![]() I threw it in through the Dreamworks website because I was just rolling off my old job and I was like, “OK, I need work. Do you think her approach to the show, and yours, was influenced by your shared webcomics background?ĭH: It’s kind of interesting because, when I came on the show, and this information may be wrong, but from what I’ve heard.well, basically, I turned in my application blind. The showrunner for She-Ra, Noelle Stevenson, was also a webcomic artist. And, unfortunately, it had to be my personal, baby comic because it wasn’t making me the money to pay for rent. It got to the point where I became really burnt out and I knew I couldn’t keep concentrating on my day job and my comic and I knew I had to put one of them down. Because of that, I had to shoulder quite a bit more responsibilities and tasks than I normally would have on my previous shows. Animation budgets just keep getting smaller and smaller, so we have to keep having to doing more and more with less people. It was just a very demanding show and we weren’t provided the resources that we could or should have gotten and that is not the fault of the showrunner or anyone on the crew, it’s just the nature of the business. It completely derailed my schedule for “TLVB,” actually. ![]() How much did working on She-Ra affect your work on “The Lonely Vincent Bellingham,” schedule-wise?ĭH: Oh, completely. So far in all my experience in animation, all the animation was done overseas.ĭH: For She-Ra, our primary overseas studio was NE4U and they did a great job.Ī quick aside: you mentioned earlier that you’re now working at Cartoon Network?ĭH: Yeah, I wrapped on She-Ra and moved onto a new show that I can’t discuss yet. Storyboards on a feature level is not quite the same mainly because the animators for features are usually in the same studio as the animators of storyboard artists whereas TV storyboards and TV animation is done in completely separate countries most of the time.ĭH: Yes, yeah. They’re the ones who really pose out the entire movement and draw it directly on model and so on and so forth. Then the animators take what we do and flesh it out. ![]() Because TV budgets are so small, and we have a quicker turnaround than feature films do, storyboards typically have to be a lot tighter and when I say tighter, I mean we have to make sure the layout is 100% accurate, we have to make sure the characters are fairly on model and have all the acting choices that we want in there. Basically, we provide the blueprint for what the animators would have to animate. Right now, I’m at Cartoon Network.įor those who don’t know the difference (or are woefully ignorant like me,) what is a storyboard artist vs an animator™?ĭH: I guess it depends on the discipline, like, if you’re in feature vs TV animation - I’m currently in TV. Your primary work is as a storyboard artist, correct?ĭH: Yeah, currently, that’s my main job. ![]() I read that and “Gunnerkrieg Court” and “Hark, A Vagrant” and a bunch of others I can’t quite remember off the top of my head just now but I’ve always been a huge fan of webcomics as a kid and I think because that was my first influence as comics, I always wanted to make one myself. I think the very first one I read was probably “Mega-Tokyo” by Fred Gallagher. To start us off, what was your prior experience with webcomics before starting “The Lonely Vincent Bellingham?”ĭiana Huh: I grew up with webcomics and, if I remember right, one of the first comics I ever read was through the internet. And yes, shameless (self-)promotion is this interviewer’s middle name. Eagle-eyed readers of The Webcomics Weekly might recognize the comic from Gustavo’s review from a few months ago. This month, we sat down and had a chat with Diana Huh, creator of “The Lonely Vincent Bellingham” and former storyboard artist for the first two seasons of She-Ra: Princess of Power. We’re continuing those conversations here, albeit a little more formally, by interviewing webcomics creators to pick their brains about craft, storytelling, and their personal experiences with the medium. Be it through social media, public email addresses, Discord servers, or simply the comments section beneath a page, there is a rapport and a conversation that is developed that is unique to the medium. The webcomic creator is never far from their audience.
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