ââådesign a Gemã¢ââ Page From the Steven Universe Art Book
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Basics and bolts: The book is published by Dark Horse, and it was designed by Ryan Sands (a zine specialist), with commentary by Takafumi Hori, Kat Morris, and Rebecca Sugar. Information technology includes art by Rebecca Saccharide, Kat Morris, Takafumi Hori, Alonso Ramirez Ramos, Angie Wang, Ashley Fisher, Becky Dreis
The Art of Steven Universe The Movie was released March iii, 2020. It's a wonderful journey through the concept art, character development, and experience of fashioning these ideas into the moving-picture show we all dear.Nuts and bolts: The book is published by Night Horse, and it was designed past Ryan Sands (a zine specialist), with commentary by Takafumi Hori, Kat Morris, and Rebecca Sugar. It includes art by Rebecca Saccharide, Kat Morris, Takafumi Hori, Alonso Ramirez Ramos, Angie Wang, Ashley Fisher, Becky Dreistadt, Chromosphere, Danny Cragg, Elle Michalka, Hilary Florido, Ian Jones-Quartey, Jasmin Lai, Jeff Liu, Joe Johnston, Julian De Perio, Katie Mitroff, Leonard Hung, Miki Brewster, Patrick Bryson, and Paul Villeco.
An introduction explains the aforementioned origin story that Rebecca Sugar told united states of america in the motion picture DVD'due south commentary: that she accidentally restored her phone to mill settings and lost years of important stuff, and she ended upward applying that devastating premise to her movie. That combined with the concept of "breaking" the main premise of a Television show to make a movie was how she got started developing the story.
The opening of the movie styled like a storybook is blocked out with some great drawings and breakdowns of which narration would go to what storybook pages. This is combined with some fractional canvass music for "The Tale of Steven." Rebecca writes about how she felt having to wrap pre-production on Flavour v just to take on this even bigger moving-picture show challenge. The biggest challenge was writing all these songs in such a short time--six weeks--and having to deal with the stress, being crushed under all that pressure while notwithstanding wanting to practise this story and then desperately, and it was humbling to nonetheless have to work so hard to sell the idea. The feeling of relief to finally be done that Steven expresses in "Happily Always Afterwards" is very similar to what Rebecca went through feeling like she wanted to be finally done but still knowing what she had to do to climb an even bigger mountain.
Some very beautiful Steven-at-historic period-sixteen and Connie in Space Camp clothes follow. Notes indicate that Steven and Connie are the same top now, only his poofy hair is just slightly college than her head.
Notes from 2017 also requite us the "Neckstravaganza": design notes on Steven's new form, with a neck and a jacket. It's very cool.
Some beautiful Joe Johnston boards follow, with sequences from the "Happily Ever Subsequently" vocal. We besides get Angie Wang's final design (with Ashley Fisher's color) of the injector, including some sketchy concept art for it from Rebecca Sugar and Hilary Florido. In the rough concept notes, they call this the "Mega Injector," with notes for Takafumi Hori to use for scale. It looks beyond huge in a Leonard Hung drawing.
Spinel concepts are adjacent. Some notes explicate that aivi & surasshu (the usual composers) were involved very early since it was a musical, and Rebecca included them when pitching the story to the Crew then they could organically develop the sound. The center shape was key to Spinel from the commencement, and early versions of her had an unabridged heart shape to her head.
(There'south a doodle of what looks like a cartoon dog in the pile of drawings shown in this section. It's not clear what that was.)
Spinel was given the heart imagery partly because Rebecca had learned early on about the importance of symbols, and when it came time to assign one to Steven, the star was chosen because it's so positive and is read as gender-neutral. Rebecca still hadn't used hearts for anything, so it was time. They besides incorporated actually old, dated character design ideas to make Spinel experience like an outdated cartoon from the rubber hose era.
The attribute of her pattern with the running mascara versus cute eyelashes predated the rotation of her Precious stone. Rebecca likes to commencement with more than realistic sketches when she's figuring out a character, and then she'll motion to making information technology more cartoony. A quote from Miki Brewster is shared: "Spinel can do anything, as long every bit it's entertaining!" Her "best friend" form is described every bit "a doll for friendship fun & games! Of a different era--hokey, charming, weird...super gullible and trusting. Incredibly loyal, constant amusement machine!"
