Michael Rigley — Art Director

Michael Rigley is an Art Director based in United States, featured in the Art of Styleframe library of motion design and visual design talent. This profile aggregates selected works documented in the gallery alongside attribution links back to the artist's own portfolio for verified context.

Michael's portfolio spans ADOBE CURL, ADOBE REMIX, AF RANDOM, ARES - MR among other commissions; the 8 selections indexed here each carry attribution straight back to the studio that made them. Titles in the gallery below include Parallel Horizons, Dataland, Interstellar Arc: Graphic Systems, A Replica of Infinity, among others, each opening on the original artist source rather than rehosted media.

For the complete picture, Michael keeps work at michaelrigley.com, behance.net, and we treat those as the canonical record rather than duplicating them here. There's a reason we anchor Michael to United States and to specific works instead of vague trend labels: the specifics are the part worth keeping.

Michael Rigley is an art director and designer working across commercial film, broadcast, gaming, and realtime graphics. He's featured in the Art of Styleframe library, and every entry below links straight back to his own site so the credits stay attributable.

What the work looks like

Rigley's frames start from systems rather than illustration. Particle fields, procedural noise, holographic readouts, graphic layers that behave like instruments instead of decoration. That's a harder brief than it sounds. Anyone can render a glowing interface. Building one that reads as a machine with rules behind it takes restraint, and it's the difference between a pretty frame and a frame you can hand to an animation team.

His site keeps a short list of deep case studies instead of an endless thumbnail scroll, which tells you something about how he works.

Selected projects

Parallel Horizons and A Replica of Infinity sit at the personal, exploratory end of the portfolio. Dataland and Interstellar Arc: Graphic Systems are the system pieces, where the real job is inventing a visual language that has to survive across dozens of shots without falling apart.

Battlefield 2042 is the biggest entry by some distance. His site breaks it into separate case studies for the cinematic, for content, for UI and maps, and for network graphics. Splitting one title four ways is unusual, and it makes the actual scope readable rather than hiding it behind a single hero image.

Dolby Dimension covers film and installation work with its own look-development pass. FITC Tokyo 2015 Titles is the oldest piece still on the site, and it remains one of the cleanest surviving examples of his particle-and-noise period.

Why we feature him

Two reasons. The first is the discipline of the graphic system, where every element earns its place because the rules say so. The second is the teaching: Design for Production: Workflow, his first training series, was created with Learn Squared and walks through the process behind the frames. Want to know why his interfaces feel engineered rather than drawn? That course answers it better than any single still can.

Where to see more

Portfolio: michaelrigley.com
Behance: behance.net/mrigley

Portfolio highlights

ADOBE CURL Role: Design Direction, Design, Animation — Inspired by my past works of particle sims and noise, Adobe reached out looking for a similar application for their logo. The task was to create a :15 loop
ADOBE REMIX
AF RANDOM Frames developed for various projects while contracting at Autofuss / Bot & Dolly.
ARES - MR - Role: Lead Design, Animation In early 2015 Ash Thorp was contacted by 3AM to co-direct a very unique viral spot for the upcoming film The Martian. Hosted by Neil deGrasse Tyson, the spot is an episo
AUDI VC Style frames developed with Gentleman Scholar for the Audi Q7 virtual cockpit spot.
MR Concept Art for the 2015 cyber thriller, Blackhat. Art Direction by GMUNK. Directed by Michael Mann.
DFP WORKFLOW - Instructor, Designer Design for Production: Workflow is my first training series created in collaboration with Learn Squared. I wanted to design a course that would guide my students through a wide
Pitch concept for Dr. Strange main on end. Developed with Blur Studio.
FITC15 - Role: Art Direction, Design, Animation Now in its sixth year, FITC Tokyo 2015 consists of presentations from some of the most interesting and engaging digital creators from all around the world. To
LP LIVE Developing a new round of visuals for Linkin Park's upcoming tour, Ghost Town Media brought me in to help design and animate a few songs in the set.
NISSAN ROGUE
OPUS FRAMES In late 2015 Virgin Records reached out GMUNK to create some key visuals for Eric Prydz's upcoming tour. I was brought on to tackle the title track, Opus.
ORA HALO Releasing their inaugural product, the Summoner's HALO, ORA Systems brought GMUNK on board once again to design direct the look and feel of the app.
Role: Direction, Design Direction, Design, 3D, Animation, Comp Title approached us looking for an immersive tech spot that would highlight Paycasso's Verisure product through purely non-representati
QQQ Style frames developed for Powershare pitch.
ZD VR - Lead Concept Artist Based on the Participant Media feature-length documentary "Zero Days" Directed by Alex Gibney, "Zero Days VR" is the story of a clandestine mission hatched by the US an