Well, I can honestly say that I’ve been immediately blown away by the response to my Patreon campaign. I was expecting maybe….14 dollars in total, and yet it seems like every time I check it, it’s gone up. Thanks so much.
In case you were wondering the “release date” is the 9th.
It also seemed like a ton of people were eager to see an annual digital artbook in addition to a monthly digital artbook. Well, I’m so grateful at the response to patreon thus far, that I’m gonna do an annual as just part of the campaign. On Oct 9th I’ll release an art book for my patrons that compiles my work from the past few years.
I’m hoping against hope that I may be able to get the annual digital artbook actually published.
That printing will be easy thanks to some advice from Psuedonym (http://psuedofolio.tumblr.com/). His tips have helped me put everything together in to a high quality pdf. I’m still going back and forth on how to structure it, or if there should even be a structure. Do I go chronologically? Best work of the month first? I’m still working it out, but it will be done by the 9th.
I was actually caught off guard by hitting a milestone, and had to scramble to figure out a recording solution. But, I think I got it. I’ve been looking around at where to put them, because they are 1080p 60fps vids, and thus a bit meaty for some file sharing sites. I’m probably going to put them on youtube, but privately and on an account seperate from what has become mostly gaming videos.
Through a magical miracle I was able to acquire the GLTAS Style Guide, which is a binder catalog of images along with a disc for all the files in PSD or AI format. I was hoping it’d have some stuff we hadn’t seen, but I had no idea what a goldmine I’d landed.
Here’s just some highlights of the files in this baby, because I love you all. TAT<3
Hope and Will Lantern REPLENISHED
This looks like it *would* have been used as guide line for all the merchandise.
I never knew asterisks could denote bitterness. I like it.
(also, yay references)
I needed the money and I was broke and in debt. Leaving was not really an option. I thought about quitting every day for years.
It’s good to know I’m not alone.
Eventually. I hope to be taking normal commissions again. The idea of the patreon campaign is to give me a source of income in order to pull back on the hours at my day job so I can make more art.
I will still be releasing art on tumblr.
Well, I want to be clear that you aren’t paying “monthly” you are paying “per product.” The idea is that you only get charged when I release something. Right now, you haven’t spent any money and are more than welcome to cancel. That way if I have a month where I’m particularly unproductive, you won’t have to pay anything. Second, you can set a monthly budget so that you never go over a certain amount. If you pledge to pay 5 dollars and your monthly budget at 10, then I release 10 artbooks (not going to happen lol) you still only get charged 10. Finally you can cancel your patronage any time by clicking on “edit patronage” and then clicking on delete pledge. It won’t cancel payments already made as far as I understand it, but will prevent future pledges. If you are charged and want to cancel payment, I’m pretty sure that you can contact patreon about that after canceling your patronage. Hope that answers your question, I’m still kinda groggy..
I made a thing on Patreon For now I’m doing per-product because I’d prefer if people got something for the money they spent. (that sentence may be worded poorly, It’s 3am and I’m tired)
An annual collection of over 100 pages of high resolution art comprising sketches, paintings and pin ups in PDF form?
A monthly collection of about 15 sketches of high resolution art comprising, warmups, and maybe a finished piece here and there in PDF form?
That’s great! That’s how I learned storyboarding too~ With your drawings, I have no doubt you will be able to break in very soon, once you have learned the basics of boarding and an opportunity arises.
Insights on how I first made it in… Gosh this could use a whole post on it’s own, but here goes..
In the shortest answer possible, I got in because there was an opening for a revisionist position on Transformers Prime, right after I finished Jay’s class…. One of the board artists saw my DA page that had my Korra sketches. The directors liked my drawings because they were loose, but sensitive and had decent draftsmanship and a lot of attitude. They saw that I knew the basics of storyboarding, that I could draw good acting. I was not an impressive board artist, because I was still green, but they thought I had “potential” and so I got hired as a revisionist in-house. If a director sees you have “potential”, that’s usually how you’ll get your break. This is how it usually happens. Of course how to get to the point where you are seen to have potential is a whole ‘nother matter.
