1
Challenges & Activities / Re: Hexquisite Corpse 4
« on: May 22, 2019, 06:50:57 pm »
screw it, I'll take 84
aaand DONE
aaand DONE
Show Posts
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
2
Challenges & Activities / Re: The Daily Sketch
« on: December 03, 2017, 07:14:48 am »
I opened up Krita with my mind set on doing a style imitation of Yoji Shinkawa, but that just wasnt panning out...so I decided to have some fun with the brushes and This wolf spirit sort of breathed itself to life.
I'm sure wolfenoctis can tell me all the things wrong with the anatomy :p it kinda looks like a pastor collie....it's just an inkblot that grew a face tbh :p
kinda would work in a shirt right?
EDIT:0xdb is that a storyboard? looking good
btw.....I just realized that I posted this by the time it was today, my birthday so I started this year with a daily sketch...good sign right?
I'm sure wolfenoctis can tell me all the things wrong with the anatomy :p it kinda looks like a pastor collie....it's just an inkblot that grew a face tbh :p
kinda would work in a shirt right?
EDIT:0xdb is that a storyboard? looking good
btw.....I just realized that I posted this by the time it was today, my birthday so I started this year with a daily sketch...good sign right?
3
General Discussion / Re: Set different opacity for different pixels in GraphicsGale
« on: November 11, 2017, 03:20:05 am »
PixelPiledriver is far more comfortable with this kind of thing than I am but I can tell you of a way to do this.
the alpha channel is a wholly different invisible image in your file, much like in photoshop. The way I handle it is by going to
image/make alpha channel/
create from:luminance
source:current_image.png
then you'll see how roughly you have dark things transparent and lighter things fully visible.
this is somewhat useful but probably not what you want so go to
image/duplicate alpha channel/
now you'll get a wholly new image in grayscale that you can edit, it'll be called image1.png or some number like that. On this image black is invisible white is visible. Personally at this point I load an under 16 color pallete I have prepared because it's most useful for effects, which is what I tend to do with this, and edit it with that. whatever you do works as long as it's still a scale of greys.
once you think you're happy with your alpha map, go back to the original image and go to make alpha channel again, but this time make the source that new image that was generated
image/make alpha channel/
create from:luminance
source:image1.png
then you can see how the alpha actually shows up on your image and edit accordingly.
I think pixelart programs should be better about editing alpha channels while using grayscale palletes, and NOT modifying the regular pixels but this is not the case. if you have Promotion it also supports alpha channels but it's awkward in different ways. I usually use a mix of both ggale and promotion
the alpha channel is a wholly different invisible image in your file, much like in photoshop. The way I handle it is by going to
image/make alpha channel/
create from:luminance
source:current_image.png
then you'll see how roughly you have dark things transparent and lighter things fully visible.
this is somewhat useful but probably not what you want so go to
image/duplicate alpha channel/
now you'll get a wholly new image in grayscale that you can edit, it'll be called image1.png or some number like that. On this image black is invisible white is visible. Personally at this point I load an under 16 color pallete I have prepared because it's most useful for effects, which is what I tend to do with this, and edit it with that. whatever you do works as long as it's still a scale of greys.
once you think you're happy with your alpha map, go back to the original image and go to make alpha channel again, but this time make the source that new image that was generated
image/make alpha channel/
create from:luminance
source:image1.png
then you can see how the alpha actually shows up on your image and edit accordingly.
I think pixelart programs should be better about editing alpha channels while using grayscale palletes, and NOT modifying the regular pixels but this is not the case. if you have Promotion it also supports alpha channels but it's awkward in different ways. I usually use a mix of both ggale and promotion
4
Pixel Art / Re: Question About Animation Format
« on: November 11, 2017, 12:15:35 am »
if you absolutely have to show us the movement GGale can actually make .avi files.
file/save as/.AVI
dont know about their quality though, video isnt really a good format for pixelart, pixelart is supposed to be 8bit. anything more than 8bit means you're using more than 256 colors and really, from what little you've shown I doubt you're doing some complex alpha blending thing that requires it
When you've got your video just upload it to youtube or somewhere, paste the url. the quality wont be great but we'll see the movement
To see the detail we'd probably have to look at each individual frame, that way we would know why you would use more than 256 colors. go to
export/mutiple files
or
export/combined image
that way we can actually see the frames.
