When Fran asked Laoghaire about his favorite parts of our Dublin trip, he mentioned Animating Wolfwalkers: A Talk with Cartoon Saloon's Tomm Moore and how Tomm asked to take a selfie with us.🤳😍 He was really interested in the behind the scenes details we learned about the story development, character creation, and intricacies of the drawings from the amazing exhibit and the presentation. I was just blown away but all of it! Thank you @thearkdublin for sharing all the amazing work in such a beautiful way.
I particularly loved the advice Tomm gave to those interested in breaking into the industry:
“I always say the same two things that I heard when I was young. Draw. Draw. Draw. Which isn't hard to do if you love drawing. And most people who want to work in animation love to draw. So that's an easy piece of advice. You're probably doing it anyway.
But the biggest thing that changed my life was joining Young Irish Filmmakers, because then I had that thing I was just talking about. I had community and I had a group. And you can do much more in a team. And so much of working in animation is teamwork. So on one hand, I used to think I wanted to be a tattoo artist or a comic book artist, but that is quite a lonely profession. But animation is a team profession, and I think if you can find friends or a group of people, even online that you're friends with, that you can work together, I think that's the best preparation for this.”
Thank you again @tomm9769! I feel so lucky to have been in Dublin at the right time to experience this exhibit and talk.
And, I really hope Laoghaire finds a group to help develop his talents for drawing, writing, creating! #proudmom 😍
Animating Wolfwalkers: A Talk with Cartoon Saloon's Tomm Moore
24 Jun 2023
I started a company in Kilkenny many, many years ago called Cartoon Saloon and we made Wolfwalkers, which we have a lovely exhibition of here in the Ark. I was also involved in the Ark for many years as a member of the board here, and so placed very close to my heart. And if you haven't seen all our films, good news is you can watch them all on Apple TV Plus for Wolfwalkers or Netflix or Amazon, or if you want to have a DVD, you can go into the IFI there next door and they have all our DVDs in the shop. And if anybody here watches RTE, we have Puffin Rock on RTE and on Netflix. Tomorrow we have a new movie coming out, Puffin Rock we're excited about. And in the middle of July on RTE, we have a new cartoon starting called Silly Sunday. So watch out for that. So we're down in Kilkenny, there's about 200 working down there making cartoons. And today I'm going to talk to you about Wolf Walkers because that's the last film that I was directing. I co directed it with my friend Ross Stewart, and you can see the exhibition upstairs.
And I hope you also are inspired to draw yourselves. The whole thing about Wolf Walkers for us was we wanted to inspire people to enjoy drawing. Drawing by hand, drawing with pencils and pencils, markers and paints, and getting your hands dirty. And I'll just tell you a little bit about the film itself. I don't know if anybody has done much history at school, but way, way back, hundreds of years ago, in the 1640s, Kilkenny, where I'm from, was the capital of Ireland, very briefly. And we also had legends around Kilkenny about people who, when they fell asleep, a wolf would leave their bodies and the Wolf's Spirit would go through the forest. And anything that happened to the wolf in the forest would happen to the sleeping body back at home. So it's not really a werewolf, but it's something like a werewolf. And these are really old manuscripts that we found that tell us about this. So that was really interesting for us. And also what was interesting for us was that in Kilkenny, when Oliver Cromwell came over from England, he decided he was going to cut down all the forests and get rid of all the wolves.
So we said, oh, there's definitely an interesting story there. Imagine if a little girl came from England with her dad and she wanted to be a hunter like her dad and kill the wolves. But she made friends with a little girl, a little Irish girl, and that little girl was actually one of the wolves that they were trying to hunt. So we said, okay, that's a story, because that's going to be really interesting. What would happen then? So that was the beginning of the idea. So these are more examples of artwork from that time period. People used to take wood and cut lines into the wood and then dip the wood into ink and then press it against a piece of paper. And that was how they would make images like early newspapers. So we decided let's make our style the way we draw Kilkenny. Let's make it in the same style that artists would block printing. And then for the forest, let's treat like a sketchbook. And so that was our way of kind of using how we drew and how we made pictures to help tell the story. And so it was really nice.
