#sony pictures animation

A bunch of paintings and things I made for the movie Vivo on Netflix! 

Art Credits:

Production Designer: Carlos Zaragoza

Art Directors: Wendell Dalit, Andy Harkness

Art Dept Production: Rachel Surnow, Jason Weitzner, Chad Boldini

Some of these were painted over geometry by John Butiu and Nobu Sasagawa

Had a great time working on this thing at Sony with an incredible crew. More work on my ig: @hi_garrett

Robot Transports
This is how the robots and Mitchell family in The Mitchells Vs. The Machines get around the transformed PAL Labs. Robots pasted in for scale. There were a lot of design iterations and the clean and simple look seen in the last image matched the Pal Labs design language the best.

A sporting goods store for The Mitchells vs. The Machines movie on Netflix. This scene was cut from the movie, but at one point the Mitchells were going to stop in here for some supplies and weapons to defend themselves. If you haven’t checked out the movie yet, please do! Lots of very passionate people in every department worked their asses off to create this special movie. I’ll share more art soon once I get my files together.

HOTEL TRANSYLVANIA: TRANSFORMANIA

2020 (Photoshop)

Sony Pictures Animation


Visual development painting of Drac and Johnny arriving in South America, layout by Michael Isaak.

HOTEL TRANSYLVANIA: TRANSFORMANIA

2019 (Photoshop)

Sony Pictures Animation

Character paintings for “Hotel Transformania” and also seen in “Monster Pets”. Characters Poochiestein and Diablo designed by Craig Kellman and painted by me.

One of my assignments was to figure out what Gwen’s, Peni’s, Noir’s and Ham’s world’s could look like. Gwen’s is based off Jason Latour Robbi Rodriguez and Rrico Renzi Gwen books, Peni is futureworld based on @jakewyattriot, Noir is… Noir, and Ham is pulling from old mid century cartoons like Pigs is Pigs

Congrats to everyone on the Spidey team! It was an honor to work on this amazing project alongside you. Anyone can wear the mask, and we proved it last night!! .

Goodbye 2018! I have so much more artwork to post but wanted to end the year with a bang. One of the many, but probably most complicated, burst cards I had to do for the film. Most of the burst cards on the film were heavily influenced by western classic comics, but I figured Peni Parker’s busts would be more like classic manga. Most of this was on 2’s with the camera shake on 1’s. This assignment nearly broke me as I’ve never animated traditionally so I had a lot to learn and figure out in very little time. Thankfully Joshua Beveridge and his incredibly talented team gave a wonderful place to start with their initial pass on this animation.

My first attempt at the Spider-Hideout. It was definitely a few shades cheesier than the end result. Also, it looked too much like a daily show set, not that that’s a bad thing, just not the right mood this set should strike.

Hope everyone is having a great holiday! If you haven’t seen it yet go and see Into the Spider-Verse with your family and friends! A quick concept for Soldiers’ and Sailors’ arch in Brooklyn with a little Miles’ web work. This was based on some boards by the talented Miguel Jiron. It didn’t make the final cut in the film but found its way into some custom animation spots directed by Miguel Jiron.

Some of the, what seemed like endless amounts, of graphics I did for the movie. To show you how much love and care went into every single frame of this movie, I decided to post some of the posters I designed for the nurses office. Remember to eat healthy and “MILK”. Nurses office designed by Yun Ling and Naveen Selvanathan with 3d Vis dev by Tony Ianiro.

Part sequence illustration part color key. This was used to inform modeling which buildings to use and the general color/lighting for this shot. This was done over rough geometry based on an old take by Alberto Mielgo. I ended up changing the position of a lot of elements except the taxi and the ground

Early ideas for the collider beam effects. These were later done 1000x better by @zacretz and Dean Gordon. Once environments are somewhat established we start getting into designing effects and graphics. Since other departments don’t need them right away we tend to do them a little later in the process. These can sometimes be a little less glamorous than big set or environment paintings but equally important. I’ll post some more graphics I did soon.

My design for Times Square. A big part of making our New York more believable was having more detailed signage. By the end we had a pretty big library of graphics. Half of the signs(the better ones) in this shot were painted by our art director Patrick O'Keefe with some from Zac Retz Naveen Selvanathann and Justin Thompson the rest by little ol me. I’ll post bigger versions of my celeb cameos later.

More from the sequence I posted yesterday. Everything must be designed, from the street to the sky. You might also notice Hana is quite the little tagger

Leaving the warmth of home and entering the cruel cold world that is middle school. .

I didn’t do too many lighting keys for this film but wanted to post the first ones I did. Lighting keys are painted over rough layout/anim as a sort of road map for the lighters on how the light/color should work. So much work goes into making a film I’ll post more of what else I had to do for this sequence.

The final set design for the Spider-hideout. This set is extra special to me because I got to work closely with one of my good friends and Art Director of the film Patrick O’Keefe on this one. This design went through so many iterations and so many individual takes, but it wasn’t until Patrick took a whack at it that we started to find what would become the final version of this set. Patrick is responsible for the overall space and layout and I came in to basically digitally paint and decorate it, and also pepper in those sweet sweet easter eggs with a not-so-subtle hand. The idea here is that this Peter has got it totally figured out and he’s basically the best Spider-Man ever, and also learned to use his celebrity to help fund his endless watch over the city he loves so dearly. We tried to create the perfect work space for the Spider-Man of Miles’ world, who we so affectionately referred to throughout production as the “Full Potential Peter”. Imageworks killed it on this one and the set really looks like my paintings. One idea I wouldn’t let die was the inclusion of the original Spider-mobile. Anyways, I hope you enjoy.