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Looking towards new opportunities with enthusiastic artists.

Experienced Senior Art and Animation Leader focusing on innovation at the intersection of digital technology and storytelling. I specialize in inspiring artists, streamlining pipelines, and creating compelling content for cinema and new media. And I enjoy moving between the sweet, endearing, evil, and deadly. I am a builder. I am a storyteller. I am a leader. With over two decades of experience, I’ve created memorable character performances for Hollywood films like “Pan’s Labyrinth” and “Stuart Little,” as well as successful video games like “Red Dead Redemption” and “Dino Crisis.” I excel in project management, overseeing projects from concept to launch. My accomplishments include contributions to Oscar-winning films, a Clio award, and a Visual Effects Society (VES) award. I’ve worked on 18 features, 44 commercials, and 13 AAA-rated video games. I’ve also authored three animation books and spent 15 years as an educator at esteemed institutions. I’m actively involved in new media and crypto art, pushing artistic boundaries.

Credits Include: 18 features, 44 commercials, and 13 AAA shipped video games. I have authored three books on animation and spent fifteen years as an educator at USC, iAnimate, CG Spectrum, and Gnomon School of VFX. I am also working in new media and crypto art.

Roles Include: Animation Director, Creative Director, Production Consultant, Character Specialist, Animation Supervisor, Lead/Senior Animator, Character Animator, Pipeline Consultant, Character Specialist, Full-time Professor, Curriculum Development, Course Content Creator, and Author.

Essential Skills: Storytelling, Team Building, Training, Mentorship, Visualization, Character and Creature Development. Strategic Planning, Training & Execution, Storytelling, Streamlining CG and VFX Production Pipelines, Feedback Loops, and Project Management.

Project Software: Maya, Mel, Nuke, Redshift, Unity, Houdini, Adobe CC, Shotgun, Slack, RocketChat, Agile, Ftrack, and Jira. Proprietary: Voodoo and Parsley.

Don’t hesitate to get in touch with me for availability inquiries.

20+ years experience in production, tech/software, and education/training for VFX and Animation. I leverage my experience in feature, commercial, and game production to bring digital characters and creatures to life. In addition to working as a character animator, I have extensive experience in animating and leading teams in collaboration with feature/commercial film directors and VFX supervisors. I love the challenge of uncovering, unraveling, and solving problems that live at the intersection of digital, tech, and performance animation. I have served as Animation Director and Supervisor for DIGITAL DOMAIN, IMAGE METRICS, LUMA PICTURES, ZOIC STUDIOS, ANGEL STUDIOS, CAPCOM/JAPAN, and MOTION THEORY, challenged with overseeing, recruiting, and leading artists on multiple projects including film, games, and commercials.

What My Resume Says About Me:

Award-winning, Masters-Level, Honors Graduate, Educator, Mentor, and Creative Leader with extensive experience in animation production, character performance, team leadership, education, and training. Cartoony and photorealistic skills enjoy moving between the sweet and endearing and the evil and deadly. Familiarity with working in film, games, and commercials. Practicing member of VES, WIA, Siggraph, and ASIFA. Maya, Redshift, Nuke CG Software expert level experience, E-learning Modules, Eboard/Blackboard/Web Design/Zoom Webinar Facilitator, Unity VR Export, Adobe Suite, Jira, Slack, Frame.io, and Shotgun. Etc.

What My Resume Doesn’t Say About Me:

I cycle through various mindsets to solve problems and strive to keep an open mind when facing new challenges. I feel most at home living in the space between research and animation. In addition to my production experience, I have worked for AI and software companies to make tools more artist-friendly. I spend a lot of time thinking about how ideas and tech are born. Picking up new skills and learning how to tackle complex creative problems is what motivate me to get out of bed in the morning.

The goal is to work smart. Workflows that use the tech efficiently are a top priority for my creativity. However, I am not wowed by the latest tech. I strive for the most streamlined process possible. Historical accounts of how the work was created help me understand how to create new work. Continued education and teaching experience helped me grow my performance and animation skills. Most people would describe me as a happy, organized, and productive person who can build engaging projects. I’m known for my patience, my sense of humor, and as a seeker of constructive feedback.

Deep down, I am an art nerd. I continually seek innovation, artistic expression, anatomy, movement, dance, photography, filmmaking, music, design, animation, interaction, and storytelling. I find great inspiration in fine artists from all eras, especially neo-geometric conceptualism, 80s filmmaking, and music videos.