We had lots of research tricks. People from all over the world work with us. We've got stacks from almost every country you can think of. Not all of them grow up in cocaine like Ross and me. So Ross and I had a lot of fun bringing everyone around cocaine, drawing the buildings, and also going into the forest to draw the leaves and the plants and the trees give inspiration. So it's a very nice time for us. And even in the characters, if you look closely, can anyone see what's the main difference, do you think, in terms of the shapes between the characters? Sorry. These characters over here are all curvy, aren't they? They're all scratchy. And these ones over here are all sharp and angular. And does it give you a different feeling when you look at the sharp, angly ones than when you look at the curvy ones? Yeah. So that was our story, that this little girl, Robin, was going to go from being all angular and sharp and trying to fit into the town, to being all curvy and scratchy and being part of the forest. That was her story. And Honor nephew was twelve years old when we met her.
She was a young actress from England and she played the part of Robin and she brought a lot of herself to it and really made the character come alive. This is Merlin, Robin's bird. We did a lot of good research. Birds that prey Merlins are little tiny falcons. You can find them around the country. And then this is Mebh. Maktira. Does anybody do Irish? Because anyone know that Maktira is an old word for wolf in Irish. They mean son of the land. And she's the little girl that Robin makes friends with. And Liz Eva Whitaker was only eight years old when she did the voice of Mebh. But since then she's done a voice in Star Wars Short that we did for Disney Plus. And she's the voice of a new Puffin character in Puffin Rock in the movie that you'll see tomorrow. So Eva's had a great career with us, but her very first role as an actress was with us on Wolf Walkers as Maidira. She has a lovely whiskey quality to her voice. So these are just sketches, you know, this is us figure today. And some of the older people in the audience might recognize some of the other actors that we worked with, like Robin's dad.
Bill Goodfellow was played by Sean Bean and Oliver Cromwell, who was kind of our baddie in the movie, played by Simon McBurney. And the music was made by Bruno Couulet, who's a French composer who's worked with me on all the films I've directed or co directed. And I kind of wanted Wolf Walkers to be one of three movies that you could watch Secrets Song to see and then Wolf Walkers and feel like they all matched. So the art style is similar and also the music style is similar. So Bruno there's Bruno listening to a shell to hear the Song of the Sea. Bruno is a French composer and he works with an orchestra in Bulgaria, so a huge orchestra, and also with traditional Irish musicians from the band Keela that you can see there. Keela are friends at the art too. I know they do a lot of stuff here, too. So we've even managed in this movie to put in Keela the members of Keela playing on the street. So if you watch closely in the movie, you might recognize the guys from Keela when you see Robin sneaking through to town, following her dad.
And then the other musician that we worked with is Aurora Acnes, who's a Norwegian singer, and she has a beautiful song called Running with the Wolves. It's part of the movie, but it's an adaptation of an original song she had. And I used to go for a run because it was quite stressful trying to get all the work done and so many people working with us. And it was a lot of drawing. Like, I mean, we did twelve drawings per second for each character, so it was a lot of stress. I go for a run at lunchtimes to kind of clear my head and I would just listen to music. And when I heard Aurora song, “Running with the Wolves”, I was just floored how perfect it was for the movie. So we were very lucky that she agreed to work with us to adapt her song for the movie. So this is what I was talking about earlier. We tried to have two different styles in the movie and if we have time, y'all willing to do a bit of drawing with me, we'll try and draw into two different styles. We'll draw Curvy and Scratchy for Maid, and if we have time, we'll do a more woodblock style for Robin.
