Hey everyone! Just wanted to let you know that Orchard of the Tame - the 370 page graphic novel by Marlo Meekins and myself - is now available for digital download!
https://ko-fi.com/s/487dfd503e
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@ncrossanimation
Hey everyone! Just wanted to let you know that Orchard of the Tame - the 370 page graphic novel by Marlo Meekins and myself - is now available for digital download!
https://ko-fi.com/s/487dfd503e
You searched for: MarloByMarlo! Discover the unique items that MarloByMarlo creates. At Etsy, we pride ourselves on our global community of sellers. Each Etsy seller helps contribute to a global marketplace of creative goods. By supporting MarloByMarlo, you’re supporting a small business, and, in turn, Etsy!
Marlo has prints for sale!!!
Are people returning to tumblr? If so, here’s a post from me! I’m working on a new short film and here’s a bg design from it.
Also, I have a Patreon where you can see more stuff
https://patreon.com/marloandnick
Hello Nick! Im a huge fan and illustrator hoping to work with you one day! My question is - is there a specific set of brushes that were used for the production of Over the Garden Wall ( backround design ) and is there any way for me to get it? thanks !
I used the basic photoshop brushes. Nothing fancy, no plugins etc. I think the textured brush may not exist in the newest version of photoshop though...it was a brush with a canvas texture on it.
Hey, I have a question. Did you graduate from Sheridan Animation? I'm currently in Illustration there and I find it cool you came from my school
I did. In fact I studied illustration as well
Going through some old computer files and I found this board sequence I did for Over the Garden Wall :: episode 4 :: “Tales of the Dark Lantern.
Originally it was a cabinet maker or a blacksmith that sang the song to Wirt and this was the original song that I wrote for it. It got rewritten in the final version, and the character was changed to a toy-maker...but that was all part of the process.
Here’s the first background I designed for the pilot for Infinity Train. This was to help set the style of Corginia for the bg artists.
Nick Cross: The Frederator Interview
Nick Cross is a two time Emmy Award-winning Canadian animator. You may know him best as Art Director of Over the Garden Wall (2014), the Cartoon Network mini-series that demolished long-sniffed presumptions about visual beauty in TV animation. Watching “Yellow Cake” (above) and Nick’s other great films leaves no doubt as to why he was pegged for the job; reading this interview, you’ll see why he was keen on the challenge. Nick weaves elements of old cartoons - whimsy, innocence, and yes, even cutesiness - into cynical social narratives. As Art Director of the Cartoon Network Shorts, many titles he’s worked on are becoming hotly-anticipated new series—I’m as excited for his upcoming short,“The Clockwork Elves,” as I am for them (very).
What inspired “Yellow Cake”?
The Iraq War: when they were trying to justify invading Iraq, “yellow cake uranium” was the phrase repeated. Yellow cake sounds like a delicious treat, but they made it sound so ominous. So I thought, what if it actually was a dessert, being made out as a threat? It’s also a cat and mouse cartoon—so sort of using the language of old cartoons to tell a different kind of story.
Do you set out to make cartoons that deal with class division and war, or do they just go that way in the making?
I think I just get really bummed about current events, and this is how I can put them into a context I can control. Class definitely exists and people, in the West especially, don’t want to admit it. And when we invaded Iraq, it really struck me that this horrible war was going on, and people weren’t bothered. I grew up hearing about WWII and Vietnam; how with rationing and the draft, everyone felt it when the country went to war. And now it’s so easy for people to pretend it isn’t happening. Same as how people get away with viewing global warming as an abstract concept, and ignore the environmental disasters that are ruining lives—just as long as they’re not affected.
Why do you gravitate toward the old cartoon style?
My favorite cartoons are the old Hollywood ones from the 30s and 40s, especially old Warner Bros. And my background is in painting—I love classical art. Someone recently said, “I thought you just liked old paintings?!” and I was like, “Yeah… but I like Bugs Bunny and seeing someone get punched in the face, too.” It’s that mix of low and high brow. Which is part of why the films I make are cartoony with darker themes. It’s just what I like.
