No.1071731 [View All]
Post your shit, get advice, talk about and possibly improve your own shitty OC creations. You gain nothing from posting here or you'll get a couple decent ideas, who knows but nothing will happen unless you're willing to leave your comfort zone.
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No.1072804
>>1072796
I just haven't seen you around /co/ very much.
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No.1072880
>>1072804
It's not my usual stomping grounds.
Not really working on anything though, but here's some slightly related images that have been made recently.
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No.1072881
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No.1072922
Hey guys so I got greenlit by my professor this year for turning my cop lady designs and concepts from previous year into proper comic with additional follow up illustrations. If you're up for it, I can periodically post my comic designs, wips, sketches, character and environment art and pretty much everything else here while it happens.
Currently making new designs based on previous experience and merging some Enforcer uniform design aspects so all Enforcers would look like they're from the same department.
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No.1072930
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No.1072934
>>1072930
As in give approval to further develop the thing. Since the previous year's work was just clothing, vehicle and environment designs, this year we have to do a proper comic with supplementary illustrations based on our own free choice. I pitched with my previous work and professor let me use the stuff for the new assignment.
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No.1072962
>>1072934
Do you really need to go to school for this?
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No.1072966
>>1072962
Depends. I'm a big supporter of art institutions. It's not about the degree, it's the quality of the learning experience. Unlike mutts, we in Europe don't waste thousands of dollars on education. European art academies, especially the older ones, are much more versatile and broaden your skills and have strong fundamentals backed up by proper art theory.
>The curriculum and programs are public
>The institutions and departments are open to visitors with special weeks being fully open to anyone interested to participate in regular studies like they are students
>Your would-be professors are open for dialogue/discussion before you try to enroll
>Academies have exhibition of their student's works, so it's easy to get a good grasp if it's worth it by how good the works of final year students are
>You can also track down some former students to get a direct advice on the academy in question
With all of these options, you can easily judge if a certain institution is for you and a good choice of education.
I personally think that you or your parents would be huge fucking retards not to access all these option and get informed before you decide if it's worth it. Some are good, some are bad and it's up to you to find out which one is worth the cost of your money and, more importantly, time.
Your alternative would be to enroll in a certain private art course, school or workshop. That option is popular in the US for obvious monetary reasons but here in Europe, they are mostly reserved for amateurs and hobby artists who want to upgrade their basic skill into something more intermediate. It really depends where you are in the world and how close to you are good, cheap institutions. In my experience, it was definitely worth it.
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No.1072973
>>1072966
>tfw the best option for learning art in America is at the community college level
I got crazy good over the course of just a few years. A revisit of basic drawing fundamentals and 3 life drawing classes and I'm on par with '80s illustrators
now if only my pen technique was better
probably helps that my life drawing teacher has been working in animation since the '80s. She got her start doing effects on Dragon's Lair
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No.1072978
>>1072973
>my life drawing teacher has been working in animation since the '80s
Nice. One of the first protips i give to my students is - when figuring out if the academy/art college is good is to check whether the professors working in there have been doing work in the area they are teaching. It's surprising how many bad schools or classes you can bust just by googling the professor's name or with simple question such as "Sooo…do you have any sold/published work in this field?"
Also 95% of awards and competitions don't count and definitely not today. Your local "small-town comic con's BEST ARTIST IN TOWN EVER" award and 27 of those in similar language don't say jack shit if you're a good artist. It might've been useful back in the '80 and '90 when a list of awards could've got you a good gig but now, people will just google down your portfolio and see if you're full of shit or not.
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No.1072985
>>1072922
Not bad, not bad at all.
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No.1073335
If anyone wants this/wants to add color to it now's the time because I'm deleting it afterwards.
Ttfn, tatafornow.
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No.1073336
>>1073335
Deleting posts is broken, its stuck there.
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No.1073337
>>1073336
I know, I meant from my computer.
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No.1073338
>>1073337
Why? Its a good drawing.
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No.1073385
>>1073338
Thanks, but it holds too many memories (I draw Lincoln once a year for personal reasons, so I really should've waited or something).
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No.1073399
>>1073335
I won't never let that disgusting incestous creep to stay near to my daughter.
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No.1073417
Update: I've been making a world map so it can help me plan events happening in the comic.
>>1073337
Never destroy your own work unless it's designed by concept of self-destruction. Never, no matter how bad you feel about it.
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No.1073428
>>1073417
K thanks.
These look fairly good.
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No.1073480
More car designs and some paramedics
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No.1073517
>>1073417
That maps really impressive. How much detail do you go into when planning out a world like this?
