They had to really dumb down my martial art skills. Because I’m a 10th degree black belt in every martial art. I did Kung Fu when I was, I think, in like third grade. So I was pretty much qulified to kick ass in space.

(via peterquill)

#bless  #dis man  

sovereign-sky said: Hey Karina, does Clean Sweep and your other stories have more of a dramatic or light hearted tone? Just wondering because some situations I’m like “whoa, its about to go down” haha. Can’t wait to see the whole thing :)

Hey Jacob! Clean Sweep and my other stories do have more lighthearted tones. :) So far I’ve just been drawing really dramatic moments from the stories. The heart of Clean Sweep is a love story and AOI is about friendship. 

oni-queen:

This is the best ending.

(via peep-peep-meow)

disneybighero6:

First stills released of Disney’s Feast. Feast is the short film that will play in front of Big Hero 6.

Via USA Today

pinacoladah:

torixgrace:

wild-tea:

x

This is a dream come true

hippiefantasy

(via bonkalore)

superblys:

i still can’t believe peter quill saved the galaxy with footloose and friendship

(via violethour320)

Quick end of the day sketches. Gotta practice loosening up my drawing arm.

Lunch break sketch inspired by the song Mountain Sound by Of Monsters and Men. Yup yup.

End of the day space people sketches. Sometimes my default guy expression is zoning out for some reason……

Lunch break sketcheroo. I don’t even know about the background

#sketch  #animation  #tone  #girl  #aoi?  #my art  

One of my more out of the blue morning warm ups. Felt like drawing a big dude. Yerrrp

Late night “Bounder” sketches (again with 12% more sparkles). Anyway….I wanted to practice drawing a shorthand for him while thinking of how his powers work in the world of the webcomic. Atm I’m juggling my three webcomic storylines and working out their kinks one at a time. Clean Sweep and AOI go hand in hand, but I just need to make sure that AOI has enough to set up for Clean Sweep. On the other hand the Bounder story is it’s own separate story even though it technically exists in the same world as the other two stories? Yeahhh… 

ashbykent asked: I'm actually a rather new follower, but I've wished I followed you sooner! I love your art! How do you go about composing shots? Do you mostly work with a horizon line and perspective, characters drawn first then the BG or large silhouettes to shape the composition? I'm excited to see more of your art!!

kritterart:

Thanks so much! It kind of varies for me, to be honest. If the moment is intensely character driven, I might just focus on sketching the character(s) and nailing the emotion first. Sometimes that’s just most important. But obviously when you’re boarding you want to use your staging to effectively plus the drama/ comedy of whatever is going on- so it’s good to establish wider shots that do that early in the sequence or as it builds towards the emotional crescendo. And so yeah, generally speaking that starts with a horizon line, building up perspective, setting up the stage for the characters to “perform on.”

That said, with everything being 3D in animation, you have to be aware of the environments on a larger scale as well as the capabilities of 3D cameras. If you think of your shots too much like a stage versus an actual inhabitable world then you may not be using your environment to its full potential. I try to remind myself all the time that, in terms of storytelling, the environment is a character all its own…so it’s good to move the characters and the camera through it and see as much as you can. What’s helped me recently is producing overhead schematics of my set locations before getting into a scene- just so I’m aware of the space I have available to me. I also like to research my locations which can mean anything from digging through vis dev folders for artwork or googling my heart out to find ways to include interaction between the characters I’m boarding and the world they live in. 

As far as making sure compositions are appealing/ readable/ varied from others…something that helps me is to put them all into a thumbnail template and look at them together, on the same page. For me, scaling down to a thumbnail size helps me see which of my silhouettes read well from afar and which can use some clarity. Seeing the shots side by side helps me see where I may need some variation. For example, maybe I have too many medium shots, a weird cut, or could replace a flat shot with something more interesting and dynamic.

ashbykent asked: Karina!!! I had a question... I absolutely love your storyboarding style: easy, concise, and clear! I was wondering when you start drawing the face, do you start with the eyes or the outline of the face?? Thanks again! I really just follow your style!

Heyyy there Ashby! Ahh thank you! When I draw faces I usually like to focus on the eyes first if it’s an acting piece and then draw the rest of the face to match the acting or attitude in the eyes (especially in a C.U. shot). For wide shots I usually do the gesture of the full body and then go back in to do the face. The face by then is usually an oval with the eyes on top of it :). Thank you for your question! I hope this helps 

image

"Gravity Falls : Into the Bunker" Boards

joedrawsstuff:

Here’s a chunk of my boards from “Into the Bunker” that I directed. Story is a collaborative process, so I can’t take all the credit. Neil Graf and Sabrina Cotugno contributed to this scene as well and I’m very happy with how the episode turned out. 

My goodness gracious these are AWESOME!!! Not to mention gorgeous boards :O