say I wanna do a low angle angry pose.  I know the features are gonna be all mashed down at the bottom because of perspective.

 Scribble it down

image

start to put on features

image

fix stuff

image

put on more stuff

image

fix stuff again

image

erasing and flipping and stuff a whole bunch until you are happy with it or stop caring

Whole head is a gesture!image

image

2. Just like a facial expression, jot down where the important parts of an entire pose goes first.  You can force the rest of the body to fit the pose.

So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face. 

image

image

image

That’s the simplest explanation I got.  Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!

A great resource for unifying and understanding the expression of characters more easily. The approach of using the expression as an extension or a single unit rather than individually focussing and adding the features, gives momentum and understanding to the act.