Oodles of Doodles

Another collection of doodles and warmups.

-T

Who Opener Script

DOCTOR WHO

The Planet Of Nowhere.

By Adam Law.

//INT-TARDIS//

We open with a wide shot of the interior Tardis, the camera creeping up from the lower levels, finding a foot twisting impatiently, it belongs to AMY. Who is propped against a railing, almost swaying with excitement, clearly waiting for a chance to speak. THE DOCTOR steps infront of her, tending to the console, she leans in to clutch his arm.

AMY

So what's next?

Can we go to that dinosaur place? Didn't you say there was a dinosaur place?

DOCTOR

Musical Dinosaurs. Saving that one up. We're re-fuelling.

AMY

What? Shutup.

DOCTOR

Better safe than sorry.

AMY

But it's a time machine, it's not a Ford Fiesta.

She scoffs-

How can it run out of fuel?

DOCTOR

Yes! Ofcourse, Amy. Because a Time Machine wouldn't need any thing to fuel it.

He playfully knocks her forehead with a fist-

It just runs off air.

He paces past her to the control panel opposite-

AMY

Oi, Smartie pants. This isn't exactly normal territory for me.

Just doesn't seem right that something so...

Amy looks around at the TARDIS, inhaling-

...extraordinary, is really just so...

Her eyes fall to the Doctor, on his knees working at a control panel, looking like a mechanic or plumber-

...ordinary.

The Doctor swings a panel free to tamper with various contraptions beneath, he wears a stethoscope, pressing it to a beating pulse-

DOCTOR

We're loosing the link to the Artron Energy, going to need to replace the Zeiton crystals.

AMY

Cheerfully-

Oh there we go.

The Doctor stands, swinging towards Amy, inspecting her face-

DOCTOR

What?

AMY

Nothing, everything is just back the way it was.

Amy pulls the ear pieces of his Stethoscope, snapping them back into his head with a sharp smack. He flinches, tightening his lips to scornfully point- met immediately with her playful smirk, he paces by, tossing the stethoscope-

DOCTOR

We might just have enough left to make the pitstop.

He punches into the monitor, Amy watches over the console-

Ah, here we are.

You'll like this one, Amelia.

AMY

Annoyed, through teeth-

-Amy-

DOCTOR

No, Planet Amelia.

It borders the Helios system, busy little hamlet- quite a bit like Mars I suppose, minus all those.... traffic wardens.

AMY

Wait, We're going to a planet called Amelia?

DOCTOR

Yes but not for fun, we don't have much time so strictly in and out.

AMY

Not even five minutes?

DOCTOR

Not even five minutes.

He pulls a lever up as the TARDIS begins to shake-

AMY

So what's it like on Amelia, are there humans?

DOCTOR

No.

AMY

Ooooh, robots?

DOCTOR

You'll see.

AMY

Dogs! Dog robots! Oh please tell me there's dog robots.

DOCTOR

Not on Amelia. But you ar-

The TARDIS shakes violently, throwing Amy against the railing as The Doctor clings to the console-

Hey now. Hey!

he rushes to the other side of the control panel, slamming onto the keys-

What are you doing? Where are you going?

The TARDIS bellows as the lights flicker-

AMY-

Doctor?!

DOCTOR-

Ah. Yes. It's okay Amy, we're just going to make a slight...

emergency landing.

AMY

Emergency?!

DOCTOR

Try to focus on the LANDING part of the sentence. LANDING. It's a brilliant word!

The doctor flips several switches as the TARDIS Twirls violently, coming to a tremendous thump, lights cutting to pitch black, slowing humming back to life.

DOCTOR

See.

Landing.

Amy readjusts herself and pulls her hair back from her face as she stands-

DOCTOR

Ooh.

He flips his sonic screwdriver after scanning the console briefly-

Funny that.

AMY

Funny?

The Doctor pockets his Sonic and ignores Amy, heading to another control panel, tapping at keys-

AMY

What happened?

