@ all of u please channel your collective prayers towards me getting the production internship on Steven Universe in The Summer of 2017, it would be the best thing to ever happen to me and absolute peak meme, send up a prayer. I’d get to sit in on the voice record sessions and chill w the cast and crew and storyboard pitches and mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmnmmmnmmm please pray tbh

Miraculous Ladybug: Episode 25 Origins 


I got the chance to do most of the character animation on this spot for Lyft with Buck and work with a lot of super talented buddies. :) big props to Kendra for bringing it all together.

**in addition to the characters, I did the bg road into garden morph animation and bg swirly bg animation in these gifs :)

Directed by: Buck
Executive Creative Director: Ryan Honey
Executive Producer: Maurie Enochson
Creative Director: Joe Mullen
Producers: Nick Carmen, Billy Mack
Production Coordinators: Solana Braun, Kaitlyn Mahoney
Art Director: Kendra Ryan
Animation Director: Kendra Ryan
Lead Designers: Vincent Tsui, Xoana Herrera
Storyboards: Kendra Ryan, Vincent Tsui, Lucas Durkheim, Junyi Xiao
Design: Vincent Tsui, Audrey Lee, Xoana Herrera, Debora Cruchon, Amelia Giller, Ken Gun Lee, Jigyu Yoon, Kendra Ryan, Junyi Xiao, Yuki Yamada
Cel Animation: Nicole Stafford, Song Kim, Kendra Ryan, Abby Magno, Vincent Tsui, Debora Cruchon, Amelia Giller, Jigyu Yoon, Aemilia Widodo
AE Animation: Evan Viera, Daniel Coutinho, Kendra Ryan

so much of professional artwork can be boiled down to ‘Draw it again’

animation, storyboarding, illustration, comics, ALL Of it requires you to draw the same shit over and over and over again

and I don’t just mean ‘draw this character a bunch of times in order to tell their story’. I mean thumbnails, layout, pencils, inks–the incremental step-by-step to create the best version of your product possible. You draw your characters as stick figures, then you draw them again with more detail, then you draw them again and add crosshatching or shadows or whatever, and then you draw them AGAIN and focus on line weight and texture and fucking fuck fuck

you know what doesn’t play well with all this fucking work required to do your shit?

ADD and depression and anxiety

those mmmotherfuckers take one look at the fucking truckload of effort needed to complete a professional project and they just start spinning out of fucking control

its fucking frustrating as all hell because I love to draw, I love to tell stories and I want, more than anything in this world, to draw for a living. But man, most days? I can’t with all this. I can’t draw the thing a billion times. It’s amazing when I manage to draw it ONCE. It’s one and done with me, it always has been, and that’s NOT HELPFUL. That’s not good enough. 

and maybe with the right medication that’ll change. Maybe if my depression stops stealing my energy and my attention span lengthens and my anxiety gets manageable I’ll start building up the mental muscles needed to knuckle down and draw again and again and again, consistently, so I can be someone worth employing to draw cool shit

but I’ll be honest with you, most days, like today, I worry its not something that can be chemically balanced and I’m just too fucking lazy to make it as anything more than a decent fanartist living in their parent’s basement 


The WORLD PREMIERE of Albert, Nick’s first original animated TV movie, is tomorrow night at 7pm! 

In the meantime, feast your eyes on this action-packed animatic showing Albert and Maisie’s run in with some feisty cacti. 


A YEAR IN REVIEW: 2016 (blighted, cursed)

  • friendship ended with JJBA, now SUPERPOSE my best friend.
  • played around again with film/storyboard format, ended up living in it. streamlined techniques, simplifying, tightening, loosening as needed. extreme focus on atmospheric colour by way of more educated lighting.
  • produced! four?! books! (well, five i guess)
  • anime boston, animenext, otakon (with help from amazing friends.)
  • participated in various projects (anthologies/zines/gallery shows) and on track to do more.

Summary: PRETTY GOOD? INTO IT.  everything outside of art this year has been hard, and i’m so grateful for my circles of friends and my ripshit amazing partner @hannahconnollyart for the environment of support and enthusiasm 💖

READ SUPERPOSE: Intro BOOK / PDF | patreon! | insp/ask blog | my taghannah’s tag | ost

anonymous asked:

do you use references for your art or is it all from imagination?

oh theres fucking definitely references for clothing/guns/settings for sure. tho probably not in the way you think. lol like im gunna be sittin there eyeballin’ where certain buildings are and the GPS coordinates of how they relate to each other in a made-up city of ludendorff :-P LOL. its much like painting from real life though, use certain images for references for how lighting hits shit, use other niche ref photos for how made-up guns from GTA look, for example. like a… digital plein air. you gotta use shit to stay true, but then mentally lump all that knowledge together under your own version of a story, and voila. set your scene, insert characters, mentally storyboard where they’re gunna be within the “shot”, how they portray shit, then you’re good. esp when you try and be ””cinematic”” about art, you gotta be precise with framing, how postures and poses tell a story, etc. 

anyway this is probably very longwinded for what you meant, but hopefully that helps! please god dont ever be afraid to use refs. jeez, yeah, have it open on a new monitor and cross ref for cloth folds, cross ref for hotel signs and technical details. (example: how light hits dull metal or whatever) just use your mind to tell your own story with the organic stuff. if that makes sense lol so… build a visual library, cross reference that shit to amalgamate your final ‘scene’ i guess. at least thats how i do it (or have been, lately. oh god lord knows ive been trying)


Baby’s first attempt at storyboarding lmao…

A combined total of 16 hours sleep since Monday morning, two rock concerts, a day out with one of my best friends, an emergency storyboarding job, and 530 miles worth of driving between four completely different areas of the UK. All while operating on caffeine and junk food. Not something I feel I could do often, but it was awesome and I am strangely pleased with myself.
(yes I do actually own that Mettaton mug, purchased from these lovely people at the coincidentally named Insomnia 58: )

Aaahh I can’t wait to be done with the last update of chapter 1 but it’s not ready yet, so I’ll post something else related to the comic.

From the storyboards of page 2 of chapter 1. I’d drawn the three panels on layers one on top of the other to ensure that the motions would make sense, and then when I quickly turned the layers on and off I realized that, even in three frames, it animates pretty well.

Forever pushed by the wind.


So! that game i kept mentioning? The one i tagged as #The First Day ?
Well.. it was quite the ride! 

From sketches that were concept? to more concept.. We good not one, or two but three batches of drawings!

These are obviously not all, with all of the drawings with minor movement changes there’s over 90! Just thought i’d show a fair amounth around!

Thank you for the luck! ♥ 
More info under the cut!

Keep reading

digamma-f-wau  asked:

Who's your favorite board partner of Tom Herpich: Ako Castera, Bert Youn, Skyler Page, or Steve Wolfhard? Who's your favorite board partner for Xayaphone: Kent Osborne, Youn, Page, Luke Pearson, or Seo Kim?

Not gonna give an elaborate answer, but I think Tom works well with anyone due to him being Tom but I like his episodes with Steve the most. 

I don’t know what to think about Somvilay but I think other storyboarders than Seo balanced his tone more (but I enjoyed their s7 episodes)


Just in time for Halloween, the Becky Prim pilot!