Billy Quizboy

In my continuing effort to get caught up with this season's aired episodes, here are designs from the Billy Quizboy episode. This was a hectic one, many more designs per person than usual. I think it was the first show we designed, and we were worried it was going to be this tough the whole season. Fortunately for us, it was simply an action packed season premiere.

I was very excited to be asked to work on the VB version of Race Bannon.





















I was absolutely thrilled to work on this design below:

The Doctor Is Sin

Here are designs from The Doctor Is Sin. I worked on a lot of Doc stuff for this episode. This first one is a young Doc Venture.


I reposted this hovercraft design simply because I like it so much. It's traced off of an actual experimental military vehicle photograph found on the 'net.


Of course, I loved doing this Doc "dress-up", only, I forgot to add the little jet thingies on his boots.

This cereal box is cool. Wish I could take credit for the neat little dog drawn by Stephen.










Had a lot of fun redesigning the X-1. I think there were some updated designs I did for this later in the season, fixing some mistakes. I'll post those later if I can find 'em.

Venture Brothers Season 3 Rules

I caught the premier last week and it did not disappoint. Actually, the premier was the Sunday before last, and I'm already late with my post. Still haven't seen last night's episode, which I hope to have time to watch tonight, and will post that episodes designs next. I'm starting this post with one of my favorite designs from Shadowman 9: In the Cradle of Destiny, the notorious Betty Rage:







OK, so, I have to point out that sometimes we get to make up our own characters for parties, etc. and of the next two, Jackson HATED the Termitator (pretty much hates all things 80's, see also my rejected Early Monarch Costume), so it was NOT used in the show. But, he did like...

...Unicornelius, so he WAS used in the BG party sequence (I think).


So, I've mentioned my becoming "the car guy"on the show, and I've also mentioned how that pretty much makes me the best "car tracer", ha ha. But I've grown to love it, and this one especially. Creating the proper designs for the vehicles of the show depends entirely upon finding the right car at the right angle. Jackson usually has a specific car in mind, but I think this one had some leeway as the year was not specified. I find the right car and get approval, and then do a quick drawing on top to get things going. Then I tighten up the drawing...
And then I ink it with the path tools in Photoshop.

¡Los Hermanos Venturos!

I heard Adult Swim aired a rough-cut of The Doctor is Sin on April 1st. Here are two designs I worked on for that episode. I'm looking forward to starting season 4 in about a month!

Musical Bar-B-Que

There were at least two musical CD's put out by Cartoon Network of various songs and skits performed by the SGC2C cast. The art for the first, Musical Bar-B-Que -released in 1997, is one of my oldest SG related portfolio pieces. At this time I was still quite the novice, having been in the animation field for only 2 years. Of course I was very proud to work on this as an assistant to C. Martin Croker over at his Big Deal Cartoons. In addition to his hilarious singing and character performances on the album, Clay created all the art work you see on both sides of the CD, including the beautifully painted background, with a small amount of help from me, and I believe the talented Stephanie Gladden, and perhaps Robert Pope (though I don't know for sure)** who helped out on the characters. I am hoping he does a more worthy post on this art, along with the second CD, "Surf and Turf", where it should really go, Clay's Adult Swimmin'. Especially since I can't find the large sized, full-color xerox that I kept for years and years and years, and right when I need it... can't find it.




My main reason for this post is to show what I remember as my main contribution to this CD's art, Brak and the props on the back cover. Work on an illustration like this would generally have the same approach as animation work. Being an assistant, I would rough out a pose on animation paper, like this passed out pose of Brak, give it my best shot over the course of the evening shift, and pass it off to be tightened up, fixed, changed, and put on model. My goal as an assistant would be to see how much of my contribution didn't need changing, because if not then you're holding your own and giving your director something he can use. I think I did OK on my effort here, and some of it made it through the process. And whenever that happened in any production then, it was a really great feeling. It's sort of taken for granted now in animation that you could be working on a character you loved when you were a kid, but at the time it was rare. Especially rare in Atlanta, GA in 1997. It was a great feeling to be working on a character you loved at all, let alone a show.

Sadly, I can't find any sketches or roughs from this time.

**I used the Sampler CD originally for this post, but I dug out my copy of Musical Bar-B-Que, and noticed my name in the Thanks To section, which was cool because I had forgotten. Didn't see Steph or Robert's names, so I crossed through the above.

