In accordance with my new commitment to posting art here rather than Facebook, I present the above. I don't feel I should include all sorts of keywords and tags when I do this. Let people stumble upon my old pal.
Meanwhile, I have two projects I wish to develop. One, pitching a studio a show with the characters they already own. The other, my own project to pitch to Amazon or just for myself as a possible web comic (by which I mean a comic book property that I assume no one would publish so I'll slip it online.) Instead of doing either, I drew the above.
I haven't posted in a very long time. The usual reasons. The development material that I'm most interested in sharing is, by it's nature, legally unsharable since I'm using the characters of someone else. When I'm not in development I using my writing time, trying to come up with something to pitch.
I'm currently directing three, now it looks like a possible six, 66minute action adventure videos based on a series of middle grade books. Again, can't talk about things in production because marketing a production is hard enough without staff posting random art.
And of course, I'm lazy I'm constantly thinking I have nothing worth posting. But I realize that I post creative links to my Facebook page all the time. Links recommended by other artists. So I've decided to put that stuff here, not only as a source of cool information but as reminder that I should post here more often or just shut the place down. So here's a link that John Hoffman posted. John is a story artist up at PIXAR but just before he left he did design work for me on a possible Cartoon Network show.
http://www.aotg.com/index.php?page=murchrules
Animation often lags behind live action film techniques by several decades. Not so much the case with CG fims but when I started at Disney Features in the mid-seventies the film style was no different than what was done in Snow White. Actually, Snow's terrified run through the woods was more avant garde than anything from Jungle Book through Fox and the Hound.
In TV animation, the choice of camera angle slavishly follows Rules #5 and #6. Usually. There are times you WANT to confuse the audience momentarily as to where characters are in relation to each other and then reveal it a few shots later. Audiences like the mini-surprises that happen along the way, even the ones they barely notice.
I remember that in the early days of Disney TV Animation, there was a standing rule that there could be no signage on buildings because the cartoons would be sold around the world. So you couldn't label a shoe store. This led to an establishing shot of shops with giant shoes out front because "You have to have an establishing shot so the audience knows where you are!" Maybe. But why can't that establishing shot be inside, you know - where the character is sitting in a chair surround by shoe displays? Less work for the layout and background department too.
That reminds me of a book I've recommended before. If you have any interest in storyboards, directing, comic books, illustration, in short, any creative art that uses visuals to communicate a mood or story, own this book. FRAMED INK is a beautiful book that is packed with dynamic compositions to use in your own work. Buy it in the usual places.
Jake Parker is another artist that I used in the development of a science fiction series that never sold. Oh, to have that Disney money to throw at cool artists again. Ah well. Anyway, I posted a link to Jake drawing a robot recently. I enjoy watching and listening to artists draw and Jake is a natural teacher. But instead of reposting his recent robot sketch I'm ending with an older YouTube video that shows him drawing a lava monster.
So there you have it. My first post of 2015 about exploring the creative process. I'll try to make this happen more often and come up with some original content of my own.