Who are your biggest artistic influences?
René Magritte is a huge influence. In high school art class, he was my introduction to surrealism. It blew my mind. He’s been a major influence since. Besides him, there are just too many…. I’m influenced by pretty much everything. Turn of the century and 20th-century art; German expressionism might be my absolute favorite. For like two years all I watched were silent films. And then with Over the Garden Wall, people have actually gone through and identified all of the inspirations. We were just copying stuff and putting it in. Like the old Disney Alice Comedies, with a real girl in a cartoon world, we blatantly pulled from that. We didn’t try to hide the influences.
Before OTGW, you were a background painter on the preceding short, “Tome of the Unknown.” How did that opportunity come about?
An email out of the blue. The art director, Sue Mondt, asked if I was interested and I said, “Sure.” I was doing storyboards at the time and a little background painting seemed like a fun distraction, extra money or whatever. They didn’t send me any visual material and I assumed it was going to be something simple. Then I received the first background design by Chris Tsirgiotis, in pencil and rendered. It looked just like a beautiful old Disney background. I was like, “Oh okay, THIS is what it’s going to be.” I quickly got on the phone with Pat (Mchale, Director) and he told me to, “Just paint it however”. So I went nuts with it. Elaborate stuff like that, you never get to do for TV. It was nice because he trusted me to do it, and yeah… I just went nuts.
You lived in Canada at the time - how’d they find your work?
Later, Pat said he’d always wanted to make something with classical painting backgrounds. Since everyone’s gone digital, that’s kind of dropped away. He saw one of my films online, “The Pig Farmer,” (below) where I had painted backgrounds and thought, “Like that!” So I guess when CN asked who he wanted to work with, he put my name down. I had a lot of fun with it, sent in my work and they were like, “Okay great! You’re done!” I didn’t hear anything for months, until Pat reached out to tell me it’d been picked up as a show, and would I want to art direct it? I was like “Yeah!”
Keep reading
Just a robot I drew for fun...
Is there a way or place to buy animation cels from Over th Garden Wall?
Sorry no, animation for television hasn’t been painted on cels for over 20 years. That was one of the first processes that got digitized. A lot of productions - including Over the Garden Wall was animated on paper, but those drawings are scanned and then coloured using a program like Toonz or Digicel.
Some sort of Pleistocene era mammal...similar to the thylacine, except tree-dwelling...anyway it's a scene from The Clockwork Elves.
Another clip from The Clockwork Elves, coming in 2018!
My upcoming film “The Clockwork Elves” will be released in early 2018…I’m just doing a final polish/edit. In the meantime, here’s a scene from it. Happy holidays!!
Here’s a painting I did for a Cartoon Network group show for Over the Garden Wall. Oil on canvas, 24″ x 24″
Here is a detail from an oil painting I did for the upcoming Art of Over the Garden Wall gallery show at the Cartoon Network Studio Gallery in Burbank. I’ll post the full painting once the show is hung so as not to spoil anything ;^>
Hi, i have a question, the truth of the backstory of the beast one day it will be revealed?
It’s difficult to answer this question without first understanding what truth is. Unlike reality which has an objective truth, fiction is subjective both to the creator of the work, and the audience. Much like Schrodinger’s Cat, different truths in a single work of fiction can simultaneously exist. And, as time goes on, the truth intended by the author just becomes another truth that may or may not be acceptable to all that observe it. Consequently, the farther one moves away from the fountainhead of the original work the more distant and vague the truth becomes. It is obscured by the fog of time and by the opinions of each person that has seen it. So, it seems that we will never really know the truth and, at the same time, we also already do.
Hope that helps!
Hi! I have a couple of questions regarding your career. I know you come from an ilustrator background. How did you became an animator? You took courses or did you gain knowledge all by yourself?
I got a job doing background layout for TV which is a pretty easy transition for someone without animation training. From there I learned the basics of animation production and then taught myself animation from making my own films.