Sup Forumsncept Art Thread

Concept art whether it be good or bad is almost always interesting to see.

Post some if you have some.

Other urls found in this thread:

patquinn-pqcomics.deviantart.com/gallery/38169220/Old-Pitches-and-Samples
livlily.blogspot.hu/2012/12/hotel-transylvania-2012-character-design.html
theconceptartblog.com/
youtube.com/watch?v=K5j6C8dAWQI
twitter.com/NSFWRedditGif

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Concept art is oddly satisfying to look at.

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I love concept art

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Sandler is that much of an egomaniac. Him and his embezzlement schemes.

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This page makes me so butthurt. We could have had DILF Dracula but instead got Adam Sandler with fangs.

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But wait, there's more!

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Sorry not going to post them individually because I got to get to sleep but here is some designs and sketches for a Squadron Supreme pitch by Patt Quinn that wasn't approved.
patquinn-pqcomics.deviantart.com/gallery/38169220/Old-Pitches-and-Samples

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Damn I really need to get the HT artbook.

You can find more here.
livlily.blogspot.hu/2012/12/hotel-transylvania-2012-character-design.html

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That's because it generally looks MUCH better than the final product

Awesome

Why the fuck does Hotel Transylvania look like shit when the concept art is godtier?

You can see with this one that they were trying to compromise with a design inspired by Sandler without being him.

Imo, they should have gone with one of the more serious designs. The gap between a serious look and his quirky personality would have been nice.

I like some of these darker, almost Tim Burton-like designs.

I love concept art because it can literally be anything from any artists' mind. It doesn't need to reflect the final look of the story, it just needs to bring ideas to the table. Unlike other jobs like feature film animator or layout artist who need a very advanced understanding of things like anatomy or perspective, you can get an artist who might have a very scribbley style of drawing, might not be the best at anatomy, but makes very appealing designs and pick his brain for creativity.

This is just two basic colors with a default brush but it's just as valid as any high rendered concept art in this thread because it exists to give you ideas of the shape and design, not the technical prowess.

This website is an excellent place for finding a wide variety of concept art. It's not in English but I highly suggest checking it out.
theconceptartblog.com/

literally ezio

What's a building look like other than a rectangle with a door and windows? The nooks and crannies, the swivels in design. The difference between brownstone and brick.

The inner details aren't perfect shapes, but you would never notice because you looked at the picture as a whole. If you were to draw right now aspiring to do the same, you would be obsessed with trying to make perfect rectangles and a gorgeous drawing like this because that's how you remembered it even though this is actually pretty messy compared to how clean it could be. Cause as long as the overall drawing looks really, really good, people will remember it better than it actually is.

From one of the How to Train Your Dragon shorts where Gobber is talking about his life.

There's an interesting skillset in composing a nice model sheet/sketchbook page so that, even though it's a bunch of individual drawings, it looks so much better that it's together even though it doesn't belong together and is there purely for reference.

If this were arranged in any other way, the swivels of the shark wouldn't have nearly the same impact (Though would still be strong cartoon poses).

I actually forgot about this topic.
Have some "Beware The Batman"

Sometimes the way you gotta arrange concept art too can make or break a pitch when you present it. The artist could have very easily just drawn a bunch of birds with different colors on a page like a traditional model sheet, but make a conscious design to line them up, have them next to each other in rows, and have the same pose + eyes.

Not only did this probably save him some time to meet a deadline, but probably did a good job presenting them as merchandise possibilities while also making some nice looking art. Sometimes artistic designs are made out of the necessity to meet deadlines (Copy and pasting eyes) and that's the shit that helps get you the job. Re-use those assets, baby.

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I love some of the earlier Anastasia/Anya concepts

I'd dig a 2D show with this artstyle.

>That face

Even if you totally hate a show and think it's awful, just know that there's always some nice looking production and concept art out there of it.

I feel like this art style was too stylized for TV-budget CG.

Wait a second are you that guy that was jerking off the concept art in that thread last month?

Don't forget to practice your pitching for storyboards, you will be doing it if you ever wanna get into that type of job. When the director comes over, they'll ask you to go through the boards and you'll be reading the characters lines and presenting the action, sometimes doing sound effects as well, to help sell the script.

In feature film it's demanded you be very excellent at pitching. In TV, if you are storyboard driven, you need to be decent. For script driven, you just need to be halfway decent and get the idea out even if you're not that great at sound effects or voices. For very simplistic pre-school things, just be able to talk well at the very least.

Just try reading these three panels out loud and pretend you're pitching the jokes and scene.

Probably.

Brief intermission with the lost Hannah Barbara Teen Titans designs

I was unaware of these. That is an interesting find.

Don't know if I'll get shit for this, but who's the purple guy?

Finally, back to the New 52 movie/Young Justice Designs.

Pipelines will vary per production. In FanBoy and ChumChum's case, they are using CG and don't need to be so on-model and can afford to scribble out the boards as haphazardly as they want. In Venture Brothers case, they have a very small team and need to present the ideas, art, and composition as finely pressed as possible to pass on to the animators so that they can be more cemented with what they want to do when they finally move on to the animation phase with as much direction given in the art as possible.

