Back in the day, I wanted to work in the movies, building animatronic puppets and larger-than-life monstrosities. You can blame the likes of Rick Baker and Rob Bottin for my fascinations, the transformation from An American Werewolf In London (1981) and this physical effects tour-de-force from John Carpenter’s The Thing (1982).
Some would argue I haven’t transformed all that much myself since those days on my Art Foundation course, when I walked about the place in collarless shirts and floppy ‘curtains-style’ hair, wielding jars of latex, hot glue guns, tubs of PVA … and nylon stockings. Okay, so I’m older, greyer with a lovely bald-spot getting bigger, and I’ve dropped the collarless shirts, but I still have a real fondness for a big bug, creature or too-many-legged thing and the haptic, tangible delights of an old-school puppet.
I thought I’d lost these sketches, of two of the creatures I made during my fun, busy Foundation year. The big ‘spider woman’ was indeed very big by the time she was completed, fashioned as she was around a shop-floor mannequin I’d purloined from someplace or other. Her abdomen was fashioned from large hoops of MIG welded steel, and each of her legs made from jointed steel rods, their ends fashioned onto cruel-looking points by successive hammer blows by the heat of the workshop’s forge. She was ultimately a formidable sight, though I can’t seem to find any final images of her. I suspect they’re lurking somewhere and may one day surface again.
The other sketches are for a large snail glove puppet, his shell made from carved polysterene, the process of producing it littering my studio with extraordinary amounts of bright white beads. His eyes were controlled by wires, which, when you tugged on them, caused them to wriggle about comedically.
I suppose this is what fun looked like when you where a certain kind of nineteen year old, his head stuffed with monsters.
“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
Phil: Hey Tom. Nice to catch up with you this week. I always look forward to seeing what you’ve been up. This image is joyous – like a shoal of outlandish helium balloons. It looks to me like you enjoyed translating your Miro-verse ‘anchovies’ into 3D existence…
Tom:Yes, the Miro cinematic universe, otherwise known as the Miroverse, is starting to come together but there is still a long way to go. I don’t consider the creatures and critters I’ve made so far to be finished, but now I have a pipeline of sorts established, it’s certainly quite enjoyable to be able to pop them into an empty scene and play around and pose them, or see how they interact with light and shadow. This has always been my favourite part of the 3D process. Also, all of this is a bit of testing and planning for when the time comes that I have to make these things come alive. It’s good to get a feel for what the possibilities and limitations might be.
Phil: I have many questions when I look at your characters, and they create an impatience in me to see them come alive and exhibit their signature behaviours. Any thoughts on how these critters might express their physicality? They look as cheeky and social as house sparrows…
Tom:Each of the creatures have their own bespoke control system that allows them be animated and manipulated in various ways, so this will certainly give a lot of opportunity for them to be able move and behave uniquely. That being said, there is likely going to be a lot of these things inhabiting a scene at any one time, and I’m a one-man studio making this in my free time. I’m going to have establish a kind of formula for animating them and giving them personality.
Phil: Another of my ‘many questions’ regards vocalisation – what these creatures might sound like? What are your current ideas in terms of potential sound design strategies?
Tom: I’m not a musician and I’ve never created sounds or soundscapes from scratch myself so it’s definitely going to pose a big challenge. I’m thinking about how I can use existing sound libraries to my advantage by manipulating, layering and distorting them until something interesting emerges. When I look at these creatures there are so many real-life sounds that immediately spring to mind, and since Miro’s paintings are an expression of the real world, it would make some thematic sense to use the real word in humorous and interesting ways.
Phil: A bit of an aside here, but producing work like this on the computer is a long-haul; what do you listen to while you work to keep mind and body together?
Phil: Hello again, Graeme! You’re back then? Great – so what’s the latest on the development of your new animated short? Where are you at and does it have a title yet?
