Sunday, June 29, 2008
As an aside, that's one of the things I hated about the Bratz work I did in 2004 was that the poses and character art were so limited in the beginning that they were reusing and flipping the art to get the maximum use out of every piece of art and it got really boring seeing the same exact art used all the time. Luckily they got new art for the Bratz during the second year of licensing but the first year was brutal. I wonder what the Bratz fans thought though...
Saturday, June 28, 2008
Yikes! What a busy week of work it is! Plus, I'm working this weekend. I'll be done the Power Rangers layouts today and then I got to do the layout for DCM's editorial, and still have to color my Alfie cartoon for it. I'm the busiest now that I've been in a while. Next week, I start the Scooby gig for overseas and get to the design of a logo for an appliance/home center. I got offered two new jobs yesterday that I had to turn down simply because I'm too jammed up.
Thursday, June 26, 2008
Here's more Ed, Edd n Eddy for ya! The boys were all drawn on cheap copy paper and inked with a Pitt Brush Marker. The inking style for the Eds might look like a sloppy, fast, loose style that is easy to create, when in fact, it is harder to do than one might think. It took me quite a few tries to get it down and these sketches are kinda how I warm up before I ink something officially for it. I have pencils sketches I have predrawn and before I ink, say a comic book story with the Eds, I ink four or five of these prelim sketches to get my hand, and more importantly, my head into the Eds' style. From that I can then burn right through the job. As always, you can click on them to get a bigger view! Enjoy!
Wednesday, June 25, 2008
Monday, June 23, 2008
1) The second Power Rangers Jungle Fury storybook, which I've got 4 spreads left to draw and layout, to be finished up so that it can go out for approvals and then I can start doing the final art and the coloring part.
2) A Scooby-Doo project for Sweden! I'll write more about this soon!
3) A photo print for buddy voice actor Scott Innes and all the animated characters he voices. I have to take Scott's photo and draw all the characters he's done and place them all around him. I've drawn 20 of the main characters that are the most popular that Scott has voiced. Now I have to scan them and lay them out in some way to make it work as a design. Then when approved as a rough, I'll do the final character art.
4) A radio station mascot character, which I created and I'll share soon, cover sketch for a promotional coloring book.
5) A logo/letterhead/envelope graphic design for an appliance/home center in Delaware, which I have to go see on Wednesday to take some photos which may be incorporated into the final design.
6) A new Alfie comic strip and the layout of editorial for the new issue of DCM which is going to press on Sunday at 5pm!
Yikes! That's a lot! But always better to have more than a little! Back to the drawing board!
Friday, June 20, 2008
It's hard work but if you know the software it can be done rather quickly. I built up great speed working in Adobe Illustrator when I was deep into work for Strawberry Shortcake. The main reason that a lot of work has gone digital is that you lose the individual characteristics of an artist when he inks or creates a piece by hand. Corporations who have brands like Disney, Nick, and the WB need all the art to look like one person did it, when in reality 30 artists may have worked on it. The computer end of it all keeps the consistency which is very important in maintaining the style of a licensed property.
Working on the Blue's Clues stuff, I still have my "How To" book, which teaches the artist how to label their layers and generally how to create the characters in the computer. It makes it easier to change things when every artist labels his files and has all his layers set up like everyone else.
Thursday, June 19, 2008
I bet some of you are surprised to see this kind of art come from me, some know I do all kinds of stuff, so you haven't seen anything yet...keep checking in! And for those who care, I didn't have any cavities...just a little tartar build up from the years of not going. I will be going every six months from now on just to stay on track with their care! Booyah!
Wednesday, June 18, 2008
It was fast and fun work overall. The characters were relatively easy to draw in a timely manner, so much so that if I had a week deadline starting say on a Monday morning, I'd be done it all on by Wednesday morning, which in turn got me more work to pump out. They always stick with reliable artists who can do the job fast and with little or no corrections. This was also a time when I was adament about getting my name on as much stuff as an artist as I could. You need that credit line as a commercial artist to then move ahead and get other work. It certainly helps. I didn't get my name on everything but any books that came out I always got an art credit line in the first printings of the stuff. Second or third printing are sometimes hit or miss.
In September of 1999, I was asked to do an audition test for Scooby-Doo. I was approved in mid-October, and started working on Scooby on November 21 and the rest is history...it will be nine full years of Scooby this November 21st! Zoinks! Scooby's been good to me!
During this time in '99, I was also working at the Franklin Mint in the art department doing conceptual design for statues, sculptures, knives, figures, etc and I remember doing my Pokemon audition during my lunch hour there in my cubicle. I also did my Scooby audition there as well. At the time they didn't give me any real reference for Scooby, or Pokemon either for that matter. I must have had the right sensibilities or something that allowed me to get it really close to what they wanted because they hired me. I beat out quite a few artists to get Scooby. Soon after I was approved, then I would get tons of reference, which I've accumulated over the years. It was great at the time to have these opportunities because the Mint was having money and corporate control issues and they were laying off people left and right. I sensed a change in the place and left before I probably would have been laid off and went back to work in my home studio and worked right through the next two years on Pokemon and Scooby. I was offered even more Pokemon work in 2000 but declined because I was so deep in Scooby work with three big Scooby projects going at one time! 2000 remains my most favorite year of my life creatively and financially. It was Scooby all day, all night!
At any rate, here's some Pokemon sketches from 1999/2000 that I did for stuff. They're just more prelims. I even drew on crappy copy paper or cheap kids sketchpads back then too! The last Pokemon thing I drew was a 60-page "How To Draw Pokemon" book, which never did get published as they pulled it and I got my kill fee for it. I still have the approved rough version of it.
Pokemon died out as a fad in 2000/2001 and the kids had moved onto Digimon. I guess they sensed it too at a corporate level...but look at it now! It's 2008 and Pokemon is back and the kids love it again! I see how much interest there still is for it when I go to speak at schools and do my 'speak and sketch' demos. Enjoy!
Tuesday, June 17, 2008
I really LOVE the color palette for the show and how it has some really great pastel color choices used throughout the show, which are light in tone and not overbearing. Also, another unique thing is the deliberate use of a 'boiling line' that is used in the animation of all the characters to make them all seem in constant motion. A 'boiling line' is the movement of lines or fluctuating color, which is sometimes a deliberate style for a show (as it is with the Eds), but more often it's due to inaccurate inbetweens or an uneven application of color. I have to say that it gives it an overall unique look which has certainly set the show apart from all the other shows on Cartoon Network or Nick for that matter. I'll post some color ones soon!
Monday, June 16, 2008
Episode 140 (May 25th, 2006)
Strawberry Shortcake? Don't worry the Peculiar Purple Pie Man is nowhere to be found. In this episode we talk with comic artist Scott Neely and discuss his journey from comic books to the world of cartoons. (It's an hour and a half interview)
Convention Survival Guide (September 5th, 2006)
(1:03:52 into the show) Scott Neely talks with us about having product, walking the floor and sketch requests. (It's a short interview around ten minutes or so on comic conventions)
Episode 298 (September 19th, 2007)
Jamie D. and Senor Pantalones talk with Scooby Doo artist Scott Neely. (It's another long interview with the guys)
The Forum about the Episode 298: