Me acabo de enterar que DevintART Muro es un lugar donde puedes dibujar con tu tableta y grabar esa sesión para luego compartirla con otros, a modo de video..
Les dejo un ejemplo donde el artista de PaperWalker hace un excelente trabajo de sketch:
http://sta.sh/muro/redraw/mow2u26haq
viernes, 27 de diciembre de 2013
domingo, 3 de noviembre de 2013
FHAI - Paraná
Ayer tuve la suerte de haber estado en el Festival de Historieta, humor, animación e ilustración que se organizó en La Vieja Usina, de la ciudad de Paraná.
Me encontré con muchos artistas conocidos y había de todo para ver. Tengo que felicitar a los organizadores porque realmente la muestra estuvo perfecta!
Partiendo por el hecho de que la entrada era libre y gratuita, pasando por el material de lectura informativa que había adentro, la calidad y variedad de artistas, hasta la bebida y comida gratuita. Un lujo y cada detalle cuidado al máximo.
Se proyectaron cortos de artistas que exponían, compré unas historietas clásicas que se vendían a excelente precio...
Y hasta estaba el amigo Gonzalo Geller vendiendo sus historias (y aproveché a comprarle una para leer en el baño.
Se las recomiendo para la próxima que se enteren y una reiterada felicitación a los organizadores: Jaimo, Norma Ríos y Javier Terenzio.
Me encontré con muchos artistas conocidos y había de todo para ver. Tengo que felicitar a los organizadores porque realmente la muestra estuvo perfecta!
Partiendo por el hecho de que la entrada era libre y gratuita, pasando por el material de lectura informativa que había adentro, la calidad y variedad de artistas, hasta la bebida y comida gratuita. Un lujo y cada detalle cuidado al máximo.
Se proyectaron cortos de artistas que exponían, compré unas historietas clásicas que se vendían a excelente precio...
Y hasta estaba el amigo Gonzalo Geller vendiendo sus historias (y aproveché a comprarle una para leer en el baño.
Se las recomiendo para la próxima que se enteren y una reiterada felicitación a los organizadores: Jaimo, Norma Ríos y Javier Terenzio.
sábado, 2 de noviembre de 2013
Artist of the Day: Aymeric Kevin
Artist of the Day: Aymeric Kevin
Aymeric Kevin is a Gobelins graduate who is currently working on video game and animation productions in Japan. You can see the short student film, Le Royaume, that he collaborated on with Nuno Alves-Rodrigues, Oussama Bouacheria, Julien Chheng, Sébastien Hary, Franck Monier, and Ulysse Malassagna, embedded below:
Aymeric uses his digital painting skills to work as an illustrator, visual development and background artist.
Especially in the two pieces below, Aymeric focuses attention on his characters with carefully chosen areas of lighter values and saturated colors in otherwise dark compositions. To see more from Aymeric, visit his Tumblr and Blogspot.
Source: http://www.cartoonbrew.com/artist-of-the-day/aymeric-kevin-87722.html
Ernest et Célestine (2012) - Background Layouts
What a great style!
Source:
Ernest et Célestine Official Site
© La Parti Productions © Les Armateurs © Maybe Movies © Mélusine Productions © StudioCanal
Source:
Ernest et Célestine Official Site
© La Parti Productions © Les Armateurs © Maybe Movies © Mélusine Productions © StudioCanal
lunes, 21 de octubre de 2013
martes, 17 de septiembre de 2013
All 101 Dalmatians Backgrounds
Excellent post from Living Lines Library, with all the backgrounds used in the animated film. Enjoy!
http://livlily.blogspot.hu/2013/08/one-hundred-and-one-dalmatians-1961_17.html
http://livlily.blogspot.hu/2013/08/one-hundred-and-one-dalmatians-1961_17.html
jueves, 12 de septiembre de 2013
La sombra lo sabe (MAD Magazine)-Politica
Visto en:
http://www.madmagazine.com/blog/2013/09/12/the-shadow-knows-politics
sábado, 7 de septiembre de 2013
Drawing the Troops in Afghanistan
Tom Richmond and cartoonists on the last leg of our National Cartoonists Society USO tour. Here’s a short video shot by the 102nd Mobile Public Affairs folks at one of the drawing events they did at Kandahar Air Field. Thanks to Spc. Jovi Prevot for doing this. The video is available to share through the DVIDS website:
miércoles, 4 de septiembre de 2013
lunes, 2 de septiembre de 2013
Myosis - by gobelins
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Myosis
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Synopsis :
Le myosis est la diminution de la pupille par contraction de l'iris. C'est un phénomène inconscient qui peut être provoqué par une lumière vive, par la peur, ou sous l'effet d'une prise de conscience.