So we'll draw Robin and Mebh with two characters in a minute. And these are places in Kilkenny. If you ever visit Kilkenny, where I'm from, you'll see some of the buildings that are actually in the movie and that's really fun for me. So it's actually based on a real place. And we had lots of artists from all over the world come and give us ideas for what the movie could look like. And we had people from Germany, from France and Spain, Brazil, oh, my gosh, nearly everywhere you could think of. And they all had to learn about Kilkenny and Irish forests. And I used to say, if you want to draw the forests around Kilkenny, you need to make sure your socks are wet. But otherwise you haven't gone deep enough into the forest. You haven't stood in a puddle and got wet. And you can see here the two different styles. You can see in the forest. It's curvy and painty and actually, the town itself almost looks like a map. It's all boxed off. And then these are concepts of early versions. And what we do is we do loads of drawings.
Myself and Ross had a whole year in a room with the writer Will Collins on Skype. We were talking to him online, we were writing the script and we were doing loads of drawings to try and imagine what the movie would look like. So that when the rest of the team joined, they would have some examples to follow. The most important thing we discovered in the movie was the friendship between Robin and Mebh. That seemed to be the part that everyone loved. And I based Robin Goodfellow on my wife, Lisa, and she was a primary school teacher. She's retired yesterday. She was a primary school teacher and she was teaching eight year olds at the time. And what I would do is I'd go into her class and I'd show the movie and I'd see what young people were enjoying. And everybody loved me and Robin and their friendship. So we realized that also. My business partner, Paul, one of my best friends, has a little girl called Robin. But confusingly, she's the one who inspired me because she looks a lot like men with red hair. She's really wild. So I think putting people that you know and love into stories and basing your characters on people you know and love is a really good way to give you the patience to keep drawing the characters over and over again.
So I'll just let these videos play. You can see some examples of the kind of concept art, the kind of sketches that we did. These are all by me, or even by me and Ross. These are a mixture of my art and work from the whole team as we were trying to get into the Spirit and try and imagine what Kilkenny would have been like in 1645. And then try and imagine this fairytale forest with wolves living in it.
Does anyone have any questions for me at this stage? I've given lots of information, completely comprehensive. But this is also something that's really important, is that when you've kind of decided on the style that you want, then you have to make special guides for all the artists to be able to draw the same, or else everyone could end up drawing a different version of the characters. And the movie might be really confusing for the audience. So after this stage, there's an important stage where we get all these ideas and we put them together and we make style guides for everyone to be able to follow. I'll show you a little bit an example of the next stage.
So this is the stage that goes through to make a background. First of all, there's the rough sketch. And then we do the wood block print if it's for the town, so you can see it looks like a block print. And then we put the colors on and the colors are everything is done in paper, usually for the town. It's done with inks and the backgrounds are done with paint. So stuff you can try at home. But what we do is we take the colors, we take the lines and we put them in the computer to put them together. So it all comes together in the computer, but everything is painted by hand and everything is painted with just and drawn with markers and things just like that, that anybody can do. And I hope when I was a kid and I realized that the cartoons I loved were actually just drawings and I loved to draw, it really inspired me to try and draw and to try and make my own cartoons. And these days it's easier than ever to make your own cartoons. So I hope our movie inspires you and I hope this talk inspires you to have a go at making your own, at least making your own characters and drawing.
And now this is an example of how much work goes into making just a few seconds of the special wolf vision. We really wanted it to feel like we were in the wolf's head. We were a wolf and we wanted to show everyone what it might feel like to be a wolf. And they don't see a lot of colors, but they have a very strong sense of smell. So we said, let's make the whole world just a pencil sketch. And as you can see, there's twelve drawings for every second. And that means everything you see on screen has to be drawn twelve times for every second. And there's five minutes of this world of the wolves in the movie. So it's a lot of work. There was nine people working for a year and a half to make the wolf vision scenes. I think it's worth it because it gives you an insight into being a wolf. And the smells are so important, we kind of drew them on a separate piece of paper and we put them together. So how we planned it out, you'll see, is we did a very rough model in the computer of what was going to happen.
