#toonhole chris

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[tastefullyoffensive]

40 Hilarious Minimalist Comics Sketched Out By Toonhole Chris

[miniyo]

Chris Allison, en Toon Hole [web]  [instagram] [facebook, Toonhole]  [facebook, Toonholechris]

[pleatedjeans]

40 Hilarious Minimalist Comics Sketched Out By Toonhole Chris

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oh look. it’s me.

Artist : Toonhole Chris

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ToonHole Chris

[miniyo-original]

Chris Allison, Toonholechris, en Toon Hole [web] http://www.toonhole.com/ [twiiter] @toonhole  [facebook] https://www.facebook.com/Toonhole

[facebook] https://www.facebook.com/toonholechris/

¿traducida? aquí

[codywalzel]

This is part one of two summarizing replies to a conversation I had following an ask by @arletestanyol on Instagram. This response is about storyboarding portfolios. I’ll post part two about TESTING for storyboard positions soon.

I wouldn’t write anything in script format, that’s not really showing anyone hiring for storyboards that you can do what is required of the job of ‘storyboard artist’. If you’ve seen me posting writing material, or seen me writing in script format, that’s either just for fun, or something I’m working on for my writing portfolio. I’m transitioning from storyboard artist to writer, and hoping to get staffed on a show for a totally unrelated, live action position- Staff Writer. Big world building/character design/pitch projects are fine, but I personally don’t recommend them. For one thing, if what you’re looking to do is storyboards/writing, there’s a lot of surrounding art required, (character designs, environments, unseen backstory, text documents with outlines and character descriptions, visual development, etc….). Basically it’s a ton of work for one short storyboard sequence, which is the only thing in there really worth looking at for storyboards. And, they’re big to sort through. There’s a good chance the person looking to hire board artists will give up scrolling through pages of character designs to get to board samples. Try to keep in mind that recruiters are looking for people to fill positions as fervently as you are looking to get a job. Meaning line-producers, showrunners, and studio recruiters are on a moving train that is a TV show or movie. They don’t think in terms of “let’s give this kid their big break.” They’re more like “We need a board artist who can start and be trained perfectly by next Monday, or we lose a day in the schedule.” So, in that panic, they don’t care about your well thought out art, they want to see specific skills on display that show you can do the job immediately. Make things they can look at QUICK, many times they barely read in boards or comics, they just scroll through and know in an instant how it feels. Storyboard artist can mean many types of work, ranging from projects where board artists write all the dialogue and most of the plot from a Writer’s outline- to projects where board artists follow detailed scripts to a letter, interpreting the images visually like a cinematographer, but not contributing to writing at all. I’ll get into the different types of jobs and the broad categories of ‘board driven’ vs ‘script driven’ shows later. First, I want to mention some of the better types of storyboard portfolio samples in my opinion, and why they are better: Webcomics, any type: -They can be a big serialized story you work on over years, like Jesse Moynihan’s Forming. (Jesse= Board Artist/Writer, Adventure Time, Creator, Manly) -They can be a weekly gag strip style comic Like Kelly Turnbull’s Manly Guys Doing Manly Things (Kelly= Board Artist/Writer Ben Ten, Board Artist Good Vibes, Ugly Americans) -They can be a mini series like my buddy Alex Cline’s Stinker’s Garden  (Alex= Board Artist/Writer Regular Show, Pickle & Peanut) -They can be just random ideas you have like Toonhole Chris (Toonhole Chris=Artist/Director/Writer at Cartoon Network. 

