#animation art
Concept drawings by Mel Shaw for Disney’s THE LION KING (1994).
Pretty stoked to announce I’m going to be teaching the Fundamentals of Design course online at CGMA 2D Academy this summer starting end of July. So check it out and sign up!
http://2d.cgmasteracademy.com/principles-of-design-process.html
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Buy a print from my new online shop this week, and I’m throwing in an original sketch. Sale ends this Sunday at Midnight. www.theartoftravis.com/shop
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Just-Go-With-It John Hurt as the War Doctor. I spent about two hours on a semi-realistic super detailed drawing only to do this twenty-minute sketch and like it way more! I miss John Hurt; it always made me happy to see him in film and on tv, and he seemed like such a warm person.
“Quentes e Boas”, as they say in Portugal!
A little chestnut cart that serves as a hideout for the Pewts, a species of tiny creatures from my Bachelor project, The Iaiá Market!
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It’s the story about Sarkah - the mysterious wanderer from unknown place who observes people’s life through ages. Why has he come here? What are the reasons of his existence, what is his role? Is Sarkah only an observer? Or maybe an explorer who wants to see our world through our eyes? Or maybe there’s something waiting for us? There are no answers for now and all we know is that the life goes on and we are observed. It seems it’s still our choice what the future will hold.
Sarkah: an original story and animation made some years ago. If you want to know something more about this creation, go here: [link]
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Artwork & story © Neshirys
Music by Skyberry Symphony (now Momo Symphonia)
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If you’re interested: My page,Commissions&Shop.
Some early visual development for “The Wonderful Wingits” created by Leticia Abreu Silva for Cartoon Network. A traveling family of performing bats live in a “stagecoach” that transforms into a stage as they visit different towns. Originally titled Wheels to Wonder a few years ago when I worked on it.
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Some of my background paintings for Disney’s Big Hero 6: The Series (season 2). I spent almost all of last year on this show and had a blast, thanks to the phenomenal crew.
Art Director: Benjamin Plouffe
Layouts: Pat Marconett, Kat Terada, George Fort, Vince Toyama, Khang Le, Mark Taihei, and Francis Boncales
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The depiction of Cleopatra in this model sheet for a Cashmere Bouquet commercial looks strikingly similar to Cleo from Clone High
God bless our National Parks. In honor of our ranger heroes here’s some beautiful production backgroundsfromYogi Bear, artwork by Art Lozzi.
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Organic on Mechanic
flow and flux
Here’s some early character exploration I got to do of Sid and Adelaide, a year ago while I was being trained on The Loud House in the Nickelodeon Artist Program!
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Hi there, this is my entry for the CDC of this month (Spirited Away )
and some steps of the process :)
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my cdc of this month, trying to paint more on this one.
theme: mongolian eagle hunter.
that was a very good rendering exercice
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“Uh…Hello…I’m Elwood!…El-Wooooood! What’s your name? What are you?”
Oh! Guys! I’m gunna be at CTNX. Come swing by table T119 and say hello!
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Speaking of nuclear, here’s the idea I was playing with. In this early iteration of Bigfoot I thought it would be rad if Bigfoot harnessed nuclear energy. He’d get so mad, he’d loose his hair and the crevasses around his body would start to glow with radioactive energy. He’s a cute and cuddly creature…. but you really shouldn’t mess with him!
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If you didn’t figure it out by the hints on my instagram stories or my cryptic posts, my personal project is about bigfoot.
In fact, it’s called Bigfoot.
In my story, Bigfoot was a secret lab project that escaped the clutches of his evil creators. They designed him to be a weapon capable of decimating cities in a heartbeat. What they didn’t expect was their creation’s ability for love and compassion.
Having Bigfoot be a failed science experiment really helped break out of that hairy seven foot Chewbacca stereotype that’s expected. I was thinkin’ stuff like…Wouldn’t it be cool if he still had lab harnesses stuck on him? Or what if he had a metal mask on? Oh, what if he had one of those lab tags on one of his ears?