FILM – CHARACTER AND CREATURE ANIMATION

AVATAR 2 (2022), SMURFS MOVIE (2011), I’M HERE (2010), NATIONAL TREASURE 2 (2007), THE HITCHER (2007), ZOOM: RETURN OF ZOOM (2006), PAN’S LABYRINTH (2006), STEALTH (2005), THE CAVE (2005), CHRONICLES OF NARNIA (2005), NATIONAL TREASURE (2004), GARFIELD (2004), SCOOBY DOO 2 (2004), FREDDY VS JASON (2003), NATIONAL TREASURE (2004), XMEN 2 (2003), STUART LITTLE 2 (2002)

Most of my feature experience is working as a character/creature animator. Stuart Little 2 won a VES Award for character animation and Pan’s Labyrinth won many Oscars.

COMMERCIAL – CHARACTER AND CREATURE ANIMATION

DEL TACO (2021), FACEBOOK (2019), SUPERCELL (2019), AT&T (2019), ANHEUSER-BUSH SUPERBOWL SPOT (2018), HATSUNE MIKU – TOYOTA (2011), SCRABBLE (2010), BREYERS (2010), OCEAN SPRAY (2010), US CELLULAR (2010), MS SHINY (2010), SQUIRREL HONDA (2009), HP (2009) BATTLE OF THE BEANS – SOY JOY (2008), SUNDAY DRIVE – T-MOBILE (2008), BDA OPENING (2008), STOLI BLAKBERI (2008), POPSICLE SPOTS – 3 SPOTS (2007), DISNEY’S 50TH ANNIVERSARY COMMERCIALS – 5 SPOTS (2004-2006), AMP ENERGY DRINK – CLIO (2006), ASPEN CHRYSLER SPOT (2006), AGENT LISTERINE COOL BLUE (2006), COCA-COLA DROPS (2006), REALESTATE.COM (2006), YAHOO/EARTHLINK.COM (2005), NINTENDO GAME BOY – 2 SPOTS (2004), GEICO GECKO – 13 SPOTS (2003), KID’S CUISINE (2002), SMART AND FINAL – 3 SPOTS (2002), 7-UP INTERNATIONAL PITCH (2002)

I led several teams on commercials for Disney, Stolichnaya, Microsoft, and more.

PREVIZ

BLOODSHOT (2020), BON VIV (2019), ASURA (2018), SMURF’S MOVIE (2011), OLYMPICS (2009), KIA (2008), ZOOM: RETURN OF ZOOM (2006), DISNEY’S 50TH ANNIVERSARY COMMERCIALS – 5 SPOTS (2004-2006)

I have worked on various pre-viz projects for studios and independently as a freelancer.  I am comfortable taking shots from boards to final.

GAME

ASSASSIN’S CREED 2 (2009), ARMY OF TWO: 40TH DAY(2009), BLUR (2009), GOD OF WAR III (2009), RED DEAD REDEMPTION (2009), ODDWORLD: ABE’S EXODDUS AND MUNCH’S ODDYSEE (1998-2000), DINO CRISES 3 (2000), ONI 2 (2000), RED DEAD REVOLVER (2000), SMUGGLER’S RUN 2: HT (2000), MIDNIGHT CLUB 2(2000), TRW SURF (2000), 25 PS GAMES FOR K-12 SCHOOL SYSTEM (1995-1998)

I started my video game animation career in the mid to late 1990s. By 2000, I was Animation Director at Angel Studios working with CAPCOM and RStar Games, leading the art assets for 6 games in production, including Red Dead Revolver, Oni 2 Dino Crises 3, TRW Surf, Midnight Club 2, Off-Road 2, and Smuggler’s Run 2.  I served on a panel of representatives from each department to oversee and raise the bar on all assets at Angel Studios. I led teams on 2 prototypes and supported the other games in development, working closely with programmers and artists. I also acted as a liaison between The US studio and CAPCOM Japan for the Dino Crisis game. Finally, I taught animation classes to the team, assessed mocap pipelines, and consulted on all productions.

