2026

I had an absolute blast working on this project! I was the main background artist on it, doing the backgrounds line/paint from Remus & Kiki's rough layouts/color script. The budget was quite small so the team was as well - Miko did the backgrounds for the traditionally painted harmony frames, while I did all of the others on my side. I really enjoyed having to manage my time over all the assets I had to do and having that global view of the project, it reminded me of when we were working on our graduation movie. :)

2025

I was brought on towards the end of production as an extra pair of hands to help take the project over the finish line. Loved working on this more experimental project, the scratchy style was very interesting to learn! It was challenging to match the existing style in the limited time I had - being brought on so close to the final deadline meant I had to get up to speed with what had already been done quickly if I wanted to be of any use.

2023 > 2025

I joined this new season/reboot of Gumball as a designer and had a lot of fun - as expected, working on Gumball is really demanding in terms of range, but that's what I found fulfilling about it as well. I was moved to the background department after pre-board design was done. I had already worked on the show before so it wasn't very difficult to adapt to the style, but the quality demanded is very high for the time given to the background artists on this show, so it always feels like quite a achievement to get it done!

2022

I mainly did backgrounds for this project, which was a special set of shorts to promote season 7 of the show. They wanted the backgrounds to have a photographic style similar to Gumball, so I felt in my element there. The technical requirement of the assets made it a challenging project nonetheless - some of the backgrounds were meant to be projected onto huge screens so the resolution was really high, going upwards of 15000 pixels sometimes!

2019 > 2021

I joined the project in its very early days for some visual development; in particular working on Phoenix Park's branding and some location design!

When production started in earnest, I was moved to the character design team and learned a lot about the more technical side of the job; doing turnarounds, character expression sheets, etc...

2018 > 2019

Layout on Elliott was quite different from Gumball, as a fully 2D show. My responsibilities included some location design, as well as creating framing/perspective/scale references, and sometimes background lines for the background department.

2017 > 2018

Because of the style of the show as well as its mixed-media nature, layout on Gumball is really technical. The department is truly a unique little thing and our supervisor referred to us as 'mini-directors'. Our job was to translate the storyboard into something that the other departments could work from, and our vast range of responsibilities included: gaining intimate knowledge of the existing library to find reusable assets to lower production time; 3D camera matching to 2D matte-paintings to prepare any scene where 3D props or animation is involved; preparing rough matte-paintings in Photoshop with believable perspective for the background department as well as sourcing photographic material for them to use; putting scale dummies of the characters into scenes; preparing all the shots in after effects; camera animation and consolidating framing in After Effects; creating parallax between layers and animating the camera for them; animating cameras in Maya... The list goes on! Looking back, it was a real trial by fire of a production, and everything I could ever wish for as a junior! Very intense start of my career. :)

When layout wrapped up, I was moved to the background department, and that 'only' involved finishing the matte paintings from layout to a photorealistic standard.

2016

ご苦労様 - Gokurōsama is the graduation movie I worked on during my final year alongside five other students.

I was responsible for the art direction, character design, and also did a sizeable portion of the lighting and compositing. It was really great to see it selected in many animation festivals around the world, and even win a couple of awards!

2010