For reference and inspiration check out these awesome cat drawings by an artist that goes by Tono.
Cartooning & Animation Classes! Check out our case study for the new semester: Sam Bosma’s Fantasy Sports Vol: 1.
We’ll be taking a close look at this comic to learn about character development, story structure, page layout, clear staging, and much, much more.
Additional artwork, page samples, and links below the fold.
Last year we took a look at the work of Hanna K Nyström. Read her three page comic, Don’t Eat That, and then take a look at the sketches, thumbnails, and other process related images that she created to prepare for this comic.
Hanna K Nyström, illustratör och serietecknare med grundläggande utbildning i klassisk animation vid Fellingsbro Folkhögskola
Hanna K Nyström is an illustrator and cartoonist with basic training in classical animation at Fellingsbro Folkhögskola (University).
Here are the examples of artwork and process pictures by the artist Faith Erin Hicks that we looked at during class today
About Faith Erin Hicks (From her website):
Born in the wilds of British Columbia, the young Faith frolicked among the Sasquatch native to the province before moving to Ontario at age five. There she was homeschooled with her three brothers, and developed an unnatural passion for galloping around on horseback, though never without a proper helmet (because you only get one skull). After twenty years of suffering through Ontario’s obscenely hot summers, she migrated east, and now lives beside the other ocean in Halifax, Nova Scotia. She worked in animation for a bit, and now draws comics full time. She’s not sure how that happened either.
Around two years ago I came across a video that provided an incredibly comprehensive look at the process that designer Joe Ledbetter works through to create a vinyl toy. One of my favorite aspects of this video is how the artist uses every practical means to arrive at his end result: written ideas, rough sketches on paper, multiple revisions and iterations of an idea, hands-on building and sculpting, keyboard and mouse digital manipulation/composing, and digital drawing with a cintiq graphic tablet.
Open the entire post to check out the video below.
In one respect, Pinocchio was a failure. The 1940 follow-up to Walt Disney’s world-beating Snow White And The Seven Dwarfs—which proved in 1937 that feature-length animated movies were not only possible, but could be profitable as well—Pinocchio cost more than twice as much as its predecessor, and made back only half its production costs in its initial theatrical run. (A 1992 re-release made considerably more, but by that time the film had already been entrenched as a classic in the popular imagination.) But creatively, Pinocchio represents the apex of the Disney Feature Animation brand, a project of wild ambition that consumed Walt Disney and his team for two years, and firmly established feature animation as a legitimate art form on the same level as traditional filmmaking.
An establishing shot in filmmaking and television production sets up, or establishes the context for a scene by showing the relationship between its important figures and objects. It is generally a long- or extreme-long shot at the beginning of a scene indicating where, and sometimes when, the remainder of the scene takes place. (wikipedia)
Maurice Noble is a name that draws blank stares from most people, but he’s a legend among animators and cartoon buffs – he art-directed and laid out many classic Merry Melodies and Looney Tunes cartoons, including the legendary What’s Opera, Doc?, Duck Amuck, and Duck Dodgers In The 24½th Century; he defined the abstract-modernist style of the Road Runner series; and he mentored a number of creators who have gone on to great acclaim in animation, cartooning, and other fields.
One of the things I find so interesting about Star Wars is how the creative process so clearly wasn’t locked from the beginning. It was a long and winding road, and throughout writing the essays for Kitbashed I’ve found that despite intense pressure there was always an energetic adventurousness with ideas which inevitably lead to some of the most iconic designs in film history.
Features of Googie include upswept roofs, curvaceous, geometric shapes, and bold use of glass, steel and neon. Googie was also characterized by Space Age designs symbolic of motion, such as boomerangs, flying saucers, atoms and parabolas, and free-form designs such as “soft” parallelograms and an artist’s palette motif. These stylistic conventions represented American society’s fascination with Space Age themes and marketing emphasis on futuristic designs.