grizandnorm:

Tuesday Tips SUPER WEEK - More Acting Less AnatomyI’ve received a few message asking me how to draw simple generic characters (male, female) for story boarding, and what to do when there’s no character design. I will go over all that stuff, but I need to emphasize something first. I used to be obsessed with muscles and specific anatomy when I was drawing anything. Thanks to 90s superhero comic books and raging hormones, it kept me from embracing the storytelling aspect of sketching. Even later on in art school, I would spend WAY took much time on getting that perfect line quality. Animation Storyboarding squashed most of those inclinations out of me, and that’s good. I need to confess that I almost caved in and “cleaned up” the drawings on this page. This is how I draw when do a “first pass” or just trying to find ideas. That way, I don’t lose the energy or feel of my first instinct when approaching a sequence. Here’s something you’ll hear many times if you hang around story people: “It’s not about pretty drawings.” I agree and disagree to a certain extent, but the sentiment is right. It’s about telling a story and not letting other things (like lines, musculature, clothing, etc.) get in the way of doing so clearly.Once again, message me if you have requests for the next installments.Norm
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Why Batman can be anything but Superman can’t be dark Honestly, as much as I love other superhero flicks (Avengers, Spider-Man 2, Kick-Ass, etc.), any movie with Batman in it is the best. Any of them. Pick any one of them right now and it’s the best. There’s just something about that world. It can be ’60s satire or a gothic painting or a German expressionist film or a bunch of gay dudes on ice skates, or a three-act Chicago crime drama. It doesn’t matter. It’s all the perfect encapsulation of Batman. It’s like how Dr. Manhattan views time, as a multi-faceted jewel that humans are only able to see one facet of at a time, that’s how I see Batman. All the stories are true, they’re all canon to me. And it’s weird because I don’t feel that applies to Spider-Man or even Superman. The new Superman movie was a revamp of the character and totally missed the point of who that character is. They made him deeply flawed and tragic, but that isn’t who he is. He’s a reaction to growing up nerdy and powerless and fatherless in a time of Great Depression and war. He cuts through the bullshit and fixes the world’s problems. That’s it. That’s his job. You can’t load that character up with guilt and angst, and all the other shit that Superman doesn’t have time for, and pat yourself on the back and call it a movie. All you did was create another guy, a douche-y, whiny guy, and give him Superman’s S. Some would say making a Batman movie that is too light and silly would be doing the same thing, but it isn’t. Because at the heart of the character, Batman is a little boy in a costume. Whatever world the little boy wants to be in when he puts the costume on is up to him. What matters is that as long as he puts the mask on, he can’t be afraid of the world. The mask is scarier than anything that’s on the other side of it.

Why Batman can be anything but Superman can’t be dark

Honestly, as much as I love other superhero flicks (Avengers, Spider-Man 2, Kick-Ass, etc.), any movie with Batman in it is the best. Any of them. Pick any one of them right now and it’s the best. There’s just something about that world.

It can be ’60s satire or a gothic painting or a German expressionist film or a bunch of gay dudes on ice skates, or a three-act Chicago crime drama. It doesn’t matter. It’s all the perfect encapsulation of Batman. It’s like how Dr. Manhattan views time, as a multi-faceted jewel that humans are only able to see one facet of at a time, that’s how I see Batman. All the stories are true, they’re all canon to me.

And it’s weird because I don’t feel that applies to Spider-Man or even Superman. The new Superman movie was a revamp of the character and totally missed the point of who that character is. They made him deeply flawed and tragic, but that isn’t who he is.

He’s a reaction to growing up nerdy and powerless and fatherless in a time of Great Depression and war. He cuts through the bullshit and fixes the world’s problems. That’s it. That’s his job. You can’t load that character up with guilt and angst, and all the other shit that Superman doesn’t have time for, and pat yourself on the back and call it a movie. All you did was create another guy, a douche-y, whiny guy, and give him Superman’s S.
Some would say making a Batman movie that is too light and silly would be doing the same thing, but it isn’t. Because at the heart of the character, Batman is a little boy in a costume. Whatever world the little boy wants to be in when he puts the costume on is up to him. What matters is that as long as he puts the mask on, he can’t be afraid of the world. The mask is scarier than anything that’s on the other side of it.
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St. Vincent. (Phone wound up rotating the pic automatically for some reason, but I kinda like it.)
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mattsheean:

This is more of my work performed in indentured servitude to Simon Roy. I kid, I kid. I’ve been trying to work on my pen style. It’s actually been a while since I’ve hatched a hatch, and a few weeks since I worked on this mother. I like it better now, but I’m particular. I like to get in a groove where I’m feelin’ all the lines I’m putting down, just feelin’ that nib digging into the paper in just the right way. Anyways, here’s this.
This particular scene won’t be in the finished comic, but I liked doodling on it in my own time, changing the progression and adding/taking away visual information.
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(via Spooky Action At A Distance 2: Pretty Deadly and Sex Criminals)

The second episode of my ultra-awesome comic book podcast, in which I review Pretty Deadly and Sex Criminals. GET INTO IT!
More gratuitous ‘gramming.