Author: aceillust

Day #1: Fairy Penguinos animation journal

This is day one of the Fairy Penguins series animation development. Just chronicling the challenges, successes of creating an independent animated series. Also notes to help me remember things.

I actually began work on the Fairy Penguinos at the end of January this year by creating the logo of the series. The logo shows up in the introduction as well as on artwork. Then, I worked on the scripts and the backgrounds and concept art throughout February. This month, today, I began to plunge into animating.

For reference, I have absolutely no experience animating anything other than in high school I made a few short sketchy animations. However, I have read up on animating tips before I began this project, and since I simply have a ton of experience drawing in general, it shouldn't be too painful.

The first thing to animate for the series is the introduction sequence. I estimate the introduction will be about 25-30 seconds long. A total of 720 frames all of which will be hand drawn (the actual series won't be frame by frame). So that's quite massive, but thank goodness for the copy and paste tool.

I've already drawn the background of the stage, but there isn't much animation going on in that besides some sparkles and the light getting brigh with a fade in for the logo. My first challenge is drawing the curtains. I use references to see how curtains on a stage move back to open up the stage. At first, I thought about drawing the frames on paint tool sai. Bad mistake. No onion skins and it's just a pain. Second, tried to do them in Adobe Illustrator but it's not really viable for hand drawn.

So I find it's a lot easier to do in Adobe Animate CC, thanks to onion skinning and easy moving of the drawn frames. I haven't figured out how I am going to paint it but I think the lineart will have a "crayon" type stroke, and there will only be shading to show movement of the curtains.

In day #2, I will be making 3-4 frame bottom of the curtains. Instead of redrawing the bottom, I'll just make a 3-4 frame "flowey" sequence and copy and paste that on each frame like so: 1, 2, 3, 4 - repeat for the remainder of the animation. It's not convenient to draw the bottom because sometimes it doesn't match up. Have a pre-made flow of the bottom of the curtains will look smoother.

Another thing I screwed up is when the curtain is sitting there in some frames when the curtains should always be moving to the left or right no matter what; stage curtains don't stall in the middle so I've got to fix that.

Right now I have done 3 seconds worth, but it is just the basic lineart and a rough draft. The first second and a half is nice and smooth but moving in and it needs some work. So I'll have to fix the lineart after happy with the way the animation overall looks. The left side of the curtain will simply be a copy paste of the right side. No real reason to draw a left side; most people wouldn't notice it since it's going so fast (maximum of 3 - 4 seconds).

Overall, I hope to complete the intro sequence - curtains segment by next week, hopefully.

Why you as an artist should never work for free for someone who CAN pay you

This is mainly a motivational and opinion piece. I'll probably edit it from time to time to make it better by adding research to prove my thesis (that working for free as an artist ultimately devalues the craft), but the current version is the unedited version directly from my thoughts.

Being an artist in 2019, whether it’s in the fine arts or digital realm, is a difficult prospect. Well, being an artist throughout the ages was difficult for the most part, simply being that society has generally prioritized other avenues over art. Today, for example, in many schools, funding for sports is prioritized over funding for music and art (at least my high school did; first thing that got cut were art and music programs).

And in the “gig economy” that has taken over slowly since the 2008 recession, being able to get a job as an artist becomes increasingly difficult as you need to differentiate yourself far away from the other thousands of artists, not just nationally but globally. Competition is big. Still, it’s not impossible. One step that artists tend to take to differentiate themselves though, is by working for “free” in order to get that recognition and future job openings.

Before I get into my opinion, please be sure to note that there is a difference between working volunteer for non-profit organizations, and working for someone who can pay you, but doesn’t pay you (company, for profit, sole-proprietor, or an individual). With volunteer work, you generally know what you’re getting into, and the organizations generally are for good causes that really do need help and rarely have funding available.

Whether it’s doing an unpaid internship in order to possibly acquire that job with the company (unpaid internships are largely a luxury, because unless you live in a large city, or have a lot of money saved up, it’s very difficult to do) or doing free artwork on the web to “get noticed”, or whatever method that involves providing a trade of free artwork for a possible benefit (it’s not 100% that you’re going to get discovered. It’s not 100% you’re going to get that job); regardless of what it is, these methods devalue all of art and all artists livelihood to the point that art becomes treated as a valueless commodity by society.

The unpaid internship. It boggles my mind as to why these exist, but I suppose companies know there are college students desperate to work for free for just that hypothetical chance that they might … They just MIGHT get future work with the company. A future contract. A might. A maybe. A big “If”. A huge uncertainty. Those that host unpaid internships play with the anxieties of the artist, which they know artists are quite a sensitive bunch (at least many are), take advantage of inexperienced and unsure notions carried by the inexperienced artist, and take advantage of the general inexperience of young adults by luring them in with false promises and what ifs.  

The fact that there are unpaid internships by companies show that companies can get away with it because they know that there are bright eyed artists that believe the only way for them to get an art job is by working for free. Because many artists are naturally self-critical. They have subconsciously devalued their own skill and talent which they might have spent years developing, and thus, believe they must work for free in order to prove themselves or insert any anxiety riddled thought artists typically have concerning their craft.

Thinking that you should work for free in order to get discovered is also not a healthy mentality. As I said, these types of mentalities not only hurt you, but they are surely do not benefit your fellow artists who also desire to be paid reasonably for their honest work.

A job is a job. You should never work for free for any reason. Many external users to the arts don’t seem to comprehend that art has the potential of being more than just a hobby. It’s very much an honorable, and dead on career choice even though it might appear softer than other career choices. But it requires great deal of skill and discipline, or at least I think it should. I do have plans to write an article on why artists should also adhere to professional standards, but that is another topic for another time.

In summary, if you decide to work for free as an artist, and the individuals or companies have the means of paying you but they do not want to for whatever reason, this is helping to devalue art, what it contributes to society and turns it into a unnecessary, fluffy commodity with no purpose. When in fact, the arts do have many purposes, namely of which is providing an honest living for those talented in the arts, and providing rich culture to society. Without arts, we would live in a cold world.

-ACE from

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