Tag Archives: Marvel

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Brian Mac Moyer

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What is your name and your current occupation?
Brian Mac Moyer, freelance artist and prop designer

What are some of the crazier jobs you had before getting into animation?
I worked in a textiles plant, converting colored designs into black negative plates for color printing. I was a Romita’s Raider in the Marvel Bullpen and I operated a porcelain press that separated porcelain clay out of a mud called “slip” used for making electric insulators.

What are some of your favorite projects you’re proud to have been a part of?
Megas XLR, I was there from its’ infancy, I helped with the pre-pilot and was hired on as a prop designer when it finally got greenlit by Cartoon Network. That show is the reason I moved to California.  Beavis and Butthead Do America was my first big break. I showed the art director my portfolio and he like what he saw so he had me do a BG test over the weekend. With test finished, I came in on Monday and he wanted to hire me on the spot but the producer said I had to take a layout test. I had no clue how to do layouts but learned while I took the test and got the job.

Where are you from and how did you get into the animation business?
I’m from Up-state NY, 30 minutes east of Rochester in a little town called Palmyra.  I got into animation via the comic industry. John Romita was my supervisor at Marvel Comics and in 1994 the industry was Continue reading

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Gerry Mooney

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What is your name and your current occupation?
My current name is Gerry Mooney, and my occupation is Director of Motion Graphics for a litigation graphics firm in Westchester, New York.

What are some of the crazier jobs you had before getting into animation?
I designed slot machines for a tiny outfit in Charlotte, NC, for a year. It was moderately interesting, in that there is some amazingly sophisticated graphic and animation work being done for slots and their related displays these days, but the downside is that the gambling industry is not that interesting. So it was fun to do the work, but what you were selling was not very challenging.
In between my magazine illustrating days and animation, I did web design for a few years. One temp job I got was with a pretty major NY ad agency where the entire web staff had walked out the day before, so they were desperate for freelancers to jump in and take up the slack. I worked there for a month and the odd thing was that since everyone had walked out, I never knew for that whole month who exactly I was supposed to report to. I handed in my work to a guy across the hall, but he wasn’t my superior or manager, he was just a guy who was still there.  I’ve always managed to make my living as an artist though. I worked in a framing shop after college, assisted Joe Simon in his home studio back years ago, and did layout and pasteup for a physics journal, “The Physical Review” at Brookhaven National Laboratory.  I spent most of my professional career as a magazine illustrator for pubs like Forbes, Parents, The New Republic, Cruising World, Medical Economics, The NY Daily News, a Consumer Reports magazine for kids called Zillions, and American Express, clients like that. One of my favorites was doing a regular humor feature for Isaac Asimov’s Science Fiction Magazine, called “Mooney’s Modules”. That ran for three years and was the first place the Gravity Poster was seen by a large audience.

What are some of your favorite projects you’re proud to have been a part of?
Certainly that Asimov’s gig would be at the top of the list. I would submit a bunch of sketches, and I’d be surprised at some of the ideas they signed off on. I wondered sometimes if they actually got the jokes or if they just didn’t want to appear that they didn’t.
I completed an animated music video last year where I was given complete creative control. It was for Shawn Letts, an American musician who lives and works in Singapore. It was a dream job! I was just told, “Call us when it’s done”. I really felt free to explore imagery and effects that I could just play around with, without having to “sell” a client on the concepts. And then of course there’s my graphic novel, “Sister Mary Dracula”, which is currently being shopped around to publishers. It originated as a Flash animation that I did in 2001 and put online. It got accepted as an entry in the San Diego Comicon’s Independent Film Festival in 2004, which motivated me to expand it into a graphic novel that took me four years to complete.  These are all one-man projects, not strictly speaking things that I was “a part of”; I WAS the projects!

How did you become interested in animation?
I’ve always been interested in animation and dabbled as a kid with both clay and cel animation, but Continue reading

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Animated Spider-Man Movie Has Secured a Director

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animated-spider-man-movie-has-secured-a-director

Collider is reporting that Sony picks first-time director Bob Persichetti to helm the untitled animated Spidey movie which is due for 2018 release. Wait, what? I wasn’t even aware this existed! I imagine it’s 3d but still pretty cool if it’s a decent story.

Details on this new Spider-Man film are under wraps, but recently rumors have swirled that it may be the first movie to focus on someone other than Peter Parker in the title role—namely Miles Morales, the first non-white Spider-Man. This would not only allow this film to further distance itself from the Marvel/Sony live-action reboot, but offer a unique story opportunity in presenting a Spider-Man whose origin audiences haven’t already had ingrained into their heads. It’s a win-win!

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Pat Giles

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What is your name and your current occupation?
My name is Pat Giles, and I am a Creative Director and co-founder (with Manny Galan) of Pat-Man Studios in New York City. We have several big Agency/Advertising clients. We currently run the creative assignments for several General Mills kids brands like Lucky Charms, TRIX, GoGurt and Honey Nut Cheerios for Saatchi & Saatchi. We partner with animation houses like Calabash and Laika, and cartoon gods like Sergio Aragones and others to make commercials, video games, short films, etc. We are also working on several series projects with Classic Media that aren’t announced yet, and we are in production on a project called “Captain Cornelius Cartoon’s Cartoon Lagoon” that will be out by the end of the year, whether it kills us or not.

