This video reel makes me wonder how often really spectacular practical effects have been misidentified as “shitty cg” by people who like to cry about anything that doesn’t look like Harryhausen Dynamation.
Because I’m very sure I’ve heard those sort of comments directed towards a lot of the creatures showcased here when they appeared in their respective films.
Show the world we want a phone worth keeping! #phonebloks
An Evening with Tim Burton
Joe Mad, on Facebook:
Do you really want to be an artist? Or a successful working professional?
Believe it or not there is a difference. I’m not usually a soapbox type guy, I don’t like instructing people, and I think I’m a terrible teacher. But hey, it’s Friday and I’m in a strange mood. So here goes:
I’ve noticed that a good number of my fans happen to be aspiring artists themselves. This is for all you guys. I get asked constantly: “Where should I go to school?” “What classes should I take?” “What should I study for anatomy?” “What pencils and paper do you use?” “Should I be working digitally now instead of traditionally?” “How do I fix my poses? Learn composition? Perspective?” “When am I going to develop my own style?” “Who were your influences?” “Teach me how to draw hands!” The list goes on…
Here’s the deal. All of that stuff *is* important, and it may nudge you in the right direction. A lot of it you will discover for yourself. What works best for one person doesn’t work for another. That’s the beauty of art. It’s personal. It’s discovery. DON’T WORRY ABOUT ALL THAT CRAP!
Instead I’m going to answer the questions that you *SHOULD* be asking, but aren’t. These are things that have only recently occurred to me, after doing this for 20+ years. These things seem so obvious, but apparently they elude a lot of people, because I am surprised at how many ridiculously talented artists are ‘failing’ professionally. Or just unhappy. The beauty of what I’m about to tell you is that it doesn’t matter what field you’re in or what your art style is.
In no particular order:
1) Do what you love. If you are passionate about what you’re doing, it shows. If you’re having fun, it shows. If you’re bored, IT SHOWS. Some guys are able to work on stuff they have zero interest in, and still pull off great work, but I find that when I do this my motivation takes a huge hit. And Motivation is key. Money is not a great motivator. It’s temporary like everything else. And honestly, I’ve gotten paid the most money for some of the shittiest work I have ever done. That may sound awesome, but it’s not. And here’s why…
2) You MUST stay Excited and Motivated. Have you noticed that there are days you can’t draw a god damned thing? And some days you feel like you can draw anything? It’s 4am but you don’t notice because you are in the ZONE. Your hand is racing ahead of your mind and you can do no wrong?! Maybe it’s some new paper you got. Or a new program you’ve been wanting to try out. Or you just found some amazing shit on DeviantArt, or watched some movie that just makes you want to run straight to your board. This relates to the above because while it is possible to involve yourself in projects you aren’t excited about—maybe you need the cash, or think it will look good on your resume, whatever it is—it’s not going to last. You need to stay fresh. Expose yourself to new things. New techniques. You should be getting tired of your own shit on a fairly regular basis. Otherwise other people will.
3) Check your Ego. If you think you’re the shit, you’re already doomed. You may be really, really good at what you do, but there’s someone better. Sorry. There’s always plenty to learn, even for us old dogs. So when I meet young upstarts who have this sense of entitlement, or a know-it-all attitude, I just have to laugh. Some of the biggest egos I’ve ever witnessed were from people who have accomplished the least. Meanwhile, most guys who are supremely talented AND successful, and have EARNED the RIGHT to have an ego and throw their weight around, don’t. Why is that? It’s because…
4) Relationships are important. This may be one of the biggest lessons I’ve had to learn. Early on, I didn’t value my relationships with people. Creatively or otherwise. I felt like I didn’t need anyone’s help and I could figure everything out on my own. Let’s face it, many of us become artists because we are reclusive, social misfits. We’d rather stay inside and draw shit than go outside and play. We like to live inside our own minds. Why not?! It’s awesome in there! And sometimes we don’t want to let other people in. But like I said—you can’t do it alone. I can honestly say that as much as I try to stay current, as much as I try to push my work and draw kick ass shit that will excite people, I would not be where I am today if it weren’t for all the other people I’ve met and learned from along the way. Guys who pulled strings for me. Took risks on me. Believed I was the right guy for the job. You need to manage your relationships. You need to network, and meet people. Drawing comics is still a pretty good place for reclusive types—but if you want to work in big studios—Making games, Films, animation, basically any other type of job on the planet, you’d better start making some connections. Be likeable. Be professional. That doesn’t mean be an opportunistic ladder climber. Fake people lose in the end. Be yourself, but be professional. It’s no secret that when people are hiring, our first instinct is to bring in people we know. It’s human nature. I don’t like unknowns, even if their portfolio is awesome. If we have a mutual connection, if they have great things to say about you, you’re in. If you have AMAZING artwork to show, and I call your last employer and they tell me what a pain in the ass you are to work with, you’re done. Talent and skill only get you so far. I am literally amazed at how often I meet guys that are total assholes and think they are going to get anywhere.