In 2009, I returned to supervising game cinematic facial animation at Imagemetrics. I served as the Animation Director for Video Games and Music Videos, Face Replacement, and Facial/Dialog Animation, overseeing forty animators on two shifts for Assassin’s Creed 2 | Army of Two: 40th Day | God of War III | Red Dead Redemption | Blur | Grand Theft Auto IV and two music videos: Maneater | Black Eyed Peas – Boom Boom Pow . At Imagemetrics, I oversaw all projects, including film, games, and commercials, using Maya, Max, XSI, and Houdini. I designed the studio’s creative approval process, including expression sheets, style guides, dailies, and mentoring structures. I also created new methods of training on facial animation and shaped the workflow, pipeline, and infrastructure design. As a leader, I supported Tech and Creative Managers to develop resolutions to production challenges, long-term department strategies, and resources locally and internationally and spearheaded animation and tech strategies. I set the bar for art direction, ensuring clients’ creative vision and direction are met. As the Director, I led artists in production on multiple projects and double shifts, uniting local and international outsourcing teams.  My role included piloting team roles, organizational structure, processes, and practices and advising on rig reviews and technical pitfalls. During my time at Imagmetrics, I transformed the floor from the ground up with short and long-term goals in mind. In addition, I drove bidding, scheduled and oversaw high-profile projects, and modernized business development and marketing. I also needed to revitalize tech product marketing, artist-friendly tech, and market strategies. Finally, I traveled to client studios to ignite and win partnerships with studio teams and drove growth with the CFO on the fiscal management of the department. Met with the COO and CFO weekly to discuss P&L accountability.

TELEVISION

SKITTER – FALLING SKIES (2010), FRINGE (2008), SKRUMPS (2006), REALITY CHECK (1995)

I excel at motion studies to figure out how a character might mv.  Especially if the rig has challenging antimony and/or if the space the create/character has to move within is constricted or weird.

SOFTWARE DEVELOPMENT AND CONSULTING

HOUDINI TOOLSET V9 (2009), IMAGE METRICS (2009), ZOIC STUDIOS (2008), GNOMEO AND JULIETTE – WALT DISNEY FEATURE STUDIOS (2002)

Over the years, I have been called into studios to help with production struggles since I have a vast experience with different pipelines. I also have helped make the tech more artist-friendly.

MUSIC VIDEOS & RIDE FILMS/ENTERTAINMENT

RACING LEGENDS @ PORTAVENTURA WORLD’S NEW FERRARI LAND EXPANSION (2017), BLACKEYED PEAS – BOOM BOOM POW (2009), MANEATER – NELLY FURTADO (2009), ADELE – CHASING PAVEMENTS (2007), CITY OF DREAMS MACAU – DRAGON’S TREASURE VR (2008)

It’s fun to jump around to different productions and challenge myself, so I have also worked on ride films and music videos over the years as an animator.

FILMOGRAPHY

2012-2022
WETA DIGITAL – Senior Animator: Upcoming Feature (2022)
DAY FOR NITE- Previz Artist: Upcoming Feature (2020)
ZHENJIAN FILM STUDIO/OLLIN FX – Previz Animator: Asura Release 2018
OLD MONK STUDIOS – Lead Character Animator: Feature
SONY PICTURES  – Sr Character Animator: “Smurfs”

2004-2010
THIRD FLOOR – Character Animator: Smurfs Movie Previz
METHOD STUDIOS – Character Animator: “I’m Here”
ASYLUM FX – Digital Animator: “National Treasure 2”
DIGITAL DOMAIN –  Various Roles
FX Animator: “Stealth”
Character Animator: “Zoom”
Character Animator: “The Hitcher”
CAFÉ FX – “Pan’s Labyrinth” – Character Animator
LUMA PICTURES – Lead Character Animator: “The Cave”
ASYLUM FX –  Character Animator: “National Treasure”

2001-2003
RHYTHM AND HUES – Various Roles
Sr Character Animator:
“The Chronicles of Narnia”
“Scooby Doo 2”
“Garfield’
CINESITE – various Roles
Character Animator: “XMEN 2”
Lead Character Animator: “Freddy VS Jason”
DISNEY FEATURE ANIMATION – 
Animation/CG Pipeline Consultant: “Gnomeo and Juliette”
SONY PICTURES – Character Animator: “Stuart Little 2″

RIDE FILMS
2009-2019
TAU FILMS – Animator: Ride Film – “Racing Legends” at PortAventura World’s new Ferrari Land expansion
AMALGAMATED PIXELS – Animator: Ride Film – City of Dreams Macau – Dragon’s Treasure 360 VR Dome

