Luis' Illustrated Blog

Simpsons Storyboard artist. Artist and storyteller. Exploring how to make a living, by being creative.
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    • 04 Juggling overlapping art decisions
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    • 06 Composition and Design principles
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    • 10 Tone, how to add it
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    • 12 Struggling: Finding the right poses.
    • 13 Coloring poses
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    • 15 Story Theory and throughlines
    • 01 Story concept and rough outline
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    • 03 Designing Antagonists
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Monthly Archives: October 2012

Confessions of a Simpsons Assassin, Part 2

October 25, 2012 in THE SIMPSONS NEWS

THE SIMPSONS NEWS –  Confessions of a Simpsons Assassin, Part 2

Simpsons Quote:

Grimes: You idiot! You almost drank a beaker full of sulfuric acid!

Homer: Acid, eh? Jeez, that would have been STUPID! (laughs) Wow, would my face have been red! (laughs again)

The first assassination job Director Jim Reardon ever gave me was to kill Frank Grimes. He just handed me the scenes and I went to work.

The sad part was, that I REALLY ended up liking Frank Grimes a lot.  So much so that this became my favorite SIMPSONS episode.

I put A LOT of myself in the acting and mannerisms of Frank Grimes and I’ll talk about that below.

BUT by the time the animatic was finished, the deed was done. The weird fat guy, Frank Grimes, was dead.

What’s that you say? Frank Grimes isn’t fat? Did I take out the wrong cartoon character?

Hmmm, well here’s the story…

The Original Frank Grimes

The Frank Grimes I killed was a fat guy. He had a body like Homer’s and had a bit of “pin head”.

The animatic had this version of Frank Grimes in it.

I was given some pretty heavy acting scenes with Frank and I was really having a good time with them.

I was really proud of my work on them.

Then…after the animatic, we found out that the writers and producers weren’t happy with what Frank looked like, so he had to be redesigned.

Every scene he was in was going to have to be reworked.

I was part of Jim’s permanent crew so I had was part of the revision team. So we folded up our sleeves and got to work.

A Peek at My Scenes

Frank, Lenny and Carl talk about Homer’s eating. Definitely my scenes. I have the thumbnails to prove it.

I don’t think I originally did the scene below but I know I revised it. Making Homer’s movement more duck like:

The scene below was a pain to layout. It’s definitely a cheat. I wasn’t able to capture the whole scene to show you but believe me when I say, it’s very odd looking.

The melting of the wall took a lot of  time to do.  I made up the weird shape the wall melted into. I just let my pencil wander and that’s what I ended up with.  I didn’t think they would use it as the final drawing:

Frank’s acting below was one of the many over the top moments I got to do. There’s my “claw” hands on Frank.  I was able to go really broad and wild with all of his expressions.  This stuff was really fun to do.

And the Emmy Goes To…

Okay, so, this is something it never occurred to me that I’d be able to do til I started writing this post.  I can ACTUALLY write about my favorite acting moments I’ve ever done on an episode.

These are it. The scenes with Frank confronting Homer and his family below, are the most personal scenes I’d ever done.  There was only ONE other moment on an episode that came close.

But these scenes with the family, are all me. I was REALLY into this:

I practically memorized Franks speech. I internalized it.  I listened to it over and over and acted it out myself.

I FELT what Frank felt. I BECAME Frank and I just went for it here.

I’d only do this one other time in an episode.

Those hand gestures and the mannerisms he has in this sequence, that’s all me when I get frustrated.

For it to have come out the way I wanted it to without me being able to time it myself, was a great joy and relief.

PLEASE go watch the show and pay attention to Frank in this section. The screenshots above don’t really show what I’m talking about.

I think it’s the best acting I ever did in an episode.

The Death of Grimes

I lOVED drawing and acting out Frank’s freak outs.  The scenes below really show how broad and cartoony I was allowed to go with him.

I mean, LOOK I even did a multiply arm effects on him:

And here, in the scenes below, you can see how I was doing multiple arms AGAIN. It’s a VERY unSimpsons thing to do and I got away with it.