And then the artists drew a frame by frame based on what we did in the computer on paper like you just saw. And then we scanned the paper back into the computer and we put the colored pencil of the smells that the wolves could kind of see because scent is so strong on top of the backgrounds. So you can see again, that how it's imagined, is that the wolves almost see smells stronger than colors. And that's why the smells are the only thing that are in color on screen when you're inside the whole set. And it feels like you're a wolf as well, I hope. And this is some examples of the stages that we go through for the rest of the movie. The parts that aren't when you're a wolf, you can see that it starts with rough drawings. Again. Twelve drawings, maybe 34 drawings per second, depending on the movement. And then each drawing is the final line is done very carefully. And if it's in town, as you can see, we put big, thick black line on. And if it's in the forest, you'll see we use just a sketchy scribbly pencil.
And that kind of gave us a different feeling when we were in the forest compared to when we were in the town. So a team of artists called Ink and Paint artists do the colors and they're also thinking about what's going on for the characters at the time. And they might make the colors more watercolor and more, like, bleeding off and going outside the lines. Not everything has to be inside the lines. And you can see that when the colors go outside the lines, it kind of gives a feeling that the characters are more loose and relaxed. And when everything isn't surrounded by a big black outline like a coloring book and all the colors are strictly inside the lines, means the characters are a bit more uptight. So that was the job of the color in campaign team to think about what was going on for the characters as well as putting the right colors on them, you know, so that's my little short presentation. I thought I'd keep it short and sweet so we could do a bit of drawing. I fart prefer drawing and talking. Anybody has a question, please ask me.
[Everything I wouldn't be able to do is for sure many times. Yeah. So I had someone support me the whole way through in shaping my wife, Lisa. That's partly why I based Robin on her. Also, I was co directed with my friend Ross and we had been members of Young Irish Filmmakers since we were like 13 or 14. And so we did have a little bit of a spirit of teamwork to make it possible. And so we just surrounded ourselves by friends and colleagues that we felt could help us. And since we'd already made the previous two movies, we felt, okay, we'll bite off a big bite of this as well and hopefully we can chew it and swallow. But you do have to be a little bit afraid. I feel like to do anything interesting, you have to go a little bit beyond your comfort zone and take on something that you might not have felt you could do. And then you do it and you go, how did I do that? You look back. Sorry. Hello.
Did you ever make any mistakes?
No. And I think they're kind of interesting. There's some mistakes that are kind of fatal. If it makes the story confusing and people don't know what's happening, then you're really messed up. But anything less than that is kind of part of the charm, I feel. And there's lots of mistakes in the movie, and I think it's part of why I like working in hand drawn animation, actually. A lot of people who work in computer animation deliberately have to put some mistakes in to make it feel more organic because it's so perfect. But we're going in the other direction. So what I always tell the artist is try and do it perfect because you won't be able to. And it'll still have some wobbles and mistakes and characters might look a bit different from one scene to the next. I think it's part of the charm.
How did I get the idea?
Ross and me were talking at lunchtime about all the things we loved and all the things we weren't such big fans of. And we were talking about how sad we were that there was no more wolves in Ireland because when we were reading old stories and fairy tales, wolves are really important. And then when we saw a TV program in TG camera called Wolfland, it was about how Ireland was once called Wolfland and that it was deliberately all the wolves were killed deliberately to make our scene tame, you know? And so we got the idea let's tell a story about that type when the wolves were still here. And that's where we got the idea. Watch telly and talk the documentary. Hello.
Did it make you feel happy doing it?
Did it make me feel happy doing it? That's one of the questions of an artist life. I definitely felt really happy when I would come in. The thing that made me feel really happy was I'd come in every day and even if I wasn't happy with my own drawings, all these other talented artists were working with me and I would get inspired when I looked at their work. And I love teamwork. It's way easier for me to stay motivated when I'm working with a team. I used to draw comic books and I would be alone all day. And it's easy to not feel happy when you're alone all day. But when I'm surrounded by friends who are talented, I really feel happy and enjoy it, even if I'm not so happy with my own.
