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korra-naga:

MD: I always enjoy it when TV shows jump ahead between seasons. It makes me feel like the characters and the world have a life of their own while I’m not watching. So with Book Two, we jumped ahead six months. Mako is now a cop, Asami runs Future Industries, Bolin’s trying to keep the Pro-bending dream alive, and Korra’s growing more frustrated with Tenzin’s airbending training. And with a new season come new outfits!
BK: Once the looks of the main characters are well established, I like to vary them with costume and hair changes where it makes sense. These variations often end up being production headaches, as we try to keep track of which outfit is supposed to be worn in each sequence. I am quite pleased with how Korra’s long-sleeved outfit turned out; it was meant to be a colder-weather outfit for her time back in the Southern Water Tribe. In hindsight, I wish we had just used it for all of Book two, but that was my bad call not to do so.  Korra outfit design and color by Bryan Konietzko. Below: Korra expressions by Ki-Hyun Ryu. Cleanup by Studio Pierrot. Color by Sylvia Filcak-Blackwolf.
JDS: Mako’s police uniform went through a couple rounds of concepts before we settled on this final design, above. Oddly enough, all the concepts had him wearing his red scarf neatly tucked into his jacket. For the record, I was all for it, but Bryan made a last-minute decision to remove it from his final design. Looking back, I suppose it would be strange if a police officer showed up at a crime scene wearing a ratty red scarf. Mako winter coat design by Bryan Konietzko. Mako police uniform design by Christie Tseng. Color by Sylvia Filcak-Blackwolf.
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korra-naga:

MD: I always enjoy it when TV shows jump ahead between seasons. It makes me feel like the characters and the world have a life of their own while I’m not watching. So with Book Two, we jumped ahead six months. Mako is now a cop, Asami runs Future Industries, Bolin’s trying to keep the Pro-bending dream alive, and Korra’s growing more frustrated with Tenzin’s airbending training. And with a new season come new outfits!
BK: Once the looks of the main characters are well established, I like to vary them with costume and hair changes where it makes sense. These variations often end up being production headaches, as we try to keep track of which outfit is supposed to be worn in each sequence. I am quite pleased with how Korra’s long-sleeved outfit turned out; it was meant to be a colder-weather outfit for her time back in the Southern Water Tribe. In hindsight, I wish we had just used it for all of Book two, but that was my bad call not to do so.  Korra outfit design and color by Bryan Konietzko. Below: Korra expressions by Ki-Hyun Ryu. Cleanup by Studio Pierrot. Color by Sylvia Filcak-Blackwolf.
JDS: Mako’s police uniform went through a couple rounds of concepts before we settled on this final design, above. Oddly enough, all the concepts had him wearing his red scarf neatly tucked into his jacket. For the record, I was all for it, but Bryan made a last-minute decision to remove it from his final design. Looking back, I suppose it would be strange if a police officer showed up at a crime scene wearing a ratty red scarf. Mako winter coat design by Bryan Konietzko. Mako police uniform design by Christie Tseng. Color by Sylvia Filcak-Blackwolf.
Zoom Info
korra-naga:

MD: I always enjoy it when TV shows jump ahead between seasons. It makes me feel like the characters and the world have a life of their own while I’m not watching. So with Book Two, we jumped ahead six months. Mako is now a cop, Asami runs Future Industries, Bolin’s trying to keep the Pro-bending dream alive, and Korra’s growing more frustrated with Tenzin’s airbending training. And with a new season come new outfits!
BK: Once the looks of the main characters are well established, I like to vary them with costume and hair changes where it makes sense. These variations often end up being production headaches, as we try to keep track of which outfit is supposed to be worn in each sequence. I am quite pleased with how Korra’s long-sleeved outfit turned out; it was meant to be a colder-weather outfit for her time back in the Southern Water Tribe. In hindsight, I wish we had just used it for all of Book two, but that was my bad call not to do so.  Korra outfit design and color by Bryan Konietzko. Below: Korra expressions by Ki-Hyun Ryu. Cleanup by Studio Pierrot. Color by Sylvia Filcak-Blackwolf.
JDS: Mako’s police uniform went through a couple rounds of concepts before we settled on this final design, above. Oddly enough, all the concepts had him wearing his red scarf neatly tucked into his jacket. For the record, I was all for it, but Bryan made a last-minute decision to remove it from his final design. Looking back, I suppose it would be strange if a police officer showed up at a crime scene wearing a ratty red scarf. Mako winter coat design by Bryan Konietzko. Mako police uniform design by Christie Tseng. Color by Sylvia Filcak-Blackwolf.
Zoom Info

korra-naga:

MD: I always enjoy it when TV shows jump ahead between seasons. It makes me feel like the characters and the world have a life of their own while I’m not watching. So with Book Two, we jumped ahead six months. Mako is now a cop, Asami runs Future Industries, Bolin’s trying to keep the Pro-bending dream alive, and Korra’s growing more frustrated with Tenzin’s airbending training. And with a new season come new outfits!

BK: Once the looks of the main characters are well established, I like to vary them with costume and hair changes where it makes sense. These variations often end up being production headaches, as we try to keep track of which outfit is supposed to be worn in each sequence. I am quite pleased with how Korra’s long-sleeved outfit turned out; it was meant to be a colder-weather outfit for her time back in the Southern Water Tribe. In hindsight, I wish we had just used it for all of Book two, but that was my bad call not to do so.  Korra outfit design and color by Bryan Konietzko. Below: Korra expressions by Ki-Hyun Ryu. Cleanup by Studio Pierrot. Color by Sylvia Filcak-Blackwolf.

JDS: Mako’s police uniform went through a couple rounds of concepts before we settled on this final design, above. Oddly enough, all the concepts had him wearing his red scarf neatly tucked into his jacket. For the record, I was all for it, but Bryan made a last-minute decision to remove it from his final design. Looking back, I suppose it would be strange if a police officer showed up at a crime scene wearing a ratty red scarf. Mako winter coat design by Bryan Konietzko. Mako police uniform design by Christie Tseng. Color by Sylvia Filcak-Blackwolf.

giancarlovolpe:

grizandnorm:

Tuesday Tips SUPER WEEK - Push it!

Clarity is probably the most important thing to think about at all time when boarding. Pushing your poses to an undeniable level of clarity will improve the clarity of the storytelling in general. Don’t leave space for uncertainty in posing out your characters. Your audience will be more engaged and entertained by the sequence.

This is the last post for the Super Week. I hope you enjoyed it. Back on the regular schedule next week (Every Tuesday).

Norm

What a great series.  Thanks for posting these!

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