COMMERCIALS/TV
2009-2019
GENTLEMAN SCHOLAR – Senior Character Animator: “ATT Spots”
BUCK LA – Senior Character Animator: “Scrabble Spot”
REPUBLIC STUDIOS – Animation Lead: “Hatsune Miku” Toyota
ENTITY FX –  Senior Character Animator: Pitch for TV show
CREATIVE CAPERS – Sr Character Animator: Pitch for TV show
IMAGINARY FORCES –  Senior Character Animator: Breyers Spots
MADE IN HAUS – Senior Character Animator: Microsoft Interactive
A52/ELASTIC – Senior Character Animator: “Squirrel” Honda
STARDUST – Character Animator: “HP Laser Printer Spot”
ZOIC STUDIOS – Animation Supervisor: “Fringe – Transformation”

2005-2008
BRAND NEW SCHOOL – Animation Lead: “Soy Joy Bar”
ENGINE ROOM FX/DESIGN – Animation Lead: “BDA Awards”
PSYOP – Animation Lead: “Stoli Commercial”
MOTION THEORY/MIRADA- Animation Supervisor: Nike & Verizon
SEA LEVEL – Lead Character Animator: Popsicle Spots
JIM HENSON STUDIOS –  Character Animator: “Skrumps” TV
DIGITAL DOMAIN – 3 years working in various roles
Animation Supervisor: “Disney 50th Anniversary Spots” (5)
Character Animator: “Disney 50th Homecoming”
Character Animator: “Coca-Cola Drops Spot”
Character Animator: “RealEstate.com Spot”
Character Animator: “Yahoo/Earthlink Spot
Character Animator: “ACB Listerine”
Animation Supervisor: “Aspen Chrysler Spot”
Animation Supervisor: “Amp Energy Drink”

2002-2004
ASYLUM FX – Character Animator: Nintendo Game Boy
RHYTHM AND HUES – Sr Character Animator: Geico Gecko Spots
DUCK SOUP PRODUCKTIONS – Character Animator: Kid’s Cuisine
COLORADOFX – Character Animator: Smart & Final
MYACTIVEDRIVEWAY/BBDO – Character Animator: “7up Pitch”

1994-1995
TANNERMARK– 2D/3D Animator: Reality Check TV Show
ALAN STECKER VIDEO – 3D Artist: Various TV productions
BIG MOUTH POST– 3D Artist: Cartoon Network Bumpers
COCA-COLA USA – Graphic Designer: Corporate Presentations

GAMES/AR/MR/VR

2018
ODDFELLOWS – Character Animator: “Google Fun AR Stickers”

2009
IMAGE METRICS – Animation Director:
Oversee, recruit and lead 50 artists on 12-20 projects each month
including film, games and commercials using Maya, Max, XSI,
and Houdini. Set the bar for all assets and art direction ensuring
client’s creative vision and direction are met.
Animation Director: Blur, Activision
Animation Director: Assassin’s Creed III, Ubisoft
Animation Director: Grand Theft Auto IV, Rockstar
Animation Director: Army Of Two, EA

ZOIC STUDIOS –  Animation Supervisor: “KillZone2”

2000-2002
SUPER 78/CARTOON NETWORK – 
Lead Character Animator: “Power Puff Girls Video Game Cinematics”
ANGEL STUDIOS – Animation Director of all in-house games
Lead Artist : “Oni II”
Lead Artist : “Smugler’s Run”
Lead Artist with CAPCOM Japan: “Dino Crises III”
Lead Artist with CAPCOM/Rockstar: “Red Dead Revolver”
Lead Artist: “TRW Surf Video Games”

1995-2000
ODDWORLD INHABITANTS
Character Animator: “Abe’s Exoddus Video Game Cinematics”
Character Animator: “Munch’s Oddysee Video Game Cinematics”

THE LIGHTSPAN PARTNERSHIP –
Character Animator: PSX Children’s Educational Video Games (25)
At Lightspan Adventures we designed, programmed, produced,
marketed and sold the games in-house, from San Diego with over
400 employees. The games were only sold to schools
and packages cost anywhere from $20k-$50k, but most or all
of that cost was usually covered by education grants.
In the end there were hundreds of games produced.
str.at.e.s.
Quaddle
Calamity
Timeless Jade Trade
K9.5
KazMania
Timeless Math
Cosmic Cookoff
Faire Games
The Quaddle Family Mysteries
P.K.’s Place
Math on the Move!
Maya Adventure
Stay and Play
Creative Camp
The Case of the Scarce Scarab
Creative Journey
Mona Moki
Road Writer
Liquid Books
The Three Decoders

PIPELINE/SOFTWARE CONSULTANT

CONSULTING:
Everyone needs a little help with the challenges that production brings and the tools artists use. I have consulted on pipeline structures for feature films with Disney, Motion Theory, Angel Studios, Zoic Studios, Image Metrics, The Institute for Creative Technologies at USC, and Side Effects Software.