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No.1073525
>>1073517
Depends on what you mean. By world you mean like visual concepts and physical parts of the world (the big wall, different zones, areas around g0, space shipyard) or do you mean some more complex things like local cultures, social quirks and habits?
My usual process is to make a basic layout, just to figure out where exactly would the story take place then when I narrow it down, I can go into high detail. Compartmentalization is one of the best trick in writing/developing a story, because you can isolate certain chunks of the world and not be forced to think of the whole (for example, the whole thing happening in one walled in ghetto) but focus on stuff related to the story. Skillful hiding of details is as important as revealing.
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No.1073562
>>1073525
That's pretty good advice. I was thinking of cultures and things like that but that compartmentalization seems pretty helpful.
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No.1073592
>>1073480
>>1073525
Not bad, got any more art?
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No.1073687
>>1073417
>unless it's designed by concept of self-destruction.
what the heck does that suppose to mean?
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No.1073755
>>1073562
As for cultural quirks, I focused on visual ones, ones that you could actually see people doing it in the comic. The first step I had is to settle for the amount of augments people would have in their body, since I'm doing a scifi/cyberpunk thing and decided that augmented people are very rare and it's not a very regular/popular thing, especially doing it for looks.
Once I figured that out, I've came up with some additional specific visual quirks like the question "Where is Home?" - Which should be a common knowledge for a person to point at the sky (or ground in some cases) and show pretty accurately in which direction Earth is in any time of the day or night and in any situation. Not knowing "where home is" is considered to be a sign of a lack of basic education and/or orientation and can be even used as an insult like "This dumbass probably wouldn't even know how to point home". I'm designing cultural quirks as tools to set up character interaction.
>>1073592
Yup. Right now developing rough panels and various scenes
>>1073687
pic 4 related - Sometimes sending a message has more value than the artwork itself. For example Banksy wanted to send a message of galleries earning much more money from artworks than what artists made so in a way to give a huge finger to galleries, once the painting was sold at an auction, it self destroyed.
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No.1073905
>>1073755
Hey, would you mind if I uploaded your concept art onto the booru?
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No.1074021
>>1073905
Yeah why not I guess..
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No.1074103
Here's a shitty comic I was going to post on an art thread in another site before said thread got taken down. Enjoy, or not. I don't care anymore.
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No.1074104
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No.1074105
>>1074103
It's readable and that's good.
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No.1074111
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No.1074207
Well, I'm back. This time with a horribly off-model sketch of my OC Opening. He's supposed to be 5'7"
I had hoped to make more progress with my art but then I got swamped with pandemic stuff. Maybe June will be better?
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No.1074208
>>1074207
How much do you draw daily?
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No.1074213
Um, here’s this idea that I want to turn into an animated thing. I’m thinking of crowdfunding it and then releasing at my own pace on Patreon. Maybe one episode a month.
https://docs.google.com/document/d/1-Z0jPv8O3rVM_0JTUUrnL3o1x2ELW93FM_Wws1JETgc
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No.1074215
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No.1074216
>>1074215
Promise you won’t edit it? Thanks.
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No.1074217
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No.1074220
>>1074213
If you're going to crowdfund this thing be prepared to have a preview or something to give people and idea what your project will be. I've seen too many times kickstarter projects with lofty ideas so you need some solid stuff to sell it. Anyway in all seriousness I hope your project succeeds dude.
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No.1074222
>>1074216
>>1074217
This is some heavy autism…Is this bait? Fuck it…I'll bite.
My main critique on all of this is that you're scattering the setting too wide. From a writing perspective you're forcing way too much different stuff together. Just looking at what influences the whole thing is a collection of elements so vastly different. What exactly are you going for? Comedy? Horror? Drama? You listed teen-adult as your core audience but are referencing some deeper, more serious dystopian world setting. Do you have a written plot for each episode? Is there a character development throughout 18 episodes? An overarching story?
As an artist, this would be hell to design and animate unless you want an ADD show like "Super robot monkey team hyperforce go!" which tries to be many things at once or something short like "Space patrol Luluco". Imagine you had a team under you and you gave them these instructions - high chance they wouldn't even know where to begin. You might think that you're giving them options by painting with a wide brush but you actually have to find and check very specialized artists. Artists that have a very specific style and if your concept or style in mind is not specific, you'll have trouble finding proper talent and end up having to hire shit jack-of-all trade dudes. You have to think about this visually. Fantasy magic, interdimensional planes, demons, mechs, space and robots might sound cool to you in written world but putting all that together visually rarely works.
