I have shared these on other sites, so for some here they will be familiar.
For those that do not know of me, I am a professional cartoonist--been in the animation biz since 1985.
I have recently wrapped up some storyboarding work on a couple of Hasbro HUB cartoons last month ( Transformers Rescue Bots, Pound Puppies). I'm currently working on a short comic book story for a record album--involving a lot of space themes.
I seldom keep many samples of my pro work, so a number of my pieces are quite old. I've just made the transition to digital cartooning (using a Cintiq) so more recent work will come soon.

In no particular order:

Wow! I'm impressed by the variety of styles you use.

And Bullet Man! Nice obscure pick!

I want a job in the animation biz. Do you know anybody who wants to hire a writer with little to no experience?

And if you know of a job for a professional artist who would like to break into the animation biz, I'm game.

Really nice stuff, BTW.

I want a job in the animation biz. Do you know anybody who wants to hire a writer with little to no experience?

Without experience, no-one will touch you, sadly.
If you are serious about it, hook up with an animator and produce shorts for Youtube. ( do them in FLASH or something that makes the work easier)
If you gain some notoriety there it can parley into legit writing gigs.
Look up some books on screen writing ( Joe Michael Straczinki has an excellent one, with a section on Animation) to get an idea of formats or styles and start prepping scripts and start writing some. The folks that do this stuff, DO IT. Create samples. Write scripts, draw, paint, sculpt--whatever it is that you need to do, and you'll start gaining some of that needed experience.
Make mistakes and fix them. Do-over and re-do, re-think........repeat as necessary. No magic to it, that is how its done.

Darth, it's clearly time for us to create the next internet sensation.

Same procedure for artists too--there's an enormous amount of art examples on-line of what the studios want, plus tutorials and reference articles on how to do things. Artists have several paths they can take: storyboarding ( what I do) concept art, animation itself-either character or effects, rigging or builds-for MAYA etc or FLASH, background design, prop design......etc.

Key thing is to make sure your drawing looks like THEIR drawing. That is what studios will hire you for. I'm yakking with a colleague right now who is looking over the work of another new guy who is trying out for a position at my colleague's studio--and the guy's work has problems.
Its two-fold and its common: lack of structure in drawing--that is to say the objects or characters have wonky structures or poorly thought-out solidity. That and lack of being "on-model".
Being on-model is really just an exercise in maintaining proportions.
Eyes are just so far apart, only so big, set so far down the face from the top/bottom/sides of the head etc.
There's techniques and tricks for handling this, but keeping on model stymies a lot of newcomers. This is what is looked for in the work--that ability to keep the material consistent and appealing.
Being able to adhere to a model means the artist can draw anything.........repeat, ANYTHING.
So that means their versatility is in the stratosphere. It also increases their job prospects in an increasingly difficult creative industries job market.

There's much more that can be said, passed along, but I digress....

Thanks for the pics and the advice Arrow. I'm always glad to hear of people who've been able to make a living with their talent doing something they enjoy!

Here's a small project I completed recently.
Its the three pages of a illustrated song, for a Saskatchewan rock band called Ultimate Power Duo. They sought regional artists to illustrate an anthology comic to accompany the album, each artist taking on a song or two or three and visualizing it any way they chose. This is the complete song for my assigned bit.
The synopsis is as follows:
The main character is a young man named Joe who becomes an inter-galactic hero. The song I illustrated picks up with:
"Joe has just finished two experiences that no other living human has ever experienced; meeting his counter-version of himself in an Anti-Universe, and entering and exiting the Universal Consciousness. Joe is pondering the relationship between the known and the unknown, weighing how ideas and beliefs often need to catch up to reality; the universe continues to work whether it is understood by its inhabitants of not. Joe is pondering the reality of multiple dimensions (3+1+6 times) and reworking that number as a plausible possibility (6+2+12 times). Awareness of his purpose is finally beginning as Joe follows the map of pulsars, as depicted on the Golden Record, to return to Earth and begin a new era of enlightenment."




The art was done on 2-ply Canson Bristol 11X17, inked with Pigma Micron markers, and brush pen, as well as other markers. Digital graphic additions and adjustments done in Photoshop, and lettering and colour also done in Photoshop using a Cintiq.

And just for the curious: here's the original inked pages, before digital additions, to showcase the steps between inks and later adjustments and colouring.



You can get an idea of just what was drawn and what was added later on in Photoshop.

Really nice work, Arrow.

Having a legit pro around here is making me feel like it's time to get off my butt and do some new stuff.