Shit, sometimes their boards look like comic book pages, and that's the point.

I jerk off other people's artwork at least twice a day, it's all a blur at this point.

Never mind, it says so on the image.

Sometimes they'll go as far as to define the shading so they don't have to do it in later steps of production to, again, save time on what limited budget they have. Why bother with having three different artists make a model sheet for the shading, one doing the storyboard, and the other doing a color script when you can incorporate all three in the storyboards?

it works for them. It doesn't work for every production, but it works for them.

Note that Tim and Dick's Robin designs actually come from Young Justice, not the movies (despite my labels).

I recall reading that the Teen Titans were originally supposed to have a HB cartoon, but the project didn't happen. The only remains are a PSA without audio:
youtube.com/watch?v=K5j6C8dAWQI

And just because I wanna suck Venture Brothers dick hard, look at this fucking storyboard. May as well be the sketch for an illustrative piece. Clean, pristine storyboards can sometimes be hard to come by in some modern day TV productions (They've since cut a lot of storyboard deadlines from six weeks to four weeks on some shows), but it's nice to see them when they do.

Finishing off the Robins and seguing into the Teen Titans (sorry, but Jason doesn't have a sheet or whatever).

Damn, look at the line weight on this. Just one storyboard panel out of hundreds for a single episode.

All the panels aren't even done with the same quality, and that's fine. It works. Your pitching work doesn't need to be consistently drawn, just consistently presentable.

Could've sworn I had Beast Boy too. Oh well.

Of course, very thing lines/no line weight at all can be just as gorgeous.

At one point, the guy who does the designs for Young Justice and the New Animated Movies revealed that a Killing Joke movie was in the works since 2009. This was his Joker design.

The entire thing is pretty well drawn and then you get to the arms which are barely scribbled in and not even colored. And that still doesn't make it a bad storyboard. The importance is the pitch, not the consistence. And chances are, if you're doing hundreds of these, you just simply won't have the fucking time to make every single one of your panels look like this. Sometimes your boards will look like stick figure shit and that's pretty expected, even from pros.

Also, there's these concepts from a Nightwing & Raven tv show that didn't happen.

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Often times, you will get assigned to certain scenes or workloads according to how good you are at ____. If you're a very funny person, you'll be getting the comedy scenes. If you're very good at dynamic poses and shots, you might be getting some action scenes. Being a master at one thing (Just comedy, for example) can actually be a stronger trait in getting you hired than trying to be a Jack of all. Because then the studio doesn't just want someone who can get the work done, but someone whose brain they can pick.

Hell, there was a storyboard artist who used to work on the Ice Age movies (Not sure if he still does) who wasn't very good at perspective but had a great sense of cartoony humor. So the studio let him do his boards, approve of his writing, then passed his boards on to a better artist who would tune them up and add some perspective. Despite the first artist being a "worse" artist, it was still his boards the second more skilled guy was cleaning up.

>all those decent designs
>thrown out for CGI Sandbag

I don't know if im remembering this correctly but I know that it was something having to do with Nabisco having the exclusive rights to use Robin, to what extent I don't remember, but that's why DC had to makeup The Protector as a stand-in for those Titans PSAs from back in the day.

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>monster in paris
post more pls

Maybe you're good at poses but not very good at animation itself (Which includes timing, weight, spacing, etc). Well you know, you can still be a valuable artist for the production. Limitations doesn't stop you from getting work.

And here's Raven

The pose is more important than the details. The gun doesn't need to be perfect, the hand doesn't need to be anything more complicated than a square, as long as it's there.

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Currently putting together a bunch of junk for my own art bible, preproduction is rough on your own but at least I got the documentation out of the way.

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You'd think examples from Batman Knight Gallery were merely redesigns, but it turns out that it's connection to the League of Batmen: In which Ra's Al Ghul breaks into the Batcave, steals the late Bruce Wayne's diary (with hearts on the cover), finds the extremely 90s designs and decides that they would be perfect for his League of Assassins.
No, seriously.

this art style bugs me so much, her breasts are too high up and it makes her torso look all weird

Keep in mind these are basically just colour tests, scanning fucked the linework up something drastic.

>A Count and his young mistress

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A good start.

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that's nice but i think that belongs in a donut steel thread or a bat thread

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Ah sorry, I was kind of just going by what was detailed in op. I have some stuff from finished animations that I worked on though, does that count?

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Sure, but sadly I don't have a lot saved.
>That design in the top left corner wasn't the one picked.
Goddammit.

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This is pretty much all I have.

>Bare midriff
My weekness!

>the concept art is so lively and true to the house style
>you can already see the movement and wide range in there
>naah lol let's make it CGI
>but we can show you how it WOULD have looked as a 2D movie in the credits
>and of course it looks far and away better than the actual movie did
mfw

under the poncho, nothing at all.

NOTHING.
AT.
ALL.

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