A lifetime ago, I was an animator.  Worked at a shop in LA, had television credits, got wrung through the wringer, survived layoffs and watched an entire studio go down in flames.  Of course, this wasn’t the kind of animating that required drawing skills, for I have none.  This was 3D television animation, which is put on a schedule that’s best described as “grueling.”  Here’s a little of what I did, though we’ll start off with the stuff that I didn’t get paid for, unless you count getting a job as getting paid.

This is an imperial dreadnaught, as seen in Warhammer 40K. Fan art that got me hired.

This is an Avatar of the Eldar war-god Khaine. Also from 40K. Fan art done after being hired.

A Lovecraftian critter, shaded in a quick/dirty woodcut style. If I return to 3D work, it’ll be in a form like this.

One of the things I was actually paid for. I was dubbed “The master of European furniture” after doing this.

Among the things I was asked to build for a single episode of MAX STEEL (like the above office, which was ordered, but *not used* by any of the episodes we actually made. Think about that one for awhile):

The Eiffel Tower grounds and crowds for a 5-second establishing shot. We cheated and bought the Eiffel Tower and I made the rest.
A parkway lined with trees and streetlights, further populated with crowds.
A closeup set of the Tower foundations and secret elevator.
A set for falling down the Eiffel Tower including nicely-parallaxed backdrop of Paris.
The observation deck, including a vending machine that sold Slurm (as seen in FUTURAMA, which was just debuting during production)
Various closeup sets of Eiffel Tower locations and scaffolding. Many many polygons.
Oh, and I made a neat plasma/bomb effect. Thank you Darktree shaders!

And I had a slate of 87 animated shots. Most were mocap with a lot of tweaks. Some were actually, god help me, keyframed. Man, I got some stories.

Okay, print design. Well, that’s just going to have to wait a bit.