I’m really surprised the goofy walk above came out as good as it did considering the artwork I gave the Koreans to work with.

I ended up working on MORE Frank Grime scenes after the animatic than before the animatic.  Mostly because we had to revise his model.

I think I worked on about 50% of all the scenes Frank is in.  The other artist who worked a lot of Frank’s scenes was the Assistant Director Mark Ervin. If you pay close attention, you can tell which one of us did what scenes by how skinny Frank is.

I tended to draw Frank much skinner. Just look at the skinny arms on Frank in the shot below:

Mark would make Frank a bit chunkier and thicker.

The scene below is a combination of both my scene and Mark’s scene.  He revised my drawings. That Mr. Burns looks WAY too nice looking to be one of mine.

You’ll notice that Frank changes in the scene from being thicker to, super skinny, to being a thicker again:

The shot where Frank stand in front of the cables as well as the ones where he grabs the cables. Where originally drawn by me with the fat Frank.  But after animatic, I revised them and then Mark revised my drawings. I guess my Frank’s where getting a little TOO skinny.

The reaction shot below was totally me though.  Just look at Smithers with his “anime acting” and Homer with his “claw” hand.

So there. Forgive me for tooting my own horn.  This is the acting work I’m most proud of.

Hamlet and Grimes

I remember when I was working on this episode, I had become obsessed with Shakespeare. Yes, I’m a HUGE nerd, so what else is new.

Anyway, during this time, I was absorbed with HAMLET (still my favorite Shakespeare play).  I couldn’t get enough of it. I started memorizing LINES from the play, for goodness sakes. FOR FUN!

And OF COURSE, working on this episode made me think how much like HAMLET this episode was.

I even went up to Jim and explained to him all the things that made this episode like HAMLET.  I wish I had recorded myself or had written it down because…I can’t remember AT ALL why I thought that.

I TRIED to remember. I wanted to share my thoughts about it here, but I can’t remember.

Stoopid memory.

From a purely superficial level, all I can think of is that they both start with tragedy, they’re both about the lead’s obsession with point out the truth to the people around him,  which leads to the death of the lead character.

Perhaps this is what I told Jim…I dunno.

“Words words words.” – Hamlet

… great…now I want to watch HAMLET…again.

Sketches in the E-mail

In this week’s e-mail, I had a special surprise.  As I was looking through my old drawings earlier this week, I found some pages of thumbnails that I had done specifically for THIS episode.

In them you saw a very small hint of what Frank Grimes originally looked like. You also see the thought process behind some of the acting I did.

There’s was also some other non-Simpsons related doodle on the page I drew. Mostly girls sketches.

Anyway, that’s what I sent out as an e-mail this week to everyone who’s on my e-mail list.

If you want to have this e-mail sent to you, put in your e-mail below before Thursday of next week and I’ll resend the e-mail to you soon after. Don’t miss out again.

 

Sign up for, special content that I will NOT post on the blog. Don’t miss out.


 

WEBSITES – The Drawing Website

New post is up on The Drawing Website.

This time I’m teaching you, “How to Trace Like a Pro.”

Yes, you read right, TRACING.

What does tracing have to do with learning to draw?

Well, you’d be surprised. Go the post and check it out.

MY WEEK – Overworking myself

I’m burning myself out.

I’ve been overworking myself during my free time.

After working a full day at the studio I also write 1 1/2 blog posts a week (one here and one for The Drawing Website, where posts take two whole weeks to write), and two e-mails full of content. On top of that, I’m editing my wife’s book, AND helping to taking care of my kids when I get home. Not to mention I’m putting that “thing” together that I mentioned in last week’s post.

I’m NOT complaining, I CHOSEN to do this. One of the highlights of my week was drawing that kung fu drawing above.  I’m REALLY proud of it.  It was FUN and I learned a lot doing it.

STILL, I think I’m over doing it.  I’ve got to find a way to still provide good content on my sites without killing myself.

