In late 2004, Stones Throw Records called and asked if I was interested in a possible animated music video for the upcoming- The Adventures Of Lord Quas. Egon and I had always talked about making an 'animated graffiti' video, and I figured this was the perfect chance. It was great news amidst a pretty dismal time in my personal life, dealing with break-up as well as seriously ill parent. I also wanted the video to play as my 'love letter' to graffiti art. A part of my own past that I've always cherished. The world we were creating here was a sort of 'land of graffiti', in which names of all of the legendary graffiti artists stood on rolling hills. You'll see Vamm, Dondi, Taki 183, Blade etc all placed in there one way or another. We created a nemesis for Quas named Lord Inamel, who I figured would embody all of the ego and arrogance of a graffiti writer. Also, I'd wanted to be mindful of the color palette used throughout. As the video progresses, I wanted the colors to get darker and darker, until we find ourselves in Inamels very blue and black evil lair.
I wanted to employ a very hand drawn, organic, aerosol look to the production. On a handful of shots, I was hoping to also have some 3D camera moves. The problem was I was using some pretty primitive software for the shots. I literally would spec the scene objects out, then trace them frame by frame to give them the hand drawn look. The results were mixed, but it gave the video a bit of dimension and depth.
Quasimoto “Bully’s Hit”
Quasimoto BG artwork
Bully’s Hit Graffiti Piece
Quasimoto Model Sheet
The underlying idea here was to characterize the music industry’s indifference to musicians, and any sort of original idea that are presented. The ‘Thief’ character here thinks nothing of helping himself to the endless library and history of music and misappropriating it to his own ends. Ironically. it was also implied here that the ‘Thief’ represents the buying public, who, though digital distribution and the modern landscape of media, have in themselves devalued music.
We wanted the animation to include this ‘Thief’ entering a giant virtual ‘music factory’ complete with a large music library, vinyl press and concert halls, all the while incorporating a very ‘Blue Note’ classic jazz style to the characters and artwork. While attempting to run through these obstacles for his life, the ‘Thief’ ends up becoming a product himself, and winding up in the much derided ‘dollar bin’ of a record store.
The inspiration here was pulled from classic UPA animation, as well as all of the classic Jazz LP covers from the 50’s and 60’s.
14KT “Five & Ten”
14KT Background Art
14KT Character Model Sheet
14KT Character Design Roughs
In the summer of 2007, TFU was asked to be involved in a new campaign that featured an animated version of tennis pro, Serena Williams. I was hesitant to take it on at first, mostly due to the insane turnaround that was being asked. After some thought and negotiations, it looked more do-able...Then I learned it was to be played in Times Square, with the character leaping from building to building.
Without discouraging myself too much at the scope of this project, I assembled a small crew, and away we went. The next couple of weeks were grueling, and , of course, LA is in the midst of a sweltering heat wave, which didn’t help.
Two weeks later, we had a rough version to show the agency, and they were surprisingly blown away. Sometimes, working with agencies can be daunting cause of the high expectations they might have, but, fortunately, we seemed to have met them.
So, the fir day of the US Open, it played in NYC without a hitch. Pretty incredible to see your work that big, but, unfortunately I couldnt be there to see it (I was helping the parents build a new deck), but my brother Pete got to go and check it out, here’s a video for it here.
HP Serena Williams Video
HP Serena Williams Model Sheet
Background Artwork/ Titles
Cleaned Up Artwork
The folks at SMOG Records were interested in creating a promo animation for the electronic artist 12th Planet. This would be an interesting opportunity to not only work with Dub Step artists, but also utilize the fact that this was an instrumental. This in part makes the track become a soundtrack for the video, rather than visuals for specific lyrics.
12th Planet was interested in creating something post- apocalyptic. I had had this undeveloped treatment (originally intended for a Madlib/Stones Throw project) that involved kids living in a large junkyard, with hazardous elements and subterranean mutants. He also mentioned involving some sort of arcade video game, so we added in the ‘Atom Smasher’ game.
After doing some back and forth on the character designs (Skrillex was by far the easiest to put together) we got started on the visuals, and intended to have a somewhat realistic landscape along with some simple looking characters. The track ran a total of 4 minutes, so the production on this was close to 9 months of work, with a team of 4 animators involved.
12th Planet- “Burst”
12th Planet Background Artwork
12th Planet Character Design
12th Planet Character Design Rough
It had always been an ambition of mine to work with the Beat Junkies in some capacity. So, we jumped at the chance to help them build their web presence and redesign their site. They were interested in building a ‘digital record pool’ service that would allow subscribers to pull from and extensive curated library of music in digital format, specifically for working dj’s.