Graeme: Hey Phil. I’m glad to be back at Red’s Kingdom to share some animation shenanigans. I’m thrilled to announce the film has a title, and it’s called The Green Glider. Currently, the main development has been translating the style of the illustrations into Maya and really knuckling down to nail the story, so lots of drawing, plus sound design for the animatic to really get into the nuts and bolts of what The Green Glider will look and feel like.
Phil: One of the loveliest things about your developmental sketches and production art is their illustrative style, but when it comes to moving your 2D ideas into 3D, what are the challenges?
Graeme: The challenges are always to maintain that quirky style within Maya. I love painting and illustration because imperfection adds charm, and many times with my sketches and illustrations I’ll do a scribble without thinking too much into it or “colouring within the lines”, and then that one line makes things more visually interesting. Translating that into the glum greyness of Maya is always a challenge, as the program runs on maths and numbers… and I failed maths in school. But I love trying to manipulate Maya so that it bows down to me…!*
*(Graeme gives an evil laugh!)
I was told in uni to treat the developmental stage like a laboratory where I have my beakers and potions and I just experiment. I always do that in the pre-production phase to see what sticks.
‘Evil’ bubble car thumbnail sketches
‘Evil’ bubble car turnaround
Phil: You’re obviously an artist who likes to keep things loose and expressive and you work things up quickly, which gives them their charm and their energy. Do you find the more exacting rigors of 3D animation frustrating?
Graeme: It’s definitely frustrating, but so rewarding when things do work and look how you want. With sketching and doing illustration I can trust the process; there’s always this period where everything looks like shite. I call it… the “shite zone”, but then, from just playing around and trusting the process, I most of the time end up with an illustration of something that looks evocative in relation to what I wanted.
In regards to 3D spaces such as Maya, you can’t be as lackadaisical and free-form – at least to an extent. If you do, your resulting models will have horrendous geometry and nothing will look right or function properly. You’ll end up modelling something a few times because you didn’t take a step back and think about how to model it before tackling it. It is something that goes against my free-flowing nature, but I always take a step back, put on my thinking cap and ask myself, “Graeme, how are you going to go about this?”
Phil: So The Green Glider, Graeme… What is it?
Graeme: The Green Glider is the macguffin of my film. Its pertinent and really important in bouncing the story along. It completely changes the outlook and ambitions of the main character Ash, and propels him into an unknown world full of mystery and magic.
The green glider developmental thumbnails
The green glider turnaround
Phil: You’ve included a test render of a scene from your film in this week’s update – the bubble car against the backdrop of the city. How many different processes, techniques and tweaks have come together to produce this one proof-of-concept render?
Graeme: Wow! This is going to be lengthy with a lot of technical jargon, but here goes… So as mentioned I wanted to get across the feeling of the original concept art, so that was the main goal.
Original concept painting
Test 3D digital set render
To start off with, I created lots of alpha maps for elements that are in the distance, such as those yellow window lights, and dialling down their transparency to get some nice atmospheric perspective; you’re not going to see those elements way in the distance, so there’s no need to have actual modelled geometry clogging up the scene and dialling up render times. An assortment of coloured blobs that move slightly can easily and more effectively represent the space of a city. Dialling things back to their simplest form is always in the back of my mind when I’m composing sets and shots.
Orange glow with windows Alpha Map
Orange glow with windows colour Map
Alpha maps are drawings turned into 3D geometry, which means I can preserve the original style of the concept art. I can even turn a full piece of concept art into an alpha if I want. You can put an alpha map on any piece of geometry – a sphere, a cube, anything! You can also have 2D animated textures, which takes things to the next level. Alpha maps are always my go-to when I want to translate into 3D the original style of my illustrations.
When I had a bunch of alpha maps finished for the background of my shot, I moved onto the central block of the metropolis. I realised the alphas would look flat when I move the camera, so to combat this I extruded the plane to give it more depth. When I animated it all for the fun of it, I loved how it looked, so this technique will be implemented into the final shots to express the constant movement of the city.
