Submitted in partial fulfllment of the requirement for the degree of Masters of Fine Arts Hartford Art School, University of Hartford Kirk Wallace

UHID #: 19653267

Thesis Defense & Exhibition

ILS 970

Introducing Skülly in… Rib Caged

Submitted in partial fulfllment of the requirement for the degree of Masters of Fine Arts Hartford Art School, University of Hartford

Defense Date:

Defense Committee Committee Chair

Committee Member

Committee Member

Committee Member Table of Contents

Introduction ...... 01

Inspiration ...... 04

Process ...... 12

Marketing Plan ...... 48

Conclusion ...... 55

Bibliography ...... 59 Introducion short flms and spot illustrations that were used in the context of a written piece. The illustrations I was doing did not require much of a backstory. They were ‘assisting Upon beginning the MFA in Illustration program in the illustrations’ that would either be developed further by summer of 2016, I had a Bachelor of Computer Science; the client, or live in perpetuity on a single screen of a web had held a few creative positions as an art director page. The work I had produced (see fg.1) throughout my and creative director; and most recently, had a steady career was missing contextual questions, such as: what freelance career working as a commercial illustrator. may this character do at home? Who is this character’s However, although I was experiencing success in my friends? How about enemies? What does this world look career without a formal arts qualifcation, I lacked like? What are the problems inside it? Or even, more confdence due to a feeling of academic illegitimacy. It simply, What is the story here? was as if I was waiting for the ground to fall out from underneath me, due to the hacked together base of my foundation, unfortifed by an academic afxion.

As I grew closer to the Boston design community, I met Illustrators Chris Piascik (1982) and Shayna Piascik (b.1988) who introduced me to the Hartford Illustration MFA program, from which they had both graduated. Chris had just fnished the program, and was a sounding board for my curiosities about the MFA. In a matter of weeks, both Chris and Shayna had me sold on the idea. In particular, Chris told me the reason he went through the program was because of a situation similar to my own: he felt he also was being rushed through his career Fig.1 Kirk Wallace (b.1988), Pizza, 2016, Digital, for iOS Messenger Stickers and waiting for something to give, despite his successes. He assured me that, having completed the program, he I wanted to use this project as a vehicle to drive narrative had confdence going into projects due to the legitimacy through my work. I grew up with three older brothers of the program. Additionally, I could see the obvious (the youngest of whom is ten years older than me) who elevation in both Shayna and Chris’s work during their were constantly showing me flms like My Neighbor time in the program. Totoro, Ninja Scroll, and Iron Giant; as well as cartoons like X-Men The and Spider-Man. This The frst course of the program, “Dream Assignment”, exposure infuenced me, early on, to be attracted to taught by Jef Sangalli (b.1978) and Willie Real (b.1979) a hybrid of fun youthful visuals and stories that had a was designed to help us consider our fnal capstone serious tone. As a result, afer a great deal of stress project. For me, this prospect was overwhelming: it was brought on by the infnite amount of possibilities, and a considerable adjustment to be asked what I wanted a few panic phone calls to my brother, Kevin Wallace to work on instead of taking projects that were ofered (b.1978), I decided for this frst course I would like to try to me on a freelance capacity. Until this point, I had to create the preliminary steps for a short flm. focused mainly on visual development for brands, or

Introducion 01 What I created in the Dream Assignment course was the frst stepping stone to my thesis. I knew that I wanted to create a story with a world full of consequences and develop a character further than one or two poses. I had a character, named Skülly, that I had been developing as a mascot and imaginary creative partner to my freelance agency, BoneHaüs. When I started speaking about this character in front of the class, Sangalli and Real could see me light up with excitement, so they recommended Fig.2 Kirk Wallace, Skülly Meditation, 2018, Digital, Short flm theatrical poster asset that I make a story about this character and start simple. While this fnal thesis project is not the same story as of a clif to escape whatever was chasing him. Skülly is the dream assignment project, it did stem from the same prepared: he has a parachute to sofen his landing, but on initial concept and it involves the same character. his way down, Skülly crashes, dizzying himself and loses a limb (something that has been a problem his whole life). My thesis project is titled Introducing Skülly in… Rib Caged As he gets up from his crash, his head is upside down and or Rib Caged for short. It is an animated trailer to a short things are looking pretty strange. He rolls his eyes and flm. The story has been fully developed and realized fips his head back upright as something catches his eye into a script and storyboard, as well as key visuals of of screen. the entire flm. The scope of the thesis has included over 60 pieces of key visuals (13 of which were hung in the Curious, Skülly comes across a large, enticing, gallery for the thesis exhibition); a model sheet for the adventurous looking room, which is an adventure he main character; a storyboard of the full flm; a theatrical cannot simply pass up. The room looks like an old poster; and, of course, the fully animated trailer complete ancient temple, but with glowing blue lines all around with sound design. This project has been an awakening the door: almost alien upon frst glance. The door leads to for collaboration, having had the opportunity to work a dungeon, or temple of sort — an ancient but futuristic with some of my best friends each step of the way, I may crossbreed. As Skülly steps in, the building appears to be ofen refer to the project as “ours” which refers to the bigger in the inside. small team that has worked on it with me. Inside are three rooms, labelled in sequential order, The Story each with their own objective. Skülly confdently blasts

Although this thesis project consisted of an animated trailer, I story through the doors to the frst room, using his gadgets and boarded the entire episode before scaling the project down for size. Further brute force, revealing foating, arid desert-like islands, detail on that editing process is detailed below at ‘Process’. For context and completeness, please fnd a description of the full story set out below. all inside the temple! Skülly completes the challenge that appears to await him in this frst room — hopping Introducing Skülly in...Rib Caged across blindly to the door at the end of the room. The door marked “⅔” opens up, and another challenge awaits! We join our hero, Skülly: a lovable, young (but fawed) Eventually Skülly makes it through all three rooms, but skeleton-like character, who is mid-stride of an adventure, always taking the most obvious route to the apparent and running away from something – although we are not challenges. quite sure what. Cool and collected, he takes a large leap

Introducion 03 Insiration

The inspiration for this project is wide-reaching, but can be distilled into multiple sections. The frst section encompasses the over arching inspiration that has generally infuenced me throughout my work and life. The succeeding sections explore specifc works that I referenced during the creative process for this project in developing the story, background art, color palettes, and other aspects of the overall project.

Fig.6 Barry Wallace, 1994, Photograph, Gail Wallace and Kirk Wallace portrait General inspiration

I have had the great fortune of being raised by parents that were fully supportive of anything I wanted to do. Firstly, my mother, Gail Wallace (b.1952), (see fg.6) who is incredibly creative, taught me that I can do anything. In particular, she edifed my childhood with the belief that if someone has made something, no matter what it is, I can make it too. This value remains a major component to my everyday life. For example, while others may see cartoons and stop-motion flms as magical, impossible works, I am able to deconstruct the works to understand the components. This has obviously infuenced my illustration career and, in particular, this project of making a short animated flm.

Secondly, my father, Barry Wallace (1948 - 2013) (see fg.7) was a very devout fan of arts, particularly music. He passed away when I was 24 (fve years prior to the completion of this thesis). He emanated an amazing Fig.7 Photographer Unknown, 1983, Photograph, Barry Wallace with his son Kevin Wallace sense of respect for any art, and taught me that all art, no matter how bizarre, has a home and should be observed While I was working on this project, I could not help with a keen eye. Talking in depth with him about movies, but think of all the infuences that were shaping it that music, books, comedy, and paintings was an incredible I never would have experienced had it not been for my resource for me. He could challenge me on anything, father. This was especially so in relation to the philosophy and I could do the same to him. There was no hierarchy of the story, and the storytelling in general, where I was between us and he was truly humbled by the chance to infuenced by the books he had given me or the stories he have a friend to share interests with, and for this friend had told. In particular, I can remember my father raving to be his son.