I haven’t quite figured out how though. Any suggestions?

In this week’s Drawing Website post, I experimented for the first time with video. I might start using it here in this site.  Maybe if I do more talking and less writing, things will take less time.  I’m not sure.

I still want the writing part of my blog though.

Anyway, expect some changes in the next few weeks as I start experimenting. I can’t keep up this pace.

 

 

 

For more comics and stories written by me: COMICS AND STORIES

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Comments are appreciated as well.

I also have a store. Click Here and check it out.

Writing this blog is almost a part time job for me. Tips are most welcome.

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Confessions of a Simpsons Assassin, Part 1

October 18, 2012 in BOOKS, introvert, PODCASTS, THE SIMPSONS NEWS, VIDEOS, WEBSITES

THE SIMPSONS NEWS – Confessions of a Simpsons Assassin, Part 1

Simpsons Quote:

“I don’t judge Homer or Marge. That’s for a vengeful God to do.” – Maude Flanders

I’m not exactly sure why but Director Jim Reardon had me kill people. By people, I mean, Simpson characters.

I killed two Simpsons characters for Jim.  One of them was Maude Flanders.

The Job

It wasn’t an assignment that was particularly different from any other I’d been given.  He just handed me the scenes, gave me some direction as to what he wanted to see me do in them, and then I went to my desk and worked got to work.

Of course there where pretty girls in the sequence, but I spent most of my time making Homer’s belly fat, extra wobbly. Overall, that was the biggest challenge in working on those scenes aside from drawing a ton of crowds.

That said, I DO have a little anecdote to tell about the scene that isn’t known at all.

The Rewrite

There was a rewrite in that particular scene. A revision from what was originally there.

In the original version Homer does his little stomach wobble asking for the t-shirt. Just as the shirt is going to be launched at him, he looks down,

“Ooh, a gumball,” he reaches down to get it and Maude gets hit and goes over the rail.

After the animatic, Homer looks down,

“Ooh a bobby pin,” he reaches down to get it and Maude gets hit and goes over the rail.

http://youtu.be/OpV9ZSjNSZk

It was a fun little assignment.  I didn’t really think it would end  up being such a big moment in Simpsons history.

E- mail Give Away

Anyone who is signed up to my e-mail list will get a free “thing”.

In this week’s e-mail, I sent out a sneak peek of what that thing is.

As soon as it’s ready, it’s going to be given to everyone on the list.  Anyone who wants it can have it if you opt in, but the current group will get it before anyone else, once it’s ready.

If you want to be among the first to get it, sign up now. I’ll send you the e-mail revealing the “thing” if you sign up before next Thursday.

Sign up for, special content that I will NOT post on the blog. Don’t miss out.


PODCASTS/WEBSITE – The Rotoscopers

How much into animation are you?

If your any kind of an animation nerd at all or WISH to be, your doing yourself a great disservice by not checking out The Rotoscopers’ podcast and website.

You want to know what’s going on in the animation world from a VERY well informed fan’s point a view? Follow:

Morgan Stradling,

Chealsea Robson,

and Mason Smith as they geek out about anything and everything animation related.

You’ll learn A LOT about animation.

I’ve listen to almost all of their shows and it’s really reminded me of how great the animation industry can be.

Believe me when I say that, when you’re sitting on this side of the fence, you can forget why you got in this industry to begin with. Listening to the passion The Rotoscopers have for animation, is a breath of fresh air.

I seriously can’t recommend them enough. Go check them out.

VIDEOS – Introvert video

I’ve made no secret in this blog that I’m an introvert.

I like it when there are things out on the net that educate extroverts on what it actually means to be an introvert.

I also like thing on the internet that help introverts have an easier time living AS an introvert in a world run by extroverts.

The video below does both and I love it.  It’s also really well done. Check it out:

BOOKS – Dark Rift

I’m currently reading through the manuscript for DARK RIFT, the sequel to my wife‘s book THE TOWER’S ALCHEMIST.  I’m  half way through the book and it’s really an exciting read.

