broose johnson

I'm currently working for a Japanese kindergarten. Seriously! They've developed a new curriculum for teaching English to Japanese students that needs to be illustrated and have DVDs created. It's nothing that I ever expected... and I'm loving it! I get to continue to work from my home - and there may even be a trip to Japan in it for me in the future! I'm still continuing to follow up on a few of my projects from my freelance days including the promotion of my personalized Christian Princess song, "A Princess After All" that can be found at www.APrincessAfterAll.com.

Currently writing and boarding half hour episodes for Big Idea's 3-2-1 Penguins! show on NBC as well as writing, storyboarding, illustrating and directing a number of animation related projects. Also in process of producing a personalizable Princess song for christian girls through my website, APrincessAfterAll.com.

I had the very great privilege to write four episodes of the half hour CG animated Saturday morning show, 3-2-1 PENGUINS. I story-boarded on several as well and finished up the season by directing the season finale (an episode that I wrote) entitled, IN THE BIG HOUSE.

As Head of Story and Director of Animation for Cecropia's production, THE ACT, (an innovative video game focusing on relational and emotion-based gameplay using traditional, hand-drawn animation) I oversaw all aspects of the story and animation process including artistic design, gameplay design, layout and background painting as well as directing a staff of in-house animators and artists as well as freelance artists located throughout US and Canada. Also, edited the entire production preparing it for distribution.

During my 16+ years at Disney I was blessed to have had the opportunity to help create some of the Studio's finest characters including Sebastian the Crab, The Beast, The Genie, Young Simba and the dimwitted moose,Tuke, in Brother Bear. For the films Mulan and Brother Bear I worked as a Supervising Animator which involved developing and designing the characters (Ling and Chien-Po in Mulan and Tuke in Brother Bear), setting the tone for acting and performance, supervising a crew of artists in all aspects of the animation process and, of course, animating like crazy. My work on Tuke also required the animation and integration of CGI antlers, generated in Maya, into my handrawn animation. During the latter half of my time there I worked extensively in Story and Development on Brother Bear and the short film John Henry on which I was Head of Story, which involved storyboarding, script writing, character development and design, and training of Disney's Florida story team.