Progressive Julia Fractal

This recent Chrome experiment gives us a glimpse – albeit a tiny one – into the direction that Fractal design and programming is going. Yes, interactive, real-time, animated fractal worlds are upon us, peeps! Spawned from the undoubtedly criminally intelligent mind of Mr. Felix Woitzel, whose Processing portfolio features a host of similar interactive tests. Visit his website and treat your inner nerd to some “exponential zoom warp grids,” or “basic fluid similators.” Our unitiated bones are baffled (and our brains fried).

Musicians With Guns – Astroblast

The sheer amount of new edge we found made us almost give up on this Fractal top 5 altogether. But then we found Musician with Guns. As if cyborgs spent billions of years building a hybrid beehive structure of ‘Atlantis city’ type proportions, and we’re being given the grand tour around the mammoth metropolis on a hovercraft. Ricardo Montalban’s neo-fractal music video is a dizzying 3-D exploration of fractals that would make Doctor Who himself giddy with schoolboy-like excitement.

Mandelwerk

Exploring the vast universe of contemporary fractal creation online, you’re bound to be overwhelmed at one point or another by a complete and utter sense of alienation. As if you’re alowed a peek into some sort of secret society that’ is sharing sacred knowledge in encrypted form. Has something to do esotheric musings that sometimes come with fractals. Now, “the holy grail of 3D mandelbrots” sounds just as King Arthur as “Sierpingham Cathedral in Anglend,” but, this particular holy grail exists. It’s the 3-D equivalent to the familiar 2-D Mandelbrot set. It’s called the Mandelbulb and was uncovered in 2009. Mandelwerk rendered an image of it in the astronomical size of 400 square meters. It’s the Holy Grail, after all.

Abandoned sky circus

Don Whitaker created this interstellar piece with Mandelbulb 3D. It cost about an acre of rainforest –metaphorically speaking– to create this thing. 730 Hours of render time went into it. Can you tell? Startling images that are downright freaky when matched with the accompanying new age atmospheric synth. Weaving through highly textured neon asteroids and planets makes for a strange little surf when you’re pretty sure you’re not under the influence of hallucinogenic narcotics.

Surface detail

subBlue is Tom Beddard. Mr Beddard loves the aesthetics of “simple mathematical or algorithmic processes,” such as fractals. And Mr. Beddard loves to code. His biggest project to date is Fractal Lab – an amazing 3-D fractal generating software kit who’s prototype beta release caused quite a fuss among other fractal-initiated humans. This uncannyness of the evolving surfaces structures in this video is just… uncanny!

Much more amazing fractal goodness on Subblue.com

The post New Fractals appeared first on Submarine Channel.

These are my Top 5 Best Moments from the Angouleme Comics Festival.

1: Le Nouveau Monde (The New World)

In January, the Angoulême Comics Festival puts up huge tents in the town’s squares to house the largest comic book market in the world. What never ceases to amaze me, especially when you visit on Saturdays and Sundays, are the long queues in front of “Le Nouveau Monde”. This is the largest exhibitor’s tent where some 75 indie and small press publishers present their books. It’s astounding to see men, women and children of all ages lining up to find out what’s new and happening in the world of indie comics. How cool is that?

The sheer volume of indie publishers, artists and graphic novels you will discover at Le Nouveau Monde is overwhelming, and this alone is worth a trip to the festival. If I’d have to pick one thing not to miss at the FIBD, this is it.

2. Award: Best Book – Richard McGuire’s “Here”

The announcement of the nominees for the “Palmare Officiel,” Angoulême’s Award for the Best Book, was overshadowed by an unfortunate scandal this year. The selection committee had failed to nominate any female authors and it backfired. I won’t repeat the story here, as much has been said and written about it. Nevertheless, the winner of 2016 really deserves the accolades.

“Here” by Richard McGuire (US, 1957) is nothing short of a masterpiece. This amazing book tells the story of a single room in a house throughout time. The point of view is always the same. McGuire’s use of panels within panels to juxtapose fragments of the past, the present, and the future of the same space is revelatory. He uses comics’ unique visual storytelling qualities to catapult the reader into the fourth dimension – a place where space and time operate on a nonlinear level. McGuire offers readers a unique vantage point from which to observe everyday life. Only the comics medium can offer a metaphysical perspective like this, imho. This book is not just for fans of the form, as someone on Twitter rightly pointed out, but for any (digital) storyteller. “Here” is available in English, French and Dutch.