That said, I’m REALLY being picky about it and I’ve written tons of notes. I want her book to not just be a good read, but a read you can’t put down.

To that end I’m reading the book, looking for ways to really punch up what my wife has already put there.

Sometimes we discuss the book and the story over dinner. We talk about ways she can play things up in the story and make things clearer.  It’s really fun.

Especially since I get to come up with ideas without having to actually execute them (which is the hard part).

I made sure my wife told me nothing about the story, so when I read it, I could read it as an audience member. That way, I could gauge whether or not the story was really working well.

The DARK RIFT manuscript has some gut wrenching intense parts in it.

I’m happy to say it is.  I just read a part where something really crazy happens to some characters I really liked and I’m like,

“Nooo, that didn’t just happen!” Which I think is AWESOME. That’s the reaction I WANT to have reading the book.

My wife wants to have the book published by the end of October but I don’t think that’s going to happen.  Even if I manage to finish reading the manuscript in a week or so, I still need to draw the cover and write the back of the book description.

Once that’s done, we have to plan a proper launch for the book so we can get as many eyeballs on it as possible.

All this stuff takes time do.

That said, keep an eye out for the book. Hopefully, I’ll be ready by next Month.

 

For more comics and stories written by me: COMICS AND STORIES

If you like what you read, please consider signing up to my rss feed.

Comments are appreciated as well.

I also have a store. Click Here and check it out.

Writing this blog is almost a part time job for me. Tips are most welcome.

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Breakdown of a Simpsons scene: Itchy and Scratchy trying to Kill Bart and Lisa.

October 11, 2012 in THE SIMPSONS NEWS, WEBSITES

THE SIMPSONS NEWS – Breakdown of a Simpsons scene: Itchy and Scratchy trying to Kill Bart and Lisa

I explain this crazy drawing below.

Simpsons Quote:

“Facts are meaningless. You can use facts to prove anything that’s even remotely true.” — Homer Simpson

I’ve animated on The Simpsons, quite a few times. By “animated”, I mean, done it all. From key poses to inbetweening to putting all the info on exposure sheets.

One of the times I did this was on Treehouse of Horror IX, when Itchy and Scratch chase Bart and Lisa into the Live with Regis and Kathie Lee show.

Basic Animation Principles

When you first learn to animate,  one of the first things you’re taught to animate is the “bouncing ball”.  It is meant to teach you the animation principle of squash and stretch. It’s usually the second lesson you’re taught in animation.  The first lesson being “ease in” and “ease out”.  Sometimes using a pendulum swinging or a ball starting to roll down a slant.

What am I talking about?

Okay, real quick, in case you don’t know:

Got this picture at: http://gamasutra.com/blogs/MichaelJungbluth/20110114/6788/Adding_Weight_to_Your_Game_Design_Part_6_Slow_In_Slow_Out.php

“Ease in” and “Ease out” – is when an object, like a  pendulum, slowly begins moving and then speed up as it moves forward. When it reaches the other side it slows down do to gravity and then slowly swings the other way.

In animation, in order to get this effect, you put more drawing in the slow parts and less drawing in the fast parts causing a “easing into” and “easing out of” effect.

Almost every action an animator animates has an “easing in” or “easing out” component.

 

Got this picture at: http://mattsfdablog.blogspot.com/2011/10/principles-of-animation.html

“Squash and stretch” – is an animation principle where an animated object is deformed (without changing it’s mass) for a single frame of film, either by squashing or stretching, in order to get a sense of weight or impact. Like when a ball hits the floor and bounces back up.

So what does this have to do with the episode? Read on.

Bart and Lisa Fall in Soup

Steve Moore, my director, asked me if I wanted the assignment doing this live action scene and I jumped a the chance. I talked up my animation skills to get it. It had been years since I had gotten a chance to fully animate anything. On top of that, I had never worked on anything quite like this either.

To be quite frank, I wasn’t sure if I was going to be able to do it.  I was telling Steve how much experience I had, but really, it was only from a few animation tests I’d done. This would be something outside of my experience.

