As a fitting book-end, I wanted to (re)share a past projects of which I’m very fond, not least because I got to work with a loyal team of generous creatives. If you’re familiar with Red’s Kingdom, you’ll recognise the likes of Emily Clarkson, Ethan Shilling, Deanna Crisbacher and kick-abouter, Simon Holland, all of whom worked on this short educational animated film about the provenance of some ship-wrecked Roman pottery. Let me also introduce you to production team members, Nat Urwin, Tom Smith, Charlie Serafini, Alan Postings, and Jeffrey Wang, whose time and talents this film absorbed so totally for so many weeks.
Commissioned by the trustees of the Seaside Museum Herne Bay and funded by Heritage Lottery, the film was also made with the help and support of the children and staff of the Herne Bay Junior School. I had the pleasure of meeting a whole bunch of the school’s exuberant pupils in our search for the ‘voice of Marcus’, a role that ultimately went to Lake Blumenthal, who auditioned for me so impressively – while dressed as a lion!
Though completely exhausting in only the way putting together an animation can be on a tight schedule and even tighter budget, Marcus & The Mystery of the Pudding Pans was a very happy, life-affirming collaboration. I was interviewed on local radio about the project, which you can listen to here – or rather, you can hear my answers to the interviewer’s questions about the development of the animation in this archive of my side of the interview.
“And now we see what has brought everyone here under the guidance of the conductor’s organizing light. Now we understand this urge to converge. Now we see what Red is looking at: there, in the velvety dark circular basin before us is a glowing facsimile of the entire Kingdom of Sound. Think of it as mostly line drawing, but with block lustrous colours we’ve come to associate with the various districts. The camera is tracking slowly around the facsimile, which is extruding as we watch…“
From the script for Red & The Kingdom of Sound, August 2016
Back in August 2016 I finished writing the script for an animated adaptation of Benjamin Britten’s The Young Person’s Guide To The Orchestra. Script-writing is a funny thing; you’re essentially describing the action of a film or animation that exists very completely in your own head, but nowhere else. More peculiarly, you’re watching something that already exists in your mind’s eye and transcribing the action onto paper in order for someone else to ‘remake’ it.
It is one thing to describe something in words, quite another to translate it onto the screen. I started this Throwback Friday post with an unspecial thumbnail drawing I did on the back of an envelope – literally – before hastily photographing it and sending it to Red & The Kingdom Of Sound’s production designer, Emily Clarkson. This untidy little sketch was my attempt to show what I was seeing at the climax of the animation – a hovering, extruding citadel, comprised of musical instruments, hovering within a deep architectural basin, while a giant modernist effigy of a conductor towers above it…
Yes, you’re quite right; my small quick sketch conveys very little of that grandeur and spectacle, but when you have the good fortunate to work with people who likewise have very powerful film projectors installed in their heads, a small quick sketch is often enough.
So from a few describing words on a page, via that hurried thumbnail sketch, we arrive at these concept paintings by Emily Clarkson…
Emily Clarkson, concept drawing of the maestro’s city in Red & The Kingdom Of Sound, 2017
Emily Clarkson, concept drawing of the maestro’s city in Red & The Kingdom Of Sound, 2017
… and, eventually, from these concept paintings – via the ingenuity and hard graft of an entire team of other creatives – we arrive at the climatic scenes as seen in the final animation, which has now been enjoyed by thousands of people all over the world in concert halls and at film festivals.
The maestro’s city in its full pomp at the conclusion to Red & The Kingdom Of Sound (2018)
Trailer for Red & The Kingdom Of Sound (2018), including the Maestro’s City
Sometimes, particularly at the moment, there are days when it’s harder to apprehend the value in what we do, or to find the motivation to keep doing it. On days like that, I take comfort from what is unremarkable about my quickly-scribbled thumbnail sketch, and the world it went on to build with the help and vision of so many other talented people. I think to myself, ‘yes, this is how everything of value begins’ – with a big idea made visible and shared.
Last time, I caught up with artist-in-residence, Emily Clarkson, I was able to introduce the new project we’re developing together, an animated short entitled Gertie. Things have been moving on since then; the song that underpins the whole story is finished and was given some much-needed spit and polish by a freelance arranger courtesy of the Fiverr site. There’s so much more to be done musically – not least sourcing the vocal talent – and I’m working on that too.
