You Working for You!
What is your name and the name of your company? Cameron Scott Davis and my company is Idea Boy.
How do you measure success? Accomplishing goals, learning, and having fun doing what I love to do.
What’s one mistake you made early on? Underestimating how long (pretty much everything) takes in reality. Also trying to do everything myself. I guess that’s two mistakes.
What’s the toughest part of being in charge? Scheduling and delegating. (my mistakes) When I’m working for me, I want to stop and pursue every idea that comes to mind. I have learned to stay focussed on finishing first things first (getting the hard things out of the way) before I follow tangents. I’ve done everything myself sto force myself to learn those things and prove to myself that I can do it.
What’s your proudest accomplishment in your business? Having the guts to quit my day job and put a promising career on hold to pursue my dreams. I guess that’s not an accomplishment, but I believe it will be soon.
What have you sacrificed? “Pretty much everything. Two dream jobs, a steady paycheck, healthcare, a beautiful girlfriend, my entire life savings… but at 23 I’d accomplished all the goals I set out to conquer. I was hanging out with rock stars and getting paid (handsomely) designing all the characters for the Guitar Hero video game franchise. Since I was a child I’ve had a dream of creating the next Star Wars/Harry Potter, and I figured, why not me? I’ve been given the opportunity to break off and work harder than anyone else on my own story and I took it. I’m still taking it.
What have you learned? That story has forced me to learn all I can about design and storytelling. Now that I’m wrapping up book 1 in my series, I’m having to learn about the business, printing, and promotional ends of getting my art out there. I resisted learning all that as to avoid it influencing the purity of my dream project.
What’s next? After book 1 is out, it will be a great template for what my vision is. I’m hoping to get other people involved and eventually take it to other media outside of books.
Thank you Cameron Scott Davis for taking time to share your insights into the idea of “you working for you”.
Cameron Scott Davis
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Archive for the ‘Visual Development Artists’ Category
Tell us a little about who your are and how you got here?
My name is Sunil Pant and I’m originally from Mumbai, India. I finished my graduation in the field of Science, majoring in Quantum Physics in 2004. I later went on to get my second graduates degree from the Academy of Art University – San Francisco, in the year 2007 in 3D Modeling.
From when I can remember, I’ve always been interested in modeling and design. During my course of education at the Academy of Art University, I was hired by Industry veteran, George Hull (VFX Art Director – MATRIX Films) to help out with a few of his film projects where I started out as an apprentice.
I learned a lot about GOOD Design and what makes something look great during this period. It was the best Design education I could get. I’d spend hours practicing on my drawing table the rules of perspective since this was all new to me.
When did you begin creating and working in this industry?
I started as George Hull’s apprentice in 2005 working on movies like ‘Terminator Salvation’ and ‘Speed Racer’ where I helped with doing some 3D mock sets and props. I also began my internship in EA in the year 2006 working on ‘The Simpsons’ Game and later did my second Internship with Industry Veteran, Syd Mead on a Virtual World Game called, ‘Blue Mars’ based out of Marin County, California.
What job title best describes what you do? Senior Entertainment Designer
What city and country are you living in? Mumbai, India (currently)
Who do you feel has inspired you the most? ‘NATURE’ inspires me the most in coming up with and thinking about new designs. (more…)
Tell us a little about who you are. When did you begin creating and working in the design and animation industry?
I’m Wanchana Intrasombat but it is easier if you call me “Vic”. I was born in Bangkok, Thailand in 1986 which is where I currently am living. I am a 2D and concept artist. My services include concepts for animation, game, illustration and character design. I graduated in 2008 in the category of Fine Art (traditional painting, oil color). From 2009 until now, I began teaching myself how to use the various digital painting tools and then received many opportunities to work on many design and animation projects.
What was the one key moment in your career that you feel really defined you?
I think that defining moment came for me when I received an award from the CG community at CG Society for “2D concept art and illustration”. Before that I had done a lot of personal paintings to improve my portfolio without any job/project offered but after I received the award, there were so many projects and opportunities offered to me. And my first opportunity to work in the animation industry came through an animation commercial when EmberLab presented me with a very important opportunity for both my spirit and my career in animation to be an art director for a Coca-Cola and McDonald commercial “Crabs and Penguins”.
Where do you work now, what are you working on?
I’m still working as a freelance artist and live in Thailand. I am looking forward to being a part of an animation studio in USA one day. I’m currently working as a visual development artist and character designer with so many studios such as EmberLab, Anya Animation and KiwiUp to name a few on projects such as an Animation-Feature film (un-public) , Fanta, KFC, and Pizza Hut animation and game commercials that I believe will be released soon.
What has been the most rewarding aspect or project you’ve worked on to date?