When I got my scene folder, it was full of pre-pegged Photostats . Photostats, are frame by frame photos of a of live action scene. This is what I was going to use in order to draw the characters interacting with the live action.

The one thing that you don’t see in the final version that was present in my Photostats, was the tennis balls that where dropped into the pot in order to make the splashes.  I covered the balls with the characters.

So I’m sitting there looking at the stats, roll up my sleeves and just start animating as I do it all the time.  I just went for it.

All those hours of sitting in “the little dark room” for Jeff , all the tests I’d done for classes, years of drawing the characters, and anything else I could draw upon, kept me going.

As I worked, it suddenly occurred to me that I wasn’t really doing anything complicated at all. Just because I was drawing characters with legs and arms didn’t mean that I was animating anything I hadn’t done before.

As I worked on the scene, it became VERY clear that I was basically animating a variation of the bouncing ball test. Let me show you.

Keep in mind that the screenshots I’ve got below are not the best representation of the drawings I would have liked to capture.  The method I use to get the screen captures was really imprecise:

Okay so taking a look at the screens above, in screen 1 you can see Lisa and Bart in a very strange pose. This would be a “not-so-deformed” stretch pose.

When Bart gets out of the pot, I drew a more stretched out drawing but was unable to capture it, so we have the drawing in screen 2 where he’s actually at the peak of this “ease out”.

Then he “stretches” in 3, landing with one foot first,  in order to make it more natural looking.

In screen 4, he lands and that’s the “squash” pose.

He “stretches” again in 5, as he takes to the air.

In 6 I didn’t quite capture the apex of his jump, but I did get Lisa’s “squash” pose.

7 is Lisa’s “ease out” pose and then her stretch on screen 8.  That’s that, the rest is just the kids running off screen.

Having done that, I was then able to do Itchy and Scratchy easier.  I went out of my way to really push them more since they’re “cartoons”:

Alright, so I start with a subtle stretch of the two character in screen 1 as they fall.

As Scratchy leaves the pot in screen 2 I really stretched him out. He looks deformed.

Then in screen 3 I REALLY do something crazy. This is a “smear”.  This kind of effect was used a lot in Looney Toon cartoons when a character had to do a quick action in only one frame.  I needed Scratchy to end up in the pose on screen 4 without having to use up any frames to do it, so I did this crazy blur effect.

When you look at the final animation, you can’t even see it unless you’re looking for it.  It happens so fast.  It totally works.

Screen 5 is Scratchy “easing out” of the apex of his jump and then stretching to to land in screen 6.

Screen 7 we see Scratchy in his “squash” position.  Itchy is now out of the pot, BUT if you go frame by frame, you will see that Itchy also had a crazy blur effect with his knife.  I wasn’t able to capture it though.

In Screen 8 you can clearly see Itchy stretching as Scratchy “eases out” of his jump.

I REALLY stretch Itchy in screen 9. He’s really fighting gravity as it pull down on him.

Just for fun and variety, I had Itchy do a flip when he jumped, as you can see in screen 10.

It turned out looking good. After worrying about the scene and whether or not I was going to be able to pull it off, it turned out to be really simple and really fun. It just required, mostly, basic animation knowledge with just a touch of advance know how.

Special E-mail Surprise

So in THIS week’s e-mail, I posted a very special surprise. I happen to own a photocopy of  the manuscript that became: Character Animation Crash Course!
By (Disney animator) Eric Goldberg (who designed and animated the Genie in Aladdin). Yes, it’s an affiliate link.

I used this manuscript in order to figure out how to do the “smear” effect on Scratchy. There’s a page in the manuscript that explains it. I don’t own Eric Goldberg’s book, so I can’t say whether or not the page I’m referring to is in it.

What I have done though is pasted the page in the e-mail I sent out this week. That way, even if you own the book, you can see the original manuscript page where it came from.

If you want to get this e-mail, simply opt in to the e-mail this week BEFORE next Thursday and I’ll resend the e-mail.

