First off Mitch, it doesn’t matter what style you have got. I needed a Tony drawing, and I believe you happen to be one of the more talent artists at PP. I’ll love what ever you post.
Now going to the Tony picture. I am about 85-90% happy with it. I looks pretty good, but I think you could work on his hair a little bit. Maybe the way he does it in the movie, nice and clean. Next, I thin kthe eyes make him look pretty gothic. I think its a little too dark. Finally, if at all possible, could you color it?
Those are just my little requests Mitch. But still, you have done an excellent job with Tony so far. Keep it up.
Perfect! I can’t wait to see the two new drawings! And you’ve got questions, I’ve got answers (sorta, we’ll see).
For the Violet drawing, I would like for her to just stand and smile, brushing her hair back.
For Violet and Tony, I have a couple of suggestions. First, they could hold each other, looking into each other’s eyes romanticly. Second would be two of them just walking together, wether at school or at the mall, (Heck, I think it would be even sweeter if it was on the beach). Third, maybe the two of them just sitting together, holding each others hand.
Those are my suggestions (no order in particular). You can do one of two things: Do what is easiest for you, or do something that you would think would fit the mood.
I want Violet to be in her dark clothes, with a hint of shyness.
Look at the answer to my first question. At school, at the mall, or at the beach.
Color, I want it all in color please.
If you have got any more questions, fel free to ask.
The Star Swordsman - Thank you very much for the feedback and suggestions! They really helped a lot.
I agree with you on the Tony drawing. I made the rims of his eyes way too dark, hence the deep, “Gothic” feeling that it emits. I’m definitely going to refrain from doing that the next time around. (I shall also use color in the next piece that features Tony, as you prefer.)
One more question has floated to the top of my brain here…
Would you like the first composition of Violet to be a full-body portrait, a half-body portrait (from the torso up), or a head shot? I’d rather do a half-body portrait or a head shot (shoulders included), but I’m going to leave the decision-making up to you.
Mitch- I quite like the look of that Tony drawing. The eyes are pretty dark, but they sort of suit him. Also, that single, sloped line for the mouth is the biz, to use a parlance of our times. And the way the line of the chin fades is good, too.
The Star Swordsman - Stage one of the operation is complete! I’ve drawn Violet’s basic outline and will proceed to color it either this evening or tomorrow.
I showed these sketches to my mom to get some basic input as to whether or not they’re portfolio-worthy. She said that she likes the pose on the bottom right, but suggested that I tweak the feet a little bit, so I did. I love the top gesture, but she says it looks weird; henceforth, she’s going to help me make it stronger later on this afternoon. As for the pose on the bottom left: I don’t like it. I’m going to keep drawing poses until I get two more that I like (I’m pleased with the bottom right one), since I really want some loose sketches in my portfolio…
Edit/Note: I’ve found that I really, really, really like doing storyboards. Three guesses as to what I may choose to do for a living in the art field.
That said, storyboarding will not be my main priority. I’m not extremely big on animation, so that probably won’t come into play that often; however, I do love to illustrate and do detailed drawings, so my interests might shift from these choices…
1) Storyboard artist, 2) Animator, and/or 3) Character designer
… to…
1) Storyboard artist, 2) Layout artist/Illustrator, and/or 3) Character designer
Pixar.rocks and The Star Swordsman - Thank you very much, guys!
As for the “career line-up”, I’m currently leaning towards these options:
Rendering/Lighting Artist
Storyboard Artist
Character Designer
Lately, I’ve become really interested in lighting and shading, so I may head in that direction. Also, my dad said that I’m good at rendering (adding detail/shading to compositions), so I’m considering training to become a “renderer”, as well.
Nope, I’m not dead. I haven’t drawn in a long time, but, after flexing my sketching muscles a few days ago, I’ve gotten back into the habit of scribbling stuff now and again.
In addition to these Remy drawings, I’m going to begin a series of WALL•E sketches – more specifically, I shall compose the entire film via pastel drawings. A daunting task, yes, but I want to do it, especially since I hardly ever experiment with color. Sooo… you’ll be seeing some WALL•E stuff real soon.
I love your recent Sketch Dump, Mitch. The colouring and depth of the shading in the left hand side picture is beautiful, and the right hand side one conveys Remy’s emotions perfectly.
With the WALL-E pastels, do you mean you’re going to do the entire film frame by frame, or scene by scene? It does sound daunting, but I look forward to seeing it!
It’s strange to think about how many different types of jobs there are at Pixar…Like, it’s obvious that there are different people doing different sections of each film, and either animating or storyboarding or that type of thing, but I guess it’s also easy to make the assumption that if you’re working on a film, you’re working on more than one aspect of it, which is obviously not always the case. I wonder what it’s like just to be a Character Designer, for example.
That Remy shading piece is amazing, Mitch. Well done. I can see a lot of improvement there. Of the three Remy sketches, I love the bottom right one the most. Really looking forward to your WALL•E drawings, and, holy cow, the whole film with pastel drawings? Ralph Eggleston would be proud.
Concerning the upcoming WALL-E pastels, I will compose the entire film by way of breaking down each sequence into several sections. For example: For the beginning of the film, from the moment where “Put on Your Sunday Clothes” begins… to when WALL-E retires for the night in his “truck”, I’ll draw out seven sketches: one of when Hal, the cockroach, is introduced, another of WALL-E opening the door to his house, etc… That’s basically how it will be laid out. I won’t be doing every frame, but it will still be a difficult task to complete. I’m looking forward to the fun aspect of it, though.
I know! It’s incredible. Normally, when the subject of Pixar jobs pops up I’ll think of the basic ones: producer, director, animator, etc… However, there’s tons more out there that we know little about, if we’ve even heard of them at all. The credits to Pixar’s films reveal all of the studio’s departments, of course, but still…
There’s a featurette in the “Behind the Scenes” section on the second-disc of the WALL-E 2-disc/3-disc set entitled, “Life of a Shot: Deconstructing the Pixar Process”, and it goes into detail about all of the hands needed to construct a single shot/frame of/in WALL-E. One of the individuals interviewed mentioned that if one talented artist did all the work and shots in that particular film, it would take them four hundred and forty-two years. Pretty cool.
bright dot-dasher - Thank you!
The Star Swordsman - Thanks, dude!
Rachel - Thanks a bunch!
Yeah, I’m going to try and be adventurous for a change. (snigger)
Pretty nice pencil sketeches. THen again, if it is better than what I could do, I will automaticly say that I am impressed. Then again, you impress me everytime you post something new up. Keep it coming.
I love EVE’s expressions in those, Mitch, your portray her well. And the way WALL-E is looking up at her, it’s as though he’s afraid of all of these EVEs flying about his head! Nice work.
And the way the line of the chin fades is good, too.
I can see a lot of improvement there. Of the three Remy sketches, I love the bottom right one the most. Really looking forward to your 