Myosis is the constriction of the iris which decreases the diameter of the pupil. It is an unconscious phenomenon which can be triggered by an intense light, fear, or the effect of epiphany.
Durée : 3 minutes 12 secondes.
Réalisé par :
Emmanuel Asquier-Brassart http://emmanuel-asquier-
Ricky Cometa http://www.rickycometa.com/
Guillaume Dousse http://gdousse.blogspot.fr/
Adrien Gromelle http://briqueavrac.blogspot.
Thibaud Petitpas http://thibaudsmallstep.
Facebook: https://www.facebook.com/
Distribution :
La distribution des films produits par GOBELINS, l'école de l'image est assurée par L'Agence du court métrage. Contact : f.keller@agencecm.com.
Contact production :
GOBELINS, l'école de l'image, Moïra Marguin : mmargui...
Le myosis est la diminution de la pupille par contraction de l'iris. C'est un phénomène inconscient qui peut être provoqué par une lumière vive, par la peur, ou sous l'effet d'une prise de conscience.
Myosis is the constriction of the iris which decreases the diameter of the pupil. It is an unconscious phenomenon which can be triggered by an intense light, fear, or the effect of epiphany.
Durée : 3 minutes 12 secondes.
Réalisé par :
Emmanuel Asquier-Brassart http://emmanuel-asquier-
Ricky Cometa http://www.rickycometa.com/
Guillaume Dousse http://gdousse.blogspot.fr/
Adrien Gromelle http://briqueavrac.blogspot.
Thibaud Petitpas http://thibaudsmallstep.
Facebook: https://www.facebook.com/
Distribution :
La distribution des films produits par GOBELINS, l'école de l'image est assurée par L'Agence du court métrage. Contact : f.keller@agencecm.com.
Contact production :
GOBELINS, l'école de l'image, Moïra Marguin : mmargui...
miércoles, 21 de agosto de 2013
sábado, 27 de julio de 2013
PENCIL TESTS - Films by Date
2013
The Croods (drawing tutorials)
2012
Pinocchio
The Legend of Korra (TV Series)
Wreck-It Ralph FRESH
Zarafa
2011
Adam and Dog (Short)
Le chat du rabbin
Rio
Titeuf, le film
Winnie the Pooh
2010
Avatar: The Last Airbender (TV Series)
Chico & Rita
La illusionniste
Legend of the Boneknapper Dragon (TV Short)
2009
Pups of Liberty (Short)
The Princess and the Frog
The Secret of Kells
2008
Horton Hears a Who!
Kung Fu Panda
Kung Fu Panda: Secrets of the Furious Five (Video)
Xam'd: Lost Memories (TV Series)
2007
Coil a Circle of Children (TV Series)
Enchanted
Genesis of Aquarion
Nocturna
Persepolis
2006
Astérix et les Vikings
A quoi ça sert l’amour? (Short)
Curious George
2005
Pooh's Heffalumph Movie
2004
Home on the Range
Lauras Stern
2003
Brother Bear
Les triplettes de Belleville
Looney Tunes: Back in Action
Sinbad: Legend of the Seven Seas
The Cunning Little Vixen (TV Movie)
2002
Lilo & Stitch
Spirit: Stallion of the Cimarron
Treasure Planet
2001
Atlantis: The Lost Empire
Osmosis Jones
2000
Road to El Dorado
Stubble Trouble (Short)
The Emperor's New Groove
The Tigger Movie
1999
Fantasia 2000
Tarzan
The Iron Giant
1998
Mulan
Prince of Egypt
1997
Anastasia
Cats Don't Dance
Hercules
1996
The Hunchback of Notre-Dame
1995
Balto
Pocahontas
1994
The Lion King
1993
The Thief and the Cobbler
We're Back! A Dinosaur's Story
1992
Aladdin
Batman (TV Series)
Manipulation (Short)
1991
An American Tail: Fievel Goest West
Beauty and the Beast
The Ren & Stimpy Show (TV Series)
1990
Back to Neverland
1989
The Little Mermaid FRESH
1988
Akira
Oliver and Co.
