shermcohen

Great to hear. BTW, that second link got messed up. It's>> [link] << It's really worth checking out!

Opens up with great depth and exciting action. Immediately draws the viewer in. Good choice to lead off with this. The drawing throughout is absolutely top-notch, and the action is very dynamic!

Is that a cut between page 1/panel-8 and page 1/panel-9 ? How about between page-1/panel-10 and page-2/panel-1? If so, it's a jump cut -- the angla and framing are too similar to the preceding shot, so it makes the cut abrupt and confusing (If that's all one continuous shot, then it's not a jump). The cut from pg-2/panel-4 to pg-2/panel-5 also jumps because the size and relative position of the running kid stays the same even though you've cut to a different angle (same applies to the cut from pg-2/panel-9 to pg-2/panel-10).

There's a screen direction inconsistency from Pg-3/panel-2 to Pg-3/panel-3 (see why labeling pages and panels can be so helpful?) In Pg-3/panel-2 the boy is looking at the tiger from Left-to-Right. In Pg-3/panel-3 the boy looks at the tiger from Right-to-Left. If you flop (mirror-reverse) pg-2/panel-10 thru Pg-3/panel-2 you will have solved this common problem. Characters should always maintain their relative screen positions (Left, right) until we actually see them cross over onscreen. Hard to explain in words…) Most of the time you've got the screen-direction thing totally right.

LOT of fantastic action and depth of page 4 -- and good use of vertical angles (upshots and downshots) to emphasize his climbing and jumping.

Page-7/panel-1 to Page-7/panel-2 has the same screen-direction cross. Same at the top of page 14. This is a major red flag to studios that you don't know how to handle screen staging, so I hope you'll work on this particular are most of all. See: [link] and especially [link]!/Entries/2009/11/2_Story_Class_-_Chapter_7__Continuity.html

The devil story is nicely done -- shows off good acting, drawing and storytelling. The remaining panels and sketches are wonderful. Drawing throughout is fantastic. I suggest labeling each section to add a little context and let the reader hear your voice a little. For example: "Storyboard for "Zebra Chase" animated student film, 2010"

Great work. Let me know if you have any questions! -- Sherm

We usually draw one pass before the voices are recoreded, then we make revisions based on the voice acting on a second pass. It varies a lot -- each episode and movie each have their own specific challenges. We just make sure we keep at it until it's right.

Yayy! I'm so glad you both liked it so much!

Thanks! I had some very good teachers. Some of my favorite compositions are found in old Looney Tunes cartoons and the comic strip Wash Tubbs and Captain Easy by Roy Crane.