Emily has been working hard on finalising the character designs for the animated short, before turning her attention to some of Gertie‘s more highly-strung set-pieces. Em and I caught up on Zoom a few days back to talk character design and possible stylistic approaches to ‘bringing the mayhem’. You can listen in below.
Emily Clarkson’s character design development drawings for the trio of bullies in Gertie
Emily’s design development drawings for Gertie’s teacher character, Mrs Mason
Character design development for Gappy Gertie / Emily Clarkson
At some point in the middle of the lock-down, Emily Clarkson and I had a heart-to-heart on the phone. We talked about ‘what to do?’ in response to COVID. It was an existential question, and one being asked by creatives of all stripes in 2020. Emily and I are both freelancers and grimly aware things are not going to be getting any easier for creatives any time soon. There is the phrase that goes ‘content is king’, but producing content is salve too. Right now, making new work and supporting other creatives through collaboration looks like a sort of power in an otherwise disempowering moment. It was certainly the thinking behind the fortnightly Kick-About. Again and again during these unsettling months, I’ve returned to the Philip Larkin poem, To Put One Brick Upon Another, for guidance and resolve:
To put one brick upon another, Add a third and then a forth, Leaves no time to wonder whether What you do has any worth.
But to sit with bricks around you While the winds of heaven bawl Weighing what you should or can do Leaves no doubt of it at all.
By the end of our telephone conversation, Emily and I had come to a similar conclusion. In preference to biting our nails or throwing rocks at the moon, we too decided to put one brick upon the other. In common with Tom Beg and Graeme Daly, Emily and I would work together to develop a new animated short, and we weren’t going to think too much about the nuts and bolts of it either. Who is going to fund it? Don’t know. Who is going to watch it and where? Don’t know. How are we going to make it, using which techniques, which programmes? Again – don’t know, but to make something at a time when lots of other things feel as if they’re coming unglued seemed like a plan as sane as any other.
That was then, and now I’m happy to reveal we have a story, a finished script – we even have a song! – and the pre-production phase is underway, as Emily begins the character design process.
And the name of our new project?
Arranging the song Gappy Gertie on Sibelius / Phil Gomm
You haven’t heard of Gertrude, but Gertie is a girl you know Because always there’s a Gertie. You’ve likely bullied one, although Her name was probably Constance, Simeera, Chen or Sue. You’ve forgotten her most likely, but she hasn’t forgotten you.
It’s early days, so we’re keeping the exact size and shape of our story under-wraps, but it’s a school-based narrative about a girl called Gertie, who is bullied horribly by her peers. Gertie is inspired by one of her teachers to ‘search for the hero inside herself’ and a series of events are in this way set in motion. The story is built around an original song, and you might say my eureka moment came when I realised I could happily make the name Malala (Yousafzai) rhyme with Brian De Palma! It’s blackly comic – very black in fact – and I must say I enjoyed writing it very much.
There’s been a lot of back and forth between Emily and myself via email, but we caught up again recently when Emily set-up shop at Red’s Kingdom and here’s what she had to say as our work together on Gappy Gertie continues:
Gertie character design development #1 / Emily Clarkson
Phil: Hey Em, so here we go again then! We have another animation project in the offing together, a project with no established funding, a project taking up time and energy when we should both probably be doing more sensible paid things… So, why are we doing it? Why start something new when everything looks so gloomy? Have we lost our minds?
Emily: With things so gloomy, I think if we don’t do such things, we will lose our minds! Or at least, I certainly will. Starting something new creates a space to pump some energy, practice some skills and express ideas.
Phil: Absolutely! This isn’t the first time a new script from me has landed with you – a wall of text, description and some fudgier, spongier bits. What do you do first (apart from sigh inwardly!)?
Emily:Usually, I read it through, picturing the concept, and if it strikes a particularly excitable chord, I’ll find myself muttering ‘oh we could do this…or this… oh I wonder if that thing would be good to riff off…?’ and so on. And after that I’m usually falling over the questions I will inevitably ask in the next email.
Phil: So, what do you think about Gertie? What were your first impressions of the story?
Emily:I felt an immediate sadness at the cruelty towards Gertie. I was never bullied at school, so I can’t speak from personal experience. I went to an all-girls school. I remember there being very distinct friend groups in my class, but there wasn’t any animosity between them (that I remember). In terms of drama within my class, we were fairly low key! What made you want to write a jaunty tune for a horrendous bullying experience?