3. Expo: Li Chi-tak, Hong Kong Wizard

This is why I go to festivals: to discover new artists, new books and artistic movements I’ve never heard of. This year, Angouleme introduced the work of Hong Kong-based ‘manhua’ artist Li Chi-Tak to French audiences for the first time. Curated by the Hong Kong Arts Center, this was the first European expo of “the godfather of the Hong Kong indie comic scene,” although that description fails to do the artist justice. Chi-Tak is a wizard of sequential storytelling, who masters many genres and styles. His meticulous drawings and compositions are striking. I’ve never seen anyone break down an action scene the way Chi-Tak does.

Unfortunately Li Chi-Tak’s older books are extremely hard, if not impossible to find outside of China. You might be able to track down a second hand French copy of The Spirit (1989) on eBay. A new title, The Beast, came out in French last month. Until Chi-Tak’s books become more widely available, Google images and Pinterest will have to do for now.

4. Expo: Lastman: Universe

Created by Michaël Sanlaville, Michael Balak and French comics star Bastien Vivès (A Taste of Chlorine), Lastman is a fast-paced action-adventure series inspired by the codes and the production methods of manga.

I’ve been a big fan of Vivès’ dynamic art and his flowing lines, for some time now. And the art of Lastman is simply electric. The story follow the adventures of a young fighter, Adrian Velba, his mother, and his rugged combat partner and mentor. In France, where one third of all comics sold is a manga title, Lastman is a hit series. To give you an idea what this means: the print run of book 8 is 500,000 copies. Lastman won Best Series at Angouleme in 2015.

Aimed at kids first and foremost, The Lastman: Universe expo reflected the ambition of its creators; to create a transmedia blockbuster series. A working demo of the Lastman video game and a pilot of the animated TV series, to air on France4 later this year, were included in the show.

Lastman is available in French and English. Lastman is on Tumblr.

5. Expo and app: Phallaina

Unlike the Comic-con’s of this world, Angouleme has, until now, largely ignored motion comics and other new and emerging comic formats. Angoulême is all about print. The Lastman expo and Phallaina are exceptions. Phallaina is a horizontally scrolling graphic novel app for mobile platforms, written and directed by Marietta Ren, and produced by Small Bang in co-production with France télévisions Nouvelles écritures.

Angoulême showcased a monumental outdoor installation version of Phallaina, which consisted of a huge banner accompanied by a soundscape. The installation works as an eye catching piece to promote the app. The graphic novel app though, is simply wonderful. Phallaina is a story about a girl who suffers from a very rare form of epilepsy. Her reality transforms into a surreal world of experimental therapies mixed with ancient mermaid myth. Ren’s beautifully loose and flowing black and white drawings work really well for this specific storytelling format. The ambient soundscape (headphones are a must) is also worth mentioning.

The Phallaina app is free and in English and French (App Store | Google Play).

The post Angouleme Comics Festival appeared first on Submarine Channel.

By Remco Vlaanderen

1. White Spots

A Journey to the Edge of the Internet

The first thing the White Spots app does when you start it in VR mode is to visualize the invisible mobile and wifi networks all around you. I found out that here, in the densely populated area of Amsterdam West, we live in an electromagnetic jungle. Too many signals to count. It feels like taking a peek in an alternate universe that you never get to see. A reality that is always there and from which there is no escape. This is where White Spots comes in.

The White Spots app offers you an escape route. You can use the world map to travel to a “white spot” – an area without coverage- closest near you. The green markers on the world map give access to short video stories from all over the world about life off the grid. Like the South African entrepeneur who wants to bring internet to an underprivileged neighborhood in his city. Or an Armenian writer who chooses to live completely off the grid. If you want to speak to him, your only option is to visit the local bar that he frequents and hope that he will show up. The app also features 360 video recordings of actual white spots. Watching these makes you painfully aware that we are about to loose something important: the option to opt out, to disconnect. White Spots is a beautifully designed app that illustrates the significant divide between the connected and unconnected parts of the world.

The best way to experience the app is with Google cardboard, but it also works without. White Spots is a collaboration between information designer Richard Vijgen, artist Jacqueline Hassink and director Bregtje van der Haak.

2. Super Stream Me

Premise: Two Dutch presenters hook up with a web cam and stream their lives online 24/7 for 18 days. Goal: to find out how ‘open’ we are when our entire life is made public. What does it mean to have no control whatsoever over which parts of your life are private and which aren’t?