Insiration 05 As Skülly approaches the end of the third room, he closes adventures. his eyes smugly and takes a step through the door. But, when he opens his eyes, Skülly’s smile turns from a grin to an astonished jaw drop. He appears to be back in the frst room again! He shakes his head and goes through that room again, giving little thought to it. As he continues to repeat the rooms, getting nowhere fast, Skülly only gets more angry and confused, and begins to panic. Afer a montage of Skülly bashing his way through the rooms, over and over, he fnally enters the room marked “⅓” once again. He breaks down, upset and defeated: perhaps he’s stuck here forever? Fig.3 Kirk Wallace, Model Sheet 1, 2018, Digital, Model Sheet Pose But, before becoming completely defeated, Skülly begins to think and plan. He remembers that during his jumping and diving across these rooms, his bones popped of and his head turned upside down. As Skülly takes a breath to think, he tosses his head up in the air. It lands, upside down, on his shoulder and Skülly literally gets a new perspective! As a result of his new view — which he has achieved through calm refection — Skülly successfully discovers the solutions to the three rooms’ puzzles. His treasure at the end is not only escape, but a valuable lesson about what he once thought was a faw.

Notes on the character Fig.4 Kirk Wallace, Model Sheet 2, 2018, Digital, Model Sheet Pose

Skülly is a youthful, independent, adventuring skeleton. During this introductory phase of the cartoon, Skülly’s personality is still developing, but he does have certain strong character traits. Skülly is fun loving and easily excitable, observant, practical, and surprisingly open- minded for his age. A lot of Skülly’s charm is his ability to admit his arrogance and work to fx his faws. Skülly is culturally undefned, but he loves to travel around our world (as well as others). He takes advantage of his ignorance to readily gain knowledge. Skülly is self conscious of being a skeleton, even though his skeletal structure plays a prominent role in his world, popping Fig.5 Kirk Wallace, Model Sheet 3, 2018, Digital, Model Sheet Pose of and rearranging his bones as needed throughout his

Introducion 07 to me about Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig (1928–2017), which I read shortly afer he died. The way that book handled logic and living in the moment during potential crisis heavily infuenced the main crescendo of Rib Caged.

As previously mentioned, growing up with three older brothers, Adam Wallace (b.1976), Kevin Wallace, and Daniel Wallace (b.1979), (see fg.8) meant that I was inundated with media to consume. I was watching and reading super heroes save lives and fght for justice Fig.8 Kirk Wallace, 2012, Digital photo, Left to right Adam Wallace, Michael constantly in cartoons and comic books like X-Men, Bozicas, Kevin Wallace, Kirk Wallace, Daniel Wallace Spiderman, and Batman. As infuenced by my brothers, I was also listening to the works of Rage Against the Machine, and considering the subtle, abstract storytelling in the Mars Volta’s De-Loused in the Comatorium 2003 album. From this exposure, I developed the value of tenacity, and strength in personal beliefs. I believe that my career path and work eforts are heavily inspired by these philosophies, and knowing that a freelance illustration career will be much more difcult, I fnd that Fig.9 Joy Ang (b.1985), Hall of Egress Title Card, 2016, Digital, for Adventure to be an attractive challenge to do what has less obvious Time security. basically follows the main character, Finn the Human, as he gets stuck in a trap for an indefnite period of Lastly, while trying to avoid mentioning everything that time. I frst saw this episode in 2017, while I was trying has ever infuenced me, it would be remiss not to mention to decide what I wanted to do for this thesis project. I skateboarding. Skateboarding is the most confdence was genuinely taken aback at how much I enjoyed it. It building, yet humbling, activity that I have ever come was flled with nods to its own inspiration, subtleties in across. It has taught me to believe in myself and to the direction, and cleverness in the editing to help give work hard and get up from failure. It also opened me up a sense of time passing. Further, the episode did not to many alternative cultures, which led me to discover feature much dialogue, yet it aptly depicted a plethora of alternative movies, music, art, and movements, which emotions. I felt that the episode linked perfectly with the have all infuenced this work. story that I had been chasing with Skülly for this thesis Storytelling project.

The main inspiration for my story Rib Caged is an episode Similarly, I was inspired by the 2013 flm, Phantom Limb of the animated television show Adventure Time (created (see fg 10) (created by Alex Grigg [b.1985]) , a dialogue by Pendleton Ward (b.1982)), titled Hall of Egress (directed free short, animated in Adobe Photoshop frame by frame by Andres Salaf (b.1981) as seen in fg 9). The story (a very traditional, tedious, and admirable technique of animating). The story centred on a couple who survive

Insiration 09 a motorcycle accident. One character loses their arm, due to the possible neglect from the other. In this short four minute story, the audience experiences a myriad of emotions: isolation, sadness, and even grim desolation at one point. Grigg manages to cast such an intense mood with just a few colors moving throughout the screen. There is minimal sound, however, the included sound is crucial to espousing emotion in the audience. In this project, I took a similar approach with sound. There is no Fig.10 Alex Grigg, Phantom Limb Still, 2013, Digital Photoshop, Still frame from short flm dialogue, only sound efects to emphasize struggle from the character, or audible smiles of success. I enjoyed the challenge of creating a captivating story, without relying on dialogue.

What I learnt from both Hall of Egress and Phantom Limb is that storytelling should be a major component to this thesis project. Despite this being a step with very little illustration involved, storytelling is pivotal to the product’s end result. Without it, there is no connection between the audience and the character. Although I had previously understood that storytelling is paramount to success, these works helped me to realize that investing Fig.11 Dave Tendlar (1909-1993) and William Sturm (1906–1981), Popeye time into this aspect of the process is essential. still, 1937, Acrylic paint, Still frame from short Fowl Play, produced by Disney

Character inspiration Aesthetically, I was inspired by the character Mickey Mouse ((created by Walt Disney [1901-1966]), particularly In developing the hero of the story, Skülly, I considered the design of the character’s profle in comparison to other animated or comic stories, particularly in relation his side view. Regardless of whether Mickey Mouse is to functional design. For instance, I used a similar looking at the camera or of to the side, his silhouette technique to the “rubber hose” character design method always shows two big round ears and his round head. (see fg.11) utilized by the early of the 1920s to This technique helps viewers quickly decipher who is on create Felix the Cat and Mickey Mouse. Instead of a sharp screen, as the character is easily broken down to a few hinging system for a character’s limbs, a fexible “hose” unmistakable shapes. Ease of recognition also allows for (which can be bent, squashed, and stretched) assists the development of the character into a commercialisable animators to efectively deal with difcult nuances of the logomark. For Skülly, a similar silhouette approach was character’s anatomy. For example, Skülly has a ‘rubbery’ taken for his head and foating hat (the latter of which I torso, made up of a chest and a belly. These two shapes was inspired by the character Elroy of The Jetsons). This overlap considerably with a rounded edge. This allowed method will be discussed at the “Process” section. the I worked with on this project, Latham Arnott (b.1994), and me to easily move Skülly’s stomach without exposing any awkward edges.

Insiration 11 Skülly was also based of a logomark (see fg.12) that I Finally, in relation to Skülly’s pose, I was inspired by the created with graphic designer, Richie A. Stewart (b.1985), 2004 book Bone by Jef Smith (b.1960). Smith efectively created for my illustration studio brand, BoneHaüs. In portrays what seems like an infnite amount of poses with 2015, Richie and I worked together to create a simple, all of the ‘Bone Cousin’ characters, which are simple and but character heavy, stampable logomark to represent of varying sizes. Smith’s versatile character and design my work as a commercial illustrator. From this logomark, patterns inspired me to keep my characters simple and I developed Skülly further in color, adding a body. fexible. Transforming the logomark to this thesis project’s eponymous character is discussed further below at World building inspiration “Process”. In relation to the atmosphere of the story, I wanted to create layers of intricacy to challenge myself. One integral source of inspiration for this was my brother, Kevin Wallace’s, music group Prez Powerz & The Future People. (See fg.13) In relation to this project, Wallace (alongside each of his other group members) created the persona of a time traveling hip-hop MC, who uses music and sound to battle evil. Throughout his music, Wallace tells intricate stories of the groups’ adventures.

Fig.12 Richie A. Stewart, SkullBoy, 2015, Graphite and ink, Logomark for BoneHaüs illustration studio

It was important for me to consider the shape and size of Skülly, allowing audiences to quickly read him as a character. This was a technique I frst encountered in 2007, whilst playing the video game, Team Fortress 2 (created by Valve Sofware). During the game’s commentary, the directors of that game, John Cook (b.1976) and Robin Walker (birthdate unknown) spoke about the importance of size and shape, sharing some of the same tips that have been used by animators such as Max Fleischer (1883- 1972), Walt Disney and Ub Iwerks (1901-1971) since the Fig.13 Billy Pazionis (b.1985), Prez Powerz, 2010, DSLR Photo, Prez Powerz early 1900s. Realizing that audiences will relate certain headshot shapes and sizes to character traits helped me keep a keen critical eye in developing Skülly during the project.