After several meetings and discussions, we wireframes some outlines of the site, which would include a store, news and the record pool. We partnered with Covelop to build the site and create a CMS system for them to upload, organize and catalogue their vast music library.
Beat Junkies Detail
Nineteen Eighty Five documents the adventures of a young graffiti artist and his colleagues in a small beach town during the mid-eighties. Count is a 15 year old who is desperately trying to prove himself to his peers and foes alike, all the while keeping clear from the authorities. Starting as just a handful of friends, the group of graffiti artists soon grows into a small community.
This burgeoning subculture of art existed amidst a town full of 1960's holdovers, rednecks and punks whose response ranged from indifference to open hostility. A now defunct club called 'Club Culture' is one of the centerpieces of this story as it was home to a growing hip hop community dedicating weekends to Soul/Funk and open mic events, while keeping weekdays to punk rock. The young artists do their best to hone their craft and emulate their New York subway art heroes, except without the subway.
1985 Page Sample
1985 “Chateau Poster”
1985 Page Rough Art
In the summer of 2003, I'd rediscovered the GrantRay/Lawrence series of Marvel Comics cartoons. I distinctly remember these as a kid that my brother and I would laugh and make fun of these embarassingly simple animations. Marvel was trying to get into the animation business, and using the actual 60's comic art, moving the images, and adding poorly recorded audio, with limited animation.
I had the idea to recreate something like this for a music video, as mostly an inside joke. Out of the blue, I emailed Peanut Butter Wolf , head of Stones Throw Records, and asked if I could direct a video for him at some point. A week or so later, he wrote back saying 'sure, what do you got?' I told him the idea, and he suggested we animate a video for the upcoming MF Doom project they were recording. I got the single 'Money Folder' from him, showed PBW and Madlib some of the cartoons I was referencing.
From the start, I had in mind what I'd wanted this animation look like, I just needed to figure out the best methods/software, to make it happen. I did have a handful of references of motion graphics composition I'd seen seen that had similar look to what I had in mind. The animation was another story. The real trick with this was to try and make it look like heavily inked panels, move, and retain the weathered old comic look. This involved drawing and inking each frame of animation. To top it off, I wanted also use 3D camera moves. I had my work cut out, as, I had 2 months to get this done.
Finally, after compositing was finished, I had something to show the folks at ST (nothing had been shown yet). Chris was pretty excited, remarking that he thought I'd outdone myself. While I always felt as though the results could have been much better, all parties were very pleased.
ALL CAPS Music Video
Sketches to Finished Artwork
Mad Villain Action Figure
In late 2012, Mayer Hawthorne had expressed interest in an animated video, and after about 6 months, we ‘d been given the OK to get started. I had the idea for a very Mad Men era animated ad, that would involve a character who was navigating himself through the pages of an old life magazine. When we got the track, Robot Love, we worked this concept in with the song , adding the love struck ‘Robot’ whom gives chase throughout the animation.
The first thing to do was to find the ads we were to use. I pulled together everything from ‘Spam recipe ads’ to ‘Cigarette ads’ and old car ads, etc. Anything that seemed to lend itself to movement and that would be visually interesting in the piece. What we needed to be careful with was the legality of using these ads, most of which were more than 50 years old, but would nevertheless prove tough to clear Universal Music’s strict legal dept.
The Mayer character would be designed to resemble something straight out of a 1960’s Kool’s ad.
Mayer Hawthorne- “Robot Love”
Pencil Sketch Character Designs
The Madlib ‘Beat Konducta’ series are some of my favorite records. With each one involving a different genre of ‘beats’ taken from various eras and styles of music. The upcoming volumes 3 & 4 were going to feature the music of Bollywood Soundtracks and we were asked to come up with an ad promo for the release. We combed through different Bollywood movies and settled on footage from Adhisaya Piravi, a Sri Lankan movie from 1990.
The movie included the ‘Little Superstar’ sequence, which had become a YouTube favorite , spawning numerous parodies. We pulled our favorite shots ) and imagery (from the nearly 3 hour movie!) and recut it to music from the record.
Beat Konducta Promo
News came our way that Biz Markie was interested in a music video for his new single ‘La Da Da’. It was a bit intimidating being that it was Biz, but also that it would be our second music video. I met with the label owner and got the song, all the while I was working at FOX as an animator. One day my phone rings and it's Biz himself. The conversation was brief, but he simply requested that he have a small afro, and make it like Fat Albert, yet not to make him too fat.I came up with a design, to which the label responded "He's WAY fatter than that!!". I submitted a redesign.
