bus doodles once more

[egypturnash]

Maybe I should start a separate journal just for these.




The hands are a fix-up for the lower drawing in this entry. I didn't like 'em, so I assumed a pose like that in front of the mirror this morning and analyzed, then drew from memory while on the bus to work.

The second is my character on Tapestries, naked. This is the first drawing of her piled atop herself I've really liked, probably because I built up the coils 'properly' - I started from the tailtip, and just swirled around, draping her back over herself until I had about the right amount of snake body, then worked in the humanoid torso. It's almost in proper proportion, too; I guessed at the length of torso and kinda measured the amount of tail after it was done, and it's only about eight feet short - about 42 feet of snake, while she's supposed to be fifty feet.


I will leave you with a quote from a child on the bus, who was extracting far too much amusement out of a windup toy:
"The power's going out. We're being sucked in. We're all gonna die... There's a slight chance we might be sucked into the future. And then die."

This was delivered quite deadpan, and is probably an Invader Zim quote or something. But I was amused anyway.

Comments

[lapdragon.livejournal.com]

Woo! Kalinda is teh h0t! Or something.

And kids are silly. I've seen most of Zim and haven't heard that one. Maybe southpark? Either way, thank you to all the various animators for putting such silly things in our heads!

That kinda makes me wonder... I know that animators do a storyboard process... but how involved are they in the actual writing of the script?

[shatterstripes.livejournal.com]

I should write a naked Kalinda description.

The involvement with the script varies. If there's an official division between 'writers' and 'artists', as there is on lots of shows, the writers are a wholly seperate group from the artists, and will frequently drive the artists batty with trying to micromanage how everything looks. When artists are given creative control, the cartoon is written as a storyboard; once that's nailed down, a dialogue recording script is distilled from that.

It doesn't neccesarily lead to a better final product when you write in board form, but it does usually lead to something that uses the medium better, and is less diluted by committee-think. There are live-action film-makers who prefer the boards first, too, though their boards will often remain stick figures.

[paka.livejournal.com]

In that case, do you think productions have the potential to work better when the director or writer works hard to be a cinematographer and storyboard artist as well? I know Hitchcock did it, Spielberg does it occasionally, and then there's the weird way Lucas worked with his concept artists for the prequels. Maybe there's a way you could transfer that as a philosophy for smaller productions.

[shatterstripes.livejournal.com]

Yes. Because by not spreading duties out over zillions of people, all trying to pull it in their own little directions, the piece can achieve greater clarity. How many really good movies have you seen that don't have one person's name all over the credits?

If anything, you're more likely to have it happen for smaller productions - when there's only a couple dozen people involved in the whole affair, most of them are going to have to do several duties. It seems to be a lot easier to drive a vision to reality with a small team of people comitted to the work than it is to a huge group of people just drawing a paycheck.