I actually think that a lot of the last page is working.  I like how the use of black is drawing the eye through the page. 

I think that what is causing the empty feeling is the pure white backgrounds on the second and third panel so something as simple as a tone or some texture from the walls would help.  It would be kinda cool if the tone was used to pull the eye to the black by toning the whole thing but keeping it gradually getting darker.

It would kinda break the perspective but I was thinking that maybe using the picture hanging on the wall from the first panel in the second to frame the figure might also work.

Ah!! There's so much good here!! Awesome job.  I'm going to echo misterKENT on the storyboards.  I love the multiple shows concept.

One thing I would suggest is maybe trying to limit your cuts.  It's totally subjective but I would try to consolidate scenes 2 ,3 and 4 of the Regular Show one.  That's would help with the economy of shots and the production of the overall cartoon.

And watch those jump cuts.  Scene 2 on the Adventure time board is a pretty drastic example.

Who are you doing a storyboard test for?

There's a lot of stuff going on here that I like.  Dat giant comic…good God man…I really dig your acid punk with monsters vibe.

I don't know if you're doing this on purpose but those thick marker outlines are really flattening out your images.  It's making me loose sense of the forms which actually kinda works with what you are doing but I'm curious if that's a purposeful choice.

Yeah, I don't remember the last time I posted anything here so I have a bunch of stuff stacked up.  I'd love to here what you think.

Hey all, I know I'm a little late on this thread but I figured I'd toss in my two cents.  I agree in terms of battles yeah I think that can get tricky, especially regarding voting, if it's not addressed upfront.  If it was acknowledged upfront I wouldn't think it would be cheating.  It really boils down to intent.  If an artist is trying to deceive and game the system then, yeah, there's some red flags.

To the point of cheating yourself as an artist by getting someone to do the thumbs upfront I don't really agree with that sentiment.  Again, it boils down to intent.  If they don't want to do the work then I think it reflects poorly on them.  However, this used to be a fairly common practice in comics (I'm not so sure how it works in the industry today.) 

I think having other more experienced artists doing layouts could really benefit younger artists.  It's admirable to be able to do all the work alone but I think there is a lot of learning opportunities that can happen in that process.  How many great comics artists started as assistants doing cleanup or rendering over more experienced layouts?  How much could an young artist absorb from a great storyteller? 

It's like tracing or redrawing panels.  Those practices may or may not have a bad rap depending on who you ask but, when practiced, you're still absorbing knowledge from a more learned hand.  I think the same thing applies to an artists cleaning up rough layouts.

I started these a little before this thread started.  I haven't really been counting just taking the best ones and throwing them together.

Haha! Thanks Pi! Just for that you get a super secret sneak peak at this cover.



I figured that if I just kept posting eventually I'd get some response.

Also, we HAD to have had the same older male model at some point. Funny, because I never knew Dennis to leave TX.

I recently had a conversation with a buddy about the new Ninja Turtle's movie Michael Bay announced.  Turns out there was some comics competition over at the University I used to go to so I made a comic based on that and turned it in.  It was judged by http://ursulavernon.com/ who I had never heard of but evidently she created this thing:



and I came in second place so word.


Here's Michael Bay:


and here's a caricatured study I did of Michael Bay:


Here's the layout I worked up for the comic:


and here's the final comic:

I hadn't really drawn my void character in a while so I just did this as a warm up doodle.

Hey Voiders!

It's been a minute since I've been on here but I wanted to share what I've been up to recently. I've been studying character development and world building which all culminated in a storyboard for a cartoon pilot.

The complete boards are here:

http://wade.respark.net/disconnected/disconnectedpilotboard.pdf

and here are some selected pages:





















I think this is the first time I've posted in GFB so I'm glad this is a large project.

Be brutal friends!

Submitted and everything saved to the server.

Aslo like to mention Don Bluth's Storyboarding book http://www.amazon.com/Don-Bluths-Art-Storyboard-Bluth/dp/1595820078/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1204057004&sr=8-1.  But if you really want to get down to the nitty gritty of animation, the guy that has the best description and understanding of the classic principles is Preston Blair http://www.amazon.com/Cartoon-Animation-Collectors-Preston-Blair/dp/1560100842/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1204057115&sr=1-1.  Also as far as traditional drawing, I've found Jack Hamm to be an amazing guy to learn from, he also has a cartooning book.

http://www.amazon.com/Drawing-Head-Figure-Jack-Hamm/dp/0399507914/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1204057235&sr=1-1,

http://www.amazon.com/How-Draw-Animals-Jack-Hamm/dp/0399508023/ref=pd_bbs_sr_2?ie=UTF8&s=books&qid=1204057235&sr=1-2,

http://www.amazon.com/Drawing-Scenery-Landscapes-Jack-Hamm/dp/0399508066/ref=pd_bbs_sr_3?ie=UTF8&s=books&qid=1204057235&sr=1-3,

http://www.amazon.com/Cartooning-Head-Figure-Jack-Hamm/dp/0399508031/ref=sr_1_4?ie=UTF8&s=books&qid=1204057235&sr=1-4.