Crime?

Don't be fooled they're both haters <3

Based on a real convo

Still (and...quite saturated...) image vvv

Summary:

Soulmate. A very real human concept to Cybertronians. Each mecha was born with the name of its mate engraved on its wrist. A sign that they would always have someone. That they would never be alone. Optimus had been lucky enough to find his soulmate many years ago on Cybertron. Back when things were easier, when he was just an archivist named Orion Pax, and his soulmate was Megatronus the gladiator. He missed those simple days. He missed Megatronus. Yes, Megatronus' name was no longer on his right wrist, but not like it normally should have been. Ever since Optimus had accepted the matrix of leadership, his mate's name had simply disappeared as if it had never existed, leaving behind the regret of a phantom loss. And Megatronus? Well, now he was Megatron, the great leader of the Decepticons. His enemy.

— With the little time I had, I ended up writing a one shot about soulmates, because I really like this type of fic and because I'm kind of liking transformers :D

Studies and Sketches

I'm doing my best to learn how to draw the characters, it's harder than I thought :D Maybe I'll redesign some of them digitally eventually.

Bubble tea  and Talk ✧˖°.~

How I Animate

The Technique:

I draw the frames and then I use the liquify tool to push the lines into the next frame and redraw them where I need to. This allows me to keep the lines consistent, but gives me the control of frame by frame animation bc I am still making each frame manually! I also use 3d models as reference to help me with the angles! Super important to use reference while you animate (and with art in general), if youre no good handling 3d models then act it out and record yourself!

The Theory:

i think most people are at least loosely familiar with the 12 principles of animation (if youre not, heres a 2.5 minute video showcasing them!), but may not necessarily know how to employ them. the main 3 i tend to focus on when I animate is rhythm, telegraphing, and inertia so ill cover those there 👍

1. Timing & Rhythm

Timing is how you space out your frames both in how long an individual frame is held for, and also when you drawn an inbetween of two frames you can favour one frame slightly more than the other instead of drawing the exact average of the cels, giving the favoured cel more timing weight.

Left line has the cels evenly spaced out on the timeline, right holds the first cel for longer and the second cel slightly favours the last frame. It creates a more interesting rhythm to the animation! Rhythm is how I think of animation timing. Theres a beat like a song to every animation I make, and creating an interesting beat is what makes an animation fun to watch (for me, anyway):

2. Anticipation / Telegraphing

Before I animate a big change in movement, I like to telegraph that its coming. Usually this is doing a little counter movement in the opposite direction, but thats not the only way to telegraph a motion, e.g. eye movement can telegraph a head turn!

3. Follow-through / Overshoot / Inertia

Unless the movement is mechanical, it wont come to a hard stop and will have some level of bounce or easing out to it. How much "bounce" you add will have a big impact on how the animation feels, but a very subtle bounce will add a natural feeling to the end of a motion.

Secondary animations will use a lot of this, note that the head and the hand have a small amount of continuous motion (primary animation), and then the hair has a lot of bounce and inertia (secondary animation which reacts to the primary animation). Note the different amounts applied to the braid vs the sideburn vs the bangs

anyway! I hope this was insightful ❤️ if you like my art you can commission me by the by :)

❤️👀💙

Paramount notice me pls

Guess who started a new save on my favorite game

Today I was feeling a bit out of ideas, so I decided to make Narinder and Lamb "human".

I don't really know what to say about this…

Thought I was done?