Professional Practise - 1
25th March 2021
Cartoon Saloon
Cartoon Saloon is my favourite animation studio outside of the giants that are CN, Disney, Trigger and Kyoto Animation. Their work, in a word, is fascinating. Their productions are everything that is magical about 2D traditional animation, and they have the energy and passion reminicent of the eldest works of Walt Disney.
"Kilkenny-based [Ireland] Cartoon Saloon is a five-time Academy Award, Golden Globe, BAFTA and Emmy nominated animation studio formed by Paul Young, Tomm Moore and Nora Twomey. From award-winning shorts to feature films and TV series, Cartoon Saloon has carved a special place in the international Animation industry."
Contacts
Tomm Moore - Partner & Creative Director, Storyboarder, Animator, Illustrator, Art Director
Paul Young - Producer & Creative Director
Nora Twomey - Partner & Creative Director
https://www.cartoonsaloon.ie/
+353 567 764 481
info@cartoonsaloon.ie
"Kilkenny-based [Ireland] Cartoon Saloon is a five-time Academy Award, Golden Globe, BAFTA and Emmy nominated animation studio formed by Paul Young, Tomm Moore and Nora Twomey. From award-winning shorts to feature films and TV series, Cartoon Saloon has carved a special place in the international Animation industry."
Contacts
Tomm Moore - Partner & Creative Director, Storyboarder, Animator, Illustrator, Art Director
Paul Young - Producer & Creative Director
Nora Twomey - Partner & Creative Director
https://www.cartoonsaloon.ie/
+353 567 764 481
info@cartoonsaloon.ie
Careers at Cartoon Saloon
"Here at Cartoon Saloon our goal has always been to make original stories and foster the talent of our crew. We believe in showing exactly what can be achieved when traditional art techniques merge with digital methods to make beautiful animation features, shorts and series. A studio is only as strong as its crew, do you have what it takes to be part of our mission to showcase the storytelling power of 2d animation?"
In their FAQ, it is asked, 'what makes a great portfolio?'
"Drawing skills and ability in digital and traditional media. Evidence of being able to adapt to the style of a production and also strong personal projects."
Cartoon Saloon,
The Maltings,
Tilbury Place,
James’ Street,
Kilkenny,
Ireland.
- Job listings on LinkedIn
- Job listings on their official website
- They run internships but these are on pause due to Covid-19
- They also run student work experience but this is also on pause due to Covid-19 ("check back in 2021" ...later in the year perhaps)
- Recruits have to move to Kilkenny, Ireland. They do not offer remote positions. "Kilkenny is easily accessible from all major Irish airport and ferry ports, with Dublin an easy 1 hour and 20 minutes drive on the M9 motorway. Alternatively you can catch one of the regular trains or buses from any of the major urban centres."
In their FAQ, it is asked, 'what makes a great portfolio?'
"Drawing skills and ability in digital and traditional media. Evidence of being able to adapt to the style of a production and also strong personal projects."
Cartoon Saloon,
The Maltings,
Tilbury Place,
James’ Street,
Kilkenny,
Ireland.
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25th March 2021
Karrot Animation
Karrot Animation, a London-based studio, specialise in animation for TV and streaming services. Noteably they have created Sarah & Duck, a 2D BAFTA award-winning children's TV program. Their work is extremely passion driven and the studio prides itself as "a vibrant hub for story-driven writers, artists and animators and a fertile home for new concepts and ideas." Their animations are energetic and inspiring, and the studio would be exciting to work in.
Clients - Turner (Cartoon Network), Nickelodeon, Netflix, Amazon Studios, Cbeebies, Discovery Channel, Ford, McDonalds & UEFA (and more)
"We are a vibrant animation studio in London, specialising in character, design and storytelling using digital traditional animation. As well as our healthy commercial division, Karrot houses an experienced TV series development team, with a strong understanding of character and world development."
Their LinkedIn studio page lists their skills as 'Animation, Design, Storytelling, CelAction, After Effects, Flash, Maya, and TV Paint,' which gives a good idea as to what they would be looking for in the skills of an employee (as well as being passionate about traditional TV animation, of course). IT also lists that they have 11-50 employees at the studio, so there is likely a lot of competition in being able to work there.
