When I first saw the headline to this article, I thought the amazing Frank Frazetta had passed away and that I hadn't heard any reports about it! Turns out that Frank is—thankfully—still with us (although his wife passed away last year, the woman who possibly inspired those curvaceous women in his drawings). But his four children aren't waiting until dad dies before they start fighting over how to handle his incredible body of work.
I have to admit, I got a chuckle from picturing Frank, Jr. trying to break into the Frazetta museum…with a backhoe! LOL!
Storyboard Newbie eBook Available!
I made my first eBook!
I thought others new to Storyboard Pro—especially amateurs or wanna-be professionals not employed by a studio—could learn something from my mistakes.
It's available in the right column. Just click on the image. Enjoy!
I thought others new to Storyboard Pro—especially amateurs or wanna-be professionals not employed by a studio—could learn something from my mistakes.
It's available in the right column. Just click on the image. Enjoy!
Project Weekend—FAIL!!!
The passion's gone. The enthusiasm's gone. What's going ON?!?! I had a 3-day weekend planned to immerse myself in my work and…nothing.
Spending the rest of tonight figuring out how to get back that crazy, sick singular focus I had last Sept–Dec.
Otherwise, Toys vs. Boy will NEVER get done!
FIRST DECISION: drop working on Chalk Outline Man. There's simply not enough time or energy to work on two large projects PLUS do my paying job.
Something HAD to go, so it's that…for now.
Spending the rest of tonight figuring out how to get back that crazy, sick singular focus I had last Sept–Dec.
Otherwise, Toys vs. Boy will NEVER get done!
FIRST DECISION: drop working on Chalk Outline Man. There's simply not enough time or energy to work on two large projects PLUS do my paying job.
Something HAD to go, so it's that…for now.
Film Post––Animatic version 6
If there was a reason behind how I was numbering my animatics, I don't freakin' remember it! Argh!
Moving on…completed some more rough, updated storyboard panels. The more I use this program, the more I appreciated it over using the more complex After Effects. I've got a project weekend coming up so I should have a significantly more updated animatic by Sunday night. Here's the latest:
Tuesday Film Post--Animatic version 5B
I realized a few days ago that the opening scene wasn't working from a blocking point of view. In other words, in order for Honey to poke at the volume control on the radio on the bathroom counter, her arm would be in an awkward position. The movement required to pull that off just wasn't fitting in the space. But I can't let go of the whole increasing-the-volume moment because it's an important element to the story.
So I junked the bathroom counter solution and came up with a better one. I mean, that is the crux of storytelling, solving visual problems. Now, the radio's in the shower and Honey's adjusting the volume while taking a shower, singing into her loofah! I love it!
Here's the new opening panels, complete with shower sound effect and temporary music:
So I junked the bathroom counter solution and came up with a better one. I mean, that is the crux of storytelling, solving visual problems. Now, the radio's in the shower and Honey's adjusting the volume while taking a shower, singing into her loofah! I love it!
Here's the new opening panels, complete with shower sound effect and temporary music:
Building a Better Skyline
I should've known that declaring something "final" for me would be premature. I know how I am—if I have to convince myself that a drawing is good enough, then deep down inside, I don't think it's good enough. And then I'm going to keep obsessing about it until it is good enough.
Case in point, my graphic novel skyline. This drawing is important because it's a spread (a letter-size page folded horizontally) and it's the first panel the reader sees (the first image the reader sees is, of course, the cover, but I don't want to work on that until the project's completed.) I want this image to have some delicious detail. I recently read part of Scott McCloud's Making Comics where he discussed details in backgrounds. He said that although it took him one week to draw one spread, the time was worth it because so few artists make that kind of effort.
I agree with this idea in general. So many people are looking to "get over" or do the bare minimum required. Now that this country has entered a new post-heyday era, achieving anything of worth is going to require even more effort than it did between 1950 and 2000. We have to accept that we will have to pay more in order to get the same…or less.
To compete, that means giving more to stand out from those who don't. To me, that means adding more details to my graphic novels and making the art as good as I can make it. I'm confident this approach will work—the reality is that several graphic novels with mediocre art have been optioned for and made into live-action feature films. If I put in more effort, maybe I'll get optioned, too!
Below are different versions of the skyline I've done lately. I'm still trying to find the best method for showing gradated tones. I've tried Photoshop gradations, watercolor pencils and graphite pencil. Maybe Manga Studio has some tones that will work but not look generic? Any suggestions?
Case in point, my graphic novel skyline. This drawing is important because it's a spread (a letter-size page folded horizontally) and it's the first panel the reader sees (the first image the reader sees is, of course, the cover, but I don't want to work on that until the project's completed.) I want this image to have some delicious detail. I recently read part of Scott McCloud's Making Comics where he discussed details in backgrounds. He said that although it took him one week to draw one spread, the time was worth it because so few artists make that kind of effort.
I agree with this idea in general. So many people are looking to "get over" or do the bare minimum required. Now that this country has entered a new post-heyday era, achieving anything of worth is going to require even more effort than it did between 1950 and 2000. We have to accept that we will have to pay more in order to get the same…or less.
To compete, that means giving more to stand out from those who don't. To me, that means adding more details to my graphic novels and making the art as good as I can make it. I'm confident this approach will work—the reality is that several graphic novels with mediocre art have been optioned for and made into live-action feature films. If I put in more effort, maybe I'll get optioned, too!
Below are different versions of the skyline I've done lately. I'm still trying to find the best method for showing gradated tones. I've tried Photoshop gradations, watercolor pencils and graphite pencil. Maybe Manga Studio has some tones that will work but not look generic? Any suggestions?
 |
| Photoshop gradients |
 |
| All black |
 |
| Prismacolor cool gray markers |
 |
| Pencil |
 |
| Watercolor pencil |
"Lucius" Turnarounds
Drawing the dude was significantly easier than the sistah. Maybe because there's fewer details? He's got no hair for a reason!
Special thanks to LL Cool J for supplying his atypical head shape; Jamie Foxx for the eye shape; and Omar Epps for the lips. :)
Special thanks to LL Cool J for supplying his atypical head shape; Jamie Foxx for the eye shape; and Omar Epps for the lips. :)
"Honey" Turnarounds
So honey now has a slightly new look along with a frontal, 3/4 and profile views. The profile view is a little wonky so that will be fixed eventually. My goal was to get some kind of working design for her so I could start updating the storyboard with improved drawings. Tomorrow I'll work on Lucius (he's been very patient.) :)
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