Animation Pencil Sketches

>>2323672
>similar style, similar level of polish, similar shading technique
U wot?
Disney alone has had very different styles of backgrounds over the years.

>>2323672
they achieve it by hiring professional artists with academic education in their field. there is quite a few instructors out there who teach that, but none of their names probably won't ring a bell.

real world is real world not internet tutorials.

>>2323672
I've heard Disney artists take a lot from Sargent.

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>>2323672
I highly doubt there's a book or one specific instructor that can be attributed to this particular approach. Animation studios simply hire very good background artists and by working together for a long time in the same industry, they all learn from each other and create similar habits of what works and what doesn't.

Paul Felix has done a bunch of art direction notes for his work at Disney, how he handles value grouping, composition, perspective, foliage etc in his background drawings. Just google "Paul Felix unofficial blog", they have the whole set.

>>2323672
learn values, composition and environment stuff, there's their secret

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>>2323672
all the time those >what do you call that style?

you know what your problem is? you don't really want to learn things. what you really want is get the results.
but what you should do is to embrace your time learning. this is what will form your style.

look at the drawings - LOOK AT THEM! analyze them. try figuring out how they work. work on those aspects. you'll hardly find a useful book that'll teach you how to hold the pencil this way or that way in order to form an interesting texture. EXPERIMENT for gods sake.

don't confuse this with reinventing the wheel. it's ok to ask for books. read as much as you can.
read The Art Spirit
but you need to start observing mate. be like a sponge. try things out yourself. learn the basics. sketch the hell out of your sketchbooks. don't be precious with your drawings so you'll take no prisoners.

have fun

>>2323759
Name some? Its likely I will have the opportunity to study under some of them soon. And even if I can't, there are quite a few instructors who teach purely offline yet post their lecture notes online.
>>2323873
Thanks, I'll try looking at his sketches.
>>2323913
Yeah, but animation studios mostly pull from art center, occasionally from otis, for vis dev and art direction...most likely they share foundation instruction in this approach or even a common instructor, and personal habits are just built on top of that. For example Scott Robertson is well known for the draw through / construction method and lots of artists studied under him and use / built on top of his approach...He didn't necessarily invent the approach but he puts out learning materials (books, in person and online courses) about it. Same with Peter Han and dynamic sketching.
Thanks for pointing me to Paul Felix! That's exactly the kind of stuff I'm looking for, snippets of notes and video clips are fine too, they don't have to be the singular authoritative figure on the subject either.
>>2325925
Not everyone has the luxury of time to spend forever learning fundamentals. But I think both methods of learning have their place. Previously I experimented too much and did not get far enough, I'm very much self taught and don't want to be. I didn't learn from books, or art instructors past highschool level, and now I want to change that. I'm tired of all my knowledge being based off vague guesswork, taking forever to learn stuff that's not even surefire. I want structure now? Personally I learn better and faster with rules and guidelines established by another artist than by analyzing, making up and guessing them myself.

>>2326144
Bill Perkins
John Nevarez
Hans Bacher
Armand Serrano

Bill Perkins is an especially good teacher with colour.

>>2323913

Is it just me or are all those thumbnails kind of shit?

>>2326144
>Not everyone has the luxury of time to spend forever learning fundamentals.

If you're just getting into art to rush through as fast as you can, you're probably getting into it for the wrong reasons and you'll probably burn yourself out.
If you find the process of learning and experimentation an annoying obstacle, and you just want someone to tell you the most efficient method, you'll probably not enjoy yourself much.
I don't think any of what he says is inaccessible to people with limited time. I'm very much a hobbyist but I still understand the value of analyzing things for myself to find the things I like. I wouldn't even consider experimenting "the fundamentals", you should be doing it after you've learned your fundies too.

>>2326203
yeah it is just you, there's nothing mind-boggling to them, they're not for show off, but for displaying the advice he's giving. simple & solid.

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>>2326203
I'm sure you could teach him a lot about the art of doing proper thumbnails.

>>2326203
Post your thumbnails.

>>2323672
Typical /ic/ faggots bullshitting about fundamentals and completely ignoring design.

You may be a 1:1 perfect landscape artist and still not get these results because you'd lack what makes them tick: a design "bible".

These charm behind these enviroments comes from the same place as the charm behind the characters. The AD and a group of designers and artists get together to experment on the feeling they want to communicate in the project at hand.
>Is it more serious, like Cinderella?
>Is it more goofy, like Home on the Range?
>Are we following a specific aesthetic like Sleeping Beauty with medieval tapestries or B:TAS with Art Deco?
>Are we following a specific artist's aesthetic like Lilo & Stitch with Chris Sanders?
and after hours of brainstorming and testing they design the project's aesthetic and that is applied both to character design and enviromental design, both natural and artificial.

If you want to draw and paint backgrounds like that, drop the pencil, pick up a ballpoint and start brainstorming what you want your project to look like, what mood you want from characters and backgrounds, and how you're going to achieve that through visual rethoric.