Who Framed Roger Rabbit
1986
The Great Mouse Detective
1983
Mickey's Christmas Carol (Short)
The Black Cauldron
1982
The Secret of NIMH
1981
The Fox and the Hound
1978
The Lord of the Rings
1977
The Many Adventures of Winnie the Pooh
The Rescuers
1974
Sisyphus (Short)
1973
Robin Hood
1970
The AristoCats
1967
The Jungle Book
1963
The Sword in the Stone
1961
One Hundred and One Dalmatians
1959
Sleeping Beauty
1955
Lady and the Tramp
1953
Peter Pan
1951
Alice in Wonderland
1949
Mississipi Hare (Short)
1946
Song of South
1941
Dumbo
1940
Pinocchio
Tom and Jerry (TV Series)
1937
Snow White and the Seven Dwarfs
1935
Mickey's Fire Brigade (Short)
On Ice (Short)
Pluto's Judgement Day (Short)
1914
Gertie the Dinosaur (Short)
miércoles, 3 de julio de 2013
Disney rechaza a caricaturista por ser mujer en 1938
Dicen que uno no sabe lo que tiene hasta que lo ve perdido, pero en este caso creo que aplica más algo como "Uno no sabe lo que tiene hasta que no revisa la historia."
Para muestra un botón: una carta de rechazo de Walt Disney Productions a una mujer que aspiraba a ser caricaturista en 1938. Kevin Burg, diseñador, la encontró entre las pertenencias de su abuela Mary Ford y decidió subirla a Flickr.
"Las mujeres no realizan ningún tipo de trabajo creativo en conexión con la preparación de las caricaturas para la pantalla ya que este trabajo lo hacen solo hombres jóvenes. Por este motivo no consideramos niñas para la escuela de formación."
Un rechazo claro y bastante acorde con los roles de género de los años 30.
Kevin Burg le comentó a The Huffington post que su abuela nunca realmente buscó hacer carrera en el arte, solo lo apreció toda su vida.
Eso sí, no es que Disney no contratara mujeres, pero solo para calcar personajes en celuloide. Vamos que nada creativo, solo trabajar sobre las decisiones antes tomadas por los caricaturistas.
Sin embargo, y revisando un poco de historia, en la década de los 30 ya existían algunas mujeres caricaturistas (y es que todos los cambios son paulatinos), como en el caso de Marjorie Henderson Bell, quien creó a la Pequeña Lulú en 1935.
Portada de La Pequeña Lulu de Marge (Marge's Little Lulu) #10 (April, 1949) / Imagen: Dell Publishing Co., Inc …
Después de todo, y a pesar de que todavía queda mucho por hacer para reivindicar a las mujeres en igualdad de oportunidades, las cosas sí han cambiado.
domingo, 19 de mayo de 2013
SEBASTIEN ROUXEL INTERVIEW
Tell me a little bit about yourself, about your life? Where did you go to school, and what classes did you study? What helped prepare you to become the artist that you are today?
My name is Sébastien Rouxel, I am 31 years old, I was born and raised in Brittany, France. I have two brothers and one sister, my parents are farmers. I’ve started to draw in my early childhood, I just remember reading comic books as “Asterix”, “Gaston Lagaffe”, “Tintin” and tried to draw those characters. To be honest I never wondered what I would do later, my teachers always encouraged me to follow that path and take art lessons outside of school. I’m lucky to have parents who trusted and helped me persevere in the arts, in spite of the uncertainty in art circles.
