Irn-Bru

I’ve recently finished my most fun job for a long time – worknig at Sherbet, directing the animation on this ad for Irn Bru.
The animation was done by first working traditionally with pencil, then tracing those drawings into Flash to duplicate the traditional brush-on-cel look. (Simply scanning the drawings into a trace-and-paint program would have given a more modern look than we wanted.)
For the animation, we needed people who were specialists in this style and were lucky to get Teddy Hall, a Disney veteran who worked on Hercules, Peter Dodd, who recently animated much of Sylvain Chomet’s new feature “The Illusionist”, and the tireless Paul Stone, who seems to have worked on almost every London-produced traditional production of the last twenty years. Denise Dean had her work cut out as cleanup artist but somehow managed to keep up with these three.
The Flash team of Malcolm Mole, David Bell and Martin Oliver achieved a nice line quality on a challenging job from day one, and the After-Effects guys,  Alex Robinson and Tony Comley wrapped it all up with impressive skill.
Since everyone made the directing role so easy, I found time to keep my hand in on the animation – I did the dancing meat at the end, and helped out with the Flash work.
Sherbet was a great place to work – the regular staff there -Adam, Ben and Sarah (get well soon!) were incredibly helpful and made my first directing job there a real pleasure  -and  thanks again to producer Jonathan Bairstow for offering me the job in the first place!

Christmas Ecard

I’ve been doing some ecards for www.wishawish.com in the hope of making a little pre-Christmas cash. You can see them here and here.

Christmas cards

I’ve decided to beat the rush this year and post some seasonal work before they even get the selection boxes into Sainsburys, which is due to happen in about two weeks. Here’s some cards I designed a couple of years ago.

Showreel: All My Own Work (nearly)

As a freelance animator,most of the TV work I do is designed by other hands, so I thouht it was worthwhile putting a showreel together that consists only of work I’ve done myself – both design and animation. The work here is a combination of work from student films, personal projects and commissions. The only parts of it I can’t take credit for are the painting by Monet (animated in After Effects), and the original designs on which a couple of the characters were modelled (the dogs on the obstacle course, and the alien on the DNA strand).

Yoko! Jakamoko! Toto!

This challengingly-titled pre-school show was made by Collingwood O’Hare in 2002-2003 and is currently showing in the UK on C-Beebies. The fact that the characters communicate with a very limited vocabulary, consisting mainy of each others’ names and some expressive noises, meant that most of the communication had to be physical – which made the animation all the more fun and interesting to do.
This is montage of some of my scenes.

E900

Going back a bit here… this is one of my student films, which did the rounds of the mountain film festivals in 1997. This taught me that if there’s a special interest group that has its own film festivals, then it’s a good idea to make films on that subject.

My earliest surviving animation

I recently found this notebook amongst my stuff, from 1979 when I was 13. Although I’d been making flip-books since I was ten, this is the oldest one I’ve found.(Click on it if it doesn’t play automatically.)

Hearts and skulls

I had an interview today with Mobstar Media in Brighton, who needed someone to help produce a horrendous number of animated GIFs for downloading to mobile phones as screensavers, or something along those lines.
They asked me to do a test, which was to create a couple of GIFs featuring a heart and a skull – the most popular subject matter, apparently – so I came up with these.


As it turned out I didn’t get the job – their style is very different – but this set me thinking about the one-second animated GIF as a narrative art form as opposed to a piece of design … In an age of short attention spans, when a film much over a minute can seem too long, a film in the form of a one-second loop, on a two-inch screen, raises a challenge. How much drama can you fit into a form that small?

Playing with Photoshop

Here’s a family photo from about 1901, before and after being coloured in Photoshop. The colours may not all be authentic, but it’s nice to see these people looking – I hope – a little more like they did in real life rather than distanced by the illusion that our grandparents lived in another world where everything was black and white.

Northwest Passage (revised)

When I put my showreel DVD together recently, I did a few refinements on this animated history of Arctic exploration. There’s an exhibition now on at the National Maritime Museum in Greenwich on this very subject, which I’m looking forward to seeing.