In addition to character animation, my strengths include:
— leadership, mentoring and building/staffing of animation teams
— pipeline consulting, internal file systems and structures, pipeline and CG tool design
— the organization of shows – film, game television and commercial
— creative development, pitches, and original content
— pre-visualization and early development of motion and character personalities

2002-2010
USC INSTITUTE FOR CREATIVE TECHNOLOGIES – Animation Consultant/Character Specialist
SIM COACH: The SimCoach project is developing virtual human support agents to serve as online guides for assisting military personnel and family members in breaking down barriers to initiating the healthcare process.
IMAGE METRICS – Animation Consultant:
Training.
Rig reviews.
Business Development.
New Market Strategies.
Tech Product Marketing.
Artist-Friendly Tech.
ZOIC STUDIOS – Animation Pipeline Consultant:  Studio growth specific to character animation.
SESI – Character Animation Specialist: Assistant in artist-friendly Houdini character toolset for version 9”
DISNEY FEATURE ANIMATION – Animation/CG Pipeline Consultant: “Gnomeo and Juliette”

ACADEMIC EMPLOYMENT

2018
CG SPECTRUM SCHOOL OF ANIMATION AND VISUAL EFFECTS – Course Development/Curriculum Consultant

  • Consulting and course content development for new diploma programs.
  • Coursework development for Career Strategies and Portfolio Development courses to be introduced with the new diploma programs.

2014-2018
UNIVERSITY OF SOUTHERN CALIFORNIA – Full-Time Professor of Practice in Cinema | MFA Mentor

  • Full-time Professor 2014-2018 | 3/3 Load
  • Adjunct Faculty from 2011-2013 | 2/2 Load

Actively participate in departmental and university-wide committee work that includes curriculum development, student advising, and community service.

Classes Taught:

  • CTAN 102 Lab: Introduction to the Art of Movement – BA
  • CTAN 202L: Introduction to 3–D Character Animation – BA
  • CTAN 301L: 3–D Character Performance Animation – BA
  • CTAN 301: Introduction to Digital Animation – BA
  • CTAN 305: Professionalism of Animation – BA
  • CTAN 563: Advanced Computer Animation – MFA
  • CTAN 401a: Senior Project – BA
  • CTAN 401b: Senior Project –BA
  • CTAN 450b: Animation Theory and Techniques – Minor
  • CTAN 330: Animation Fundamentals – Minor
  • CTAN 301: Introduction to Digital Animation – BA
  • CTAN 302: Introduction to 3–D Character Animation – BA
  • CTAN 202: Advanced Animation Techniques – BA
  • CTAN 522: MFA Seminar – MFA
  • CTAN 593 & 496 Independent Directed Studies – MFA and BA
  • CTAN 594A & 594B Master Thesis Mentoring –MFA and BA

Committee Responsibilities Include:

  • Co-Faculty Advisor, The Inbetweens, Student Group, SCA, USC
  • Faculty Advisor Concept Art Club, SCA, USC
  • Faculty Advisor Painting Landscape Club, SCA, USC
  • USC ACM Siggraph Speaker
  • SCA Curriculum Committee

2011- 2014
UNIVERSITY OF SOUTHERN CALIFORNIA – Adjunct Faculty | MFA Mentor

  • CTAN 301: Introduction to Digital Animation – BA
  • CTAN 302: Introduction to 3–D Character Animation – BA
  • CTAN 202 Introduction to 3D Character Animation
  • CTAN 301L 3D Character Performance Animation
  • CTAN 450b: Animation Theory and Techniques – Minor
  • CTAN 593 & 496 Independent Directed Studies – MFA and BA
  • CTAN 594A & 594B Master Thesis Mentoring –MFA and BA

iANIMATE.net – Instructor

  • WS3 Advanced Body Mechanics
  • WS4 Facial Acting and Dialog
  • WS5 Full Body Acting