The most rewarding aspect for me is the experience that I gain when working as a team that has joined together with so many talented artists on the same project. I think both opportunities and experience are very important in this industry and I always practice to improve my skills so as to be prepared and ready for every opportunity that may or may not come. (more…)
A VIS DEV YANKEE IN KING MICKEY’S COURT
RHETT WICKHAM talks to SUE NICHOLS
About Re-Discovering Her Roots and Her Audience
Nobody who ever knew her thought they could pry her pen, pencil and ink from her hands. Nor would they want to, as the delightful, whimsical, carefully rendered illustrations and designs that pour out of her are the sort of stuff dreams are made of. Still, she has traded markers and watercolors for a tablet and stylus, she has traded a view of the dry brown San Fernando hills, ablaze in summer smoke, for the fiery reds and golds of a New England autumn, and she surrendered a daily commute on the 110 for emails, faxes and phone calls at hours most farmers don’t see. Best of all, she has traded the quiet of an office with a door to shut out the chaos of colleagues riding bikes down the hall, for a home office that keeps little to none of the sounds and interruptions of a nine year old and an eleven year old from penetrating the plaster and unhinging the door. Of all the adjustments, it is the latter that makes Sue Nichols happier than she ever thought possible.
Back Row: Haraldo, Steve Markowski, Jim Reardon, Tami Becker, Rich Moore, Broose Johnson
Front Row: Russ Edmonds, Brenda Chapman, Andrew Stanton, Anita Ziobro, Sue Nichols
Hercules Development Crew Outing
Ron Clements falling out of his chair.
Words by John Ramirez:
At the end of Storyboarding we had a party at a Moroccan restaurant. We had such a great time, with such silly people there like Kaan Kaylon, Bob Shaw and Don McEnery and of course Ron and John…we were laughing up our couscous. (more…)
Rowland Wilson in his Studio
John Culhane, author of many definitive books on Walt Disney animation, including Walt Disney’s Fantasia, Fantasia 2000 and Aladdin, The Making of Animated film, was a long-time friend of Rowland B. Wilson and sent this memoir to Rowland’s wife, Suzanne. (more…)
Animator and story man Mel Shaw has been called one of Disney’s “elder statesmen” of animation. Walt Disney, who personally recruited Mel to join his team, observed another side.
During his early polo playing days, Mel recalled first meeting Walt at the field, who announced, “You ride like a wild Indian!” And thus, the door opened for Mel to infuse his passion into Disney animation. (more…)
Rowland B. Wilson by John Culhane
John Culhane, author of many definitive books on Walt Disney animation, including Walt Disney’s Fantasia, Fantasia 2000 and Aladdin, The Making of an Animated Film, was a long-time friend of Rowland B. Wilson and sent this memoir to Rowland’s wife, Suzanne.
I opened the New York Times this Sunday morning and immediately recognized the laughter-provoking distinction of a Rowland B. Wilson cartoon! A Rowlie B. tiger is wrestling a Great White Hunter for his gun, and another Great White Hunter is saying, “You’ll not get a proper trophy that way, Bassington!” My first thought was that the Times was trying to lighten the loss told about in the obit above the cartoon: “CLAUDE SIMON, CHAMPION OF NEW NOVEL AND NOBEL LAUREATE, DIES AT 91″ – then suddenly I feared to see what I would find beneath the paper’s fold. Oh, there it was: “ROWLAND B. WILSON, 74, CREATOR OF WRY CARTOONS.”
I felt loss like that when Tex Avery died. Remember when Roland and I were working for Richard Williams Animation in London, and you and he and I went to the British Film Institute to see an evening of that otherTexan’s cartoons? Rowlie B. had one of the most distinctive laughs in the animation industry, right up there with John Hubley’s. When Tex died at 73 in 1980, a year’s laughter less than Rowland, I thought of all those Averys we saw together, and how I knew when Tex had hit the bulls-eye, because Rowland’s laugh enveloped us both. He laughedat the horny wolf in “The Shooting of Dan Magoo,” or Drag-Along Droopy saying “That makes me mad,” or King Size Canary growing to the size of planet earth, or Bad Luck Blackie getting hit by the kitchen sink. In fact, Rowland’s famous cartoon of Santa’s reindeer playing poker and saying to him, “Care to join in a reindeer game?” is funnier to me than all the literal stuff in Tex’s “Symphony in Slang” except maybe “raining cats and dogs.” Moreover, Rowland’s rescued damsel in Playboy who says to her exhausted knight in shining armor, “You think I’m obligated to come across now, don’t you, you male chauvinist pig!” is Red Hot Riding Hood’s sister under the skin.