 

What are some of the crazier jobs you had before getting into animation?
I worked in children’s clothing for many years (not wearing it to work, but designing it). I designed tons (literally) of licensed products for Disney, Lucasfilm, Marvel, DC and Warner Bros., among others. The oddest was the line of “Hunchback of Notre Dame” pajamas I designed. While I am not knocking the artistry behind that film, Quasimodo made for some very odd pajamas.

 

What are some of your favorite projects you’re proud to have been a part of?
I’ve been extraordinarily lucky to work on a lot of awesome projects. Back in the day, I started out as a designer on “Disney’s Doug,” art directed the Disney Channel series “Stanley,” was the Design Supervisor on MTV’s “Daria,” and worked on several other series in various capacities. I started a comic book company called “Monkeysuit Press” with Chris McCulloch (aka Jackson Publick), Mike Foran, Miguel Martinez-Joffre and Prentis Rollins. That was really fun and liberating. Several years ago everyone thought I left “animation,” but taking an ad agency assignment only got me deeper into it, since all of my assignments were for these beloved American brands with animated characters like Lucky, the Trix Rabbit, Buzz, and Sonny the Cuckoo Bird. The craft applied to these commercials is magnificent. I get to work with animators, directors, CG artists, painters, composers, orchestras, engineers, voice actors, and a lot of live action/animation combos with great directors, actors and cinematographers. It’s been a blast.

 

How did you become interested in animation?
“At Conception,” hahaha…I was just hard wired for animation and Continue reading

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Chris Bailey

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What is your name and your current occupation?
Chris Bailey, Animation Director.

What are some of the crazier jobs you had before getting into animation?
Hah..great question. I have asked that of colleagues in the past. I think the craziest job, or furthest job from animation was working in a steel warehouse for my dad the summer before attending Cal Arts. I loaded steel I-beams onto trucks, drove a huge forklift, learned to weld and use a cutting torch. I caught myself on fire twice! In the warehouse were rows of 20′ and 40′ I-beams stacked to the ceiling. We’d leap from stack to stack looking for the right ones to fill orders and they’d sometimes rock back and forth threatening to fall. I felt like Daredevil.

What are some of your favorite projects you’re proud to have been a part of?
I’ve been pretty lucky and worked on some great projects. It’s hard to pick, but if I were to list a few highlights, I would start with the Marvel Productions Logo. It featured a chrome Spider-Man doing a flip and landing on the big MP. I was at the beginning of my career and thrilled to animate Spider-Man, even if it was only for one little shot. Next up is The Little Mermaid. It was a great film and broke animation out of the animated film ghetto and into a mainstream audience. I was a little fish swimming in a big pond and trying to learn as much as I could… Runaway Brain with Mickey Mouse for letting me play with the corporate icon and the resulting Oscar nod, Disney’s Mighty Joe Young for it’s groundbreaking CG animation, X-Men II because it’s such a great movie I’m a huge Marvel Comics fan, Kim Possible because it was as much fun to make as it was to watch and finally, the Despicable Me: Minion Mayhem 3D Ride because the minions are so damned funny and I love theme park rides.  The Pepfar (President’s Emergency Plan for AIDS Relief) Shorts for WB were interesting too. The shorts were done to advertise an educational action videogame for Kenya’s youth centers. I got to travel to Washington and pitch the boards to the State Department. Unlike in Hollywood where the costume of a director is shorts and t-shirt, I was pitching cartoon storyboards in a formal conference room wearing a suit! Ha!  The Judy short in particular was a way to experiment with Kim Possible style animation and design in 3D. It was boarded by one of my favorite Kim board artists and Batman comics artist, Dave Bullock.
http://www.animationinsider.com/wp-content/uploads/2014/02/Judy-v2-112508.mov

Where are you from and how did you get into the animation business?
I grew up in Portland Oregon and went to Reynolds High School. I always liked comic books and wanted to draw them since I was 10 years old. Later in High School, I read an article in The Comics Journal that mentioned Continue reading

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Darnell Johnson

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What is your name and your current occupation?
Darnell Johnson I am an Illustrator and Visual Development Artist, who enjoys telling stories with color and light.

What are some of the crazier jobs you had before getting into animation?
I didn’t really have any crazy jobs. Starting in high school I started my own t-shirt airbrush business. I designed business cards, flyers, logos, and painted portraits.

What are some of your favorite projects you’re proud to have been a part of?
I would have to say the freelance Marvel gig I worked on pencils for “Dog Pool Vs Void Mutt” in “DeadPool Family”. It was my first big professional job. Still fairly new in my career so I’m sure there will be other projects that I’m proud of in the future.

How did you become interested in animation?
I’ve always love to draw since I was little creating my own comics at home. It was my elementary school art teacher Mrs. C who told me one day to draw my own cartoon characters. From that day on I started to develop short stories to design characters for. They weren’t your greatest stories but it was a start. As I got older my appetite for Continue reading