THAT'S ME!
I'm Wolfgang, a graphic designer and artist of many other titles, currently searching for work!Experienced with Adobe Photoshop, Illustrator, InDesign, After Effects, and Premiere, as well as Blender.I've dabbled in design since the age of 13 (and been an artist for much longer); Once a few classes taught me the ropes of Adobe software, I was off on my own creative journey.I believe that art is one of the most important parts of life. It functions not only as decoration and entertainment, but as a form of communication and expression of our humanity.I don't just want to create art. I want to dissect it, analyze it, and truly understand all there is to know about the intentions, fundamentals, and history behind it.
DEVIL'S WORSEWORLD
A series of surreal shorts exploring the awful, awful lives of WORSEWORLD's inhabitants.This is a personal project of mine, still in the works. I began making it as a comic under the name ANGELPUNK, but after I gave the story an overhaul, I decided an animated series would be a better fit.
BRIEF:
A logo for a surreal animated series with aspects of psychological horror. Reality itself is unstable, and the world resembles the aftermath of a nuclear winter in a dystopian society. Visual motifs include VHS and glitchy video effects, liminal spaces, early internet/old tech (think 90s sci-fi), and unsettling imagery juxtaposed against the characters' childlike outlook on life.SOLUTION:
The VCR-esque font draws on the retro tech/internet visuals, while the mismatched capitalization and positioning of the letters reflects the childish nature of the characters and the surreal, unstable reality they reside in.The "eye" of static symbolizes the internet; It opens, and you are connected to another world. The internet, known as HOMENET, is a core part of the story's themes of escapism and surveillance.My goal with the visuals of this series is to make something that feels like long-lost media, now rediscovered.
SCRAPPED COMIC CONCEPTS
SKOBELOFF FOREST
In 2024, I joined the team as a graphic designer on Skobeloff Forest, an upcoming independent animated series, and created their logo.Since the studio is entirely self-funded (and thus lacking in funds), my work for them is scattered between various projects.All character illustrations pictured are the work of Olivia Page (creator of the series) or others on the team.
BRIEF:
A logo for a TV-14 animated series that, while being a musical comedy, contains heavy subject matter and aspects of horror. The story follows two sisters entering a portal to a strange new world known as "The Forest". Uses the series' signature color of Skobeloff blue.SOLUTION:
I drew inspiration from the portal itself (which appears as a blue fog), as well as a character from the forest, Drax, a "skele-ghoul" with a skull for a face. With a combination of sharp features and ornate details, the skull evokes a sense of mystery, magic, and unknown dangers. The "eyes" instill a feeling of being watched, similar to how the main characters feel their past looms over them.An organic style was requested to align with a handmade/collaged, punk/grunge, 2000s aesthetic of the characters. The wordmark's lettering resembles words scratched into wood, to juxtapose against the imagery of the town's welcome sign.
THE SISTERS
Using a mixed-media style, I designed character introductions for Kloe and Shelly.I collaborated with the team on moodboards for each sister to nail down the colors and imagery needed to convey their personalities. Then, I sketched out thumbnails and layouts for both of them. Once approved, I got to work collecting assets for collaging and finalized the designs.I created their render sheets in a similar style, this time with a "journal" theme as per the team's request.
MACEY WINS A TICKET
I designed the logo and credits sequence for the first short, Macey Wins A Ticket, as well as some marketing material.This short takes place at the Junktrack and focuses on Macey Mittens, a chaotic little creature.The logo was created to reflect Macey's silly, childish nature, and ties into the mixed-media style of other promotional material.The grungey, graffiti-inspired style of the credits were based on the setting of the Junktrack and used photos taken by Yuri Kijek as backgrounds.
