Hi! I'm a digital artist and comic-er. Check out my website, or my webcomic KiLA iLO. :)
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I mostly just post my artwork here, but occasionally I share something I've found that I think is amazing! And sometimes I talk for a long period of time without stopping.
Note: All art posted here is an original design unless I say it isn't. (Or if it's reblogged from someone else who deserves to be shown off, or is not actually art)
Art & Writing Help Blog
Ahah I love when professional artists do Q&As because a lot of the questions come from really talented aspiring artists and it’s a good way to find cool art blogs
ashbykent said: I'm actually a rather new follower, but I've wished I followed you sooner! I love your art! How do you go about composing shots? Do you mostly work with a horizon line and perspective, characters drawn first then the BG or large silhouettes to shape the composition? I'm excited to see more of your art!!
Thanks so much! It kind of varies for me, to be honest. If the moment is intensely character driven, I might just focus on sketching the character(s) and nailing the emotion first. Sometimes that’s just most important. But obviously when you’re boarding you want to use your staging to effectively plus the drama/ comedy of whatever is going on- so it’s good to establish wider shots that do that early in the sequence or as it builds towards the emotional crescendo. And so yeah, generally speaking that starts with a horizon line, building up perspective, setting up the stage for the characters to “perform on.”
That said, with everything being 3D in animation, you have to be aware of the environments on a larger scale as well as the capabilities of 3D cameras. If you think of your shots too much like a stage versus an actual inhabitable world then you may not be using your environment to its full potential. I try to remind myself all the time that, in terms of storytelling, the environment is a character all its own…so it’s good to move the characters and the camera through it and see as much as you can. What’s helped me recently is producing overhead schematics of my set locations before getting into a scene- just so I’m aware of the space I have available to me. I also like to research my locations which can mean anything from digging through vis dev folders for artwork or googling my heart out to find ways to include interaction between the characters I’m boarding and the world they live in.
As far as making sure compositions are appealing/ readable/ varied from others…something that helps me is to put them all into a thumbnail template and look at them together, on the same page. For me, scaling down to a thumbnail size helps me see which of my silhouettes read well from afar and which can use some clarity. Seeing the shots side by side helps me see where I may need some variation. For example, maybe I have too many medium shots, a weird cut, or could replace a flat shot with something more interesting and dynamic.
So I’ve been getting a nutty amount of emails and asks lately about storyboarding/ art/ school lately and like a dummy I keep responding/ publishing them privately.
If you have any questions you’d like to ask about me, my art, school, storyboarding, my cat, your cat, any cat at all, feel free to drop me an ask! I’ll be around to answer tonight and tomorrow!
PS: Remaining requests coming soon! I’ve got all the sketches, just throwin’ down the color. :)
Sometimes I make really rough dialog notes on the sketched comic pages and plan to write it ‘for real’ after the page is colored… I keep forgetting I actually give away these sketch pages and someone is going to end up with a version of the page where Pilau is just yelling “WE HAVE TO GO FAST”