Clients - Turner (Cartoon Network), Nickelodeon, Netflix, Amazon Studios, Cbeebies, Discovery Channel, Ford, McDonalds & UEFA (and more)
"We are a vibrant animation studio in London, specialising in character, design and storytelling using digital traditional animation. As well as our healthy commercial division, Karrot houses an experienced TV series development team, with a strong understanding of character and world development."
Their LinkedIn studio page lists their skills as 'Animation, Design, Storytelling, CelAction, After Effects, Flash, Maya, and TV Paint,' which gives a good idea as to what they would be looking for in the skills of an employee (as well as being passionate about traditional TV animation, of course). IT also lists that they have 11-50 employees at the studio, so there is likely a lot of competition in being able to work there.
Contact
The Studio
11 Morecambe Street, London, SE17 1DX, GB
+44(0)207 703 2080
For 'say hello and for general enquiries': hello@wearekarrot.com
Facebook | Twitter | Vimeo | LinkedIn | Instagram
Management Team
Chris White - Managing Director and Founder
Richard Knight - Financial Director
Ann Jose Calderon - Accounts Manager
Jamie Badminton - Founder and Creative Director
Tim O'Sullivan - Head of Development
Tom Jordan - Studio Director
The Studio
11 Morecambe Street, London, SE17 1DX, GB
+44(0)207 703 2080
For 'say hello and for general enquiries': hello@wearekarrot.com
Facebook | Twitter | Vimeo | LinkedIn | Instagram
Management Team
Chris White - Managing Director and Founder
Richard Knight - Financial Director
Ann Jose Calderon - Accounts Manager
Jamie Badminton - Founder and Creative Director
Tim O'Sullivan - Head of Development
Tom Jordan - Studio Director
Careers at Karrot Animation
"Karrot tend to hire for specific projects, so roles can come up fairly regularly.
If you think you have the production skills and experience we need, it’s always worth saying hello and sharing your reel, portfolio and CV."
Email to jobs@wearekarrot.com
"We do try to include junior roles as part of our projects, if we can. We tend to work in this way, rather than offer separate internships, so we can always offer fully paid roles with live production experience and credits.
If you are just starting your animation journey and want to share your work, please include ‘Junior Roles’ in the subject headline. Thanks!"
Jobs webpage
If you think you have the production skills and experience we need, it’s always worth saying hello and sharing your reel, portfolio and CV."
Email to jobs@wearekarrot.com
"We do try to include junior roles as part of our projects, if we can. We tend to work in this way, rather than offer separate internships, so we can always offer fully paid roles with live production experience and credits.
If you are just starting your animation journey and want to share your work, please include ‘Junior Roles’ in the subject headline. Thanks!"
Jobs webpage
25th March 2021
Arcus Animation Studios
While my other focuses have been on studios in big cities, Arcus is in Newcastle-Upon-Tyne in the UK. It would be prefereable to not live in London, so this is worth serious consideration. The biggest draw for me personally is that they are a small but quality 2D animation studio. This is quite rare in the industry today. They create broadcast animation, promotional videos, video installations, inhouse original content and develop new IP's.
"...If you’re after any sort of animated content, be it for Tv, the internet, music videos, games, apps or projections on the moon, or if you’d just like to learn more about us and what we do, then please get in touch."
Although these projects seem very exciting, and are executed well, the studio doesn't seem to do much work in TV series or film animation, and a lot of their portfolio is motion graphics rather than passionately designed 2D animations. Although it doesn't really deliver what I care about most in this field of work (sakuga in storytelling), it is good to stay open minded. They do not have any information on internships or careers, so I would have to contact the studio through social media or email.
Contact
hello@arcusstudios.co.uk
+44 (0)1914 998408
www.arcusstudios.co.uk
James Taylor - Creative Director
Socials
https://twitter.com/arcusstudios
https://vimeo.com/arcusstudios
https://www.linkedin.com/company/arcus-studios/
https://www.facebook.com/arcusstudios
2.12, Northern Design Centre, NE8 3DF
Newcastle, United Kingdom
"...If you’re after any sort of animated content, be it for Tv, the internet, music videos, games, apps or projections on the moon, or if you’d just like to learn more about us and what we do, then please get in touch."
Although these projects seem very exciting, and are executed well, the studio doesn't seem to do much work in TV series or film animation, and a lot of their portfolio is motion graphics rather than passionately designed 2D animations. Although it doesn't really deliver what I care about most in this field of work (sakuga in storytelling), it is good to stay open minded. They do not have any information on internships or careers, so I would have to contact the studio through social media or email.
