To become a great cartoonist, you might think that drawing and practicing constantly is required. However, this isn’t always the case. To get to the next level as a cartoonist, you don’t have to do any drawing at all. Rather than being well-crafted, a good cartoon drawing captures and communicates only the essence of the visual idea.
Before you begin drawing, you must first identify, recognize, and understand what you want to depict, and the only way to do this is through careful observation. Observation is critical, and I’ll explain why.
Instead of always drawing the same cartoon face, you should practice drawing a variety of faces and features by taking note of the wide range of people you encounter every day. There are a wide variety of head shapes, hairstyles, and nose-sh, apes, and sizes to take note of, for example
In the same way, a person’s posture – how he sits, stands, or walks – can reflect their entire identity. These postures can be applied to your cartoon character to identify their distinct personalities.
You should also concentrate on your clothing. Designers aren’t the only ones who need to know about fashion; cartoonists do as well. Your cartoon characters’ attire is a personal choice. Different textiles can be shown by how they are laid down on the table. 마나토끼.net
There are also animals, structures, and the natural world to take notice of. And everything else we have in this world. When it comes to drawing a chair or a table or a bicycle or your pet, can you remember their actual shapes?
For your cartoons to be truly lifelike, you must fully comprehend your subject matter, and this can only be achieved if you spend time studying the world around you. It’s not necessary to use a sketchbook or a camera; all you need to do is stare, both with your eyes and your heart. When you have a clear idea of what you want to depict, you may begin drawing. Tor to get the most enjoyment out of all your drawing sessions you must work with a laser-like focus on the rich variety of visual information that surrounds us.
It’s only when we see a cartoon that we see the finished product. We don’t see all that goes into developing a cartoon since it’s hidden from our view. They say that if everyone knew how cartoons were developed, they would lose much of their appeal as an entertainment medium. That’s what people in the industry say. Many live-action movies, particularly science fiction and fantasy, might be argued to be similar. As a result, what follows may not be something you want to read. It has the potential to permanently alter your perception of Bugs Bunny.
Moving animations don’t move, despite what you see and believe. Instead of moving pictures, they’re essentially still images flashed back and forth in rapid succession. Animated stills can number in the tens of thousands in some feature films. Even with today’s cutting-edge computer technology, creating a cartoon is a huge task.
What you’re about to read explains how the simplest cartoons, the kind we saw as kids in the 1950s and 1960s, are put together in the most basic of ways. What you don’t see is what’s going on here.
As the first step, a “storyboard” is created to outline the plot points. This is a comic strip the size of a comic book. The storyboard is constantly being updated by the artist as new drawings are created. Some stories are pre-written, while others are fleshed out during production. Usincorkboardoard, it’s easy to update these drawings as they progress.
The cartoon’s backgrounds are created once the storyboard has been put out. With tempera, acrylic, or even oil paints on cardboard, these can be created. To accommodate as much motion as possible, these backgrounds have been designed to be as big as the cartoon characters themselves. As the characters move through the background, the camera will follow them.
The voices of the characters are recorded on tape and then transferred to magnetic film before the drawing of the characters begins. Every syllable is recorded on an exposure sheet while the film is run through a sound reader. This is necessary to keep the audio and video in sync while the movie plays. The film must be synced one frame at a time. This takes a long time to complete.
It’s finally time to get down to the business end of things. It gets more difficult. A frame of a film can include up to 24 distinct drawings in a second. As a result, an hour-long animated picture can include up to 86,400 drawings. Each second, these frames are fed into a projector, where they are synchronized to ensure that the movement of each character is seamless. You may have to start over if there are issues. Keep in mind that all of these images are rendered in monochrome.
Color is applied to these drawings, all done by hand if the frame movements pass the quality control test. The final output is created by copying the drawings onto plastic sheets known as cels. The lines are drawn in ink, and the colors are added to the backside of the cels. If you look at it from the front, you’ll see perfectly even colors thanks to this. After then, they’re used as a background overlay.
Filming takes place on a platform known as an animation stand. It’s not uncommon for a single image to be broken into numerous levels, each around 12 inches apart. A three-dimensional illusion can be obtained by placing each section of the background on a different level.
Finally, a projector shows each filmed board in rapid succession as the film is fed back to the camera. As a result, the cartoon appears to be in motion.