Typically, I like to post my storyboard work on my website, but only
after I know that the ad has already aired and has been made available
on the internet. Sometimes months or even years go by before I see the
finished commercials online. Recently, I got curious, did a search and
found a bunch of commercials that I had worked on that I hadn't noticed
before.
This commercial for Church's Chicken, produced by Independent Media, was part of a series I storyboarded for director Danny Leiner (Harold and Kumar Go to White Castle).
Click on the artwork to view larger.
This was a series of four commercials I did a while back with Crossroads Films for Cox. The spots were directed by Vadim Perelman (House of Sand and Fog).
This spot was created by Blind's Greg Gunn for the Salt River Project.
For Part 1 of this Commercial Roundup, click here.
Check back at this blog for Part 3 of this Commercial Roundup!.
Typically, I like to post my storyboard work on my website, but only after I know that the ad has already aired and has been made available on the internet. Sometimes months or even years go by before I see the finished commercials online. Recently, I got curious, did a search and found a bunch of commercials that I had worked on that I hadn't noticed before.
Here is a spot I worked on for Independent Media with director Danny Leiner (Harold and Kumar Go to White Castle). It was one of a series of spots for AdoptUSKids.org. Click the image for a better view of my storyboards.
Here's another ad that was part of the same series.
Here's another ad I storyboarded for Danny Leiner--this time for Church's Chicken.
Here's a commercial I worked on with SK&G for Baha Mar. Several different ideas were drawn for this pitch, and you can see some of the ideas sprinkled throughout the finished ad.
This commercial, produced by Independent Media for Schick, was a last-minute rush-job call. It was directed by Adam Shankman (Glee). No more all-nighters for me, thank you.
This virtual reality spot for Nike is best viewed on a cell phone that has motion sensing capabilities using the YouTube app (not your browser). From the app, search for "Neymar Jr. Effect" to properly view the spot. While watching the video, you can get an interactive 360 degree view of the action by turning your phone. The original concept for the ad was that you view the clip with the action running backwards, which is why the action is presented in reverse order in the storyboards. The spot was produced by Smuggler and directed by Adam Berg. Thanks to Beth at Action Artists for finding this spot for me.
Here's a Vampirella piece I drew for the Big Wow ComicFest.
The convention will take place from April 18-19 in San Jose. I'll have
a table there, and the original black and white ink artwork of this
will be available for auction.
Here's the final part of the
storyboard panel I participated in for the Society of Illustrators of
Los Angeles along with Le Tang, Justin Ridge and Steve Ahn on May of
2014 at the Victory Theater in Burbank, as moderated by Marion Eisenman,
and captured on video by Santosh Oomen.
In May of 2014, I participated in a panel about storyboarding for the Society of Illustrators of Los Angeles. The panel took place at the Victory Theater in Burbank and included storyboard artists Le Tang, Justin Ridge, Steve Ahn, and myself. This is the second part of the video, the first part of which you can view here.
For
this illustration, I was inspired by the Christmas song "Santa Baby",
which was originally recorded in 1953 by Eartha Kitt (though the
recording is often misattributed to Marilyn Monroe). The song was
written by Joan Javits and Philip Springer, and was a sexy
tongue-in-cheek novelty song in which a woman flirtatiously asks Santa
for a host of extravagant gifts. The song was a big holiday hit in
1953 and was recorded again with new lyrics (as "This Year's Santa
Baby") in 1954. A more uptempo version of the original was recorded by
Kitt in 1963. It has been covered by artists such as Madonna, Mariah
Carey, Macy Grey, The Pussycat Dolls, Taylor Swift and Miss Piggy.
I drew and painted the illustration digitally in Photoshop. The limited
palette is an homage to the popular two or three-color printing process
that was often used in publications in the early 20th Century.
