#Joe Moshier

[twisting-echo]

Meet Mata and Nina, the daughters of Kuzco and Snow White~

I thought it was about time I shared some of my next-gen kids.

Mata:

Mata has her daddy's complexion, high nasal bridge, sharp nose, thick eyebrows, thin lips, sense of humor, personality traits, and love of groove. 

Firstborn child.

Gender nonconforming but goes by she/her pronouns.

Bisexual.

Dancer.

16 years old.

Music: J Balvin, Panic at the Disco, and her mama's singing.

Matching septum piecing with sis.

Food: Nachos, chili fries and chocolate.

Has mama's floofy hair.

Loves her pets.

Energetic and dry wit.

Attends Mirrorverse High.

Is a Support Guardian.

Nina:

Nina has a fairer complexion than her sister and father but has her mama's low nasal bridge, button nose, soft eyebrows, full lips, sense of humor, personality traits, and love of baking and animals. 

Second-born child.

Transgender.

Sapphic lesbian.

Dancer.

15 years old.

Music: K-pop, metal, and her mama's singing.

Matching sputum piercing with sis.

Food: Monte cristo sandwich, pumpkin pie, and chocolate.

Has daddy's straight, silky hair.

Loves her pets.

Warm and gentle.

Attends Mirrorverse High.

Is a Melee Guardian.

(Mata on the left side and Nina on the right.)

I named my OCs after two deleted characters from The Emperor's New Groove when it was called Kingdom of the Sun. In early development, Nina was Kuzco's fiancée and Pacha's love interest, and Mata was Kuzco's love interest.

If you want to know more about these two and their relationship with their family, please feel free to ask in my askbox.

[karenlacorte]

Check out this listing I just added to my Poshmark closet: Disney Bolt.

[capturingdisney]

Yzma design sketches by Joe Moshier for The Emperor's New Groove (2000)

[samakaphyllis]

Hey guys! In honor of Penn Zero: Part-Time Hero premiering in just 8 days, I decided it’s time to share some art you’ve never seen. We always approached the art and design of Penn Zero with more of a feature style -and a unique look, this extends to the character design, BG design and the animation. It’s been a challenge, but well worth it. I couldn’t be more proud of 2 seasons...

Here are some early Sashi designs by my friend, the amazing Joe Moshier (Who did the character designs pre-series Greenlight). Tim Moen took over for series.

With Sashi I wanted her glasses/specs to project the mission from an early stage. Also we wanted her to have a sense of fashion that was advanced, hard to pin down; edgy, even baffling, different than anything you would see in Middleburg. Something that made you think she knew more than Penn or Boone, about the world, about the dangers they faced... she was more intense, and more lethal as a sidekick.

We experimented with different aggressive and fun hair styles. As you can see many of the elements made it into the final design, while others pushed her a bit too far for me.  But the point is we tried a lot of stuff.  Sashi always had to be a combination of cute and badass - and I directed the designs to move in a direction that could do both.  Too cute was bad. Too aggressive was bad.  She had to inhabit both.  And her look had to adapt to whatever costume or species Sashi would inhabit when she zapped to any dimension whatsoever...

Let me know if you dig this and I’ll post more....

Watch PZ Season 2!  Spread the word!  Premieres Monday, July 10th and runs all July on Disney XD! And it culminates in a big way, with our hour -long Series finale: Friday July 28th!

[naivepets]

9 Things You Didn’t Know About Bolt

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Time rightfully flies, friends. today marks Bolt ‘ s 7th anniversary ! In celebration of one of our front-runner Disney dogs, we ’ ve compiled a number of 9 facts you might not have known about the film. Are you fix to learn ? Excellent. Keep on reading !

1. Animators brought a giant star inflatable hamster musket ball to the studio.

To relieve stress and get inside the beware of Rhino, the animators rolled up and down the halls in it for fun .

Reading: 9 Things You Didn’t Know About Bolt

2. Mittens ’ voice is actually Susie Essman ’ s normal talk articulation.

After Susie Essman was cast in the function of Mittens, the directors loved her normal speak spokesperson sol much, that they requested that she use it rather of creating a unique tone for the character .