5) Here’s the BIG ONE. The greatest obstacle you will ever have to overcome IS YOURSELF. And the Fear that you are creating in your own head. Stay positive. Stop defeating yourself. There are artists I know that are so damn good they make me pee my pants. I look up to these mofos. I study their shit and I want to draw like them. And they are almost NEVER working on their DREAM project. And—big surprise, they aren’t happy in their job. “Why NOT?! WTF is WRONG WITH YOU?!” is usually my reaction. And the answer is almost always “The market isn’t great right now” “Other stories/games/comics like mine don’t do very well” “The shit that’s hot right now is nothing like mine, It’s just going to fail.” “I’m not sure I’m good enough.” “I need the money.” “Too Risky.” “I tried it before and failed. ” It doesn’t matter what words they use, they are afraid for one reason or another. I know. I’ve been there.
But here’s the deal. YOU NEED TO TAKE RISKS. Guess what? YOU ARE MOST LIKELY GOING TO FAIL. If you want it—REALLY want it, that won’t stop you. You will learn A LOT. My good friend Tim constantly jokes about how I jump out of planes without a parachute and worry about the landing on the way down. You may think that I’m lucky, that it’s easy for me to say because I’m already successful, that I’m in a different situation than you all are. But it’s not true. Risk is risk, no matter what level you’re at. If you’re already successful, you just take even bigger risks. But they never go away. Everything in life is Risk vs. Reward. Not just in your career. LIFE. You’d better get used to it.
I didn’t know what the hell I was doing when I got into comics. I left the #1 selling book at the time ( Uncanny X-men ) to work on Battle Chasers during a time when ‘Conan’ was about the only fantasy comic people knew. And no one was buying it. I wanted to work in games, so I started a game company. I had NO IDEA WTF I was doing. I just wanted it, really bad. We tanked. It failed. No big surprise. But the people I worked with got hired elsewhere and rehired me. I started ANOTHER game Company. We had 4 people and a dream, and some publishers wouldn’t even meet with us, because their ‘next gen console’ teams had 90+ people on them. I literally got hung up on. “Stick to handheld games, it’s smaller, maybe you can handle that…” one MAJOR publisher told us. I don’t blame them. But we didn’t let it stop us. Thank god we didn’t listen to them. Vigil was born. Darksiders happened, AND we got to make a sequel. It stands shoulder to shoulder with the best games in the industry, and the most elite and experienced game dev studios in the world. How is that possible?!!! Hardly any of us had even worked on a console game before. I’ll be honest, I was thinking we would fail the whole time. I just didn’t care. If I had to play the odds on this one, I’d bet against us.
Why am I telling you all this shit? This is not me patting myself on the back. It’s just stuff that has somehow only dawned on me recently when it’s been staring me in the face for so long. I feel like I need to wake you guys up!!! I’ve been limiting myself. I’ve gotten afraid. I’ve taken less risks. I saw my career going places I didn’t want to go. I wasn’t happy and I wasn’t excited. And I’ve realized, that all that stuff I just talked about is the reason I am where I am today. Not because I have a manga style, or I draw cool hands, or there’s energy in my drawings, or all the other things people rattle off to me. There are other guys that do all that same shit, and do it better. And amazingly, those same guys constantly tell me “Man, I wish I could do what you are doing.” “SO DO IT!!!!!” PLEASE listen to me—because I want you guys to make it. I want to look to one of you people for inspiration some day when it’s 2am and I need to keep drawing. Stop worrying about all the other stuff—the pencils, the paper, the anatomy, all that shit. It will only get you so far. You’ve already got most of what you need. I hope this helps some people. From the bottom of my heart, thank you for all the support over the years. You are all one of the greatest motivating forces in my life and my career. Sappy but true. Ok, let’s go draw some shit!!!
