Please don’t remove the artist’s caption/comment when you reblog a drawing/comic/etc.
I obviously can’t speak for everyone, but in my case the caption is often an addition to the joke, and if you take it away, you take away a part of my comic.
do she got the booty?
Do bop she dooooooo!
omg i am done
I am crying real tears
Tangled Concept Art
have you ever just looked at someone and gotten the strongest urge to kiss them and feel how soft their lips are and how their tongue feels against yours and have you ever wanted to kiss them softly and hold their face in your hands and feel the texture of their lips like wow kissing
Drawing from films
Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.
The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.
Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.
Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.
What to look for:
- Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
- Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
- Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
- Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
- Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
- Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?
This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.
Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.
Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…
Since I’ve had people asking me about storyboarding and how to learn it or what exercises to do. Emma Coats tells you all you need to know in this post.
okay I am so extremely proud of these shoes and they’re only halfway done
I mean I haven’t painted a personal pair for over a year and a half, maybe two years, and to finally be able to paint something and keep it is just such a great feeling and its so nice to paint something other than hogwarts crests for once is awesome and I’ve just come so far since when I started I mean the first thing I ever painted on a shoe was Carl fredricksen from up and to start with a pixar film and come “full circle”, so to speak, is just really amazing for me and to be able to see how much and how far I’ve progressed over the years is just amazing and wow I love being an artist
casually sobs while listening to the magic, memories, and you