3. The animators took inspiration from Michael Bay for the movie ’ s Bolt TV express.

When John Lasseter gave the animators the challenge to create a Bolt television show that would be stimulate adequate for network television, they looked to Michael Bay ’ s carry through films for inspiration. As a result, they relied on deep blacks and bright colors, which served as a nice contrast to the much softer textures and colors seen in the very worldly concern .

4. The crew adopted a hamster to help them animate Rhino.

While John Lasseter ’ s pet chinchilla served as inspiration for Rhino ’ south design, the crowd adopted a hamster and studied his movement on a tabloid of plexiglas to get a better theme of how Rhino would walk in his fictile ball. They named him Doink .

5. The voice actors behind Mittens and Bolt never actually met.

Despite having many shared scenes, actors Susie Essman ( Mittens ) and John Travolta ( Bolt ) never recorded in concert.

Read more: My Dog Has Bad Gas Suddenly – What’s Going On?

6. When the directors gave Mark Walton the character of Rhino, they caught his reaction on tape.

Typically, before bringing the endowment into the studio, a movie ’ mho animators volunteer to record a drill run of the script. When animator Mark Walton came in and read for Rhino the hamster, the directors liked his performance so much that they cast him in the character. But before telling him, they had him come in for one more take and slipped the line, “ I am the voice of Rhino ” into the script. They had a camera set up to catch his surprise chemical reaction .

7. real locations were used as inhalation for the film ’ south lighting.

To nail the natural deviation in lighting between several of the film ’ randomness divers locations, the gang went to LA, an Ohio dawdler park, the streets of New York, the San Francisco docks, and the desert surrounding Las Vegas to take photographs—which they late used as reference during output. In fact, the hotels and casinos shown in the Las Vegas scenes actually exist .

8. The film ’ s art style was inspired by the work of Edward Hopper.

alternatively of going full CG, the animators opted for a softer approach, using the paintings of Edward Hopper as inspiration. They found a way to recreate brushstrokes in the computer and used that method to set the film ’ s 3D objects against a 2D backdrop .

9. Bolt ’ mho search is based on a breed of White german Shepherd.

Though Bolt ’ s engender was never defined in the film, the chief character energizer, Joe Moshier, has indicated that the wonder chase is loosely based on a White german Shepherd puppy that the team studied during production ; his huge ears, and bushy chase are abruptly giveaways.

Read more: Can You Use Dog Shampoo on a Cat? – Bathing and Grooming

Posted 6 years ago

reservoir : https://blog.naivepets.com Category : Dog

source https://blog.naivepets.com/what-type-of-dog-is-bolt-1645980639

[elioli-art]

You guys thought we were finished???

Sloppy doodles 😂

The last image is inspired by Joe Moshier’s designs!

[madame-christine]

Nik Ranieri (the same dude who animated Lumiere and Hades) animated Kuzco from “The Emperor’s New Groove.” He and Joe Moshier both did a lot of work for character designing Kuzco until the end.

Nik Ranieri’s animation work on Kuzco was fantastic and inspiring. (Nik has his own Facebook page so you can check his work). Both of these work are from Traditional Animation. https://www.traditionalanimation.com/the-emperors-new-groove-model-sheets/nggallery/page/1

[jeffranjo]

Jo Mo aka Joe Moshier #caricature #zoomcaricature https://www.instagram.com/p/CG09s-yDPWq/?igshid=uixefrdz0jvs

[yusensong]

Run duck run (Working Title)

2016

Oriental Dreamworks

Character paintings for cancelled Oriental Dreamworks project, Characters designed by amazing  Joe Moshier, one of my idol in character design.

[karenlacorte]

Check out this listing I just added to my Poshmark closet: Disney Bolt.

[runebennicke]

Shadow Dan 

Based on Joe Moshier’s designs

[samakaphyllis]

Mr. Rippen.  Gotta be careful here - don’t wanna give anything away here regarding Rippen in Season 2... 

These are all rough designs by Joe Moshier, who was the lead character designer in Pilot phase. Tim Moen was Lead Character Designer in series, now he’s lead on Duck Tales.

