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Sketches (by Glen Keane) and final animation

(via briannacherrygarcia)


I did a guest blog for Muddy Colors! Details my process, and also has a process video for my Ellie fan art, so check it out!


And last but not least.  How lovely are these folks, really?  

John Lasseter and John Musker circa 1975, Trent Correy and Jorge Ruiz, Dorothy McKim and Roy Conli,  Fawn Veerasunthorn and Ryan Green, Jeff Turley and Patrick Osborne, Laura Meredith, Sunmee Dong, Mike and Milo Franceschi!


Tomorrow is the last day the caricature show is up at Disney, here are a few that I submitted to the show:

Zach Parrish, Nick Russell, Brittany Kikuchi, Daniel Klug, Marisa Castro, Michael Woodside, Jen Vera, Minor Gaytan, Nara Yun, Dawn Rivera-Ernster

More to come!


A little behind the scenes look of the early stages of Green Lantern the Animated Series.

My eternal gratitude to everyone who helped prove the doubters wrong.


Tuesday Tips SUPER WEEK - Push it!

Clarity is probably the most important thing to think about at all time when boarding. Pushing your poses to an undeniable level of clarity will improve the clarity of the storytelling in general. Don’t leave space for uncertainty in posing out your characters. Your audience will be more engaged and entertained by the sequence.

This is the last post for the Super Week. I hope you enjoyed it. Back on the regular schedule next week (Every Tuesday).



In the final episode of ‘Breaking Bad’ there are two shots in a pivotal scene that are perfect examples of how to use camera movement to amplify the narrative and surprise the audience. With one simple pan and one simple dolly there is a set-up and shortly after, a dramatic pay-off. The scene at first appears to be just conveying information to the viewer. Then, with one pan and one dolly move the scene is flipped on its head and is seen in a whole new light. This could only happen through writing, direction, set design and camera movement working in unison. A Steadicam or crane shot through a window could never have achieved the emotional impact of a simple pan and dolly. —Vashi Nedomansky, ‘Breaking Bad’ – Motivated Camera Movement

Continue reading at VashiVisuals

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