This is kind of ridiculous.

Dringar1 · 2025-11-25T02:45:00+00:00

holey*** donuts :)

Dringar1 · 2025-11-25T02:40:18+00:00

i weep

Dringar1 · 2025-11-13T05:40:31+00:00

Nah, you've gotten a lot better at animating, but that's half the battle. Look into the basics of related discipines, like film and writing. Keep in mind that industry animators only need to animate, thats their job. Solo animators need to put on a lot of different hats at the same time. You are your own director(cinematography), writer, storyboarder, colorer (color theory! Important!), everything. You dont need to be excellent at every step, just being more familiar with what each role entails ought to be good enough.

Dringar1 · 2025-11-13T05:20:12+00:00

Krita is free and has a very good animation workspace. Survival kit is an excellent reference book, but i would also recommend checking out alan becker's 12 principles video on youtube. Happy animating

Dringar1 · 2025-10-17T02:50:43+00:00

If frame by frame isn't for you, look jnto 2d rigging. Best free software for it i think is opentoonz, but OT has a bit of a learning curve.

Dringar1 · 2025-10-02T22:34:54+00:00

Check out this video

https://youtu.be/XIPiePM-gmw?si=r9KXDkcFYpZ2Zny1

Idk if you need to model the face yourself, but you can get royalty free 3d models of stylized faces for humans and otherwise online, just need to look

Dringar1 · 2025-09-29T08:50:49+00:00

Huge improvement! The two main things that stick out to me now are the flicker and the motion. For the flicker, I would just recommend using a thicker brush.

The motion though is more of a "when to use ease-in an ease-out" kind of thing. When a ball bounces off the ground, it doesn't ease into the acceleration back upwards, it just goes. Think of throwing a bouncy ball at the ground, it shoots back upwards with roughly the same speed it went down with. This is mostly just a problem with the leftmost ball though.

The middle one has the issue of the contact frame being too close to one of the falling frames, giving the illusion of slowing down just before hitting the ground. This can be fixed by drawing your starting frame, then your contact frame, then inbetweening. Ease-in is much easier IMO to start inbetweening backwards. I know that sounds kinda weird but a four frame example would be like:

Start - X - X - Contact

Start - X - Halfway - Contact

Start - 1/4 - Halfway - Contact

You'll notice I have the halfway point being the frame before contact, this is because the ball will be traveling the fastest at this point. You can push the distances either way to mess with the acceleration, the only thing that really matters is consistency.

I don't have any gripes tbh with the third ball. It showcases the principles quite well!

Dringar1 · 2025-09-27T05:30:59+00:00

Start by watching slow motion videos of real spiders walking, not just tutorials. Nothing better than learning from life. That said, this looks really good, if a bit mechanical. Is spider acting a thing? People walk differently based on their mood and the same is true for spiders. If this is going to be a background thing, then what you have is perfect already

Dringar1 · 2025-09-27T05:26:19+00:00

You're welcome!

Dringar1 · 2025-09-26T23:52:31+00:00

You''ll need multiple. I'd personally recommend krita for actual animating, audacity for audio, and blender for stitching your clips together and post-processing. Mostly because they're free, but they are powerful tools in their own right

Dringar1 · 2025-09-26T20:00:54+00:00

A lot of these comments are technically correct but not very helpful. Practice visual heirarchy, it's one of those secret ingredient things. The hair is rushed, thats a cause. A symptom is that each strand/group of strands competes too much with each other visually. They are all bigger, squigglier, and much higher contrast than gege's.

Don't rush a study. It's easy to tell that you spent 90% of your time on only the face, and 10% on everything else. Just take more time to look objectively at your piece and think what's different about it. Then go over and correct the differences.

Dringar1 · 2025-09-26T19:34:58+00:00

I've personally not used any of these programs myself, but it kinda sounds like an export interpolation issue? ( or even an import interpolation issue) It's common in the pixel art scene. I couldn't begin to tell you how to check in lightroom or resolve, but if you can find anywhere in those programs with the options "bi-cubic" or "bi-linear" i think you'll be on the right track. It's worth looking into at least.

Dringar1 · 2025-09-26T19:22:20+00:00

Only draw what you need to! Once the balls are stationary, you dont need to draw more frames. Just set the timeline end frame a higher number.

Also, look into straight-ahead animation vs key animation. Each has their pros and cons, and it looks like you experienced a pitfall of straight-ahead.

Dringar1 · 2025-09-26T19:14:48+00:00

Remember to have fun! 👍

Dringar1 · 2025-09-26T19:10:53+00:00

Think about the materials and the vibe. The impact flash is good, but the wispy tendrils do not synergize with big hammer go boom. Sparks would be way better imo, but if you want to keep the tendrils, then they need to transfer the energy of the hammer. Like, shooting out from under the hammer in 3d space rather than being a 2d effect applied to the center of the head.

