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Deviant for 14 Years
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Trojan Horse was a Unicorn Submission by ccs1989 Trojan Horse was a Unicorn Submission :iconccs1989:ccs1989 5 0 Sonic the Hedgefund by ccs1989 Sonic the Hedgefund :iconccs1989:ccs1989 0 1 HAMMERSPACE Film by ccs1989 HAMMERSPACE Film :iconccs1989:ccs1989 0 0 Detail of the Hawk Triumphant by ccs1989 Detail of the Hawk Triumphant :iconccs1989:ccs1989 0 2 First of the Magi at Tea by ccs1989 First of the Magi at Tea :iconccs1989:ccs1989 8 3 Kvothe Calls the Wind by ccs1989 Kvothe Calls the Wind :iconccs1989:ccs1989 7 1 The Bloody Nine by ccs1989 The Bloody Nine :iconccs1989:ccs1989 0 0 Milt Kahl Sketches by ccs1989 Milt Kahl Sketches :iconccs1989:ccs1989 6 1 Dalinar Faces The Parshendi by ccs1989 Dalinar Faces The Parshendi :iconccs1989:ccs1989 8 7 Obligatory HP Sketch by ccs1989 Obligatory HP Sketch :iconccs1989:ccs1989 3 1 Final Berserk Movie Poster by ccs1989 Final Berserk Movie Poster :iconccs1989:ccs1989 2 3 Figure and Cloth Study by ccs1989
Mature content
Figure and Cloth Study :iconccs1989:ccs1989 0 0
Quick Sketches by ccs1989
Mature content
Quick Sketches :iconccs1989:ccs1989 0 10
Bruce Timm's Berserk by ccs1989 Bruce Timm's Berserk :iconccs1989:ccs1989 6 0 Pensive Guts by ccs1989 Pensive Guts :iconccs1989:ccs1989 7 4 Bayaz vs. The Hundred Words by ccs1989 Bayaz vs. The Hundred Words :iconccs1989:ccs1989 3 3


Glitch_01 by LenkaSimeckova Glitch_01 :iconlenkasimeckova:LenkaSimeckova 946 14 The Gray Mouser at the Bazaar of the Bizzare by MattRhodesArt The Gray Mouser at the Bazaar of the Bizzare :iconmattrhodesart:MattRhodesArt 3,380 105 Kvothe in Tarbean by MattRhodesArt Kvothe in Tarbean :iconmattrhodesart:MattRhodesArt 999 26 the Beast by MoulinBleu the Beast :iconmoulinbleu:MoulinBleu 153 17 Moth Family by redredundance Moth Family :iconredredundance:redredundance 869 51 Mongolian sketchdump by Phobs Mongolian sketchdump :iconphobs:Phobs 2,657 72 Luci Face Series by fabiolagarza Luci Face Series :iconfabiolagarza:fabiolagarza 527 42 Ser Barristan Selmy by RadialArt Ser Barristan Selmy :iconradialart:RadialArt 104 10 the heretics of dune by MarcSimonetti the heretics of dune :iconmarcsimonetti:MarcSimonetti 645 25 Baron Vladimir Harkonnen by ivelin Baron Vladimir Harkonnen :iconivelin:ivelin 495 46 Don Quixote by GigiCave Don Quixote :icongigicave:GigiCave 223 8 Karn's Temporal Sundering by noahbradley Karn's Temporal Sundering :iconnoahbradley:noahbradley 472 15 Never better by veprikov Never better :iconveprikov:veprikov 292 8 Dready dready by nicht-alles-Gold Dready dready :iconnicht-alles-gold:nicht-alles-Gold 2 0 pipes, pipes, pipes by nicht-alles-Gold pipes, pipes, pipes :iconnicht-alles-gold:nicht-alles-Gold 3 3 Commission for Pannida by Pearlgraygallery Commission for Pannida :iconpearlgraygallery:Pearlgraygallery 154 3



Current Residence: NJ, US
Favourite genre of music: Anything that sounds good.
Favourite style of art: My own in 10+ years (when it's hopefully much better).
Operating System: Currently Mac.
MP3 player of choice: I-Pod. Not obsessed with it, but it's convenient.
Shell of choice: I don't even know what this means.
Favourite cartoon character: Guts from Berserk, Iroh from Avatar, Saito from Rurouni Kenshin, Graves from 100 Bullets.
Personal Quote: "Ambition is cool, and also a useful plot device."
Over the last eight months I've been teaching myself Autodesk Maya. I've nearly completed my first animated short using the program, a 1 minute, 20 second film featuring a troll kid climbing a large tree. Learned a lot doing it, and now feel confident enough that I know enough about how Maya's animation tools work that I can experiment a bit.

