Chris Oatley and Paul Scott Canavan (Lead Artist at Blazing Griffin) critique Yaniv Cahoua’s Portfolio.
Topics Covered:
Chris Oatley and Ashley Dotson (Mojo Games) critique Francisco Matos’ Portfolio.
Topics Covered:
Chris Oatley and AJ Nazzaro critique Michael Ackerman’s Concept Art and Illustration portfolio.
Topics Covered:
Chris Oatley critiques Caiyen Tse’s Visual Development portfolio.
Topics Covered:
Chris Oatley critiques Edith Escalera’s Visual Development portfolio.
Topics Covered:
In part one we heard the story of Armand’s long road to success in the animation industry…
Now, the conversation with Armand gets spiritual as we discuss “pure creativity,” the role of Armand’s faith in his career and creative process and how many aspiring artists are working backwards…
The conversation then spins around 180 degrees to focus on technique and workflow.
Jose-Luis Segura joins me as guest co-host.
This Extended Interview Contains 20 Minutes Of Extra Audio:
Armand Serrano‘s inventive compositions, visceral line work and story-rich environment designs have made him a living legend in the animation industry.
From humble beginnings as an illustrator for a telegram company, to creating iconic layouts for classics such as Disney’s Mulan, Tarzan, Lilo & Stitch, Big Hero 6 (and numerous other varying films and productions), Armand has a wealth of experience and knowledge to share.
This Extended Interview Contains 8 Minutes Of Extra Audio:
Many artists are under the misconception that “the portfolio” is a fixed, finishable thing…
This misconception can be particularly restrictive at conventions, job fairs and other recruiting events where you get frequent feedback from industry pros.
In this episode we share a strategy that will help you design a physical portfolio that can adapt to the feedback and unexpected opportunities you’ll encounter throughout the event…
In part 1 of this series, we explored the pros and cons of designing your portfolio around the visual development of an existing story – like a classic fairy tale, literary work or a popular novel.
…but would it be better to create your own original story for your visual development portfolio?
The term “Visual Development” is typically associated with the animation industry.
…but whether you’re a visual development artist, concept artist, illustrator, comics or children’s book creator, your job is to develop stories visually.
…and one of the best ways to demonstrate that you can develop a story visually is to… …well, um… Develop a story visually!
Most aspiring Visual Development Artists base their portfolios on fairy tales or popular novels.
…but would it be better to write your own original story and develop that?