Fetch on Evening Magazine!

Wow! Last nights episode of Evening Magazine was very cool.  They show Fetch and the exhibit at Seattle’s Museum of History and Industry

Fetch gets Editor’s Choice award on iPad app store

This game was such a delight to work on.  The team of nine that put this together worked with such a great dynamic.  Brian Thompson was Art Lead, Chris Campbell was Producer and together with Peter Yiap, Lead Programmer, they pieced together many of our ideas into this fun game.  The amazing background art was created by Hamzah Kasom, Soi Che, and Brian.  Chris mapped out the game play with Powerpoint which gave us a road map to follow.  Character animation was done by Rebecca Coffman and myself, with assistance in environment animation by Hamzah and the programmers.  On the programming team, we have Ryan Hoaglan, Sean Richer and Peter Yiap.  Those guys did an amazing job making Flash their b**ch.

We started the game not knowing exactly what direction we were going.  We had a lot of great ideas and mini games planned.  We did tons of concept art and explored so many possibilities.  That’s really where the fun is at.  Always asking “what if?”  But then once we got the story together, the world really began to take shape.

I  animated the mice, some of the dogs, the gator, coconut eating bird and Bernard (Embark CEO).  Rebecca did a wonderful job animating 95% of Milo, Iris, pirates and giving those robots so much personality.  Our goal was to match the animation with the world Milo and Bear lived in.  It was a nice mix of hand drawn and CG.  I can’t say enough about the backgrounds.  I hope to one day be able to paint half as well.

It was a true team experience creating this and, I think, it shows.  We all have something to offer and there were no bad ideas.  I can’t wait to make another game with this crew.

I hope everyone out there enjoys playing it as much as we enjoyed making it.




Fetch makes the news!

Fetch in Wall Street Journal

It’s been a long while since I’ve posted anything.  Haven’t been up to much lately accept working on our latest Big Fish adventure for iOS, called Fetch.  It’s about a boy trying to do what he can to get back his dog who has been captured.  The team I worked with is fantastic and I can’t wait to do it again.


The Fantastic Flying Books of Morris Lessmore

I remember seeing this a few months ago and feeling really inspired by the animation and the story.  It’s well deserving of its reward.

MasterClass: animating animals

I’m beginning to animate a dog and found this link on Vimeo.  It’s great reference and advice.  Hopefully it stays up for a while so I can refer to it again in the future.  Thank you CGMeetupTeam

MasterClass – Animating Animals: Tips and Tricks to Animating Believable Animal Characters in a Live Action Feature by William G from CGMeetUp Team on Vimeo.

digital copy of a Leyendecker

Here is another exercise to help me become more acquainted with painting digitally.  J.C. Leyendecker was one of the best painters to come out of the 20th century.  He was a master artist that created hundreds of beautiful works in his career.  Anyways, here is a copy from a section of one of his paintings.

Leyendecker master copy, painted in Photoshop


initial drawing and palette

I did the work in Photoshop working as if I were using the sight size method.  It incorporated a lot of measuring and seeing.  Then I created a palette to use avoiding just grabbing colors from the original. That doesn’t teach anything.

Started in with the under painting.

original detail of painting

Here is the digital image I worked off of.  It is a close up section of the painting below that someone had the privilege of seeing the original and photographed it.original painting by JC LeyendeckerBy getting into the details of this painting, I was able to see the mastery that went into the painting.  Leyendecker wasted no stroke.  Everything was so precisely put in place.  Another fun exercise.

Digital master copy of a Sargent

I had some time to work on my digital painting skills.  I’ve really liked this John Singer Sargent painting, entitled “Head of a Capri Girl”, and wanted to try a copy of it for some time.  My drawing is slightly off, I know, but I was more focused on getting a close representation.  Since I’m new to this I thought I would start off the way I do when painting with oil.  I started with the palette.  Without a good palette set up, I find I do nothing but struggle with a painting.  I would consider this a complimentary palette with a strong emphasis on purple and yellow.  Below are my steps as I completed it.  I love the thick layer of paint that Sargent uses for the lights.  There was no way I could match that perfectly.  The goal here was to be as accurate with color and value as I could with the 3 hours I had.

Here is a compilation of animation I created for Drawn, produced and published by Big Fish Games.  These two games, Dark Flight and Trail of Shadows, have been a ton of fun to work on.  The games are great to play and beautiful to look at.  What I really enjoyed about it is that I was able to animate using several different tools.  I got a chance to provide hand drawn animation, modelling and animating in CG and post production effects in After Effects.  There’s much more I’ve done for the games while animating in the level editor but you’ll have to play the games to see them.

Drawn_Trail of Shadows

This game was a lot of fun to work on. I thoroughly enjoyed every animation task I was handed. Each project on this was a learning lesson and inspired me more and more to work on my illustrative skills as well as pushing my knowledge in animation. I hope to post the scenes I worked on soon, but I encourage everyone to try the game out.

Big Burn WIP

This past Spring I read The Big Burn, by Timothy Egan, about the beginnings of the Forest Service  by Roosevelt and Pinchot and the fire of 1910 that took out millions of acres of forest land in Idaho and surrounding states.  It was quite a read and I totally recommend it.  Hundreds of railroad workers, miners and settles died in the fire.  The first hand accounts and descriptions pieced together by Egan burned a vision of the incident in my mind.   I’ve played with some thumbnail sketches and quick color comps before I finally decided to devote some tie to the painting.  I’m creating in in Photoshop, in hopes of becoming a better digital painter.  Here are some of the steps

original design done in B&W.  By using strong diagonals, I wanted to create a sense of drama.  Once Violet saw it and thought it looked scary, I new the design was working.

Here I started adding more detail.  Some people had to resort to climbing into mine shafts risking suffocation while others scrambled into shallow rivers during the drought that occurred over the summer.  Winds blew upwards of 100 mph and trees were falling all around.

I’m working in color now, slowly filling in more details.  I found no reference of the characters scrambling to get into the water so I shot some video reference of myself.  We’ll see how that turns out.  I still have a long ways to go.  Hopefully I can finish it up soon.  I’m open to critique if anyone wants to offer some.