Launched in November 2015, Super Stream Me turned was an interesting psychological experiment that weighed heavily on the mental health of its two subjects. Launched in November 2015, viewers could view Tim’s and Nicolaas’s livestreams on the Superstreamme website, alongside real-time data, such as their heart rate and locations. The thin line between being a viewer and being a voyeur became diffused almost instantly after the livestream went live, when Tim had to visit the little boy’s room to do a number two.

The strain on the two presenters proved to be too much. In the second week, Tim started to experience symptoms of a burnout caused by severe stress. This prompted the duo to end the experiment on day 15 – three days before the official conclusion.

The many hours of livestream footage were edited into a two-hour documentary film. And you can find many clips from the experiment on Super Stream Me on the website (in Dutch).

3. ClickClickClick.Click

If you were around in 1994 and not a foetus, you might remember the Really Big Button That Doesn’t Do Anything? This Internet phenomenon served as a funny commentary on our online behavior in those days. Yes kids, this was the year that the first web browsers that were able to display graphics became popular. Every self-respecting web page at that point replaced the text links in their menus by buttons. Because hey, buttons were every so much more engaging than those blue hypertext links.

Clickclickclick.click is like an update of the Really Big Button That Doesn’t Do Anything. When you enter the website, all you see a big green button at the center of the page. A voice over welcomes you. And then it starts to analyse you, “the subject,” based on the way you handle your mouse and on where you click and how often. In a tongue-in-cheek way, Clickclickclick reveals the many browser events that commercial websites use to monitor your online behavior and manipulate you into staying longer on their websites and buy their products.

A project by Studio Moniker and VPRO Medialab.

4. Do Not Track

Do Not Track is simply brilliant. Out of all five projects in this Top 5, Do Not Track is arguably the most powerful tool for creating awareness on a subject that most people know far too little about; online privacy and tracking software. After watching all seven episodes, you will have gained a deep understanding of how your private information, your online and offline activities, and your identity are recorded and used for monetary gain. But director Brett Gaylor goes one step further. By allowing the web series to access your social media profiles, your favorite websites, your cookies, your location, etc., you get to experience first hand how much your tracking data actually reveals about you. And believe me, they reveal a whole lot more about you than you think! After watching Do Not Track, I installed a couple of tools and browser addons suggested by the creators of the series to help me protect my online privacy.

Each episode covers a different subject. There’s Big Data, Social Networks, the Filter Bubble… Each episode has its own look-and-feel. Some episodes are animated. Some are interactive. Some episodes compile a variety of clips from online media archives in real time into a seamless online video.

Directed by Brett (RIP: A Remix Manifesto) Gaylor, Do Not Track is a collaboration between Upian, the NFB, Arte, BR, and others.

5. Wifi Whisperer

Your phone is leaky. It’s especially leaky when you use and unsecured public network and Wifi Whisperer reveals that.

We witnessed this installation by digital artist and creative coder Kyle McDonald (in collaboration with Surya Mattu) at the IDFA Doclab Elastic Reality expo in Amsterdam in 2016. Wifi Whisperer visualizes on four monitors the data that is leaking from your mobile devices. And it enters whatever data it finds, like your name, a web pages you visited, or photos you post on your Instagram account (without your permission) in a search engine and outputs the results on the screens. What makes this installation extra creepy is the computer voice that continually whispers whatever it finds out about you and other people near you who share the same unsecure network. Like its gossiping about you – sharing your innermost secrets.

McDonald doesn’t even need to install trackers or cookies on your device or hack it to access this data. “This is something that anyone can do with their laptop,” says McDonald in an interview on coolhunting.

All five projects in this Top 5 were presented at the Netherlands Film Festival and at the IDFA Doclab in 2015 and 2016.

The post Interactive projects about online privacy appeared first on Submarine Channel.

The whole experience of making Ashes to Ashes was a blast. But what did we learn from it? What insights did we gain? The three directors behind the film, Ingejan Ligthart Schenk, Jamille van Wijngaarden and Steye Hallema, share their five most valuable lessons.

1. Having three directors is a blessing

Directing Virtual Reality is different from directing a conventional film. An important difference is that the director does not use a monitor to check what’s happening in front of the camera. The action happens around the camera. Working with three directors means three pairs of eyes to monitor what’s happening during the rehearsals and the shoot. It was in our case a big advantage that every director could focus on a different aspect. We were obviously very lucky that we ‘clicked’ so well together and that were able to make the film with great confidence in each other and we had a lot of fun making it.

