VIGNALI STUDIO

When working in animation, hands are some of the trickiest things to get right. In part because they have to look great, and they have to move. It doesn't matter if it's 2D, or CG animation, getting the hands right is imperative. So, I put a document together for the modeling department when we were working on a CG animation short for Garena's Free Fire Project, "Alvaro Awakened".

Having worked as a figure drawing instructor comes in handy to understand the anatomy, but not the design. It's important to understand that designers are not anatomists, but rather need to create images that are pleasing to the eye, have a sense of design and rhythm -- and in the CG Animation world -- are functional.

Understanding the practical aesthetics, the functional aspects of anatomy, and the design/style consistency of the characters, are more important than the internal anatomical details. It may seem funny coming from someone that has studied and taught anatomy for decades, but that doesn't mean some of that knowledge isn't applicable. It simply means that knowledge isn't what the audience sees on the screen.

Getting caught up in the surface details in the wrinkles of the knuckles can be just as problematic as getting caught up in knuckle condyles of the bones. But, getting the shape of the stretching and bunching right, and rigging the movement, will go a long way.

Hands On!

I've just added another "Into the Design Lab", on one of my favorite illustrators, N.C. Wyeth.

Newell Convers Wyeth, also known as N. C. Wyeth — Born in 1882 – died in 1945 at the age of 63. He was an American painter and one of the greatest American illustrators of the 20th Century.

Throughout his career, N.C. Wyeth created more than 3,000 paintings and illustrated 112 books.

It was incredible to dive into his work and discover so many storytelling tips and visual tools. In one painting Wyeth is giving the audience three panels that tell a story. We read his illustration like a comic book... without ever realizing it.

Just $5 bucks on Gumroad; learning has never been so affordable.

Into the Design Lab: N.C. Wyeth

I'll never forget the first time I saw Heinrich Kley's artwork, the exhilaration I felt was like life itself was being decoded before my eyes. I bought his books and poured over them; copying them in the hopes that in my blind attempt to imitate the work -- simply by osmosis -- I would begin to understand. Sadly, that was not the case, and Kley's work continued to remain a mystery to me.

So, I made copies of Heinrich Kley's artwork and pinned them over my desk. I kept these drawings as a reminder of what it meant to be in charge of one's own craft. For decades these drawing were like a lamp of light, illuminating my path.

However, it was only decades later that I began to unravel the mysteries of Heinrich Kley's work. And now, I have the pleasure of sharing with you my knowledge and understanding of this beautiful artwork. So, join me @Gumroad: Into the Design Lab - Heinrich Kley

https://vignalistudio.gumroad.com/l/qszjmz

I give a short bio of Heinrich Kley, and then take an analytical look at the drawings of Heinrich Kley. And finally reveal the mystery behind these enigmatic drawings. We'll look at the gesture, balance, silhouette, overlap, structure, animation and echo.

The Art of Heinrich Kley

I've put together a series called Into the Design Lab, it's an artist retrospective, an analysis and a design dissection that reveals the compositional tricks and storytelling tips by successful artists.

In this five part series, I'm dissecting the works of the award winning comic book artist and science fiction illustrator, Frank Frazetta. Have you ever wondered how Frank Frazetta was able to create such compelling images? Why does his work looks different than everyone else's? I've gone ahead and broken down the lesson into five videos.

Part One: A quick biography for those that aren't familiar with his work. And an in depth look at the transition from ink to paint. How the directional strokes in Frazetta's comic book inking influenced his painterly illustration style... and his compositions. This is fundamental to understanding his work.

Part Two: I'll break down and analyze Frazetta’s use of layers, depth, color, framing, compositional elements. Even how his comic book experience in color taught him the importance of attention, and shocking the audience.

Part Three: We'll study Frazetta’s roughs. This was the blueprint for his illustrations, and how he stuck to the plan all the way through the final. This eye opening presentation will change the way you think about this often neglected stage of planning. You’ll see a direct translation from rough drawing to final and see how Frank’s conceptualization never changes.

Part Four: We’ll study Frazetta’s compositions by breaking them down into silhouettes, study their structural arrangement and design, the importance of overlap, value, and one of the most unique and powerful storytelling devices, Frazetta's use of animation as a means of storytelling.

Part Five: We complete this series with a final study on Frank Frazetta’s use of Dynamic Compositions, dynamic perspective and overlap. This is the signature aspect of Frazetta's work, he drags us into his compositions like no one else. We’ll also look at other complex staging devices using shape to tell a more powerful story. And, wrap it all up with retrospective look at the Frazetta legacy.