I sketched all of the shots, traced each frame in Adobe Illustrator and colored them. It was a painstakingly tedious method, but I'd hoped it would keep the hand-drawn integrity. This method made the animation rather 'jumpy' and was almost impossible to smooth out. The timing on it of it seemed off as well. I literally spent the last 2 months of the project trying to sync everything as much as I could.
It ended up being delivered on time, and we played it for the folks at the label. They all just sat and watched it and bobbed their heads. I took that as a good sign. The video ended up airing, though I never did get to hear Biz's reaction, but, it led to working with him on a few other projects, as it was a huge honor to work with one of my heroes.
Biz Markie “La Da Da”
Biz Markie Character Frames
Initial Pitch Artwork
Biz Markie Model Sheet
I was pretty excited when Hip Hop producer Kenny Segal first contacted me, and seemed serious about producing an animated video. It had been a couple of years since w’ed done a full length animated piece, as I'd found myself doing much more motion graphic, design animation, rather than full on cartoon. The other key component of this project was that the Kleenrz consisted of the aforementioned Kenny Segal as well as Self Jupiter who hailed from the legendary Los Angeles group Freestyle Fellowship.
The idea behind 'Filthy' centered on a team of 'Cleaners' whose job it was to clean up grisly crime scenes, using some rather unique gadgets. One crime scene in particular ends up being haunted and coming back to life. I had 3 months to finish.
Once we nailed down budget and time frame, I was anxious to get started. After a few months, there was finally something to show Kenny & Co. He was pretty pleased at what we had so far, so that was a hug relief, though, I figured we met the criteria he'd presented early on. Kenny wanted to add some title graphics, to make the whole piece look a little more like an infomercial. It can be tough to add elements like that at the last minute, as they can seem 'tacked on', but we did our best to make them work.
KLEENRZ “Filthy” Video
Production Artwork 1
Production Artwork 2
Pencil Sketch For Pitch
KLEENRZ LP Artwork
In 2005 we were asked to create a video for an upcoming Danger Mouse/ MF Doom collaboration. The project was called Danger Doom, and was being released by Epitaph Records with a partnership from Cartoon Network. The record was also going to feature the cast of Aqua Teen Hunger Force from Adult Swim, CN's late night show lineup.
The project had a huge budget, but no time. We had all of 5 weeks to make it happen. We scheduled a meeting with some of the folks from the network, along with Brian Burton, who was producing the record. I showed up with just two drawings, and we got the go ahead to start. To add to the pressure, during production, it seemed every bus bench in town was plastered with ads for the new record.
Though the results were somewhat rushed, it was exciting work with the Aqua Teen characters, and get a chance to style them in a way to work within the video look and feel.
“Aqua Teen Hunger Force” Video
Danger Doom Pitch Artwork
In the summer of 2001 I had a chance meeting with The Dickies publicist, Jon Rosner. Jon mentioned the band was interested in an animated version of themselves. Around that time, a friend had given me an old 'Osmonds' cartoon VHS from the early 70's. It was a blatant rip-off of the the Jackson 5 cartoon, created by Grant-Ray & Lawrence, same folks who did the Jackson 5.
The Dickies were excited about the idea of making it look like THEY'd had a show back then, and the video was going to be the 'show open'. I met with Stan Lee (no relation)and Leonard Graves Phillips at Hamburger Hamlet of all place (where I had to pick up the tab!) and showed them the storyboards I'd done in 3 days. The label (Fat Wreckords) also let me know that I had barely 4 weeks to do this.Stan would literally call me everyday with ideas. The band ended up loving the video and we’re still in touch to this day.
Dickies -“Donut Man”
Rough Character Pitch
Dickies Lunchbox Concept
Food Dude was a comedy /cooking show that Spike ran for a few years. We were enlisted to come up with, at first, a logo. From there, we designed a library and palette of graphics to work throughout the show. One of the challenges of creating show graphics is the weekly turnaround time, and often last minute additions and changes that are needed.
We went with a pretty 1970’s cartoonish style and color palette and fonts. We also created a series of templates that the show runners could easily alter and repurpose if needed.