If you’re not receiving my e-mails, your missing out on a lot of fun stuff like this.

Sign up for, special content that I will NOT post on the blog. Don’t miss out.


WEBSITE – Drawing Stick Figure with style

A new Drawing Website post is up.

Alright, so the drawing on the left doesn’t look like much, but believe me when I say that, the post this drawing belongs to will change the way you look at cartoon characters.

I really went all out on this new post and you have not idea how excited I am for you to read it.

Whether you’re a real beginner or much more advanced at drawing, this post has info on design that you might have never heard before.

In fact, I know a lot of professional draftsmen, who don’t know some of what I’ve written in this post. The crazy part, is that I do it all with stick figures!

If you’ve ever wanted to learn to draw cool stick figures, this is the post for you.

Check it out, give it a read, and leave me feedback about what you think.

Stick figures, with style! – Basic design.

 

For more comics and stories written by me: COMICS AND STORIES

If you like what you read, please consider signing up to my rss feed.

Comments are appreciated as well.

I also have a store. Click Here and check it out.

Writing this blog is almost a part time job for me. Tips are most welcome.

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See How Easily you can Take a Simple Composition and make it Epic, Simpsons style.

October 4, 2012 in FAMILY, THE SIMPSONS NEWS

THE SIMPSONS NEWS –  See How Easily you can Take a Simple Composition and make it Epic, Simpsons style.

The Simpsons quote:

Marge: Homer, we can’t take his money.
Homer: Aww, I can’t take HIS money, I can’t print MY OWN money, I have to WORK for my money. Why don’t I just lay down and DIE.

 

Sometime, late in 2001, I was fortunate enough to have worked on one of the funniest episode of season 13, HALF-DECENT PROPOSAL.

This was director Lauren MacMullan’s second episode.

Lauren is an incredible director. The show turned out looking fantastic. This was in no small part, due to her great staging and cinematography.

She isn’t credited with storyboards on the episode and I don’t recall what they looked like but, her dynamic style comes through never the less.

The thing that really stands out to me about this episode looking back is drama and depth of many of her shots.

My personal contribution to the shots was to try to keep the horizon line low where appropriate. This was made easier by the fact that the shots had been set up with so much depth already that it made it all come together that much better.

By depth, I mean that many shots had been set up with clear foreground elements, middle ground elements and background elements.

When you go out of your way brake down compositions this way, you can’t help but to come up with some beautiful, epic shots.

The Epic Shots

Below are samples of shots from sequences I worked on that illustrate my point:

Artie in the foreground + Marge and Homer in the middle ground + Helicopter, ocean and sky in the background + low horizon = one really nice shot.

The shot above, could have been easily staged with Artie walking sideways, “comic strip style” from one side of the boat to Homer and Marge. Instead the shot is of Artie walking toward camera in perspective, stopping to talk the Homer and Marge in the foreground.  It’s much more interesting and dynamic.

It’s always best to try to find ways to get character to walk in and out of the picture. It adds interest.

Centered composition with a low horizon to add interest. The low horizon makes sure that the frame isn’t split right in the middle, making the sky more dominant.  Homer and Marge are in the foreground adding depth.

Once again, low horizon to give the sky dominance put not a straight on composition like before. This time with a two point perceptive to make sure elements in the shot aren’t parallel to the “picture frame” (that was my decision). Artie in the extreme foreground adding depth. I don’t think the board looked quite like this. I plussed it up a bit.

Another one of my sections. Homer in the extreme foreground, Marge in the middle ground, the rest of the room in the background.  Very interesting shot.

I was really having fun with this stuff. It was all about drawing pretty pictures. Marge in the extreme foreground with Homer in the background. Angled shot makes it much more interesting to look at.

Not every shot can have a foreground element. How do you make it interesting? Two point perspective creating angle that go against the picture frame helps.

I just like this shot and I’m proud of the way it came out. I had to draw the shadows too.

I worked on two, maybe three full shots in the dance hall. I was mostly doing the scenes with Marge, Patty and Selma in this act.

