ABOVE RIGHT: 2007 | STYLE FRAMES AND ILLUSTRATION FOR RED BULL (2008 OLYMPIC GAMES SPONSOR­SHIP) | PRODUCED FOR PSYOP, ART DIRECTION BY MARIE HYON CLIENT: RED BULL

Kimberly Dulaney’s quirky, imaginative design voice stands out in the fast-paced and competitive “boys club” of New York motion graphics. “She stealthily melted a hole in the skating rink of a primarily mono-gender-dominated practice,” says her former CalArts professor, Gail Swanlund, “and like lily pads spreading on a bright, swift-moving river, she lightly but sturdily has taken hold and is flourishing.” Indeed, after only a couple of years freelancing at top NYC studios like LoyalKaspar, HunterGatherer, Stiletto and Stardust, Dulaney is now senior designer/art director at Psyop.

With her layered, maximalist approach, Dulaney weaves tales through a blend of imagery, typography and animation. She has a fondness for nature and organic detail, both of which appear fre­quently in her work. Dulaney’s motion-graphics work relies on lyrical visuals to transport the viewer. “Kim’s concoctions are undeniably magical,” affirms Swanlund. “She grants us direct access into sublimely bewitching dreams; you’ll want nothing more than to just set up housekeeping and stay indefinitely.”

Dulaney uses both hand-drawn and digital imagery to achieve a kind of contemporary baroque that hooks viewers on an emo­tional level. “Drawing and hands-on experiments allow me to get more ornate and less-perfect shapes that you can’t get from using a computer,” explains Dulaney. “At a young age I became inter­ested in the arts and concentrated on every medium that allowed for fine detail and color. I remember I could never .nish a paint­ing if it was on a large canvas, because I would work so close that I couldn’t see the picture at a larger scale.”

Lush and often boldly feminine, Dulaney’s work is inspired by the beauty of nature. She integrates its complexity into her projects. “What delicious indulgences!” summarizes Louise Sand­haus, another of Dulaney’s CalArts professors. “The range of work and fluidity of experimentation with image-making and her typo­graphic approach are what makes this work so remarkable … and will keep the work continually alive.”

But it’s not all pretty pictures. “I don’t find image-making to be as satisfactory if there isn’t a strong story,” states Dulaney. “With­out a story, it’s difficult to intrigue your audience. With a story it is easier for your audience to relate to your piece because they can find elements from their personal experiences. Plus, the more you can target popular culture, the more the audience responds.”

Motionographer.com, an online showcase for filmmakers, animators and designers, has said of Dulaney’s work, “Her story­boards and illustrations are to kill for. Beautifully hand-created, each project … is unique and varied.” She has served a range of clients—including adidas, Presidente, ’Boards magazine, MTV, Royal Elastics and Nike so far—and Dulaney hopes to work in film and perhaps noncommercial projects in the future.

www.kimdulaney.com