A low buzzing is heard, followed by three shrieking bleeps, sporatic in pitch- looping endlessly-

AMY

Repulsed, clutching ears-

What is that?

DOCTOR

What is what?

He wrestles with a control panel-

AMY

That! That noise?!

DOCTOR

Oh. I'm extending the TARDIS land-mass to lifeform locater. It'll scan the planet for all signs of life, existance, how far we are from anything.

AMY

OK. And it makes this noise, why?

DOCTOR

Don't...know.

Thought it was a good idea, never thought I'd need to use it to be honest. Should of went with something more tuneful. With abit more... bounce.

AMY

Well my head is sure bouncing.

The Doctor clasps his hands on Amys head and stares to her sternly-

DOCTOR

Wait. Amy.

Do you hear that?

Amy looks to him with sarcasm-

AMY

What, other than the sound of a Dalek Choir?!

DOCTOR

No, noooo,

NO!

He clasps her head from the top with a 'spider' like grip, twisting her head in place much to Amys silent confusion-

LISTEN,

There's a wibbly noise now.

Amy listens, watching his face in confusion-

DOCTOR

Oh. A really wibbly noise.

That's not a good noise.

AMY

What? What does the wibbly noise mean?

He darts from console to console, slamming hands over buttons-

AMY

Doctor?

He pulls the monitor to his face, looking defeated-

DOCTOR

We're alone.

AMY

Alone? You mean the TARDIS didn't find anything here?

DOCTOR

There's nothing TO find Amy.

There's nothing left.

AMY

How?

The Doctor paces towards the door and turns to face Amy-

DOCTOR

There should be life here.

He kicks the door ajar and pushes it open slowly, Amy flinches as bright light hits their eyes, The Doctor squints, the light calming to reveal a scorched expanse of dusty earth stretching off into the distance, seemingly nothing for miles.

DOCTOR

So where is it?

-Cue Song titles-

I wrote a short 'Opener' Scene alittle while ago to test out a few things, firstly being my intention to storyboard and do an animatic of an original WHO scene. This was the scene I created, set somewhere early in Series Five of Doctor Who, one of the earlier adventures with Amy Pond.

-T

Journey

Finishing Issue 3 is going to mean a lot more to me than another notch on the Felicity belt. It's become something of a manifestation of all my past failures and the only proof to myself that I'm capable of overcoming the odds.

It's common advice to 'keep your chin up' 'stay postive' and to 'Keep on trucking' and it's also the best advice you can be given, if you actually take it on board and don't dismiss it as shallow and naive.

Staying postive is pretty easy when you try but a domino effect of missteps, disappointments or failures can soon turn something easy into a real struggle. Unfortunately for me I'm not a lucky person and I've had a long string of disappointments for quite a while now.

Sometimes there are people in life who make the impossible seem close enough to touch and I have those people in my life. It's their support that helps push me through what is now a worn-down will to win.

And I'm starting to realise I don't care about the lack of any audience I have for Felicity. I never started it to sell books or gain a large following. I did it to tell stories and it's going to mean so much to me that I can't give up on finishing it. I feel like I can't progress as an artist, I can't improve or blossom until I finish it.

And I will.

-T

King Of Fools

Todays warm up!

-T

2010 vs 2011

Credit to Tumblr for the image.

Just some thoughts on 2011 Doctor vs 2010 Doctor. Character design wise!

Doctor Who Series 5 was a big deal for me.

Matt Smith exploded onto screens as this barmy, bandy-legged oddball. His appearance somehow communicated everything so bizarre and alien and yet all at the same time; welcoming, familiar and iconic.

In much the same way that the actor has a talent to look both old and young, the costume designers gave layers to his appearence and created a wonderful compliment to the new Doctor.

In Series Six, they've changed some things.

You may think it absurd that a minor costume change and a newer 'slicked and groomed' hairstyle is cause for concern but I think there's simply so much lost in doing so.