Pixelart animations that use more than 256 colors are not really common at all, so you should avoid them unless it's absolutely necesary. I've only heard of a format called APNG to handle stuff like this, but it isnt very well suported in the web or in pixelart programs, because animation with the level of pixe levell detail that pixelart implies is just not common.
file/save as/.AVI
dont know about their quality though, video isnt really a good format for pixelart, pixelart is supposed to be 8bit. anything more than 8bit means you're using more than 256 colors and really, from what little you've shown I doubt you're doing some complex alpha blending thing that requires it
When you've got your video just upload it to youtube or somewhere, paste the url. the quality wont be great but we'll see the movement
To see the detail we'd probably have to look at each individual frame, that way we would know why you would use more than 256 colors. go to
export/mutiple files
or
export/combined image
that way we can actually see the frames.
Pixelart animations that use more than 256 colors are not really common at all, so you should avoid them unless it's absolutely necesary. I've only heard of a format called APNG to handle stuff like this, but it isnt very well suported in the web or in pixelart programs, because animation with the level of pixe levell detail that pixelart implies is just not common.
5
Challenges & Activities / Re: The Daily Sketch
« on: May 15, 2017, 05:07:30 pm »scary skeletonJun! I'm glad to see you doing stuff like this
I was wondering how you were doing. hope everything else is greatPPD: I want to play that gameboy game. make it I say
Mati: I really like that colorscheme with the blue background and green midtones. cool stuff. Since when is a ribcage for a head a dragon tho? consarn it that darksouls
Daniel: I like the bottom to right one, I like how she's twisting and it works with the way you render em, very expressive. No clue if it's correct or no tho
fun to see the crew here, I gotta get on some sketchin action
6
Pixel Art / Re: Urge for Help :(
« on: May 07, 2017, 09:09:57 pm »
Hola! te habla un Colombiano que lleva animando bastante tiempo.
What 32 told you is great, it helps understand what you need to know. just be easier on yourself.
First of all, the animation isnt as bad as you think. He breathes in 2 different ways, that is more complicated than many many games which are actually professional, dont sweat it so much. Nobody is going to buy a game and then throw it in the trashcan because they didnt like the breathing of the character.
Second. Dont animate sprites that are the best you can do. animate sprites that are really easy for you, (maybe animate sprites like your avatar which are far more simple) that way you can focus on the animation.
Edit: I read on another topic you drew animations by making several still frames in photoshop and then sticking them together? that is an insane way to learn animation. Learning to animate like that is like learning to draw by hammering a nail on to a rock. You need to be able to draw while seeing how one frame goes to the next one to understand animation. Get something that has onionskin function (onionskin is seeing a transparent version of the previous frame on top of the one you have, that way you know which way to move the animation).
Some people animate on photoshop, but I think they are insane. I use graphics gale, a lot of people use ASEprite and Pyxel edit which costs less $$$, so they might be good but but I have only really used graphicsgale, so ask someone who does use those programs :p.
I imagine you've read 20 tutorials before you got to working on 1 animation, that makes you expect an animation 20 times better than what you can make, so dont do that. Drawing something and seeing that it sucks hurts, so you delay that moment of drawing something that sucks by watching 20 tutorials, hoping once you have watched them what will come out will not suck, but that doesnt happen. What happens is after watching the 20 tutorials, you can draw something maybe 1.2 times better but now you expect something 20 times better. Start an animation with what you know, invest atleast half an hour on it and then if you dont know how to fix it go look for a tutorial, or ask advice here on the part on which you cant fix. Learning animation is hard, this happens to everyone.
Also, not every tutorial is good, a lot of tutorials just give shitty tricks that are cheats that work for the person who made them, not something that works for everyone, so dont think you suck if the tutorial doesnt make you better, it may be the tutorial that sucks.
What you have learnt is great, even if what you draw really doesnt look that great to you. Tutorials try to make principles look easy and make you think you can do exactly what the tutorial does after you finish watching it, that is very very far from the truth.
Animators who can do this easily look like they always knew how to do it, but they didnt always know it, some time they struggled with it too, but nobody likes a tutorial that says that learning is hard. Also the person making the tutorial probably learnt a long time ago and they forgot that it was hard once.
