The camera's point-of-view can have such an impact on the delivery of a joke. I was really mentally sold on the head on angle (above) of this cartoon before I even laid pencil to paper. But then I found I could streamline the cartoon (and actually make it a lot clearer) if I deleted the caption and incorporated it into the cartoon itself. Nope, it's not "Quiet Reading." It's the title of the book that will be overturned on the table beneath his head. I'm also deleting the death bubble; it felt extra. I wanted his body pose and facial expression to accomplish that. The overhead camera angle really kills quite a few birds with one stone in this instance.
Friday, June 29, 2012
Here are some early sketches on an upcoming Incompatibles. This gag's fairly obvious, so no cloak and dagger on its future caption. "Pavlov's Logs" is one panel that I wanted to be sure I nailed historically. Ivan Petrovich Pavlov is such an iconic figure in the science world, I wanted to be sure I didn't get called on the rendering of his likeness. Boy, he really did have that 1900s Russian scientist look, huh? Not sure if I'm going to go to the extent of having the log restrained similar to the dog. That kind of faithful detail might take away from the focus on the notepad.
Thursday, June 28, 2012
Tuesday, June 26, 2012
An upcoming Incompatibles installment. You'll note in the previous rough sketch I posted of this that I was conflicted between using a shepherd versus a woman. I split the difference and put a crook in the lady's hand. I think it works with the planned caption well. I took the original sketch and outputted it in blueline, then I went over it with a blue lead pencil and rendered it out further. Once I was happy with it, I inked it in quickly.
I scanned the previous image and blasted out the blue, leaving the ink behind. I then converted the remaining image into a refined, faint blueline for final penciling. I actually have cut out inking from my process—at least for my Incompatibles work—and use my pencils as my final art. I simply scan it into p-shop and adjust levels to arrive at my finished piece. Here's the resulting drawing. From here I go to digital cleanup and coloring. I used a different pencil/paper combo this time around and I really enjoyed the feel of it—even the roughness of it. Strange how the feel of the drawing implement and paper can enhance the making process—not in just the appearance of the art, but also in the enjoyment of making it. You may notice that I adjusted the woman's mouth. She looked a little too happy in the previous version.
Monday, June 25, 2012
Friday, June 22, 2012
Peck images. This drawing just really captures the atmosphere of a fictitious Sactown and the coolness of Dent.
Okay, I live in a world where I take it for granted that Disney/Pixar are hands-down THE most formidable entertainment tag team in the world. Their effects, animation/cinematography, character development, and stories are just so head and shoulders above the rest. And they've hit so many home runs in a row, you get to the point where your expectations are just so high. I think, however, I've finally experienced my first let down in their latest installment, Brave. Now, let me be clear, I give the movie an enthusiastic thumbs up. In fact I was so amazed at the animation (i.e., the bear playing in the stream)—it's just so stunning seeing where the technology has gone—but past that, the rubber meets the road at that pesky stretch of highway known as Story.
Brave is your typical "girl-doesn't-to-want-conform-to-society's/family's-expectations" vehicle. And that packaging has worked so many times over, from Cinderella all the way to the more recent Tangled. I mean, think about how many times the premise has been used in the last 60+ years for Disney. But this time it just felt forced. Now, I don't think the vehicle is flawed, but I do think the story has to be exceptionally bullet-proof in order withstand the scrutiny of discerning movie fans these days. Let's face it, we sort of expect everything to be well-made. We're spoiled that way. And a weak story can't be frosted with slap-stick and special effects—not that those are bad things, but in this case it just really felt like a diversion from the less-than-sterling narrative. To Pixar's credit, they built an incredible world—lush and vivid with incredible detail. I'd watch it again, just to freeze frame it and study the backgrounds. But it all comes back to story. Story. Story. Story. "B+"
Here's the final for the next Incompatibles installment. This was fun doing visual research on stalactites. Batman's eyes look like two pieces of coal right now, but I'll fix that digitally. I will also take care of the image on the big screen when I go to color in p-shop.
Thursday, June 21, 2012
Here's an Incompatibles in progress. I scanned the previous thumbnail from the road trip roughs and cut it up in p-shop. I adjusted the elements on different layers then re-outputted this version as a blueline to work out details and relationships better.
Here is the value study two steps later. You can see the adjustments that were made from the rough. I've zoomed the action to bring more focus to the characters. I really want to showcase the size of their bellies, but I think that will be more stated when color is added. I love Robin's face at this point, but I'm not totally sold on Batman's mug. More tweaks will happen when I go to final pencils.
Monday, June 18, 2012
Value study before rendering the final pencils. Here I decide what's going to be shaded by hand and what's going to be colored in p-shop.
And here's the finished b&w drawing. I made a lot of adjustments and additions in the detail. Compare the mane, saddle, ribbon, reins, mailbag and stirrup between the two versions. And below is the final colorized panel. I really enjoyed doing this one.
Here are some Incompatibles sketches I did during our family vacation in Utah this last week. Many of these sketches are no more than 2–3 inches square. I like to render out ideas small, then—if I like what I see—I can scale them up on the computer and print them out as blue lines for further tinkering.
I can't give away the captions until they're finished, but some might be obvious.
The nuances of the pony and rider here can really tweak the interpretation.
Sometimes it's nice to space out the elements in the drawing, then select/overlap them in p-shop, especially ones involving a lot of structural perspective. I haven't tweaked this one yet, but will repost it when I've reworked it.
A crude little scrawl, but I like it.
An eventual twist on a Pavlov's dogs.