I've always been a big fan of Japanese animation. It has a certain "snap" to it, a certain intensity to the movement that American shows and movies seem to avoid in favor of fluidity. You can see how the American penchant for fluidity affected Japanese animated films in the early days, like in Toei's "Panda and the Magic Serpent" but was gradually filtered out in exchange for more stylized action. This was probably due to budget issues, but I think it produces more interesting looking animation that causes frames to be placed where they really matter, as opposed  to very evenly.

The style of CG animation, coming from Disney through Pixar and out into the broader marketplace, has always been very fluid, very western, and kind of boring in my opinion. I want to get some of the Japanese sense of stylized movement into my CG work, but I wasn't exactly sure where to turn to for guidance. No one is teaching that, though some Japanese studios, like the people behind the new Cyborg 009: ReCyborg movie, seem to be making great strides in that area. One former animator said that he didn't think it was really possible to get anime-style movement into CG, because so much of what makes Japanese animation great is how the animators distort the characters in between the on-model poses. This is definitely true in the case of animators like Shinya Ohira, Hisashi Mori, and Shinji Hashimoto. But there's other guys, like Hiroyuki Okiura and Mitsuo Iso, who do really really on-model animation that still has a lot of the "snap" that I'm after.

And that leads me to Batman Beyond: Return of the Joker. I've loved this movie for a long time. I think it's the best Batman movie out there, mostly because of Mark Hamill's performance. But the animation is also great. It was storyboarded and pre/post-produced in America, but the animation was done at TMS in Japan. The characters are drawn in Bruce Timm's very boxy, rigid style, which means not a lot of squash-and-stretch or distortion goes on. But the animation has that "snap"! My hypothesis is that by studying and adapting a scene from that movie into CG I can learn exactly what makes the animation so appealing, and get to a kind of fusion between eastern and western styles of movement.
My first step has been to break down the scene I'm concentrating on into key and breakdown poses:

My next step will be to actually begin transitioning this performance over to CG. Already, from looking at the scene frame-by-frame, I've picked up that the animators are very comfortable with shifting from one extreme pose to another without much in between motion, as long as there's a fair amount ease-in, ease-out on the extremes. That could be one of the secrets to the "snap" I'm after, but I won't really know until I go through the whole scene myself and see if I can make it work in CG without having to hand-key every frame. Cause if I can't let the program do at least a little of the in-between work, then there's no use in doing it in CG in the first place.
It'll be interesting to see what the result will be!
  • Listening to: Pandora radio: Mumford and Sons
  • Reading: The Heroes
  • Watching: Redline


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TR-B Featured By Owner Mar 20, 2016  Professional Filmographer
Thanks for the watch!
jademacalla Featured By Owner Dec 2, 2012
Thanks very much for the Watch! :salute:
PhantasmagoricalMe Featured By Owner Oct 3, 2012  Hobbyist General Artist
ImperialStarletStock Featured By Owner Sep 22, 2011  Hobbyist Photographer
Thanks for the :+devwach:!
Poetrymann Featured By Owner May 22, 2011  Professional Writer
blackbull44 Featured By Owner Nov 10, 2010
Bro, I just went through some of your Assassin Assassin comic. It is pretty entertaining. How long would it take for you to complete a page?
ccs1989 Featured By Owner Nov 13, 2010
Back then I tried to limit myself to 2 hours a page, without much reference, which is why everything is completely off anatomically and perspectively, etc. If I had used reference back then and done sketchbook stuff I would be so much better than I am now. Oh well. :P
blackbull44 Featured By Owner Mar 3, 2011
Sorry I didn't reply anytime sooner. My first time back on in months.

The newest one you did, I think I fav'ed it. With Gatts and 2 other characters looks great. like you really improved.
07theform Featured By Owner Oct 9, 2010
dude link your facebook
ccs1989 Featured By Owner Oct 12, 2010
Sure, what's the worst that could happen?
Does this work:
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