What is your name and your current occupation? Hi, my name is Jordan Lamarre-Wan and I’m a Concept Artist for Disney Interactive – Junction Point Studios.
What are some of the crazier jobs you had before getting into animation? I worked as an underage bar tender in a hip bistro, a store assistant for DeWalt, a factory worker for Pillsbury and a Layout Artist for a Christian animation studio on a project called God Rocks about these characters who were rocks and who played rock music, lol. I actually really enjoyed working at that studio.
What are some of your favorite projects you’re proud to have been a part of? I really enjoyed working on Warner Bros’ Johnny Test,George of the Jungle and Richard Scarry’sBusytown Mysteries. But the project I’m most proud of is being part of Disney’s Epic Mickey 1 and Epic Mickey2. I’m also very lucky and honored to have been published in The Art Of Epic Mickey, an art book about the ‘making of’ including the pre-production drawings and paintings for the game. This is a Time Lapse Video of me sketching Mickey vs an animatronic character for Epic Mickey 1.
How did you become interested in animation? Back in high school, I had an older friend who introduced me to 3D animation and I was Continue…
Starting this Saturday from 12-3 pm PST and every Saturday after that, I will be streaming live on the Adobe Twitch channel and animating nonsense using Adobe Animate. This week we’ll continue animating a scene with a robot ninja I roughed out last week called Tinja… Yahhh! Join me if you can! That’s 12-3 PST this Saturday only on: http://www.twitch.com/adobe
Animation Resources.org has a fantastic Ren and Stimpy board up and if you’ve never visited Animation Resources and you’re into animation, you’re in for a huge treat because it’s one of the unsung jewels of the internet. Check it out!
If you’ve ever been curious about what it’s like to storyboard for The Regular Show, here’s a very in-depth comic about what it takes to make an episode. One of the most interesting things he says at least for me is that the entire show is still done traditionally on paper, using Post-Its, white out and good ‘ol pencils!
What is your name? Alex Almaguer. Or Alejandro Almaguer which is my real name that I used to use when I first started in animation. I think you can still find some early episodes of Johnny Bravo or Pinky and the Brain that I storyboarded that have my real name in the credits. And Big Poo. Don’t ask.
What would you say has been your primary job in animation? Mainly Storyboards. It’s what I started on when I got into the industry and I’ve just stuck to it.
What are some of the crazier jobs you had before getting into animation? Storyboarding. It doesn’t get crazier than that.
What are some of your favorite projects you’re proud to have been a part of? I’d have to say being a part of “The Grim Adventures of Billy & Mandy.” It was the first time I REALLY got to write and draw my own boards. Within a few months on that show I was already coming up with my own gags and writing my own dialogue and learning how to tell a story. Back then, the studio was still doing the 7 min. format, so we really had a lot of freedom to get in and do a bunch of silly, dumb jokes and get out while telling a simple story at the same time.
A fascinating look into the mind of Ridley Scott (Blade Runner, Gladiator, Thelma & Louise, The Martian) and how he uses storyboards in his process. And this unlike many other interviews is interesting to me at least because the whole thing is about storyboards. Scott is an artist himself and works out his own boards and thumbnails for his films.
When I draw, I get sucked into the scene, and when I get sucked into the scene I start to visualize other opportunities which aren’t just pictures but suggestions for actors, how the scene can go and how you can adjust and maybe even find how the words are used.
The storyboard becomes rather like a sophisticated comic strip well in act now comic strips are really sophisticated and ideally that’s what storyboards should be, because you’re seeing the dynamics of,… and if it’s really well drawn, then you can follow the dynamics of the sequence and even if it’s dialog you always do something that isn’t just two talking heads but then of course two talking heads can also be interesting.