Insiration 13 The inf uence that my brother’s music had on me Further, I of en used the 2012 f lm A Year of Sun with Mr. growing up evolved to impact my brainstorming process Persol (produced by Chromosphere and directed by Kevin in creating Skülly’s world. I created a separate document Dart [b.1981]) as a reference for lighting. Although Dart’s detailing potential facts about the world, regardless of backgrounds do not move much (if at all), the composition, whether those facts were integral to the story itself. I shapes, and lighting give the f lm a very dynamic and wrote notes to myself like how many Suns there may be exuberant direction. Dart’s use of of -axis shapes; on this planet? How large is it? Are there other skeleton balance between massive shapes and small details; and characters that exist? Does Skülly have a home? What light and muted color palettes creates a perfect canvas does that look like? Although none of these questions, for his characters to exist upon, as opposed to a lifeless or their answers, were directly injected into the story, I cardboard set. believe they helped inf uence its context and direction. Distancing myself from animation, I treated world Similarly, in creating the atmosphere of the story, I building and background art as a form of level design. considered the techniques used by modern commercial Game series like Super Mario Bros or Zelda played a large animation studios and agencies (such as Buck, role inspiring the mechanics of the dif erent rooms Wonderlust, OddFellows, Anchor Point, and Moth) to Skülly entered. For example, the f rst room (discussed develop interesting stories for traditionally uninteresting above at “Story”) is based of the f oating mushroom- subjects. For example, the short animation, Chloe (see like world in Super Mario Bros 2, where the player jumps f g.14), which Moth produced for The Salvation Army from mushroom top to mushroom top with no real in 2017. In the short, Moth’s ef ective use of textured knowledge of what is below, other than certain death. backgrounds, which sof ly complemented the characters A further example is the game (produced by without distracting from the story line, contributes to in 2016). In Firewatch, the developers, with an overall depth of emotion. The value structures of this assistance from art director Olly Moss (b.1987), turned short inspired me to use my backgrounds as a tool and the Yellowstone Parks of Wyoming into an awe-inspiring not a feature.

Fig.14 Moth Collective Creative Agency, Chloe, 2017, Digital, Still from short f lm Chloe, for The Salvation Army

Ins iration 15 digital world for the player to navigate. This environment was modelled by 3D modeler, Jane Ng (b.1987) and based on a single painting by Moss according to Firewatch’s Wikipedia page. I was inspired by the power this single painting could infuence the entire visual identity of a video game.

Style & tone inspiration Fig.15 Wes Anderson, Moonrise Kingdom, 2012, Film, Produced by Wes Anderson While this category is something that’s inherent to me, and difcult to pin down specifcally, I’d like to mention When things are happy, the scenes are warm with golden some of the work I was looking at for references to color yellows and warm oranges. When things are grim or palettes, lighting options, and overall style. scary, lots of blues and cool colors are used. These sort of tonal blankets were also seen in the photography work of As I mentioned before, one of my main focuses of the Monica Justesen (b.1987). Justesen approaches her work artwork was to really sell the scene. I wanted the viewer to with a straight out of camera technique, which means very feel like the character belonged in the setting. I referenced little digital post production on the photos. It feels like the flms of Wes Anderson (b.1969), specifcally 2012 flm she’s able to capture light peaking through background Moonrise Kingdom and it’s incredible colors (see fg.15). objects that causes a rich warmth to glow over the scene Anderson uses a lot of natural lighting in order to capture (see fg.16), similar to the aspects of Moonrise Kingdom a rich, nostalgic, and warm golden hour in the movie. I was drawn to. As a result, I mimicked these lighting There’s a very obvious and consistent theme of colors techniques in the key frames of the short. washing over the movie.

Fig.16 Monica Justesen, Bali, 2017, DSLR Photograph, Wake Gangga, Tabanan, Bali

Insiration 17 Additional references for the overall style and mood were illustrators Glenn Thomas (b.1985), Brian Miller (b.unknown), Genndy Tartakovsky (b.1970), Pascal Campion (b.1973), Syd Weiler (b.1991), and Hyun Song We (b.unknown).

Puzzles & mechanics inspiration

While script-writing, I realized that I wanted the viewers Fig.17, The Witness Puzzle, 2016, Digital, Developed by Thekla, Inc to feel like they were committed to Skülly’s well-being and journey — to worry with him, praise in his successes, and share his confusions when he was puzzled. I was again inspired by the medium of video games, where a player’s connection to the characters and concept of the game is integral for retention. One early example is the game Myst (released in 1993, developed by Cyan, Inc.). Myst was a frst person puzzle game. Players were stuck on an island and required to solve puzzles from contextual hints and clues provided through the world. This puzzle-based design helped to evoke a feeling of Fig.18 (est. 1996), Portal Puzzle Creator, 2007, Digital, Overview of a puzzle from game pride in the player, each time a puzzle was solved, which contributed to an overall commitment by the player to the game.

This thesis project borrows a lot from that puzzle-solving concept, and is also inspired generally by video games, in that each room is modeled afer a diferent game. The frst is The Witness, created by Jonathan Blow (b.1971) in 2016. In The Witness, (see fg.17) many of the puzzles exist on a meta level: there are obvious puzzles (like Fig.19 Vincenzo Natali (b.1969), Cube, 1997, Film, A still from the flm Cube, connecting wires together), but I was most inspired by Directed by Vincenzo Natali the puzzles that a player is involved in without realizing it. For instance, a character’s own shadow could be the The second room design was infuenced by the game key, interacting with the branches of a tree. This ‘big idea’ Portal (developed by Valve Corporation in 2007). A major concept inspired the frst room with the foating islands. mechanic in Portal involves the player shooting the The solution for this room was that Skülly needed to entrance and exit of a portal, allowing the player to walk ‘hop’ across the islands in a certain order, but Skülly was through to wherever the portal exits (see fg.18). This distracted by the more obvious puzzle of not falling of. simple portal mechanic creates an interesting level in the second room encountered by Skülly.

Insiration 19 Finally, the third room was inspired by the games Braid (developed by Blow in 2008), and Goof Troop (made by Capcom in 1993), and the 1998 movie Cube, (see fg.19) (directed by Vincenzo Natali). As in those works, the third room arranges itself into a giant mechanical cube, adding a secondary level of sophistication to the puzzle.

Technical inspiration

Before beginning this project, I had a considerable amount of animation experience, but never in a short flm capacity. The projects I had previously worked Fig.20 Wallace Allan Wood, Wally Wood’s 22 Panels That Always Work!!, Date on were quick, punchy and generally scripted ahead Unknown of time by a client. Needless to say, this project was a large undertaking but fortunately, I had many available resources, which were critical to the project’s completion. From a technical perspective, writings or insight into process were crucial for this project. The website Scribd. com has a digital library of storyboard and story scripts. In particular, I used a few storyboards of Adventure Time that were really helpful for seeing the beginning stages of a masterpiece. Works always start with junky sketches that turn into better sketches all the way up to the end result. For this reason, referencing these drawings provided great guidance.

I also referenced a guide created by Wallace Allan Wood (b.1927) called Wally Wood’s 22 Panels That Always Work!! Fig.20a Sam Alden (b. 1988), Storyboards for Adventure Time, 2017 (See fg.20), recommended by my thesis advisor, Bill Thomson (b.1963). This served as a ‘pocket guide’ to breaking up my compositions. In particular, this guide Art of the Gag (video published on YouTube by the user helped me realize that a story can be told from many Every Frame a Painting) the latter of which highlighted diferent perspectives and angle. There are at least 22 the master level of visual gags from Buster Keaton perspectives that can be defaulted to, depending on the (1895–1966). Keaton’s ability to take an audience through emotion the piece is trying to convey. a set up, create an expectation for the viewer, and then trick them was something I found very helpful during Other technical infuences included documentaries on the beginning stages of this project. In a similar vein, the flm medium, such as Composition In Storytelling the short documentary Chuck Jones - The Evolution of an and Color In Storytelling (videos published on YouTube Artist (also published on YouTube by the account “Every by user Channel Criswell) as well as Buster Keaton - The Frame a Painting”), was helpful for this purpose.

