Emma Coats's 'Story Shots' blog.

A great Tumblr blog from Pixar's Emma Coats. Here's a few Q & A's, but check out the main feed for more great Storyboarding/Concept/Storytelling/ Characterisations/Dialogue tips and theories!
http://storyshots.tumblr.com/post/33352307768/questions-answering-some-questions

Week 10 Clip recap

Only one clip this week, as you remember, we had Andi take the lecture on Layouts and Pre-Viz. As this was her job in Animation studios for many years, it was a no-brainer, and awesome, to have her speak about the layout department tasks in the pre-production process. Thanks Andi :D

This clip or two that we watched is one part culmination of the lessons we have covered thus far, plus an into into next week's lecture on 'Editing'. A particular point that I want you to remember (which I brought up in class) was that this biopic/drama still utilizes composing theories that some people would normally mistaken as action film type shots (typically since we've seen examples used in 'The Matrix', 'Casino Royale' or even 'Ben 10' cartoons for instance). Make no mistake, you can "jazz" up your "talking head"/exposition/ drama scenes with compositional concepts we spoke of back in the early part of the semester.

The use of the extreme close up, edited with fragments of events of Ali's past and some key events leading up to the Liston fight conveys to the audience that we are "seeing" Ali's inner thoughts as he focuses on the speedbag.

Note the circular compositon, and the "fanning" of the men surrounding
 Clay/Ali in the shot, from far left foreground to far right, with Ali the focal point
(not just "standing vertical" in shot.)

Another shot, where Depth of field, composition and the direction of the
people's heads (all looking towards Clay/Ali) lead the eye to the focal point.

 Have a look at the lecture slides from week 8, here's an example or two of theory in practice :)

"Beyond the standard point of Interest" (Icon)
In this case, Ali's famous footwork signifies his entry into the ring,
rather than a medium or full body shot.

 This clip misses out on the "Clay v. Liston" Weigh in, which is a scene I like as despite the two characters being in the midst of a huge room full of people, the focus is purely on them, and the frames are composed in a way that the focus is always on the main two, whether it's through depth of field, negative space or framing Clay/Ali and Liston between the shoulders and heads of the people around them. The "blurring" of foreground heads and/or background people immediately draws your eye to the focal point of the screen. Could only find an Italian version of this scene, but no matter. The story is clear through camera shots, posing/acting and editing.



Anyways, gotta run, will make a post tomorrow showing some examples to clarify what is to be produced for the final assessment.

Week 9 Clips Recap

Hey all,
A selection of the clips we watched last week in class, relating to colour and it's use. Check the notes on L@GU for not only the basic theories at play (complimentary colours, colour values, 'warm' and 'cool' colours) but also the possible reasons as to why certain colours/combinations are used in scenes. These are used in conjunction with the visual language of composing shots. Enjoy :D

All-Star Superman (Warner Animation): Opening Scene:


All Star Superman Pt.1 by mrcobain215vidz2

"What's Opera, Doc?" (Warner Bros.)



Dumbo (Disney) : "Look out for Mr Stork":



Dumbo (Disney) "Pink Elephants on Parade":



Kung Fu Panda (Dreamworks) Intro:




And the couple of live action examples:


Butch Cassidy and the Sundance Kid (intro):



The Matrix: "Trinity rooftop chase":
(Notes a lot of the shots that we went over in "Genre" lecture are used in this sequence.)



See you all after the break. Hopefully, you're using the week off to progress a bit more in your final assessments. Any questions, email me :)

Week 5 Video clip recaps

Just briefly, Lecture notes will go up on Learning @ GU shortly, in the meantime, here's the clips we watched:

We started the class with this: A nice, brief overview of storyboarding by the Emmy Award winning Warner Brothers production team, behind animated shows such as 'Batman: The Animated Series', 'Superman: The Animated series, and 'Justice League'. James Tucker, featured in this, began as a board artist on 'Tiny Toon Adventures", before applying thru Bruce Timm to land a role boarding on "Superman: TAS" before eventually moving onto bigger roles with Warner animation, recently an Executive Producer of the series "Batman: the Brave and the Bold".