DC's Cartoon Cartoons #14 Splash Page

I've only drawn one or two splash pages for DC, and this is one of them. I'm still pretty happy with it, after all these years. Which I was trying to figure out, and can't. I want to say I drew it in 2001, but it was probably the summer of 2002. Anyway, It's far better than some SGC2C pages I drew years later, and that's probably due to the fact that this was the ONLY thing I was working on during that time. I got up and worked on it all day and into the evening, everyday, for about a month. I was happier than a pig in $h!t, especially because drawing comics was not my main profession. Every once in a while my freelance schedule will align just right, and I'll get to take my time on some pages. I've got this one up on my wall. As I say all the time on this blog, I sure miss drawing these characters.

VB3 Sneak Preview 2

Here's a jet I drew based off of the Blackbird. When doing these, I was inspired by those old Jonny Quest model sheets like THIS ONE, especially since we were encouraged to do so. I don't think I come close to some of the excellent draftsmanship seen in some of those model sheets, especially the Doug Wildey designs, but they are inspiring nonetheless. Maybe if I xeroxed this design a hundred times and then posted it, it'd have that quality that I covet so much. Just kidding. I consider myself a cartoonist, but those old greats like him were real illustrators. By the way, I really took advantage of some great reference on the web during my stint on VB season 3. If you're looking for old Jonny Quest art, GO HERE.

The Car Guy (aka VB3 Sneak Preview)

OK. So, here's a great example of what I was talkin' about in my previous post. This is a Land Rover I "drew" for season 3. I'm pretty happy with it except for the lack of detail in the hubcap area.

Haircuts Are For Sissies

And they ARE too!

Found this rough sketch the other day and decided to do a quick inking over it.

I finally finished my 6 months on the Venture Brothers as character and prop designer. Don't think I'll have much to show until the episodes start to air, which will be a little longer I guess. Maybe I'll shoot an email over to JP3, and see if he minds if I show you a sneak peak. The season was lots of fun and ran very smoothly this year. As usual, it was great to work with such talented people and especially loved working with Stephen. I got a nickname this season, "The Car Guy", which means, you guessed it, I got stuck with a LOT of the cars (and jets, and zeppelins, and motorcycles, and...). This was something that started last season. The designation would be a lot cooler except for the fact that I really just find a photo at the right angle and trace it in Photoshop. So, I guess that means I'm the best tracer of cars, mainly cuz I'm quick with the vector tools, which makes for the best ink style of anything manufactured. I did have fun redesigning the X-1 and also updating Brock's Charger. It's especially funny to me because I've always hated drawing cars and always felt I was terrible at it. But because I love VB I just took my time and through patience would generally end up with something I liked. Anyway, I'll post some designs as soon as I can!

WILLIAMS STREET

Sometime, back in 2000 (maybe even earlier...), I got a call from a freelance producer working for Toonami. He and the Toonami crew were doing a shoot of a Space Ghost Coast To Coast read-through over at Williams Street. I'm not sure what episode it was for, but I think they were going to air the read-through, and then air the episode. Well, they needed storyboards for the shoot, or for the editing of the shoot. He didn't need them in any particular order, something that could be done later. The funny thing for me, looking back on these boards, is that years later I was going to work pretty closely with most of the guys doing the reading, but at the time I didn't know them, except for Clay of course. If you are familiar with SGC2C, The Brak Show, and Aqua Teen Hunger Force, you might recognize this motley crew: Dave Willis, Matt Maiellaro, C. Martin Croker, George Lowe, and Jim Fortier. It was the only time I ever worked for Toonami.

Bag of Weed

Found this the other day. I drew this prop for Aqua Teen Hunger Force episode 19, "Frat Aliens" (I think...). I remember thinking at the time, "I can't believe I'm getting paid to draw weed." Upon recollection, I believe they ended up painting the bag opaque white, so you couldn't see what was in it. Here's the un-edited, un-rated version!

DC's Cartoon Cartoons #13 Penciler's Cut

I've waited almost FIVE YEARS to be able to show these NEVER-SEEN-BEFORE pages. Check out the first eight and compare them with the second.