Moving City Block Plane
To bulk out the inner part of the city, I used simple blocks, some with the same texture as the city alphas and some with plain orange. Around the edges of the city to produce the impression of even more depth, I planted more alphas (which are just orange brush strokes) to make it seem as if the environment was being lit by orange street lights. I also added more yellow window alphas to more planes and more cubes to make things even busier.
The Cityscape from above Screenshot 2
The spiky triangle things are the pillars that will hold up the many roads that surround the metropolis. I want triangles in there because triangles are seen as negative shapes. To get the gross green haze that is fizzing up from the water of the world I just plopped in a Fog effect, which really gives the scene a more hazardous vibe.
I modelled and textured the little blue car for a collaboration project back in Uni. It suited my new protagonist’s personality perfectly, so I didn’t need to create a new one. Those evil looking bubble cars in the turnaround concept art will be surrounding him and over-populating the roads. I can’t wait to model and texture those nasty things! I was really inspired by Hot Wheels cars I loved as a kid.
Even now, there is still a way to go with the metropolis set; I have to texture the roads and bridges, but getting that analogue feel of my concept art is always my priority.
Phil: I understand you’re collaborating with a composer for this film, and that sound and music are playing a key role – how’s that side of your project development coming along?
Graeme: Brian Freeland is my composer. Brian created the music for my graduate film, Lost Boy. Yonks ago, I gave Brian a lengthy email explaining my idea for this new film and the vibe I was going for. Brian had a song composed that had never seen the light of day and gave me permission to use it as a placeholder for The Green Glider animatic. In the meantime, I’ve sent Brian an iteration of the animatic so he can work his magic on a new composition. I’ll be updating him with the latest animatic as soon as it’s done. I trust Brian completely, and it always feels like Christmas when he’s something new to share, so I try and bide my time patiently!
Phil: What’s your working day like? Or rather, when and where do you knuckle down and get on with your film? How are you making yourself get on with it?
Graeme: Honestly, I just really enjoying doing it – even the parts that aren’t so fun. I just have to suck it up and get on. I’m strict with myself and my work. It’s ingrained in me since my uni days and it’s a good trait to have or else nothing would get done. I try only to take breaks when something clicks or I get over the hump of something. It can be really easy to take a break when Maya is being a lippy little shit and won’t do what you ask, but I always have to get over that hump before taking a break because it makes coming back to it a lot easier – then it feels like something you don’t want to take a break from and you’re raring to get back to it.
I pretty much start working from when I wake up – albeit it’s a later start than I would like, as my sleeping pattern is a bit shit right now, but that’s due to me being such a night owl. I LOVE working at night! It’s when I feel my most creative and I get a good chunk of work done when most people are asleep.
My little ‘creation station’ is really sad actually. It’s on the dining room table. My tiny London apartment doesn’t have space for a desk, so I mainly do my work there, but I also have a little garden, which is a luxury in London, so I spend a lot of time working there too… and also working on my tan. I like to bring my laptop and Ipad with me to our local park, where I’ll do some script writing or complete some sketches – keeping my two metres distance of course! Being in such a small apartment means I have to get out, as sometimes a change of scenery does wonders for the mind and work flow and working in an open space revs my creative cogs. A library would work wonders too, or the constant lulling chatter and hiss of barista steam from a café is ideal, but they’re both off limits at the moment. These little excursions will have to do until I make my millions and put a down-payment on my industrial loft with floor to ceiling windows drenched in natural light, a mezzanine overlooking its mammoth grandeur and the warm rust tones of exposed brick…
Phil: Finally, what’s up next on your job sheet?
