filbarlow's avatar

... just in case you needed a reminder...

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By filbarlow   |   
Published:
© 2012 - 2020 filbarlow
Here is a visual resume of SOME of the animated cartoons that I was the Head Character Designer on and the years that I worked on them. Not a bad list.

I prepared this art for my 1st mini Zooniverse comic so I thought you might like to see it and reminisce a bit. Enjoy... and ...you're welcome!
Image size
2000x682px 1.02 MB
IMAGE DETAILS
Software
Adobe Photoshop CS4 Windows
Comments184
anonymous's avatar
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Fistron's avatar
FistronHobbyist General Artist
Smile!
Sweet!
Sister!
Sadist!
Surprise!
Service!
STEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEL!!!!!

Goddamn, it passed 20 years. I'm old.:iconcryingplz:
hansungkee's avatar
hansungkeeHobbyist Traditional Artist
Soon The 30th Anniversary of Captain N in 2019.
dreno360's avatar
dreno360Professional General Artist
Love it!!
filbarlow's avatar
filbarlowProfessional Filmographer
It's easier to show this than trying to explain my job history.
dreno360's avatar
dreno360Professional General Artist
I was born in 81- so tis is basically a break down of my child hood and my son's as well ha! (he was born in 2004)  let me know if you need an apprentice.  (There can only be two) Master and Apprentice!!!
filbarlow's avatar
filbarlowProfessional Filmographer
Hey, I'm not Sith!
I ain't Jedi either by the way (who ever heard of killing people for the light?).

How about we draw pictures, improve our skills and not hurt anyone, would that work?
dreno360's avatar
dreno360Professional General Artist
lol that is alright with me :)
BurgerKingGhidorah's avatar
BurgerKingGhidorahHobbyist Traditional Artist
so, which one of these would you say was your favorite/least favorite to work on in order?
filbarlow's avatar
filbarlowProfessional Filmographer
The only reason I didn't enjoy working on a production was because of the internal politics at the studio, which would end up interfering with my concentration and workflow. Now, having recovered from the effects of Hollywood's dysfunction, I can look at these shows from a distance and reclaim pride in my efforts. So keep in mind you did say "to work on" I'm proud of all of my work, but you asked, and you may wish that you hadn't. Here we go...

So most political was:-
1) Tutenstein: The Producers were cheating the Network by charging for crew we didn't have, but expecting us to do the same amount of work. I was wrongly accused of being late on delivery of our first episode by an Exec who was screaming down the phone it me and didn't have his facts right, we had delivered on schedule. His revenge was to fire my girlfriend on Christmas eve, so I decided not to work on Xmas day, we went to see Lord Of The Rings instead, which was strangely paralleling my life, it gave me the strength to return to the production and accept the fact that I was being maligned and accused of Moonlighting, which wasn't true. Although proud of the work and loving being able to design Ancient Egyptian gods I ended up fired once my contracted 20 episodes were completed. This experience actually broke my heart for the first time in my life.

2) Igor: I was working for two companies where the Producers would yell at each other pretty much every day, I took to wearing earplugs to lower my stress levels and to help me concentrate. However this was the best script I have ever worked on and this was my best collaborative experience because I was in charge of the creative crew, and in spite of all of the drama we did great work. I was directing and editing the animatic, but the Executive Producers kept changing things, so I ended up doing 5 versions, all were unfinished. I am disappointed that I have nothing to show of my animatic work. The companies ended up in court and luckily I was never asked to testify. The film was financed and inspite of promises made, went ahead without me.

3) Heavy Gear: Working for Columbia Tristar was a grueling experience that got worse with each production. Not only was the workload of three back to back 40 episode shows inhuman, I had to squeeze in the 13 episode Max Steel as well. Added to this was the fact that only my immediate boss defended and protected my company from being fired throughout my entire tenure with Sony. One Producer in particular actively campaigned for my dismissal from contract to contract, for which I had to renegotiate terms every time. They were trying to wear me down and by the time of Heavy Gear I was dealing with a new contract every month! Someone even slipped a print out of an email under my office door, in which the Producer wrote to his superiors how unnecessary I was to the production and needed to be fired, something he had been trying to do since GeeKeR.

4) Max Steel: The CG company Netter were incapable of making this show and eventually had it taken off their hands, I had to deal with them and ended up making CG models of the characters for them. I was given no time to do this show but needed to draw very complex orthographic views which the modellers were supposed to build on top of, they just "eyeballed" it. Badly. Mattel were also a pain in the arse, rejecting the Psycho model until I was forced to scan the head of the toy and trace my turnarounds over the scans, just to stop their bitching.

5) Starship Troopers: The CG Company Flat Earth went under working on this show, and Foundation Imaging followed soon after we wrapped. Gaining the trust of the CG Modellers took a lot of effort and time. I eventually found my crew who could rise to the challenge, but man I had to step over a lot of egos to get to them. Although I'm incredibly proud of how this show turned out, and the ultimate collaboration with the artists at Foundation, it took a lot of personal courage to rise above all the "shade" thrown my way. I sincerely wish that we had been able to continue doing shows together, but Heavy Gear was taken out of their hands for political reasons and the company had to close their doors.