2006-2009
LA FILM SCHOOL – Advisory Board member
GNOMON SCHOOL OF VFX – Instructor: Char Anim 3 and Creature Animation I Courses
GNOMON SCHOOL OF VFX – Instructor: “Char Anim 3 and Creature Animation I Courses”
GNOMON SCHOOL OF VFX – Instructor: “Creature Animation I Course

EDUCATION

Formal Higher Education

  • 2015 Master of Fine Arts, Studio Arts – Painting, Laguna College of Art + Design

Presidential Scholar, Studied Under Kent Williams, F. Scott Hess, Aaron Smith, and Nicola Verlato

  • 1994 Bachelor of Fine Arts, Electronic Arts, Atlanta College of Art

Presidential Scholar, Studied Under Larry Jens Anderson

Additional

  • 2009 Private Study, LA Figurative Art Academy, Head Drawing – Nathan Fowkes
  • 2008 Private Study, American Animation Institute, Animation Guild Life Drawing – Karl Gnass
  • 2008 Private Study, Kline Art Academy, Foundations in Classical Painting – Cheryl Kline
  • 2007 Private Study, LA Figurative Art Academy, Academic Gesture Drawing – Tim Mcguire
  • 2004 Conservatory Practice, Bang Improv Studio, Improv Classes 1–4 and Masterclass – Peter Albers
  • 2003 Rhythm and Hues, Life/Animal Drawing – Glen Vilupu
  • 2001 Sony Pictures, Life Drawing for Animators – Karl Gnass
  • 2000 Private Study, Ed Hooks Acting and Improv, Acting for Animators – Ed Hooks

Technical Writings And Speaking Engagements

  • 2011-2018 – Faculty @ USC – Char Anim, Ideation & Thesis
  • 2011-2018– Instructor @ iAnimate – Facial/Body Mechanics
  • 2007-2009 – Instructor @ Gnomon – Creature & Character
  • 2007-2009 – Member Advisory Board @ LA Film School
  • 2017 Guest Lecturer – Pencil Mileage Club, CSUF
  • 2017 Guest Lecturer – Inbeweens, DADA, USC
  • 2017 Art Talk, Saatchi LA, DADA, USC
  • 2016 Art Talk, 9th Week Pecha Kucha, DADA, USC
  • 2016 Guest Lecturer, MFA Seminar, DADA, USC
  • 2016–2017 Guest Lecturer, LMU, Animal Drawing
  • 2007 Guest Lecturer, Gnomon School of VFX
  • 2006 Panelist, Walt Disney Studio
  • 2003 Panelist, Comicon, San Diego, CA
  • 2003 Panelist, LA Siggraph Chapter Meeting
  • 2002 Panelist, Visual Effects Society
  • 2000 – Instructor @ Dhima Inst. Character AnimatioN
  • 1999 Speaker, Game Developer’s Conference

 

PUBLICATIONS/BOOKS

2006, THINKING ANIMATION: BRIDGING THE GAP BETWEEN 2D AND CG
Co-authored this text in 2006 with Jamie Oliff
https://www.amazon.com/Thinking-Animation-Bridging-Gap-Between-ebook/dp/B00B7REC18

2000, 3D STUDIO MAX PROFESSIONAL ANIMATION BOOK
Co-Authored this book
https://www.amazon.com/3D-Studio-MAX-Professional-Animation/dp/0735709459/

1997, INSIDE 3D STUDIO MAX
Co-Authored this book
https://www.amazon.com/Inside-3d-Studio-Max-Animation/dp/B00007FYDC/

RESEARCH PUBLICATIONS

Participating Perception, Thesis Submitted to the Faculty of Laguna College of Art & Design by Angie Jones In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts of Master of Fine Arts – May 11, 2015

Master Thesis: Participating Perception https://www.academia.edu/17278330/Participating_Perception

SELECTED BOOK REVIEWS

  • 07.2006 Reviewer: Chris Page. Amazon.com “Modern Day Reference Bible for 2D and 3D Artists.”
  • 01.2006 Reviewer: Sarah Gurman. Animation Magazine. “Serves up methods for bringing the chutzpah and finesse of the 2D tradition to the 3D world.”
  • 07.2006 Reviewer: Paul Williams. 10 Second Club. “: Great Book:. After reading the first paragraph of Chapter Two, the tip on that page almost made the book worth the price I paid!”
  • 04.2006 Reviewer: Joel Fletcher. Amazon.com. “A must-read for the modern animator.”
  • 08.2006 Reviewer: Libby Reed. Animation World Network. “Deals with a great deal more than animation, in either form, humor and experience. Dig out that Toy Story piggy bank because when you do get this book, I guarantee you will have wished you would have bought it sooner.”

