Pattern in the Abstract

A while back I was looking for a way to mix things up, to just have some pixel fun and find something fresh. I had this block/pattern-scape brush-set that I've been using for a while now to abstractify my landscape studies. So I thought I'd have fun and not try to do anything with it, just put down marks.
For each study I started with a Kuler palette swatch from their website and limited myself to just those colors. Pretty quickly I realized I'd need to use the gradients to get a separation of forms and to reduce the noise. But I still wasn't coming up on anything with punch. It finally dawned on me to use the layer styles, as long I was still restricting myself to the original palette, the layer style was still fair game to get more variation out of it. And then things started to click and get interesting!


Now that was a long time no post!!

A lot has happened since the last post, so hopefully you've been following my art on my other channels! Check me out on Facebook and Instagram, I'll be posting outlinks here soon.

I guess this is an anniversary of sorts, it's been a whole year since Disney told us to take a hike. Well, we have, and its been a nice if not adventurous change of scenery. I've been masquerading as an Art Director over at Morph3D for a while now. Definitely a new kind of challenge and entirely character/figure work. But I've been keepin' on with the landscape experiments, lots of fun stuff!


long time no post!

Things have been pretty hectic with Disney finally shutting the studio doors. There are a lot of moving parts while I look for a job. In the meantime, some personal pieces to flesh out the portfolio!


new FACEBOOK art page!

Hey! I've got a new Art of Geoff Shupe Facebook page. It's portfolio clone of sorts for the time being, but gradually I'll be migrating my art there for a bigger public presence and to separate it from my family/personal page.

I'll be posting cool stuff like these morning ink drawings that I've been doing lately. So check it out!


Portfolio Update!

Now that I'm fresh back on the market I've got a bunch of cool stuff to show off! I've updated my portfolio with the work I did for Disney Infinity over the past 2 years (almost). I really enjoyed making it and hopefully it illustrates (get it...?) all the artistic muscle I can flex (if you need a concept artist). There's the link in the sidebar, and THIS.



To Infinity and... well, goodbye!

It definitely has been great to be part of something... great.

Trying to find work in an industry that is on one side increasingly non-family friendly, violet and obscene, and on the other side a mind-numbing waste of time and 'social' capacity, Infinity wasn't perfect but it was a nice oasis in the middle of the mess. Oh well.

A big shout-out and thank you to all the talented and passionate digital ninjas that made me a better a artist ans showed me genuine friendship. I'd looked up to these guys for years going through school. It was an honor to work with them. Smell ya' later!


post-apocalypse guy 01

My interpretation of a dude designed by Kyle Odland!


Disney Infinity 3.0 - Concept Pt.2

Some more of the good stuff! 
There's more, but it's still under lockdown for the time being. Until then, enjoy...

When I was first hired at Disney we were still waiting to get the scoop from Lucas. But as a new hire they wanted to get me up to speed as fast as possible, getting familiar with the Infinity style, and how to apply that to Star Wars. So they started me on some Mos Eisely environment pieces.

With environments as iconic as this it's a challenge to gather all the hits all in one place; Jabba's palace, sand-crawlers, the city, etc. We're also always looking for opportunities to address the outer context, maybe insert something fans haven't seen before, but fits within the established fiction.

Han and Chewie's freighter that 'swallows' the Millenium Falcon. 

Corridors and crates are the bread and butter of a game. Even though you're just taking them to get from Point A to Point B, they've got to look right. 

When we're working on organic locations it's often pretty hard to make sense of the chaos. Jungle scenes like Takodana come across as walls of green. So I do a lot of these type of vignettes to break it down for our world builders, how to structure and re-construct topsoil, ground cover, small, med, and large foliage, etc. with purposeful design.

Unlike the hallways and corridors that a player takes at face-value in directing gameplay - where to go and how to get there, the natural worlds can't come across as overtly contrived. It takes a lot of finesse to place boulders in just the right place where they obscure a line of sight or control a direction in movement and still feel authentic, as if they've always been there.

Big set pieces like Maz Kanata's castle are always a blast to work on. To maintain Infinity's fiction of being toys, these kinds of things are where we really get to have fun. What would the giant toy playset version of the castle look like? Flipping trap doors? Boulders that roll out? A button that reveals a secret compartment? Yes please!


Disney Infinity 3.0 - Concept Pt.1

It's been a long time coming, but I can finally share some of the art I did for Disney Infinity 3.0! 

It was such a blast to work on the Episode 7 playset. Most of what I did centered on Jakku, as it was a large expansive exterior space that needing filling. Even though we get the inside scoop on these projects, the depth of reference we get varies. And the Jakku stuff was pretty thin, maybe 2-3 keyshots, from which to infer everything else. We don't see the movie 'Art-of' books until everyone else does, which is after the fact that the game has been made.

Yes, that's the rear of a derelict star destroyer. Concept is the very beginning phase where we start from nothing. Level of detail is kept to a minimum, just enough to straddle that balance where the 3D guys know where to start from, but have plenty of latitude in leveling it up and really bring it too life.

There's always a lot of filler, those little details the player will run right by in the game, but set dressing that needs to look good enough not to stick out as something odd or misplaced. A lot of design discussion goes into created emergent interaction that doesn't feel contrived. Things need to be believable in that they really do belong in the world where the player finds them. 

And we're always looking for the fun. I imagine myself as a parkour master running around the set looking for things I can jump on/flip off/slide along. As well as things that are more specific, like switches for doors, vehicle jumps, bridges, etc.  

More to come, stay tuned!


patternscape after Inness

This time trying to restrict the marks to lines and squares juxtaposed with a rough canvas texture.