I guess its about time I shared some "Cat Burglar" panels. For most of our assigned sequences, we kept our boards super rough knowing that we'd have a team of amazing revisionists/designers to flesh things out later, but early on I had some time to go "overboard" on my tiedowns.
It was fun drawing Rowdy & Peanut. Designer extraordinaire @3optic designed the characters for the project, and he has a knack for capturing the solid but off-kilter wonkiness of the golden age Tex Avery style, and I tried to channel Carey's approach as much as I could in boards
And of course, it can't be an homage to Tex without some wild takes. I didn't get to do too many, but I tried to find as many opportunities to do so as I could when the sequence called for it, as well as tried to not copy any classic ones verbatim.
It was pretty easy getting into the Tex mindset when I came on. Having 5-ish years of experience with Looney Tunes beforehand certainly helped, and it continued to do so when I went onto Cuphead right after. Still, I don't wanna be forever typecast as the "classic cartoon" guy.
For the most part, my boards looked like this: scribbly, rough, blue, but more-or-less clear in expression and staging. I hope it wasn't too much work for the revisionist team to go over later. Either way, they did a fantastic job seeing our boards through to final!
• • •
Missing some Tweet in this thread? You can try to
force a refresh
Recalling the wonderful group call we had with Jeff Smith regarding Bone 3yrs ago. So much amazing talent in one zoom call, all fueled and jazzed about the potential of what was to come. That kind of artistic encouragement, both to and from everyone involved, was unmatched. [1/?]
We saw boards, James Baxter animation, details from Jeff on what the world he created would be like in animation, from design to music to sound. It was glorious, and the excitement was palpable. The electricity from that alone could've powered countries. If only it lasted.
I knew after that call, I didn't want to work on anything else. I didn't want to be a pain in the ass, but I checked in every few months while at Netflix to see when they were eventually staffing. I doubt whether or not I would've been on it, but it was worth the shot. Always is.
I've worked so hard boarding these last 10yrs, wearing so many hats and dealing with the unrealistic expectations that come with it, that I've irreversibly made myself sick, which has affected my quality of life since. Enough is enough. #StoryCraftUnite#NewDeal4Animation
I have constantly sore wrists. Chronic headaches. I take tons of painkillers to numb the pain. I walk with a cane now. It's a key topic in therapy. I have no time to properly care for my body... made worse by pandemic life, with no let up. #StoryCraftUnite#NewDeal4Animation
And the worst part of all, the studios and the toxic environments that many times come with the job has made us believe that this is necessary. That this is our fault. Our reward. Not anymore. #StoryCraftUnite#NewDeal4Animation
I really just want to make my own shorts now. I wish I lived somewhere where the government actually funded independent animation like it did back in the 80's. Now we live in an age where if you're an animator you're automatically at a disadvantage financially or commercially.
Make a living on an internet platform, the algorithm changes so you don't get paid anymore. Pitch to a studio, you're at the mercy of the timing of a constantly changing regime and company meddling. Try to make your own site/store, larger companies pay to bury your leads...
It's sad that the only viable outlook right now for creative folks to make a decent living is a route that does practically irreversible damage to the environment and economy with no proper safety net, and currently being taken advantage of by elites and large corporations...