Phil: Haha! Blame Lars Von Trier’s Dancer in the Dark! I’ve always enjoyed the way music is so immediate and invasive. Music goes in really quick and I think there’s some fun to be had with the form of the musical short. We assume stories driven by songs and singing must always have great big grins slapped on their faces, but, come one, The Wicker Man is largely a folk musical and I love the way the music in that film works to draw you in, but shock you too – all those people singing along so happily at the end of the film as Edward Woodward goes up in smoke.
You’ve already made a start on character designs for Gertie and her tormentors. Apart from the pointers in the script and in some of our conversations, what are you riffing on?
Emily:I am absolutely riffing on my school experience in regard to the aesthetics. Female students between the ages of twelve and sixteen come in literally all shapes and sizes, so the uniform fit everyone completely differently. For example, it was standard to roll up our elasticated, box-pleat skirts. Some rolled well above the regulation ‘four fingers above the knee.’ (Yes that was a real rule.) It wasn’t all about showing off your thighs though. For some of us it was to make sure the skirt hem wasn’t dangling half way down your calves! Not a good look.
You made Gertie a young traveller/Gypsy girl. Was there a reason you chose to represent the travelling community over other communities?
Phil: There’s no overt identity politics agenda about that, no – likewise the decision to make the bullies themselves a mix of ethnicity. Every community makes targets out of people considered different to them, that’s all. No one is above it or better than anyone else. Gertie is more based on some vague recollections of kids at my primary and secondary schools who came and went, kids who were in someway out of the usual routines, who appeared suddenly, and then vanished again. They were regarded by some in the class as poor and dirty. It was all that stuff about not ‘having a proper home’ – whatever that means, as there’s plenty of dysfunctional families living in ‘proper homes’ too. Sadly, I think everyone is looking down on someone for some stupid reason or another. My experience at school was it was mostly about how someone looked, so their red hair, or a big mole, or too short trousers – or a strange smell – oh yeah, and being a virgin or not being a virgin. That was always a very big deal!
Developing the bullies #1 / Emily Clarkson
Developing the bullies #2 / Emily Clarkson
Developing the bullies #3 / Emily Clarkson
Emily:Have you experienced or witnessed bullying growing up yourself?
Phil: I was bullied pretty unpleasantly for year or so at my secondary school. I kept it a secret. I used to get the train to-and-from school, and the bullying would take place on the platform in the afternoons when everyone was waiting to go home. I also need to admit I bullied someone once – when I was much younger. For a short time, I was pretty loathsome to a rather over-weight boy in my class. I got in so much trouble for that. I still remember standing in a room at my primary school and being utterly eviscerated by the head teacher. It was an early lesson in understanding your victim is a person. I think about that boy to this day (I’m thinking about him as I write this) and I was thinking about him when I was writing the script. I was thinking about my bullies too, wondering if they still think about me.
Sissy Spacek as Carrie (1976), directed by Brian De Palma
Emily:Your script pays homage to Brian De Palma’s horror film, Carrie. Was Carrie White a beacon for ‘poetic justice’ for you as a young cinema goer? Or was she more a terrifying monster?
Phil: My sympathies were always with Carrie! I don’t know anyone who hasn’t at one point or other dreamed of burning everything down that way. Carrie does what we dream of doing, but fortunately, we’ve got Carrie to do it for us, so we have the catharsis of that high-school conflagration, the spectacle of someone failing to ‘rise above it’ in such spectacular style. There is some other less-well thought out concern of mine floating about in here, something more serious about the way young people keep being encouraged to rise to the ‘opportunities’ presented them by the failures of others; to be obedient and mild-mannered, to not give their energy to their fury, but to go to school, go to work, to be good. In light of climate change, Brexit, Trump etc., I do sort of feel as if going ‘full-on Carrie White’ might be what’s needed sometimes!
On a side note, I think I might be one of the few people on the planet who actually saw the original UK version of Carrie – The Musical. I saw it on a school trip when it was staged by the Royal Shakespeare Company in 1988. Carrie is infamous for being one of the biggest flops in theatrical history, but I was blown away – I was thirteen! Perhaps this also explains why I don’t think it’s weird to put horror and musical theatre together…
Original poster for the musical Carrie (1988)
Phil: So I’ve got the song to finish arranging, which is taking me longer than I hoped. I’m nearly there though. What’s next on your to-do list?
