An Interesting Note -

• I got an interesting email from a very talent student of mine (from my Union class) and thought I would share:

Generally I don't put down a lot of lines not that I am against this, it's just as important if the overall statement is answered. I think through the forms but what I ALWAYS need is the life or the fluidness of the feeling of how the character is acting. The rest can be added onto or refined without the auidence really knowing there are under lines. This is especially evident when I use a pen. Just want it to appear cleaner and . . . if it's a female character, then the lines are ALWAYS kept to a minumum. I do think of shape, but more of inside out first then the shape adapts to resolve itself. The shapes can always be refined and make more designed . . . but the feeling or idea behind the action should be first and foremost.

- "Are you thinking a little more of the contours of the character while gesturing as well? I know in past figure drawing classes, you hear about capturing the gesture/attitude first and THEN build your geometric forms on top of that. But in your case, are you almost combining the two into one step? "

- YES! I'm thinking through and the draftsmanship will come out and save the drawing if need be. The drawing I did for you last time was not a great drawing but I saved it with rythem and acting in the face. The forms are 3Dimensional but the overall design reads and brings you into the face. It's a combination of rythem/gesture, design and composition! You can jump ahead but hopefully not to loose the overall feeling or flow/rythem/gesture/life-force that you're going for. I don't encourage this as it's a very easy way to get yourself in trouble. Glen Vilppu always said to me: Gesture, Construction, Anatomy then Technique. But after throwing around lines for many years they eventually work in a symbiotic way and become an amobic sense of drawing. Meaning it all happens at once when you have put in the time to honor the craft. But the end goal should always be . . . the STORY! Afterall that's really paramount and the whole reason behind why we draw and design really - it's story! Story of life, story of what's happening in the panel, story of what will happen - what was before, during this shot and most certainly after. It should have a sense of place and purpose in time knowing that when we leave this character, he/she/it will continue on and live their life and obtain their quest (however GRAND or moment to moment that might be). It has to live on. That's what being TIMELESS is all about. It's another life/world/place in time that will continue while we live ours so we may think about where their at or at what moment we want to relive in our heads before bed.

MAC

Under the Influence . . .

Recently I have been asked quite a bit who some of my greatest influences are artistically. There are so many and new one's created almost daily thanks to the internet and the blogging world. But there are some staples that still mean a great deal to me for many reasons.

1. Marc Davis
2. Frank Frazetta
3. Mort Drucker
4. John Singer Sargent
5. Glen Keane
6. Hans Bacher
7. Rein Poortvliet
8. Paul Felix
9. Claire Wendling
10. Berni Wrightson
11. Brian Froud
12. François-Auguste-René Rodin
13. Jack Davis
14. John Nevarez
15. Marcelo Vignali

Smigly REVEALED!

My buddy and all around creative funny guy Allen Mezquida has created a new character - written, animated and composited - the one, the only . . . Smigly!

I've known about it for quite some time, but as I was reading the Daily Beast yesterday, there he was front and center . . . Smigly. In all of his glory, a modern day Charlie Brown . . . Full Frontal.

Check it out:
http://www.thedailybeast.com/blogs-and-stories/2010-09-03/youtubes-rising-cartoon-star/

"I HEART JAZZ"



"THE BIG BANK"


• To see more quality goodness, check out:

http://smigly.tv/

Today is the 1st day for my New UNION Class!

" . . . stay Sassy San Diego."