Updated Website and Portfolio

I spent the last week updating my portfolio and website. It was a tough job because previously I had a slide show and I wanted something more simple, like a scrolling page. I use squarespace templates for my website, but I found that trying out a new template was no easy task! The site used to make it easy to test out new templates by filling in your existing samples into the new template, but with the updates now that is impossible. You basically need to redesign your site in order to see what a new template would look like. Oi! I finally decided to reconfigure my existing site to reflect the ideas I had about my portfolio presentation. 

Regarding portfolio content, after working for a long time, portfolio editing can be really difficult. I've accumulated so many pieces of art, have so many projects going, and I like to sketch and paint all the time, work that is not connected to professional endeavors. In addition to that, I have been freelancing for about a year now, which means I have been working on several short term projects for various companies. So how to update my portfolio? 

I think a good solution is to create a general overview leading a website front page. I think of the rest of the headings as "deep cuts", more in depth. There are a lot of ways to represent various interests, like galleries of character work, environments, and storyboards, but in the end I decided to try out categories based on projects. I'll try it out for a while. Hopefully it is easy to navigate.

www.julialundman.com

Thanks for looking! 

"Bitter Green"

It is little known in the world at large that some fairies smoke pine needles. 

"Dandelion"

"Dandelion"

One of the best art discoveries I made was in art school when I stumbled on a volume of Cicely Mary Barker's "Flower Fairies". It led to research into her and her life and other artists I also admire, mainly Jesse Wilcox Smith and Margaret Tarrant. I love the playful, beautiful ethereal versions of fairies out there, but I am interested in juxtaposing the prettiness of nature and it's endless color schemes with an anarchy and punkiness in character, which is closer to how I understand Nature, anyway. I have so many more ideas; hopefully I will be able to realize them throughout this late summer and fall. Thinking I might even try "inktober" this year. 

Thanks for taking a peek!

Cheers!

"NightShade"

Thinking about variations on fairy lore.

"The Little Mermaid" update/Viking Prince

UPDATE: I am in the throws of writing the script for this story this summer. Hoping to have my story locked down by mid fall, October, so that I can finally start penciling! 

For some time now I have been developing several stories of my own, but have decided to focus solely on my version of "The Little Mermaid" told in the Viking era. Originally I set the world in the Samurai era, which I still think would be pretty cool, but since I have roots in my Scandinavian heritage, I decided the project would be a cool way to learn more about the era of my ancestors. 

I am planning thorough research on my little mermaid character, but I really wanted to design the main viking character first, since he would firmly set the era in place for my story. I'm really glad I spent so much time working on him since designing the character brought to mind some interesting story twists and ideas that I hadn't thought of previously.

I imagined he is a prince of the village (if vikings really had "princes") and expected to help navigate and organize raids. He is reluctant, however, since he has a strong interest in music. He would be much happier roving around with local musicians but his father does not approve.

Here is some exploration for the character:

And finally a story painting. I spent a lot of hours on this painting, but in the end, I am still not sure about this style and color palette. I may go back and repaint this more graphically after I finish my Little Mermaid designs.

Random House "Little Golden Books"/"Pawesome Costume Party" Illustrations!

I was so excited earlier this year because I had the opportunity to illustrate a Whisker Haven Tales "Little Golden Book"! I'm STILL excited about it now that the work is finished, too! I love Disney's Palace Pets and the world we've worked so hard to create for them in the animated shows. 

On the animated show, I have been responsible for designing the environments and color palettes at Ghostbot, where they are produced and directed by the talented bots. The "Little Golden Book" I illustrated was based on the episode, "Masquerade Ball". It was so thrilling to translate the animated short into book illustrations. Painting everything to the nine's was super fun and definitely a learning experience that I hope to try again someday!

The process involved working up pencils for the entire book. Here are a few samples:

And after the pencils were approved by both Random House and Disney, I moved ahead with full color. The fun part! I could hardly wait for this stage, where I got to experiment with brushes in Photoshop to get the texture I was looking for. If I ever get to illustrate another book, I would like to push it even further. 

Look for "Pawesome Costume Party" with the Palace Pets from Random House "Little Golden Books" coming soon! 

The Little Mermaid, A different take

I recently saw some online images of the Finnish ballet of Hans Christian Andersen's, "The Little Mermaid" and was totally floored. Everything from the costume design to the lighting and dance have a slightly dark and mysterious tone that feel just right for the classic tale, departing completely from the Disney version. It made me wonder what other cultures and takes on the tale might be interesting to see. I was inspired by the architecture of Okinawa and thought perhaps the Little Mermaid might fall in love with a Samurai. I'm not sure I really got it but it was seriously a blast to dream about.

Some initial thumbnails, dreaming about what kind of island The Little Mermaid first encounters the Samurai.

This is an establishing shot of the island I chose from the thumbnails, just before The Little Mermaid meets the Samurai she falls in love with.

I was thinking of some foreshadowing in the architectural motifs. These are a few ideas. The possibilities are endless, really.

Below are a few variations on The Little Mermaid. I still feel like I want to do a few more pages of these and then move on to the Samurai, Triton and the Sea Witch.

Many more updates coming in a few weeks! Thanks for visiting.

Disney's "Whisker Haven Tales with the Palace Pets", Season 2!

For the past year or so I've been working on a new web and tv series called, Disney's "Whisker Haven Tales with the Palace Pets", published on the Disney Junior website and network. The latest episode, "Chowing Down" (Season 2), can be seen here:

http://watchdisneyjunior.go.com/whisker-haven-tales/video/vdka0_w80egsrv/chowing-down

All of these shows are developed, directed and produced at the awesome Ghostbot animation studio, where I have been working as Art Director with the Director-bots, Alan, Roque and Brad.