Hello. Do you have any advice for young artists who want to be in the industry?
Yeah, I always say the same two things that I heard when I was young. Draw. Draw, which isn't hard to do if you love drawing. And most people who want to work in animation love to draw. So that's an easy piece of advice. You're probably doing it anyway.
But the biggest thing that changed my life was joining young Irish filmmakers, because then I had that thing I was just talking about. I had community and I had a group. And you can do much more in a team. And so much of working in animation is teamwork. So on one hand, I used to think I wanted to be a tattoo artist or a comic book artist, but that is quite a lonely profession. But animation is a team profession, and I think if you can find friends or a group of people, even online that you're friends with, that you can work together, I think that's the best preparation for this.
How did you get the drawing in the computer?
Drawings in a computer with a scanner. Big scanner is like a big flat table of anything. And we put the drawings sometimes the drawings are so big, like a lot of the drawings with the city were so big, we had to scan it in little pieces, and it's kind of like taking a photo just goes and then it's in on the computer and we can play around with it a little bit. Also, I use a cintiq or a drawing tablet, and a lot of the animators, and especially the younger ones, like to draw directly onto the computer with a drawing table.
How do they get the characters?
Did you watch a film or something?
No, it was a lot of just dreaming and doodling and working with the writer and imagining who they were. And as I said, nearly all the characters are based on somebody real. So if you ever meet Robin Young, my friend's daughter, looks a lot like me. And also Eva, who did her voice, really became part of the design. And the same for Robin Goodfellow. I had a photo of my wife's first Holy Communion, and I like that. Hello. Yeah.
What was your favorite part of drawing it?
Favorite part of drawing it? Good question. I think I animated a lot of scenes, or not a lot, but a good few scenes of rather than jumping around, firing across ball and doing big actions. And I love that kind of animation because it's really fun, and every drawing is really different from the other drawings. So that's probably my favorite part of drawing it yet up here. Well, I'll tell you what. We had the first idea in 2013, and we finished it in 2020. But I will say that for a long time, we were just coming up with the story and writing the story, and we didn't start full time until 2018, so it was two full years of hard work for the whole team. But before that, it was a lot of work. Just trying to convince people that they would give us some money to make it. Hello.
How did you get all the drawings?
Get all the drawings back in shape?
I think we have a really talented team, and they all work together in the same room, and they talk to each other, and as much as possible, they learn from each other and they can reference each other's drawings. Hello. Hi, there. I think my favorite character is Mebh because she's a lot of fun and she's so wild, but very close. Second is Robin because she's based on people I love. Hello.
Which one was your favorite movie?
Of all the movies I made, that's hard to pick. They're all like my children. I love them all for different reasons.
Do you want to draw Mebh? Will we draw maid altogether? I can answer questions and draw. It's not a Netflix, an Apple TV Plus. Or as I say, you can get the DVD in the shops, you know. But, yeah, it's just for Apple TV Plus. This has been wonderful. Change your mind, really, to make the whole movie. As I was saying to the young person, it's a long story, getting a movie made, but once you have the script and the money in place, is 24 months hard work, you know? But there was five years of trying to get to that. Four months, like yeah, in the early stages. I mean, for a long time, Robin was going to be a little boy, and the story wasn't really working like that. And we didn't know what was wrong. And we were stuck for a while, and then we kind of cracked it when we realized that she needs to be a little girl.
So, yeah, in the writing stage. But then when you're in production, you can't support driver's luck. You just have to come in every day. So when we're drawn maze, it's all curvy. Yeah. So different. Got their paper? Yeah. Not ready yet. Okay. Wait till you're ready. Hello. So I still get time to draw things I like. I took a break from drawing cartoons completely for about 18 months, and I went to France to study life drawing in the occult bazaar. And that was really refreshing because I find life drawing drawing from life really relaxing, actually. And then I went to Amsterdam and studied oil painting for another four months. So I was really lucky that I could take that to Vatican. And now I'm back drawing cartoons, and I like it again. But for a while, I was tired of cartoons, for sure. How many drawings or frames make up the entirety of I honestly don't couldn't tell you. I can let you do the math yourself. If you consider that each character on screen gets twelve drawings a second and one movie of eight minutes. A lot. Hello. I don't know if I was considered him.
