Discover the Vibrant World of Emily the Artist
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I’m a 2D and 3D animator finishing my BFA at Pratt Institute (Class of 2026). My path into animation started long before Pratt — sculpture, drawing, and painting at NSU University School in Davie, then a few years teaching art to kids at Young at Art Museum in Fort Lauderdale, then theater at the Broward Performing Arts Center. By the time I got to Pratt I’d worked across enough mediums to know I wanted the one that combined them all.
Today I work the full pipeline — design, storyboards, modeling, animation, lighting, and comp. Recent work includes an original animated segment for a Circuit Arts of Martha’s Vineyard documentary, background art for an independent short film, and three festival shorts of my own (Easy Bake Husband, Woodsy and the Sleep-Walking Cure, and Pop!). The full studio-facing portfolio lives on ArtStation.
I move between 3D, 2D, still art, and teaching. Each medium pulls from the others — character work informs storyboards, sculpture informs lighting, teaching keeps the fundamentals sharp.
Maya, ZBrush, Substance Painter, Nuke. Character work, environments, and motion. Recent: an original segment for the Circuit Arts of Martha’s Vineyard documentary.
Toon Boom Harmony, Procreate Dreams, Storyboard Pro. Character animation, hand-drawn shorts, and the storyboards behind everything.
Procreate, Photoshop. Illustration, character design, and concept work — the language a project develops in before any frames move.
Workshops and small-group classes for kids and adults. Years of teaching at Young at Art Museum, including reduced-stimulation Sensory Sundays for kids on the autism spectrum, shaped how I teach now.
I’m drawn to character-driven storytelling and slightly off-kilter worlds. The pieces I’m proudest of are the ones where a small character beat or an unexpected color choice carries the whole shot — where craft serves a specific emotional moment rather than the other way around.
A long thread through my practice is making work that meets its audience where they are. Years on both sides of the curtain at the Broward Performing Arts Center’s reduced-sensory performances, and at Young at Art’s Sensory Sundays, taught me that “too much” is a real thing — and that pacing, color, and sound are tools you can use deliberately to make a piece welcoming rather than overwhelming.
I love hearing from clients, collaborators, and other artists — whether you’re considering a commission, want to discuss a project, or just have a question. The fastest way to reach me is the contact page.