Sykosan
speaker
127 appearances
1 recordings
1 series
first heard Mar 2025
last heard Mar 2025
Sykosan’s voice in public audio — every appearance, attributed to the second.
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Appearances
3D is like a new thing with a new look. So we threw ourselves into it. We want to see how far we can push it. And I think 3D has now basically attained its maturity. We have great styles that are really perfectly controlled. It feels like
3d can hardly get any better it's so good uh you know it's so hyper realistic we can do a fantasy we can do realism all that no problem special effects are just mind-blowing so now we've sort of reached the end of of that world in principle. We know what we can do with it. So we're always curious to find new things. So we go back to other styles.
And what's the beauty of a sketch, for example, is that it's simple. Just a little line on white paper can do something interesting. Why? Because it's stylization of the real world. And everybody, if it's done well, everybody's going to like it. You don't have to go full realism to make something interesting. And I think that's what's happening with pixel art.
Pixel art is interesting because it's a simplification. It's a stylization of the world. And it's interesting in itself. As long as it's interesting, it will always be there, I think. To me, it looks like a painting because the pixels are big and colorful and bright. And yeah, it has this appeal of a beautiful painting when you just brighten up the colors and simplify the drawings.
Well, there's other things than just the details. There's, for example, the atmosphere of a game, the colors, the mood. So you can create with simple shapes. You can put an atmosphere into your game. And that in itself can be appealing. And what you see with 3D a lot is that this is a bit harder to control. Let's say an artist is painting something just directly, putting colors on the screen.
They have a full control of what it looks like. They can decide at any moment, I want to have particles there. I want to have a reddish hue over here. And then it can create that mood exactly the way they imagine it. If you do 3D, you have to go through the rules of 3D, which is completely different. You have to put a light in there.
You have to use the sort of recreation of real life effects to get the result. and you change the lights or bulbs somewhere, and that changes the mood of the whole scene, it's really hard to combine things in a way that you get exactly what you imagine. And that makes it harder for 3D artists to create very specific looks. And that's why they've been challenged to do 2Ds.
It's funny how 3Ds try to do 2D look for so long. They have these cell shading styles, these lines outside of 3D. They're desperate to recreate that crazy control that 2D has. And 2D will always have that freedom that they can draw exactly what they want at any moment. And 3D doesn't have that freedom. So that's an advantage of traditional medium, right, over 3D.
Yeah, absolutely. I'm with you. And I think this is why 2D will never die, to be fair. Because it's a source of inspiration, even for 3D. 2D guys will explore new avenues, and the 3D people will be like, yeah, yeah, I find that interesting. I'm going to bring that into... But I think, funny enough, I did a lot of 3D myself, actually. I started in 3D before I did 2D.
So I studied architecture, and I was using a 3D package back in the days. And then when I graduated, it's only after that I started looking into animation. But I was essentially a 3D guy at first. And I learned a lot from 3D. There's a way to approach lighting, to approach colors. and also comping the colors to make things look a certain way.
And I sort of transferred some of that understanding to the way I paint. So when I draw characters, I kind of separate layers in a way that 3D does it. And so sometimes I have students and they ask me about my approach to drawing, and there's some very different approach. You could have like the sort of traditional painter approach, which is
pick the exact color that you want, and you go with that. But my approach, for example, is a more layered and constructed approach where you have a base color, and then you've got some light on top and some shading, and then you add some effects, you layer things on top. So that sort of layered approach is very much akin to 3D approach. And one is feeding the other, right?
There's a back and forth between 3D and 2D, and it's a good thing. It's a good thing.
Yeah. I think people would love to know a bit more about what the people would do those games, right? And how they do it. But we'll get to this, I'm sure.
They can be separate. But I would say definitely an animator is also an artist. You have to look at animators, I think, a little bit more like actors in movies, right? You would say of an actor that they are artists, right? They don't paint. They don't make music. They act. That's what they do. And that's what animators do. That's how often I describe it to people as an animator.
I'm like the actor on the set, except that instead of acting things live, it just takes hours and hours of drawing frames after frames to get the same result. But we kind of act things out. For example, when I have a shot to do, I just...
get off my chair and then maybe i'll film myself and i'll try to act out the scene to see how it is so i become the actor and then i try to translate that into drawings so yeah it's very much an art now however you don't need to draw necessarily particularly since 3d in fact well if you if you're doing 2d animation you need to do how to know how to draw obviously but if you're a 3d animator you you
In the ideal scenario, you're given a character that's entirely set up, rigged. And in video games, it's the same. You have to do these animations, and the character could be prepared for animation. And when you come in, you have a sort of setup of tools to move the face, to move the arms and legs. and that's when you come in and make everything move. And you don't need to draw at all.
You may never have used a pencil before and still be a great, great animator. But often it's understood that the principles of 2D animation that we've developed through the years early are simply translated into 3D. And they learn the same lessons. They learn the same approach. The keyframe approach to animation is 12 principles of animation used in the US, particularly. I'm French.
Yeah. I mean, like, if I want to do good animation, if you're talking about a scene where a lot is happening, it's not just a mouth moving. It will take me about a month to do about 10 seconds of animation.
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