Each lesson is priced at ONLY $5! I've priced this low so that everyone across the world would have access to this knowledge. I want to make a difference in your life, I want to make a difference in this world, and I want to make the world a more beautiful place with your art. Join me on @Gumroad: https://vignalistudio.gumroad.com/l/pvzmi

Next ITDL episode will be on the works of Heinrich Kley.

Into the Design Lab: Frank Frazetta 1 thru 5

Great artists throughout the ages have left their art lessons encoded in their works. In this series I deconstruct the artwork to find the compositional, story, and structural devices... as well as reverse engineer the thinking involved in creating their magnificent art.

You don't know what you don't know, so it's hard to imagine what you're not aware of, so I've posted a free video lesson on Youtube to show you what you've been missing. It's a short 10 mins excerpt from one of the upcoming lessons, Into the Design Lab: featuring the work of Frank Frazetta.

I want folks to know what they're getting in this series -- it will blow your mind. Into the Design Lab -- a Gumroad PREVIEW It's an academic dissection of history's most indelible artwork. And it's free!

Into the Design Lab, with Marcelo Vignali -- FREE SAMPLE!

The power in each of these portraits speaks volumes to us. We wander around these images with our eyes, picking up on subtle hints in the anatomy, decoding each nuance of expression: a raised brow, parsed lips, or a glint in the eye, and we feel something visceral. 

Great photographers not only capture their subjects, but also are making commentary how they feel about their subject. They see something within that person, and work the lights, the exposure, the depth of field, posing, to find that perfect picture...that definitive statement that can transcend decades and generations, and speak to us at our core. We see these portraits and feel something. 

This is the power of the visual language.

One can't look at Kurt Cobain and think of his amazing energy, his voice, and his tragic ending. This portrait is interesting and very similar to Halle Barry's portrait. It's soft light that reveals his face, but unlike Halley the photographer added some light behind him to pop out the darker right side and silhouette the strands of his hair against it. The aperture also has a shallow depth of field, that means we're close up...close enough to feel like we know him. And, in this intimate space we start to explore the nuances that expose the raw nerve of his pain. His brow is slightly knit, his dirty hair hides part of his face as a wounded eye engages us. There is a soft highlight in one eye, he's alive and he wants us to know how he feels.
This enigmatic portrait shows a beautiful but vulnerable Marilyn Monroe; sad, unhappy, pained. There is no highlight in her blue eyes; they are lifeless. Her mouth slight agape, as though she were about to tell us what hurts...why it hurts. She's leaning forward as if to whisper this painful secret to us. Her turbulent hair echoes the machinations of her mind and the tumult of her life. Frozen in that moment, unable to tell us this secret. She's so close...but yet forever out of reach.
This is a wonderful portrait of Boy George...enigmatic. His face is like the moon, revealing only half to us, mysterious and occluded. It's a high contrast image, and the light is NOT soft but rather making a direct statement about the topography of his face. He's leaning forward to engage the viewer, his eye -- intense -- is locked in on us. He is not friendly, he's challenging us with his intense gaze.
This portrait of Halle Barry is wonderful. The soft lighting allows the light to carefully caress her face and reveal the subtle nuance and texture of her beauty. The tassels of her hair are softly arranged across her forehead. The horizon line is above her, she appears vulnerable, yet confident. The highlight in her eye indexes towards us, we feel as though the highlight is coming from our direction as we greet her. She invites us with the most subtle smile.
A young Marlon Brando, before his rise to superstar status. In this portrait it appears as thought Brandon is focused into that far away place of his future self. He can't see it, or even understand what he's looking for, but he aches to create it. The bright light on his face not only reveals the structure of his handsome face, but also lights the wall behind him...making it appear as though he's looking to engage this bright future that awaits him. The darkness behind him is mysterious, brooding...propelling him...and that also adds to the Brando mystique. But, the way this portrait is lit, and the position of his body, tells us Brando is apprehensive about stepping into the light. Also, the highlight in his eye makes it appear glassy...like there is some emotional vulnerability. The choice of this portrait is interesting in that he is not engaging us, rather he is absorbed in this tumultuous task of self discovery...as though he dreads the light.

Josh Brolin's Portrait speaks to us in aggressive confrontation. He isn't close to us enough for us to feel as though we know him, so we can't connect. His eyes squinting, his body squared up on us, shoulders rolled forward, there are negative spaces between his arms and his body ... he's ready to engage in the confrontation between himself and the viewer. He is not occluded into the background, rather he is clearly silhouetted against the background. He stands in defiance, and you know where he stands.

