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THE BABY GETS IT!!! thats the coro I remember!! NIGHTMARE ON HATE STREET!!
That set piece reminds me of a game I used to play on the sega mega-cd, i forget the name of it... but it was a car chase game and all you could do was press left and right at the right time to control where the car went in set pieces... retarded game play, but the action was awesome... and there was a lot of driving on narrow footpaths
You know how in illustration, how we are always attempting to break new ground or be visually innovative - how come storyboarding and shot design seems to more often than not follow the norm? You get the occasional 'cool angle', but you seem to see the same patterns of cuts in similar situations (like the cut from the interior to the womans face)... do you think there are more 'rules' in boarding that can be safely followed?
Looking forward to your small, rough pieces. Er... you know what i mean.
You know we all love you .
Everything rocks here, specially that Napoleonic dude with a rake.
Awesome stuff man! The medusa/ napoleon monkey piece and the storyboard are fucking excellent!
I remember you putting up some ink brush figure drawings a while back, was wondering if you had anymore like them, or if you are working on anything currently with brush and ink?
Cheers for sharing
killer stuff man. Makes me very concious of how much I need to work up my speed painting "skills" <---thats complete lack of. I'm really digging the new direction your going with the bum series. The lines are so fresh and so clean! clean!
sweet visuals man, the storyboards are so raw and beautiful
thanks for the tips too, I realllly appreaciate it
http://conceptart.org/forums/attachm...1&d=1195866356 this is dope man
reminds me of the illo you did with the hobo and the flying midget guy in the top hat and the alien
your imagination is crazy!
awesome awesome awesome. I almost puked lookin at that car motion blur panel, where its about to hit the people. I dont know why though. your sb rules dude
'If you don't make mistakes, you're not working on hard enough problems.And that's a big mistake.'
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What a cruel ending for a storyboard! What is happening next??? You can't leave us hanging like this...
I must say that I have follow your threads since a long time, I'm not half the artist that you are, and I pretty much love your work... but that story board I didn't. I feel that the complete narrative arch is not working, there are several things, for example, you presented the conflict before the characters. This sequences should follow the same way in structure than complete stories. First, you point out where you are (I would use more shots to describe the place), then you present the main characters (even if they are characters only for this scene), then the conflict (the red car and the police). This is the guy, this happens to the guy, if something happens to A guy, and then we discover who he is, the conflict gets weak.
I also thing that there are two consecutive shots that look to much alike, yes, you twisted the camera and gain a dynamic diagonal, but I think is still not enough, you're in danger of a jump-cut. Yes, it looks great here in the paper, but as following shots not perfect (and if so, why even bothering planning the scene).
The colors are great, but will the DP follow them as a guide? (they never do) Probably the way the planes match together should be more important than using color.
I think that in the US they have a lot of money, and they could make a scene with all these production and still not plan it carefully, but please for the people that can't, and probably will watch your movie (because there's nothing better on the tube), please please work it a little more.
*I know that this is just an exercise, but this is pretty much what I would have told you if not. I'm sorry that after all this time wanting to tell you how much I loved your ci-fi backgrounds and I didn't.
Anyway, I'm sure that this way could work fine, but it could be way more better... or that's just my feeling. After all, you're a pro, if you don't give your best, then you're responsable in part for the crappy movies they're making.
PS: I'm a big fan though.
Last edited by lennon; November 26th, 2007 at 03:59 PM.
Wow very good, but the only problem is that there too many people and not enough art.
Well, suppose it's the curse of the biggest artist.
pretty nice stuff u got here, man. congrats! keep it up!
coro you suck balls!
haha just kidding, just i bet no one has ever
said that to you with regards to the work you post here.
lol anyways yeah man ur killling it absolutely, some of the
best storyboards ive ever seen man, congratulations, I just
hope one day to be able to communicate as effectively
with my ideas as you do with yours.
woah, great to see you havin a new sketchbook in here again! Your stuff just kicksass, don't think that there is more to say for me right now, just give us moore
All words what i can say is: wow, great or such another "wow-words". You have really great sense of color and light, but i sure you know it .
Unfortunately you post your works here not often :/
Last edited by Leo Snow; November 29th, 2007 at 10:03 AM.
Always so Talented, always!
living like cartoon ,money like water!
Ya Coro dvd! I am going to rub it all over my body. Or not, since it won't exist in physical space. I'll substitute my monitor.
I really dig that "crazy bum medusa napoleon monkey with a rake" piece. Just dope all around, colors lines, monkeys with rakes. Dope. Those storyboards are super tight! Those colors are friggin' rad as all hell! I really like the fact that you left the perspective guides in a couple of the shots. Again, colors, handeling... all rad. Question though. What size are you working at when you do these?
Fantastic storyboard - the directions of movement have either been extremely well considered or you're just a bloody natural. Same goes for the lighting - when I squint, these are getting pretty damn close to the real deal, specially for a storyboard. The hobo piece is even better - I get this whole eerie feeling about the father-figure trying to point him away from the rest of the gang. Very cool and well-executed all round.
What I meant by experimentation - I think both technically and in terms of subject matter. You are one of the few guys who always manages to keep all your pics interesting, no matter how ordinary and straight-forward they are. I think you're pretty adept at having your hands in all kinds of cookie jars and to me it's always cool to see an artist challenge himself and do something unexpected. So seeing you take a stab at different stuff would be cool - you're one of the few who can get away with doing something totally different.
But anycase, just a thought of mine . Damn cool book, looking forward to more.
