WEBVTT Kind: captions Language: en 00:00:00.160 --> 00:00:01.749 What’s up everyone? 00:00:01.749 --> 00:00:06.649 Thank you Antony C for inspiring this opening to Scribble Kibble. 00:00:06.649 --> 00:00:09.180 I’m making this episode late at night. 00:00:09.180 --> 00:00:10.180 I’m a bit… unfocused. 00:00:10.180 --> 00:00:11.180 Scattered. 00:00:11.180 --> 00:00:12.180 Should be interesting. 00:00:12.180 --> 00:00:16.980 The featured animation is Welcome to Hell, and here it is in all its glory. 00:00:16.980 --> 00:00:22.189 You know, it feels unfinished story-wise. 00:00:22.189 --> 00:00:26.340 Not like a cliffhanger, but like somebody is talking and they start to trail off on 00:00:26.340 --> 00:00:36.870 what they’re saying and they get quiet and kinda… mmm. 00:00:36.870 --> 00:00:45.039 But surprisingly animator Erica Wester and the fans of Welcome to Hell are extremely 00:00:45.039 --> 00:00:47.810 active around this animation even three years later, so there are tons of answers to be 00:00:47.810 --> 00:00:48.810 had. 00:00:48.810 --> 00:00:54.460 After reading about how the current iteration of the story came to be I can appreciate it 00:00:54.460 --> 00:00:55.480 as it is. 00:00:55.480 --> 00:01:00.880 It’s certainly better than the Mephistopheles-centric one where we barely get to know the other 00:01:00.880 --> 00:01:01.880 characters. 00:01:01.880 --> 00:01:09.500 Current story focuses on the relationship between Sock and Jonathan. 00:01:09.500 --> 00:01:13.720 Unlike the majority of the animations on Scribble Kibble, Welcome to Hell is drawn on paper. 00:01:13.720 --> 00:01:17.380 It’s colored digitally and there’s the digital backgrounds in the second scene, and 00:01:17.380 --> 00:01:22.290 a little bit of the animation program TVPaint hiding in there, but everything else is paper. 00:01:22.290 --> 00:01:24.183 There are all of your pencil lines. 00:01:24.183 --> 00:01:25.183 So. 00:01:25.183 --> 00:01:26.183 You want to animate on paper. 00:01:26.183 --> 00:01:30.280 You’ve got two options: stack papers together and flip and roll through them with your fingers 00:01:30.280 --> 00:01:35.570 to check your work as you draw OR use a light table that shines light through previous and 00:01:35.570 --> 00:01:37.730 next drawings so you can see where to put your lines. 00:01:37.730 --> 00:01:38.730 Here’s my ghetto table, which is a sheet of plexiglass on top of some crates, the upper 00:01:38.730 --> 00:01:39.730 one which I shoved a desk lamp into. 00:01:39.730 --> 00:01:40.730 At the low low price of excruciating back pain from standing bent over that flat surface 00:01:40.730 --> 00:01:41.730 for more than few hours. 00:01:41.730 --> 00:01:43.290 If you’re animating on paper most people use sheets that have holes in them that fit 00:01:43.290 --> 00:01:47.040 to a peg bar so the papers stay aligned as you draw. 00:01:47.040 --> 00:01:52.400 If you’re only animating for fun, you don’t really need that. 00:01:52.400 --> 00:01:56.100 You can animate with regular sheets of paper. 00:01:56.100 --> 00:01:59.990 Either way, hand work is not for the faint of heart. 00:01:59.990 --> 00:02:04.540 If you learned to animate digitally and never touched a pencil test in your life, I suggest 00:02:04.540 --> 00:02:08.759 trying the flipping and rolling method. 00:02:08.759 --> 00:02:11.360 It forces you to be a better artist. 00:02:11.360 --> 00:02:15.420 Stop relying on the light table, or the onion skin for everything and actually flip through 00:02:15.420 --> 00:02:20.830 your frames, then go to the blank canvas with no distracting lines and draw your character 00:02:20.830 --> 00:02:21.830 fresh. 00:02:21.830 --> 00:02:25.440 It’s painful to do at first: you feel blind without the onion skin. 00:02:25.440 --> 00:02:26.440 (See also: Traditional Habits for Digital Animators by Toniko Pantoja) 00:02:26.440 --> 00:02:32.450 But soon you will realize all that you lost by relying on it. 00:02:32.450 --> 00:02:33.740 Ahem. 00:02:33.740 --> 00:02:35.030 Anyway! 00:02:35.030 --> 00:02:39.890 Welcome to Hell benefits a lot from the unclean pencil sketches, first because there’s no 00:02:39.890 --> 00:02:46.950 easy way to cheat posing with a digital onion skin, and second because the pencil lines 00:02:46.950 --> 00:02:51.250 leave a lot of interesting texture on the drawings, versus that flat look you get with, 00:02:51.250 --> 00:02:53.080 say, a typical Flash cartoon. 00:02:53.080 --> 00:02:57.330 I’m sort of… reading through the production blog as I talk here. 00:02:57.330 --> 00:03:01.180 Every so often Erica mentions the daily struggles of an independent animator. 00:03:01.180 --> 00:03:02.950 It’s all totally true. 00:03:02.950 --> 00:03:07.700 When you’re in college, your job is to make a senior thesis film, which is what Welcome 00:03:07.700 --> 00:03:08.700 to Hell is. 00:03:08.700 --> 00:03:10.370 That’s all you do. 00:03:10.370 --> 00:03:14.450 Then you graduate and don’t have those loans anymore - in fact, you have to pay them off. 00:03:14.450 --> 00:03:18.180 So you try to make an original cartoon, but most of your time is spent doing art that 00:03:18.180 --> 00:03:20.270 makes money so you can live day to day. 00:03:20.270 --> 00:03:21.270 Ahahah. 00:03:21.270 --> 00:03:25.440 But yes, Welcome to Hell two is in the works. 00:03:25.440 --> 00:03:29.410 There’s a Patreon for it, and the production blog, all that song and dance. 00:03:29.410 --> 00:03:33.630 Plenty of secrets to dig up if you know where to look. 00:03:33.630 --> 00:03:36.209 I’m going to leave this episode short and sweet. 00:03:36.209 --> 00:04:15.470 Come back next week for more of this little animation show called Scribble Kibble.