METRO from Jacob Wyatt on Vimeo.

This beautiful cartoon that Andi found is a wonderful example of a filmmaker not limiting themselves to the confines of the 16 x 9 ratio viewing screen. Rather, using comic book theory of panels, Wyatt is able to further lead the eye through his film using compositional changes, more precise focal points, and emphasis on certain parts of the story. A full screen environment really has impact in relation to the smaller "panels" of shots preceding it. Taking advantage of camera angles, diagonals in the compositions, and moving his characters through a 3D space (from B/G to F/G), and always adhering to the 180 degree rule, this is a nice example of film language at work.



We watched the opening sequence right up until the Captain America scene. It is interesting at this point to contrast the storytelling with what was taken directly from the Hudlin/Romita Jr. comic (the tribe scene, the White House Scene) with the storytelling approach to the Captain America meets Black Panther scene, as this wasn't part of the original comic. To me, the storytelling in this seems rather flat and unimaginative, during the conversation. Anyways, you decide :)




We watched the first scene or two of 'Samurai Jack', and as a example of character design, mise en scene, reference, and storytelling approaches, we will definitely watch more examples from this in the coming weeks. The short action scene in the Night Club uses many conventions from Comic book storytelling, particularly the example of the Batman page from Frank Miller's 'The Dark Knight Returns', which highlights a critical moment in the battle with a stark white background.

Finally, we had a quick look at some polished storyboards from Ridley Scott's 'Gladiator'. As these weren't part of a movie clip, I found some links you may want to peruse, which also includes some fantastic concept drawings, and examples of "light as a shape".

http://www.dga.org/Craft/DGAQ/All-Articles/1001-Spring-2010/Drawing-Board-Tiger-Tale.aspx

http://www.toutlecine.com/images/film/0028/00284361-gladiator.html

And thumbnailing, straight onto the script, like we worked on last week/this week:
http://miseenscene101.blogspot.com.au/2010/10/ridleygrams.html

Gotta run, will touch on images from the lecture notes from last week in the next day or so for those that we absent from that lecture. As usual, any questions, email me.

Week 3: Recap on Tute film clip examples

Ok, so just a brief recap on most of the examples we watched in class this week. Pay particularly close attention to the choices in camera, and the movements, that are used to tell the story. As some of you pointed out in class, very little dialogue is used to covey what a character is thinking, feeling or doing.
Which goes back to the point of "SHOW, DON'T TELL".

With many of the shots below (particularly the animated examples) it is plain to see the importance of perspective in relation to creating your 3D world on the 2D plane of the page/screen.

Sergio Leone's 'The Good the Bad and the Ugly'



For the life of me, I couldn't seem to find a proper formated version of the opening sequence. However, you get the idea. A couple of things to take note: The often-used trademark of Leone's directing of cutting between grand long shots, with close ups of gritty faces, often of incidental or no-name characters. Not only sets the mood and tone of the world/period depicted but it's almost like the faces themselves are landscapes or settings. You know what I mean ;P
Also, the longer, relaxed pacing of the overall film (you need to rent this for sure.) From a storytelling/shot selection point of view, it's engaging in a sense that really, we're just watching a posse walk down a "street". But the choices made are interesting to the audience. And lastly, the fight. We don't see it, but our minds allow to piece together what happened. And in one shot of the main character bursting thru the window, juxtaposed with highlight music theme, the words "ugly" which a comedic overtone, we have a little bit of empathy and engagement with him already (through comedy, and his obvious "skill" of cleaning up other gun fighters.)

Contrast this with 'The Spirit' opening scenes, for which we had no idea what was happening, and did not care for the main portagonist at all, despite all the stuff we're presented with at the beginning (or perhaps, BECAUSE of...)

For your convenience, I did not include a clip. You don't have to watch it again ;P



The intense little scene where Lee van Cleef's "Angel Eyes" sits down to eat with Stevens in his home- remisinent of the Tarrintino 'Inglorious Basterds' Opening scene with "Hans Landa", because of the similar character interaction, choice of using Close ups/Extreme Close ups, subjectively drawing the audience right into the middle of these tense conversations, ending with the musically highlighted violent conclusions.