In general you focused on adding in too much stuff instead of reducing and simplifying it to benefit the message. Start with the main plot and then filter the assets and the world to make it's delivery most efficient.
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No.1074223
>>1074222
It’s just a proof of concept. I already know how I want the show to look and what kind of aesthetic I want it to have. Also, it’s going to be a VERY small production (only around 30 people), and animated by a team of six to eight people. Plus awhile back I made another doc that pretty much addresses all of the issues (plot, etc) you pointed out. I keep it a mystery, though, because I don’t really care if people know all of details about the show. Like I said, the doc I posted here is just a collection of “what ifs?” that don’t entirely reflect what the series is about.
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No.1074224
>>1074220
I’m going to pull my own team together to make some concept art and other shit. No need to worry about the plot because it’ll will already be fully written out. I have no interest in partnering with a major studio to make this because fuck that, they will try to alter my story. It’s supposed to be up for interpretation and I don’t want someone to fuck with my story.
I’m going to reach out to a independent producer to help me make ONE episode, which is the pilot. It’ll be like a mini movie to help introduce you to the world and characters. After that, I’ll make the rest of the series on my own. I’m hoping that the Kickstarter will help boost interest in the show and garner some kind of fanbase so people at least have some reason to fund it.
The rest of the series will be released on Patreon because fuck putting all that work in and getting nothing out of it. Also I can release the episodes at my own pace.
It won’t be on Youtube because hate YT’s algorithm. :)
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No.1074225
>>1074222
Also, most of my team will be working through a shared but private Discord. If it’s possible, I’ll try to do the recording sessions via the help of Craig.
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No.1074238
>>1074224
Ok then as long as you have this well planned out then I got no complaints.
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No.1074240
>>1074224
>>1074223
So you're here as a writer and organizer, not as an artist? Also do you have any experience in making animated shorts or series?
>>1074225
You're not willing to form a studio? That is a very, very bold move
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No.1074243
>>1074240
> You're not willing to form a studio? That is a very, very bold move
I don’t need to studio because it’s a waste of time. We already got the tech to help pay me directly, release it at my own pace, and communicate with those who I want to work on it.
>So you're here as a writer and organizer, not as an artist? Also do you have any experience in making animated shorts or series?
Nope. I’m a first timer. Like I said, this is an INDEPENDENT work done mostly by me. Just as a way to sort of break into storytelling. It’s something I made a long time ago, and this is just the way I prefer to tell it. I don’t guarantee one of the best stories ever, or a completely original plot, but it’s something I WANT to tell. It’s not meant to be perfect.
So you can at least some parts of it to be enjoyable. Whether it’s the Mad Max world where people with crazy ass powers run around, the personalities of the characters, or the music, I don’t really care. I just want it to be badass as hell.
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No.1074244
>>1074240
Also if I decide to continue making more films/stories, I hope that over time, themes from my first project will be apparent in my later work.
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No.1074265
>>1074243
>>1074244
That is terminally ambitious for a first time director.
I suggest you start with very short stuff. Do 5 minute or less shorts. Even a 10 minute pilot is too much in most cases.
>studio is a waste of time
Forming a studio is a complete opposite than waste of time. There are huge amount of work efficiency benefits coming from bunching up in a studio, even if it's temporary for short projects. In my experience, even quasi-studio with 5 dudes in a garage can double the speed of animation stuff done, especially if you want to supervise/art director on everything. You could save months per project, maybe even weeks per episode
>If I decide to continue making more films/stories, I hope that over time, themes from my first project will be apparent in my later work.
In theory it's a good plan, but in practice, you rarely use your previous stuff in later works, because your previous and especially your first material is usually complete garbage by the time you accumulate experience.
Do you have a working pipeline?
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No.1074276
>>1074265
>In theory it's a good plan, but in practice, you rarely use your previous stuff in later works, because your previous and especially your first material is usually complete garbage by the time you accumulate experience.
I write from my heart. I have many ideas for short films/short series that I want to tell, because there’s some things I want to get off my chest. That’s what I want my work to be defined by: releasing painful emotional experiences.
>Forming a studio is a complete opposite than waste of time. There are huge amount of work efficiency benefits coming from bunching up in a studio, even if it's temporary for short projects.
No. This project is going to be made without a studio. Period.
>Do you have a working pipeline?
Pay a few freelancers to make the rough scenes, pay the others patch it up. Etc.
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No.1074354
Been working on a shitty webcomic for awhile
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