The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
Baby Shark (Movie) This feature-length project allowed me to dive into more complex compositing techniques. I worked on creating vibrant underwater scenes, blending 2D character animation with rich, textured backgrounds to bring the colorful world of Baby Shark to life.
Star Trek: Lower Decks (Seasons 2, 3, 4) Working on this adult animated series was a thrilling challenge. My role involved balancing the iconic Star Trek aesthetic with the show's comedic tone. I focused on creating dynamic space scenes and enhancing the futuristic environments, all while maintaining the series' characteristic flat animation style.
Digman (Season 1) As a new IP, Digman presented unique opportunities to establish visual standards. I love the humor of this show, My compositing work focused on enhancing the show's archaeological settings, balancing realism with the series' comedic undertones.
Captain Underpants (2016-2019) A significant portion of my early career was dedicated to this series. As a compositor, I worked on integrating hand-drawn animation with digital effects, ensuring the show's unique art style translated seamlessly to the screen.
Duck & Goose This project allowed me to work with softer, more pastoral aesthetics. I focused on creating gentle, appealing visuals suitable for a younger audience, paying particular attention to lighting and color harmony.
Future-Worm (2016) My debut project at Titmouse, Future Worm, was an ambitious series that provided valuable experience in blending futuristic elements with comedic animation while not finding widespread success.
Each project at Titmouse has presented unique challenges and opportunities. As a compositor in Vancouver, I've had the privilege of working on diverse content, from adult animation to children's programming. This variety has expanded my skillset and deepened my appreciation for the crucial role compositing plays in bringing animated stories to life.
The collaborative environment at Titmouse has been instrumental in my growth, allowing me to work alongside talented artists and continually refine my craft. From integrating hand-drawn elements with digital effects to creating complex, multi-layered scenes, my journey in compositing has been one of constant learning and creative problem-solving.
Looking ahead, I'm excited to continue pushing the boundaries of what's possible in 2D animation compositing, always striving to enhance storytelling through visual artistry.
