Learn industry techniques from professional artists. Over 350 workshops by more than 200 instructors are available on demand.
North Hollywood, CA
Joined August 2009
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Concept artist and Gnomon Workshop instructor Andy Walsh is writing and illustrating his own spooky middle-grade series, The Whisperers.
Think Harry Potter meets Stranger Things, with a bit of Goonies humor, all set at Halloween.
Learn all about it: thegnomonworkshop.com/blog
If you’ve played Assassin’s Creed Syndicate, Odyssey, or Shadows, you’ve seen Vincent Dérozier’s work.
His portfolio advice: you’re judged by your weakest piece, so a few strong samples beat dozens of weak ones.
Read his full interview: thegnomonworkshop.com/blog
This new #Maya workshop reveals how creature #animation is handled for non-playable characters in AAA games. Senior Animator Ali Pournassari shares how to animate an NPC boss’s defensive, threatening move before it launches an attack: bit.ly/TGWAPN02 @autodesk
Simple details, massive difference. Mike Bear found these in his old files, designed years ago for a project.
Most of the difference comes from a few simple shape choices.
Learn about designing backgrounds for animation with Mike at bit.ly/TGWMBE1
From Kevin Decatoire's Cinematic Matte Painting workshop.
Kevin shows a simple way to add subtle motion to your paintings by warping a separated sky layer over 100 frames, moving each part by a different amount to suggest depth.
See the full workshop: bit.ly/TGWKDE01
You don’t need to run calculations to animate with physics in mind.
Wolfgang Haas’s workshop, The Principles of Physics in Action Scenes, builds a sense of gravity, inertia, momentum, friction, and collisions, so you rely less on guesswork.
Stream at bit.ly/TGWWHA01
Eric Keller’s St Michel sculpt using the ZBrush 2027 Beta.
It started as a scan captured with ZBrush for the iPad, then grew with reference from St Michel sculptures and photos from Mont St Michel. Rendered in Redshift for Maya.
Learn with Eric at bit.ly/TGWEKE17
A production-ready character burn in UE5 requires a few systems working together.
@FXBl4ckout's workshop covers the burn material, Niagara dissipation and emissive falloffs, and a Houdini pyro flipbook, with parameters driven in Sequencer.
Stream now at bit.ly/TGWALY01
Want to get better at drawing the human figure?
This learning path brings together nine workshops from four artists with decades of teaching and studio experience, from Gnomon and Art Center College of Design to Disney and DreamWorks.
Get started at thegnomonworkshop.com/learni…
Create a production-ready Niagara particle system that ignites a character before dispersing them into a dynamic cloud of smoke, ash, and embers. Lead VFX Artist @FXBl4ckout demonstrates the #UE5 workflow used to build complex VFX: bit.ly/TGWALY01 @UnrealEngine
A more savage version of Hulk for Spider-Man: Brand New Day, explored by Ian Joyner, who wanted to explore the character's more fearsome roots.
Ian's workshop is about designing characters with personality and history. Dive in at bit.ly/tgw-ijoyner-001
It's pumpkin monster season 🎃 Great sketch by Carlos Huante.
His workshop slows his process right down, from finding a creature’s character to resolving the design, step by step: bit.ly/tgw-chuante-001
Want to take a disintegration effect apart to see how it works? Choi Gil Nam’s Houdini workshop includes the final file, so you can study/change it yourself.
It's beginner-friendly, so you don’t need prior Houdini experience.
Learn his VFX workflows at bit.ly/GCH1
It’s October, so let the spooky images commence 🎃
This is “Paradox of Creation,” drawn in mechanical graphite pencil by J.P. Targete.
His workshop follows an enemy creature from ideation sketch to finished Photoshop concept: bit.ly/TGWJPTARGETE
What do you do when client and supe notes land on your shot?
In his new workshop, Francesco Barbera simulates the debrief, then shows how he prioritizes the notes and works them into primary animation without losing the original creative intent.
Watch at bit.ly/TGWFBA01
A super cool prawn mech suit printed by @MechNuggets. Love the detail and silhouette of this one 🍤
Sculpt mechs in VR with Andre at
bit.ly/TGWALH02
In his workshop, Francesco Barbera (House of the Dragon, Prehistoric Planet, Fantastic Four) animates a documentary-style creature shot from reference to final.
He includes a simulated client/supe review, so you see how notes get handled in the wild! 🦖
bit.ly/TGWFBA01
Tracked VFX can look pasted on the moment the camera moves. Here, Zachary Goodson shows how adding motion blur to a 2D track helps a glowing eye effect sit naturally in the shot, and how to dial it in without making the track drift.
Watch the workshop: bit.ly/TGWZGO01
NEW Animation Workshop: Francesco Barbera explores what it means to work as an animator in a professional VFX studio. Over 4 hours, Francesco creates a documentary-style dinosaur animation shot, from reference to final animation: bit.ly/TGWFBA01 @autodesk @Autodesk_ME
Lattice deformers in Maya can fight you when your object isn't aligned to the world axes.
Wolfgang Haas shows how to set them up properly, so you can add clean, shot-level deformation without bumpy surfaces.
Watch the full workshop: bit.ly/TGWWHA01