Yo doood... i was looking at the transvestite chick and was wandering what size the paper was that you used. Thats just madness if you used a dinky 8 x 11 with as much little subtle stuffs you got going on in there... that piece is the shit btw
you owned on that storyboard Dood!
hey all! i been mia for a coupla weeks here. just been caught up with work stuff and feeling the burn of coming to a close on a really busy year. its like, only a couple weeks and we are off on vacation, and believe me, i cant fucking wait. i will maybe get a chance to work on something ambitious for a change...or maybe ill just lay aroiund and recharge. i havent figured it out yet...
nobody_knows: haha you are too nice. im tryin sugar always so far to go though :/
InvertedChalupa: good eye mike. i drew it on a 14x17 piece of vellum. i dont think i filled the whole page, but they are larger than 8.5x11. thanks alot man im glad you like it. i had a lot of fun on it. i love tryin to give em personalities and make them relatable to some degree....
Brendan N:thanks man. i really love doin dem shits haha. i dont know what id want to do if i were to try something completely different, definitely reises some interesting questions....
Chromosome: thanks brudda! i enjoyed drawing that one...always wanted to draw a napoleon monkey with a rake lol...yeah i keep the perspective grids on the boards alot when im doing architectural stuff. helps fake the details, and keeps my sloppy hand from straying too far haha. i typically work them about 1920x1080 pixels, give or take the ratio. i work them at about the size they would appear on an hd tv screen. that way they are big enough to see but not rediculous huge...
Atlantis: lol yeah i got a bunch on the way..been recording my ass off. hopefully peeps will dig them. i look forward to sharing all this crap i have learned on the job over the years
Skeiff: haha thanks man. actually i usually get to work jumping rooftop to rooftop
banhatin: haha you are too kind. im not talented, i just been doing this stuff for a while now. im just a lucky idiot with a lot of flashy tricks
Leo Snow: hey leo thanks so much! that means a lot coming from you. im tryin haha...i wish i could post more often, but these days im so tied up with work i get very little time to actually work on my own shit. ahh the joys of production art!!!
Gloominati: haha thanks man. ill try to keep updating mroe often...thanks for stopping by!
Barts: thanks so much dude. i do suck! glad u liek the boards. sequentials are the best test i think. gotta learn to draw everything...great practice. thanks for lookin
Alien Ape Star: thanks man. likewise
spookybabydoll: haha im tryin im tryin!! thanks man. im hardly a big artist. just a guy who draws silly stuff for a living.
lennon: thanks for the crit. i agree with some of your points, but alot of your observations are subjective, and pertain more to the actual sequence of shots or storytelling style than the actual nuts and bolts of the drawings. and unfortunately the shots are usually laid out at the descretion of the director. in this case, i had a pretty clear idea of how i wanted to run this sequence, in kind of a cheesy action movie type way, with lots of quick shots and whatnot...but usually for a job i get a shot list with either a stick-man type thumbnail or a written description of what is to appear in each panel. and most times i have to come back and add additional frames here and there, or alternate sequences, ect. so alot of the storytelling is usually not in my hands, im mostly concerned with conveying what needs to be presented in the frame in the clearest most cinematic way possible. but for the same reason im not always convinced what im being asked to do is the best possible storytelling solution, i completely understand your comments.
Chris Noeth: im still working on the ending. it will be juicy though, i promise.
TheGnoll: haha thanks man..
zanzan: no, you are my hero! i cant wait to meet you FINALLY in person in Seattle dude!!!
seth1: im glad you noticed her! its a blend of both i think. but mostly every thing i draw is based off of something i have seen at some point.
Mr.Delicious: thanks Mr.Delicious! god i love you username. it just rolls off the tongue lol...thanks for stopping by
alti: thanks man. i really like doing enviros cuz they are like abstracts. doing them digitally is really insane, ive really learned to love doing them. thanks for looking.
AlexC: haha thanks man. imagination? what do you mean? that shit is real
InvertedChalupa: lol you again? cant wait for our tuesday kick-fucking session!!
krossj: thanks man. havent worked om bruch and ink for some time. maybe i should try dong some more. seemed like i got a real good response on those. thanks for stoppin by.
Shamagim: not half as much as i love you. you caneat turducken off my thighs anytime you saucy chilean! ill provide the gravy
DanielC: haha yeah i have had too many conversations with bums. there are like 12,000 homeless people here in sf. i only talk to the ones i like. hey no problem man. you have alot of potential brudda. keep workin it.
Form: lol never played that game. i think there is a visual language of shots that exists. alot of it is just composition, but its also knowing which composition workes in sequence to best tell the story as well. i think standard shots exist for a reason, but thats not to say that rules cant be broken. it all depends on the situation. for this sequence, i was thinking along the lines of a very standard action movie type sequence.
Brun: thanks for the kind words man. ill damn sure try!
oishiiniku: thanks bro! haha cant trust babies these days! thanks for looking!
Justin Oaksford: thanks man. i drew his face first actually. the rest of the drawing grew out of that. funny how that works sometimes. thanks for stopping through!
donk: or maybe the baby will splode...never can tell...never can tell
Alex Alexandrov: haha thanks man. i aint the man, just barely a man. or thats what my old lady tells me anyway lol
ahhhh carnifexxx: what can i say? cant wait to see you in seattle. i stare at your face every day..im not joking. kisses.
so here are some enviro/speedish paintings i started along time ago, then reworked a little bit recently, and some oil portraits from class. oh and a little self portrait i did recently. anyhoo, hope you enjoy. keep keepin it!-c36
sweet dude lot of life in the oils very cool 8==D
i'll say it again, i love your oils..in those portraits it seems like you almost smush the paint around it seems really powerful, especially in that first one, something i havn't seen much but an awesome affect...even with that you get that dim feeling in that sp...pretty tight
anways izsexy! great inspiration
ohwow....i love those portraits.
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