Emily: More character designs. I need to nail down how the bullies look. And in addition to that, design their various outfits. After that I need to design our teacher, Mrs Mason, and move onto the environments. And then, to the storyboards! Lots to crack on with!
Gertie’s school disco outfit development sketches / Emily Clarkson
Emily and I will be updating our progress on Gertie here at Red’s Kingdom as-and-when we make some. Like I said, the content is coming first, because that’s the bit we can take control of now. Regarding the future of the project – funding etc – we are interested in hearing from anyone with a fabulously rich very elderly relative… More seriously, we’re also looking for a musical director/singer interested in working with us to get Gertie’s song up off the page. If you’re reading this and you know someone who knows someone, then do please get in touch, if only to put one brick upon the other while the winds of heaven bawl…
Truth be known, I’ve been badgering Emily to get her feet under Red’s table for a while now and we’ll be talking about her initial reluctance a little later. Before that, I just want to say a few words about Emily as they’re words she would never use about herself, but someone has got to say them. Emily is one of the most commensurate animation-centric creatives I know, and it’s been my pleasure (and saving grace) to work with Emily on a bunch of very challenging, time-pressured and under-funded projects. Emily has seen me at my best – and at my very worst – absorbing my stress, my ineptitude and my poor temper without rancour. Emily can build entire worlds in her mind and communicate them to other people through ravishing production art; she is a designer of charismatic characters, and a skilled animator with nifty comic timing.
If Emily is reading these paragraphs, her first instinct will be to bat these endorsements away. Okay, her first instinct will likely be to blush rather unhappily, and then bat these endorsements away, but don’t listen to Emily, listen to me. Better still, before we meet Emily for a proper chat (and while her blushes subside), I’d like you to watch Marcus & The Mystery of The Pudding Pans (2019) commissioned for The Seaside Museum Herne Bay and funded by Heritage Lottery. Everything you see here, Emily envisioned for us first.
Welcome back (oh, and I will be asking questions later on the provenance of the pudding pans, so I hope you were paying attention!). So, let’s meet production designer and all-round class-act, Emily Clarkson, and begin by finding out why, on God’s green earth, she was worrying about taking up her rightful place as an artist-in-residence at Red’s Kingdom…
Emily Clarkson, concept painting for the Harp District, Red & The Kingdom Of Sound (2017)
Phil: Hey Em! You’re here then? I’m very happy about that, but when I originally asked if you wanted to take up residency in Red’s Kingdom, you were definitely a bit reluctant! I’m going to take a guess and ask if you’re suffering from ‘imposter syndrome’?
Emily: I guess the answer is yes? I don’t feel like a fraud who is about to be exposed, I just don’t think I’m capable a lot of the time. My experience of imposter syndrome is characterised by performance anxiety, obsessive comparing, (‘at this age, I should be here… etc’) and a lack of confidence. When you asked me to take part in the A.I.R (Artist-in-Residence) I just felt a bit odd, as I see it as a spot for those who are successful, experienced and who can share lots of wisdom.
Phil: You realise how crazy that sounds to me, right, given everything I know about you and everything we’ve accomplished together? My own experience of imposter syndrome is that it is rarely evidence-based; it’s a ‘feeling’ and not based on any empirical observation. If the real test of a creative’s legitimacy is that they often undertake creative projects – sometimes for actual cash! – so you pass this basic test?
Emily:Yes, I would pass the test. Yes, I make creative work (and have been paid to do so in the past!). However, I’d say my imposter feelings aren’t rooted in doubts about my creativity, but more in my capabilities in a professional setting. Being creative doesn’t feel like a high stakes situation; it’s freedom of expression, exploration, experimentation and sometimes just a fun way to chill out. Being creative in a professional setting is achieving very specific tasks in a concrete time frame, with the added stress of mistakes having consequences. That is the root of my imposter fears – messing up badly and having a directly negative impact on my employer’s credibility and mine.
Phil: Tell me more about ‘obsessive comparing’. I’m sure this is something most of us can relate to, given the likes of Instagram etc. Do you have any advice for ‘breaking the cycle’? How do you get past it?
Emily:The obsessive comparing comes out of (what I perceive to be) society’s expectations. By the time you’re 30, you’re supposed to be in some kind of stable job and living independently at the very least. Social media makes it very easy to see the accomplishments of others. It’s hard not to look around and feel like a failure and far behind those who appear to have their lives more together!