This is a very old John Huston, his portrait says a lot. The light is designed to accentuate every wrinkle, every freckle, every scar he has earned through out his 80 years. He is done playing any games, there's no vanity, no pretentiousness. He leans forward and engages us, as a friend. His hands folded under his chin, he has made himself comfortable and available to us...to listen to us. But, there is a foreboding element to this portrait, as there is no glint or highlight in his eyes. It seems to speak that his life experiences have exhausted him, and rather he is more interested in the world around him than in himself. This is an intimate portrait, John has made himself completely available to us.

The Visual Language of Portraiture

I'm opening up the Vignali Vault once more.

I don't think this image has ever been printed in any book or posted on anything since I drew this 20 years ago for Disney's Kingdom of the Sun. You are the first to see this image in over two decades.

This was the early development work for Roger Allers' version of the film that would later become The Emperor's New Groove. The story was considerably different, in this scene Pacha sneaks into the palace to retrieve his llama that has been taken by Prince Manco.

This is a graphite pencil drawing. I would vary between wax based pencils and graphite depending upon the level of detail or atmosphere I needed to capture in a drawing. If I needed more detail, I used graphite. If I needed more atmosphere, I used a wax pencil.

When to Choose Graphite or Wax Pencil?

With so much digital work in animation today, it’s important to keep in mind that “design" should be the driving and motivating factor of design. While it’s a lot easier to create digital artwork that allows us to use multiple layers, textures and even 3D models to paint over, don’t underestimate the power of the pencil. The pencil is a direct line of communication.

Glenn Keene has said, "the pencil is the seismograph to the soul."

The strength of pencil design work is that every mark on the paper is a deliberate stroke. Each value, each mark is a decision made by the designer. How you feel, what you want to say, is directly translated onto the paper.

This is one of the designs I proposed for the girl Smurf village.

The Power of the Pencil

Here are a series of visual development paintings I did for Hotel Transylvania 2. Although I'm not listed in the credits, I did do some work for HT2 in the early development stages. In this assignment, we were exploring the world of Johnny's parents, still trying to figure out how to keep the look for this new location consistent in the same HT style.

I thought I would play up the contrast between the Romanesque castle architecture with no windows, to the modern glass wall architecture. What would be worse for a vampire than a glass house?

Poor Dracula, just when he thought he was going to get a little shut eye. What could be more horrifying to a vampire than the morning light?

In this image we can see the hearse driving through the Napa valley. A subliminal cross peaks out over the treetops to torment Dracula.

Hotel Transylvania 2 Artwork

I just posted an article on my Art Page to answer the question, "Why use stylization in animation?" This is a follow up to the Tumblr article I posted a few days earlier.

Why Use Stylization in Animation?

I've just uploaded my latest video on my Youtube Channel on The Postcard Game.

The postcard game is game where you trade artwork with your artist friends.

Look at this gorgeous watercolor postcard I received several years ago from my friend Paul Felix...sent to me FROM AFRICA! The Disney Studio sent Paul all the way to Kenya to do research for their upcoming film at the time, TARZAN, and he was taken by guides to a remote mountain where he was able to observe Mountain Gorillas in their natural habitat!

I'm including the back of this postcard so that you can see it has the actual postage stamps from Kenya! Sent to me, while I was at the Disney studio in Burbank working on Mulan.

Come check out my video on Youtube!

https://www.youtube.com/watch?v=lzLQRSTRNDc

The Original Art Postcard Game

In this five-minute sketch, I'm showing the simplified building-block structure that I use to balance my figure.

Using this building-block structure, it's easy to balance the figure. You simply stack boxes in a way that looks balanced.

If the boxes aren't balanced, understand you're suggesting movement. This isn't a bad thing, if you're drawing a dynamic pose. But, in a standing pose, you'll want to suggest a steady balance.

Stacy, the Barbarian

Come check out my latest How-To video on Overcoming Obstacles, and dealing with adversity.

What to do when things go wrong...

Mobile Studio Video, Overcoming Obstacles

Have you ever felt like you're tied to someone else's drama?

It's a shame, I tried to record this drawing, but somehow the file was corrupted and I lost the recording.

Drama Queen

Have you ever noticed that the bees aren't the only ones looking forward to all the flowers in Spring?

Spring is in the air...

Here's a seven minute figure drawing sketch from last night, drawn while using my Fractal Method.

Athletes to the gym and train, they build muscles they need and use when performing their activity. Artists are very much the same way, we need to train for our activity -- and going to figure drawing is our gym.

So, if you're an artist, get into our gym and start working out!