From the start, we wanted a character who looked formidable - physically dangerous -- like he could inflict serious damage on our heroes. We wanted big muscles and an intimidating figure in a suburban world... Dangerous spiky hair and sharp angles on his shoulders, cheekbones and his fingers and feet.  And also we wanted some sophistication to his costume, facial hair and the way he carries himself.  Almost a refined 19th century quality to his clothes. His outward appearance would suggest all that he sees himself as - all that he wants to be; a full-time villain.  (and the comedy, for us, would be that his inability to achieve those evil things successfully, would be in stark contrast to how he looks -- almost like he’s a Lamborghini that can only get to 40 MPH -- unless of course he digs deep and gets real evil, then his evil engine revs... -- “SAVE THE WORLDS” was an example of that... and Season 2 will explore where he’s willing to go, to get what he wants....  But those elements were part of the design process from the start. Character Design is informed by story, and what you’re trying to achieve...

Maybe it’s a cliche, but it’s one that Alfred Molina happily embraced... The notion of a refined villain with a proper British accent. Fred wore it as a badge of honor, something he always wanted to play.  It definitely informed the design even before we offered the role to Fred. Always knew he should be English.... In a lot of ways - the notion of this series was to play with heroic and villain archetypes -- Heroes, Villains, Sidekicks, Wise Mentors and Minions.  Each of our lead 5 main characters were intentionally designed to speak to the conventional approaches.... When Fred accepted our offer to play Mr. Rippen, it only cemented further the visual ideas we had discovered in development -- and we pushed it even further when he joined the team.

The design process in development was challenging, in that Joe Moshier’s time was limited, and I was doing a lot of organizing, cutting and pasting and “Frankenstein-ing” his designs -drawing rough cobbles in Photoshop,  as springboards for Joe to refine and complete the design.  I always consulted him, but he liked what I was doing - and it just condensed the time you usually have in features.  It was fun for me, working with someone of Joe’s incredible talent, to be driving and distilling his many wild and varied ideas. If it were a feature schedule, I wouldn’t have taken such an active role - but given the TV schedule - that’s how it had to be done. And especially with Rippen, I’m very happy with the results.

You can see many ideas here (1st and 2nd pass designs) that made it into the final design. So fun to share these with you guys....

Watch Penn Zero: Part-Time Hero Season 2 - the world premiere is in just 8 days, July 10th on Disney XD - and the Disney XD App!  It airs through the entire month of July... Giant finale July 28th!

[brooklynbrandillustrations]

I’m back with my fashion studies! I got really busy preparing my character design story pitch for my internship here at Sony, and today I started as an official member of their character design team!! 🕺Feeling humbled and excited to have the opportunity to keep working with the incredible Joe Moshier. And now, without further ado, today’s fashion study is ARISTOCRAT, which is a subculture of Japanese street fashion inspired by what is thought to have been worn by higher social status Europeans in the 19th century. This elegant, androgynous style takes heavy influence from gothic trends and is characterized by long sleeve blouses and skirts, overcoats, trousers and corsetry. (em Los Angeles, California)

[w21030083-mi4011]

IDEAS & RESEARCH

I watched the movies for the asynchronous task, all of which showcase a different medium to animate.

I’ve always had a bias towards hand-drawn 2D animation, as it feels as though I have more control over what I’m creating. However, I would like to venture away from this comfort zone, or at least explore the other options more.

I really enjoyed the Fresh Guacamole animation, and Pez’s general animation style. Taking food/objects and replacing them with familiar household objects (aside from the grenade), is pretty inspired.

However, I love the surrealism and world building of Please Say Something, where the artistic direction (both audibly and visually, being like an old early 90′s videogame) aligned with the world (A cat and a mouse couple, in a cat-run dystopian) and narrative (in regards to rewinding time, like a VCR)

Big Studio Animators

Whilst there are many options, even from the top of my head, I keep turning back to the animators I know so well. I’ve read a lot about/ have listened to a lot of podcasts about big studio animators, namely Disney. I adore the fluidity of Eric Goldberg, the character of Chris Sanders, Joe Moshier and the charm of Andreas Deja, specifically. I wouldn’t pick someone like Glen Keane or his daughter Claire Keane, but it’s been hard to shake off their influence on me and my work. I know a lot of their stories quite well, so these animators would come easy to me, if I were to pick them.

Anime

I know we’re not supposed to do anime, but it’s a shame when there’s Studio 4°C Co.‘s Michael Arias, who directed and designed the movie adaptation of Tekkonkinkreet (whose style, heavily inspired Batman: Gotham Knight‘s (2008) first short, Have I Got A Story For You.)