Graeme: Right now, I’m working on finessing the script for The Green Glider and nailing the storyboard and animatic, so the story is in its most definitive form. Then I can start rallying the troops and get a little team together that will hopefully like to hop on board. Then I’ll be on the hunt for some funding. I want the story as solidified as possible so when I do reach out, those creatives can see exactly where the film is heading. There’s loads of stuff going on behind the scenes too. I like to chip away at things constantly, so I’ll be doing 3D bits here and there. Soon I’m going to jump in and start modelling the characters. I think you have to learn to juggle and keep all these plates spinning when making an animated short. I will try and keep them spinning and not smash any of them with my clumsy ass. I know this time is precious and it will be a different ball game when I am back to work full time. so I’m giving it the full whack with the time I have!
Is it weird I want to eat this latest offering from Artist-In-Residence, Tom Beg? Is it in anyway strange this fruity, jellied character has me licking my lips in an involuntary Haribo-craving saliva response? Is it peculiar I just want to grab these cheery-looking creatures and squeeze them like those rubbery monster-shaped finger-puppets I adored as a nipper? Another powerful impulse is to take Tom’s latest creation and chuck them at a window, and watch them crawl down the glass like those wonderfully sticky stocking-fillers I likewise delighted in as a child. (These are all compliments by the way!).
Tom and I have been in touch regularly via Skype and in our most recent conversation, I asked him about this newest addition to his Miro-inspired cast of 3D characters…
Tom’s original sketch
Phil: I understand giving life to this second of your characters inspired by Miro’s painting proved quite challenging…
Tom:I have, for one reason or another, never really delved into the world of character production in 3D. On a technical level, character production locks you in quite severely into each process, and as someone who tries to make art and use software instinctively, this is somewhat intimidating because I don’t really like the idea of being tied into these processes so strictly. Any oversights or limitations with your work, however minor or innocent, can have some serious knock-on effects down the line which can cause anguish and many wasted hours.
For example, if your initial 2D design doesn’t make some sense in reality, then it will be very difficult to build it as a 3D model. If your 3D model and its underlying skeleton don’t adhere to the principles and rules of the 3D software, then the processes by which you build the tools to make your character move and come alive can become hampered and unwieldy. I’ll spare the grim details of my 3 a.m. battles, but in this case, I’ve been away from the software for a long time causing some, let’s say, ‘rustiness’ – and because my ‘character’ is a three-armed, nine-fingered, one-eyed, six-tentacled thing I dreamed up without any consideration for reality, I made maybe every possible mistake at every possible step. However, I needed to build and understand this one in order to get an understanding of all my other characters, creatures and objects. Making those mistakes and the battles to rectify those mistakes is just another part of the production process.
Building up the 3D model in Autodesk Maya
Tom unpacks the modelling pipeline
Phil: When I look at this latest character, I think of jelly sweets and all the rubbery toys of my late 1970s childhood.
Tom: That’s interesting! I‘ve been so wrapped up in just getting it made, I haven’t really paused to think about what this character ‘means’ to me. My initial goal was to just to translate the feeling of my initial Miro-inspired sketches into 3D, knowing that they were probably not going to look exactly the same once re-imagined. Seeing them now, I’m reminded of Sea-Monkeys and mini kids aquariums with plastic fish and decorations.
The completed model, rigged and ready to animate.
Phil: Any sense yet of the universe in which your characters might reside? Any inklings about the wider world of your short film?
Tom: At the moment the characters are occupying these infinite nebulas with very little sense of depth and space. Even when producing the last two images it’s been somewhat tricky to figure where things should be placed in relation to each other, or how big they should be, or how many there should be. The good thing is these sorts of ponderings are starting to define the world I eventually need to build. I do have some ideas floating around, so once all the initial assets have been made, I’ll be able to play around with the finished stuff – like toys – and get a better sense of what it is all going to be.
Tom’s ‘sea monkey’ in various poses
Phil: Finally then, who is up next and what are your predictions around the challenges you’ll face?
Tom: Even though I consider this character a big step forward for this project, and me personally, there will always be some challenges because no 3D model or design is ever the same. In terms of my initial sketches there are some which are more recognisable as typical characters, with eyes and arms, and there are others which look more objects. I want to start building a couple of these more object-like ones and work out how I can imbue them with that same sense of character and aliveness.