2. Entice viewers

In a conventional film you can easily get a close-up or cut to a reverse shot. In Virtual Reality you need to retain the viewer’s focus in a different way. It’s similar to theater, in that you have to lure the viewer to look to the left or to the right. It is the duty of the directors to entice the viewer to follow the action. Sound design and lighting are an important part in achieving this, but so is the mise-en-scene. The actors provide the focus, not the camera. And not the editing of scenes, but rather the editing ‘on set’ by the actors through the mise-en-scene is what determines to a large extent the dynamics of your film. The actors create their own close ups by walking towards the camera, or they make themselves more or less important in relation to the camera. As a result, directing is also choreographing to a certain degree.

3. Use the space

In VR, it’s not about the frame but about the space. Not just on an anecdotal level, but also on a visual level there should be plenty to experience for the viewer. The viewer is in a virtual reality, a world created to tell a story. The space and its size, ambience, design, expectations and secrets are an important part of the narrative. But make sure that you leave enough to the viewer’s imagination. A space that surrounds the viewer quickly unveils its secrets and that would be a waste.

4. Take the crew with you on your journey

The approach of ‘Ashes to Ashes’ was in many ways similar to a conventional film. Our crew had a lot of experience making films, but VR was still new to most of them. In fact, 90% of our crew had never seen a VR movie so it’s still kind of abstract to them. Where do you put your lights? How do you record sound? How do you experience a VR movie? Legitimate questions that we wanted to tackle first. We showed our crew some short VR movies and this made it a lot clearer to everyone what they were getting into. In ‘Ashes to Ashes’ we play with the notion of fiction and reality. The filmic reality in our story turns out to be an actual film set and our crew would be part of the narrative. So we asked a lot from our team, because in addition to doing that what they are good at, we asked them to assume a role whenever they were in the picture. Really everyone was part of a giant choreography.

5. Make clear what the role of the viewer is.

Unlike film, in which the viewer watches a story in a frame, the viewer is positioned in the center of the narrative in VR. The viewer thus has a much more important role than in film. It is important to consider this carefully, and to know exactly who or what the viewer is and how to address them. Are they the “fly on the wall’? Are they a character in the story? In our case, the viewer is grampa Git’s ashes in the urn. That is how the viewer is addressed. It’s what keeps them engaged.

The post Lessons Learnt: Directing Drama in VR appeared first on Submarine Channel.

By Remco Vlaanderen

La Casa Lobo (The Wolf House) – Cristóbal León and Joaquín Cociña

The stuff nightmares are made of…

This experimental stop motion feature by two Chilean artists is a disturbing fairytale about a young woman, Maria, who escapes from a German sect. The directors were inspired by a former “nazi cult” in the south of Chile. Haunted by cult members and by an archetypical big bad wolf, Maria finds refuge in a house in a dark forest where she lives with two children.

The directors worked with lifesize sets inhabited by extremely uncanny looking characters constructed from tape, paper mache, strings or painted on the walls. The characters are in a constant state of flux, materializing and dissolving from one scene to the next, mirroring the eternal cycle of life, decay and death. The animation was filmed over the course of several years at art galleries and museum all over the world. An incredible film that creeps under your skin.

Interview with León and Cociña by Berlinale (YouTube)

The Breadwinner – Nora Twomey

Adapted from the best-selling children’s novel by Deborah Ellis, director Nora Twomey (The Secret of Kells) and production studio Cartoon Saloon created a beautiful drama about an 11-year-old Afghan girl, who disguises herself as a boy in order to provide for her family. Like her father, Parvana is a storyteller. While the bulk of the film looks naturalistic, the stories told by Parvana and her father are wonderfully visualized in a paper cutout style developed by art director Reza Riahi.

I’m surprised that The Breadwinner did not get the wide international theater release it deserved. If you’re in the US you can organize your own screening through the Theatrical On Demand service, Gathr. You can watch it on Netflix in some countries though, including The Netherlands. It picked up the Jury Award and the Audience Award in the competition section in Annecy.

The Breadwinner – Introduction to the animation process

Video on the cutout process on YouTube

Another Day of Life – Raúl de La Fuente and Damian Nenow

I’m usually not big on war movies, but this docudrama made a big impression. And it features some of the most dynamic camera work I’ve seen in animation.

