My primary focus is story driven concept art.

The cinematography is crafted in the service of the characters moment. Everything else is secondary.​

Always begin with the focal point, asking who the character is, where, when, how and why. Lighting and color only serve to punctuate the focal point, never distract.

I gravitate towards open spaces, atmospheric design and camera vibrancy influenced by the Apple M chip series.

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• Character moments

• Light & color

• Character design

CONCEPT ART

In the wake of Ai,

its pivotal to embrace the look of high definition rendering. Portraits are a play space to explore character gestures that capture a personality, as well as evolve the final look of faces and hair.​​

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Why practice drawing or painting, when an NVIDIA chip can generate works of art in a matter of seconds?

To train the human eye, patience and of course, precious fine motor function. To allow machines to have total sentience is to forfeit human conciousness.

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• Head studies

• Character paintings

PORTRAITS

My environments are curated with succinct color palettes and material specificity. I lean into iconic cities and naturalistic greenery for the sensory gratification of seeing the contrast between austere surfaces scintillate in the light, against lush natural landscapes.

As an enthusiast of designed objects - toys, ceramics and jewelry - my design lexicon involves subverting realistic scale in order to achieve the look and feel of other worldliness with playful charm.

When most minds in leadership ask, "Can we make the environment realistic?" The answer is always, "Why?" Why spend the energy recreating reality when we can completely reimagine it?

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• Set design

• Environments

• Shape language

• Surface design

WORLDBUILDING

My writing style is influenced by Vonnegut and Camus. Themes involve love and loss, betrayal before death, and loyalty. Comedy is always driven with the interest of shaping the greater story.

In my stories, the discovery of gender roles sheds light on the fluidity within the heterosexual spectrum, holding steady to firm ideas of monogamy and faith.

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Although we hope for the best, the totality of control is impossible to grasp, thus allowing for moments of absurdism to come into existence.

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• Story treatment

• Character treatment

• World building

WRITING

The variety of vocal sketches are warm ups for my stories. They stretch my voice to immerse into character for female roles. Not just American women, but women of color. The themes that women struggle with are universal - feelings of weakness and strength, vulnerability and desire.

As a female with bilingual roots in a conservative sub-culture that only allows the youth to listen and never speak - I became interested in fluency in foreign languages - how it sounds more delightful when the message is felt, instead of spoken harshly.

Dialects from China stood in a stark comparison to American dialects - from Trans Atlantic to Southern and Californian. The Spanish tongue woven into urban landscapes bend the rules of English, making the spoken word an interesting experience.

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• High to low vocals

• English

• Mandarin

• Japanese

VOICE

For the duration of 6 years at DreamWorks, I spent my time into the medium of stop motion animation, crafted out of paper, fabrics, and appliqué beadwork.

The achievement ended up being compared to couture. The handcrafted look ended up being widely imitated by contemporary production designers.

This practice carried over into my personal art for short period of time, harmonizing the influence of graphic cut outs inspired by Matisse and Medieval tapestries. The period was expressively Fauvist compared to the works of my peers.

Curating a library of textiles by color and luster is a task worthy in itself, allowing designs to breathe within the scope of a Pantone chart. My practice of textiles brought cohesion between the art forms of color theory and surfacing.

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• Design

• Tapestry collage

TEXTILE ART

On Peabody and Sherman, Trolls and other animated shows, my experience involved creating production art for cinematic features with theatrical release - focusing on set design, props, surfacing, lighting and layout information for model packeting.

The labor of production design is more than meets the eye. The best production design in my opinion, focuses on brevity in detail, in the interest of serving the bigger picture by creating story structure for sophisticated character animation and acting. The Illusion of Life takes precedence.

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• Character moments

• Lighting keys

• Character design

• Set design

• Prop design

PRODUCTION ART

My picture book style is pictogram illustration chosen for its expressive versatility.

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Within the scope of the animation industry, I gravitate towards UPA for its graphic nature and comedy. The haphazard use of patterns and bold strokes of color is nostalgic of Eric Carle's iconic titles.

Despite the flat nature of the art form, it is most engaging to push the scale to play with perspective on the canvas. It helps a child understand deep space.

The simplicity of pictographs develop shape recognition in a child's mind. The practice of understanding iconography rests on fundamental design principles -contrast, repetition, alignment, proximity, gestalt and movement.

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• Illustration spots

• ​Full books

PICTUREBOOKS