Trial and Error
I've come to realize that during the creative process you have to go through a series of trial and errors before you arrive at a place you want to be with your drawings. I've also come to realize the reality of just dragging the pen or pencil across the page.
To many times have I attempted laying out an animation scene to only be complete in grief over the ugliness of my rough drawings but I know if sit there and try to figure out 'what it is that is working' and 'what is not working' I can begin to feel better about what I am attempting to do.
Working Rough
Many wise animators have told me to rough out the scene first. This includes getting the field guild characters and background all on on sheet. Then you can see what is working and what you may want to do to change before you into separating everything into separate layers.
Sizes
Layouts should be a certain size depend on what the scene calls for. For example a 'Close Up' does not have to be 12 field and visa versa, a 'Pan Background' does not have to be drawn on a tiny 5 field (in general, there are always exceptions to the rules.)
Freedom
Many times I have felt trapped trying to layout a scene because the Director ask me to xerox up the storyboard ... Well if the storyboard is working, it's a lot faster to xerox up all the boards and trace them to make your first scenes.
Sketchbook
I was taught in collage to always keep a sketch book. A sketchbook is a place where you can just make lines, scribble, draw from real life, create new characters and get yourself more practiced up.
Clear Desk and Materials
Sometimes if I feel that I can not get my drawing how I want them, I simply just stop. I then start sharpening pencils, throwing out old stubs or pencils without erasers and straighten piles of paper (but still imaging how I can improve the artwork). This can be just as valuable and doing 5 drawings. Sometimes you have to wait for the 'Kettle to Boil' before it's time to enjoy your coffee, or in my case tea.
Inspiration
Sometime this is called waiting for inspiration. You have to know how to get excited and getting prepared can help you. Waiting for inspiration can be annoying and one way to increase your level of excitement is to watch other great works that get you motivated.
Remember animation flashes by on the screen very quickly so it's always ok to grab a new piece of paper to try and get the thing captured. Many times I've been in situations where a Director of animation will simple take a fresh new piece of paper and make corrections, suggestion or in most cases orders to get the drawing to work. This process can be intimidating but really they know what they are doing.
I've found with my own drawings that I can do this by just altering the areas that need fixing and leave the rest that is already working. Many times you might need to attempt setting the animation differently altogether. After you've gone through three of fur scenes, you might find later that you worked out something in a close up and then you can go back to the wide shot and add that corrected detail.
Story
I've heard animator's always stressing story. I believe this to be very important too!
IN SOME CASES IT'S THE MOST IMPORTANT!!
In keeping the creative process flowing, it's easy to get caught up on one drawing and then rest of the scene suffers. Although one drawing can be very important, it is also import to have a recording of the voices or the script or storyboard so you keep going.
Let it Flow
Another important factor for me is getting into the flow. I found that if I am too critical and judging every line/mistake, it can stop the flow and leads to frustration. I keep going and later go back and fix up stuff that may not be just right or need detailing. I find if you concentrate on the action or story or volumes of shapes, that I can easily keep moving.
One Good Drawing
Another thing I like to do is focus on getting only one good drawing, correct. This approach is that if one is working, the rest will follow. But not until you get that "one" should you proceed on making other poses. A single one drawing can bring up many questions. Is it too big compared to the background? Is it doing what it should? Is the construct right? Is it funny? . . . . etc.
After you've gotten that "good one" then you can boost up all your other drawings by seeing what may be missing. Use that one as your "model drawing".
When In Doubt Leave It Out
Sometimes you might not be too sure what do with a drawing that may or may not work in a scene. I try and ask every drawing in scene what's it's purpose in serving the story? If it's doing something else, place it in the pile of "does not work well with others" pile.
Less Is More
At Cal Arts all I ever heard anyone say was 'Less Is More". I understand in design but how do you apply this to animation? I always try to put as much as I possibly could in my animation... maybe that was my problem.
The Journey Not The Destination
After you complete a scene and begin flipping it, don't be surprised if everything you put into came out to be very small. It's always about the journey and never about the destination in animation, but as long as you given it your best effort and enjoy doing your work your scene will com together.
Reworking Animation
Many times I had completely given a scene my all only to find out, that it was all wrong and have to be rework. This comes as no surprised to me and I look forwarded to improvement I can make, later! Always remember to give yourself sometime to come back and really get the scene where it needs to go.