10 years in the making, Another Day of Life is based on the book by Ryszard Kapuściński. The internationally renowned Polish journalist and writer was one of the very few journalists who reported from the frontlines during the bloody civil war in Angola in 1975. The film folllows Kapuściński as he travels to the heart of the conflict to meet the elusive General Farrusco. He meets some remarkable characters along the way, such as the 19-year-old charismatic guerilla leader, Carlota.

The film mixes 60 minutes of graphic novel-like animation (developed from live-action footage featuring actors) with 20 minutes of documentary sequences. And although it was nice to meet some of the characters 40 years after the events from the movie, I am not convinced these interviews were necessary. Nevertheless, a must-see film.

Item on creating the CGI by CGMeetup (YouTube)

Annecy interview (YouTube, 18 min.)

anotherdayoflifefilm.com

The Last Fiction – Ashkan Rahgozar

I’ve seen some great Iranian movies over the years, but never any animation. The Last Fiction is a classic story of good versus evil based on the famous poem, Shahnameh (The Book of Kings) written by the Persian poet Ferdowsi some 1000 years ago. It tells the story about a flawed young hero who is predestined to save a kingdom and its people from the heartless conniving ruler Zahak. Chocful of extended action scenes and visual pyrotechnics, The Last Fiction has ‘Epic’ written all over it –heroes, monsters, magic, destiny, big battles– it’s all there. Clearly, this film was made with the intention to appeal to larger audiences. A very entertaining film. I can totally see this getting scooped up by a streaming service. In line with the grand ambitions of the film, Hoorakhsh studios is releasing a series of graphic novels (also in English) as prequals and sequals to the story.

Second trailer

www.thelastfiction.com

Seder Masochism

I’ll be honest. I did not like this film at first. I didn’t know what to think in the first half hour or so, but it grew on me. I just had to include it here out of sheer and utter respect for Nina Paley. Seder Masochism is the director of Sita Sings the Blues’ highly anticipated second feature. This film is an oddity. You can’t stick any label on it. It is an offbeat animated musical retelling of The Book of Exodus performed by a cast of characters from the Old Testament, including Moses, Aharon, the Angel of Death and Nina’s own father. Paley’s ‘pirated’ soundtrack consists of 1970s europop, disco, soul, spirituals and choir music. (See also her TedX talk Copyright is Brain Damage on her view on the use of music in her films). I really loved the recurring scenes with her father, who is depicted as a white-bearded God. Paley casts herself as the sacrificial lamb.

You will be able to see this film online in the near future, as Paley promises to self distribute. In the meantime, catch it at festivals.

More clips from the movie on Nina Paley’s Vimeo

sedermasochism.com

Conclusion

According to Mickaël Marin, CITIA Managing Director, both the festival and Mifa have grown again in 2018: badgeholders +17%; Mifa badgeholders +22%. But the capacity of Annecy and its screening rooms is limited. How will Annecy tackle this ongoing growth?

Mifa is a great event for doing business – everyone who is anything in animation is in Annecy. But it is not the best fest if you want to explore the current state of animation. Simply because it’s too difficult to get tickets, unless you’re prepared to queue in line for up to an hour for popular screenings. More than a few animation pros had warned me about this though, advising me to go instead to Animafest in Zagreb and other, less crowded but equally fine festivals. But I wanted the Annecy experience.

It’s fun to spend time in the picturesque town. The collective love for animation in Annecy is almost tangible. But unless I need to be at the market to pitch or sell, I don’t think I will be going again anytime soon.

The post Annecy 2018 appeared first on Submarine Channel.

John Nevarez has been an artist in the animation industry for over 20 years. He is known for his collaboration with Disney, Pixar and Sony on movies like Coco, Cars 2, Inside Out, The Secret Life of Pets, Into the Spider-Verse, and many more! We talked to John at Playgrounds: The Art Department in Eindhoven about his work and he shared his five tips for storyboarding artists.

Tip number 1: Know Your Characters

John Nevarez: “I would say know your characters or get to know the characters as far as who are they, what do they do, and what they want. Get to know their character profile. The reason for this is that you can get a better idea of their situation, what they are going to think about, and how they’re going to respond to things. This way it opens up more possibilities in your storyboarding.”

Tip number 2: Go Beyond the Script

“A lot of times what you’re trying to do is to go beyond the script. Sometimes you want to see if you can contribute things that have the essence of the story. If you can find a better or stronger solution or a better way to say what you want, maybe visually by either moving the camera around or by adding more performance. That is what you want to strive for. The script is there. You just want to keep the essence of the story, but if there is a way to tell it better that’s what you want to do.”