Insiration 21 Process

Fig.21a Richie A. Stewart and Kirk Wallace, SkullBoy process, 2015, Graphite and Digital, Evolution of the Skülly character

The Beginning

In 2015, I contracted friend and graphic designer, Richie forged them into this perfect logo character. Skullboy A. Stewart, to help create a visual identity and moniker wore a fipped brim hat, (nodding to my roots in hardcore/ to work under as a freelance illustrator. Stewart and punk/ska/alternative music and culture), and a spinning I worked back and forth for a couple of months on an top to the hat denoted a playful, almost cirque style, ofset identity kit. This included naming the studio; deciding by the skeleton tone that grimly tinkers with the balance the direction that I would take it; the type of work I would of play and death and the necessity of both. Skullboy’s venture to get; and creating a visual system, including a face, which was inspired by Casper The Friendly Ghost, logomark, wordmark, and secondary mark, among some represented the whimsical, cartoony nature of my other graphic elements. illustration work, and the technical line work coming from his head winked subtly at the computer science Most notably to this thesis project is the logomark that background I have, which plays a major role in the work we called ‘SkullBoy’ (see fg.21a). Stewart extracted all of I produce. the elements that made my work and person unique and

Process 23 When Stewart fnished the frst version of the logo, I was ecstatic. The logomark provided a commercial identity. I began drawing the character with a full body and putting him in diferent situations that may help with my business. Case in point, the frst version was the character on the “contact” page of my website, dressed as a post-person dropping a package of in a mailbox. This character always existed in small doses, usually changing visually each time I would draw it, and I never thought much beyond the character “helping” around Fig.21 Kirk Wallace, Scene 2, 2016, Digital, Early for short flm from the Dream Assignment course. the site. We subsequently denoted the logomark version “Skullboy” and the illustrated full-bodied version of the world felt like cheating because it was so much fun and I mark, “Skülly”. could not see the challenge at hand. I already had a lot of experience making fun looking characters, but had never Later, in 2016, as mentioned previously, I took the frst dug much deeper than the surface of visual development. course of the Hartford MFA program called “Dream Little did I realize that Skülly’s surface had hardly been Assignment” taught by Sangalli and Real. During the scratched — he was not a developed character at all. By initial stages of this course, Sangalli and Real extracted mid 2017, I had fnally decided that I would base my a story out of me involving Skülly. Knowing that both thesis on Skülly, and realized the frst step would be the teachers work in animation, and with my mutual interest, uncomfortable process of writing. I decided to make a series of animated public service announcements of Skülly making his way around the Writing world doing small deeds to help the planet. This was my frst venture into actually creating a story for Skülly, I began the writing process with a note pad and a pen, thinking about what may make this character tick. Does trying to discover what excited me most. I grouped all Skülly have a family? Is he truly a skeleton? Does he have of the things I loved in stories together, and a lot of the other skeleton friends? Do humans even see him, or is material discussed earlier in the “Inspiration” section, he just a spirit? During the week long course, I did not and I refected on this material for a few weeks. answer all of these questions, but the course forced me to Afer some time, I had a summary of the story I wanted start thinking about them. to tell. I knew the general tone, the setting, what sort of That dream assignment culminated in a storyboard, aesthetic I would want to draw, and therefore the scenery as well as six key frames of artwork of Skülly fnding that the story would involve, and I had a strong moral some trash and throwing it away (see fg.21). I learned to the story. The moral as I wrote it down was, “take a a lot about framing, thumbnailing, and value structures step back and don’t panic, consider a series of solutions during that week, all of which would become paramount before letting stress win over. Sometimes the solution is to my thesis, despite the signifcant change in story. right in front of you and you may not be looking at the problem from the right perspective.” What I was trying Upon completing the dream assignment, I still was not to emphasize was the amazing beneft in not panicking sure which direction to take my thesis. Using the Skülly and living in the moment, ultimately.

Insiration 25 During this writing process, the group would take turns speaking the whole story out in front of one another to see where natural gaps existed. From there, we roughly timed how long each of the sections may take and how many scenes or frames in each scene would be necessary. Finally, I took all of our writing, and sliced it up into scenes and shots, totaling around 70 relatively undetailed shots. I placed these into a slideshow that we could easily fip through, rearrange, and annotate.

Fig.22 Kirk Wallace, Unnamed, 2017, Digital Photo, Left to right Adam Danielson, Jeff Guerra, and Jeremy Lwamugira during the writing phase. Throughout the guidance of the MFA program, I ofen heard from peers the term, “Kill your babies” or “Kill your Once I felt confdent in the general direction I wanted to darlings”, which means simply, don’t be afraid to throw take this story I reached out to friends, forming a “writing out your work in the chase for something better. Afer crew.” The group consisted of Jeremy Lwamugira (b.1988), our frst completed script, Adam Danielson challenged a musician; Jef Guerra (b.1987), a musician and sound the group with this concept, and recommended we designer; Adam Danielson (b.1989), a graphic designer; essentially start over, but with a completely diferent and Latham Arnott, an animator from New Zealand (see beginning and ending, as an exercise. It was the last fg 22). thing I wanted to hear at the time, but I knew he was right. We ended up doing this a few times, each rewrite Twice a week we met, watched videos on storytelling (or getting considerably better. just short flms in general) to get inspired and write the project’s story. The process took some weeks, and many Storyboarding rewrites, allowing us to be certain with the fnal product. Afer two to three days of this writing process, we The rewrites allowed us to think through every step of began to consider the storyboard. We spent some time the story, which was very important, given this was our watching episodes of our favorite cartoons, sequences of frst attempt at writing. For example, we initially started short flms, or movies that we enjoyed. This collection with Skülly waking up and getting out of bed, brushing of resources constituted a large bag of tricks to draw his teeth, and getting ready for an adventure. During from. While watching these pieces of art, with our the frst rewrite, we questioned the value of that scene. story in mind, we were on high alert for compositions Although we considered that the scene would show his or transitions that we could borrow from. We roughly general personality (for example, showing artifacts and storyboarded on a whiteboard, with a single black memorabilia collected on past adventures), we considered marker, the story from beginning to end. It was helpful joining Skülly mid-adventure served our purposes better. to visualize the alignment and interaction of the shots Catching Skülly between adventures establishes that he at this initial stage. Afer photographing the rough may have gotten himself into some trouble, though the whiteboard sketches, I organized printed versions of the nature of that previous problem is never revealed. This sketches, again allowing for easy gap maneuvering and positioning leaves the audience curious, which quickly detection whilst working to an under three minute goal. wanes as a new adventure almost literally hits our hero in the face, solidifying the haphazard nature of Skülly’s focus and personality. Process 27 Sketching

When I felt reasonably confdent in our story and high level storyboard, I created some tighter thumbnail sketches of each scene. I believe I did about 10-20 of these sketches, for each of the 60 scenes (see fg.24), and then narrowed each scene down to two or three sketches, which I brought back for the group to review. It was a lot of fun getting to see everyone’s reaction to these, since

the whiteboard drawings were efectively stick fgures, Fig.23 Kirk Wallace, Unnamed, 2017, Digital Photo, Storyboarding process on where these were our actual character. whiteboard

My biggest challenge at this stage was not using a boring, fat, straight on perspective. To avoid this, I used the “Fly in the room” technique that I learned from Real in our frst Dream Assignment class: thinking of the camera as a fy buzzing around the scene to consider the best position. One major breakthrough for me during this phase was that, despite my usual desire to take the easiest angle, I was fully engaged in whatever the best angle would be for the sake of the story.

Fig.24 Kirk Wallace, Red Boards, 2017, Graphite, Thumbnail sketches of Animatic storyboard

At this point, I redrew the now reasonably refned basic storyboard in a time line based storyboarding program called “Storyboarder” (developed by a movie production studio Wonder Unit). The program’s main beneft was its enabling of the user to quickly sketch digitally and time each shot to be previewed. It also kept track of how much digital ink was on the page, rushing me along if I spent too much time on detail. Given the draf nature of the storyboard, it was important to keep things simple

at this point, allowing for the addition of more detailed Fig.24a Kirk Wallace, Storyboard Timing, 2017, Digital, Planning the puzzle rooms that the hero will navigate through “in between” scenes. At this point, the storyboard was 178 ‘frames’ (that is, subsidiaries of each scene) labelled, for example, “Skülly hops over a rock in the jungle” or “Skülly looks to his right”.

