applied to Calarts - didn't get in.
internship at Dreamworks animation - got put in the art department
like animation but not focused on it - so did the artwork - developing characters
people like his work but they didn't think he had enough experience
tried again - and people said the same
eventually got his first job - Beer fest animation
then Disney tv etc, then Pixar
first movie - monsters university
when he gets an assignment they tell him to focus on a character
- work looks stylised but was driven from research/reference - to make things believable to the audience - authenticity - feel real. gets feedback from production managers/art directors once he gets sketches done
has to present work on pitch boards -
walks them through his thought process
- what/who the character is - the purpose in the story
important to bring in personal influences into character - so people can relate to them as well
he makes a list of ideas - whats important about the character - and walks them through it, with research he's done.
digital, traditional?
depends on timescale
likes to do things by hand/traditionally as much as possible
but tight timescales - digital, because more time effective.
when he was a student he wished he didn't rush straight into a particular/someone else's style. second year is best for figuring out what we're about. TIP: the best you can possibly do is to put your personal experiences/influences into your work - makes it more authentic - people will find it more believable.
it's important to spend a lot more time thinking when creating/designing something (a character) - why you are doing it? spend a couple of weeks researching.
why its important to you - reasons why
This will come though in the work - people will instantly be able to relate/attach themselves to the characters
Talking about school; Calarts - what makes the school so strong is that they do a lot of research before going into the production.
He didn't go to the best animation school - but its what you make out of it.
he's still learning - sculpting - because the end product at is 3d computer animation. Best if you can show them the work closer to envisioned final product.
a lot of problem solving in character design.
last year - senior year as student (portfolio):
need to have a foundation of everything - because you will need the knowledge even when you decide to focus on a specific area.
put everything in portfolio - show of all your skills
lighting, colour, design,
He had 3 portfolios - character design, environment/visual development, feature films
Character designer: requires you to think in detail
E.g. costumes: really specific - stitching, folds, type of fabric
When working on a movie, in the art department - 12 artists on a film usually at a time.
When character designing - character silhouette - important - clarity, strong gestures (exaggerate) - he was pushed to think this way from day 1 of animation school.
use characters body to tell story - shape of character should be clear by the type of personality.
constantly thinking about performance. study a lot of performances - study the characters in films. understanding why they made those decisions etc.
If they have someone already in mind (voice) character is built around on that to compliment actors voice. but usually they focus on design first.
rejected characters go into their archive - sometimes go into a show and gets put into art books. (but mostly forgotten)
Important to have your own personal projects - to keep pushing yourself as an artist - he is writing his own stories right now, and he wants to illustrate a book.
Work your way up, you don't have to go straight for the big ones like Disney, Pixar, etc. slow but steady.
So grateful that he was able to spare his time to come talk to us! It was really such an insightful thing and I will take into consideration all of the things he said and I hope we get more people from the industry come to talk to us because I really enjoyed it! aaaahhhhhhhh!
uhhhhh.. did he just follow me on instagram?
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