Food Dude Open Titles
Food Dude On The Road
Lower Third Titles
Random Title Imagery
In late 2006 I was asked if I was interested in working on a graphic novel for the Wu- Tang Clan. II jumped at the chance though I’d never attempted a full length book before , specifically 100 pages in this case. It turned out it was for GZA, and two other books for Method Man and Ghostface were up for grabs. These would be black and white and the turnaround time was the better part of a year.
As son as things were squared away, I started writing, and figured that the other two books were going to center on martial arts and/or science fiction. I didn’t want to take that approach and presented the idea that we would make a much more indie type biographic style. We had a meeting and GZA told numerous stories about battling Big Daddy Kane and going to block parties with his cousins RZA and Ol Dirty Bastard.
Following along the original concept I had, the story involved GZA, RZA and ODB as kids. It took place in 1986, which I saw as a real pivotal year for Hip Hop, kind of when the old-school was making way for the new players as well as the major labels getting involved, and how that really changed things.
This was also when crack cocaine was introduced, and, I was really interested in that being a background element considering, you had so many Hip Hop players fall victim to that epidemic. The basic story was how the three of them (who were the original group, known then as All in Together Now) made their way through this world. GZA uses his Chess skills to outsmart some pretty nasty circumstances, one of which involves a murder of a prominent rapper.
GZA Page 49 Artwork
GZA Page 22 Pencils
Early Character Designs
In August of 2006, we got a call from David Rosner, who I knew through a friend of a friend. It turns out he was not only a music industry veteran, but, also the husband of Margo Guryan. Margo had been a prominent vocalist in the 60's-70's, and, had some new tracks she was planning to release. One of which, "16 Words", was an ode to the now infamous 16 word speech George Bush gave.
We met up and talked about ideas. I had mentioned using Monty Python, collage,style images, to create a 'sideshow' of imagery relating to the lead up to war. They had wanted it to be real specific, but, I convinced them to be more subtle, and, have the imagery be open to interpretation. From National Archives, photo services and images that we shot, we pulled footage of Nixon, the Tower Of Babble, and a who’s who of the Bush White House.
The results were far from what I'd hoped, as, we had 4 weeks to complete it, but, the Rosners were happy with, and, even got positive feedback from Joe Wilson, whom was actually involved in the '16 Words' scandal.
Margo Guryan- “16 Words”
16 Words Detail Image
16 Words Detail Image
16 Words Detail Image
Crime Time was a web comic series developed for an online show as a sort of interactive/cartoon/comic, side feature. The story centered around four homeless kids who make their home in an abandoned subway car. The kids have the idea that, with the help of technical boy wizard 'Gnome', they'll one day get the car started again and running and away from the underground.In the meantime they come up against foes who have their eye on the car itself.
The four main characters consisted of Mila, a hot-headed graffiti artist (Graffiti). Gnome, the tinkerer brains of the outfit (DJ ing). Jaws, the loudmouthed, outspoken heart of the crew (Gnomes brother, Rap). And Charles, a limber jointed, half-wit, who, though part of the crew, is the only member who has an actual home (B-Boying). Their adventures bring them to confront nazi skinheads, dangerous, homeless-ex-police, and insane social workers who have sinister agendas.
The series was created entirely in Flash, and had mostly a 'web comic' format along with music and animated elements within the panels.
Episode 1 Sample Panel
Crime Time Character Roster
We got a request for a treatment from Capitol Records. They’d wanted an animated music video for a Manchester Orchestra track,. For a few months, I'd gone back and forth with the folks at Manchester Orchestra's label, trying to find the right song and video idea. I'd pitched them about 2-3 written treatments to a couple of songs. The band were keen on the idea of it being animated, but, wanted something somewhat abstract. "Golden Ticket' finally came up, and a slightly narrative treatment was written, and they said 'Go!'. They'd wanted it to be related to the lyrics in certain ways, but nothing to obvious.
The ‘hands’ were shot on a Sony HD in my friends basement, and then, composited with all of the animation. The shoot took 3 hours. The animation took 7 weeks. We did have some issues with video fields (which were a bitch to key out), but the rest mostly needed little touch up work.
MANCHESTER ORCHESTRA “Golden Ticket” Video
“Golden Ticket” Storyboards
In early 1999,DJ and producer Kutmasta Kurt released his grand opus, Masters Of Illusion. After years of releasing LP's by Kool Keith, Planet Asia and numerous other artists, the Masters LP was a sort of personal project for him. I was brought on to put together a graphics package and a basic art direction for it. We'd been talking about creating an animated music video for it for a while, though, I'd never taken on anything as long a 3 minutes. With Kurt's encouragement, I got started and put together a video for We All Over.