The Doctor in season five had clothes that didn't quite fit him, hair that defied gravity and he looked something like a school teacher who had fell through the sky into an Oxfam shop. This uncomfortable, deshevled look was so excellent at double barrelling his performance, in pushing the Doctors Iconic appearance and in telling us so much about Eleven.

His puffy, wild and downright weird hair was perfectly suited. It was a literal representation of his personality, having established himself as a confident guy- who believes rather uncool things to infact be cool. Why would he comb his hair? It's cool.

In contrast, we see that in Series 6 he now wears more form fitting attire, a swanky jacket replacing his tweed and trousers that fit him quite well. His hair, which I've just previously mentioned is now neatly cut and pruned, slicked to one side with stylist precison.

Now, Here's my issue with hair-

By slicking his hair and combing every strand-neatly in place we are losing so much of that literal represention of Barmy-ness. It doesn't make sense to me, from a story perspective, that Eleven has suddenly developed a rather human-like sense of vanity. What made him so endearing was his naive nature when approached on such topics as appearence, his insistence that Bowties were cool was brilliant because they weren't cool, he's just made them cool.

On a further note, to tie in his newer appearence with the writing-

What I find baffling is the 'sexualisation' of the Doctor in the current series. Now, I'm not a prude! But what I found fascinating was the moment when Amys lust for the Doctor came to a head, early on in Series five. She throws herself at him to be denied, the Doctor showing a reluctance not only to be involved on any romantic level with Amy but in any sense at all.

This added a wonderful layer to Eleven, this kind of pure and alien essence. Sexual desire is natural, it's natural part of life and existance so I do not feel the Doctor should be void of it entirely- I just find it unnecessary and strange to show those sides of the Doctor to us. Particularly Eleven.

Series 5(Amongst others) proved that you don't need it to have great Doctor Who stories, so I just find it strange that two episodes in to Series 6 and we have almost a complete turn around, with flirting and innuendos appearing quite frequently aswell as a rather obvious attempt by the Doctor to groom himself.

Maybe it's his mating season! Who knows.

I'm enjoying Series 6 and I'm still a proud fan of the show of course!

It's just as someone who studies, practices and wants to better understand character design; I wanted to log my complaints against what the talented team at the BBC have decided to go with.

I understand there are other reasons behind the hair(Tennants hair by the time he left had developed into a neat and well defined cut but to add to that; Tennants Doctor was always vain, it made sense for him to care about his appearance so much)and that updating the costume was neccessary! I'm not saying it wasn't.

I feel like work that went into Series 5 was exceptional, from a character design point of view. And as an extenson, I just feel a little disappointed they decided to change alot of those excellent ideas for the next series. And I stress, these are minor personal niggles.

I look forward to the rest of the Series perhaps changing my mind.

Oh and I'm also aware, Matt Smith wears his hair in real life as he does in Series 6, could be the only reason for the hair change!

Geronimo!

-T

Daily Warm-Ups

I spend an hour a day, usually before(but not always)I start on Felicity to ease me in. Just dumping some of them here, I find myself craving to draw more Dynamic poses lately; hence the completely inexplicable Felicity image which I've come to call "The Totem Pole of Unnecessary Action"

-T

Mascot

Broken Falcon was my bigtime comic-project before I created Felicity. It's my oldest story and has seen the most evolution and growth, it's an ongoing project that I'm happy to continue working on. Crimson Feather Studios is a name originating from Broken Falcons Crimson feathered protagonist- Red.

I may repeat some uploads here but largely stuff I've not posted before. All my Broken Falcon stuff is concept, it's rough and ready- I just don't do much with any of it! So I figured I should atleast bunch together the images I'd chose to upload to various spots about my net-haunts.

So- ranging from years to months old, and in no sensible order- art dump away!

Broken Falcon centres around an alien planet and as such sports all kinds of weird and wonderful creatures within. While it has established history and a set number of 'local' species; it houses many bizarre races from all over the unexplored world and presents a different kind of challenge when designing characters. I enjoy concepting for this world so much because it really requires imagination, that is to say the sky is the limit. There's a great freedom in concepting a creature with personality.

