I was the art director on "Gnomeo and Juliet" starting back in 2008. I was immensley privileged to work with Karen deJong the production designer, and Kelly Asbury the director of the feature, as well as the great Gary Dunn, who designed all the marvelous characters. http://www.mr-dunn-characterdesign.com
My job was to guide the creation and look of all 3d assets- characters, props, sets, foilage, matte paintings....from the flat page all the way through to final picture, according to Karen's and Kelly's wishes. I also painted some matte paintings, color keys, additional designs and anything else that needed attention.
I directly oversaw all you see below, but keep in mind that many dedicated, hard working people contributed to the content. Unfortuately I am not good at keeping records of my original art and designs after a project, which is why there are mostly only final shots below instead! I seem to do that- and that's a bad thing.

 An example of a color key I painted over the layout screengrab:

 

...and the final shot: 

                                                    some of my matte painting work...

I remember having quite the discussion with the director Kelly Asbury in a lighting review over the pretend high price of the Terrafirminator. I won and got to keep it at that price- since I also designed it and its website! I never did see that pretend money though.

I was honoured to direct and art direct a short Simpsons segment a while back! The episode involved Bart making an animated film, and attended the Academy Awards Ceremony as a nominee. The other nominee was a "Mixar" film called "Condiments" - this was the segment I made, along with a group of super wonderful talented people at Starz Animation Studio.

Shane Acker's movie: "9". I was lead artist on this project. Almost every shot contained a matte painting, either inside the shot, or "on top" of the shot. The budget was small, so it became an art driven film: We solved the technical problems with creative solutions, planned well, and delivered on time. Although I did all the work you see below, there were many other dedicated people who worked hard to complete the final shots.

Of all the shots in the movie, the one below was by favourite- only because it took me 2 hours to complete- we were so pressed for time. The only 3D part were the two tiny characters and their shadows.

I was design supervisor on this show for a short time in 2013 and painted this DVD cover!

I used to walk past Selly Manor every day on my way to and from Dame Elizabeth Cadbury School in Bournville, Birmingham. It dates back to 1300 AD.

It's been ten years since I worked at CORE Feature Animation on the Disney movie "THE WILD" as a modeler, surfacing artist, sometimes concept artist, and matte painter. Great memories with some very talented people. Here's a few images that survived...