I don’t have a fix for breaking the cycle of comparison. It’s something I’ll always do. More recently I’ve taken comfort in tweets by professional artists and creatives who point out age means nothing in this field. What I took from them was everyone makes their own unique journey in the creative world. Two people in the same career will have arrived there in entirely different ways, at different times, with totally different experiences and credentials! I just have to remember that. Maybe I should turn it on its head and think instead of being ‘behind’? I’m taking the scenic route and meandering my way through different possibilities.
Either way, I’ve learned a creative career isn’t necessarily time sensitive. It’s there, waiting for the moment you choose to do it. Being successful at it depends on how long and hard you work at it!
Phil: You and I have worked together on two big projects, Red & The Kingdom of Sound and Marcus and The Mystery of The Pudding Pans. For both projects you were the principle production designer. What is it about production design you enjoy?
Emily:Have you ever read or heard a kick-ass concept, where you can’t help your imagination running away with designs, solutions and ideas? You just have to nail the ‘feel’ of that idea. That’s it. The act of doing justice to the concept is the bit I enjoy. Bringing to life what may never have existed visually before is thrilling, especially when it inspires an emotional or thought-provoking response from other people who see the end result.
Inside the Seaside Museum, the digital set derived from Emily’s concept art, Marcus & The Mystery Of The Pudding Pans (2019)
Phil: Are you able to talk about some specific examples of production design in these projects – how you resolved particular designs or made sense of something that was otherwise poorly described in my scripts? Hahaha!
Emily:In Red and the Kingdom of Sound I was assigned environmental design initially. The big deal about R&tKoS was the world was built entirely out of musical instruments, entire cities of them. The art style was based on UPA (United Productions of America, a kind of Looney Tunes and old Pink Panther-style, line art and block colours, which I love. One thing I was intimidated by was the colour scheme, so I took colour-picking out of my hands by using real world reference. Red’s adventure takes place over the course of a day-to-night. I colour-picked from photographs of instruments, and the sky at different times of day.
“The horn district gleams in the last light of day… The music here is characterised by a quick succession of notes that align with a montage of shots compressing Red’s journey through the Horn District. We’re shown him going under arches, ascending staircases, arriving on bridges etc…” from the original script for Red & The Kingdom Of Sound.
One of my favourite environments to design was the Percussion District, also known as the construction site. Unlike other segments of the orchestra, percussion entailed multiple instruments, so I had LOADS of structures to play with; drums, xylophone, cymbals, tambourines – all sorts! That segment of the script was chock-full of moving parts, like a wildly swinging wrecking ball and a conveyor belt of doom, which made everything fun and exciting! It was even more fun to animate the shenanigans!
For Marcus and the Mystery of the Pudding Pans, I started with the characters after visiting the museum and actually HANDLING 2000 year old pottery! The script clearly described our four main characters personalities, so it was just a case of marrying up their shapes to their characters. The Drama Queen (Gaius) was cracked and smashed. The Old Bore (Saturio) was covered in barnacle-like structures, the Sage (Belsa) was a round welcoming-shaped bowl, and our protagonist, Marcus, was the new and smallest member. My favourite character was Scuttle, the crab. He was the perfect mime in the script with great character. His physical design was purely trial and error until he jumped off the screen at us.
Phil: You were also the storyboard artist for Marcus & The Mystery Of The Pudding Pans. Can you give some insight into what that process is like? You’re essentially ‘directing with a pencil’ and likewise adapting someone’s words into images. Your ‘mind’s eye’ is very powerful, Em! Do the images arrive fully built in your head? What does it mean to storyboard?
Emily:My mind’s eye is an instinctive thing. My vivid imagination has been picturing stories since I was a child. In storyboarding, I use the same skill to picture events in a script, but then embark on the huge challenge of getting it down in a visual way and framing it for a camera. (I find framing for camera is the hardest bit!) Super-descriptive, evocative writing practically appears fully-formed in my head. Other times, things can be foggy until discussed with the author. A lot of my creative thought processes are about whether it ‘feels’ right. When I’m trying to storyboard a script, my main goal is to communicate what I’m reading as authentically as possible, without spending too much time on it (You can’t spend years and years on a storyboard!) I usually feel out the rest in the animation process!
Phil: Any sequences you particularly enjoyed storyboarding?