Let’s just assume you already know that you need to know the basic of boarding: staging, composition, screen direction….. you’re taking Jay’s class so that’s obvious. But that alone won’t get you in the industry right? Here’s what else you need:
In animation…. being able to draw well is first. And of course that is a never-ending process, but there is a point where you are “competent”. I think what helped me is I drew a lot from everyday life, and tried to draw from memory as much as possible, and learned the basics of draftsmanship… And I observed as much as I could. Become of a master of observation and visualization. My fave instructors on drawing are Kimon Nicolaides, George Bridgman and Robert Beverly Hale. You also learn a lot from manga, animators, and old masters. As for the types of drawings you need to do in boards… lively and loose - but clear. If you’re trying to draw like today’s top Japanese animators and manga artists I’d say you’ve got some good direction, if that’s the style you are going for.
Next I focused on acting, expressions, and body language. Since in America, most T.V. boards are animated overseas, the more specific you can get the acting, the better. That may or may not mean doing a whole bunch of poses… But.. You want your character to be believable, and interesting. I pay attention to my own body language and others’ as well. Take everything in. Take nothing for granted. Get to understand yourself and others. And of course study films that have exceptional acting.. like “The Verdict” and “Silence of the Lambs”… If you can, get a book called “Acting without Agony” and read that. That book helped me a lot. Despite being a mediocre board artist, being able to create and draw sensitive acting in characters helped me get the jobs I did, because that’s the stuff that really sells a character to the audience. Comedy acting is different but same principals apply.
Display your skills in a portfolio or on you online gallery/tumblr… whatever, so other pros can see it. Often they are looking for people, who can draw… Get your drawings and sketches out there. And get a boarding portfolio up. I didn’t have a boarding portfolio online when I got my first job, but I had my DA page, and one of the board artists from Transformers Prime saw my drawings, and asked if I wanted to do revisions. I sent the studio some unfinished sample boards and that was enough to get me a job.
And last but not least… getting to know and introducing yourself to people in the industry. You’re going to CDA and you know Jay, so that’s a good start~ =] Luck and timing will determine the rest.
Those are the… how-to’s of how I personally got my foot in the industry… Will in make you a good board artist though? No… beyond that… you must invest the time to understanding good storytelling, and good directing. That’s how you become a good board artist.
All in all, if everyday you are aiming for excellence and serious about doing boards… You’ll do what is necessary and you should be fine. That’s how I see it…
I know this was a long and kinda redundant post… but I hope it helps you and anyone else who’s trying to make it. =] Good luck!
Sound advice! I’m sure I have a watcher or two who is looking to get into animation, and might gain something from this.
Also… hmm… I worked on Transformers, too.
lol BTW Will here is the talented mofo who got me the job on TF. I was too lazy to find his handle name to link, but thar you go. =P
I wonder if this is the same Barlee I started watching years ago on DA because she drew some good art of the Hyuga clan from Naruto.
I think the difference is that you actually participate, whereas I stand back and watch. It’s easier to notice changes in people and new people when you’re right in the middle of it. It’s easier to have perspective when you aren’t at street level.
I wonder how much of current /co/ remembers the countless music meister threads when that episode aired. Because that era is what comes to mind whenever I see “Why are there so many god damn threads about ______” My point being, the memes change and the habits of posters will change. There will be a day, mark my words, where no one will give a fuck about tumblr.
I stick around because every once in a while /co/ points me towards something amazing that I would have otherwise ignored. A few years ago it was ATLA. Recently it was Tron Uprising. I think that outweighs the bullshit you have to wade through.
Plus, /co/ has the added benefit of helping me get a thicker skin (not as thick as I’d like, but they’re helping) because every once in a while (not often) I’ll some of my work in a thread and a guy will say how much he hates me. Before 4chan I would’ve been like “hey, fuck you guy, I’m going to argue with you about this.” Now I can ignore it and that helps me on places like tumblr. Every once in a while someone will try to start something, and I’m able to avoid long drawn out pointleses arguments thanks to that acquired discipline. I give them one reply (if that) and then stop.
So /co/ has pointed me to cool things, and helped me mature (kinda) believe it or not.
Thank you, a rare compliment that I whole heartedly appreciate.
Don’t know why I’m in a sharing mood, but I am.
I was inspired by Alex Ahad’s Kill La Kill poster, and I’m working on one myself. Here is the rough of Ryuko. The line coming out of her but is the unfinished sword. Gonna draw it seperately and composite in to the final image to make sure I get the shape exact.