Learn industry techniques from professional artists. Over 350 workshops by more than 200 instructors are available on demand.
North Hollywood, CA
Joined August 2009
- Tweets3K
- Following275
- Followers35.6K
- Likes145
Quick, clean, and efficient at every stage.
That’s the aim of Amy Sharpe’s character workflow: sketch in Photoshop, sculpt in ZBrush, retopo and UV in Maya, texture in Substance Painter, then look dev in Arnold.
Watch the workshop with Amy at bit.ly/TGWASH01
The creature fights back! Vol. 2 picks up where Vol. 1 left off: same creature, same rig, same weight, but this time, Ali Pournassari shows how to build a full combat animation set, including two attacks, a pain reaction, and death: thegnomonworkshop.com/worksh…
Every detail says 1950s small town…until you see the house on clawed legs in the fog.
Eddie Bennun’s workshop is about worlds that sit between the real and the fantastical.
Learn how he creates key illustrations at bit.ly/TGWEBI2
Before a character can aim, run, or throw a combo, something has to tell it when.
In Unreal, that’s often a Blueprint: logic built from connected nodes. Taylor Whitsett covers the foundations of using Blueprints in Unreal in his workshop.
Stream now at bit.ly/TGWTWH02
There’s a difference between a creature that looks idle and one that feels ready for a fight.
Ali Pournassari, Senior Animator at Treyarch, takes a boss creature from raw mocap to a polished idle, turn, and run cycle in Maya.
Watch the workshop at bit.ly/TGWAPN02
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
