Head of Visual Development and Character Design Ryan Meinerding talks about early twentieth-century influences for the character designs in Marvel Studios’ acclaimed new animated series, now playing on Disney+.
Tagged With: Concept Art
Director Sean Pecknold used hand-crafted stop-motion animation and a multiplane camera to capture a young hawk’s struggle to fly with a broken wing; short premiered September 21 at a GRAMMY Museum retrospective featuring band frontman Robin Pecknold.
Snarling dogs and moth-infested gowns highlight the film’s 1,850 visual effects shots, supervised by Max Wood, and produced with an eye towards speed and believability.
Animation Supervisor Stephan Franck talks about how the production’s creative ‘toys’ were all employed to mix 2D and 3D effects, backgrounds and characters into a visual style never seen before in Marvel Studios’ groundbreaking animated series, now playing on Disney+.
The production designer on Marvel Studios’ and Disney+’s first-ever animated series discusses the difficult, tireless work his ‘five-headed Hydra’ team performs poring over every detail of the stylized, mostly 2D show’s environments, lighting, color, and cinematography.
Veteran Buck NY designer shares advice for mid-level creatives, including early career building; pitching, briefing & idea development; moodboards, storyboards, style frames & concept art; and reflection on the future.
The visual effects giant delivered 500 shots on Marvel Studios and Disney+’s latest MCU episodic adventure, creating the pyroclastic-like trans-temporal monster, Alioth, along with Alligator Loki and the cloudy, ambiguous world where everything pruned by the TVA is deposited.
Art director Justin Wagner and associate art director Chi Duong Sato share an extensive board sequence, vehicle designs, environment design-to-final sequences, and final sequence images from the all-new, action-packed, martini-in-hand Season 12 of Adam Reed and FXX’s hit animated comedy series.
The virtual event celebrates visual arts with a focus on animation, illustration, and concept art; this year LBXO expands to six days, running September 7-12.
VFX supervisor Max Wood oversees 1,800 visual effects shots, filled with a CG gown of moths, three snarling Dalmatians, a wily Terrier, and a fearless, eye-patch-wearing Chihuahua named Wink, in the hit origin story for one of Disney’s most iconic villains.
London-based Juppi Juppsen and Mathias Lemaitre Sgard’s new animated short pays vibrant homage to classic sci-fi and disco with a story about a space superhero, his female droid, and their search for an ancient artifact holding the essence of music.
To support the expansion’s June 30 release, the game studio provided AWN with exclusive access to sequences and strategies from the new short film, the third in their anthology-like set of ‘Legends of Runeterra’ stories.
One of several recent initiatives to help develop the African animation industry, the program is open to African citizens; shortlisted applicants will have three months of paid skills development – submission deadline is July 23.
Overall VFX supervisor Jake Braver, with the help of ILM VFX supervisor Laurent Hugueniot, delivers 2,800 VFX shots depicting a world decimated by plague and a city ruled by supernatural evil, in the 9-part series from CBS Television Studios now streaming on Paramount+.
New installment of behind-the-scenes ‘The Legend of the Legend of Vox Machina’ reveals a slew of Phil Bourassa’s character designs on the studio’s upcoming Amazon Original animated series about a group of second-rate adventurers on a quest to save the realm.
Oscar-winning ‘Hair Love’ production house Lion Forge Animation teams with Everytown for Gun Safety Support Fund on poignant animated short in support of the 7th annual Wear Orange campaign and National Gun Violence Awareness Day.
Led by VFX supervisor Phil Jones and VFX producer Matthew Pellar from their Toronto facility, the studio shifted into warp speed during the pandemic to deliver 570 shots for the hit Paramount+ sci-fi drama.
Visual effects studio delivers 850 shots across eight episodes of the sci-fi prison break drama, spanning complex planet and city environments, a spaceship crash, hyperspace travel, creatures, and character enhancements.
Effects supervisor Jon Reisch drew on his experience as a guitarist to develop ocean wave simulation controls, much like sliders on an equalizer, to hit director Enrico Casarosa’s mark for an expressive, lyrical Japanese woodblock look, in the studio’s upcoming animated feature.
Weta Digital animates key emotional sequences that capture the battling primate’s older, wiser, and more humanoid side; studio also delivers 13 hero environments including Hollow Earth and a military base in Antarctica.
Art director Sierra Lewis built on creator Tony Hale and director Eric Fogel’s vision to design a fantastical, sweater-wearing chicken’s world that felt sophisticated, textured, and cinematic.
Award-winning visual effects company creates a mysterious alien ship, its crash wreckage, and a dimensional window, all obviously engineered by beings not of this world, for the new sci-fi mystery series.
For art director Angela Sung and director Bridget Underwood, blending ‘Alice in Wonderland,’ ‘The Walking Dead,’ and classic Japanese anime gave the DreamWorks Animation series a bold look and feel unique to Western TV.
VFX supervisor John Kilshaw’s NY team produced the color blossom transformation from initial black and white format, as well as various magic effects and photoreal CG characters like a stork and kaleidoscope of butterflies, on the hit Marvel Studios and Disney+ series.