The video was basically created for the then new 'web distribution' method. Seeing this on a site like 'Icebox'(which was the go to place for web animation at the time), and watching the views top 7,000 was a huge thrill. It was way more than I expected. Turns out that MTV had expressed interest in airing it as well...
I tried to remind Kurt that this was a terribly primitive web animation (12 frames per second), not to mention my first. I was a bit uneasy about it showing to tens of thousands. Nevertheless, I sent in the broadcast version, and cringed when I finally saw it, as every slow motion, mistake, bad art, on the screen for all to see. It was a great feeling though.
It was an exciting project, and did lead me to a lot of great work. Though some claim it was the first animated Hip Hop Music Video, KRS-1's Break The Chain beat us by about 6 years.
Master Of Illusion- “We All Over
Bay Bronx Bridge Single Artwork
This was an interesting project in that we were brought in for ‘post’ work on footage that had been shot and lighted. The challenge here was to seamlessly create ‘rainclouds’ on a subject that was covered in water. The director intended to have footage of actual rain clouds composted along with rain drops, for a sense of realism.
As most know, attempting to not only create realistic liquid, but also light it properly after the fact, can be tough.
I suggested we give it a semi abstract, cartoon look. Somewhat in the fashion of Roger Rabbit, that could get the idea across with a bit of comedy. They agreed, and we started making a series of animated clouds for each of the cuts. Some simple cumulus looking, and other much more ‘thunderstorm’ and severe looking complete with lightning. We then tried to create the ‘rain’ effect, along with splashes to show it land.
We reasoned that the clouds could almost act as characters themselves, that were punishing this guy by sometimes just letting loose a torrent of rain.
MAYER HAWTHORNE- “I Wish It Would Rain”
In 2002, Threshold Records released Bay Area rap maverick Motion Man's debut LP, Clearing The Field. Motion has a pretty rich history, making his was through numerous bay area acts including Zero Tolerance, Noggin Nodders, etc.
After some collaborations and guest spots on Kool Keiths solo projects, it was high time for his own record. In planning for the project, head of Threshold Records, Kurt Matlin, had action figure created of himself and Motion Man. We took this into the record design, and came up with by far one of the funnest projects I've ever worked on. I agreed to come on to promote the record with album art as well as a music video, assorted promo materials.
We put together a booklet for lyrics for the records, using photos taken by Scott Zuschin, who, ingeniously pulled off great close up images of the figures which gave them an eerie lifelike quality.
MOTION MAN- C’Mon Y’all Video
Video Production Still
Death Dungeon Schematic
Video Production Still
Album Cover Production Still
Motion Man- Clearing The Field LP Cover
Motion Man- Clearing The Field Instrumental LP Cover
Soon after the success of the MadVillain LP (2004), Madlib and MF Doom were set to release a follow up, and everyone involved with the original were brought on board to contribute. Fast forward 5 years later, and a remix album was announced, that came to be known as the 'MadVillainy "2"' LP. The quotes around the 2 are due to the fact that the actual sequel LP never materialized. Mostly due to MF Doom's new found fame on the indie circuit. The mans had some troubles on his own, including accusations of 'Doom-posters' donning masks and performing for crowds, and collecting payments.
For this remix LP, the idea was create a deluxe box-set, that included some slick custom packaging, a cassette of the original LP’s demos, a T-shirt we designed, as well as an 8 page ‘comic booklet’. This comic would continue on the duo’s adventures, picking up where the video left off. I came up with some story lines, and had a lot of fun with it. We even included a ‘game section’ with actual crossword puzzle and ‘connect the dots’.
Comic/Booklet Cover Sketch
This was another case of being brought in at the last minute to punch up some live action footage. The tricky part on these projects is to make the animation we create seem natural and deliberate rather than tacked on. The idea here was to animated graphics on t-shirts that would interact. All the while the art would need to be stabilized on the subjects t-shirts, who were moving and walking in the video.
I was excited to get the chance to work with DJ Numark, as I was fan, but had also worked with his bandmate Cut Chemist a few years back. Numark was also an ex- graffiti writer so we shard some of the same sensibilities. We finally delivered our footage flattened to the videos, and the director cut the shots together, making for a nice piece, artfully using post effects and animation.
DJ Numark- “Tonight”
This project involved the mixing of some animated elements inter cut with live action footage. A few of the members of the band Lagwagon had formed a side band called Bad Astronaut with a debut album titled ‘Houston We Have a Drinking Problem.