Colours and shapes were playing a part for me when I started to define Carrison, the planet the story takes place. I had a big bunch of landscape concept art that brought me to my conclusive palette, this is a real early test, I will have to dig up the many concepts that followed this one.

The latest additions to the story came when I fleshed out the childhood of the hero, previously it had played little part in the eventual cause and effect besides a few key events scattered early in the time line. I found myself able to create reason for many traits, effects, characters and plot lines by almost creating an entirely new story in his earliest years. Young Red allows me to fully explore and explain his tribal upbringing which strengthens the ties his race have to Carrison and going back even further to before his birth- exploring his heritage and folklore was a joy.

Reds race is that of the Carinians; A bird like-species that are the first known to have lived among Carrison. The story divides at a point into very stark opposites(actually demonstrated quite well below!)and as do the Carinians. Although their history dictates certain restrictions I wanted the heroes species to be as diverse as humans, setting myself only limits of similarity such as feet, eyes, head-tufts and gender-specific traits like tail shape. Trying ultimately to create extremely unique side-characters that are still easily identifiable as Carinians and not any kind of similar race. One aspect I debated 'locking' for all of Carinians was beak-shape, ultimately deciding not to as we humans have extremely diverse nose-shapes, allowing for extremely different looks and I wanted to echo that. Instead I enforced only that Male Carinians would have sharp, often longer beaks while the females had short and smoother beaks.

The first ever established point in the story was that the death of love. Loosing his life 'breaks' him and what follows is the downward spiral of a hero, amoungst the rise of a tyrant and a brutal war. It's the key theme that is shown throughout with decisions and choices affecting how a life can turn out. This particular piece is MIGHTY rough but it demonstrated my ideas of how to best reflect the story, I used a similar theme/tagline in the poster above the last. It's important to the entire story, at the centre of it all. And the story has always been a Love Story.

I did this to demonstrate how I colour, I think! It shows an important late-entry to the story however, Snow! Ironside was originally a very orange/black/steamy/industrial/hot/dry environment. My evolutions brought that to a complete opposite establishing that the enemy race could only thrive in cold conditions, while the heroes race die in cold conditions. It threw up alot of cool possibilities for the story and was an evolution that only came about as I began to think about the limitations of the environment to its locals and about why certain boundries had never been crossed until conflict.

If I recall, this is an early concept for Widow, a slaver town on the outskirts of Ironside;the enemies land.

Tests for in-comic quality. For the longest time I was evolving my style of drawing(I still am)so I have a horrible tendency to have inconsistent work; it is one of the many reasons a comic of Broken Falcon hasn't seen the light of day, during these tests however I was trying to find a balance between time and effort, that would of allowed me to make a comic. It didn't work!

Just an old rough thumbnail for a comic page, there are old elements of the story that still remain in its current state, I tried to not alter too much of my original intentions and instead tried to re-enforce and strengthen the story-reasons why they happen. At this point in the story we see pre-war Red(Two eyes!)and Sunro.

Early ideas for the newer scripts revolved around picking up Reds story much later on into his life, one such idea involved a hanging where he was introduced to the audience as a lawbreaker and considered anything but a Hero.

Broken Falcons debut story is called Crossroads, I had intended to create and release the issue in a collected volume but my focus with the project shifted to different areas and I just put it on the backburner.

The major characters in the first ever story were originally Sonic Fan-characters, hence why they all follow an animal-esque appearance. As I evolved the characters and shifted them into an original universe, where I built my story around them- I tried to maintain my design 'roots' but at the same time try to create something more alien than animal.

Originally the Aragnos character in the story was a just a Spider character and the only one at that- when designing the races of Broken Falcon much later on I wanted to allow myself the room to expand on the character and flesh out the many different looks and builds available to the second largest species in the story. Their expanded role demanded much variation in a very similar way to the heroes species.

-T