Insiration 29 Reassessments

With a good amount of the heavy lifing complete, we began to tackle strategic questions: What was possible for us to get done in the allotted time? How much of this is clear? What makes sense and what does not? Do we need more establishing shots? In conjunction with the reality check of our scheduling commitments externally, Fig.25 Kirk Wallace, Unnamed, 2017, Digital Photo, Latham rearranging storyboards we also wanted to remember that this project should be fun and rewarding, not stressful and discouraging. This We spent a day or two using post it notes to prioritize feeling compounded with the guidance from Thomson, the scenes (see fg.25). As previously mentioned, we which led me to reassess our direction. already had a full storyboard drawn out, with close to The new direction included the whole frst half of the 170 frames to choose from. The project’s focus became story, up until our hero gets into the magic rooms. The editing. I heard Spike Jonze (b.1969) on a podcast called scene would then fade to black as Skülly opens the door, The Nine Club (produced by Chris Roberts) recall a feeling and shif into a trailer sequence: cutting quickly and of complete defeat afer the frst edit of the 1999 flm, previewing each of the rooms and some of the tasks that Being John Malkovich. He had fnished the frst cut of the lay ahead in the story. The benefts of this directional shif flm and watched it, then realized that it was awful. It were palpable: it shortened our workload considerably; made no sense, and was not at all enticing. He considered allowed us to touch upon each scene and visually giving back to the producers whatever money he still develop all the environments; shortened and simplifed had lef and taking the fnancial hit. Instead, he worked the animation; and created some hype and excitement on the edit a few more times, and without shooting any around the project. new footage or even changing the story, he was able to edit the flm again into a critically acclaimed success. I At frst, this felt like a failure on my part. We only had a refected on that story during my own editing process, couple of months to get this project completed, which I considering how I might best achieve what I was chasing had envisioned to be a full story, animated, with sound in the constraints of the time budget. The resulting design. While this may have been a possibility, weighing project tested well among the group and other trusted the pros and cons of forcing that result lead me to realize opinions. I would produce a better product if I focused on quality instead of quantity. The rush was fctitious. There was no Tight Sketches reason to have the whole thing done by then. I realized I continued to tighten sketches (see fg.27), transferring that part of being a director is the ability to react and them to Adobe Illustrator and then Adobe Photoshop to make decisions, and this was the frst time I really saw develop the fnal artwork to be animated. For efciency, myself as the leader of the project. I was happy to have although the artwork was incomplete, Arnott helped to been able to take some stress of the table, without much fnesse some of the storyboards from his studio in New sacrifce. Instead, it was an exciting challenge to reedit Zealand. For example, I had roughly sketched a scene of what we had already done down to a trailer format. a long jungle, with no indication of what the detail (such

Process 31 as the tree or pond) may look like, so I directed Arnott to mimic my shape language and style to complete the sketch whilst I simultaneously completed scenes. During this process, Danielson, Lwamugira, and Guerra provided support and feedback, as the group solidifed the storyboard, (see fg.26) and created an animatic (a preliminary cut of the flm timed appropriately with still images).

Key Frames

Key frames help a project come to life and suggest the Fig.26 Kirk Wallace, Unnamed, 2017, Digital Photo, Lwamugira, Danielson, art direction — the artwork from these frames dictated and Guerra reviewing storyboards the style, tone, color, and lighting of the whole flm. I created fully realized illustrations, layered appropriately Afer completing the initial drawings, (see fg 28) I to be easily animated by Arnott. While creating all of our scanned them into the computer and transferred them assets, we made sure to design smart. For example, as to Adobe Illustrator. This program allowed me to closely there was a cave scene, we would make sure that we could trace the drawings, creating a black outlined “reference use the asset we had developed for that cave scene two sketch”. Following this, I would hide the reference sketch or three times throughout the short. This is a common and create a white flled shape with a black outline (see practice for animators, invisible to the viewer, which is fg 29). This allowed me to easily ensure that the layers critical for staying on schedule. were correctly ordered on the z-axis, to create depth. For

Fig.27 Kirk Wallace, Tight Sketches, 2017, Digital, Tighter sketches to be later brought into Adobe Illustrator

Insiration 33 example, the foreground detail was ordered on a layer (created by Kyle T. Webster (age unknown), Liam McCay closer to the viewer. Organization is critical when it comes (b.1991), [see fg.32]). In order to better convey a sense to large format animation projects like this, especially of traditional media, many of the brushes I used were given the risk of change throughout progression. created with ink, conté crayons, dry brushes, and a myriad of other traditional tools that were then scanned into the Following this line work, I undertook a ‘value study’ of computer, and digitized. The painterly, textured look the key frame. (see fg.30) This process, which involved I used was inspired by the fat gouache painting styles using a grayscale copy of the work, ultimately serves to of many Disney projects, such as It’s a Small World (art highlight the important elements of a scene, as well as tone directed by Mary Blair from [1911-1978]). Although using down the secondary or tertiary elements. This technique digital tools to mimic traditional analogue is somewhat helps to express how an image will be processed by the ironic, the ability to achieve a very similar style and viewer. By working digitally, I was able to use the results handmade feeling digitally is incredibly valuable and of the study to quickly reconfgure the diferent values, efcient. creating the best order. Finally, I completed any necessary photo manipulation Next came color, I started with a very limited color palette, efects in Adobe Photoshop. For example, I had created with no more than four colors. This gave me enough a preset of color correction efects that I laid over all of diversity that I was able to diferentiate objects clearly, as the images of related scenes for a sense of harmony (see well as get a sense of the tone, without over complicating fg.33). For instance, using the “curves” tool in Adobe things. Because I was not intending to outline any of my Photoshop, I could manipulate the amount of red, green, work (for example, with a dark line) on this project, it was or blue in the whole image to help warm up the palette very important that I fully realized the contrast of the as a whole. Another example was my ability to emphasize colors. In considering this challenge, I was inspired by the blues in a snow scene, creating a ‘cold’ feeling. I also Genndy Tartakovsky (b.1970) who created the 2001-2017 used manipulated topical efects, including using a depth animated television show, Samurai Jack. The show uses of feld blur on foreground objects; mimicking the focal little to no black outline around characters, relying on depth of a camera; or, airbrushing in colors to give a graphic design principles (such as contrast in shape and sense of lighting over the whole image. style) to separate the characters from the background. Following this color process, I considered details (such as shadows and highlights), alongside efects (such as dust kicking) and additional elements (such as clouds or stones), to help ‘sell’ the image’s reality. At this stage, I also added some basic lighting.

Having completed the above work in Adobe Illustrator (see fg.31), I organized the fled into layers for importation to Adobe Photoshop, a photo editing tool and digital painting program. For this project, I used Adobe Photoshop in conjunction with a mix of custom digital brushes I created and purchased digital brushes

Process 35 Fig.28 Kirk Wallace, frame.90-standoff-sketch, 2017, Digital Fig.30 Kirk Wallace, frame.90-standoff-value, 2017, Digital

Fig.29 Kirk Wallace, frame.90-standoff-lines, 2017, Digital

Fig.31 Kirk Wallace, frame.90-standoff-color, 2017, Digital

Ins iration 37 Fig.32 Kirk Wallace, frame.90-standoff-texture, 2017, Digital

Fig.33 Kirk Wallace, frame.90-standoff-fnal, 2017, Digital

Process 39 Fig.34 Kirk Wallace, frame.91-snow.rock-sketch, 2017, Digital Fig.35 Kirk Wallace, frame.91-snow.rock-value, 2017, Digital

Fig.36 Kirk Wallace, frame.91-snow.rock-f nal, 2017, Digital

Ins iration 41 Fig.37 Kirk Wallace, frame.17-smash-sketch, 2017, Fig.38 Kirk Wallace, frame.17-smash-vector, 2017, Fig.39 Kirk Wallace, frame.17-smash-color, 2017, Digital Digital Digital