All of Tom’s initial drawings, two down, which one will be next?
One small thing I’m doing at Red’s Kingdom is inviting other artists and creative individuals to take up short residences here so I can catch-up with what they’re doing and showcase their work accordingly – older work, new work, and work-in-development. During my happy stint as course leader for a degree course in animation, I was fortunate to meet entire communities of talented individuals, many of whom I’ve gone on to work with on various projects and now count as good friends.
One of the noticeable effects of the Covid-19 pandemic is the way it has inspired a sort of season-of-good-will mood of introspection and reaching-out. The disruption of normal routines means we’re thinking differently about the legitimacy and value of our own dogged pursuits, but also thinking much more about the well-being and resilience of absent friends and thus renewing efforts to stay in touch. My decision to begin blogging again is certainly part of this response, and likewise the impulse to contemporise friendships and past affinities that might otherwise have been allowed to drift.
All of which brings me to the subject of Red Kingdom’s first residency – animator, film-maker, and educator, Tom Beg. Say what you like about the particular strains put upon the pursuit of meaningful conversations by Skype and Zoom et al. but when an old friend of yours is self-isolating in Japan and, via Skype, you can pick up with him where you last left off, the technology still feels pretty astonishing.
Before Tom left for his new life in Japan, he already had a number of impressive and well-received animated shorts under his belt, and a Masters Degree too. His ambitious undergraduate final year film, The Picture Of Dorian Gray (2011) was ‘staff-picked’ by the good people at Vimeo and was awarded ‘short of the week’, and his Life-cycle of a Mushroom (2011) was commissioned as part of a interdisplinary collaboration between UCA and UoK. Owl, Tom’s 2015 music video for Collectress, a personal favourite of mine, combines extraordinary other-worldly visuals, folk horror and total directorial confidence in its execution.
Since Owl, things have been very quiet. A few weeks ago now, Tom and I talked on Skype for the first time in a while, and I essentially said as much, and Tom essentially agreed. By the end of our conversation we’d forged an agreement to kick something off, however small, however explorative, and regardless of the ultimate outcome. We needed a visual prompt, a jumping off point, something to respond to instinctively without second-guesses. In 2013, Tom and I worked together on the live-synchronisation animation, La creation du monde for ACT, where we both derived obvious satisfaction from mucking about with some mid-twentieth century-style abstraction. Perhaps it was this that led me to choose Miro’s Women and Birds at Sunrise and offer it up to Tom as blue-touch paper for an impromptu lock-down challenge? No matter, what’s exciting is what happened next, but before we get to that, here’s a bit of back and forth between Tom and I on his work old and new…
Phil: Hey Tom, what’s going on? How are all-things Covid with you?
Tom: For the past four years I’ve been working as a school teacher in Japan, the country that I currently call home. I’ve been enjoying the life of living abroad and all the ups and downs that come with deciding to uproot your life and go somewhere completely unfamiliar and do something totally different.
Usually spring time in Japan represents a time of change; the cherry blossoms bloom, a new fiscal year begins and students start the new academic year. Unfortunately, the current global health situation means that right now, I along with all other teachers and students are navigating our daily lives from the confines of home, except for the occasional daring, masked runs to the supermarket whenever my onion supplies run uncomfortably low.
Despite the stalling of daily life, I’m sure like for many others, the downtime of lock-downs and states of emergencies has offered a chance for some personal introspection and a desire to get through all of this with a positive view towards the future. My job as a teacher of teenagers who don’t speak my native language requires me to be creative in all sorts of imaginative ways, but after a long time away, I felt the urge to get creative in a way that is probably a lot more familiar to people who have known me from the time before I figured out what all the buttons on my fancy toilet do.
Phil: Your final year film Dorian Gray continues to receive attention on Vimeo. What are your recollections of working on that film?