I was the kid in class who could draw. And Ross and I went to school together and we often had drawing competitions. And the other kids in class would ask me and Ross to draw Batman. Ross was always better than me. Okay, so we'll draw maid. We're going to start with a circle, right? We're just going to draw her. We'll just draw like we just are just standing there because it's probably the simplest thing. We won't draw or doing anything. We'll just have her stand in there maybe with her hand on her hip like that. Would that be okay? Okay. So the first thing we'll do is we'll do her head. Leave lots of room around the sides and get a marker that's working. Okay. So there's her head, right? And then her body is just a little triangle with a curvy top just underneath. So do you have that now? And then her arms are like sausages. So we just give her an arm here. This is the one that has her hand on her hips. And we put the other one just hanging down like this. Yeah. And she has 30ft sticking out the bottom of her dress.
[Very simple. And the fun bit about me just join her up here, that's her neck. Fun bit about the Mebh is her hair. She has a big swoop of hair like that all around. That's really fun. And then she has sticky have ears on either side. And if you have the ears in, you know how to draw the eyes, don't you? Because if you have ears and you want to wear a pair of glasses, your eyes are at the same level as your ears. So that's why I learned that if someone was drawn on TV, don Kondroy or somebody when I was a kid and he said, oh, the eyes should always be at the same level as the ears. So if you draw the ears halfway down the head and then you put the eyes at the same level as the ears, then you're going to be okay. Do you have kind of wolf shaped eyes? Do you see that they're a little bit like a semicircle or maybe they're like a lemon. Maybe they're more like a lemon. Do you see her eyes? Yeah. And then her nose has to go in between her eyes.
So she has a little button nose. But we give her a little M for Mebh to make her nostrils. And we give her a little cheeky smile so that's wave. And then we have to give her kind of wolf eyes. I always make her pupils almost like a little cat or something. It just makes her look more like wild. And then she has all these kind of scratchy lines coming off her eyes like this. And then she. Has these three little dots. Even when she's a wolf, she has these three little dots. And so they're really helpful for people to know that it's made even when it's a wolf because her eyes don't change so much. And then we notice that little kids who were, like, always had a kind of runny nose and stuff were always doing this. We thought maybe filthy, running around in the woods all the time. So she probably has a big smear on her schnapps and stuff. But we said we do that. That would be part of what makes her who she is. And she has big earrings. They're just like big circles like that. And when you see the movie, Maze Mammy looks very much the same.
[ don't know if Mebh Mammy's outfits here in her mood, but she definitely has the same mark. And she has this thing that they call a widow's peak. She has a little point here in her hair. These are all, like, little subtle indications that she might be more than just a little girl. There's something a little bit more worthy about. And she has a belt along here holding her dress up. And we can give her arms she has these little bracelets on, like something wrapped around her arms. And her feet are really easy to do because they're so dirty that you only have to draw the big toe. And then the rest is just all colored in like that to show that her feet are in the mud. I had feet like that last weekend. I went to listen to some music that I like and it was and the other thing we do with Maids, we take big chunks out of her dress as if maybe a wolf or something took a big bite out of the bottom of her dress. I think I made her arm bit long. But anyway, then the other thing was really fun to do with Maid is because she's, like, running through the forest and scraping her knees and climbing trees and everything.