Fig.40 Kirk Wallace, frame.17-smash-f nal, 2017, Digital

Process 43 Animation The majority of the animation was done in Adobe Afer Efects, and ofen in a ‘rigging’ manner, where, Accurately predicting the scope of the artwork assets, for example, rather than animating Skülly running discussed above, is very diferent from predicting the frame by frame we ‘rigged’ the character through scope of the animation required. In terms of artwork, programming and mathematics. ‘Rigging’ a character estimating the fnalization time for each scene was involves connecting individual components of the relatively easy. What I saw in my head was what I would character’s shape in a way that makes sense anatomically put on the canvas. This can be juxtaposed with the (for example: connecting Skülly’s hand to his lower arm, unpredictable nature of the animation process, when a lower arm to his upper arm, upper arm to his shoulder, scene appears to be simple, many technical problems may and so forth). This process allows for simple dragging arise, adding time. of Skülly’s hand around, which subsequently moves the whole shoulder and elbow joints accordingly. This was For example, Figure 60 was one of the quickest scenes done using ‘inverse kinematics’, a technique ofen used to illustrate but presented unexpected difculties. In in robotics. This was another time saving mechanism the scene, Skülly is simply holding a torch in front of his that allowed us to easily move the character throughout face with a very limited dark background. Having the the world, with the inverse kinematics rig working the character slowly move the fame across his face appeared majority of the movement, alongside manually corrected to be simple in terms of the scope of the animation motion. appeared to be simple: have the character hold the fame and move it across his face, while the character looks While a lot of the animation was done using this curious. However, for that scene, we wanted to mimic a rigging style, we also commonly used a frame by frame real fame with the animation, but keep it hyper-stylized. animation technique in a lot of materials that required an This feat was not was not easy since animating fre can be organic sense of motion. For example, concepts like dust tricky due to its absurdly random motion, and its physical blowing of a book, mud getting stuck on our character, properties, especially if animating frame by frame. We or Skülly throwing his parachute up in the air afer used the Trapcode Particular (by Red Giant Sofware) crashing all were animated frame by frame, due to their plug-in for Adobe Afer Efects that allows an animator random and very organic traits. Mixing the two allowed to “create organic 3D particle efects, complex motion for a traditional feeling, with the editability assisted by graphics elements” (Redgiant.com). In this instance, we modern day tools. used some morphing tools, in conjunction with the plug- in, to create the fre. We inverted gravity so that small Model Sheet orange balls would emit from the handle of the torch and During the sketching and visual development stage of foat upward. Using some techniques, we were this project, I had drawn a few sheets of the lead character able to taper the shape of the fame to look as it should. in various poses — essentially creating a reference guide This solution was time consuming, but very worth it, of how to draw the character. I came up with some rules because we were then able to use the system in every to the character, for example: his height, using his head other scene containing fre. size as a measurement (Skülly is three heads high); what his head looks like from the front versus the side; when his hat foats as opposed to resting on his head; and what he looks like when he is angry or sad. These guidelines,

Insiration 45 while fexible, were helpful to ensuring that the character looked the same throughout each scene. It also served as a tool for other collaborators on this project.

Although the model sheet began as a simple piece of paper with a turn around of the character (showing Skülly from front, back, side and quarter angles) by the time we had completed all of the key frames of artwork, I had sketched him in so many pose that I never used in the fnal short. For this reason, it felt appropriate to recycle some of the sketches, for novelty, rather than practical application. I Fig.40 Artist Unknown, High Diving Hare Titlecard, 1948, Gouache, Produced composed some of these sketches into an 18x24” poster by Warner Brothers Looney Tunes layout roughly, and redrew them all in Procreate (an iOS drawing sofware developed by Savage Sofware Group). My simple gag included Skülly trapped in a cage made of I then fnished the poster in Adobe Photoshop, digitally his own bones. This ft the narrative of the over arching aging the piece to look like an old animators’ reference project: Skülly is his own worst enemy. He cannot get found on a drawing table in the 1930s. around his large ego, and overzealous lust for adventure, and consequently is trapped in the rooms. It is a prison Cinematic Poster of his own making. Additionally, I added the action of Skülly meditating (foating calmly, and appearing to The fnal piece I created for this thesis was a promotional crack one of the bones). I battled the decision to include poster. It was created as a hybrid between cartoon ‘title this for a while, and was unsure about the tone I wanted cards’ and theatrical movie posters. A title card (also in this poster, in particular whether I wanted to reveal called an “intertitle”) is ofen used at the start of a his success in calmness, or just focus on his problem. I cartoons. For example, in Bugs Bunny, the title card (see eventually decided that his success remains abstract fg.40) displays the name of the episode and artwork enough in the poster that it does not reveal the key action relevant to the story (sometimes with the director’s of the flm: Skülly fipping his head upside down for a name or other relevant information). I wanted to create new perspective. something that was starkly diferent from all the work I had just fnished for the animation, referencing some of For the process of the poster, I sketched some 40 the simplicity I had been inspired by in flm posters, most thumbnails on paper with pencil until I started to get a notably the works of Saul Bass (1920-1966). The results is layout I liked. As previously mentioned, I wanted to keep a poster that is simple, striking, and thought provoking. things simple, compositionally. Breaking the poster down to four elements helped me play with a visual hierarchy I started by gathering reference points (around 20 posters easily. I had the top lettering, the cage, Skülly inside that I loved) and carefully considered them, trying to the cage, and the bottom lettering. I wanted a sense of determine their exact attraction. They all had a common lostness and fear for the character, and used negative thread, a very simple layout with one focal point. I was space around the cage to achieve this. also interested in the ‘gag’ contained for example, a poster depicting the demise of a plow truck by its own type: being plowed by another plow truck.

Process 47 Fig.41 Kirk Wallace, Introducing Skülly poster process 1, 2018, Digital, Concept sketches for theatrical poster

49 Fig.42 Kirk Wallace, Introducing Skülly poster process 2, 2018, Digital, Layout / composition variations and process

51 Fig.43 Kirk Wallace, Introducing Skülly poster process 3, 2018, Digital, Details and further process of poster

53 Fig.44 Kirk Wallace, Introducing Skülly poster, 2018, Digital, Final promotional poster for short flm thesis project, Introducing Skülly in... Rib Caged

