lovin it,

forced perspective's fun to look at, and to draw i think

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superb... you do those angles with instruments or is it all from head??

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This is great! Love the posing

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Love your Iron Giant stuff.

I know this movie so well and yet the moment I say this I was thinking of the whistle theme from Austin Powers and this is a freeze frame of him doing his dance-walk

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I love the Iron Giant, So the Giant was actually traditionally animated in the movie?

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Thanks, Z.
No, I just see it in my head, then rough-sketch it out. Only tools used are straight edges, circle/ellipse templates, and the occasional flexi-curve. The perspective itself is eyeballed, without a formal vanishing point. It just felt right.

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"Beware the beast Man, for he is the Devil's pawn. Alone among God's primates, he kills for sport or lust or greed... Shun him; drive him back into his jungle lair, for he is the harbinger of death."

Negative. Iron Giant was totally animated digitally. Only the human characters were hand-drawn. Now, though I liked the attempt to blend the two animation forms, and I greatly admire Brad Byrd, I wish the final result were more seamless. For instance, the digitally animated ocean in the film's opening, though stirring in its realistic illusion, tended to be a bit jarring, and overshadowed the more flatly rendered characters.
Also, the shortcomings of the still-nascent digital art form were exposed by a lack of necessary fluidity throughout the film. The vehicles animated in the film's climax, and even the Giant himself, moved almost TOO mechanically. I realize that sounds strange, and may be considered sacrilege. lol But in the world of animation, the illusion of fluid movement, extreme or otherwise, benefits from the technique of Squash-and-Stretch... regardless of whether it's a living character or an inanimate object. Therein lies the magic. Ignoring this leads to an undesirable stiffness, and stiff digital animation side-by-side with well-drawn traditional animation clashes like bad wardrobe choices. It can confuse the eye, rather than please it. The same observation can be made of SPIRIT: STALLION OF THE CIMARRON, and TREASURE PLANET, where objects and backgrounds seem to be rendered too obviously on a different plane. Ironically, I think this further elevates the well-deserved esteem of the animators responsible for creating the objects, plants and forces of Nature in films like BAMBI, PETER PAN, FANTASIA, and the wonderful shorts from the Fleischer Studios. Check out the robots in the SUPERMAN animated shorts. Hayao Miyasaki certainly did for his film, CASTLE IN THE SKY.
I think the greatest blending of traditional animation with digital, or "tradigital," was the Magic Carpet in Disney's ALADDIN.
This is just nitpicking, of course, because IRON GIANT is still a fine, fine film that successfully dared to veer from the hackneyed Disney formula. And Byrd went on to team with Pixar to create an incredible digital masterpiece. The greatest failure regarding THE IRON GIANT was that Warner Bros had little faith in it. Instead, the studio blew most of its marketing budget supporting a "sure thing," Will Smith's WILD WILD WEST.

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"Beware the beast Man, for he is the Devil's pawn. Alone among God's primates, he kills for sport or lust or greed... Shun him; drive him back into his jungle lair, for he is the harbinger of death."

then double coolness man

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1-Serve the public trust
2-Protect the innocent
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