Tip number 3: Educate Yourself

“Educate yourself. A lot of times storyboards artists don’t come from film school, but they come from art school and they make their way into storyboarding. So I would say start thinking of yourself as a film student or film scholar. That doesn’t mean going to film school, it just means start embedding yourself with film language. Everyday maybe look at three movie scenes. Look at how it begins, look at how it ends, and just see what choices the director made. Sometimes the character comes in. Sometimes he’s reacting to something. There are other players, they react. There is a bit of information there that the director wants the viewer to see. That is why it is in the movie. All these little scenes are mini movies within the big movie. So if you study the scene, sometimes things are subtle and sometimes they are big, but they are great lessons as far as choices. Choices in composition, camera, staging, lighting, and performance. All of these things help deliver what is important in that scene.”

Tip number 4: Look at Movies Before CGI

“I would recommend, especially for young storyboard artists, to start looking at movies that are a little older than yourself. Look at movies before CGI, which would mean look at movies before the mid 1980s. The reason for this is that a lot of those filmmakers didn’t rely on CGI to gratuitously show the monster or certain characters or special effects. What they did was they had a show things economically. So there was a lot of suspense.

“A good movie to recommend would be the first ‘Alien’ movie by Ridley Scott. If you look at that movie it is like a suspense horror movie but you don’t see the alien till the last 10 minutes of the movie. So what it is is that it has a lot of buildup, it has a lot of suspense. It is a lot of “what was that?”, you know like dark shadows, things moving, a lot of reaction cuts, a lot of quick pacing until you get to that “ah ha!” moment, and so forth. There is a lot of that and it is beautifully done. That is great economic storytelling and that is just well planned and it is just a great way to educate yourself as far as what you can do without actually showing stuff.

“‘Jaws’, or well any Steven Spielberg movie is always good because he has got great composition and great setups. He does great large shots and then he cuts close with a closeup of that character and then he pans out. And then you see the reaction and then you turn around and you see what he is reacting to. If you turn the sound off you are focusing on the performance and the visuals and that way you can kind of see how things are reacting to one another. These are your cues and this really helps you understand what is happening. Reaction and outcome.”

Tip number 5: Don’t Be Afraid

Just don’t be afraid. A lot of people are hung up on not wanting to make mistakes. Mistakes are your friend. They are there because they help you understand things. You know you have to mess it up so you can build it up. That is how you learn. Don’t be scared to make marks and if they don’t make sense that is okay. Look at your “mess” and then work it out. A lot of this stuff is problem solving. You don’t do it in the first pass. You don’t do in the second pass.

In storyboarding there is a quote that the artists at Pixar have: “it is reboarding and that is what it is”. You do this over and over again so just welcome that, embrace it. It is like you are thinking with a pencil. So free yourself and learn to draw without fear and draw fearlessly and just go for it.

John Nevarez bio

John graduated from University of California Santa Barbara (UCSB) in 1992 as an Art Studio Major. He followed a general arts curriculum which featured Life Drawing, Painting, and Sculpture and worked as a cartoonist for the school’s newspaper, The Daily Nexus. This provided him with invaluable experience of creating work in a very short amount of time.

After finishing school he went to work at Disney Television as a storyboard revisionist and storyboard artist on such shows as Pepper Ann and Kim Possible. He then transitioned to being a designer for DisneyToons, where he worked on Tinkerbell, Kronk’s New Groove and Brother Bear 2. For 5 years, John worked at Pixar Animation Studios where he provided designs for Cars 2, Monster’s University, Inside Out and Lee Unkrich’s Coco movie. John also worked for Rovio Animation for the Angry Birds Movie and provided design work for Google’s Spotlight Stories.

John provided storyboards for the Promotions group for Illumination Entertainment for their upcoming feature “The Secret Life of Pets” as well as Locksmith Animation and Warner Bros. He collaborated with Duncan Studios as an Art Director and has worked at Sony Pictures Animation providing both story and art for numerous features.

Apart from his design projects, John has also hosted workshops for The Animation Workshop in Denmark, The Icon Academy in Manila, The Animation Collaborative in Emeryville, CGMA Online, The Los Angeles Academy of Figurative Art, the Nemo Academy in Florence, The Animation Centrifuge in Scotland and Schoolism.

Follow John Nevarez on Instagram, Facebook or website

Interview: Gabrielle Provaas
Camera: Rohwell de Rot
Thanks: Paulien Mandos, Leon van Rooij and the Playgrounds crew

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