She's loads of leaves in her hair. So we draw these lines to show this is her hair. And then we follow those lines. And along those lines, we can put some flowers. This yellow flower in her hair is really important because in the movie, you'll see, this is a flower that Robin's daddy gives her and then Robin gives that flower to Mebh. So it's a symbol of their friendship. But all the other leaves and you can draw an oak leave. You know, oak leaves are kind of wobbly. They kind of have a wobbly line. Or you can draw something like that and you can draw just good old kind of and that's the fun thing about Maid as well. You can kind of keep her really rough and scratchy and you can say, oh, it's just the style. So what do you think? Are you oh, I see some excellent ones. Yeah, good. They can hold it. Obviously.
Inside of the broken the face.
Keep track of the proportion of the face.
Or we can try again. Try again before we do Robin. Let's try again. Let's just focus on the face. Yes. I kind of made it a bit too much like a movie ball. Maebh’s face is pretty much a circle.
This would actually be better.
So that's her face pretty much a circle.
Okay. To make proportions, we leave them in the construction line. So right down the middle there's a line. Imaginary line, not really there. And right through the center there's a line. Yes. You've probably seen this before. And on either side of the line is the beginning of her widow's peak of her hair. So we can put that there in there. And under this line we can put one ear I forgot that she has a bike taken out of her ear. And maybe when we do her having a big smile, like a big toothy smile. And then that way the eyes might be easier to keep them kind of happy looking. Because you can just do semicircles for that. If you do a semicircle like this semicircle like this. I will. Her eyes are smiling. That look alright to you? Yeah, I think it's gonna look happier.
Think she's not going to look as evil as we do. We can do big. She's got these kind of broken teeth in the movie. If you look closely, sometimes they're all very spicy and sometimes they're just.
Give her some hair. Maybe we need to take that hairline. She looks cheeky and happy to me.
Yes. Okay. And do any of you watch Sesame Street? These two puppets in the dial. So Ernie and Burt, right? And they like this.
That's kind of what they're like, you know. But they're really opposite. One has a long face, one has a wide face. So a little bit like that. Robin is the opposite of Maebh and some wave, the opposite attract. So we have a little bit of a different way of drawing a Robin than me. But it's the same approach. And I don't really have time to do to find the lines. But usually what I do when I draw Robin, if she's in the town that's beautiful is I do really clean her black lines. They're excellent. Okay, cool. Yes. And some of them are evil. You can see how to make her less evil by giving her hair.
Some future animation creators here for sure. Can we draw Robin?
Ready to draw Robin?
Robin. Okay. So she Robin is a little bit more like a bird. Everything about Robin is a little bit longer and ganglier. She's a little bit taller than me. She's got long legs, got kind of pointy face. Let's draw Robin’s hood. Even though I'm drawing Robin, but that's not her old face. We need to draw a little pointy juice. Now we have the overall outline. We'll do our old the other thing about Robin is her hair. Basically, you can do a kind of rectangle around her as well to help guide you from the hair. Then she has the same shape.
Her hair and the same size as her hair for her body. Her body is another kind of rectangle like that. And then she doesn't wear a dress, she wears britches because she wants to be like her dad. She has kind of britches like this. She has big lungs and kind of Naples big lungs. These are based on colors that you.
And then her boots so her britches stuff around her knees. And then her boots keep going down. So she's probably kind of slightly hiding boots that you can drop like that. That makes sense. Does that make sense? And then we put a buckle on her boots, a little square. So she's all made out of squares and triangles. Remain has made all that circles and curves and semicircles and shapes. Robin is all made out of squares and triangles. Okay. And we'll draw her just maybe draw with her hands on her hips because that's probably easy to take that. Yes. And then we can do straight triangle inside. And we can put little cuffs little cuffs on. Then her hands can just be like little rectangles like that as well, because her hands are like this. Her wrist is pressed in and she wears a cape. So we can do a kind of a parting like that. And we can have her cape hanging down behind. She has two seats. And we have a little X because these are the laces that tie over dress for clothes. Thanks, Love. So the same story as well with the ears, they go across that midline.