Dr. Easy - Shynola
A robot with medical training is dispatched to defuse a dangerous situation.
Really nice interaction between man and robot, i liked it a lot. The emotionless robot but with a caring AI, and the crazed man with a shotgun best described as an emotional wreck. Really like the idea of a conflict like that.
Dr. Easy - Film website
SOTW - Page link
Serial Taxi - Paolo Cogliati
Really interesting 2 person conflict story about a taxi driver and its customer. As always Ringling are very good with their story structures and animation.
My Happy End - Milen Vitanov
All dogs chase their own tails. One dog succeeds in catching his tail. This changes his whole life. An animated film in 2½D.
I really enjoyed the animation in this short film, not just because it utilizes both 2d and 3d but because it flows so nicely. The story is simple and it displays a disneyesque quality, no wonder it won so many awards. Albeit not my kind of genre, quite sappy, it was still very well animated and i enjoyed it.
Website - My Happy End
SOTW - Page link
A Man Who Delivers - Jamie Jessett
Documentary for Channel 4’s Shooting Gallery,
Following a day in the life of a London cocaine dealer, the challenge was to build a narrative without the contributor wanting to appear on camera for obvious reasons.
A beautifully made short film, the way it is constructed and compiled just adds to narrative so nicely. I really like the fact this shows just how normal a dealer can be, not the over the top stereotype you hear about or see on the tv. Its a nice refreshing change from the norm. Well done Jamie, please watch.
Vimeo - Jamie Jessett
SOTW - Page link
My Mom Smokes Weed - Clay Liford
A geriatric mother and her twenty-something son embark on a road trip to meet some dastardly drug dealers in order to replenish a supply of certain herbs.
Well… it was definitely a good short film and i would much like to see this produced into a series. Its not your typical weed orientated comedy, it has a more wider scope of depth then just here is a story about a mum that smokes weed. I just feel it only scratches the surface of what kind of antiques and scenarios these characters could get into. Great job from director and cast.
Filmaker’s Website - Well Tailored Films
SOTW - Page link
23 Degrees 5 Minutes - Darragh O’Connell
An old explorer close to freezing in the Arctic re-lives the events that brought him there. He recalls his student days at Trinity College in Dublin when he studied under the enigmatic Professor Orit, the professor who was driven to madness by his obsessive pursuit of the unified theory. Convinced that the answer somehow lay in the relationship between the numbers two, three and five, Professor Orit’s obsession started the journey which has led his former student to the top of the world.
I can’t really say that i enjoyed watching this but i can’t say i was disappointed either. It was quite rigid in its animation technique and practically expressionless characters but the story did surprise me, mostly because of the fact i didn’t really understand what could of been the outcome until the end. Though it did shock me, not in a fantastic way, it was an intriguing yet bland answer to an interesting story.
I neither like or hate this piece of work but please watch and make up your own decisions.
Brown Bag Films - 23 Degrees 5 Minutes
SOTW - Page link
The Maker - Christopher Kezelos
A strange creature races against time to make the most important and beautiful creation of his life.
A very well thought out stop-motion production. All the design, animation, music and story are pulled together in such a beautiful, simple way. Please watch..
More info on the website The Maker
SOTW - Page link
cat sequence 1 rough line test (digital)
This is the 1st time i have animated a cat and used a perspective, it was quite tough to work out but i got used to it fairly quickly. I think the rope action works quite well, need to finish inking it up and colouring it.. Its just a short animation to put into my showreel to bulk it out a bit more, any criticism will be greatly appreciated :)
cat sequence 1 rough timing barebones line test
The 1st time in a loooong time i have touched my light box, this is the 1st installment of some short sequences involving a cat… it is still in the rough stages but now i think ive got the timing down i am going to take it into toonboom to finish it up and touch wood it looks half decent! Also my 1st attempt at using a perspective in animation..
The idea behind it is to just bulk up my animation showreel in a short space of time before i start applying to studios… im just hoping it works