it’s a good exercice and well done 
I love love seeing your drafts and studies. I get alot of insights from it.
Thanks for the kind words, @Mako_Matt and @kaichi1342
I did some sketching in Procreate while watching Godfather 2 and it felt like something clicked:
So I tried to keep up the same flow today, in Krita this time. Recreated the brush I was using on the pad. Somehow I seem to be very sensitive to how the brushes feel, it has a big impact on how well I draw.
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In doing storyboards, I’ve concluded that hands and faces are the most important things to do well a surprisingly large amount of the time. So, practicing hands.
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Doing some studies for a change, it’s nice to just paint something where most of the work has been done for me… 
These are frames from Das Boot
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Something a little different, made this storyboard block-in today. Ran out of time, the timings are pretty random. If I decide to draw this better, I’ll look into how to make some camera moves in Krita as well.
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Wow, that looks epic!
Something I often ask to myself: why do they have capes?
Not really practical, especially for an assassin I think 
https://bouletcorp.com/2008/10/16/mangasse/
Otherwise really interesting video
Do you mind to create a short animation about it? 
Grum999
Umm, you know, to stay warm!
Assassins have to spend a lot of time waiting in some damp cave or other, much more comfortable with a nice woollen cape!
As for animation… I think at most I’ll settle for some zooms and pans 
Good point
But I think the assassin should leave the cape when he decide to act!
Better mobility, less risk of tripping over the cape, in the event of a leak there is less risk of the cap getting stuck in a door!
Animation could be time consuming, but waiting for the result
Grum999
This thread is like a treasure chest.
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Really good job
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Thank you!
Love the way you keep experimenting !
Learning few things also !
Thanks for sharing.
Not much time to paint just now. Decided to rework a rushed frame from before, trying for a better impression of realism.
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Only managed to scrape together a little time the last couple of days, so I decided to do some film studies.
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More film studies, Halloween
On the last one I went past just looking at the composition and tried to get the light more, but working from the basic compositional block-in, seen in the first image of the pair. In principle it would have been more “correct” to group the shadows much more, the whole head area would just merge into the black basically. I guess one of the things I learned here was to disregard the values a little bit at this stage and let the local contrast determine what I choose to block in in black or leave white.
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Is this your day job, storyboard artist?
I’ve been doing storyboarding on the side white primarily working as a VFX compositor, and now am switching over to do boards and keyframe art full-time. Wish me luck !
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