Emily:I enjoyed sketching out the shipwreck sequence because of the silliness of it all. Gaius recounts such tall tales! It really lent itself to a cartoony-style of storytelling. The studio ‘reveal’ and fake tentacle was a funny punch line, especially when Scuttle is highlighted as the stagehand managing a bunch of props at once. I enjoyed designing fake cardboard tentacles for Scuttle to dangle from his stepladder!
Phil: You were also an animator on both Red & The Kingdom Of Sound and Marcus & The Mystery Of The Pudding Pans. Animation is a laborious, slow job, but I think you find it rather thrilling – why?
Emily:Granted, animating is long winded, BUT that’s literally the moment the production comes to life and it’s really satisfying. Character models start to feel like actual beings and people. It’s the turning point in production when you can start showing clips to people and there’s a reaction, a suspension of disbelief. You connect to what you’re watching. That bit is always exciting to me.
Phil: Can you recall a particular moment in a particular project when that connection to a character first happened?
Emily:I know I got very excited every time I saw team submissions of Red moving during the production of Red & The Kingdom Of Sound. Those developments genuinely felt like unwrapping Christmas presents! My personal ‘it’s alive’ moment came from my first major character scene, chapter 14, shot 9. The Percussion District...
‘Imagine a montage of shots that begins as a wrecking ball swings into shot followed by Red ducking, swerving and dodging… the overall impression should be dynamic and exciting’ from the original script for Red & The Kingdom Of Sound.
I was given all the freedom to play with Red as a character, and I felt it was my first major animation accomplishment on the film. The character went from being essentially a 3D puppet, to a panicked character, whose evasive techniques were ridiculous but balletic.
The big difference with Marcus & The Mystery Of The Pudding Pans was the speaking characters. (Red was always silent.) Also, this time the characters were bowls, who didn’t have limbs with which to act! One of my favourite sequences to animate was Scene 14 (it must be my lucky Scene number.) All the pots sink to the ocean floor, then, at the prospect of sitting dormant for a thousand years, the big old boring one starts gasbagging about their history. Each pot had to react differently as time passes and it was fun applying their personalities to the situation.
Phil: You’ve always been very honest about freelance life. What are the highs and lows, and what is your advice for anyone trying to make a living on the strength of their creativity?
Emily: Freelance life is a perpetual state of ‘where’s my next job?’ So when a client decides you’re the one to solve their creative problem, that’s already a bit exciting. The work is unbelievably varied and it depends who’s asking for your aid! I’ve had calls from advertising, filmmaking, live events, you name it! If you like variety, it’s brilliant. You never know how high profile your projects could be. Your work could turn out to be something for a big brand or feature celebrities or it could turn into a viral sensation.
Every job comes with its own challenges. Sometimes the best bit is nailing down something that’s been particularly prickly only to find the client loves it at the end. It was amazing the first time I had someone I’d worked for come back with another job for me months down the line. It was exciting to be doing more work, but I also had concrete evidence I must have done a good job before – something to stick to that imposter syndrome!
Freelance is completely unpredictable. You never know how long you’re going to need your money to last. There are times when a job ends and there’s nothing coming up. It gets worse when that period of silence extends. It’s prime territory for some dodgy mental health; doubts surface, about your skills, about whether you can make it in this line of work… It can be really, REALLY hard to stay positive and keep the faith.
No one really teaches you how to go from school to freelance. I’m bumbling along and learning as I go. What I have learned is, when things get quiet, keep busy. Practice something new. Explore creativity and go in a weird direction to your usual methods. Stagnation is an awful, negative, place to be.
Networking is everything. And it’s something you have to constantly work at. I’m led to believe consistency is key. If you have a constant presence in the online universe, you’re more likely to be spotted in the vast digital sea of creatives. At least, that’s what I am hoping!!!
Phil: Can you tell me about some of your other projects you’ve worked on? Any favourites? Any really challenging projects? Any personal projects?
Emily:My favourite project to-date was Red and the Kingdom of Sound. There was a really amazing sense of community throughout. I unexpectedly had multiple roles throughout and really enjoyed each of them. The best part was witnessing an audience’s completely honest, joyous response to the final film – with live orchestra! – auditoriums of smiling little faces, madly clapping at the end of the performance.
Marcus & The Mystery Of The Pudding Pans was probably my biggest challenge because of the level of responsibility and again, I had multiple roles. (It was a very small crew.) The last few months of production gave a new meaning to the term ‘crunch time’ haha! But the final live exhibition was well worth it.
