Daphne van der Zanden

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What is your name and what is your current occupation?
My name is Daphne van der Zanden. I’m 23 years old and proud Junior Game Artist at GamePoint, which is stationed in The Hague (The Netherlands).  I’m the first female tribute to enter GamePoint’s art department. Such princess, so much sparkles (such an annoying-talky-talktress)!

What are some of the crazier jobs you had before getting into animation? 

Well, I’ve actually had multiple jobs which seem almost too horrid to be named. I started some of them out of interest, and some of them out of desperation or for financial reasons.  I had a very interesting job at the local theatre when I was 16 years of age. I was having a tough time and didn’t want to wear girly clothes. They managed to put me in a fancy hostess outfit and instructed: “Attend your post near the exit and be pretty, pretend you’re important”.  It was a simple job of repeating “welcome” and “goodnight” to all of the theatre’s guests. However, this job seemed to have a very positive effect on me. When I walked trough those humongous doors, I suddenly transformed from a scruffy tomboy into a true lady.  I  had  several jobs scooping ice cream. I didn’t mind working hard with blisters on my hands, but my boss yelled at me and didn’t treat me very nicely. One day, for example; a little 3-year-old came to the salon with his parents. After checkout the little boy became so excited he dropped his ice-cream. I’ve never seen a kid go from ecstatic to heartbroken so quickly.  I gave him a new ice cream with an extra scoop of strawberry top. “On the house! Because you have such a pretty smile! Can you give me another one of those smiles?” His tears suddenly disappeared and he laughed “Thank you!” My boss was  doing some paperwork in the back and overheard the commotion. He dashed into the saloon and yelled ” You can’t give away free ice cream to ignorant kids! It’s their own fault if they drop it!” He fired me the next day.

What are some of your favorite projects you’re proud to have been a part of?

I’ve done an assignment working for Belle-Laide Events in Sydney. They briefed to design & draw stage pieces in digital format. I loved drawing an extensive series of digital background decor pieces of Fairfax media’s Christmas event themed ”Escape to Neverland”. A giant 3D illustrated Peter Pan book set the scene. A four-meter-tall paper pirate ship sailed at the back of the dance floor, while paper mountain ranges loomed over the Lost Boys; even the Pan crocodile appeared on the first floor.  Of the nearly 1300 guests attending, about 98 percent were in costume. People were dressed as Snow White, Smurfs, Mary Poppins, Super Mario Bros, the Hulk, crayons, pirates, 101 Dalmatians, superheroes and fairies.

Where are you from and how did you get into the animation business?  

I’m a Dutch girl from a town in the south of the Netherlands. I managed to get involved in the wondrous world of game design even though I wasn’t raised with videogames at all. I was brought up in a woodland environment. I’ve spent a lot of time outside building tree houses and treasure hunting across imaginary seas. I was a very introverted kid armed with a playful imagination. I spend a lot of time drawing during classes on high school, actually… a little bit too much. My math teacher approached me one day “Ok Daphne, I see you drawing all the time. I’m going to rip all the pages out of your math notebook that include your silly drawings!” … These wasn’t a single page left. I guess he had a point.  It wasn’t so difficult to choose a college program; I went to Saint Lucas University and graduated as a graphic designer. Whereas I did learn a lot of things about drawing, it wasn’t quite the working environment I needed. I started freelancing afterwards and practised my conceptual skills out of interest. New people noticed my work and hired me on the spot! It just… happened.


What’s a typical day like for you with regards to your job? 

My job includes a phenomenon called ‘tickets’. My manager assigns them to me with a description and references. These tickets could be anything; commercial advertisement, in-game design, campaigns, features, upgrades, adaptions, or concepts. Some tickets keep me occupied for weeks, some just a few hours.  I enjoy the fact my executives trust my judgement and don’t interfere with my creative process too much “Daphne, just draw a pretty picture, we’ll see what happens!” Best. Job. Ever.  There’s also the ‘hoover-challenge’ when a manager from another department hoovers inside our territory and he “needs something very quick! NOW! No wait… he needed it YESTERDAY!” I feel appreciated and useful when I’m able to help out in such situations.
I prefer Adobe Photoshop, but we design/develop our characters & landscapes in Adobe Illustrator. There are tickets requiring a lot of creativity and digital painting and less creative tickets which include composing existing images with typography. It seems fair to balance them out and work on two projects at once so you have the opportunity to switch once in a while.

What part of your job do you like best? Why? 

Being a part of a creative community and having a purpose. It feels rewarding that my ideas and artworks are fully appreciated! It’s an amazing thing to be a part of a team and contribute to a project.  When I was selected to visit GamesCom in Köln backstage for 3 days to represent my company, I couldn’t be happier. Representing the company I work for is a thing I see as an incredible honor. My job enables my financial independence and for that it gets my unconditional gratitude, cooperation, loyalty, and creative homemade muffins in return.
A friend of mine didn’t understand what all the exploding excitement was all about “What’s so exciting about that? It’s a short trip and you have to sacrifice your free days for this event”. I couldn’t care less about my holidays, I’m grateful for every small opportunity I’m given to experience new adventures.

What part of your job do you like least? Why? 

I still need to get used working 9 hours a day at an office. Even more difficult: 9 hours on a single chair. I have some difficulty keeping my focus at times – usually caused by working on a monotone, long-term project, extreme temperatures, thunderstorms (panic attack alert!) or extreme lack of sleep.  I was used to a very liberal lifestyle before I got a job at the office. I spent two hours at the gym every morning, started drawing afterwards from noon until night with a lot of walks on the beach in between. Sometimes I just need to take a walk outside or do something more physical instead of laying eggs all day long. I’m an adventurer, not a yuppie!

