So I have been working pretty hard in the past (x) months since I bothered to update this thing. I joined up at Blackshoe Studios, run by the ruggedly charming Anguix brothers. It’s probably the best job i’ve had so far in my career as a freelancer. I’m working with Franky Stanton, which is another boon. Seriously, if you can ever work with that guy, work with that guy.

Put this song on, while you read!
(Alternatively, listen to the first twenty seconds while you skim read all of the heart-felt content I bothered to write. You monster.) 

Man, there is a lot of work around at the moment. It seems to be flash and motion graphics based work primarily, which is like… my absolute favourite.
I know i’m tempting fate, but things actually seem to be looking up. And not like looking up into a headwind, neither.

What I really need though, is a Producer. Someone who can kick my ass into line, and make sure I don’t spend all my time playing Mass Effect 2. (Which you could buy for peanuts during the Steam Sale)

Turns out, it is super fun to hand out business cards. Sure, I look like a tool, but when don’t I? Buddy-Most-Excellent Luke Mathers gave me a hand with not being terrible at designing for print.

The wayyyy belated conclusion to the Pinball mural.. thing. Forgive me if I have spammed it already. The thing is now bolted to it’s home, safe in the heart of Paddington. The whole Resin/Lights thing turned out pretty interestingly, and I am definitely going to pursue the tech farther. It’s important to note, though, that the quality and strength of the lights involved is crucial. The damn resin dulls the natural luminosity, so the average string of fairy/garden lights isn’t going to cut the mustard. When working with Resin, it’s crucial to be patient. I nearly screwed the pooch a number of times, during the pouring and the curing.

I have.. three more paintings slated to work on, but they are all so equally radical; I can’t make up my mind where to start. Hmm.. perhaps the one that pays. Yeahhhhh

This is just a sandwich I made. Smoked Salmon w/ Chilli, Fresh Avocado on freshly baked Dark Rye bread. There’s nothing to really take away from this; I just want to look at it again.



This has been a hot mess, that’s for sure. I winged it (wanged?) until it worked out, and I think it’s finished up pretty well. From here, I need to plug the holes you can see here with a Resin, and then affix the lighting system to the ass of it. Next post will feature a video of the entire apparatus. Shunt!

That’s the next project brief, anyways. It’s to hang as a feature piece in a Paddington cafe that a friend of mine is opening soon. The whole place is going to have a very strong retro/pop culture theme, including glass tables filled with collectibles, skateboard decks. All sorts of cool shit. So hopefully, mine will be rad enough to match up.

It’s about 1.5m tall, and 50cm wide, on MDF board. I’m going to use a drill press to cut holes through it, and fill those gaps with lights. I think i’ll have to reappropriate Christmas lights for the job, but that should be fine.

I’m pretty fucking excited.

End of the Apples

March 12, 2011

Hey! I finished a painting commission a week or two ago.

I finally managed to get some good photos before handing them over, so you can peruse the shit out of them below.

"Uniting The Tribe"

“Massacre on Fruit Rock”

"Bloody Red King"

Return of the Red Delicious

February 20, 2011

Greetings and Salutations, you magnificent bastards.
There is much work, in many forms and facets.
OMC Film is starting to become more grounded, will produce evidence once gravity has truly caught and it has become tangible.

The Bloody Red King


February 15, 2011

Fuck this employment business, it’s too much hard work.
Vagrancy here I come!

Experiments all over the shop. Trying to find some way to do line based effects economically in After Effects. All I ended up with is hypnotic ball-thing.

Smashing Lanterns

January 23, 2011

Most of the Animators I know want to be making their own films.

But we ain’t.

I thought about it for a while, and came to the brilliant conclusion that it’s super hard. I know, totally out of left field. But the difficulty, for me at least, doesn’t lay in Production, but rather the initial conception and planning of the idea. Hanging all the lanterns  in all the right places, and justifying the shit out of every element. By the time I sculpt something sensible, I have chipped away all the interesting content and sculpted a turd. So if I can somehow disable this overprocessing, I might get some awesome Roquefort instead of Kraft Singles.

Tl;dr “Cheese Metaphor”

The solution I think is simple. Not give a single fuck.
To continue with the needless metaphors, I’m going to be throwing Lanterns fucking everywhere.

The Film i’m concepting and styling at the moment involves an old man falling in love with his own skeleton. Yeah, that’s right. To prove i’m not entirely full of shit, here’s some concept/mood pieces.

I think i’m learning more about Economy. What sort of quality you can tolerate drawing ten million times over. Hell, what sort of quality you can get away with. There is a Gobelins School film in particular that is helping to usher this along. It’s pretty fantastic, so I insist you watch it, regardless of what you think of it’s line quality.