Contact
hello@arcusstudios.co.uk
+44 (0)1914 998408
www.arcusstudios.co.uk
James Taylor - Creative Director
Socials
https://twitter.com/arcusstudios
https://vimeo.com/arcusstudios
https://www.linkedin.com/company/arcus-studios/
https://www.facebook.com/arcusstudios
2.12, Northern Design Centre, NE8 3DF
Newcastle, United Kingdom
25th February 2021
Blogs and News Feeds
- Character Design References. A blog that shares interviews of artists and animators, and posts the preproduction artworks of a huge library of animated shows. I find a lot of inspiring art and artists here. (Below: Preproduction artwork shared from Kiki's Delivery Service)
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- King of OOO. Previously highlighted here, it is a collection of preproduction art by the artists working on Cartoon Network's 'Adventure Time.'
- Animation World Network. An animation blog that keeps up to date with what's new in the industry. News, articles and interviews.
- Cartoon Brew. Another blog covering film and TV animation. Publishes a lot of insightful articles and recent updates.
- Toon Boom Blog. Toon Boom is the leading software used for storyboarding. Their blog has a growing library of animation articles. It isn't as updated for news as AWN or CB, but nonetheless good to check now and then.
- Animation Magazine. Another blog with recent animation industry news.
- Bloop Animation Blog. This blog focuses on learning animation skills and gaining knowledge about the software and techniques used in the industry. It has many articles with advice, and provides access to tutorials.
- It's Nice That. The main blog I go to for art inspiration that isn't strictly animation content. I've been following this blog for over 5 years. Very interesting content, and lots of illustration and graphic design.
- Sakuga Blog. A sophisticated blog with articles mostly, but not exclusively, about Eastern animation. Sakuga Booru also run a Twitter page, "Random Sakuga," which shares delightful animation clips onto the daily timeline. The word 'sakuga' in the context of animation is generally used to describe animation that is exceptional and impressive. Sakuga Booru's main website are a collection of such clips.
24th February 2021
1.3 Action Plan
Short-Term Goals (2021)
Medium-Term Goals (2021-2023)
Long-Term Goals (2023+)
It's difficult to put a goalpost on how long it will take to get a job, as it's a very competitive industry and 2D focused animation studios fall short on being common. Regardless of how long these goals take, I will achieve them. I will continue to apply for opportunities, work on all my skills' weakness, and continue to build a really strong portfolio. I will take risks to get where I need to be, even if that means going overseas to get the experience I need, or working a side-job to be able to afford the software that I need for practising animation.
- Get an internship or experience placement (preferably paid) in an animation studio (preferably 2D).
- Apply to studio internship openings, job roles for beginners and email creative directors with intentions and a PDF portfolio. - Produce more personal work to hone weaknesses and continue to build up a sequential art/illustration portfolio.
- Post more often on social media.
- Attend more art festivals and study from art books more often.
Medium-Term Goals (2021-2023)
- When personal work is being produced at a healthy creative pace, open a little shop to sell the best pieces as prints, stickers, badges etc.
- Etsy is a very user friendly website for selling crafts.
- Read a book on copyright and managing finances (Association of Illustrators have one) to fully understand having an art shop.
- Market the shop and products on social media with posting at the optimum time and using aesthetic, professional photography. - Learn and practise the fundamentals of 2D animation using Procreate, Photoshop, ToonBoom (free trial), and traditional hand-drawn animation.
- Study from books, invest in online and in-person workshops, watch tutorials online.
- Practise, practise, practise. - Land a full time in-house job at an animation studio.
- Same process as before; Apply to studio job openings, and email creative directors with intentions and a PDF portfolio.
Long-Term Goals (2023+)
- Work full time in the animation industry in preproduction for 2D animation (storyboarding, but possibly also concept art and character design).
- Be able to 2D animate with industry software (ToonBoom) and potentially branch out to becoming an animator. Be capable of self-directing and designing an animated sequence from the script/inspiration to a refined piece.
- Be working in-house on animated TV shows or feature films.
- Be posting animations/speed-draws to YouTube and potentially doing art live streams on YouTube or Twitch.
- Have my own place, own a Wacom Cintiq and have an art space at home to seperate work from the rest of life.