And my favorite….
What if he was nuclear?
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Hi everyone!
Some folks asked me to post my processes for these ortho things, so here I go…
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So the needs are : Something mysterious escaped from a secret lab facility. Design an ortho that not just gives modelers, bg painters, and board artists an idea of the space but also incite a mystery. What kind of people inhabited the space? What was its history? What were the people working on? How and why is this facility now in shambles?
First I quickly doodled ideas on a sketchbook with the needs in mind. It’s always nice to know where I wanna go before I start. I tried to really take my time with this phase. I did research, I explored a butt load of ideas, I designed inside the box then design outside the box.
Next, I made a rough sketchup model. I tried to be as descriptive as possible and focused on creating a path for the eye. I populated the scene with props even if I felt I could draw the prop freehand. It saved time and energy in the long run. And yea, sure I’m a fan of using sketchup for this type of stuff, but I highly recommend to try it freehand with perspective if this is your very first ortho rodeo. The fundamentals you learn building something from nothing without the aid of a 3D program is hella good for you.
I then draw on top of the model as any times as I need to but I didn’t just trace everything willy nilly. I improvised as I traced. It’s like when you’re jamming in a band and your bass player is holding a great grove. I don’t just play the same exact shit he’s playing, I solo on top of it. I let my soul do a little singing here. I believe having a strong foundation works wonders when exaggerating and generating designs with personality.
Alright, so now I have an awesome line drawing. Time to add value. The eye craves this stuff. Highest value contrast is where the eye wants to go to. This is where I played around with lighting and drama. At this point I’m glad I’ve made it through half the battle.
I then roughed in the local colors with a general palette in mind. Everything is subject to change so do your best to cut everything into different layers. I wanted to wanna give myself the option to quickly alter the hue, value, or saturation of any given layer without stressin’ about re-paints.
Lastly, I used my knowledge of painting to finish the piece. I tried to really hone in on the storytelling and to not noodle around. Every time I thought I was done or satisfied, I checked with both my story notes and my old school notes then checked back with my piece. How can I improve it? How can I get from 80% there to 100%? Can I improve the lighting to emphasize the mystery? Is there a prop that needs to be added to improve the storytelling. Is there a prop I need to remove that detracts from the storytelling?
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I hope this was helpful!
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I’m not going lie. This was very, very, very FUN.
I wasn’t born in the 80s but I was raised on Spielberg, John Hughes, Devo, the Cars, and Duran Duran. I think I have good a good handle on the source material.
Despite that, I did do my share of research for making Elwood’s room look like an authentic 80s boy’s bedroom. That meant looking up screencaps of kid’s bedrooms from E.T., Close Encounters, Adventures in Babysitting, The Goonies, and the opening of Princess Bride (That kid’s room is packed with great material!). Not to mention the crazy research on 80s toys using forums and ebay (You won’t believe how much people are selling those things for!)
So yea, blah blah blah I did the research.
BUT the most exciting part about designing this room was how much of myselfI put in this thing. When I was a kid born in 91, I never had all the cool crap that kids in the movies had. I mostly had cheap 99 cent knockoffs and a few lucky finds from Goodwill. The spirit of this piece involved harnessing my inner kid to discover what Elwood and I would have in our dream room. We both share an interest in sci-fi, music, junk food, and airplanes. I’d imagine we’d both have the same room upkeep.
So here’s to bringing out your inner child and letting him or her inspire your work. *raises imaginary glass of rootbeer*
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I wanted Elwood, the protagonist, to be the embodiment of geeky, boyish charm. He’d be the kind of kid I’d talk to about Star Wars, X-Files, Rambo, time machines, and dinosaurs. The guy is a bit of a loudmouth, and maybe talks too much about the differences between the Jurassic and Cretaceous period, but he’s a loyal friend brimming with imagination.
If I were to cast anyone to voice him, without a doubt it would be Gaten Matarazzo. You know him. Dustin from Stranger Things.
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