Think of it like this, the first person who taught this had to discover the principle all alone, and that was really hard. You want to do this easily because you know that every animator out there already knows what you're trying to learn, but knowing that doesnt actually make learning the principle easier, watching a video that says what the principle is doesnt make it easy either, that teaches you to say what the principle is, but what you need is to be able to draw showing what the principle is, which is a lot harder. Learning something is more like discovering the principle the first time than already knowing it, so dont think it will be as easy as watching and doing.
What 32 told you is great, it helps understand what you need to know. just be easier on yourself.
First of all, the animation isnt as bad as you think. He breathes in 2 different ways, that is more complicated than many many games which are actually professional, dont sweat it so much. Nobody is going to buy a game and then throw it in the trashcan because they didnt like the breathing of the character.
Second. Dont animate sprites that are the best you can do. animate sprites that are really easy for you, (maybe animate sprites like your avatar which are far more simple) that way you can focus on the animation.
Edit: I read on another topic you drew animations by making several still frames in photoshop and then sticking them together? that is an insane way to learn animation. Learning to animate like that is like learning to draw by hammering a nail on to a rock. You need to be able to draw while seeing how one frame goes to the next one to understand animation. Get something that has onionskin function (onionskin is seeing a transparent version of the previous frame on top of the one you have, that way you know which way to move the animation).
Some people animate on photoshop, but I think they are insane. I use graphics gale, a lot of people use ASEprite and Pyxel edit which costs less $$$, so they might be good but but I have only really used graphicsgale, so ask someone who does use those programs :p.
I imagine you've read 20 tutorials before you got to working on 1 animation, that makes you expect an animation 20 times better than what you can make, so dont do that. Drawing something and seeing that it sucks hurts, so you delay that moment of drawing something that sucks by watching 20 tutorials, hoping once you have watched them what will come out will not suck, but that doesnt happen. What happens is after watching the 20 tutorials, you can draw something maybe 1.2 times better but now you expect something 20 times better. Start an animation with what you know, invest atleast half an hour on it and then if you dont know how to fix it go look for a tutorial, or ask advice here on the part on which you cant fix. Learning animation is hard, this happens to everyone.
Also, not every tutorial is good, a lot of tutorials just give shitty tricks that are cheats that work for the person who made them, not something that works for everyone, so dont think you suck if the tutorial doesnt make you better, it may be the tutorial that sucks.
What you have learnt is great, even if what you draw really doesnt look that great to you. Tutorials try to make principles look easy and make you think you can do exactly what the tutorial does after you finish watching it, that is very very far from the truth.
Animators who can do this easily look like they always knew how to do it, but they didnt always know it, some time they struggled with it too, but nobody likes a tutorial that says that learning is hard. Also the person making the tutorial probably learnt a long time ago and they forgot that it was hard once.
Think of it like this, the first person who taught this had to discover the principle all alone, and that was really hard. You want to do this easily because you know that every animator out there already knows what you're trying to learn, but knowing that doesnt actually make learning the principle easier, watching a video that says what the principle is doesnt make it easy either, that teaches you to say what the principle is, but what you need is to be able to draw showing what the principle is, which is a lot harder. Learning something is more like discovering the principle the first time than already knowing it, so dont think it will be as easy as watching and doing.
7
Pixel Art / Re: Character Refinement
« on: January 14, 2017, 07:25:03 pm »
I see! that makes sense, sorry for the inconvenience, glad you didnt take my mistrust the wrong way
I'm doing all this because drawing and animating a character, really is like being both a character designer and an actor, and you need a character functioning in a story to do that properly, since you dont have one a character tree works.
The character tree video isnt super explanatory, but it's a start. it's about more than going from stereotypes to specific scenes. (they REALLY fuck up when they say the crown is the stereotype)
if I had to sum it up:
-the facts of a person is not what they are (feet)
-their inmediate, puerile wants are also not what they are (groin)
-what they need to learn before they achieve their dreams isnt what they are (heart)
-how they see themselves, how they appear to others, how they present themselves to others..also not what they are (throat)
-their logical abilities and qualities is not what they are (l cheek)
-their spirituality, ideallistic aspects, intuitivity and impractical notions is not who they are (r cheek
-it is the complex, on the surface contradicting yet upon inspection somehow coherent sum of all of this parts that makes a character.
You may go to filmcrithulk's article to see a larger list (scroll down to the list, you dont have to read the whole hulk-sized article).