PRESS FOR THINKING ANIMATION BOOK

  • Cartoon Brew Thinking Animation Book, Jerry Beck, June 8, 2006
  • Frederator, Interview with Angie Jones, November 1, 2006
  • Animation Meat, Thinking Animation Book Review, Hoops, June 11, 2006
  • CGW, November, Bridging the 2D and CG Gap, 2006
  • Animation Magazine, Book Review, September 2006
  • Animation Mentor, Book Showcase, Bobby Beck, August 2006
  • AWN, Thinking Animation Book Review, Libby Reed, August 2006

SELECTED BIBLIOGRAPHY AND INTERVIEWS

2014             Featured Class Demo          iAnimate Lab No 35 – Youtube          “Lecture – Progressively Breaking Joints”
2012             Featured Column                 3D Ark Demo Reel Advice                  “Reel Advice”
2001             Interview                               The Scratchpost Interview                 “Artist Spotlight”
2001             Interview                               Women In Animation                        “Artist Spotlight”
2003             Interview                               GIG News                                          “Career Features”

ACADEMIC AWARDS | RESIDENCIES | NOMINATIONS

  • 2015 Dean’s List. Laguna College of Art + Design, MFA
  • 2014 LCAD Merit Scholarship. Laguna College of Art + Design
  • 1994 Dean’s List. Atlanta College of Art, BFA

ACADEMIC SERVICE

  • Co-Faculty Advisor, The Inbetweens, Student Group, SCA, USC
  • Faculty Advisor Concept Art Club, SCA, USC
  • Faculty Advisor Painting Landscape Club, SCA, USC
  • USC ACM Siggraph Speaker
  • SCA Curriculum Committee

JUROR AND BOARD POSITIONS

2017 – Florida Animation Festival | Juror | Tallahassee, FL
2016 – Computer Animation Festival @ Siggraph | Juror | Los Angeles, CA
2016 – Amalada Animation Festival of Seville, Animalada  |Juror | Seville, Andalucía, Spain
2007–09 – Los Angeles Film School | Advisory Board/Curriculum | Member | Los Angeles,

PROFESSIONAL MEMBERSHIPS

  • Member, ACM/SIGGRAPH
  • Member, College Art Association, CAA
  • Member, Visual Effects Society, VES
  • Member of Accreditation Advisory Board at LA Film School
  • Member of Artist Design Board at Angel Studios

PROFESSIONAL ADVISEMENT/CONSULTING FOR SCHOOLS, DIVISIONS, PRODUCTIONS

  • 2010-2011 Character Specialist and Consultant, Virtual Human Group, USC Institute of Creative Technologies
  • 2007-2008 Animation Consultant/Pipeline Specialist, Motion Theory Studios
  • 2007 Character Specialist/Consultant, Houdini V9.0, Sidefx Software
  • 2006-2009 Board Member, Accreditation Advisory Board for the LA Film School Digital Arts Program
  • 2002 Pipeline Consultant for Character Animation, Gnomeo and Juliette, Disney Feature Animation
  • 2000 Advisory Board Member, Art Direction Group, All Productions, Ange Studios/Capcom Japan

AWARDS APPOINTMENTS AND PROFESSIONAL MEMBERSHIPS
AWARDS
STUART LITTLE 2
VISUAL EFFECTS SOCIETY AWARDS
2003 STUART LITTLE 2 – WINNER BEST CHARACTER ANIMATION IN AN ANIMATED MOTION PICTURE

AMP PAPER COMMERCIAL
CLIO
2008 AMP PAPER OUTSTANDING PERFORMANCE BY AN ANIMATED CHARACTER IN A LIVE ACTION BROADCAST PROGRAM, COMMERCIAL OR MUSIC VIDEO

PAN’S LABYRINTH
ACADEMY AWARDS
2007 PAN’S LABYRINTH WINNER BEST ACHIEVEMENT IN CINEMATOGRAPHY
SATELLITE AWARDS
2006 PAN’S LABYRINTH WINNER BEST MOTION PICTURE, ANIMATED OR MIXED MEDIA

WEB AND SOCIAL

Animation

Art