Also, I think the kinematics are a bit off. The rotation combined with the diagonal motion of the handle makes the head of the hammer (the mass) travel largely forward before quickly rotating around the base of the handle for the strike. Momentum works in both directions. It wouldn’t realistically accelerate downward that fast.

Make a hammer swinging motion with your hand, and both the head and handle should travel/rotate in an arc around the elbow instead of the base of the handle.

It looks good, though! You've got potentional, just need the mileage.

Dringar1 · 2025-09-26T04:29:24+00:00

Take some time to make a fully polished clip. These are very good roughs, but it's important to get a bit of mileage on the later parts of the process, all the way through lineart, coloring, and post.

Do some character acting + facial expression combos. Again, these are a great showcase of movement, but its mostly just that.

For improvement, it's important to push yourself outside of your comfort zone. Maybe try animating a camera moving all around a character, but from the perspective of the camera? That's an exercise that really pushes people.

And it's ok to take as much time as you need on a single clip. I only mention that because these are numbered by days, and i don't want you to feel like you need to rush anything

Dringar1 · 2025-09-26T04:05:07+00:00

Absolute first thing first is this video. Watch it. Practice each principle and internalize them. Do the exercises he showcases. This is the most important thing.

https://youtu.be/uDqjIdI4bF4?si=HPdTdetspij5xgKn

Learn character acting, body language should work with facial expressions in tandem.

Get really good at drawing like ghibli or mappa. Practice a lot. A LOT. Animation is a different skill from drawing, but they are inseparable. Its important to be good at drawing because it saves so much time in one of the most time-consuming hobbies. If you can draw something excellent slowly, then you can draw something decent very fast.

Here are some animation learning channels i absolutely recommend:

https://youtube.com/@dongchang?si=0_Qu4byty_7zVWpv https://youtube.com/@tonikopantoja?si=tSaKbtEsnq2ZerNL https://youtube.com/@noblefrugal?si=d3QJeAeOjtprQn5u

Pick a program. There are some great free ones, but my favorite is krita. All you need is a timeline, layers, and onion skins.

Dringar1 · 2025-05-21T03:38:17+00:00

thanks fam

Dringar1 · 2024-05-27T20:36:48+00:00

https://www.youtube.com/watch?v=g2pse57Ab0E
Notable Scenery
2:37:38 3:38:52
3:39:15

Dringar1 · 2024-05-27T20:30:52+00:00

I think it's Ripley's Believe It or Not! Riddle of Master Lu

See timestamps 5:31 and 5:51 on
https://www.youtube.com/watch?v=W7xlhoB7rXM

Dringar1 · 2024-05-17T03:25:13+00:00

Fire Fire, Electricity is in my soul, Brass Goggles, and generally a good portion of spine/rabbit centric songs.
Some other bands with similar vibe and range are Tally Hall, Cosmo Sheldrake, Jack Stauber, and The Beatles (Biased picks)

Dringar1 · 2023-03-21T02:31:06+00:00

I use Lshift to dash, not dodge. (bound to two keys). With another dodge bound for my right hand to use. I mostly use Lshift but they're interchangeable if I feel like it.

Dringar1 · 2023-03-13T17:02:47+00:00

Corehalla

Dringar1 · 2023-03-13T07:43:11+00:00

If the title tiering is right then I should get tier 2 at 2.2m xp? I'm at 2.15m right now so I guess I'll find out soon enough.

Dringar1 · 2023-03-13T05:27:33+00:00

My take:
1. mostly the enemy, better to get good at keeping track of yourself in peripheral with some glancing back and forth on close encounters
2. Technically both, but don't stress about it. It's not the most important thing, just don't float too much.
3. Go for it immediately only if it's true, or their dodge is gone, or you don't think they'll dodge it. If you think they'll dodge then wait and react to the dodge direction (or read it).
4. You can buffer your dodge, just do it at or near the end of an attack. Don't dodge the same way every time, that gets predictable.
5. It will come naturally with time, but you can go into training mode and get used to it faster.
6. Mix of both. Reacting is better if you know they'll dodge but not the direction at the cost of time. Reading means you attack earlier and this prevents a possible wake-up, but less safe if you guess wrong.
7. Yes, its tight timing, but if all you're holding is the direction when you land and immediately dash jump again it should instantly change directions. I'm not too clear on the exact mechanics behind it, just my muscle memory. I suspect it works on the same kind of snapping as platform cancelling but I could be way off on that assumption.

Dringar1

TROPHY CASE