Full characters are like a soup where the overall flavor makes sense, and you may pick up on SOME ingredients but it's hard to pick apart andd separate every little thing. Flat characters are exactly what they seem, full characters seem to be one thing overall, but details hint they are something else, and at full inspection reveal many many more qualities than what initially appeared to be.
Looking at your character I just see shoeless girl in pants and shirt with a braid. On top of that the animations just looked like x character doing x fightgame thing, it barely sketches at feet in character tree terminology.
Is she shoeless because she's a bit hippy and she loves nature? is it because she's kinda tomboyish and gross? homeless? is the braid for practicality? the hippy thing again and it seems more "natural" to her? why just shirt and pants? not sure of herself enough to dress herself up? just practical? what?
This is why when you said "next level" I inmediately thought of this. Most fightgame characters go up just to groin, maybe heart, maaaaybe throat.
The ideal thing with character design, is to make someone as interesting as a random person you might take a photo of in the street. That's hard, but you should atleast have a stereotype visually(up to groin), and with the details imply the rest ( atleast show groin, better with throat, hopefully heart, ideally everything)
So this character tree thing isnt a bible, it's just an easy roadmap I can show you to get you thinking about character depth.
If you had a sense of who they are as you would someone you know it'd help you think of when they would hesitate, when they would be sure of themselves, etc(what an actor does).
When you animate, the character is constantly thinking and reacting to what happens. Think of it as a feedback loop that fuels the next motion.
I know you wont be animating a sequence (run, jump, run, punch, wait, spot another enemy, punch) instead just each action independent of eachother, BUT knowing who they are will give you a clue of how they see each action.
Say, maybe you have a very sure of herself fancy woman, who only thinks of getting ahead in her carrer. She might run in a very careful way not to ruin her clothes, still, her strides are long and she looks ahead without wavering because of her ambition. But when punching she may be very energetic and agressive, displaying no finesse, forgetting her dress entirely because her (groin) ambition and ego far overpwoer her fancy idea of herself (throat). Maybe when she jumps she feels as if she's getting above the other person so she has a smug attitue about it, maybe she is a little shy because she has a skirt so she has a protective look to her face on top of that, or maybe she doesnt even think about that because she so full of adrenaline her mind's busy trying to get to the best spot for the next attack....see how this is relevant? character gives animation the "next level" of interest.
all this said, thinking about it with JUST sprite animation you can do feet, groin clearly. The rest you would have to hint at if you were good, but the whole groin/heart contradiction is clearly writer talk, you need to see a character go trough an ordeal and come out the other side a more grown person but still the same in essence, and you cant do that if there is no before and after, just the same animations over and over.
I guess I'm saying dont sweat it with all this stuff, you dont have to check every mark but do try to get as much of it hinted as you can.
I'm doing all this because drawing and animating a character, really is like being both a character designer and an actor, and you need a character functioning in a story to do that properly, since you dont have one a character tree works.
The character tree video isnt super explanatory, but it's a start. it's about more than going from stereotypes to specific scenes. (they REALLY fuck up when they say the crown is the stereotype)
if I had to sum it up:
-the facts of a person is not what they are (feet)
-their inmediate, puerile wants are also not what they are (groin)
-what they need to learn before they achieve their dreams isnt what they are (heart)
-how they see themselves, how they appear to others, how they present themselves to others..also not what they are (throat)
-their logical abilities and qualities is not what they are (l cheek)
-their spirituality, ideallistic aspects, intuitivity and impractical notions is not who they are (r cheek
-it is the complex, on the surface contradicting yet upon inspection somehow coherent sum of all of this parts that makes a character.
You may go to filmcrithulk's article to see a larger list (scroll down to the list, you dont have to read the whole hulk-sized article).
Full characters are like a soup where the overall flavor makes sense, and you may pick up on SOME ingredients but it's hard to pick apart andd separate every little thing. Flat characters are exactly what they seem, full characters seem to be one thing overall, but details hint they are something else, and at full inspection reveal many many more qualities than what initially appeared to be.
Looking at your character I just see shoeless girl in pants and shirt with a braid. On top of that the animations just looked like x character doing x fightgame thing, it barely sketches at feet in character tree terminology.
Is she shoeless because she's a bit hippy and she loves nature? is it because she's kinda tomboyish and gross? homeless? is the braid for practicality? the hippy thing again and it seems more "natural" to her? why just shirt and pants? not sure of herself enough to dress herself up? just practical? what?