A selection of still frames to refresh your memories of the camera conventions used in the 'GB &U" scene. The point of showing you these seemingly mundane "talking" scenes is to show you the possibilities in creating conflict and tension in your stories through not only script, but more so through your choice in camera, movement and composition, particularly in scenes which are basically two guys sitting at a table.

Acting helps too ;) But when you're an animator, you drive the acting.




This scene again shows the juxtaposition of the long shots with close-ups. Action and drama come from editing and juxtaposition of shots between the characters "eye balling" each other (which by the end of the sequence, are "extreme close ups", cut with their itchy trigger fingers. Note the 180 rule is always in effect- made easier by the fact the men are just standing there, but they never confuse the eyeline of the actors, and maintain their side of the shot when looking to one another.

(And what an awesome Morricone musical score ;) )

The Rule of thirds in play with this composition, and an interesting angle choice, due to the change in the normal eye level.

Extreme Close Ups towards the climax of the "stand off".

The Establishing shot- the circular shape of the grave yard centre, with the triangular shape of the three men, juxtaposed with a "sea" of crucifixes and tombstones.

Over the shoudler shot.

Fleischer's "Superman": The Mechanical Monsters.



One of my all-time favourite cartoon shorts, and my favourite in the series. Take note of the many uses of Upshots, Down shots, POV shots, Camera movements such as 'Tracking shots', that 'Dutch Tilt' establishing shot at the Museum...there's heaps in this cartoon. Plus, the diagonals at play in every composed shot.

The use of shadow and the silhouette is used throughout this short, and adds for an interesting storytelling device (what is shown, what is left for the audience to imagine).

Depth of field in play, and a nice composition example of using a darker foreground element to draw the eye into the main focal point (the primary-coloured 'Superman'), wit a blurred, soft/cool coloured background.)

Upshot, diagonals.

Depth from light/dark elements, composition seems "claustrophobic", as Superman is trapped under the fire and beatings administered by the mechanical men.

Notice these shots cut back and forth between one another when the Robot returns with the cash, and how the diagonals "balance", between one another.

The shots above and below are part of that tracking shot that takes the audience from the lab (where Lois was last seen) to where the mad scientist has Lois in an elaborate death trap. What is interesting about the tracking shot is the "pockets" of information we are fed about the location and it's relation to the lab, where the robots came from and what's in-store for Lois and Superman, without one word of dialogue, or cut to another shot. Storytelling through composition and camera movement.

Now that's a Down Shot!

A great long shot, using diagonals again, and light/dark elements/depth of field to  create that powerline focal point.

I really like the poses the Fleischers utlised in their series. I'd say the above example is almost "contrapposto", but the feet seem to have even balance. Nevertheless, far more interesting to look at than just an evenly balanced stance.

It's also a point towards the fact that apart from the closeup of Superman using his X-ray vision, we never see a close up of Superman, or even rarely a medium shot of him in action. They are almost always a full body, or an 'American' (cropped to knees) shot. What does this mean? ;D

We learnt that "power" is conveyed through upshots, such as the ones always used to show the robots. Is it that the feats of Superman verses the dangers he faces in his environment need to be shown, and therefore his characterization (in costume) comes from his abilities? Curious to know your thoughts.

POV shot.

Great Close up/POV shot of Lois.

Huge POV Upshot!

Batman: TAS Opening credits:

In my humble opinion, one of the best show intros ever- sets the total Mise En Scene for the series, we "get it" all in a one mintue intro. It doesn't even have a title. Who needs it? It's the Goddamn Batman ;P

Inspired by the Fleischer Superman series, I don't have to point to the similarities in shot dynamics, camera movements, angles etc. And, in the case of the credits, fully utilising the power of the silhouette, rim lighting, the importance of pose to relation to the "readibility" of a particular action or shot, and positive/negative spacing. Bruce Timm and Co. were not afraid to use Black. Compare this to other cartoons before this, and at the time. Strong Compositions and focal points, and the usage of Upshots/Downshots to convey power, and weakness/defeat. Barely any detail in objects, but enough understanding created through the use of shapes( to represent buildings, walls etc.), light (again, as a shape in itself) and pose.

