By way of channeling my addiction, I’ve decided to plan some character Head-shot pinups for Marvel vs. Capcom 3. I’m taking inspiration from various elements, but the goal in mind is to convey the characters as bigger-than-life, battle torn, and more importantly, dramatic. At this stage they’re just thumb sketches, but it’s important to get an aesthetic and mood early in development– this makes executing each individual piece more efficiently.
Last month I had a brief but rigorous encounter with film production. Initially I was brought on a short film project as a storyboard artist, but as things evolved, I found myself sitting in the director’s seat. It was a warping experience. The translation of script and pre-production imagery to actually capturing it on film is a heavy process (to say the least). The beginning storyboards were based off an early draft of the script, but inevitably some elements changed and the end result turned out very different. But I compiled them anyways and uploaded the intro sequence via Youtube. Check it here:
“Come inside. Have a spot of tea and meet the missus.”
There is an element in illustration that is taken for granted when it comes to professional art, and that is the ability to perceptually render characters in their allotted space, accurately. Whether it’s an isometric view of a room, or a tight-shot on a character from the chest-up, one must possess the ability to separate the background at an appropriate distance– all done by using your own eyes to perceive this depth on a two dimensional page.
These storyboard sketches are from frame grabs that I pulled in sequence from a specific scene. Each frame is approximately 3” X 2” (thumbnails) and I scroll through each one and spend about five minutes sketching out the main elements that make up the image. This exercise is an effective way to feel the depth and distancing from background to foreground using your eyes and not having to rely too heavily on perspective plotting and rulers. Let’s face it, not every shot (especially tight-shots or over-the-shoulders) are going to be measurable on the page with perspective points. But it’s important that drawing from the photo is approached three-dimensionally, so that you translate the spatial elements the same way if you had created the image straight from your head. For example, do not get caught up in measuring the distance from the top of a head to the top of the panel frame.
Scene referencing from the 2007 film ‘Funny Games’, directed by Michael Haneke.
DARK PHOENIX COVER - COLORED
Finally got around to finishing up the color work on this cover idea. Things were progressing on a timely schedule until the background came into play–then I practically hit a wall. It wasn’t so much a technical problem, I just started to loose faith in my original composition, so I began to mess with different versions of how to end the piece. Ironically, I came back to my original concept, which I think worked out OK in the end.
I’m also happy with how close the final illustration is to the original pencil work. Although I had photo referenced models (thank you Steph & Matt!) I used the photos to basically superimpose the lighting scheme to my own faces and figures. I hope the piece has more of a traditional comic book look, rather than an ultra-realistic one.
Thanks again to my Philly cats for being such great models!
-Inspired by John Byrne & Chris Claremont’s “Dark Phoenix Saga” run, 1980.
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FINAL REVEAL
Original script written by Chris Claremont, 1984.
DARK PHOENIX COVER - PENCILED
Reminder to myself: please color over the next couple of days. Thank you, sir.
-Inspired by John Byrne & Chris Claremont’s “Dark Phoenix Saga” run, 1980.
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The ninja has reached the front car of the Shinkansen, and is apparently cornered. Both rivals prepare for a final standoff…
Click image for bigness…
Original script written by Chris Claremont, 1984.
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Wolverine pursues his anonymous assassin on foot which leads him to a train station just three miles south of Tokyo, during peak commuter hours.
Click on image to read more…
Original script written by Chris Claremont, 1984.
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