This is why when you said "next level" I inmediately thought of this. Most fightgame characters go up just to groin, maybe heart, maaaaybe throat.
The ideal thing with character design, is to make someone as interesting as a random person you might take a photo of in the street. That's hard, but you should atleast have a stereotype visually(up to groin), and with the details imply the rest ( atleast show groin, better with throat, hopefully heart, ideally everything)
So this character tree thing isnt a bible, it's just an easy roadmap I can show you to get you thinking about character depth.
If you had a sense of who they are as you would someone you know it'd help you think of when they would hesitate, when they would be sure of themselves, etc(what an actor does).
When you animate, the character is constantly thinking and reacting to what happens. Think of it as a feedback loop that fuels the next motion.
I know you wont be animating a sequence (run, jump, run, punch, wait, spot another enemy, punch) instead just each action independent of eachother, BUT knowing who they are will give you a clue of how they see each action.
Say, maybe you have a very sure of herself fancy woman, who only thinks of getting ahead in her carrer. She might run in a very careful way not to ruin her clothes, still, her strides are long and she looks ahead without wavering because of her ambition. But when punching she may be very energetic and agressive, displaying no finesse, forgetting her dress entirely because her (groin) ambition and ego far overpwoer her fancy idea of herself (throat). Maybe when she jumps she feels as if she's getting above the other person so she has a smug attitue about it, maybe she is a little shy because she has a skirt so she has a protective look to her face on top of that, or maybe she doesnt even think about that because she so full of adrenaline her mind's busy trying to get to the best spot for the next attack....see how this is relevant? character gives animation the "next level" of interest.
all this said, thinking about it with JUST sprite animation you can do feet, groin clearly. The rest you would have to hint at if you were good, but the whole groin/heart contradiction is clearly writer talk, you need to see a character go trough an ordeal and come out the other side a more grown person but still the same in essence, and you cant do that if there is no before and after, just the same animations over and over.
I guess I'm saying dont sweat it with all this stuff, you dont have to check every mark but do try to get as much of it hinted as you can.
8
Archived Activities / Re: Secret Santa 2016
« on: January 12, 2017, 05:05:05 am »
Whatever the wait happens to be, the sheer quality of this gift makes it totally worth it! Conz, you are the man. Conceptually, that piece is really shaping up, and I'd say the tone is perfect. Now I see where you were going in the first place, aha.
Thank you! so glad you're enjoying it
. https://conzeit.files.wordpress.com/2017/01/pikpikpixmas05-0.png
I agree that I'm getting somewhere on the tone, but I'm ambivalent about this purposedfully not polished style I'm going for...I'm kind of stuck on the concept part, specially as to wtf is going on in the bottom part....so I cut it. That, compounded with the fact that I'm starting to have obligations which are taking me away from the piece, means I'm going to post this as the final piece. if I get an eureka moment about what to do with the bottom part, some kind of satisfying story, I'll come back to it, but for now here is where I stop.
https://conzeit.files.wordpress.com/2017/01/pikpikpixmas04.png in the interest of full disclosure this is the full thing.
each separate part is the proportions of a landscape screen, so you might wallpaper it if you want =) (though doing that make me irk at my unfinished "style" :p)
https://conzeit.files.wordpress.com/2017/01/pikpikpixmas05-01.png woman
https://conzeit.files.wordpress.com/2017/01/pikpikpixmas05-02.png clouds
https://conzeit.files.wordpress.com/2017/01/pikpikpixmas05-03.png blue underworld.
hope you enjoy it as it is, and I hope I get some eureka :p
PS: Solo, whatever struggled you had was worth it, you kicked ass!
PS2: Worked on it again
I guess I might work on it from time to time cuz I remain interested in it, despite still not having a good enough idea for the concept
9
Pixel Art / Re: Attack Animation
« on: January 08, 2017, 01:19:11 am »
I want to keep the arm dropping and dragging, as it's been stuck in my head as the main function of the whole thing. Hopefully the bit of editing with the effects cleared that up, but I do want it. To compromise, I hopefully made it seem more weighty in how she sort of drags in along the ground before being able to lift it to a ready position. I feel as though the effects could use some work, but hopefully making it a straight punch sells it a bit better.