55 Fig.45 Kirk Wallace, Scene 01 Face, 2017, Digital

Fig.46 Kirk Wallace, Scene 02 Compass, 2017, Digital

Fig.47 Kirk Wallace, Scene 07 Log Slide, 2017, Digital

Te Work 57 Fig.48 Kirk Wallace, Scene 03 Backpack, 2017, Digital

Fig.49 Kirk Wallace, Scene 04 Jungle Long, 2017, Digital

Te Work 59 Fig.50 Kirk Wallace, Scene 13 Rope Swing, 2017, Digital

Fig.51 Kirk Wallace, Scene 17 Smash, 2017, Digital

Te Work 61 Fig.52 Kirk Wallace, Scene 20 Dodge Roll, 2017, Digital

Fig.53 Kirk Wallace, Scene 21 Dodge Crash, 2017, Digital

Te Work 63 Fig.54 Kirk Wallace, Scene 23 Skid Close, 2017, Digital

Fig.55 Kirk Wallace, Scene 24 Skid Far, 2017, Digital

Te Work 65 Fig.56 Kirk Wallace, Scene 33 Feet, 2017, Digital

Fig.57 Kirk Wallace, Scene 37 Cliff Dive, 2017, Digital

Te Work 67 Fig.58 Kirk Wallace, Scene 38 Big Sky, 2017, Digital

Fig.59 Kirk Wallace, Scene 74 Big Door, 2017, Digital

Te Work 69 Fig.60 Kirk Wallace, Scene 78 Torch, 2017, Digital

Fig.61 Kirk Wallace, Scene 79 Quick Run, 2017, Digital

Te Work 71 Fig.62 Kirk Wallace, Scene 38 Big Sky, 2017, Digital

Fig.63 Kirk Wallace, Scene 90 Standoff, 2017, Digital

Te Work 73 Fig.64 Kirk Wallace, Scene 84 Snow Dodge, 2017, Digital

Fig.65 Kirk Wallace, Scene 116 Rock Climb, 2017, Digital

Te Work 75 Fig.66 Kirk Wallace, Scene 90 Rock Lift, 2017, Digital

Fig.67 Kirk Wallace, Scene 91 Button, 2017, Digital

Te Work 77 Fig.68 Kirk Wallace, Scene 88 Angry Stomp, 2017, Digital

Fig.69 Kirk Wallace, Scene 85 Book Blow, 2017, Digital

T e Work 79 Fig.70 Kirk Wallace, Scene 99 Climb Far, 2017, Digital

Fig.71 Kirk Wallace, Scene 107 Book, 2017, Digital

Te Work 81 Fig.72 Kirk Wallace, Scene 150 Step, 2017, Digital

Fig.73 Kirk Wallace, Scene 87 Space, 2017, Digital

Te Work 83 Fig.74 Kirk Wallace, Scene 111 Rope Walk, 2017, Digital

Fig.75 Kirk Wallace, Scene 101 Bag, 2017, Digital

Te Work 85 Fig.76 Kirk Wallace, Scene 100 Snow Run, 2017, Digital

Te Work 87 Fig.77 Kirk Wallace, Skülly Model Sheet, 2017, Digital

Te Work 89 Fig.78 Kirk Wallace, Rib Caged Poster, 2017, Digital

Te Work 91 Specifcally, I plan to email a few close friends in the Marketing Plan animation industry to ask for their support by sharing the flm with their following. I have been consistently As there were no major fnances involved, I have no plans updating contacts with the progress of this project for for an immediate monetary return. However I plan to the last year or so (through teasing artwork, sketches, use the project as a marketing tool for my freelancing and insight) which has generated a considerable amount business, particularly as I am seeking work which has a of interest. I think that there’s a lot of people that want greater emphasis on storytelling. In this instance, I plan to do a project like this themselves, but haven’t taken on publicly releasing the work online to site’s like Vimeo, the time or found the confdence to commit just yet and Dribbble, , Instagram, and my portfolio. With a seeing my posts online inspires them to do something for following of over 60,000 people, sharing my work in this themselves. way previously is what has generally attracted my clients and builds my business. I hope that this work catches the As a long term goal afer the flm’s completion, I would like eyes of art directors, or business owners, looking to tell a to submit the project to flm festivals. There is a product story of their own. online called WithoutABox that allows a flm maker to submit their flm to tens of flm festivals in a streamlined I plan to release a re-edited version of this thesis paper process. In addition, Animation Block, Annecy 2018, and as a small book, both in print and digitally, to promote Boston Short Film Festival have already reached out to the flm. This will mimic works like The art of Pixar me in the past few months mentioning their interest in (Amid Amidi) or The Art of (Hayao the short and asked to be updated as completion nears. Miyazaki) which details the process of creating a flm I plan to do this when the project is completed and if it from beginning to end. Naturally, that book will be yields the results I desire, could help get the right eyes on designed with the art at the forefront. In the past I the universe of Skülly, such as producers or directors at have found sharing the insight to my work has been Adult Swim, or Cartoon Network. very benefcial on three levels. Firstly, it allows fellow illustrators to become inspired and see how I create my The online blog Cartoon Brew is ofen looking for work which helps me build a following and community. submissions for 2-D animated shorts in particular and Secondly, it shows art directors, who may wish to hire me, with knowing a few friends who have been featured and how my thought process goes. Art directors at agencies recognized through that platform, am hopeful I will fnd have ofen told me they hire me based on the case an appropriate avenue to interface with them. studies I publish on various blogs, because it illustrates Similarly, another long term goal I am considering how thorough my methods are. Thirdly, it allows small is television. I want the character to be diverse and business owners that may be working with an illustrator formidable to any story, and believe that there is a desire for their frst time to see what goes into the work I do. I in television now for mature and nuanced stories with a believe that it helps educate people as to the value of my fun whimsical visual language. I want to teach through product, and that, despite a simple visual outcome, there this character and see market space for him to exist. The can be masses of input: hundreds of sketches and ideas, character is complex and can handle any situation. I would which are thrown out, before reaching a perfect solution. like to tackle issues that frustrate me, through Skülly as As a result, I anticipate that treating this project as a a vehicle. Other commercialization concepts, such as large format case study will beneft me greatly.

Marketing Plan 93 model fgures, interactive games, and , may also During the two years under the guidance of the program’s be realized in the future. For the fnal two classes of the professors, as well as my peers, I took my work from MFA in Illustration program I plan to create a series of transient to timeless. A few years ago, my work was short (~10 second) videos promoting the flm using either sufcient and would survive the time it was created in, or puppets. I’d like to experiment with the but it was not holding up on its foundation. Today, I versatility the character has, demonstrating that he can know that my illustration work is fring on all cylinders. be realized in a multitude of mediums and formats. These The concept, thumbnails and compositions, drawing, would of course also be used as promotional materials reference gathering, value structures, color theory, shape online. language, and so on are all working together in harmony to tell the stories that I want to tell. For now, my plan is to continue to release Skülly related works for free on the internet, whilst simultaneously During the travel periods of the program, the class sharing the process of how the works are made through was exposed to new industries and locations: traveling blogs and social media. I want Skülly to be a way for to Columbus, Pasadena, Hartford, New York, and San fellow artists to learn the same way that I am learning. Francisco, and hearing from a wildly diverse spectrum of Following the completion of this episode, I have other people in the industry. story ideas, involving Skülly. Diferent episode will This traveling allowed the group to grow closer into a introduce other issues and new enemies and friends. As family away from home. While, of course, the faculty was my friends and colleagues remain highly interested in the a large infuence and incredibly impactful, it probably project, I will continue to work alongside this core group. comes as no surprise that it was my classmates and peers that I really learned from. The late nights staying up in Program the hotel room talking shop, or the group’s video chats when classes were not “in session” facilitated these When I applied to the Low Residency MFA in Illustration unpredictable and incredible conversations and learning at Hartford, I had no idea whether I would be happy with experiences. my decision at the program’s culmination, but can now say confdently that it exceeded my expectations. My favorite place to visit was Pasadena, California in the early fall of 2017. I think it’s because by this point From my frst conversation with program director, in the program (the third out of four travel contact Shayna Piascik, I was excited and I realized the program periods) I had a good idea of what I was doing for my may be a bigger deal than I had anticipated. Shayna thesis project, had a wonderful relationship with all of shared her conscious efort to recruit only the perfect my fellow classmates, teachers, and staf, and was fnally ftting candidates for the program. She told me that she growing confdent of my artwork and feeling I deserved thought the program would be personally benefcial, but my spot in the program. Pasadena was flled with an also benefcial for the rest of the students in the course. outrageously diverse and powerful list of guest speakers. This potential for collaboration sold me, I knew that the One of my favorite speakers was Tony Bancrof (b.1967), Hartford MFA was not just a masters degree, but a family an animator previously at Disney who most famously of people that grow together over the course of two years, directed the feature flm, Mulan at age 30. William and continue on as that family for the rest of their life. Stout (b.1949) was also a speaker during this time and lef everyone with their jaws on the foor afer showing

Marketing Plan 95 the incredible range and spread of work he’s done with the most prominent and prestigious flm directors and musicians of his lifetime. He as well as all of the speakers treated us as equals and shared the most prized inner secrets and stories of their careers. I felt these people were tangible, and not just on a large stage for us to cheer on, but fully approachable and ready to meet us and listen to our stories as well as share theirs.

Another exciting (though not to all students) portion of the program was the critiques of our travel pieces. Each of the contact periods required us to create a reaction piece revolving around the place we had visited and upon arriving to each new location, we’d have a group critique of our pieces. For me, this was actually an entirely new and unique experience having not gone to art school for my Bachelor’s.

The critiques were a chance for me to not only learn Fig.79 Kirk Wallace, Thrasher Crasher, 2016, Digital, Reaction Piece #1, about what I could have done better for my own piece, but I would take notes on everyone else’s as well. It was wonderful to be able to look at my reaction pieces evolve over time and watch my ability to avoid pitfalls like tangents or a poor value structure grow.

The format of the program as a whole is perfect for working illustrators and is as personally noninvasive as it can be, while still keeping a fre under you. There were times I felt the stress and worries that I believe anyone should while getting a Mater’s degree but coated in the understanding that as a working professional, there are certain priorities and fex when absolutely necessary. All of the operative instructors treated us like family before students. I truly felt warm inside when I was at school, like they were genuinely operating in our best interest for not only getting better as illustrators, but the interest in our enjoyment and happiness as well.

