They say a picture is worth a thousand words, so may I consider this 2k works on the subject?
(Not pictured: four years worth of Imagine FX magazines that currently reside downstairs. Not pictured, not because of laziness but because they’re currently guarded by Shelob the terrifyingly large huntsman)
So, while I know that this LO encompasses more than just literal literature, that’s about where my understanding of it ends. There doesn’t really seem to be that much animation involved in any of this tbh.
I guess then, that I should probably talk about how any of these, and any of the many many online tutorials over the years have helped shape the artist I am today, or how it’s helped in the fledgeling stages of my potential film?
The answer, really, is a whole lot messier than ‘this book influenced this artwork, and this video tutorial taught me how to animate this’. I could do that – I mean, that costume book right there? Helped immensely with the myth reboot outfits, and how this was the animation that got me into all this nonsense in the first place, and how this is possibly the most beautiful thing I’ve seen in a while and sits up there in life and art goals.
(Holy shit, I mean really. That’s what I want to do. No games, no 3D, just sit down and work until I can make something that gorgeous.)
All of those books up there have influenced me and my work in some way. There’s the manga books from high school that I started to learn to draw with, and then the Loomis books from after that, when I realised I should probably start to learn how to draw properly. (Well, the hard copy books came much later, back then all I had were six precious pirated pdfs)
There’s a slightly trashed copy of the Animator’s Survival Kit I got one Christmas, right after I left highschool, that’s still got shitty bookmarks in it from 2008 when I started using it properly.
The two D’Artist books are years apart, the digital painting one that came from my brief infatuation with Enayla (and that one time I actually got to talk to her, and make her some meshes for the Sims), one that still lurks when I see that gorgeous fantasy art. The costume design one comes from the persisting love I have for Loish’s work.
(We won’t talk about the expensive little kickstarter’d book heading my way in March)
There’s even the cute little Japanese cartoon books that are super handy when it comes to stylising things.
And then there’s the concept art books. I loved ATLA when it came out, it had everything. Awesome fantasy world, characters I could spend hours arguing about on the internet with, and amazing animation. It was a no brainer picking up that book when I first saw it at the comic shop. If I can’t get to that Adam and Dog level, then ATLA is definitely the next thing to aspire to.
I could go on and on in this style for every book on that desk, but really, the point I’m trying to make, is that every artist, every series and every book you come across has a pinball effect, sending you ricocheting off in a different direction. There’s no real way to say X has effected Y and enabled Z without touching on A through W that each left a tiny bit on the finished work. That one artist’s way of doing rim light, while that other animator’s way of making their head turn on a walk all manage to make their way into the final piece.