SOME GUY WHO DOES THINGS maybe...
[[Link to art blog below]]
no one asked for it but here you go
here’s how i stumbled upon my ridiculous ass style:
When I started drawing seriously I wasn’t really focusing on style. I was just trying to draw decently and anything stylistic that happened was more of a happy accident than anything. I was a part of a couple animation/troll groups on Newgrounds for a while. There were certain artists in those groups who I nicked some ideas from, but I still didn’t have a specific style to speak of. After a lot of those groups either went defunct or turned to sour shit, I kind of just kept within my own creative hemisphere and just focused on what kind of design quirks my art could have. I started giving my characters conjoined eyes (which was an idea that I’ll flat out say I stole from Paul ter Voorde), pointy noses that sloped into the jaw, mouths that occasionally spurted off the character’s face like a melting trumpet, and other gimmicky doodled features. I was starting to build a more specific style, but there really wasn’t much underneath the surface in terms of substance. Now someone who wants to properly master their craft would have started doing more life drawing and the like to develop their art further; I did something else. During my junior and senior years of high school, I became fascinated with a lot of different art forms outside of cartooning. I tried taking cues from things like fractal art, African folk art, Constructivism, Cubism, Surrealism, sculpture, typography, pixel art, and image manipulation. I was even foolish enough to try my hand at political/socially-minded art despite being a stupid teenager that didn’t really get the world. Despite the schizophrenic repertoire I was building for myself, I still wasn’t really getting anywhere in terms of improving my draftsmanship. After getting my ass handed to me by my first year of college at B.U., I decided I was gonna chase my pipe dream of getting into the animation industry. I took a bunch of courses in fundamentals so I would actually know what I was doing, but it was enough to keep me satiated. Halfway through my second year of college (first year after transferring), I started to become fascinated with old-school cartoonists like Milt Gross and Harvey Kurtzman, as well as golden-age animators/directors like Tex Avery and Bob Clampett. I would spend hours researching golden-age animation, learning about things like specific animators and the stylistic quirks they displayed in their animation. The ideas and aesthetic choices I noticed in their work started to bleed into my own. Eventually it just became a matter of practicing my craft. The more work I did, the more my style became solidified.