Gotta go, see you next week! Don't forget, I want to see your 6 panel Shot selection exercises in class too ;)

"A few things we've mentioned that you should keep in mind" Storytelling points from Week 3 Powerpoint.

Again, here are those points I found within the notes that were a nice basic summary of some of the overview points we've been discussing in class. Think about the example scenes we've watched  in-class, where these points were used, and ultimately, how you can adopt these conventions into your own storytelling language.

Know the rules before you can play with them, to make your sequences entertaining.

Remember: Clarity, Empathy, Entertainment! That's what we're striving for ;D

•1. Varied shots. Make some shots wide, others close.

•2. Building tension. Show the audience what the characters don’t see. Cut to a bomb counting down. Show shadowy figures in the background.

•3. Use Close-ups (C/U’s). Draw the viewer into the action.

•4. Establishing shots. Give your viewers an overview of who is where to help them follow the action.

•5. Cut-aways. Shots of a character’s fingers twitching, or trophies on a wall, can say more about a character than lengthy dialogue.

•6. Extreme Close-ups. An extremely close shot of a character’s eye, mouth or finger will help enforce the urgency in what is happening.

•7. Point of View shots (POV). Show the audience what your character sees from the character’s view point. Point of View shots (POV). Show the audience what your character sees from the character’s view point.

•8. Motivate your shots. For instance, in order to have a POV, you need to first show the character looking toward something, which motivates a cut to their POV.

•9. Over the Shoulder shots (OTS). This draws the viewer into the action and makes a scene more intimate.

•10. Use as many drawings as necessary to show the action. (But concise storytelling is a skill in itself. Why use 3 shots when 1 will do?)

Assessments and Recap for those that missed it: 'Fill in The Gaps"

https://courseprofile.secure.griffith.edu.au/student_section_loader.php?section=5&profileId=68225

Find your assessments at the link above ;)

In Class Exercise 1 was the 'Fill in the Gaps', for those that missed it, very simple: You have this model sheet of my Koala character ('Baz'), and you have a 9 panel sequence, where the 2nd board is done, and the last board is "half done"- you need to include the Background/resolve/punchline to the short sequence. Try to stay to the 9 panels total if you can. When doing this, bear in mind the information given in that 2nd panel (but still open to a myriad of interpretations), and selecting appropriate shots, keeping in mind the 180 degree rule too.

And, to remind you, you need to get a solid idea for the final assessment task_ we'll talk more about this next week (taken from the link at the top):

Type: Assignment - Practice-based Assignment
Learning Objectives Assessed: 1, 2, 3, 4, 5, 6, 7
Due Date: 
         22 Oct 12     In class presentation, delivery Week 14
Weight: 50%
Task Description: 

Create a story for a predominantly animated short film, however this is not limited to cartoon style
character animation. The story should be around 3 minutes long.

Deliverables include:

visual development artwork (environments, character profile and design, preliminary sketches and reference image folio),

storyboard (including text/dialogue elements, sound design direction and general directors notes).

examples of moodboards of two sequences of varying tones

Full-colour Treatment image (style, genre, proposed visual treatment) - The "look" shot

3 or 4 correctly structured layout or pre-viz shots that concur with industry standards

An animatic is also required that indicates broad timing and pacing for the project.

Further details  and delivery instructions to be announced in class and with assignment handouts in week 2. The project is designed to develop a feasible script for possible production as a graduating project during the program. this is NOT intended to be the final idea that will be made, but a draft development exercise in realising the range of aspects that need to be determined to develop a good short project

NOTE: It is essential that this assignment be developed over the course of the semester, with demonstreted weekly updates on progress and creative development included in the deliverable. Each of the in-class exercises should be attempted alog the theme of this final projecct to develop the idea in many iterations.

Ok, that's all for this post ;)

Of interest: 'Jack Kirby and the Auteur Theory of Comics'

http://www.tcj.com/sdcc12-cac-session-7-jack-kirby-and-the-auteur-theory-of-comics/

An interesting discussion in the development of some of comic book, animation and cinema's best superhero characters. A comparison to Stan Lee and Jack Kirby's storytelling method in the 1960's, to the Auteur- Directors theory of French Cinema. Very interesting in regards to the writer/artist collaboration/co-creation, by friend and author of 'The Silver Age of Comic Book Art', Arlen Schumer.

