COMMERCIAL ART
MOTION GRAPHICS
Between 2008 and 2011 I retrained as a digital graphics designer (see CV ), initially aiming at the web, then focusing more on just animations, some 3-D modelling and compositing with live action. Not that anyone wants to give someone my age a job in this, or anything really.
Below are links to my commercial graphics folio on my Vimeo channel and You Tube where I’ve uploaded digitally revised versions of my old short films from 1976-1983 – retrospectively building on my graphics retraining.
My Graphics Showreel (2010) on Vimeo Channel Gerry
You Tube (2019) Five short films – 1976-1983. See also Filmography.
ILLUSTRATION
These are examples of my commercial illustration and graphic design. The first pieces are digital graphics – vector images built in Adobe Illustrator (CS4) – done as exercises for a course in digital graphics at Box Hill Institute, in Melbourne (2009-10).
The following are mock-ups for a DVD interface.
The following are illustrations on Styrofoam for a pasta restaurant in an outer suburban shopping mall from the late 90s. I did various pictorial and painted finishes jobs for architects and interior designers around then. It was right at the end of the painted finishes craze.
Below are details of cycloramas done for a subterranean boat ride in the Seal Rocks tourist centre, on Phillip Island (Southern Victoria), sometime in the mid-90s, when I earned my living as a scenic artist, mostly doing backdrops and set finishing for TV and film.
Below is a double page illustration in Australian Playboy for a story covering the Wimbledon Tennis Tournament from 1989, which if nothing else shows how easily my coloured pencil style of that time accommodated routine assignments. The art director liked it and offered me more work if I would deal outside my agency and negotiate commissions directly. There was no guarantee more work would come my way through that and it would cut me out of other possible agency offers, so I declined. Not much more came my way via the agency anyway and it was clear the commercial illustration world was just another nest of vipers.
