June 12, 2013

If you follow animation, you know Disney let go most of their “traditional” animators… stupid. The logic was that 2D is dead, despite the level of success 2D still has on TV ::::cough/spongebob::::cough/gravityfalls::::::cough/adventuretime::::::: Perhaps Disney should consider the problem isn’t animation styles, but rather the fact that they always want to force a stupid musical number into every 2D film, something they don’t do in their Pixar styled cartoons…hmmm? Or it could be that the last few stories have stunk, and it has nothing to do with the animation at all?

Anyway, one of the animators that was laid off posted a pencil test he did for Wreck-it-Ralph. I’ve always been partial to the Disney cartoons that were done right after they developed the process of xeroxing drawings onto cells, because I love the feel it maintains of the original drawings. The sketchy quality, the constantly changing ticks, and without everything being so damn predictable in their movement, but what the hell do I know. Nothing apparently… as people so often tell me.

If you don’t see the video below visit the original article at Cartoon Brew where I found it, and read the article concerning the animator Nik Ranieri.

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May sketches-s01

May 15, 2013

All are marker over pencil with white chalk, except the last which was pencil and chalk only.

10m—

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20m—

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30m—

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Pencil & chalk only, @30m—

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Format change—

May 11, 2013

Back from Europe- and as most people do while traveling— I have nothing to show for it. The highlight of the trip (aside from spending a load of time with my mother) was finding a “test” store for the Koh-i-noor pencil company in Prague.

Koh-i-noor

So there aren’t any sketches, and I didn’t accomplish anything.

Additionally, the format of the blog will be changing now. I will no longer be posting my opinions on art, animation, or the like, anytime in the near future… if ever. Any posts I do, will just be random images. Nothing more.

I’m not a writer, as anyone familiar with proper punctuation, spelling, and/or grammar can see. I’m not a journalist, as any one doing fact checking on my blog will attest to. There are those who dissect what I’ve written, and like most who scrutinize the comics I draw, seem to spend all of their time looking for faults rather than taking any value from them that they might offer. They’ll ignore 99.9% of what is said, or shown, to clamp onto a mistake that wasn’t intended to be a major point to begin with. That in mind, this blog will be limited to the only thing I can do that’s worth half a penny. Drawing. That sums me up— as a person, as a professional, as a husband, and as a human. I don’t know anything else, and I never claimed to. My wife is a writer, so I know how much skill that profession takes. I believed, incorrectly, that I could pass along my thoughts, like a diary. Where things didn’t have to be perfect, and people who liked my work could get an understanding of my process, but I was wrong; as I usually am. Obviously, you can only use text if you plan to be perfect about it, but everyone else can b’stardize perspective, storytelling, anatomy, lighting, composition, and the 20K other things it takes to make a piece of comic art, while any criticism of their efforts is met with the “get out of jail free” card known as – it’s my style. People who don’t draw for a living can pick apart my writing, but if I were to come down on their cocktail napkin sketches, I would be “unfair” because they don’t do it for a living. Whatever, as I’ve never made a dime off my blog entries.

So, from now on, this is just a drawing “feed”. No captions, because I’m not a writer. No insights, because I’m not a teacher.

Just drawings. Enjoy the hell I call summer.

Doodles- Apr

April 13, 2013

So here’s the latest batch from drawing. The usual warm ups- these were 5 min on newsprint.

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This was 10—

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These were 20, on brown paper with Copic markers and white chalk.

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And a last 20 but this time on a gray paper- that’s fancy.

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This week has seen the passing of a number of entertainment greats, from Jane Henson to the recent death of Roger Ebert. In that shuffle, one name shouldn’t get lost and that’s Carmine Infantino. A legend in comics, he was also one of the guys who (unknown to me when I was a kid) was a huge influence on my art. I never bothered to check the names in the credits when I was little (what kid cares so long as the art is cool), and by the time I started to pay attention to stuff like that, I had moved on to other artists and books. It didn’t really matter, because I had already soaked up valuable influences from great artists without realizing it until much later, and Mr. Infantino was a big one of them.

When I was little, as I may have mentioned before, my mom would let me loose in the “Great Escape”; the best comic shop in Nashville at the time. They had long-boxes out the ears —for non-comic peeps it’s just a cardboard box for storing books vertically so you can read titles while flipping thru them—

longbox

I was a huge Super Friends fan (still am) so I gravitated to books about the characters on that show. One of my favorites was the Flash (being a slow, fat kid, it’s obvious why I’d idolize a guy who could run the speed of light after being struck by lightning and doused in unidentified chemicals), and as I pick wine now, I chose books by the cover art. Yes, a pretty label catches my eye, and although you normally shouldn’t judge a book by, you know— when you saw one drawn by Carmine Infantino, you knew you were gonna get something fun. The best thing about being a kid? You don’t get caught up in the crap over book conditions and all that, just the question of “will it be a fun read”? Scotch tape on the spine, missing staples, creased corners, faded reds, falling out interiors, BAH! This was perfectly acceptable to a kid of 6, and and dirt cheap prices I could get a stack for the few bucks mom would give me.

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Most of his art that I knew was from his work on the Flash, and they always seemed to be packed with tension and excitement. Something dangerous, or tragic, was about to happen, and the Flash (despite his great speed) always seemed to be arriving a fraction of a second too late.

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Or his power was so strong that he couldn’t stop in time to prevent something from happening, like the Kid-Flash getting a new costume by accident (isn’t that always the way it happens)?

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There always seemed to a race with another hero over some issue or another, but any true fan knew who the “fastest man alive” was!

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He also taught me that the coolest villains were they ones with the same powers, but who used theirs for e-vil. You have to say it that way- Eeeeeevil.

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Mr. Infantino also scared the crap out of me as a kid. When he wasn’t working on the Flash, he was drawing other characters with the same level of intensity. Case in point, this Batman cover scared the poop out of me. Surely Batman couldn’t be dead?! As a kid, believe me, I was actually worried (ah, silly boy).

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More than that, Mr. Infantino taught me some of the first basics of drawing. While teachers in school were making me glue macaroni onto heavily dyed sheets of plywood, textured paper, I was getting proper art lessons from Mr. Infantino. Ok, not personally, but there it was in a comic- how to draw the Flash!

How to Draw Flash

Mr. Infantino was a a great artist, and his contribution to comics can’t be forgotten; I know I won’t. Rest well sir.

For more information on his actual career check out this link on Comic Resources.