Date With the Television, 1956 - Illustration by John P. Falter.
Ditch those nerds, imo.
Date With the Television, 1956 - Illustration by John P. Falter.
Ditch those nerds, imo.
voodoochicken asked: What are your top 3 hip-hop albums of the past 3 years?
You don’t want to hear my answer, I’m very much behind on music so everything sounds weird and new and vaguely alien to me.
Three popular rap albums, in no particular order:
"Good Kid, M.A.A.D City" Kendrick Lamar
“Doris” Earl Sweatshirt
“R.A.P. Music” Killer Mike
I don’t give myself much time to explore music; I mostly listen to old material that I have been familiar with for many years.
The cast and crew of ‘12 Years a Slave’ celebrate after winning the Best Picture award onstage during the 86th Annual Academy Awards
zhevickmeister asked: Hey Lesean! I've got a question about storyboards for portfolios. I've had various teachers at school tell me different things but what would you consider the standard of cleanliness for presenting boards? I've seen some of your drawings with construction lines still in them and others sooo clean, they can be used for key animation. What keeps me torn are some of Disney's recent boards for Tangled&Frozen. They're really sketchy.
Thanks for reaching out and that’s great question. Truth be told, there is no one right or wrong way to do storyboards. It all really depends on the production, the needs and standards of any said production. On one hand you have outsourced TV show productions which conventionally dictate that boards have to be extremely tight and on model. Why? Because they don’t handle layout or usually know who the layout artist is (Sad, I know) so it’s needed usually in order to hopefully ensure the most control over picture once it leaves pre production abroad.
Different directors have different skills and access to different resources; for shows that encompass all production in house (pre/main/post) emphasis on boards aren’t really necessary, so long as the jokes, intent and narrative is translated clearly. They rely on layout to REALLy get to the bones of animation (staging, lighting, composition and models—model check cleans up the mess).
Some directors who storyboard cannot help themselves as they are extremely talented draftsmen/women who can visualize their sequences in great detail even though they have an amazing layout/animation team to support them. Take Satoshi Kon (RIP) for example. here are some of his TOKYO GODFATHERS Boards:
And then, there’s Mamoro Oshii, acclaimed director of the classic GHOST IN THE SHELL:
As you can see these would be considered ” primitive” storyboards, however, not everyone has the production vision and accomplished writer/filmmaker experience that Oshii does, or blessed with Layout artist & animation phenom Kazuchika Kise at the helm of their animated project.
Some boards have even less information, but with the help of a strong main production team, it’s not necessary so long as it’s clear enough, image-wise. Here are some even messier storyboards from Gainax’s Evangelion:
Details regarding storyboards and their complexity vary from project to project & dependent on how much control any said director has on their overall final picture of their film or episode. This isn’t including storyboard artists who are also animators and layout artists (rare in American TV Animation production), as that can also have an impact (seeing as they do the subsequential stages of animation production, their storyboards benefit largely from knowing whats needed and whats not needed because they are experienced/knowledgeable about the following stages as well and who will be doing them).
As for me, I was raised on a healthy diet of Katsuhiro Otomo, Satoshi Kon, Yasoumi Umetsu & Hayao Miyazaki story boards and have hoarded their works in my personal collection. Their level of detail is something I’ve learned from as a growing, aspiring comic book illustrator. Since I have had less experience in my career seeing the entire production of projects I direct to finish at every stage, I’ve had to adhere to the conventional standards of TV animation pre production, which is " the more detailed, hopefully the less you have to worry about them getting it wrong overseas."
This “pink elephant” or “blind production” process in standard, subcontracted TV animation production was never something I approved of, but it is such the case in mod TV animation productions in the states (Not so much for me in the last 5 years). Much less so for CGI/2D features and smaller projects as their layout crew are usually in house with them to communicate wth.
As for you, the main concern should be your ability to emote expressions clearly, have a solid grasp of storytelling ability and communicating your ideas clearly. That’s mostly what productions look for regardless of whats compartmentalized production-wise. How detailed your boards should be will be something that matters once you’re hired and plugged into said studios pipeline process.
Good luck! :-)
Anonymous asked: what does NSFW stand for?
Nobody survives fighting Wario
— (via teaberryblue)
From Black Panther to Miles Morales, follow Marvel’s black heroes with DMC, Pete Rock, MF Grimm, Ron Wimberly & Axel Alonso!
I spoke to Andrew Wheeler at Marvel.com about black superheroes. Here are my unabridged answers to the questions:
Q.What did Marvel’s black heroes mean to you growing up?