I pretty much started my career as an animation assistant on Space Ghost Coast To Coast. I had a few other freelance jobs before that, but it was my FIRST show. Years went by, and Cartoon Network had licensed the property to DC, and since I worked on the show from time to time, I had the fortune of helping create a handful of the dozen or so SGC2C books that were made. Some of the pages I drew were good, some were bad. I made a lot of mistakes at this time as I was still somewhat of a rookie, but I was learning a LOT from drawing each page and even more from pouring over every panel after receiving my copies of the finished book, taking note of what turned out right, and what turned out horribly wrong. In this case, the trouble turned out once again to be editorial changes coming down from CN. I've mentioned this subject before on my Illustration Blog, that sometimes you turn in your art and then someone up the chain of command decides to change the script! As a result, my eight pages above were completely mutilated in the final, printed book, mainly having most of the backgrounds erased away and replaced with big swaths of emptiness (this was NOT the fault of the bull-pen artist who made the changes, but lay more in the area of what the new BG's were ordered to be -- the interior of the SGC2C studio. This was an issue that kept coming up again and again. CN hated any story where good ole SG and crew were anywhere other than on the set, just like the show. This command may have kept advertising integrity, but it sure limited the creative scope of the books). Not being the most fantastic artist, I was relying on the gestalt of each panel. Once the BG's were taken away, it left imperfections in the characters all the more glaringly obvious. Luckily, I was in the habit of Xeroxing each penciled page before shipping off to DC. Below are the 6 inks I got back, while the last 2 went to the inker, so I've scanned the last 2 from the book.


(Having changed the location AFTER the art was created resulted in some wanky-ness in the final, such as having and ice-cream truck INSIDE the studio...)




(and here, hastily converting a garbage truck into the above ice-cream truck even though the two look completely different. -oh the humanity!)



(Ah well, it was fun while it lasted!)

Venture Brothers Storyboard Test

Just over 2 months ago, I decided to leave one job for another (which allowed me to avoid a recent NYC animation disaster) and take the design position on season 3 of The Venture Brothers. I also decided to take the storyboard test since I've always wanted to 'board for the show. I'm happy to show the results of my test below (followed by commentary).




























































OK. So those of you who love The Venture Brothers will recognize this sequence of scenes from last season, and that it's also one of the toughest sequences to 'board of just about anything they do in the show. At least it seemed that way to me when I sat down to do it, a suspicion later confirmed by Chris, who pointed out that that's the point of the test. I hadn't done any 'boards for a while, and the last one was when I took the last VB SB Test (see PG1 and PG2) leading up to season 2. I spent a week on that test, then quickly spent an extra day taking the design test, and later on got the design position. I love to design on the show, but have always wanted the challenge of doing the 'boards.

I knew I had to "wow" Chris and Stephen or it wouldn't fly, so I really concentrated on the shots, to make the angles and sequences as dramatic as the script demanded. I spent way too much time on it, over 40 hours, but a lot of that was just getting warmed up. I was really proud of the test when it was completed and I think it shows that I've come a long way since the last one (at least to me). I happily turned in the script and waited. After a few weeks went by without any mention of it, I soon realized I did in fact, not "wow" them. However, I knew it was a long shot anyway, having seen some of the truly fantastic, beautiful boards done for the show, and at the very least was hoping to get a critique by two very talented and experienced 'board artists.

I got my wish this week when Chris and Stephen pulled out the test to talk to me about it. The main feedback was positive. Chris said he really liked the test and the angles I chose, which was my main goal. Also, they took the time to go over the secondary goals that I had forgotten along the way. I didn't realize that good ol' construction drawing is an absolute priority when storyboarding. For me, it was easy to forget as I was blocking out the compositions and making sure all characters were where they're supposed to be, and then dashing on the character details before moving on to the next panel. It turns out that it's more important to have proper construction than detail. They stated emphatically that Korea can get all the details right, but will fall on the boards almost 100% for the construction of the characters. So, Chris pointed out there were a lot of areas that were "mushy", where I didn't prove a commanding knowledge of constructing the characters. Not that I can't, but that in places it wasn't there as proof. I had to agree. He also mentioned a few places where I broke some cinematic rules like unintentional jump-cuts, etc., but that it wasn't more than the usual 'board artists would do on the show, and that we'd probably get around that during a thumbnail phase (which wasn't done for the test).

So, surprisingly the critique ended with Chris' assessment that he liked my 'board test enough to give me a shot on 'boards, but at the same time, there seemed to be a learning curve that it would take for me to get to the proper speed, groove, etc., that the schedule and demands of the show wouldn't allow. I did take a long time on the test, so I had to admit that the same thought had occurred to me. So then to my amazement, he mentioned that from time to time some 'board artists would get behind and have scenes or groups of scenes split out for another artist to complete, and that he'd like for me to help in this capacity if I was up for it! Something like a few scenes with a month deadline that I could do at nights and on the weekends. And from there he could see if I could get up to speed, etc. And, it's my hopes that in doing so, I can gain enough trust in that category to finally qualify for the position on season 4. Sounds perfect to me!

AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS - PART 4

A MOVIE MONTAGE FEATURING - WALTER MELON

From the MatthewIJenkins Animation YouTube Channel.

AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS - PART 3

EMORY AND OGLETHORPE

Did these for the movie. I think they evolved a little from here, but I can't find those designs right now...

AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS - PART 2

THE INSANOFLEX - THE COOL DESIGNS

When I first started designing for the movie, we didn't really know what Insanoflex should look like. I envisioned some sort of monster - a work-out machine that could spontaneously grow and absorb other objects around it, growing to massive heights. I wasn't concerned with how it would be animated just yet (or how the would pay for that animation), so some of these designs are pretty wild. In the end, they went for something much tamer (and sillier).

AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS - PART 1

THE INSANOFLEX - THE SILLY DESIGNS

I worked on the Aqua Teen Hunger Force Colon Movie Film for Theaters, on and off, from late 2004 to around August 2005. Now that the film is in theaters I can finally show you some designs! Here are several doodle-sketches exploring a goofier Insanoflex.

Carl Hits On A Married Woman

There's a guy who I currently work with who is sorta famous for his design work. Last fall, I bought his book called S Curves. It's full of sexy girl drawings and is highly recommended. I finally got up the nerve and asked him to sign my copy of the book and mentioned that if he wanted to throw a sketch in there, that'd be cool with me. To my surprise, he took it home for an evening and banged out a really nice sketch. During our conversation, I couldn't help but mention my biggest claim to fame - my work on the Aqua Teen Hunger Force. He admitted not really getting the show, and that it was hard to get over the cheapness of the animation (easy to understand when compared to the show's he's worked on), but that his wife really loved ATHF. So, I thought I'd return his generosity the best way I could and draw a quick sketch for his wife.

If you'd like to see the sketch he gave me, click here. What a nice guy.

I Love The Venture Brothers

Even though I've signed on to help design characters and props for the VB season 3 design department, I also wanted to try out for the storyboard department. They decided to humor me and give me a storyboard test.

It's kicking my ass.

But after a long weekend and several late nights, I think I'm starting to get warmed up...

The Venture Brothers Rules

I officially accepted the design position on The Venture Brothers season three and four today! Life is good.

Adult Swim Reface

This is a sort of re-post from my YouTube channel. I'm really just waiting around for the ATHF:movie to come out so I can post a bunch of design drawings from when I worked on the damn thing, oh, in 2004/2005. Is that right? Yes it's been that long in development. Anyway, here's what this post is really about:



"Years ago, when adult swim launched, they had replaced the network packaging of old people swimming in pools with some cool art that looked like airplane safety instructions. This is part of our pitch to Cartoon Network, to get the account. It was well received but eventually we did not get the account, but it's interesting to see this years later..."

When I say "our" above I'm speaking of a company I was part owner of called Wild Hare Studios. You'll see that name in a lot of old ATHF episodes and Brak Show episodes. The company that DID get the account was Big Deal Cartoons owned by none other than C. Martin Croker. Maybe if you bug him he'll post some of that stuff on his adult swimmin' blog. Too bad they replaced all that stuff only four months later with the white text on solid black. I have to say though, after all these years, the white text on black has grown on me.

Venture Brothers Season 2, pt. 11

Check out these last few designs I dug up from VB season 2 final episode. Love those villains' cars!

Venture Brothers Season 2, pt. 10

VENTURE BROTHERS SEASON THREE

Rumors are bouncing around these days about VB season 3. Official news is expected to come through any day now. All of us who are big fans are anxiously waiting. To celebrate the mood I thought this post should feature VB designs from the first half of the season two finale. I drew these almost a year ago, over Dec '05/Jan '06.

Sealab 2021 Season 2 DVD Comic

Happy New Year to all you Adult Swim fans! Here's my first post of the year. A couple of years ago I was asked to draw and ink 7 pages for a comic book that was to come with the Sealab 2021 Season 2 DVD box. Little did I know it was actually going to BE the Sealab DVD box. Anyway, I've posted the original scans followed by scans of the DVD case. The cover (below) was NOT done by me.









My first reaction to seeing these after a couple of years is... where are the backgrounds? I think I got lazy about 'em. I seem to recall that I had less than two weeks to draw and ink them, so maybe I felt justified. But if I could to do it all over again, I'd've put BG's in all the panels.

Space Ghost Rules

This will probably be the last post of 2006. But, there will be plenty more next year! I'll be visiting friends and family for the rest of December. It's been really fun blogging for the first time. This blog began January 21st, 2006, with postings through most of the year. There's a ton of work from my [adult swim] years that is now on the Internet for the most geekiest of fans to hunt down. I've really enjoyed looking at all this old stuff. With the year in review in mind, I thought I'd end it with the current theme that's been running through this blog, which is ole Space Ghost. It seems appropriate since SGC2C was my first job in the cartoon show biz. Here's a quick sketch that I tied down with marker, probably in 1999. Not a perfect drawing, but I like it anyway. Happy New Year! I'm headin' South!