-They can be real life stories like Avner Geller’s Things That I Hearn (Avner= Visual Development Artist  Mr. Peabody and Sherman, The Penguins of Madagascar, Trolls, and Larrikins,) Webcomics are great because 1.Little things are really easy to digest quickly, 2. They show both your drawing/staging/joke writing ABILITY, and the unique FLAVOR you would bring to the team. There’s no one ‘cartoon network artist’ sence of humor or specific take on storytelling, the point is to do your own thing, and show your own voice. The other good one- Board Samples: -These are more prevalent in feature story, but see my buddy Todd’s feature portfolio anyway. TV focused people can do a similar, but slightly less detailed set of boards for their own personal projects. But this is where it gets into complicated territory, because different categories of project are looking at slightly different things when hiring. On A board driven show like Adventure Time, you are often writing the dialouge, and a good deal of plot based on a Writer’s or Showrunner’s outline. People staffing on those shows are going to want to see writing centered stuff like webcomics over a bunch of boards mostly focused on staging and acting. On a Script Driven Show like Bojack, they are going to care way more about staging, acting, and economic shot choices. Script driven shows tend to be half hour episodes (Family Guy, SImpsons, Bojack, Rick and Morty, Gravity Falls), instead of board driven’s 11 minute episodes (AT, Regular Show, Ben Ten, Star vs. The Forces of Evil). So, the longer episodes tend to call for more economic use of existing backgrounds and character models. Some of what they want to see if that you aren’t just cutting to a new angle every shot, that the acting is clear and thorough. On an Animated Feature, the boundaries are a lot more loose. You get strict movies where you are basically providing ideas at the occasional story meetings, then executing the script to the letter. You get really loose, open projects where the script is in  a constant state of development, and you are pitching ideas, shole scenes, huge, structural plot changes, and even songs. On most moves it’s in the middle- where you are changing and playing with dialogue, and keeping the intention of scenes as written in the script, but changing up the structure of your sequence to make it work. On all animated features, the recruiters scrutinize acting, staging, and cutting VERY closely. You are almost always drawing boards for a 3-d movie, so the camera restrictions are gone, because almost any angle is easily producible. Even 2-D features don’t place as much emphasis on re-using backgrounds as 2-D TV, because the budgets are big enough to cover a bunch of different backgrounds, so you can get a ton of angles on a scene. In any case, when you have freedom of camera, you need to use it wisely. Feature boards require the highest level of cinematic language, but not as high of writing ability as board driven TV shows. You don’t have to know which type of thing you most want to work for, you should be open to all of them starting out. And, you will probably end up working multiple types of jobs as a board artist. For any of the above jobs, a badass comic or board sample will always impress, so just do your thing tonally in your personal work. You definitely should be doing original story ideas, but that can include fanart of existing characters. If you’re doing board sample featuring the Little Mermaid, do something that comments on the movie, or is a joke or something, don’t, like board serious, cannon attempts at LIttle Mermaid fan fiction, and don’t just re-board a scene that’s already in the movie. Personally, I prefer to do board samples and comics of my own ideas and experiences, because I think it shows off your flavor better. But if you make any kind of comic or board sample amazing enough, recruiters will completely ignore the fact that you’re a different tone than the show, and assume you’re talented enough to adapt. One last thing on your portfolio: it’s not the hard part, I wouldn’t get too nervous about that. Pretty much all TV boarding is decided by tests. The only thing the portfolio is for is a key that unlocks the gate to the tests. It only needs to be good enough for the recruiters and line-producers to send you test. Testing is almost a completely different skill set, so I’ll talk about that in the next post. But the portfolio is pretty easy & difficult at the same time: Make awesome personal work and submit it to studios, if they get back to you with tests, try and pass them. If nobody is getting back to you or sending you tests, you probably need to work on your portfolio, make more awesome work, repete. Social Media: You can send studios your social media pages like instagram, tumblr, a facebook art page, twitter, etc, if it’s only your art on there (or if it is MOSTLY your art. You can have tweets about other stuff on your page, but if you send them to the ‘media’ section of your Twitter, the recruiter better not have to scroll past a dozen Green Arrow reaction gifs before they get to your first piece of art.) If your social media is a little more disorganized, that’s fine, just don’t submit it to recruiters. You’ll have to make a separate website for your art. I still recommend at least a simple website on top of the social media page though. It just keeps every type of thing in one place, so someone looking at people’s comics can find all your comics in one folder, someone looking for board samples can find that, for sketchbook pages can find that, and so on. I send both a portfolio website and my social media page, since they have slightly different things on them most of the time. As crappy as it might sound, if they see on your social media that you have a big audience, that can only help you. When you get to the next round and a Showrunner is looking at your test, they probably won’t care that much whether you have 10,000 Twitter followers or not. But, the recruiter deciding who to pass through to various productions in the studio definitely will consider that. If you DON’T have 10,000 Twitter followers, submitting your social media still won’t hurt you if the art’s good and your page is mostly art. Tons of people nowadays are scoped out by studios through their social media pages, whether they have followers or not, but obviously, the more popular online artist are more visible. Part 2, on TESTING, to come. Follow me on Instagram or Twitter  here.

[jhr76]

(via 35 Funny Comics By ToonHole Chris That People With A Dark Sense Of Humor Will Appreciate (New Pics))

[toonholechris]

I'm selling prints that I have left! They are 13"x19" prints on high quality, archival 140 lbs. Cougar paper (pen on right for scale). This is a standard frame size and you'll be able to find frames for them anywhere. I'll sell them for $20 (which includes shipping). I'm only shipping to the United States unfortunately at this time. If my day job slows down, maybe I'll open that up. DEAL: Every additional print you buy in the same order mail order will only be $10. So if you got 2 prints it's $30 and 3 prints for $40. Email me: chris _AT_ toonhole _DOT_ com with the titles of the prints you want and I'll let you know if they're still available! I prefer to be paid through Paypal or Venmo. First come first served! Menu: http://imgur.com/gallery/0cuAQ (at Los Angeles, California)

[cooladddy]

Dark And Twisted Comics You Probably Shouldn’t Be Reading At Work

Dark And Twisted Comics You Probably Shouldn’t Be Reading At Work

Chris Allison, going online as Toonhole Chris, is an artist at Warner Bros by day a creator of hilarious comics by night. His comics often have unexpected plot twists and you’ll instantly get hooked on his dark and twisted humor.

The artist has been creating comics for the past 9 years and after seeing many of them reposted across the internet, he decided to create a selection of his…

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Chris Allison, en Toon Hole [web]  [instagram] [facebook, Toonhole]  [facebook, Toonholechris]

[miniyo]

Chris Allison, en Toon Hole [web]  [instagram] [facebook, Toonhole]  [facebook, Toonholechris]

[miniyo]

Chris Allison, Toonholechris, en Toon Hole [web] http://www.toonhole.com/ [twiiter] @toonhole  [facebook] https://www.facebook.com/Toonhole

[facebook] https://www.facebook.com/toonholechris/

¿la original? aquí

[miniyo-original]

Chris Allison, Toonholechris, en Toon Hole [web] http://www.toonhole.com/ [twiiter] @toonhole  [facebook] https://www.facebook.com/Toonhole

[twitter] @toonholechris [facebook] https://www.facebook.com/toonholechris/

¿traducida? aquí

[miniyo]

Chris Allison, en Toon Hole [web] http://www.toonhole.com/ [twiiter] @toonhole  [facebook] https://www.facebook.com/Toonhole

¿la original? aquí