Adam Irvine, Fall 2023

PERSONAL BRANDING

I am Adam, a professional motion graphics animator from Orange County, California.

WIth a primary forcus in motion design, I harbor an unwavering passion for the expansive realm of the animated arts.

VISUAL INSPIRATION

Inspiration is sprung from a variety of visuals throughout my daily life. Often that of high contrast and exaggerative color harmonies, which grab my attention and flood my mind with ideas.

Covering my belongings with stickers of various designs and genres has always been one of my primary methods of self-expression.

BLUE R: 9 G: 149 B: 206

Hex: 0995ce

Hex: 19bef0 OBSIDIAN BLACK

R: 25 G: 190 B: 240

THE ILLUSION OF

ARCTIC BLUE

MOTION DESIGN

Motion Graphic Animation to me, provides the opportunity to emmulate the illusion life, opening up a door to a whole new world of possibilities.

As a person enjoys a colorful and exciting firework show, I put in my best efforts to create animations that provide a similar feeling of euphoria.

VISUAL IDENTITY

As a designer, my enduring fascination lies with the design aesthetics of the 1980s and 1990s.

These eras are characterized by their distinctive and alluring color harmonies, the use of sleek geometric shapes, as well as the everpresent retro style found within media of that era.

ANIMATION: INFOGRAPHIC

Through the use of After Effects, I created a motion graphic animated infographic featuring a sleek and minimalistic design. I utilized Adobe Illustrator and

BLUE ROSE SWORD

3D HARD SURFACE MODEL

This hard surface model was created within Maya and substance painter. The primary goal was to model a VR ready sword, heavily inspired by a popular anime by the name of “Sword Art Online”.

This sword was delicately hand-textured, as indicated by the elegant rose engraving on the blade’s ricasso.

WORK PROCESS

3D HARD SURFACE MODEL

This hard surface model was created within Maya and substance painter. The primary goal was to model a VR ready guitar with high-resolution textures, all while ensuring efficient resource allocation.

Delicate handwork was employed to texture this guitar, as exemplified by the graceful hummingbird illustration on the pickguard.

WORK PROCESS

DYSTOPIAN BASEMENT

3D MODELED INTERIOR SCENEBUILD

This isometric scene was created within Maya and substance painter. The primary goal was to model a dystopian themed interior for a low-poly, high-res application in a video game environment.

Thoughtful assessments were undertaken to guarantee the scene will be visually appealing from afar, while conserving resources through low-poly modeling.

WORK PROCESS

GRAVITY

ANIMATION: TITLE SEQUENCE

This title sequence provided me with the opportunity to experiment with the 3D rendering engine After Effects provides. Utilizing the Obs plug-in by Video Co-Pilot, I recreated the Gravity title sequence with my own personal flare.

The earth was thoroughly textured with the use of Adobe Photoshop as well as Substance 3D Painter while being fully rendered within Adobe After Effects.

WORK PROCESS

MOONBASE .1

3D MODELED EXTERIOR SCENEBUILD

This scenebuild project was created primarily in Maya and Substance Painter. The goal was to model a sci-fi and astronomy based scene that could be integrated into a virtual reality specific realm.

Careful considerations were made to ensure the scene is visually appearling from a distance, while saving resources by emplying low-poly modeling strategies.

MOONBASE .2

3D MODELED INTERIOR SCENEBUILD

This scenebuild is the interior perspective of the of the moonbase. The primary goal was to model a sci-fi and astronomy based scene that could be integrated into a virtual reality specific realm.

Thoughtful planning was put into making sure the scene’s visual attractiveness remained intact when viewed from a distance, all while efficiently utilizing resources via low-poly modeling and precise texturing strategies.

LOST & FOUND

ANIMATION: NARRATIVE

In a dystopian Paris, a man searches desperately for his separated loved ones, aided by his loyal canine companion. The city is a shadow of its former self, with danger lurking around every corner.

This project provided me with the opportunity to experiment by integrating 2D animation into a 3D realm all within After Effects.

Electroblast

THEATRICAL PRODUCTION, SEAWORLD

Partnering with Crew Percussion under a contract with SeaWorld, I was responsible for bringing vibrant and eccentric visual effects to life for one of their Summer Electric Ocean shows.

Primarily utilizing After Effects, I generated psychedelic animations intended to synchronize with the music during the performance, serving as a visualizer.

WORK PROCESS

DARKNESS FALLS

THEATRICAL PRODUCTION, SEAWORLD

Contracted with CR Productions by SeaWorld, I was tasked with animating exciting and intense visualizers and effects for their 2022 How-O-Scream performance.

WORK PROCESS

I CAN DO ALL THINGS THROUGH CHRIST WHO STRENGTHENS ME

PHILIPPIANS 4:13