New Kickstarter: “Pose Drawing SparkBook” + Free Download

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Illustration by Cedric Hohnstadt

I’m excited to announce the launch of my first Kickstarter, the Pose Drawing SparkBook! It’s a super-charged sketchbook, custom designed to help artists put more life and personality into their drawings. It will include 100 drawing exercises, 32 pages of instructional content, and hundreds of additional drawing ideas in the back of the book.

I’m really excited about the potential for this book to be a great resource for storytelling artists of all kinds – whether they work in animation, character design, storyboards, cartoons or comics.

To help spread the word I’m giving away a free list of 100 sketchbook ideas taken from the back of the book. Get yours here:

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In order for the SparkBook to become a reality I need to raise enough funds. In exchange for a small contribution to the project you can get several rewards, including the book itself (with free ebook version) or other resources I’ve created. You can read all about it and watch a promo video over on my Kickstarter page.

Would you consider helping spread the word? Just use the share buttons below, or copy and paste the following into your favorite social media:

Free download: 100 Sketchbook Ideas For Posing Your Characters: http://bit.ly/15kOpi2

Thanks a bunch!

Why Every Artist Needs To See “The Artist”

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The Artist

A picture really is worth a thousand words.

Tonight I saw “The Artist”, a feature film getting a lot of buzz. It just won three Golden Globe including best film (musical or comedy) and some say it deserves an Oscar for Best Picture. I wouldn’t quite go that far but it is a very good film.

What’s makes “The Artist” especially remarkable is that it’s a black and white silent film. The soundtrack consists almost entirely of music and sound effects. On the rare occasion when characters do speak their dialogue is written out on old-timey title cards, just like a Charlie Chaplin or Buster Keaton film. I know that sounds awful but trust me, it works. In a way the absence of dialogue actually improves the film because all of the other storytelling devices have to work harder to pick up the slack. The actions have to be clearer, the acting more expressive, the editing sharper, and being forced to say everything with pictures alone makes for some very creative and compelling visuals.

As an illustrator I found “The Artist” to be a powerful reminder that a tremendous amount can be said simply and elegantly with pictures alone. The right poses, expressions, and body language can communicate great depth and feeling without saying a single word. The movie really inspired me to think more deeply about the power of my drawings to communicate, entertain, and even to move people. The next time I sit down to draw the film will still be reverberating in my mind, challenging me to think harder about how I can say more with my drawings.

If, like me, you make your living drawing pictures then you absolutely must see this film. Study it. Replay it in your mind. Especially if you work in storyboards, comics, animation, or other storytelling mediums.

Here’s the official trailer:

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Rough Thumbnail Storyboards Studies: “Once Upon A Time In The West”

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Recently I tried something a little different in my sketchbook. I chose a clip from a classic movie (in this case the opening sequence of Sergio Leone’s Once Upon A Time In The West) and broke it down into little rough thumbnail studies. It’s a terrific piece of filmmaking and I wanted to carefully analyze it shot by shot to figure out what makes it work so well.

These sketches were very “quick and dirty”. I worked small and focused on the broader shapes. To keep myself from getting bogged down in the details I used real paper with real makers, which meant I couldn’t fix my mistakes or fuss around. Then I limited myself even further by using only one black marker and one grey marker.  I worked small and fast, studying the composition and lighting to figure out why each shot worked on it’s own as well as why they all worked together as a whole.

Below is the full title sequence followed by three pages of my sketches. Each page reads top-to-bottom instead of left-to right. The clip itself is actually quite long. To sketch the whole thing would have required hundreds of boards. I’m happy that I had enough free time to get the first scene down. Maybe in the future I’ll find time to do the rest.