What Rowland gave to John Musker and Ron Clements for their Disney Renaissance masterpieces, “The Little Mermaid” and “Hercules” is unforgettable. I spent a week touring America with John when I was
Mousetro of Ceremonies for “Disney on Film: A Forum on Animation and Fantasy Filmmaking” in 1981, and I knew that he was a collector of drawings by Scarfe and Wilson. Later, I found that he loved the statue’s head that Rowlie B. designed for Eric Goldberg’s Philoctetes to live in. Musker said, “Rowland Wilson’s conception of Phil’s Place provided a sense of fantasy and scale. It gave a sense of history to Phil that he wouldn’t have had otherwise-Phil, trainer of heroes, has fallen on hard times and literally lives in a run-down head of a statue that used to be grand and has sort of fallen on hard times and gone to seed. Yet, inside it, he has his shrine – this treasure trove of
I wrote about the making of “Hercules” for the New York Times Arts and Leisure section, and I was most interested in the personality of Phil because of all the comic thinking that went into him. The first time I heard Danny DeVito’s voice issuing from the head of that old, broken down statue where Phil lived, I laughed harder than Hubley and Wilson combined.
I started out as a lover of Rowland’s non-moving cartoons -for the Saturday EveningPost, The New Yorker, Esquire, Playboy: then I got to know you two in the 70s when we were working at Richard Williams Animation where Rowland was making Dick’s prize-winning vodka commercial that shows a train running into Russia through the snow and I was working on story development for “The Thief and the Cobbler.” Remember us going to hear Dick Williams play like Bix on his cornet at a jazz club, and Rowlie B making caricatures of me listening raptly while Dick was playing, his eyes bulging out like hardboiled eggs with irises? Then we corresponded when you two were in Ireland making those features for Don Bluth – Thumbelina and the others; then I would talk to him on the phone when you guys came to California and Disney’s. As you know, I have been trying to get Disney to publish that deliciously funny graphic novel that Rowland wrote and illustrated and you, Suzanne Lemieux Wilson, painted. Made me laugh my old Averyesque-quality laugh, that graphic novel! I wonder how long he is going to be too far ahead of them?
“Making animated movies is not a mechanical process,” said Andy Gaskill, the wonderfully creative art director of “Hercules.” “It’s not something you can program into a computer which spits out a hard copy. It’s a process that involves a whole network of relationships, people working with each other, bumping into each other, scratching each other’s eyes out – I mean, hugging each other. Moviemaking involves a whole gamut of human behavior. I hope, after all we’ve done, we can all look at the movie and say, ‘I’ve never seen anything like this before.”
I’d never seen anything like Phil’s Place before. I hope to see it again, when architecture and comics catch up. Rowland worked for the future, though I remember from London how much he loved the past. He
and I had both done graduate work at Columbia – me in journalism; Rowland in art history. We could talk Viennese paintings with Grim Natwick – Schiele and Klimt – and Grim had been there when those guys were painting! (Of course, that kiss by Grim – prince and Snow White – is much better known than “The Kiss” by Klimt.)
Rowland’s concept art for Disney’s “Hunchback of Notre Dame” evoked for me medieval life in the reign of Louis XI such as I found as an American Cold Warrior in Paris in the 1950′s, celebrating the Feast of St. Hubert the Hunter with High Mass at Notre Dame. Rowland’s drawings of Esmeralda, Frollo, and, particularly, Quasimodo, were people I could have met there in The Age of Faith. Rowland’s big painting of soldiers taking away Esmeralda and her goat while gray-hooded scribes take names and red-hooded figures impassively look on has the chilling feeling of the authoritarianism of Frollo’s Paris. The gypsies of the time, persecuted by Frollo and his men, hide away in old Roman ruins that, in Rowland Wilson’s version, have been gypsy-humanized with a lavender and yellow tapestry that calls it The Court of Miracles. Quasimodo’s crowning as King of Fools and his first meeting with Esmeralda would fit right in to the Feast of Fools that Rowland painted, particularly with the sausage seller, the big-bosomed fast-food consumer, the playing musicians, the running children. The life in the art of Rowland B. Wilson lives on after his death! And when Frollo is prevented from burning Esmeralda to death by her rescue, and that evil man is willing to avenge himself on Paris itself by setting loose hellfire on the cathedral and the whole city (is Paris burning?), Rowland gives us a ribbon of wavering fire streaking down the faade of
Notre Dame de Paris!
How fitting, darling Skeezix (Rowland’s shorthand for your maiden name of Suzanne Lemieux!), that he should have evolved to make that artistic tribute to the French spirit of our ancestors. My mother’s Robidoux forebears, like your father’s Lemieux clan, knew that Paris; and Mount Robidoux in Riverside bears testimony to their presence in the California world of missions where the goodly friar commemorated Rowland. And I’ll bet you that Rowley B. is up there laughing with Rabelais now.
Sincerely, John Culhane, model for Mr. Snoops in Disney’s “The Rescuers” and Flying John in George Gershwin’s “Rhapsody in Blue” in Roy E. Disney’s “Fantasia 2000″; model (with Rowland) for two submachine-gun firing gangsters in a Richard Williams commercial.