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Another one from the Discovery Museum. I tried to make these animated loops look longer than they actually are. If you follow one character through the whole routine he takes about ten seconds to walk on, haul the next guy up, get helped up himself, then help the next guy up then fall off, but the whole loop is only 34 drawings.  I’ve re-scanned these from the original paper drawings, which is why you can see the paper texture – I left that in because I like the look. I think there’s something a bit more magical about animation that’s happening in the real world, such as on sheet of paper, rather than totally within a computer.

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One of my first animation jobs was to create some loops for an interactive educational facility at the Discovery Museum in Newcastle. Each of about twelve animations would reflect a particular educational theme – this one being geography. I was already a bit old-fashioned by doing all my artwork on paper but, come to think of it, it was a museum, so why not?  I still have the drawings so I thought I’d pull them out and give them a makeover (by kind permission of the museum). I think they make pretty good GIFs.

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I made this little film about a so-called Grammar Nazi seeking to educate the public partly because I didn’t have any personal projects made in CelAction, an animation program I’ve been using in the TV industry for 15 years. In recent years CelAction been used for “Simon’s Cat” and “Mr Bean” and “Peppa Pig”. The benefit of CelAction over traditional drawn animation is that it uses cutout animation, meaning each part of the character only has to be drawn once, instead of up to 25 times for every second of screen time. CelAction has become a far more sophisticated program in recent years, to the extent that a complex character with many parts can be made indistinguishable from drawn animation. However such characters need such an investment of time at the design and rigging stage that they are only commercially viable for large scale tv and film productions, not individual short films. The CelAction character in this film (the man speaking) is relatively basic but serves the purposes of this film.
The other animation (ie Glum Eric and everything else on the man’s screen) is traditional drawn animation – albeit pretty basic! – created using TVPaint software.
Another reason for making this film was to experiment with educational animation, something I’d like to be more involved in.

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When I was studying animation at Southampton, Bob Godfrey used to come down to teach once a week. I knew Bob’s name from the TV series “Roobarb and Custard”, which aired on BBC1 when I was about eight, and later learnt that he was a legendary creator of animated shorts, mostly slightly risque ones that were generally shown in front of ‘Carry On’ films. Bob was the embodiment of the ‘less is more’ school of animation – if you can make your point , or tell your story, just as effectively with fewer or simpler drawings, then do it that way. Don’t make work for yourself.
Bob saw a film I’d made in my first semester called “Advice for Hamsters” and gave me his card. Once I’d finished studying he gave me my first job, on a satirical series called “Margaret Thatcher: Where Am I Now?”, written by Steve Bell.
One of the key lessons I took from Bob was the importance – and delicacy – of timing. I’d animate a scene that needed to be funny, but for some reason wasn’t quite working. He’d check it, play it a few times, then tell me to add or remove a few frames – often only two or three – then suddenly the scene would be funny.
As well as being a legendary animator, Bob was a legendary character. I’ve tried to capture some of that in a little tribute film. Here’s a trailer. The film itself in currently being submitted to festivals, so I can’t show the whole thing yet.

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For my birthday a couple of months ago, my friend Sam Wooldridge bought me a Dr Who Lego kit. I hadn’t played with Lego since I was about 12 so I was overdue to revisit it. As if that wasn’t justification enough, I thought I’d take the opportunity to make a little timelapse film. Lego is a lot more sophisticated than it used to be – I think if they’d had these kits when I was a kid, I’d have stuck with it a bit longer.
This took about four hours to shoot, plus setting up the camera and lights, changing the memory cards and camera batteries and so on. The camera was set to shoot once every two seconds, and took 5,450 exposures. I added a bit of stop-motion animation at the end just for fun.
I used the wrong piece in the Tardis console a couple of times, which is why I have to take it apart again later on, and was left with a few pieces at the end so either there were some extra ones or I made a few other mistakes. Let me know if you spot any.

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Here’s an animated infographic I did several years ago as part of a project for buy Pregabalin online australia of Northumberland, aimed at encouraging school kids to consider factory work as a career option. (Someone has to do it!) At the time it was part of an interactive Flash feature but here I’ve reworked it as an animated GIF.

And here’s a cynical attempt to cash in on a current movie. This one’s too big to display on this page so you need to click on the image.

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A bit of fun. I asked for a random word on Facebook, to use as the basis for an animated GIF. The first response was ‘interception’. This was created in buy Pregabalin 300 mg uk – a great program that seems to have become the industry standard for traditional-style animation in recent years. It’ a lot of fun to use – it has a great variety of pencils and brushes and unlike many programs (eg Painter, Photoshop) that have animation as a feature but not as their ‘raison d’etre’, TVPaint is designed as a dedicated animation tool. I started learning it as an alternative to Flash and Toon Boom as I thought it would allow me to experiment with more interesting visual styles, but now I use it more than any other program. It also works brilliantly in conjuction with Lyrica tablets buy online, either as a tool for building cut-out characters or as away of adding extra touches and effects to otherwise finished animation.

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purchase Lyrica cheapA little while ago I came across an old sketchbook I had when I was about six. It was mostly full of incoherent scribbles, but with a few more-or-less finished drawings. Somewhere online, I’d seen some paintings done by a mother and daughter… the child had done the initial drawing then the mother added her own interpretation with the colour, but following her daughter’s lines exactly. I thought it would be interesting to do the same but with old drawings. What I got from this, I think, was an insight into my childhood imagination and also some refreshing practice at a new – or old- style of painting. Some friends have suggested I should animate these, so perhaps that’s the next step. (Click on the image to see more.)

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Just occasionally, I suffer from migraines. I had my first one when I was 22, and thought I was going blind. I’d always thought a migraine was just a headache – no-one had ever mentioned those weird light patterns that obscure your vision. A few weeks ago I had one and it struck me that I’d never seem one depicted. I did a bit of searching and found a few pictures and animations but none of them really looked the way I saw them, so I thought I’d give it a try. I think this is pretty successful. If you’re not familiar with the experience (you’ve never lived!), with me it begins with a flickering sliver of distortion just below the centre of vision, which blossoms over half an hour or so into the c-shaped pattern shown here. After that it expands and moves outwards until it disappears off the edge of the field of vision. At that point I get a headache which last for an hour or so. It’s not too ghastly, it’s just inconvenient more than anything else as you can’t read or drive or do much else that requires clear vision while it’s going on. Fortunately I only get these once every year or two, and if I have the right medication handy I can avoid the whole thing as soon as I see it coming on. To get the accurate effect, look at the vanishing point in the image. (As the aura appears in your peripheral vision, you can never look directly at it.)

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