I don't think the final attack is quite as heavy as I want it to be, but it's definitely an improvement.
this was ages ago, but what I meant with all of my post was not to tell you to remove the arm dragging, what I meant is have it drag a lot lot more. Have her only be able to pick up her arm at the very moment she makes her uppercut, and make the rest of the animation her using all of her bodyweight and strength just to get that arm to move a little, in fact what I meant was that the power of her dash should be the only thing that actually gets that arm to move, and the result of that dash is the arm moving in a pendulum motion that makes her whole body drag helplessly behind that super heavy fist moving at the speed of her dash, and ends as the uppercut. That would really sell the unbelievable amount of weight it's supposed to have.
10
Pixel Art / Re: Character Refinement
« on: January 06, 2017, 04:53:43 am »
allright man, congrats in creating a functional character! you could put this in a game and she could do stuff. except losing, give her some hurt/Death animations :p. I really reccomend you put her in an engine if you have any way to do that, checking the result will give you a much better idea of what to do. On that note, what game is she for? even if there's no game, what genre game would you want her to be on?
so, posting this many animations for critique at the same time isnt such a good idea, it's hard to really focus on anything because there's so much to critique and it's a lot more likely things will be ignored. try to post one thing at a time. I'mma try to give you some comments to level this up anyway.
first of all, I think you need to add a bit more design to "esperanza" here. I see girl with shirt and pants, nothing more. Also, her fists are super weirdly tiny for her, make them bigger.
I dont see a latin woman, I dont see the hope associated with esperanza (if you were going for name=meaning for her). Try to do more than that though, is her clothing plain because she's meek and shy? make her shy. but go beyond that, give her different internal and external characteristics that seem to contradict themselves on the surface, but have coherence as a whole.
here's a character tree that you can look at, for some ideas.
https://school.rocketjump.com/learn/writing-container/character-trees
see how they present themselves is not what they want on their surface or what they really need? that's good, but also remember to make them all coherent overall. if you really go trough this judiciously you'd have more complex characters than many in fighting games.
the strength in your animations is verisimilitude, pretty good grasp of some of the movements, but they also lack in characterization.
the ilde. right away when you make her lift her arm it shrinks really really weirdly, try to keep the length of her arm the same troughout the animation. Also, this wouldnt do for an ilde. it'd do for a variation on the ilde, you dont want her to constantly brush off her sweat.
walk. this is a pretty awkward walk, she's pretty hurried, but she's taking super short steps, so it looks like she's in an awkward stage between walk and run, except she could just take longer steps to not have such a weird walkcycle. make her steps longer, make the whole animation slower.
run. probably the best all around. did you use a refference? very functional run. let's focus on bringing everything else up to this standard. this is probably one of the more complicated animations and yet it's the best looking...kinda makes me suspect you're posting stuff edited from a KOF character or something, hope you're not doing that...
jump. this reminds me of the kind of jump you'd see in bad starwars games. The logic in it is not bad, but it's stiff and would probably look bad on most types of games. is this a fighting game jump? a platformer jump? she takes a long time to take off, so I'm guessing a Prince of Persia type platformer, so use those first frames where she's not taking off for her to slightly crouch, just drag her torso down several pixels to give her more impulse for her jump. when she actually jumps, the way her arms are going up one second and then not is super weird, I get the logic because someone might jump like that but you gotta make it work visually.
You'll probably want to break this up into 3 animations.
1taking off animation
2transition to falling,
3 falling loop, because you dont know long she'll fall. if you are going to include a jump that can have variable height then you'll probably want a rising loop as well.
charge. there is something weird with her torso here. I think the fact that she's cowering down and her torso isnt shrinking is making her proportions weird, arms are shrinking again. try doing the same action on the mirror, take a look, her stomach should shrink and the position of her fists is...weird. Also, when she goes to the arms out pose, the arms are way way too close to her, they should be expanding out much much further, it feels like a meek charge.
stance. this one has a super fucking weird loop. like someone cut off the animation, her arm just jumps from the uppermost pose to the lowermost one for no reason, no effect. try to go for acceleration/deacceleration and have things move in arcs and circles, this sort of jerking for no reason is no good.
punch: this is your other good animation. the way she's leaning reads as if she used some of that impulse to the punch, but try to
make the arm that isnt punching not jitter around so much, it's moving way too fast for it to be human, I know it made sense for you in the slow frame to frame time, but in normal time it's moving around too much, try to think more of the inertia, of how it's slowly going from one place to another and to go fast it needs to build up momentum, it doesnt just jump from one place to the other for no reason.