RW. My earliest experience with Marvel Superheroes came in the form of licensed goods (pajamas, t-shirts, toys); I was a HUGE marvel fan before I even knew what Marvel was. I had the spiderman pajamas, the hulk quarter sleeve baseball T. …but I don’t remember there ever being any products that featured black superheroes when I was a kid (the eighties). By the time I finally was made aware of black marvel heroes, like storm or the black panther (which confused me at the time because he had nothing to do with Huey Newton or Angela Davis), I didn’t identify with them very much. I think it’s maybe because I didn’t know any black people like the characters in the comics; I never saw black people act or look like that. I loved Spiderman and the Hulk. I could identify with them. They reminded me of people I knew, believe it or not- their flaws, their problems, their character. Spiderman was a kid trying to hold down a job and maintain, I liked that about him. Also, they were the stars of the universe, so to speak.
Q. What impact did they have on you as an artist?
Black Marvel Superheroes, if they had any impact on me at all as an artist, they impacted my critical eye. They created in me a skepticism as to the validity of images of black people or culture. I remember when I first saw Bishop– it must’ve been around 1993– I thought, ‘man, this guy looks corny! He’s got a jerry curl, a skin tight leotard and a neckerchief.’ That would not fly in the streets. I mean, you’d have to go back to Grand Master Flash to see the last time that look worked, and really, Grand Master Flash was special! Eventually they made great strides with the look of that character. He got corn rows; he got a fade; he got dreds. I mean, I really liked how strong he was, and I thought his powers were particularly relevant to the black experience.
I never wondered who wrote Good Times, but when I saw Bishop I was immediately skeptical of who created that character.
(checks wikipedia) So wait, he’s aboriginal Australian? I don’t even know now.
Q. Where do you see these characters fitting in to the culture at that time?
In comics culture, I am not sure. I am not too deep in comics culture. I commend writers and artists for attempting to create a marvel universe that reflects the diversity of our actual world. I wonder what their lasting effect was for the readership. I wonder if it helped get more black readers. Personally, I’ve never picked up a superhero comic because of the black characters in it.
I would like to believe that seeing black characters could normalize the image of black people for the readership, but I suppose that has a lot to do with the quality of the writing. For talent, I imagine the addition of black characters created, for a time, an editorial incentive to reach out to black creators. I remember there being a lot more black writers for a time. Honestly, I don’t have the data on this so it’s all speculative on my end.
In black culture, growing up, I’d never heard of any black marvel characters. Again, I’d heard of the Hulk, Spider-man, The Human Torch. Hulk had a TV show, Spider-man had all sorts of shows and video games, but I don’t remember black characters being represented much, that is, until the X-men Cartoon, the Capcom game and the Blade movies.
As an adult, I met many black people who loved these characters, but for me, growing up, I’d never heard of them.
…I think that the black characters came off as a little “off brand” to many black kids I knew. And for me and the kids I knew, for better or worse, “off brand” was the worst thing you could possibly be. It’s kind of like how black capitalism played out against integration. You’ve added black characters to the universe, but now those black characters, come off a little “off brand”. Are they treated with the same care as the white characters. Like, you couldn’t afford the J’s so you got… I don’t even know what you’d get. See what I’m saying? In fact this extends to identity which may speak to how some audiences may perceive the authenticity of the identity of the characters.
Q. What legacy have those characters had on our culture today?
Marvel has, with it’s black characters and it’s unassailable cultural impact, an opportunity to shape the pop cultural narrative not only in the panels but in the credits. The presentation of these characters has inspired young minds to question these representations. They want to play with the Marvel toys.
Blade paved the way for the Marvel Film Universe. Blade, in a replay of cinema history, ushered in a new age of super-hero cinema. Blade was perfect for marvel and the superhero genre in general, his film could be marketed as a vampire film; he was both not recognizable to the general audience as part of the marvel cannon and recognizable to the core fans. Blade was a missing link that forwent the problems of depicting costumed heroes; he was plane clothed (kinda, the black male body, in mass media, is super and eroticized on it’s own… it’s own superhero costume). Without Blade, there’d be no Guardians of the Galaxy.
Q. Who is your favourite black Marvel super hero, and why?
Hands down, Blade. I like the idea of Black Panther and Wakanda, but Blade… the idea of Blade speaks to my personal experience, regardless of his blackness but also because of his blackness. Blade could be a white superhero, but being black, conceptually adds another dimension to his character. Blade has to deal with family dysfunction; the curbing of his own power/privilege while suffering from prejudice from others with privilege; his own internalized racism, self loathing; Blade deals with cultural bi-polarism; Blade has to deal with economic and temporal class rifts! My personal experience resonates with this, haha, and even if I don’t always see it in the Blade comics or in the films, what have you, the idea of the character speaks to me and my imagination.