Sam Nassour always wanted to work in animation, but Syria didn’t have any good animation schools, so he studied architecture. Sam learned the rules of perspective and the principles of universal design – he liked how architecture combined the laws of science and the basics of art.
As a student, Sam worked in a graphic design studio, and the studio owner taught him Photoshop. Sam learned the dos and don’ts of creating advertising graphics on a computer before he actually owned a computer. His studies took him to Rome, where architecture played by different rules, had different principles, a city in which architecture really felt inseparable from art.
Sam continued working on his own character designs and story ideas, but was no closer finding work in animation. He got his big chance in the United Arab Emirates: opportunity finally came knocking… and it found the artist in his beach shorts.
Sam is speaking to us from Finland. Earlier this year, he joined Rovio Entertainment, the Finnish company behind Angry Birds. He was in London before this, and Dubai before that. It’s been an eventful career, in which Sam seems to have diligently learned the rules of his various artistic pursuits, just so he can break them.
SAM’S FIRST CRITICAL VOICE
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PAINT EPIC BATTLES IN TRADITIONAL INK
Warhammer illustrator THOMAS ELLIOTT shows you how to create an epic science fiction fight scene with this step-by-step guide
CONJURE MAGIC ILLUSTRATIONS
Daria Anako demonstrates her process for creating a whimsical piece of art with some spellbinding touches
First Impressions
We discover the early influences that inspired the artist
ZBrush for iPad
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DRAGON OFORCEC
Legendary D&D artist Larry Elmore explains the keys to crafting timeless fantasy art.
DUNGEON MASTERS
ImagineFX marks the milestone 50th anniversary of the launch of Dungeons & Dragons with a look at its rich tradition of illustration
Erik Ly
Gamer's haven Why the artist enjoys a maximalist aesthetic more than the minimalist approach.
2D meets 3D: How the workflows are merging
Interdimensional As VFX and animation evolve and tools become more accessible, Tanya Combrinck asks whether the separation between the mediums is reducing