Make the footwork more sensible too, more acceleration/deacceleration rather than just thing snapping from one spot to the other.
footwork is good on this one. the kamehameha motion....kind of good but lacks oomph. the way the fists merge looks weird.
the uneven feeling to everything makes me think you're modifying some kind of base, or several. it would be weird for it to be from observation because it's really good on some aspects but really bad on some others, very very uneven. please tell us why this is
so, posting this many animations for critique at the same time isnt such a good idea, it's hard to really focus on anything because there's so much to critique and it's a lot more likely things will be ignored. try to post one thing at a time. I'mma try to give you some comments to level this up anyway.
first of all, I think you need to add a bit more design to "esperanza" here. I see girl with shirt and pants, nothing more. Also, her fists are super weirdly tiny for her, make them bigger.
I dont see a latin woman, I dont see the hope associated with esperanza (if you were going for name=meaning for her). Try to do more than that though, is her clothing plain because she's meek and shy? make her shy. but go beyond that, give her different internal and external characteristics that seem to contradict themselves on the surface, but have coherence as a whole.
here's a character tree that you can look at, for some ideas.
https://school.rocketjump.com/learn/writing-container/character-trees
see how they present themselves is not what they want on their surface or what they really need? that's good, but also remember to make them all coherent overall. if you really go trough this judiciously you'd have more complex characters than many in fighting games.
the strength in your animations is verisimilitude, pretty good grasp of some of the movements, but they also lack in characterization.
the ilde. right away when you make her lift her arm it shrinks really really weirdly, try to keep the length of her arm the same troughout the animation. Also, this wouldnt do for an ilde. it'd do for a variation on the ilde, you dont want her to constantly brush off her sweat.
walk. this is a pretty awkward walk, she's pretty hurried, but she's taking super short steps, so it looks like she's in an awkward stage between walk and run, except she could just take longer steps to not have such a weird walkcycle. make her steps longer, make the whole animation slower.
run. probably the best all around. did you use a refference? very functional run. let's focus on bringing everything else up to this standard. this is probably one of the more complicated animations and yet it's the best looking...kinda makes me suspect you're posting stuff edited from a KOF character or something, hope you're not doing that...
jump. this reminds me of the kind of jump you'd see in bad starwars games. The logic in it is not bad, but it's stiff and would probably look bad on most types of games. is this a fighting game jump? a platformer jump? she takes a long time to take off, so I'm guessing a Prince of Persia type platformer, so use those first frames where she's not taking off for her to slightly crouch, just drag her torso down several pixels to give her more impulse for her jump. when she actually jumps, the way her arms are going up one second and then not is super weird, I get the logic because someone might jump like that but you gotta make it work visually.
You'll probably want to break this up into 3 animations.
1taking off animation
2transition to falling,
3 falling loop, because you dont know long she'll fall. if you are going to include a jump that can have variable height then you'll probably want a rising loop as well.
charge. there is something weird with her torso here. I think the fact that she's cowering down and her torso isnt shrinking is making her proportions weird, arms are shrinking again. try doing the same action on the mirror, take a look, her stomach should shrink and the position of her fists is...weird. Also, when she goes to the arms out pose, the arms are way way too close to her, they should be expanding out much much further, it feels like a meek charge.
stance. this one has a super fucking weird loop. like someone cut off the animation, her arm just jumps from the uppermost pose to the lowermost one for no reason, no effect. try to go for acceleration/deacceleration and have things move in arcs and circles, this sort of jerking for no reason is no good.
punch: this is your other good animation. the way she's leaning reads as if she used some of that impulse to the punch, but try to
make the arm that isnt punching not jitter around so much, it's moving way too fast for it to be human, I know it made sense for you in the slow frame to frame time, but in normal time it's moving around too much, try to think more of the inertia, of how it's slowly going from one place to another and to go fast it needs to build up momentum, it doesnt just jump from one place to the other for no reason.
Make the footwork more sensible too, more acceleration/deacceleration rather than just thing snapping from one spot to the other.
footwork is good on this one. the kamehameha motion....kind of good but lacks oomph. the way the fists merge looks weird.
the uneven feeling to everything makes me think you're modifying some kind of base, or several. it would be weird for it to be from observation because it's really good on some aspects but really bad on some others, very very uneven. please tell us why this is