Robert began his career drawing Cartoon Characters for his grade-school classmates. He developed a fascination with Visual Effects and Animatronics after seeing Star Wars dozens of times in the late 70s, and used his father’s video camera to make several Stop Motion Short Films in the early 80s. Along the way he learned to storyboard and script his stories like the filmmakers he admired.
By 1988, he had moved on to 2D and 3D Digital Animation on the Amiga Computer while studying Commercial Art in high school, and began doing work for hire as a 3D Animator and Magazine Illustrator in his teenage years.
After studying Film and TV production in college, Robert officially landed his first production job at Fox Animation Studios under the direction of Don Bluth. There he worked as an effects animator on Fox’s first Animated Film Anastasia, and as a concept artist on Titan AE.
In 1998, Robert made the move to Los Angeles, to work on The Iron Giant under Brad Bird. This was to be his last Traditionally Animated film. By 1999, Toy Story and its sequel had changed the industry, and things looked bleak for hand drawn animation.
Robert moved back into Digital Animation as a Motion Graphics designer for Richard Greenberg in Los Angeles, where he designed the main title graphics for the Arnold Schwarzenegger film End of Days. In 2000 he made the move to Compositing and 3D Animation for Live Action films at Amalgamated Pixels, where he created effects for dozens of Film, TV, and Music Video productions, including Swordfish, Elf, and Blade III.
In 2005, Robert took a 4-year break from Feature Films to work at Sway Studio, creating Photo-Real CG imagery for over 40 high profile Commercial Ad campaigns, including the first ever BMW commercial to use a CG car, and the VES Award winning U2/Green Day music video, The Saints. In 2009, he created the Controversial CG portrait of Kanye West for the cover of Marc Ecko’s Complex magazine.
Robert has since returned to motion pictures as a Lead Look Development and Environmental artist, providing visuals for The Amazing Spider-Man, After Earth, and the Academy Award Winning Hugo at Pixomondo. His recent work has taken him to the San Francisco area, where he has worked for the legendary studios Industrial Light and Magic, and Tippett Studio, on such projects as Star Wars: The Last Jedi and The Avengers: Infinity War.