6) Godzilla: Centropolis kept rejecting my designs, I almost didn't make it on this show. I pulled an all nighter and designed the main cast, inventing a new style, which saved my skin. The secrecy during the preproduction of this show was an awful experience, I'd been working in secret for a year, when the writers came on and, being Godzilla fans, gossiped online about some rushes that we had just seen. We all nearly lost our jobs for that, the writers never came clean during the hour long meeting in which we were bawled at by our superiors. I don't like cowards.

7) Extreme Ghostbusters: My team left Australia to America to work on this show, I found myself more like a mother having to chase after their messes, paying their $200+ porn bill at the hotel out of my own pocket after I'd told them not to watch Pay-Per-View, and the costs to set them up in their own apartments. There was a studio manager who did not want an Australian team on his production who was just being a pain in the arse while he was arranging to jump ship to another studio. I was being art directed when all I needed to do was refocus and figure out this style and complete the Main Model Pack in peace, but as with all of the Sony shows, we had no preproduction, the Directors and Storyboard Artists needed their episodic designs NOW!

8) Captain N: I simply got kicked off this show after I created the original style and some of the main cast. Which still stings to this day, I thought these guys were my friends. Welcome to Hollywood.

9) C.O.P.S.: The head of Character Design had no clue what to do with my designs. I was faxing them through from Australia, and I wasn't there to help him get it.

10) Gen 13: This was hard because I really felt that I couldn't get the style, the Director was a friend, but he left me to figure it out, which was frustrating for me. Once he brought on other artists who could do a better job I wondered why he needed me. I had to leave the show, and in doing so permanently damaged our relationship, which was a pity, cos I still like the guy!

11) Spectrobes: Disney in a political move to "dis" our boss at Buena Vista took Spectrobes out of our hands and gave it to a Japanese game company, who "politely" shunted us off the production. Disney cheated us on a water tight contract and still owe us $10,000 for the production of the third game, which was meant to be a flat fee, but they made it a royalty calculation so that they could dick us, they made 5 million off the first game by the way.

12) Mighty Ducks: I never got credited for this show, but I was once in Disney registering my portfolio with a clerk, because I was desperate for work, while sitting under an eight foot high cutout of the character Chameleon, which some other artist had traced off my design. Badly too. It was insult to injury.

13) ALF: The first season of ALF was fun! Yeah there was politics, but we were young artists in a very small space laughing it up. We were all planning to leave DiC and set up our own animation house, at least that's why I was there. The second season DiC had employed the "Divide and Conquer" method, each artist was now in charge of a team and housed in separate areas of a much larger building. I had a crew of 5 artists and two shows to do in the same time we previously had for one. Stressful.

Sorry you asked? Presuming that you read this far.
BurgerKingGhidorah's avatar
BurgerKingGhidorahHobbyist Traditional Artist
oh no, i'm actually VERY amazed by how detailed you made this. i grew up on Godzilla and he MIB series, so it's ind of great to find you and see you're so open! thanks again.
filbarlow's avatar
filbarlowProfessional Filmographer
Haha, I must admit it was a bit of a purge, I've been mentioning this stuff throughout my posts, I'm glad to have all of it summarized in one place.

I sincerely appreciate that you stayed around to read the answer, by the way.
BurgerKingGhidorah's avatar
BurgerKingGhidorahHobbyist Traditional Artist
no problem. glad to be a new follower ^w^
filbarlow's avatar
filbarlowProfessional Filmographer
Happy to have your support :)
DreamKeeperArts's avatar
DreamKeeperArtsHobbyist General Artist
It's disappointing to hear that such a talent and hard worker was not treated with proper respect by producers, and even by other artists.
If in the slightest chance, I ever get to work with you, I'd like to shake your hand for being an admired part of my childhood.  It was shows like the ones you worked on that made me want to draw as a kid.
I'm glad you're moving forward, you deserve to be proud of your work.
filbarlow's avatar
filbarlowProfessional Filmographer
Thank you for your understanding, I did have the support of Executive Producer Richard Raynis and Director Kevin Altieri they are the people who gave me a chance in the animation industry. Without them you wouldn't even know that I existed.

I'm glad that my work has inspired people to find their creative path it's a good legacy to have :)
Should we meet, we can shake hands as fellow artists!
Eaohkan's avatar
EaohkanHobbyist Digital Artist
Wow, talk about an accomplishment that's every ( if not the majority ) DA user's dream.
filbarlow's avatar
filbarlowProfessional Filmographer
Yeah, it's been quite a career.
Eaohkan's avatar
EaohkanHobbyist Digital Artist
That must've been awesome. What was it like?
filbarlow's avatar
filbarlowProfessional Filmographer
Mostly hard work and silly company politics. It's better looking back because in spite of it all my artwork is there for all to see.
Eaohkan's avatar
EaohkanHobbyist Digital Artist
Indeed. :D
SherbertTCat's avatar
SherbertTCatHobbyist Digital Artist
You don't need a resume, just flash this at prospective clients.
filbarlow's avatar
filbarlowProfessional Filmographer
Exactly :XD:
SherbertTCat's avatar
SherbertTCatHobbyist Digital Artist
At that point they should be required by law to just drop a comically large, cartoony sack of money in your lap.
filbarlow's avatar
filbarlowProfessional Filmographer
Man I would love that, I'm hoping to be able to pay my rent next month.
anonymous's avatar
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