![]() ![]() ![]() But eventually along this path, he found a love for programming and became a technical sound designer, a position that creates the tools behind the scenes that help sound designers and composers realize their creative visions. Grey originally wanted to work in audio because he saw how fun being a foley artist was and knew how important audio was to bringing virtual creations to life. He was then able to return to Sucker Punch full time from 2021 onward. Shortly after this, he joined Sucker Punch Productions in 2019 for Ghost of Tsushima, after which he landed his first full-time position at Hardsuit Labs from 2019-2021 working on Vampire: The Masquerade – Bloodlines 2, as well as a few Fortnite updates for Epic Games. He then found a contract position in dialogue editing with video game developer Harebrained Schemes from 2017–2018, followed by Amazon Games from 2018–2019 for The Grand Tour Game. He started out working QA at Nintendo from 2017–2018 on Pokémon Ultra Sun and Moon and Fire Emblem Warriors. Grey graduated from DigiPen Institute of Technology with a Bachelor of Arts in Music and Sound Design. Within advertising, Cameron’s main work is coming up with ideas for commercials and advertising campaigns, a skill that involves script writing, visual development, project management, graphic design, illustration, storyboarding, pitching, and extensive research. Additionally, he painted stop-motion and live-action puppets. As a scenic painter, he painted and textured props and sets in the movie, which requires an understanding of surfaces and materials, carpentry, fabrication, mixing paints, and the paints’ chemistry. ![]() He has done a considerable amount of 3D work for feature films, mostly at his most recent position on Wendell & Wild, a Netflix collaboration between Henry Selick (The Nightmare Before Christmas) and Jordan Peele ( Get Out). Recently he made a career change to advertising to work as an Art Director at Wieden+Kennedy (with clients including Nike, Old Spice, Trolli, and others).ĭrawing was Cameron’s focus for many years, and although he never became an illustrator, he still considers painting and figurative art skills to be his expertise. He ended up working on feature films in stop motion animation, which constitutes most of his professional work over 6 years between Laika and Netflix Animation. She left Funko in 2021 to work on her own toys full time and now presents at shows and conventions across the country, selling dolls to customers all around the world.įor Isabel, the greatest part of being a digital artist is the freedom of creativity and that there are truly no limits on her art.Īfter a brief stint at Ringling College of Art and Design, Cameron left the school to hone his skills elsewhere. Isabel can’t get enough of toys or sculpting, and she started her own doll business while working full time at Funko to experiment with more elaborate jointing systems. After graduating from DigiPen, Isabel spent almost five years at Funko, where she learned how to sculpt with precision and speed, make different types of toys, and what the industry looks like from the inside. DigiPen is where she got started on her career in earnest, being a digital sculptor and beginning her journey into action-figure jointing and 3D printing. Later, she attended DigiPen Institute of Technology and received an MFA in Digital Art. Isabel is a full-time artist, born and raised in Seattle and now living in Portland, Oregon.įor her undergraduate degree, Isabel studied at Scripps College and majored in Mixed Media Art with a thesis in Video Art. ![]()
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