Pixar: 22 Rules to Phenomenal Storytelling (from pbjpublishing.com blog)

http://pbjpublishing.com/blog/2012/07/09/pixars-22-rules-to-phenomenal-storytelling-infographic/


Take notes!  All relate to Clarity, Empathy, Entertainment. Antoher word I could mention in regards to narrative sotry is "Conflict"- the heart of every drama. If there is no conflict, your character's emotions don't change, and you have no story.

Hey, see no.4? that's your story idea template in 3 acts (and perfect to pitch). Remember that "pick two objects, and come up with a story" game? That's it!

The blog also put it all in text too (link is above):

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

#17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

A storytelling artist you NEED to know #2: Steve Ditko

An excellent documentary on one of my favourite artists, and a gentlemen whose name is often said in the same breath as 'Jack Kirby' in regards to the best storytellers in the comic field, Steve Ditko.

I had the pleasure of running into British late night talk show king Jonathan Ross while walking the isles of San Diego Comic-Con this year, ironically, he was talking Stan Lee and Jack Kirby to Neal Adams, another  fantastic illustrator. He said he still regrets the line of questioning regarding Stan Lee's opinion in regards to giving Steve co-credit status for Spider-man after all these years. I don't think it was that harsh, really. Anyways, I'm trailing off topic.

The point is, on the subject of storytelling, character design, and the creative process, Steve Ditko is a wonderful and interesting study. Only a handful of photographs of him are in existence in the public arena, and to this very day, he is a very private individual (I have a close friend who spoke to him recently, and he was reportedly a gentlemen).

Anyways, enjoy :)

p.s: I wrote a rather light-hearted, article about where the development of Spider-man came from, if interested. It is an eye-opener in a sense of how ideas aren't necessarily "spare of the moment", "or out of the blue". Often , elements of ideas are batted around for a long time, and need revision before the first incarnations in some sort of storytelling medium. http://girlygeekspeak.com.au/blog/spider-mans-origins/

Get a spare 30 minutes and WATCH THIS:

 All these clips are entertaining, I recommend THIS ONE ABOVE in particular to this course subject; it highlights why episode 3 in particular of the Star Wars prequels does not work- in this clip's case, it discusses the central protagonist to the story, and the storyboarding/shot selections in the film. Insightful, hilarious, it is strongly recommended you listen/watch this. (Thanks for the find, Andi :D)

 It basically boils down to a discussion on the three things I mentioned yesterday that you must try to achieve when telling a story in film, animation or comic book:
 CLARITY, EMPATHY and ENTERTAINMENT.

Original link, and the other two parts are here. All extremely funny, and trust me, you don't have to be a Star Wars fan at all to get what it's saying. 

http://redlettermedia.com/plinkett/star-wars/star-wars-episode-iii-revenge-of-the-sith/

Week 2: Recap on Tute film clip examples

Nothing too in-depth here, just talking briefly on some of those examples from after the lecture yesterday :)

Chuck Jones's "Feed the Kitty":



Storytelling through storyboarding strong character poses and expressions, clever framing (particularly towards the end of Act 2, where he is locked outside, and forced to look in through the window), timing, editing, and all without any dialogue from the main protagonist (Marc Anthony) at all. Remember my 'Rain Man' example? The Kitty never changes. But with the escalating conflicts that occur, Marc Anthony the Dog  experiences a full range of emotions until the final resolve at the end. Narrative storytelling 101 :D

Inglourious Basterds: Chapter 1



Couldn't find a clip that included the entire 15 or so minutes, but at least this clip above shows a snippet, and the clip below shows the shoot out- the only selection of shots in this scene that changes the plane on which the camera was sitting at, apart from the vertical pan into the floorboards in show the people hiding (which also stands out from the conversation, where the camera's angle is consistent.) The killing is particularly highlighted by not only the music, operatic/tragedy sounds, but also the "bird's eye view" diagonal gun barrels and house beams as dust flies up from the bullet-riddled floorboards. Boy, didn't that conversation change o_O



Think of the chosen low angle shot of the nazi jack boots walking into the house: similar to the imagery from the film "Battleship Potemkin" which no doubt Peter Moyes may have shown you.