When it comes to developing her "worst enemy" class, Rebecca explains a bit that she has a actually complicated relationship with former cartoons because nostalgia is not compelling to her--the animation from the 1930s is so neat, but considering the social limits and the style the industry was at the fourth dimension, Rebecca doesn't think she could take participated. Especially considering nowadays she even had to struggle to be allowed to tell the stories she needed to tell and it would have been incommunicable five years agone. The norms of the time aren't entirely extricable from the fine art itself.
Takafumi Hori weighs in with commentary on how fun it was to animate a scary but fun character on tiptop of Miki Brewster's boards for the "Other Friends" fight sequence.
Next, moving on from the central new character, they also spend some time discussing Steg. Rebecca offset explains "Steg Multiverse" as a character so uplifting he tin brand y'all fly, combining Greg's unending back up and Steven'south positive power. She makes reference to the early "stegosaurus" concepts they had for his wait, but they didn't want to lose the opportunity to have his hair flow. Rebecca confirms that the pompadour idea was established in "Steven and the Stevens" then they wanted to give it to Steg, and she credits Paul Villeco for really finalizing his design and bringing him to life.
And of course the poofy hair from Steven and the double-necked guitar was essential for Steg.
Next, the book gives us a whole page of handwritten notes well-nigh "Drift Away." Kat Morris explains the intentional duality of the scene--how Spinel should be shown seeing her own past with new perspective, being embarrassed, blending together who she was with who she is. The partial lyrics to the song and some sketchy boards are offered.
Rebecca shares her personal connection with the subject area matter--how she once left a stuffed brute in her garden and the side facing the sun faded. It really made a mark on her as a child that things changed without her, considering of her actions, and that she'd left this treasured toy alone without thinking near information technology all that time, letting it be affected by the elements without her interference. She wrote "Everything Stays" for Adventure Time based on that plushie, and realized that she was writing near it again for the Steven Universe movie.
Many beautiful miniature boards are shown in this department.
Partial sail music for "Drift Away" is also offered here. It's credited to Rebecca Saccharide and Aimee Mann. The music sheet is followed by some lovely images of the garden past Julian De Perio, Patrick Bryson, and Leonard Hung.
Takafumi Hori returns for a discussion of the final fight sequence during "Change," which he blithe from Jeff Liu's boards. He discusses trying to go along the fight feeling dramatic and serious even though Spinel'due south fighting style is funny. He wanted to keep her tension. Hori-san throws in a word of thanks for beingness allowed to work on his favorite testify once more, praises Jeff and Miki, and compliments Rebecca Carbohydrate's demos. He hoped we'd go a soundtrack album. (Of form, we did.)
Some concluding boards by Rebecca Sugar and Becky Dreistadt of the characters in their evidence gear descending the steps close out the book. There are also some cute trivial doodles at the end on the credits page, similar a head of lettuce with explanation "lettuce admire you" and Spinel in a drifting go-kart laughing, captioned "drift away."
The dorsum cover pictures Steven with his arm around a heartbroken Spinel, comforting her.
Overall, the book is wonderful--the accompanying information is generally not new to anyone who watched the DVD'due south documentary and commentary, and many of the sketches accept been released i way or another directly by the artists through Instagram, Twitter, or Tumblr blogs. In that location was still plenty of wonderful new concept fine art that wasn't already out in that location, and looking at some of the iterations Spinel and Steg went through was particularly captivating.
At that place was no new insight into the development of the plot beyond the premise and the Spinel-related conflict, though; nothing about how they decided to focus the Garnet storyline, the Pearl storyline, and the Amethyst storyline for how they would each go their memories dorsum, and there was no spotlight on their movie versions--mod Cotton Candy Garnet, copycat babe Amethyst, and manufacturing plant settings uncustomized Pearl. I was hoping specially for some Amethyst stuff because the movie was the first identify we got to see her with the simple default outfit and segmented limbs.