After my A levels in science, I studied in an art school in Nantes, Pivaut School, where I received an academic training, I didn’t know if I would like to work in animation, I just wanted to make my living through art. I started animation classes in the last year, and I took a liking to traditional animation, I discovered the work of many artists and they left an impression on me. After I passed the exam for Gobelin’s school, this is where I spent much of my time animating in 2D, and trying to learn the Disney style. I just wanted to be an animator, at that moment in time. I met a lot of talented artists and friends which I continue to work with.
I think that motivation, perseverance, meeting and working with talented artists helped me progress. And to ask oneself questions on your work is important to progress.
How do you go about designing, and what goes through your mind, from start to end?
I’ve mainly worked as a 2D animator, it was my priority, I never considered myself a designer. But after working on several projects, side by side with designers, I started to be interested in character design, and I invested my time in design, much like I did with animation. So design is more recent for me, my approach to design is influenced by my animation background. It’s very important for me to know a lot about the subject before drawing, knowing about the essence of a character, gathering information, finding reference, understanding the anatomy, the walk, the behavior, the personality in order to create the right design.
Once I have an idea, I start to draw a lot of sketches, working on the shapes, the silhouette, accentuate different parts of the character according to the idea. Often the first designs are loose and light, so I draw a new set from them, reinforcing everything, and of course staying in tune with the style (realistic or cartoony). I draw a few attitude poses, facial expressions which will enrich the design in the right way. And try to clearly show the character’s personality.
But, I think most of the design is done with feeling, personal creativity, finding a good idea, and daring to bring a personal touch. I think there are no rules, it’s difficult to say why it’s a good design or not. It’s just a question of feeling. Even if I think I have found a good design, I try something else, just to see, modify the shape’s size, expression… and realize often that it’s better! I don’t hesitate to start from scratch if need be..
What I prefer above all in design is when a character has to be funny, the absurd side of things while keeping it credible. And also I try to be graphic, following rules, however the important thing is to have a good and expressive drawing.
I always work on the lines first. The colors come after, I try to keep things simple, and keep the colors of the design clean, and if need be I will then enrich them.
I think working in design helped me improve my animation style.
What is a typical day for you, and who are the people you work with?
It depends if I work as freelance from home or in studios, but I prefer to work in studios, to see people, work in a team, exchange ideas, to have quick feedback and learn from colleagues artistry. But sometimes I work as a freelancer from home, it’s nice to work in my flat, but I soon miss working with a team. I draw all day, and when I don't go out in the evening, I try to work on my personal work. I like to work at night.
I ‘ve always worked on 2D productions in Paris and London, so I am used to working with a lot draftsmen, and good designers and Animators. To work in a team is important for motivation, and progress and learning from each other.
What are some of the things that you have worked on?
During my studies, I did an internship on the film “Persepolis” as assistant animator. My first job after Gobelin’s school was as 2D character animator on “the illusionist” in Paris, then on “Le Chat du Rabbin”, “Titeuf le Film”, “Zarafa” and on a musical clip for “Louise Attaque”(a French band). I worked in London on commercials, my first and very good experience outside of France. And I did animation tests on a TV show called “Muffin Jack”. Many different styles, not easy to get used to all of them but very rewarding. Since I have worked on commercials as a designer and animator.
Is there a design you have done that you are most happy with?
I think my favorite designs are the latest from my personal work, as I have all the freedom to do what I want (zebras, dinosaurs…) but I like to tell myself that I will do better and be more creative.
What projects are you working on now?
I’m working on a commercial, and soon I will work on a feature movie “ Un Monde Truqué” in Paris, firstly as a designer and then as an animator. Beside that I have worked with two good friends on a short film (with a mummy and an explorer), in a cartoon style, it took time to do because everything had to be done after work, in the evening or week-ends. I really enjoyed this project, it was great fun to make.
Who are some of your favorite artists out there?
First of all, my influences are animators, Milt Kahl, Kristof Serrand, Glen Keane, Antoine Antin, Julien Bizat, James Baxter, Matt Williams, Sergio Pablos, in design Nicolas Marlet, Julien Le Rolland, Annette Marnat, Sylvain Marc, De’Von Stubblefield, Nate Wragg, Ronald Searle. There are a lot of artists who impressed me, such as Uderzo, Franquin, Pedrosa, Alberto Mielgo, Jeremy Mann, Norman Rockwell. And a lot of artists with whom I have worked.