Tom: In 2021 it will be 10 years since I made my graduate animation, The Picture of Dorian Gray. While revisiting it these days with many lessons learned elicits more than a few winces, I know even today it still sometimes manages to tickle the senses of people in the right way – which is strange because it’s an 8-minute animation I produced in 15 weeks, made with very little expectation that anyone except myself and tutors would watch it, but the internet finds a way and it ended up becoming something of a mini-viral hit (by 2011 standards!).
Thinking back, the production of the visuals in particular were so off the cuff that maybe it could it could be classified as something like guerilla CG filmmaking, mostly made with a desire to just get it done and let my instincts take over the production process.
Phil: What was your inspiration behind your animation for the Spectacular Science collaboration, The Life-cycle of a Mushroom?
Tom: The Life-cycle of a Mushroom wears its influences on its sleeve perhaps more than any other animation I’ve ever made, those influences obviously being silent movies and animated shorts like Disney’s Silly Symphonies. I wanted to capture the feeling of the roaring 20s and Jazz-age hedonism and make mushrooms and the biological process by which they reproduce just kind of sexy and fun. Like Dorian Gray this one took off online more than I could have ever imagined. Maybe people thought the same as me, that highly poisonous mushrooms could be wonderfully jazzy and slinky.
Phil: I’ve always loved Owl, your music video for Collectress. I think it’s pretty much a perfect thing and deserves a much wider audience and reach. Can you tell me something about the creative process behind its production?
Tom: For Owl I wasn’t looking to emulate any particular style. The music I was given was suitably ambiguous, offering the impression of something without ever explicitly expressing it. If I had to mention any influences then Moriyama Daido’s photography book, Tales of Tono, Stan Brakhage’s experimental short film, Mothlight, and the landscape shots from the British silent movie, A Cottage on Dartmoor were all on my mind at the time. The whole project was a big mixed-media undertaking incorporating marker pens, infrared film photography and 3D animation. I wanted to make something that purposely had a low-fi feel and didn’t look or feel like CG animation. More importantly, I didn’t want there to be a clear-cut answer about what it all meant, just as the music left me with my own questions.
Phil: A few weeks back we got talking on Skype and we both talked about the ‘itch’ to get into something new. I sent you the Miro image as a catalyst, and in just a few days, you were back producing all these wonderful developmental drawings and thumbnails. A few days later, you were back in the saddle modelling from your drawings in 3D. I’m properly excited to see those cogs of yours turning again. What’s the plan?
Tom: Stepping back into the world of computer animation software and the trials and tribulations of wrestling with something as big and bulky as Maya is a daunting but gratifying experience because while it has been a really long time, it’s nice to know things really haven’t all changed that much. Sure, there’s new renderers to learn, old trusted tools unceremoniously removed from existence and new buttons that do mysterious things, but the basic principles remain the same. It’s simply a case of adapting your ideas to fit those.
Whenever I’ve made CG art in the past there has always been that moment where whatever I’m working on suddenly becomes ‘right’ and that it’s nice to know this kind of feeling can still be conjured up even after many years in the wilderness.
As for this new piece, right now it doesn’t have a name, it doesn’t have a run time, it doesn’t have any music and it doesn’t have a deadline – a potentially disastrous combination, but like my decision to set off for a far-off country four years ago, it’s just being done with a desire to just see what happens and learn a few lessons along the way. That’s really quite exciting.
Every few days or so, I get a notification on Skype to say Tom has shared another update or image of this as-yes-untitled new project of his. I actively look forward to them. As Tom’s new work continues to take shape and develop, I’ll be sharing updates here at Red’s Kingdom. I know he’s currently working on another of his exuberant-looking Miro-inspired life-forms and thinking too about the opportunity for breaking new creative ground as a sound designer in response to all the noise and commotion implied by his drawings. More as and when from Tom Beg, Red Kingdom’s inaugural artist-in-residence. It’s great to have him around again!
Find Tom at tombeg.com and follow him on Twitter @earthlystranger