It was primarily an art book with commentary on some of the nigh definitive movie aspects--it didn't reach the depth that Art and Origins gave united states. It has a offset-to-terminate feeling in a sense, but information technology'due south mostly just splashes of information that are fun to know. It'due south a great companion and definitely should not exist missed by whatever fan of the film. I recommend it heartily!
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The book doesn't give a whole lot of information that is new to megafans similar me; I've already seen the commentary and the documenta
This slick paperback provides a nice behind-the-scenes look at some aspects of the art and story for Steven Universe The Movie. Incredible concept art and various artists' input allows the states to peek into early versions of adversary Spinel, fun early on art of rockstar fusion Steg, musical development and art styles to define the characters, and Steven's amazing new cervix.The volume doesn't give a whole lot of data that is new to megafans similar me; I've already seen the commentary and the documentary that was released on the DVD some fourth dimension ago, and I follow many of the artists online so I've seen some of the developmental art before. Simply there were still some images I'd never seen and a couple reflections I'd not heard before, and even though the main focus was on Steven, Spinel, and a little Steg, we still got some actually cool groundwork fine art, images of the injector, and action images of the other Gems. Equally a huge fan of everything well-nigh the bear witness, I would never dream of not having this in my collection.
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It was shorter than I expected information technology to exist simply I love Steven Universe so it'due south worth spending coin on.
Shorter than I expected it to existIt was shorter than I expected it to be but I beloved Steven Universe then it's worth spending coin on.
...more than This book feels similar mostly a scrapbook of initial and concept drawings, along with some selected clean-upwardly frames. At that place are notes and blurbs accompanying some of the drawings that give insight into the creation and background of characters (and they're fun to read!) just it seems really minimal.
This book reads like a scrapbook and a honey letter to the initial concept drawings. Peradventure they thought the drawings speak for themselves and displaying them f
It'due south a cute book. Not comprehensive, though.This book feels similar generally a scrapbook of initial and concept drawings, along with some selected make clean-upwardly frames. There are notes and blurbs accompanying some of the drawings that give insight into the cosmos and groundwork of characters (and they're fun to read!) but information technology seems actually minimal.
This book reads like a scrapbook and a beloved letter of the alphabet to the initial concept drawings. Perhaps they thought the drawings speak for themselves and displaying them for written report would be more than sublime.
This book was also curated by Ryan Sands, the founder of zine group Youth In Decline. They have a zine serial chosen Frontier, which focuses on the piece of work of a single artist each issue. Rebecca Sugar was the featured artist in Issue #14. If y'all compare Frontier Issue #14 with this book, the layout and way is _crazy_ similar. Maybe they gave the book editor job to Ryan Sands as an acquittance and appreciation to a friend and also as a nod to Saccharide's independent comic roots, since she get-go started out in zines. I can respect that decision.
Every bit of this writing, (Sept 2020) if y'all want a deeper look into the movie, watch the documentary that accompanies the "Steven Universe: The Motion-picture show" DVD. It's a lot more comprehensive. Compared to that, this book feels like more of an accessory piece to that documentary.
Maybe they'll cover more than in the upcoming "Steven Universe: End of an Era" fine art and discussion book (due in Oct 2020). As for this volume... it's cute, it'south sublime, you get to encounter a bunch of brainstorming and concept drawings (and that's cool), simply in that location's non as much deep dive into the behind-the-scenes creation of the movie as I would have personally liked.
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The channel was launched on October 1, 1992 and primarily broadcasts animated television series, generally children'south programming, ranging from activity to animated comedy. It operates daily from 6:00 AM to 8:00 PM. (ET) and primarily aimed at children between the
Cartoon Network (CN for curt) is an American pay tv channel owned by Turner Broadcasting System, a subsidiary of AT&T's WarnerMedia.The channel was launched on October 1, 1992 and primarily broadcasts animated television series, mostly children'due south programming, ranging from action to animated comedy. It operates daily from half-dozen:00 AM to 8:00 PM. (ET) and primarily aimed at children between the ages of half dozen to 11, and targets older teens and adults with mature content during its tardily night daypart block, Developed Swim, which is treated every bit a split entity for promotional purposes and as a separate channel by Nielsen for ratings purposes.
As of January 2016, Drawing Network is available to approximately 94.0 1000000 pay television receiver households (80.7% of households with television) in the United States.
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