Sunday, July 31, 2011

A chance to relax...

...sort of.

I survived the Con and met a lot of good people and hooked up with some old friends, sold a few books and posters and also drew a few sketches.
What can I say about the Con? It was the Con. It's always good as long as you know what to expect and don't think it's going to be something it's not.

For those of you who didn't get a chance to say "hi" you can swing by CTNX in November - I'll have a table there and be selling my books and drawing sketches.

This weekend I've actually had a chance to catch up on some other stuff I'd been putting off due to a crazy work schedule. I finally had a chance to scan in a lot of the Fire & Ice drawings so the blog about that production and Mr. Frazetta shouldn't be too far off - in theory. Kind of timely considering Robert Rodriguez just announced he intends on remaking the film and has showed off some of his concept art for the production (just click on the link to see it).

In the meanwhile I'm continuing on with my Supervising Director duties on Voltron Force - which I understand is doing GREAT in the ratings and I highly recommend for all you action/adventure cartoon fans - whether you're an old Voltron fan or not. I also just wrapped a freelance board for Young Justice and I'm continuing on with the illustrations for another HarperCollins book featuring Batman and Killer Croc. And in my free-time I'm working on a Graphic Novel for a great new line of GNs that should be announced pretty soon. 

These are some rough exploratory character sketches as well as roughs and inks for the promo piece. I'm having a lot of fun with this and I'm wondering why I never ventured into this type of thing before now. Since these drawings have already been shown on Facebook I assume it's okay if I share them here as well.

Now to answer a few questions...

A follow up question from Anonymous (feel free to come up with some sort of screen name so I can tell who's who - sort of):
I'm not sure why I didn't mention Cauldron. I imagine it is because I've only seen the movie about once and it was forever ago. But since you mentioned it, how was your time at the Disney Studio during that period? I ask because I've seen "Waking Sleeping Beauty" and from what I understand that period was rough on the studio and its staff.

I'll only briefly touch on my period at Disney for this answer since I intend on writing a more in-depth blog about my experiences there and especially about working on the Black Cauldron.
Let me just say working at Disney was something I'd never experienced prior to that and very few times after. Before working at Disney I'd worked only for Bakshi Productions and a brief stint at Filmation so the chance to only rough animation (without having to do your own Clean-Up) and to take the time to work on a scene until it was as close to perfect as you could get it was pretty foreign to me. Due to mostly these reasons I felt very liberated and tried to take very little notice of the politics that were going on below the surface. Unfortunately by the time the Black Cauldron was finished I, like everyone else there at the time, were heavily involved in some political craziness due to the 'takeover' at Disney (though in retrospect it seems like less of a takeover and more of 'saving'). The time period that is shown in "Waking Sleeping Beauty" I only had first hand experience with the very beginning since I left before Oliver & Co got into full swing. I had heard quite a few of the stories  that were going on at the time, since I was till friends with many of those involved, and all I can say is that Don Hahn and Peter Schneider seemed very fair about what went on during those years and could have easily made a MUCH longer film without boring anyone. Though I suspect if the film had gone on much longer a lot more fingers would've been pointed and the film wouldn't have been quite so even-handed.

ThePast asks:
Do you actually pay attention to the many MANY fans of your work out there and their attempts to recreate your genius? And if so, what is your reaction? I am sure there has been times you have seen people butcher your ideals of specific characters (sadly, the saying is true, death of the author/artist).

First I'm not sure there are that many that are trying to recreate my "genius" and if they do I don't have a real problem with it. I find it flattering and as long as they don't try to pass my actual art off as theirs I won't bother them. Though a mention and a link to my web-site are always appreciated. There's another saying I'd rather live by and that's "imitation is the sincerest form of flattery"....I hope...

and ThePast also asks:
And one last, in a way to do with the con... is there any chance we could steal you down to New Zealand one year (or more than one :D) for one of our main cons? Preferably the Auckland Armageddon :) for us poor cartoon fans trapped 12 hours away from ComicCon.
I would love to go to New Zealand one of these days and if I were invited (and my traveling expenses covered) I'd probably go. So start a campaign to get me down there ;)

and another Anonymous (at least, I think it's different one) asks:
I've seen your drawns in your blog, and most of them are teenagers and adult people. How do feel about drawing kids? It is harder, it is easier, it is the same?
Is there any kind of people who is harder to draw to you?
[Sorry, my bad english, lol]

I've drawn lots of kids, but I guess I haven't posted many of them. I'll have to do that soon. As to who is harder to draw...? A lot of different factors are involved including what day it is and whether my drawing and is co-operating. Some days every drawing (regardless of age, gender or style) comes out easily and other days nothing comes easy.  In general I don't find children anymore difficult to draw than adults or teenagers.

Remember to send your questions and I'll answer them as soon as I can.


Campbell2D (formerly Anonymous) said...

Thanks again for answering questions. I am also glad that at your time there you were able to really get into the scenes you got. I've always heard that production schedules can really get to an animator and they have to weigh the value of their own work and the time it takes to get scenes together to complete a film on time.

I did want to know a bit about those animation roots though. The basics (squash and stretch, timing, follow through, overlap etc) that you learned in animation was that something you learned at Bakshi or somewhere else? Did any unsung animator take you under their wing or watch films and frame through them while practicing?

Also I read somewhere once that one of your favorite artists is Milt Kahl. Any of his scenes particularlly stand out to you as above the already amazing Milt Kahl level?

Thanks again for you time, I am looking foreward to that Disney Studio post somewhere in the future.

Blaze Rocket said...

*glee* Lookie thar! That's me! In your blog! I'm going to get all flustered again. ^__^ I still can't get over how great it was to finally meet you in person.

The Wolfman sketches look interesting! Very classic Universal movie monsters looking- and nothing wrong with that! I'll keep an eye out for more on this project

JessaSininger said...

So happy to hear you'll be at CTN. I could only make it to Comic Con on Thursday and some of Friday. I will see you at CTN sir.

Anonymous said...
This comment has been removed by a blog administrator.