And her hair is just like her cape. It's parted in the middle like that. And what I often do is give her wood curl hanging down just to show that her hair is even if she has it all tied up and plotted, trying to be all straight and organized. There's a little part of her that always wild and comes out. She has this kind of curl that comes out. And then to draw her plat, you just draw two lines like that and then a few little kind of triangles. And the bottom is triangle.
If you're using a pencil, that might look better. All my lines are the same darkness because I'm using the marker, but I would draw all the first bits with a really light line and then go over with a harder line, secondary. So okay, let's make her make sure she doesn't look mean. Let's give her a smile, too. So we'll do the same with semicircle smile. And her nose is really easy because you just start up here, you draw the eyebrows and you keep the line going down and you draw the nose like that. And then her upper lip, her teeth stick out a little bit at the front. So we draw the upper lip coming out and then we go back. Then we go down, we draw the teeth in. And that's robin. Do you see her? We have her looking over to one side. Just do little bit of an expression having her look over to one side. I think I made her head a little bit small because I'm up so close. But you can do better job.
So can you see that? Oh, yeah. Everyone's doing a good job. She's a bit more complicated than Maze, but she still made out simple shapes, you know, and you can see that she's basically big triangles, big squares, fairly simple shapes, really. That's partly answers the question of how everyone draws the same. We have simple formula for the cars now. Made her head too small, should have measured it out more. I drew her so much for two years and now I haven't drawn her for a while.
Why would you use 24 frames?
You would use 24 draws if the action is really fast, for example, and you're afraid the eye wouldn't catch it. Like if my hand is going from here to here, if I use six, there's more drawings for the eye to catch. You might use 24 friends if you just want something to be really, really graceful sometimes, like smoke and stuff. Looks nice on wounds like that. Everything in computer animation, except if you watch the new Spiderman, which I love, because even though it's done in the computer, they do twelve frames a second to give it that feel of the old cartoons, which I love. But that's funny because they're making the computer do less. Even though it's free in the computer. You can make all the drugs, you know. Hello. You did it better than me. You see that? That's way cuter. You don't need me at all.
We do a really quick wolf safe just in case anybody wants to see.
Do it here. You do it here. Thank you. She's what's your name? Susie's. Better than me. She's going to show you how to Susie, can I take your picture? Susie's, mommy here. Can I take her picture? Yes. Nice, Susie. Thanks, Susie's.
Oh yeah. Watch out for Susie. Watch out for Susie. I think she's going to be a rock star soon. Definitely has the confidence. Wow. So cool.
Nice job. I hope you enjoyed the chat. I'm not going anywhere. If you want to ask me a few questions for the next few minutes if you're happy drawing. But that's pretty much all I have to say.
Saturday, July 1st at 7:30am
2801 Powell Creek Drive
Lakeside Middle School
Charlottesville, VA US 22911
“A Charlottesville Holiday Tradition since 1983”
To Benefit Big Brothers Big Sisters of the Central Blue Ridge
Over $140,000 has been raised for charity over the past 36 years!
Sponsored by Better Living.
Hosted by the Kiwanis Club of Charlottesville and the Charlottesville Track Club
June 30th from 5:00 PM to 7:00 PM at Lakeside Middle School and race morning from 6:30 AM - 7:15 AM.
THE HOLLYMEAD COURSE
Start at Hollymead Elementary School.
Turn right on Powell Creek Drive.
Turn right on Shadybrook Trail.
Turn left on Turnberry Circle.
Continue around the circle and return back AND GO RIGHT ON to Shadybrook Trail.
Turn left onto the short trail.
Emerge from trail onto N English Oaks Circle and turn left onto English Oaks Circle.
TURN RIGHT Follow circle back onto NORTH English Oaks Circle.
Turn left onto Kendalwood Lane.
Turn right onto Ashwood Blvd.
Turn right onto Powell Creek Drive.
Turn right to finish back at Hollymead Elementary School.
Absolutely loved the opportunity to get a tintype portraits by Richmond-based photographer Em White. Thanks to the UVA Library’s Holsinger Studio Family Celebration on June 11.