Could you talk about your process in coloring your art, as well as the types of tools or media that you use?
As I said previously, I stay very simple on the colors, I don’t start the colors before I am satisfied with the drawing, I don’t want to question the design or pose during the colors process. During my studies, I liked to paint with traditional methods, but since I’ve worked in animation I do everything in Photoshop, and recently on a cintiq Wacom. Now I do everything with these tools, animation (TV paint, flash) and design colors (Photoshop). Although I love to animate traditionally on paper, it’s faster on a Cintiq.
What part of designing is most fun and easy, and what is most difficult?
It depends on the day’s creativity, when I know precisely what I want to do, everything is easier. Designing cartoon characters, whether it’s human or animal, is very fun for me even if it can be tricky, but we can have freedom on many things. I am not sure what part of designing is easier or more difficult, but drawing what I am used to is easier, I think what I find the most interesting is to explore, search, develop, and spend time in finding good designs. But often the problem is the time.
What are some of the things that you do to keep yourself creative?
So many things, comic books, movies, watching people on the subway, in the street, museums, the real life situations can give me a lot of ideas. I don’t read a lot of novels, I should do.
I like to see what people do, to be curious and see fresh things, is important for me, to keep myself motivated, I love to be moved by all forms of expression, whether in animation or design, it pushes me to work harder.
What are some of your favorite designs which you have seen?
I often see a lot of great designs on blogs, but my favorite are certainly Milt Kahl’s designs, there is so much to take from them, they still feel modern and continue to be good source of influence. Those of Nicolas Marlet, in particular on Kung Fu Panda, are very graphic and original. Otherwise the designs from Pixar’s film are really nice (Up, Monsters, Ratatouille).
What is your most favorite subject to draw? And why?
I always draw characters, humans or animals, I have no preference, I love to draw the attitudes, expressions, the funnier the better. I love English humor, like the Aardman studio for example. And the other thing that I love is to draw in parks and museums; I just draw quick sketches, grab on people's situations, and just take the essentials with just few lines.
What inspired you to become an Artist?
I don’t come from an artistic background but maybe reading comic books (Asterix, Gaston Lagaffe, Lucky Luke) when I was young certainly helped me to go this way. Besides I always loved the art classes' atmosphere, it was my teachers who encourage me to continue to study and persist in art. And the desire to learn pushed me to go into animation because it’s the thing which impressed me the most in the art. To make a living from my passion is lucky, even if I worked hard for it.
What are some of the neat things you have learned from other artists that you have worked with or seen?
The main thing I learned in animation is to find the right and natural pose which expresses best your ideas. I spent a lot of time watching frame by frame, pencil tests from talented animators. I learned a lot working on cartoon projects, being daring, being confident with my drawing, being graphic and exploring all the possibilities in 2D.
What wisdom could you give us, about being an Artist? Do you have any tips you could give?
Draw, draw, it’s just the only way to progress, try to take the best from your influences. I think an artist’s progression does not depend only on the quantity of drawings done and the time spent on them, but mainly in what direction you want to go, choose the right path, train your eyes. Experience is important of course but you can to speed up your progress by using the best reference you can find. And don’t hesitate to ask questions to artists around you.
If people would like to contact you, how would you like to be contacted?
By email: sebastienrouxel01@gmail.com
From my blog: http://rouxelseb.blogspot.fr
Finally, do you have any of your art work for sale (sketchbook, prints, or anything) for people that like your work can know where and when to buy it?
Not yet, it would be great to publish something in the future, maybe to illustrate books would be something I would like to do.
My name is Sébastien Rouxel, I am 31 years old, I was born and raised in Brittany, France. I have two brothers and one sister, my parents are farmers. I’ve started to draw in my early childhood, I just remember reading comic books as “Asterix”, “Gaston Lagaffe”, “Tintin” and tried to draw those characters. To be honest I never wondered what I would do later, my teachers always encouraged me to follow that path and take art lessons outside of school. I’m lucky to have parents who trusted and helped me persevere in the arts, in spite of the uncertainty in art circles.