I am SO, SO proud of the really hard work that we all have done on this series. The best part has been meeting kids that tell me all about the shows and the characters. There is nothing better than that!

Here are a few production stills from this episode (I think this one is my favorite!), directed by Alan Lau. The color script on this episode was really key in getting the lighting, mood and tone just right, and also making sure transitions worked from the first sequence which was the set up to the indoor Kibble shop and dream sequences. 

Below is some of the design work I did for the spring episode, "Hearts, Hooves, Eggs!", directed by Roque Ballesteros. The biggest thing I learned in this episode was scaling of details in the distance vs. the scale of details in the foreground. I spent a lot of time looking at mountainscapes studying how to make them work atmospherically.

The color script for the "Masquerade Ball", directed by Roque Ballesteros, was one of my favorites. The episode practically designed itself! A dark room with a party atmosphere was pretty interesting to explore in the color script and in the background design. I was surprised at how dark it could go, actually, and still read as long as the main characters had a good amount of light on them. 

"Buddies Day", directed by Brad Rau, was really fun to design since the fall season was a character in the episode. I thought about things like how the color of the grass and the position of the sun in the sky would be different and distinct from episodes that take place in the summer or spring months. The most difficult part was the lighting in the maze from shot to shot, which required a color script - absolutely. In addition to that, getting a hay texture and shape in flash without it becoming too distracting or vector-y looking against the action of the characters was a real challenge. In the end, I think we found a good balance after a lot of trial and error. 

I just wrapped on Season 2, 13 episodes, which will be released throughout the year including a Christmas episode I'm really excited about. I'm really hoping that we get a 3rd season. After 23 3 minute episodes I feel like I've really gotten to know the world pretty well. I enjoy every single part of the storytelling process in animation and film making and especially working with the Bots. I hope to visit the world of Whisker Haven again sometime soon! 

Star Wars Comps for Concept

Earlier this year for a class assignment with Armand Baltazar at the Animation Collaborative, we had an assignment to come up with a scene or concept that currently does not exist in a movie. One of my all time favorite movies is, of course, Star Wars, the original trilogy, but most especially "The Empire Strikes Back", where we meet Darth Sidious, "The Emperor", for the first time. 

Up until that point, we feel that Darth Vader is the most powerful guy in the universe, even though we are conscious that he is definitely working for someone. When we meet The Emperor, he seems to be parallel to Master Yoda in power but belongs to the Sith and rules the Empire. However, I had always thought that since Darth Vader has unusual power, the Emperor, being a completely corrupt man, would perhaps have some other way of gaining force power than just by being himself. In addition to that, he must have been extremely peeved when Vader let Luke get away. 

I imagined that in between "The Empire Strikes Back" and "Return of the Jedi", Darth Sidious brings Vader into his private chambers where he keeps a gigantic symbiotic parasite that he uses to not only control Vader, but also torture him and secretly extract force energy from him.

Here are a few concepts. I will bring one of these to full color soon, hopefully in the new year!

Additionally, I sculpted a bust and draped some cloth over him to create a nice working model of the Emperor's face. I've wanted to do a portrait painting of the man, and this will be very helpful for lighting. 

"LOSING TIME", Poster Roughs

Update: I've decided to put this project on hold while I work on my "Little Mermaid" graphic novel. "Losing Time" requires some complex writing, which I am working on with my partner. Given that, there will not be additional art for this project while I work on "The Little Mermaid".

This year I have been very busy writing and rewriting, and then rewriting again the story for a graphic novel tentatively titled, "LOSING TIME". 

The story takes place in the same universe as HG Wells' 1895 classic, "The Time Machine", but is an expansion of that world and events. 

Since I am also currently enrolled in Pixar Production Designer Steve Pilcher's Production Design course at the Animation Collaborative, I thought I would focus my class efforts on moving forward with this project to see where it would lead with some really great feedback.

Immediately, Steve assigned "mood boards", story beats and other art that visualizes a general tone of the story, but only in three values. The idea here is to get a strong composition and mood that identifies the feeling of the story. I decided to focus on act 2 of my story, and although these are likely to change dramatically as the script develops, these were an awesome exercise that I will likely take with me on virtually every project I design on.

After the mood boards, we moved on to poster roughs. Creating a poster or cover art go a long way towards representing the overall motifs of the story. Working on this exercise has really helped me to think more deeply about the motivations and core ideas of the story I am developing in a way that I might not have otherwise thought of. 

Here are are my initial roughs. 

I will likely pick one of these from the second page, perhaps incorporating a border as well. I'll post the final after I finish it in a few weeks,  probably a week or two after CTN in Burbank this week! :)

Stay tuned, and thanks for reading!

The Unfortunate Toad

This summer I have been working on a short story that I plan to bring to print. It is about a Toad, and is tentatively called, "The Unfortunate Toad". 

There is a cast of characters that you'd expect in a fairy tale, but in this story their roles are a little different, due to some unforeseen circumstances.

I thought I would share some of the work I've created so far. There is a lot more in the works, including many more characters, but I will be keeping those to myself for awhile. In addition to "The Unfortunate Toad" story,  in the next few months I will be posting a few more updates to "The Time Machine" and other art that I have been working on behind the scenes. It's really exciting stuff that I can't wait to share!

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Please stay tuned for more in the next two months! Thanks for visiting.