Mostly character animation from music, game and short film projects. I did animation, layout, composite and most character design on everything except the clips from a Modestep video – where my principal task was color painting in the graphic novel sense. Creative Immortal handled general production, with Alex Young illustrating. Character concepts were also provided for the xKore video.
Update: this reel is now fairly dated. I’ve had a great fall and early winter, so there is plenty of new material to edit in. I also have some new and attention getting shots from the SaltMarsh, my ongoing personal project that one day will see the festival circuit.
A spot for the Humane Society of Indiana. I provided character design, storyboarding, animatics, animation and compositing. The clients chose a totally B&W look. This is my sepia toned director’s cut. I have also reinstated early versions of some shots, which I think add a little more ‘drama’. The production companies involved were Fivestone Studios (Nashville) and Good Vibes Media (Indianapolis). This is the second time I’ve worked with Fivestone in recent months, which I’ve enjoyed very much. They are a talented, capable and pleasant crew.
My client was thinking that puppet style animation would be a good approach. There are some underlying things about this technique that I think do service to the message he wanted to convey. See what you think.
I did get more elaborate than what is typically done with this type of project. Instead of a collage of stock photos for backgrounds and props, I produced illustrations for a particular atmosphere and light quality. I also used full motion for the mouth synching. It’s two minutes of talking, and Larry the ‘Leech’ wants to come off as smooth as possible.
A children’s book author, Karen Matthews, wanted a short book trailer for marketing her work. She knew what she wanted to see, and had already collaborated with an illustrator to produce the project. I could have made my own interpretations of how movement would effect things. However, I thought the original illustrator, Josh Taylor, would appreciate some control going forward. Josh produced a background, from which I created matte layers. Then he gave me ine extreme key pose of the characters speaking (pencil sketch). Those items, plus book pages in PDF format, were enough for me to produce the trailer without any reworking – done.
I have done a variety of industrial projects. Most of the recent work I cannot show because of sensitive technology and patents. I do have permission to show one animated clip, minus the animated graphics, charts and diagrams that were a big part of the original piece. Enjoy my retro space music that replaces the original voice-over. Additionally, I bet you can guess which renderings I did just for fun.
A mostly After Effects animated music video for Modestep, I am credited as Animation Lead Colourist. I painted all of Alex Young’s line art. That is all the character animation except for the concert scenes. It was great working with Richard Payne, who is currently directing at NTSH London. See more of the art after the break.
This is a really fun project. I was given a list of characters and then put on a very long leash. Actually, I even came up with the idea for the surfing Sumo. I did surf for several years, and then paddled a whitewater kayak. There is a small amount of overlap in these experiences, giving me a wealth of ideas.
This was a very interesting design project. The animation had to illustrate a story from ancient Korean folklore, and at the same time be connected to a modern drama. The film director, Angela Park, had a logical idea of progression in the animation look, but the starting point needed a delicate touch.
Albert Barnes built one of the preeminent private art collections in the world. HBO produced a documentary to explain the drive and motivations that propelled Barnes in his quest. Limited animation was requested; however, HBO was keen on getting exactly the right expression during formative episodes in the life of young Albert.
The friendly creatures of Snuff Mountain, Tennessee decided not to be left off the reality TV bandwagon. Never mind that the wagon was never going to pull over and let them on. Is it the most humble expression of pop culture you’ve ever seen, or an apt metaphor for our time?
All the art started as pencil illustration. The animation was spline based, made with Anime Studio Pro. The audio was produced in-house, using studio built foley props and echo chamber. It’s all very straightforward. I looked at a lot of old Termite Terrace shot layouts, and staged these shots with that attitude of ‘getting it done’.