Almost 2 years before e actually made the Son of Jaguar VR short with Google spotlight stories, we did these shots for the beats of the story that Jorge was brewing up to help illustrate the ideas. As usual with these things, we had to work fast and get ideas across quickly hence the rough nature of these. I like what the spontaneity created.
This thing was Jorge's idea through and through and we were just trying to help him tell his story as best we could with the new and limited medium of VR. It ha to render in real time on a phone, the google pixel 2. And one of the challenges with VR is that you can't frame compositions like we do in film, it's like a mix between a game and a film that way. But he wanted to tell a story in this medium, because why not!? There are no rules to VR and in a lot of ways it's still being pioneered which is a fun challenge. One super creative solution he had to that was to isolate the story to the inside of a ring, as if you were the viewer looking on. You could look around if you wanted to, but like a real wrestling match, you want to look at the action inside the ring. So I thought it could eb a good solution to help the viewer feel like we were inside the lights of the ring, by darkening and blurring the background, so maybe you could just see lights of cameras and the first couple rows of people in the crowd. These shots are really the first take on that idea.
This is the final Son of Jaguar poster design I did for Google Spotlight stories Son of Jaguar Virtual Reality piece. It was a total collaboration with master designer/ Director Jorge Gutierrez. I was Production Designer for the piece. It was my first time working in the VR medium but reminded me a lot of my time in the video game industry with using a build of the piece and constantly updating it. We even used perforce to manage the assets and the build which I used while working at Activision years ago.
Just some fun quick sketches. Trying to get back into some more personal study work.
Quick 30 min color comp with no plan haha
Quick 1 hour paint tutorial for Cindy.
Latest cover for the Arctic code series with Harper Collins!
Dream Lake Oil sketch.
Usually do these super fast after a long day of work, so try to get ideas out the quickest way I can and keep them super rough so I can make changes quicker and easier. My Art director at Harper Collins is a total dream to work with and usually makes it easy on me because she is so professional and such a good communicator.
This image probably speaks to my process more than anything, I like to just throw down a few lines in a super small thumbnail that dictate the general composition and go from there.
Process for a series of covers done for Penguin Random House book publishing.
These book covers were done for a Penguin Random house re-packaging of the Book of Ember book series. Here are the final images front and back without text added. We had quite the journey with these babies to say the least, I can just say that I learned a lot about myself as a professional illustrator and hope to take that knowledge with me in future endeavors. I ended up with the above 4 finals as I promised them before I left on a long trip to Europe. While I was away they decided they changed their minds (again) and wanted to re-do books 2 and 3. At this point I was way beyond my time on this series and on to other projects, so we hired my awesome and amazingly talented buddy Bryan Lashelle to finish the new versions of books 2 and 3 while I art directed and did paintovers.
Below are some Roughs I did for the series. I did around 40 total but here are some of the most significant and some I personally like better than the final direction.
Here are a collection of various figure studies from the years, mostly pretty old. The study of the human form and anatomy has been a huge inspiration in my work and one of my favorite things to draw and study over the years. I started studying anatomy on my own at the age of 16, while I didn't understand much at that time it helped springboard me while taking college courses with a more intensive and precise approach. I believe that if you can wrap your head around how our anatomy works, you can apply that same puzzle solving approach to understanding how most anything works, at least convincingly enough to make it believable in your work.
Painting for a personal project involving Roller derby girls battling giant robots.
Here is a step by step of my process for designing La Muerte's Castle for the animated film The Book of Life.