Story: Ian Boothby
Inks/Pencils: Toren Atkinson
Colour: Tanya Lehoux
Letters: Christopher Barrett
Here’s some concept art which is being made into a miniature for the Lovecraftian skirmish game Strange Aeons. It’s part of the the “Summoning Box” expansion for the kickstarter campaign happening now. I’m very pleased to be a part of it and excited that at the time of this writing Strange Aeons has tripled their goal!
I’m pleased to announce that the World Wildlife Federation of Justice comic I started working on in 2011 is finally done! At that time I had hoped to pull enough donations from friends and fans to pay for the writing chops of Ian Boothby, the lettering skills of Ed Brisson, and one page of pencils from Captain Carrot comic creator Scott Shaw!
I did get all the funds I’d hoped for and more (thanks donors) and a script from Ian Boothby. Shortly after I started the project I was offered a full time job at Atomic Cartoons to work on character art for some Marvel motion comics, which naturally I accepted! That 7 month contract turned into three subsequent positions on 2 more projects which didn’t leave me with the time I had anticipated to work on the WWFJ story. Recently however, I found myself with a couple months off and an opportunity to include a story in the Cloudscape Comics anthology “Mega-Fauna” and this story seemed the perfect fit. Ed had moved on from lettering to writing, including Secret Avengers and Robocop comics, but he recommended another Vancouver local Christopher Barrett. I also drew from my Atomic Cartoons talent pool my friend Tanya Lehoux to colour the thing. The page from Scott Shaw fell through, unfortunately, but in the end I’m very pleased with the results.
Look for “Eye Eye Eye” in Mega-Fauna August 2014, and on worldwildlifefederationofjustice shortly thereafter. Preview below:
Remember a little while ago I designed sketches for a line of post-apocalyptic miniatures? They are now in the fundraising stage so they can move forward into production. If you’re a gamer or a fan of properties such as Gammma World, Land of the Lost or Thundarr the Barbarian then you will want to contribute to the indiegogo fundraiser campaign. There are a bunch of different tiers of support with different perks for each, so do check it out and help make it happen!
Last year I worked on the Astonishing X-Men motion comic for Atomic Cartoons. My job was in the art department, specifically characters (not to be confused with the background artists or the animation department). So what exactly did I do? What are the challenges of taking an established comic book, in this case written by Joss Whedon and illustrated by John Cassaday and turning it into a “motion comic” which is somewhere between a comic and a cartoon?
First off, check out this clip from youtube:
Now, here’s a scan of the original comic book.
As you can see, this particular page is three panels and they are all vertical. In a motion comic, however, the format is the standard TV ratio 4:3, as shown to the right. It’s the job of the director and storyboard artist to figure out how best to translate the printed page into this format. In panel one, it’s easy, start at the top of the tall panel and slowly track down to the group of X-Men, as seen in the clip. (The animators added some jitter and smoke effects) The second panel is similar, but rotated 90 degrees, not much work for the illustrator (me) to do on that one either.
Panel 3, however, is different. Here’s three screen shots of the video clip which I quickly patched together in Photoshop:
In the original comic, you can’t see Wolverine’s backside, or the top and bottom of the robot’s head. It was my job (and my teammate’s David and Carmen) to create all of that. Usually that was done from scratch, but sometimes there were poses and images re-used from panels earlier or later in the comic. It all depended on the scene.
In addition to filling out characters that were partially (or sometimes fully) “offscreen” in the print version, there’s also the matter of filling in what was behind characters whenever they moved. This was often a background artists job, but if for example in the print version we see Wolverine’s claws in front of his face, and in the motion comic the storyboard calls for it to start on Wolvie’s unobscured face and for the hands to then move into the shot and then pop his claws, it’s the character art department’s job to make sure the empty spots behind the claws are filled in with some good-lookin’ art. Same deal if one character steps away from someone behind him.
Make sense? I hope so!