Towards the end of 2019 I worked on a project featuring David Attenborough for the Wildlife Trusts, called ‘the Nature Recovery Network.’ Which was amazing. The short film entailed segments of 3D animation with live action footage- something I had zero experience in. Fortunately I was able to contact Ethan Shilling to help me fill my skill gaps with his 3D wizardry!
For personal projects, I tend to go traditional, card making, scrapbooking, or art journaling. More recently, I’m playing in digital. I made animated holding screens for a Twitch streamer. Then, in place of a birthday card, I sent my brother a homemade Final Fantasy themed gif. I have started a mini project in After Effects that came out of missing a job opportunity. Shortly after the role went to someone else, I discovered a physics-based plug-in that would have been ideal for the job. (Sod’s Law!) So I took the plunge and bought it, making it my mission to work out how to use it to make cool things!
Phil: What or who are your creative inspirations? Who do you look to for inspiration? What gets the juices flowing?
I tend to take inspiration from stuff I consider textured or quirky in some way. ‘Coraline’ springs to mind. It had a wonderful dark, whimsical style, and everything was totally tangible having been almost entirely handmade for the stop motion production. More recently I saw ‘1917’ and was utterly awestruck by the camera work. I can’t forget the hauntingly striking lighting in one scene. (Flares over a ruined French town. You’ll know it if you see it!) The behind the scenes revealed that the sequence was sussed out using scaled models, which is something I really admire. One of the best examples of a textured animated film is ‘Spiderman: Enter the Spiderverse’. The mixed-media type approach opened my eyes to the limitless ways you can present animation. (I’d never have dared to animate some elements on one’s and other elements on two’s). The three-dimensional smearing, the sound effects as text onscreen, and textures – like colouring outside of the lines – blew my mind. I’ve never seen such an organic, moving, representation of a comic book before.
I’m often inspired by art style in games. So off the top of my head, fun silly games would be ‘Kirby’s Epic Yarn’ and ‘Paper Mario’, where the developers literally play with yarn and paper textures. Big strong art styles that spring to mind would have to be ‘Journey’ and ‘Abzu’. (I’m a sucker for a view, scale and scenery) Then, to contrast completely and delve into horror, the sound and environment design in ‘Alien: Isolation’ blew me away. It balanced the look of the original ‘Alien’ film with the projections of future space travel beautifully, and I always liked the gritty, chunky, mechanical nature of it.
Pinterest – okay, I’ll admit I probably don’t use it properly. I just pin a ton of stuff to a couple of badly organised boards!
I essentially have three art folders; 1) Art Journal/ Book, where I pin anything and everything I’m inspired to try myself, things like sketchy life drawing, graphic posters, character design, abstract watercolour, and illustrations. 2) Travel journaling, where I’ll pin other people’s beautifully artistic travel journals. I adore urban sketching, pasted with nick-nacks from adventures. And finally 3) Scrapbooking, where I pin other people’s beautiful and ingenious methods of photo and memory keeping, in the hope it’ll spark ideas for my own scrappy stuff.
Emily’s travel journal on a theme of Barcelona
Phil: I’m curious. How did you manage the lock-down, Em? How have you been pushing things along and not twiddling your thumbs too badly?
Emily:I’ve tried to keep busy! I started out with some painting and decorating; then I got back to the sketchbook. I’ve got a tiny square art journal – The Book of Mish-Mash – which I’m trying to post to Instagram as I go. It’s very much a freeform art book, no rules, just full of mixed media and creative whims. I’m hoping I’ll complete it before the year is out…
‘The Book Of Mish-Mash’
On a completely different tangent, I’ve taken on a digital marketing course, the intention being to learn from it, then build a decent website and make myself an efficient business hopefully. It’s given me some valuable pointers I can turn toward freelancing. Beyond that, I feel like I’ve seen the matrix in online advertising! (The course is free and run by Google if anyone is interested- Google Digital Garage).
Besides the little After Effects plug-in experiment I mentioned earlier, I’m hoping to take part in the ‘Kick-About’ every two weeks here at Red’s Kingdom. The prompts have been brilliant so far. It’s fun just bashing out artwork so freely, and the community, and variety of work produced, makes for brilliant viewing, reading and listening to! More please!
And after that, my conversation with the always lovely, multi-talented Emily Clarkson turned to the idea of how we might collaborate together on a new project. We chucked a few ideas about and we might have the beginning of a cunning plan. More as and when it happens.