After my A levels in science, I studied in an art school in Nantes, Pivaut School, where I received an academic training, I didn’t know if I would like to work in animation, I just wanted to make my living through art. I started animation classes in the last year, and I took a liking to traditional animation, I discovered the work of many artists and they left an impression on me. After I passed the exam for Gobelin’s school, this is where I spent much of my time animating in 2D, and trying to learn the Disney style. I just wanted to be an animator, at that moment in time. I met a lot of talented artists and friends which I continue to work with.
I think that motivation, perseverance, meeting and working with talented artists helped me progress. And to ask oneself questions on your work is important to progress.
How do you go about designing, and what goes through your mind, from start to end?
I’ve mainly worked as a 2D animator, it was my priority, I never considered myself a designer. But after working on several projects, side by side with designers, I started to be interested in character design, and I invested my time in design, much like I did with animation. So design is more recent for me, my approach to design is influenced by my animation background. It’s very important for me to know a lot about the subject before drawing, knowing about the essence of a character, gathering information, finding reference, understanding the anatomy, the walk, the behavior, the personality in order to create the right design.
Once I have an idea, I start to draw a lot of sketches, working on the shapes, the silhouette, accentuate different parts of the character according to the idea. Often the first designs are loose and light, so I draw a new set from them, reinforcing everything, and of course staying in tune with the style (realistic or cartoony). I draw a few attitude poses, facial expressions which will enrich the design in the right way. And try to clearly show the character’s personality.
But, I think most of the design is done with feeling, personal creativity, finding a good idea, and daring to bring a personal touch. I think there are no rules, it’s difficult to say why it’s a good design or not. It’s just a question of feeling. Even if I think I have found a good design, I try something else, just to see, modify the shape’s size, expression… and realize often that it’s better! I don’t hesitate to start from scratch if need be..
What I prefer above all in design is when a character has to be funny, the absurd side of things while keeping it credible. And also I try to be graphic, following rules, however the important thing is to have a good and expressive drawing.
I always work on the lines first. The colors come after, I try to keep things simple, and keep the colors of the design clean, and if need be I will then enrich them.
I think working in design helped me improve my animation style.
What is a typical day for you, and who are the people you work with?
It depends if I work as freelance from home or in studios, but I prefer to work in studios, to see people, work in a team, exchange ideas, to have quick feedback and learn from colleagues artistry. But sometimes I work as a freelancer from home, it’s nice to work in my flat, but I soon miss working with a team. I draw all day, and when I don't go out in the evening, I try to work on my personal work. I like to work at night.
I ‘ve always worked on 2D productions in Paris and London, so I am used to working with a lot draftsmen, and good designers and Animators. To work in a team is important for motivation, and progress and learning from each other.
What are some of the things that you have worked on?
During my studies, I did an internship on the film “Persepolis” as assistant animator. My first job after Gobelin’s school was as 2D character animator on “the illusionist” in Paris, then on “Le Chat du Rabbin”, “Titeuf le Film”, “Zarafa” and on a musical clip for “Louise Attaque”(a French band). I worked in London on commercials, my first and very good experience outside of France. And I did animation tests on a TV show called “Muffin Jack”. Many different styles, not easy to get used to all of them but very rewarding. Since I have worked on commercials as a designer and animator.
Is there a design you have done that you are most happy with?
I think my favorite designs are the latest from my personal work, as I have all the freedom to do what I want (zebras, dinosaurs…) but I like to tell myself that I will do better and be more creative.
What projects are you working on now?
I’m working on a commercial, and soon I will work on a feature movie “ Un Monde Truqué” in Paris, firstly as a designer and then as an animator. Beside that I have worked with two good friends on a short film (with a mummy and an explorer), in a cartoon style, it took time to do because everything had to be done after work, in the evening or week-ends. I really enjoyed this project, it was great fun to make.
Who are some of your favorite artists out there?