What kind of technology do you work with on a daily basis, how has technology changed in the last few years in your field and how has that impacted you in your job?

Working with my Wacom tablet in Photoshop. It’s been a epic battle, but I think I’ve finally defeated my impatience. I also have this funny habit of being too used to the CMD + Z hotkey. When I’m putting on make up and make a mistake “Oh shoot! CMD + Z… oh wait. It doesn’t work in real life”. My fingers make the keyboard motion at those awkward times. It happens when I spill a drink, drop my ATM card at the checkout, or even choose the wrong shampoo bottle in the shower.  On my first day of at the job, I choose to bring my own Wacom Bamboo to the office. “You never know, maybe they don’t have enough equipment”. Boy, was I wrong! My new co-workers noticed my silly little Wacom Bamboo in my backpack “Awh! That’s so adorable, bringing your little Bamboo! Aaaawh, so cute!” They gave me a large Wacom Intuos Pro in return and I’ve never again wanted to switch back to my old ways. NEVAH!

What is the most difficult part for you about being in the business?  

The difficult part for me is being highly underestimated. Because something’s fresh or innovative doesn’t mean my initiatives should be shot like its turkey-hunting season. It’s a joy to invest my time, energy and unconditional love into a project if I’m being taken seriously.  I’ve witnessed an unhealthy dose of pride and prejudice in the creative field. When operating in team projects my ideas were frequently called ridiculous. When someone else came up with the exact same idea – one week later – it suddenly transformed from “foolish” into “BRILLIANT”. Instead of releasing a giant octopus to consume their souls, I figured it would be smart to choose my battles wisely.

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Animating with Mike Milo Saturdays from 12-3 PST on Twitch.com/Adobe

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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

Live Twitch feed 11-1 PST

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For anyone interested I will be doing the streamy thing again on Twitch tomorrow morning from 11am to 1pm PST where I will continue where I left off last week.
If you’re just joining us I will be finishing up drawing and animating the short scene I started last week using Adobe Animate CC 2015.2
So far…
Two bored teens are sitting on a park bench complaining that nothing cool ever happens to them. Meanwhile an elephant comes and sits on the bench next to them catapulting them into the air and making them swap places. This time there will even be lip syncing involved! Oooooo!

10 Things You Didn’t Know About Nicktoons, 25 Years Later

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To ring in the 25th anniversary of Nicktoons “Rugrats,” “Ren & Stimpy” and “Doug, Variety has an article up about several behind-the-scenes tidbits that have gone mostly unknown.

For instance:

The Co-Creator of “Rugrats” Didn’t Like Angelica
Arlene Klasky, co-creator of Klasky-Csupo and “Rugrats,” confessed that she never really liked Angelica, finding her and her signature catchphrase, “You dumb babies!,” “too mean.” She admitted to the New Yorker that the original “Rugrats” creative team struggled to keep the show edgy while also appropriate for children, and that the Angelica conflict was the reason for the team’s breakup.

You can read the entire article here.

Rio 2016 – Panasonic Showcase

Panasonic Japan has invited us to create a one minute video with Vinicius for their showcase at the top of Sugarloaf Mountain. The video will be displayed in 4k and 60p on a huge screen, and we really worked on the amazing sports moves, details and scale of the settings to make the spectacle even bigger. Like everything else involving the Mascots, this film is the chance of a lifetime and we can’t thank Panasonic enough for the support and creative freedom.

Credits:
Script and Direction: Luciana Eguti and Paulo Muppet
Olympic Mascot “Vinicius” created by Birdo
Storyboard Artist and Lead Animator: Paulo Muppet
Animators: Alexandre Kazuhiro Tsukamoto, Alison Camargo, Allan Sanchez, Anderson Lister, Beto Gomez, Bia Leme, Daniel Caetano, Gabriel Franklin, Gabriel Gomes, Guilherme Gurian, José Vaamonde, Lucas Pelegrineti, Marcio Perrella, Maykeon Salvatierra, Paola Hiroki, Pedro Mendes, Rafa Gallardo, Rodrigo Makoto, Tiago Kogi, Will Fernandes, Yuri Custodio
Additional character design: Paulo Muppet
Composition: Luciana Eguti, Antonio Linhares, Luciana Fintelmam
Art Director: Thiago Soares
Background Painting: Bruno Luna, William Chamorro, Jovan de Melo, Thiago Soares
Executive Producer: Luciana Eguti
Production Coordinator: Raquel Fukuda
Line Producer: Christiano Parentoni

Music and Sound Effects: Ultrassom Music Ideas
Direção e Produção Musical: Ruben Feffer
Produção Musical e Trilhas Adicionais: Wem Mason
Assistente de Produção Musical: Rodrigo Custódio
Teclado e Programação: Ruben Feffer
Guitarra, Contrabaixo, Cavaquinho, Violão de Nylon e 12 Cordas: Wem Mason
Sound Design e Foley: Fernando Recchia e Juliana Lopes
Gravação e Mixagem: Bernardo Ets Goes e Carlos Paes
Direção Executiva: Flavia Prats Feffer
Produção Executiva: Erika Marques
Produção: Marô Blanques
Pós Produção de Áudio – Ultrassom Music Ideas

Direção de voz: Melissa Garcia
Vozes:
Hugo Picchi: Vinicius

“The Giant’s Dream- The Making of Iron Giant” teaser trailer

Iron Giant was arguably one of the greatest animated films of all time, yet it fell on it’s feet at the box office due to executive fear and suppression of advertising which is odd since Warner Bros was literally frothing at the mouth to get an animated feature off the ground. Enter Brad Bird who WB execs reportedly allowed to make the film essentially unsupervised and once they saw the film and how good it was they feared for their jobs and suppressed it as best they could.

REALLY looking forward to this film!