Vague Memories of Drawing a T-shirt

(OK. Digging way back, on this one, into my first years out of school. This is one of a few posts that I have in mind to write about from the years I freelanced as an assistant to C. Martin Croker, during his company's several seasons producing the animation for Space Ghost Coast to Coast.)

WHAT ARE YOUR SUPER POWERS?

This old crusty, stained, stretched-out shirt was given to me, well, I don't remember what year exactly. My guess is somewhere between 1997 and 1998. Clay gave it to me (and it was new then), and I greedily accepted, very pleased to see my art on a Space Ghost Coast to Coast T-shirt. I vaguely remember drawing the figures of this shirt. From what I do remember (which I'm sure is not entirely accurate), it wasn't originally for a shirt at all, but for an episode of SGC2C. I was asked to flesh out some poses for an idea using Zorak, Moltar, and Space Ghost doing a parody of the old graphic for the original Charlie's Angels TV show. Here are some variations:




Clay probably asked me if I knew what this logo (above) looked like, which I'm sure I answered yes, even though, appartently, I didn't. For some reason we didn't actually have reference for this. I wonder why we didn't just Google it on the internet.

(Maybe, it's because Larry and Sergey hadn't officially invented it yet (launched Sep 1998), and that whole realm of thinking was much different in animation. Around then, artists were packrats of sorts collecting video, anatomy books, art books, comics, and especially model sheets that you kept nearby for reference while drawing. If you wanted reference for something you had to plan ahead. Artists still do collect all that stuff but freelance animators no longer feel the need to lug all that stuff in to work. It's so sterile to see animation studios today with hardly a book or comic decorating it's offices and cubicles - a direct link to the Google-your-reference culture in animation. I mean, when's the last time you've seen a copy of Eadweard Muybridge?)

Anyway, I vaguely remembered it but what I didn't understand was that he wanted a direct parody of the logo. It was one of those scenarios where I completely missed the mark and the art wasn't used, though Clay tucked it away. I'm not sure how it got inked, though. It looks as though I was really into Frank Miller, which I was at the time. As the story goes, Clay got a call from CN wanting to know if he had any art laying around for promotional T-shirts, and this was one of a few that he submitted (after inking in the cool looking moon).


Anyway, I'm glad it's finally posted here for all eternity, since the shirt is disentigrating and pretty much unwearable after heavy usage these last 8 years, and until now, this shirt was my only copy.

And, for fun, I threw in the art that was used (which I'm guessing Clay drew). Nice bell-bottoms! Hopefully Clay can fill me in on the inking and the other fuzzy details.

Frederator Interview

Hey everybody! My recent interview for Channel Frederator was published today! Check it out if you have an hour or two! --> Frederator Interview <--

Yes, Space Ghost Really Was Fat

Another post on Fat Space Ghost. Here are some boards and some sketchbook pages from work I was doing at Primal Screen in 1999. For a while, there was this whole theme of Space Ghost getting fat and washed up (the theoretical chronology puts this event happening sometime between the late 1960's show and the 1990's SGC2C show).

Carl Doodle Vid 1

I was goofing around with my wife's Nikon COOLPIX3100 digital camera yesterday while waiting for the big Thanksgiving dinner to be ready. The camera's main function is shooting photographs but it also has a feature for capturing video, however low quality it may be. On the highest video resolution the maximum capture length is only 20 seconds, and it doesn't record audio. I was wondering what it could be used for with such crappy limitations. Well, I guess you can do something cool with it. The hardest part was drawing and holding the camera while trying to look around the camera at the drawing.

The Fratellis

If you saw the premier episode of the Venture Brothers season two, and you didn't blink your eyes, you might've seen some characters who looked a lot like the Fratellis from Goonies. Well, you were right! I jumped at the chance to design these guys for the show because Goonies is one of my all-time favorite movies. I was exactly 12 years old when it came out, right around the same age as Data, Chunk, Mouth, and the Adopted Wuss.

Global Grilling - ATHF episode 65, part 1

Global Grilling aired last night. It's the only Aqua Teen Hunger Force episode I've worked on this season, my first time back on the show in over a year. Here are designs for Moucus Man.




This image, with some adjustments from the first round of designs, became the final design for Moucus Man.

Here's Moucus Man is his three states of formation.