Fig.80 Kirk Wallace, Digital Bliss, 2017, Digital, Reaction Piece #4,

Program 97 Fig.81 Kirk Wallace, Thanks Biggie Poster, 2017, Digital, New York Reaction piece

Program 99 Fig.82 Kirk Wallace, Botanical Band, 2018, Digital, Pasadena Reaction piece

Program 101 Fig.83 Kirk Wallace, Faster, Driver!, 2016, Digital, San Francisco Reaction piece

Fig.84 Kirk Wallace, Untitled, 2017, Digital, Animation stills for second year animation class

Program 103 Fig.85 Kirk Wallace, Scene 02, 2015, Digital, Key Frame from the frst year Dream Assignment class

Fig.86 Kirk Wallace, Scene 04, 2015, Digital, Key Frame from the frst year Dream Assignment class

Program 105 gather through life. In order to have an interesting voice Conclusion or style in illustration, it is important to have a diverse set of interests. If your only hobbies, or only education, is in At the start of this program, I was academically insecure illustration, your work will feel vanilla, or dull. Wouldn’t with my work despite my increasing commercial success. it be more interesting to see what a samurai warrior who I also felt like a “fash in the pan”, and feared that maybe is also a philosopher that happens to be good at drawing I would be hot today and forgotten tomorrow. When I comes up with for an assignment, as opposed to someone refect on my decision to attend the Hartford MFA in who has only drawn her or his whole life? Illustration program, I recall saying to myself: “This is absolutely what I want to do for a career, I may as Jef Sangalli, who has studied animation, illustration, well learn from every avenue possible.” Now, nearing and industrial design, produces illustration work that is graduation, I have fully realized that my skills are a both imaginative and applicable to the real world. As an cement-mix: binding together my unique attributes with example, he was once commissioned to create an magical an academic legitimacy to provide a solid foundational camera, which looked as though it could work. With his base. I am happy I made the decision to undertake this expertise in technology and engineering, he was created degree, and am grateful to have been and continue to be a work that felt authentic, whimsical and exciting at once. supported by everyone dear to me. I have formed valuable For me, this mix looks like combining my world travels, relationships with my peers and faculty, and grown closer with my interests in skateboarding, mixed with my to my family and loved ones as a result. education in philosophy, mathematics, and engineering. This program has added another element to that mix: I am not sure if a master’s degree is best suited for a formal education in illustration. I also learned that everyone. In fact, this is a question that I am asked what I am doing is legitimate work and just because frequently when I speak at art schools. The way I usually it’s not necessarily the way the rest of the class is doing respond is that I believe that, for me, it was the right something does not make it wrong. time to pursue this qualifcation. However, this was due to the unconventional path I had trekked on my to One driver for me throughout the course was feeling like a career in illustration. I came from the technical world the worst student in the class. I struggled the frst week, of engineering, logic, and mathematics. The time I spent worrying that I was not proving my worth enough; having studying in working in this area, which I was not really an ego about the work I was producing; and worrying passionate in, allowed to see clearly that illustration that people would not notice my successes thus far. This was what I wanted to do forever. I do generally advise program also gave me the tools to recognize these stresses students fnishing an undergraduate (in any degree, but as counterproductive, and leave all my pride behind to especially illustration) to take a year away from study fully immerse myself with the opportunity of learning. to experience the ‘real world’, before making a decision In fact, although I will never feel fully confdent in my regarding further study. abilities, I gained the irreplaceably valuable knowledge that it is okay to feel this way. I learned to trust in the I also believe that every illustrator should take time to process and feel comfortable in that vulnerable, scary diversify, get out of their comfort zone, and learn a few place of uncertainty. diferent things and apply that back to their medium. Our unique voices are comprised of the ingredients we

Conclusion 107 Fig.87 Photographer Unknown, Class Photo, 2017, Photo of the class and teachers for the second year animation course

On the most practical level, looking back at the frst look forward to bringing BoneHaüs further with another reaction piece I made in the program to the most recent, qualifcation under my belt, and with a family of new the structure and strength that I was looking for in my friends to bring on the journey. work is now present. My work feels more ‘bulletproof’, Working on a personal project like this has also reminded and I have a much easier time defending every detail of me how important it is to take time for my own stories in the image. I am making choices based on objectivity now, contrast to the commercial work that I had predominantly without losing that lose sense of silliness or fun that was focused on. Balance is everything, and I am really glad so valuable to me in my earlier work. that I was basically forced to spend the last two years on Achieving an MFA in Illustration has been an investment this short. of time, money, and energy. I have already seen the return It has been a humbling, yet confdence building, in value fnancially, having gained higher paying work, irreplaceable journey. that has been more creatively fulflling, as a result of prospective clients seeing the work I have created under the guidance of the program. As I fnish this journey, I

Conclusion 109 Fig.88 Monica Justesen, Beach Photo, 2017, Digital

Fig.89 Zac Wolf Photography, Danger Booth Photo at Creative Mornings Boston, 2014, Digital. Left to right Gail Wallace, Monica Justesen, EJ Shaugnessy, Kirk Wallace, Jeff Guerra, Jeremy Lwamugira

Conclusion 111 Biography

I am currently a full time freelance commercial illustrator, director, and animator working under the studio moniker of BoneHaüs. I’ve had the opportunity to work with select clients such as Facebook, Google, Amazon, Uber, Welch’s, 72andSunny, American Express, and The Hufngton Post among others. Some of the projects I have worked on have dealt with the views and usage of billions of digital interactions. Combining design, computer science and illustration, I have taken a lot of pride in solution based illustration. Increasing metrics for companies and products worldwide.

Previously working full time as the creative director of a sofware startup, I assisted the brand in its growth from three employees to 20+, until leaping into the start of BoneHaüs. The BoneHaüs studio name is inspired by the German school of design that gathered artists of varying disciplines. This reinforces the opportunities I have to create temporary teams of talented friends and bring them under the roof of BoneHaüs. I am truly grateful of the position I am in: creating works, with my friends, for Fig.90 Kirk Wallace, Skülly Portrait, 2018, Digital, Fig.91 Kirk Wallace, Self a wide range of clients as well as personal satisfaction. Portrait, 2017, Digital BoneHaüs takes on the ability to grow and accommodate the friends needed to tackle most tasks in the industry. a dozen schools to speak to classes about my freelance path and character design including Brigham Young In 2014, I gave a talk for Creative Mornings Boston, University, School of Visual Arts, and Art Institute. speaking about turning away from the easy path, turning down security, for creative satisfaction. This has been A number of online and print publications, including one of the most watched talks for the Boston chapter to Wired Design, 99u and Behance, have interviewed and date. The talk introduced me to a slew of designers and reported on my career and works. illustrators in the area where I am proudly ‘hooked in’ as a part of the Boston community. Outside of my work in illustration, I have been skateboarding and snowboarding for some 15 years and I have spoken at various events about my career, including will continue until my body gives out. I currently live in Dribbble’s premier ‘Hangtime’ event, as well as Adobe’s Massachusetts with my partner, Monica Justesen and ‘Creative Jam’. In 2018, I was invited to stream my process two dogs Wicket and P-Nut. live for three days at Adobe in San Francisco as a part of their Adobe Live program. I have also been invited to over

Biography 113 Bibliography

Amidi, Amid. The Art of Pixar: the Complete Colorscripts and Select Art from 25 Years of Animation. Chronicle Books, 2011.

Cone, Justin. “Phantom Limb.” Motionographer, 17 May 2014, motionographer. com/2014/05/16/phantom-limb/.

Grigg, Alex. “Making Phantom Limb – Alex Grigg – Medium.” Medium, Augmenting Humanity, 14 May 2014, medium.com/@joyybox/making-phantom-limb- 1eef3f6d085f.

Parkin, Simon. “With Firewatch, Olly Moss Brings His Subversive Touch to Video Games.” The New Yorker, The New Yorker, 3 Oct. 2017, www.newyorker.com/ tech/elements/with-frewatch-olly-moss-brings-his-subversive-touch-to-video- games.

Peckham, Matt. “‘The Witness’ Creator: Jonathan Blow Interview.” Time, Time, 9 June 2016, time.com/4355763/the-witness-jonathan-blow-interview/.\

VanHemert, Kyle. “A Designer’s Moving Tattoo Tribute to His Dad.” Wired, Conde Nast, 20 June 2013, www.wired.com/2013/06/the-moving-story-of-a-designers- tattoo-tribute-to-his-dad/.

Moth Studio, Chloe - Salvation Army, 15 Nov. 2017, vimeo.com/262814683.

Professionally edited by Emily Tombs | e. [email protected]

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