I was put on revisions in this sequence, mostly to draw the crowd in the back.  That said, the scene above IS one of the few I did.

Again, instead of Marge simply walking sideways “comic strip style” to the door, we see her recede in space, adding interest and depth.

I’ve written a lot about working with director Jeff Lynch. Oddly enough, working with Lauren often reminded me of working with Jeff. Just like Jeff she also storyboarded and allowed us to animate a little bit more than usual, but also just like Jeff, she wasn’t afraid to do a some crazy camera moves like the one on the right.

Mid-shot of Marge for her line, then she turns and walk out the door as the crowd parts (big pain in the neck to draw).

The camera pulls out to reveal Artie in the foreground (camera cheat).  The camera “spins” around him as he put on his glasses and watches her walk away. This basically mean you animate Artie spinning in place 180 degrees with a slight camera adjust, while the background characters are panned across really fast.

I don’t actually remember drawing Artie in the scene but I think I must have. It’s possible I didn’t. I DO remember working out the technical aspects of the scene and putting the crowd in.

I also remember drawing Marge. That is definitely MY acting she’s doing. Look at that finger sticking up. Why did I do that? I don’t know but it’s was me alright.

My Act 3 work was the whole oil rig sequence beginning with the ride in the bus and the “Mount Carlmore” gag.

Lauren really assigned me a doozy of a section:

Beginning with this scene above with a hand drawn animated lens flair I had to put in. AND animated shadows on the bus.

And then there’s this crazy shot here on the left.  It’s a total cheat that works. The camera moves so fast you don’t see how odd the layout actually is.

 

Fire in the foreground, characters in the middle ground, PLUS dutch angle. Very dramatic.  The fire, was the bane of my existence. It was such a pain to draw. It took me the most time.

Aaaah! THREE POINT PERPECTIVE! Actually, the shot above was fun to draw and it looks cool.  I’ve very happy with my Homer and Lenny in this shot. It’s not an angle that you draw the characters in often.

Foreground, middle ground and background elements in it as well. The fire and SMOKE made my life hell.

Another three point perspective angle. Lenny as the foreground element.  The fire was awful to work on…

Did I mention the I didn’t like drawing the fire?

Less fire on this one. Very dramatic up shot. Homer and Rig are the foreground elements, helicopter is the middle ground element, sun is the background.  Everything is angled to avoid being parallel with the picture frame.

And my final example:

Marge and Homer in the foreground frame Artie as he struggles to get in the Helicopter.  Fun stuff to draw here. I especially like that I got to animate that quote I posted at the beginning of the post (full circle!). It  makes me laugh.

This is a great episode. There are people out there that complain that later episodes of the show, stop being funny. This one is one of the many episodes that prove them wrong.

My Life with Baron Von Kiss-A-Lot.

I worked on a lot more scenes than the ones I mentioned above. Including this one:

Yup, that’s right, I drew the Baron.

Which is the subject of this week’s e-mail. I write about my thoughts and experiences with the Baron. As well as what I think about this gag.

If you want to read about this, opt in to the e-mail.

The e-mail has been sent out already, BUT if you opt in before next Wednesday, I’ll resend it just for you.

 

Sign up for, special content that I will NOT post on the blog. Don’t miss out.


 FAMILY – Poor baby Luke as the Flu

My poor one year old son has the flu.  He’s miserable.

If you’re a parent you know you’d rather be sick then have you’re kids be sick. Especially when you see them feeling so bad.

It’s also, especially tough on my wife since she’s the one who has to put up with all the poopin’ and pukin’.

The baby has puked on my wife quite a few times already.

 

Baby Luke has had some issues with over filling his diaper, to my wife’s dismay

 

 

 

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Hi, Welcome!

This blog is your window into the daily life of a Simpsons artist. See what it's like work on a hit TV show!

I update this blog once a week, on Thursdays and (sometimes) Fridays. If you don't see anything new, just check back on one of those days.

My e-mail is: luis(at)luisescobarblog(dot)com

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