Not all the shots I wanted to remind you of, but at least it's something. Lighting, composition (earlier shots where a nice conversation is going on within the house, except the highlighted area of the frame is a open window with SS officers waiting outside by their car. Adds visual tension to an otherwise seemingly friendly conversation about meeting the daughters, and milk.

Dirty Harry:
Storyboards- establishing the scene, and the position of the characters in relation to each other, shots used during the conversation etc.



Take note that you don't have to have the camera on the person talking- in this instance, it shows the thought process of the protagonist/his reaction to what's being said.

This is the first scene in which 'Harry' speaks. Interest and empathy in the character is created very quickly, which seems to comes from the dry humour/attitude, and he exudes a confidence which suggests he's the "smartest", or is someone which the best skillsets to solve the case (no nonsense, lines that shows he cares for the safety of innocent people, despite the gruffness of delivery). Think of why it is that we side with these characters in the first place when watching a film, and how to show this when story boarding a scene, or writing for our character/s. Anyways, more on this point next week when talking camera conventions, and juxtaposition etc.

Dirty Harry: shootout snippet.



Again, take note of the conventions of shots used- similar background/compositional considerations made to  a western for instance. And, the power/submissive roles shown by simply angling the shot, showing Harry in an up shot, and the bankrobber in a down shot.

Unfortunately, we miss out on that frame showing the small pile of cigarettes outside the getaway car- a (at the time) different way to show a passage of time than wasting seconds, film (and ultimately money) on showing the guy checking his watch etc.

High Plains Drifter:
Do you know, almost every friggin' scene of that film is up on Youtube, and yet I can't seem to find the opening credits where he rides into Lago, and trots into town, with the townspeople watching?

Anyway, plenty of traditional western-style shots using plenty of storyboarding rules (composition, rule of thirds etc.) great example of Establishment shots, following the 180 rule, even from POV shots from people watching him ride by (right to left), neutral shots when they (invisibly) switch sides, so not to confuse, and interesting camera position choices (such as from a window in a barber shop etc.)

At least some of the shots from the opening are briefly shown in this cheesy trailer ;P



See you next week! Remember, I want to check out the bulk of your 'Fill in the Gas" progress, and I want to hear about your final assessment idea. Cool :)

"PASS"- Brutal, but true!

http://www.illdave.com/comicbooks/history/toth-critiques-rude.htm

We might take a better look at this during classes based on Camera selection, Composition, Referencing etc. because it's so right on what we're trying to achieve as animators/filmmakers/storyteller- clarity and empathy for the audience to understand and "get" the story. Poor choices in conveying this affects the interest of the audience.

{It is important as a side note to mention that just because Alex Toth says it's fake, doesn't make it so...Steve Rude claims he did in fact use referencing, but you can still see Toth's point, particularly on the overhead shots (weird perspective etc.)}

That's all for now :)

Toy Story - Storyboarding

So I think the majority of us are on the same page re: Toy Story, and thanks to the guys at Pixar, here's another Storyboarding lesson, using said film ;)

Who is 'Jack Kirby'? This is a good start ;)

'Street Code' double page spread by Jack Kirby. If I could still draw like this when I'm 66, I'll be very happy!

Based on the initial feedback from the class today, here's a brief bio on Jack Kirby. As a comic book fan, or a fan of films like 'The Avengers', 'Thor' or 'Captain America', you'll start to wonder why you've never heard of him :) http://kirbymuseum.org/biography

A great source of his comic book art, from 1940's to 1980's. Notice the change in structure and composition between his early work, and his twilight years. Also, though predominately known for Superheroes, he worked in virtually every genre in comics, including co-creating the 'Romance' comics. http://whatifkirby.com/gallery

As a storyteller, concept artist, character designer, creator in general, he's an artist you should know :) And will prove interesting segways throughout the semester

"Galactus" full page spread from an issue of 'Thor' circa mid-late 1960's.