Youtube

We were given the option to pick Youtube animators, but I’ve not been a massive fan of a lot of them (it doesn’t help that the “story time” animators have flooded the medium in droves.)

I love Worthikids animation, particularly his Frasier and Niles become Demon Lords, and Book Jaundice animations. But I don’t think there’s a lot to work with, if I were to pick him.

Otherwise, I tend to follow animation tutorials on Youtube , not so much the animations.

[frederator-studios]

We're offering our wholehearted thanks to the ladies and gents who worked so hard on making Kate & Jen's "Welcome to Doozy" short the delightful cartoon it is. So...thanks!

Created by Kate Tsang & Jen Suhr

Written by Kate Tsang & Jen Suhr Directed by Kathleen Good Storyboard: Angelica Russell Sheet Timing: Larry Leichliter Character Designer: Angelica Russell Prop/EXF Designer: Jojo Baptista Background Designers: Peter Emmerich, Joe McGrory Background Clean-up: Jojo Baptista Background Painter: Mira Lark Crowell Color Stylists: Mira Lark Crowell, Anna Luther Storyboard Revisions: Jojo Baptista, Kathleen Good

Executive Producer: Fred Seibert Producers: Eric Homan, Kevin Kolde Co-producers: Kate Tsang & Jen Suhr Associate Producer: Sylvia Edwards Production Manager: Steve Worth Production Coordinator: Dana Jo Granger Production Assistant: Ross Kolde Development Coordinator: Kelsey Calaitges

Editor: Katie Burks Animatic Editor: Logan McBeath Animation Checking: Sylvia Edwards Track Reading: Slightly-Off-Track

Cast Ex: Laura Post Lou: Marieve Herington Mrs Hugs: Miki Moran Skeletim: Max Mittelman Wofie/Rice Ball Monster: Nosh Dalal

Voice Direction: Kate Tsang & Jen Suhr Casting/Voice Director Rene Vielleux Voice Production Company Verité Studios LLC Dialog Recording: Salami Studios Dialog Mixers: Mark Mercado, Jonathan Abelardo Assistant Dialog Mixers: Griffin Cooper, John Merritt Post-production: Salami Studios Sound Design/Editorial: Rick Hinson, M.P.S.E. Foley Mixer: Roberto Dominguez Alegria Foley Artist: Cynthia Merrill Dialog Conform: Thomas J. Maydeck, C.A.S. Re-recording Mixer Thomas J. Maydeck, C.A.S. Score: Josh Moshier

Animation Services: Dongwoo A&E CO., LTD. Animation Director: Geun-Sik Song Layout Artist: Young-Kyun Yoo Model Checker: Jeong-Hee Kim Key Animation: Yang-Ho Park, Kyung-Sook Park Final Checker: Sun-Ho Choi In-between: Hyun-Sook Lee Background Director: Yoon-Ho Lee Color Stylist: Jeong-Woo Lee Scan: Min-Yong Yoo Composite: Tae-Hee Heo Production Staff: Seung-Won Nam

[therobinsonwayoflife]

so i went on a lil image hunt on the Googs (c) for that sneaky rascal of a doodle (no luck there) but i did find this concept art on a blog post w some interesting factoids: 

I am very lenient when it comes to judging the animation of Meet the Robinsons. Since it was released in 2007, we know that it’s not going to have the budget of Frozen or the rendering ‘super computer’ of Big Hero 6 but you can certainly see it’s the beginning of something special. There are reflections in windows and a scene with black smoke that to me looks super realistic. It is also the brightest color script I have ever seen, particularly when you get to the future and everything is so bold and crisp. Maybe it is the ‘Tomorrowland’ Walt Disney was hoping for. You’ve also got to love the background detail in this film. Did you happen to catch the birds on the roof wearing fezzes? It is one of those movies that clearly had care and attention. My favorite example is Lewis’s socks. Did you ever notice that one of his socks is always down? Character designer Joe Moshier explains in the Art of Meet the Robinsons that “the one sock that has lost its elasticity and sits slightly lower than his shin belies a little bit of instability”. That is the kind of detail I love to see in a movie, animated or otherwise.

The rest of the article’s over here