First of all, my influences are animators, Milt Kahl, Kristof Serrand, Glen Keane, Antoine Antin, Julien Bizat, James Baxter, Matt Williams, Sergio Pablos, in design Nicolas Marlet, Julien Le Rolland, Annette Marnat, Sylvain Marc, De’Von Stubblefield, Nate Wragg, Ronald Searle. There are a lot of artists who impressed me, such as Uderzo, Franquin, Pedrosa, Alberto Mielgo, Jeremy Mann, Norman Rockwell. And a lot of artists with whom I have worked.
Could you talk about your process in coloring your art, as well as the types of tools or media that you use?
As I said previously, I stay very simple on the colors, I don’t start the colors before I am satisfied with the drawing, I don’t want to question the design or pose during the colors process. During my studies, I liked to paint with traditional methods, but since I’ve worked in animation I do everything in Photoshop, and recently on a cintiq Wacom. Now I do everything with these tools, animation (TV paint, flash) and design colors (Photoshop). Although I love to animate traditionally on paper, it’s faster on a Cintiq.
What part of designing is most fun and easy, and what is most difficult?
It depends on the day’s creativity, when I know precisely what I want to do, everything is easier. Designing cartoon characters, whether it’s human or animal, is very fun for me even if it can be tricky, but we can have freedom on many things. I am not sure what part of designing is easier or more difficult, but drawing what I am used to is easier, I think what I find the most interesting is to explore, search, develop, and spend time in finding good designs. But often the problem is the time.
What are some of the things that you do to keep yourself creative?
So many things, comic books, movies, watching people on the subway, in the street, museums, the real life situations can give me a lot of ideas. I don’t read a lot of novels, I should do.
I like to see what people do, to be curious and see fresh things, is important for me, to keep myself motivated, I love to be moved by all forms of expression, whether in animation or design, it pushes me to work harder.
What are some of your favorite designs which you have seen?
I often see a lot of great designs on blogs, but my favorite are certainly Milt Kahl’s designs, there is so much to take from them, they still feel modern and continue to be good source of influence. Those of Nicolas Marlet, in particular on Kung Fu Panda, are very graphic and original. Otherwise the designs from Pixar’s film are really nice (Up, Monsters, Ratatouille).
What is your most favorite subject to draw? And why?
I always draw characters, humans or animals, I have no preference, I love to draw the attitudes, expressions, the funnier the better. I love English humor, like the Aardman studio for example. And the other thing that I love is to draw in parks and museums; I just draw quick sketches, grab on people's situations, and just take the essentials with just few lines.
What inspired you to become an Artist?
I don’t come from an artistic background but maybe reading comic books (Asterix, Gaston Lagaffe, Lucky Luke) when I was young certainly helped me to go this way. Besides I always loved the art classes' atmosphere, it was my teachers who encourage me to continue to study and persist in art. And the desire to learn pushed me to go into animation because it’s the thing which impressed me the most in the art. To make a living from my passion is lucky, even if I worked hard for it.
What are some of the neat things you have learned from other artists that you have worked with or seen?
The main thing I learned in animation is to find the right and natural pose which expresses best your ideas. I spent a lot of time watching frame by frame, pencil tests from talented animators. I learned a lot working on cartoon projects, being daring, being confident with my drawing, being graphic and exploring all the possibilities in 2D.
What wisdom could you give us, about being an Artist? Do you have any tips you could give?
Draw, draw, it’s just the only way to progress, try to take the best from your influences. I think an artist’s progression does not depend only on the quantity of drawings done and the time spent on them, but mainly in what direction you want to go, choose the right path, train your eyes. Experience is important of course but you can to speed up your progress by using the best reference you can find. And don’t hesitate to ask questions to artists around you.
If people would like to contact you, how would you like to be contacted?
By email: sebastienrouxel01@gmail.com
From my blog: http://rouxelseb.blogspot.fr
Finally, do you have any of your art work for sale (sketchbook, prints, or anything) for people that like your work can know where and when to buy it?
Not yet, it would be great to publish something in the future, maybe to illustrate books would be something I would like to do.
SEBASTIEN ROUXEL INTERVIEW
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