Figure Drawing is our gym...

Yes, we're at that phase in kittenhood when our little Misty Lou needs to sharpen her claws, literally at our expense.

I snapped this picture of our kitty when I caught her in the act.

BAD KITTY!

NO MISTY LOU!

It's Windy

IT'S WINDY...

I've put together another video of my Mobile Studio. In it you'll get a sneak peak into my Mobile Studio sketchbook.

The Mobile Studio

Mini-flyweights, 105 pounders...they make the ring card girls look big!

I'm a huge boxing fan, having laced the gloves in my younger years.

The lighter weight fighters are the most entertaining to watch, because they move so fast. It's like watching squirrels fighting over a bucket of espresso beans, in fast-forward.

Mini-Flyweights

Continuing with my Ordinary Hero series, this guy was my ordinary hero today! When his little mini-me started to act up at a local yogurt shop, this hero promptly "took-him-out." Hah! Now, that's what I call a real, "PUNISHER." We need more parents like this!

Continuing with my Ordinary Hero series...

Oh gosh, I saw this grandpa enjoying an ice-cream, and I couldn't help seeing the resemblance.

You know how people look like their dogs, well they also resemble their diet.

I tried to record a video of my using the gel pen, but the video stopped recording halfway through. When I finished the drawing, I realized the error.

Oh well, next time!

Sweet Grandpa

I just uploaded a new video on my Youtube channel. Designer Training/Drawing with Markers.

I do my usual ramblings as I discuss the importance of training, my unique Fractal Method of designer-training, setting goals, and some tips on marker drawings in your sketchbook.

If you have any questions, post them here. I'll get back to you.

Designer Training/Drawing with Markers

My young daughter just finished her latest video, and she asked me to upload it onto Youtube.

Don't forget to "like" the video, and subscribe to her channel. The Random Tales of Snorky13

Random Tales of Snorky 13

Entertaining a thought here, what if superheroes were just like regular people. I mean, what if they were still super, but they didn’t wear costumes – rather, just regular clothes. What would they look like?

Along with the usual suspects of antiquated art equipment. I've got a mechanical pencil whose metal grip has nearly been worn off, an extinct Tria marker, and my favorite eraser.

Wonderwoman...keeping it real.

Here's a memory sketch of a big guy that we spotted last week during our sketch club. I paired him up in my sketchbook with this odd looking young woman. She was a young hipster that dyed her hair blue, and dressed like an old lady.

Big Guy and Young Old Lady

I usually reserve my dry marker sketching for figure drawing. But, this time I drew a character design using the tool, a dry brush pen. I was attempting to refill the pen because it had dried out too much and I was testing it out. I liked the doodle, so I added an orange color to fill it in.

The tool isn't as important as the idea or the design, but a different tool may cause you to think differently. If you feel like you're in a rut with your drawings, switch up on your tools and see how that affects your thinking.

Dry Marker Character Sketch

Sketching on-the-go #3: Using a watercolor technique called wet on wet when using markers. This is a how-to video on using markers.

Sketching on-the-go #3

I saw this young woman walk by with a pretty head band that looked like little flowers, but the hair in the back end sagged in a bundle that bounced when she walked. I thought it was funny.

Hippy Chic

Drawing on the Go Tips: Drawing with a Pattern Template

Here's a video I made on using a pattern template when drawing cafe sketches.

We saw this tough-looking young woman stroll by.

Tuff Chix

I saw this young woman heading off to her yoga class with her yoga mat tucked under her arm, she had a striking resemblance to Olive Oyl. I thought to myself, “Yep, that’s what Olive would look like today.”

Which got me thinking, what would Bluto look like? And, more importantly, does Olive even need Popeye to save her? I think this Olive can save herself -- that's why I gave HER the anchor tattoo.

The young woman was the mark for our sketch club memory drawing. I added the sleazy movie producer for effect.

Olive Oyl in Yoga Pants

I've been watching B-Boy dancing, wow it's so incredibly extreme. I just love what they're doing with dance. I was thinking to myself, it's gotta be harder to impress the ladies nowadays.

This is a marker drawing on toned sketchbook paper.

"Girl, Why U Gotta Be Like Dat?"

I gotta reach into the archives for this one.

The storyline is this, the villain attempts to get away, while the Milo gives chase. They use some of the planes that was brought by the explorers onboard the sub. Of course, you know this attempt fails, and the heroes have to attempt to activate the older technology in order to stop the villains.

I drew this one for Disney's Atlantis, 17 years ago. It was drawn with graphite pencil on a ledger bond paper.