We wanted to try some rough hand drawn styles of artwork along with some paper cut out elements, which not only worked with the track but also the style of art from the LP cover.
The toughest part here is we started the animation (which usually has a longer turnaround time) while the live action footage hadn’t been shot yet. A series of conversations with the band informed us that they’d shoot the footage based on our animation. We put together a rough assembly of the animation and handed it off to the editor. The animated sequences tended to feel a bit disjointed though the editor did a nice job attempting to interplay the two. Ultimately, the video gave us a chance to work in a unique style we weren’t accustomed to.
Bad Astronaut “The Passenger
Bad Astronaut Character
I had a chance to put together these animated shorts for Sesame Street, using character designs by the ever so amazing Kelsey Mann. Their were 2 shorts in all, and they involved 2 dinosaurs attempting to retrieve an elusive coconut. While the 2 shorts were mute, we created numerous expressions and poses to convey the story.
On top of that, I was asked to not only create sound effects for the shorts, but also score them. I had never actually created music using audio software, but enlisted Fruity Loops in order to create some music using simple loops.
The sound effects were made with a simple microphone, and noises made from simple items laying around the office.
In 1996, the infamously loony Kool Keith teamed up with Bay Area hip hop producer, Kutmasta Kurt. The results were the LP Sex Style, that showed Keiths predilection with pornography as well as the seedy side of Los Angeles. A lifestyle that he seemed to immerse himself in gladly. Fast forward 10 years, and it turned out Kurt had another LP’s worth of unreleased material from that era.
We were asked to come up with a design for the LP as well as promotional materials. We reasoned that the design should look as though it was wrapped in a low-rent motel room. We used close up shots of tacky materials as well as some of Keiths polaroids of some of his ‘friends’. Also, the actual CD was made to look like a peephole, looking into the motel room.
In 2008, the skateboarding team of Laban Pheidias and Ted Newsome created a sports/ comedy/ variety show called Stupid Face. It was a mix of their skateboarding daredevil antics with comedy sketches alongside some animation. One of which cast the duo as super heroes named Captain Gnar Gnar (Newsome) and So Rad Man (Pheidias) who would go on adventures involving the surreal and absurd.
We were asked to come up with show titles as well as design some titles, animations and effects to intercut with the footage. Along with some comic book art based on stills from the footage.
Title and Transition Artwork
This was a project that we had started in late 2005, only to have it shelved. We had got as far as character designs and some early 'mouth tests' for the characters, thus schedule conflicts had forced us to temporarily abandon the project.
In 2006 we were brought back on, and production was on it's way again! It was an interesting music video in that it was an instrumental but used 'scratches' as vocals, basically suggesting a conversation between two turntables. We came up with the idea of a 'young' turntable arguing with an 'old' turntable about borrowing records (meant to be an analogy to the sampling debate).
Cut Chemist turned out to not only be a DJ but also an animation major himself, so he had a keen sense of what he had envisioned for the piece. He really wanted the 'scratching mouths' to convey (as much as possible) the words these two were saying to each other. We've never tried anything like that before or since but we're proud of the results.
Cut Chemist- “Spat”
Water The Plants was founded by Omar Romero, a local LA music producer. It was intended to not only be a record label but also an organization that would support and cultivate young artists and musicians.
Along with co-founder John Robinson, he was looking for a brand identity in the form of typeset and logos, and also developing a web presence for the label.
Along with this we were asked to work in some of the stylings we had created for the site into a music video that was intended to be the labels first release, the band Red Gold and Green.
Stones throw was releasing a compilation LP, curated by Peanut Butter Wolf featuring a roster of artists from the label and elsewhere. The label tends to have a much more eclectic bent than most Hip Hop record labels, which opens it up for a lot of creative freedom.
We created this short one minute promo featuring a sword wielding old man character (courtesy of label art director, Jeff Jank). We took a small sample of our favorite tracks from the album, and cut them together. We imagined this 'Old Man' character running through these songs, following along with the visual and musical spirit of the record.
Zombie B-Ball Video
15 YEARS OF MAKING YOUR IDEAS MOVE!
Whether it's drafting up some rough ideas, or polishing up the final product, there's no one aspect to this progress that we can truly call our favorite. We really love what we do! For 15 years we've developed projects both large and small, utilizing both new software techniques as well as classic hand drawn illustration and animation. Simply drop us a line, and let us know what you have in mind, and we'll take care of the visuals.