It's difficult to put a goalpost on how long it will take to get a job, as it's a very competitive industry and 2D focused animation studios fall short on being common. Regardless of how long these goals take, I will achieve them. I will continue to apply for opportunities, work on all my skills' weakness, and continue to build a really strong portfolio. I will take risks to get where I need to be, even if that means going overseas to get the experience I need, or working a side-job to be able to afford the software that I need for practising animation.
24th February 2021
Skills Audit Questionnaire (Part 2)
Things To Work On:
- I need to be able to showcase that I can draw a variety of different characters and landscapes/backgrounds
- Show that I can draw characters with a variety of different expressions and moods
- Do more practise work with stories to show that I understand pacing and sequencing - make prototype books and comics
- Write some of my own stories to illustrate or animate to show writing skills and the above
- Continue to get better with time management by prioritising, not over-correcting work, and fighting pre-drawing anxiety (the fear of not being able to meet my own high expectations)
- Show that I am able to develop and sustain a storyline in comics
- Show an understanding of structure in books and comics
- Practise working quicker for the sake of editorial illustration opportunities and critically busy times in any creative industry
- "How well do you consider inclusivity of race, gender and sexuality in the designs you create? I am always aware of this and it's importance in society today but I definitely need to show it more bravely in my work
- I should be doing more personal work
- Do some research on when I should be using RGB vs CMYK
- Practise speaking about pitches and ideas in person more confidently
1.2 Skills Audit
23rd February 2021
Skills Audit Questionnaire (Part 1)
SECTION 1. GENERIC SKILLS
"Evaluate yourself according to these skills on a scale of 1 - 6 where 6 is strongest. You can use your responses to identify areas for improvement."
1. Work in an identifiable visual language. Rating: 5
I understand the principles and fundamentals of illustration and design and am always considerate about my decision making. I can't say I'm a 6 because I think there's still things I don't always get right in the discipline. It will come with practise.
2. Be stylistically consistent. Rating: 4
My friends and their friends etc. can usually tell if something has drawn by me, due to my colours, lines, brushes and approach to character design. But I am still learning and will continue to develop my skills, so my art is always evolving. My illustrations of still life and pixel art are different to my usual illustrations. But in themselves as mediums, they are consistent. I don't see this flexibility as too much of a boon because you have to be able to adapt to different styles in the animation industry. I don't plan to lose my individuality in making art. I want to keep improving and become more consistent with my style at the same time.
3. Use colour. Rating: 3
Colour is a weakness I'm aware of. I would also say I'm weak with lighting, backgrounds and perspective. I know I'm capable of getting better at these areas because I can pick things up fast when I fully understand the fundamentals, but I definitely need to try harder to work on these skills. I don't think I'm awful at them, but they can definitely be a lot stronger. I have some books that I've bought to get better in these areas; I need to read them and work from them.
4. Interrogate a brief. Rating: 6
I believe my English skill in analysis gives me confident strength to break a brief down to exactly what it is asking for.
5. Generate and select a range of ideas for a client. Rating: 6
Ideas generation is something I am good at. I don't slack in researching, considering all of the relevant options, and narrowing them down to the ones best suited for the client and the purpose.
6. Visualise ideas for a client. Rating: 5
Thumbnailing is something I'm very confident with. I am good at the process and at producing very clean, varied, considered and well presented visuals. I give a 5 instead of a 6 because I think I need to work at producing more visuals, but not of any less quality. I just need to get faster or learn how to be more focused.
7. Locate and appropriately use visual research where and when required. Rating: 5
Art education has taught me how to thoroughly research and use it in the design process for the optimal effect.
8. Work across a broad range of subject areas. Rating: 4
In college and year one of university I learnt a range of different art skills which allow me to thrive in more than one discipline across the arts. Subjects I could particularly do to improve on would include fine art painting and printmaking, as both would benefit illustration practise. There is software used in other subject areas that I also need to get better at using efficiently, like InDesign, Illustrator and Premiere Pro, that I don't use often enough, as well as software for the animation industry like Toon Boom, that I'm completely inexperienced with right now.
9. Make amendments to work in response to feedback. Rating: 6
I am very good at taking constructive criticism and applying changes to the work in a sensible and attentive manner.
10. Undertake personal work. Rating: 3
Outside of commissions and gifts, I very rarely do personal work. I sometimes struggle with balancing my time. I really enjoy making personal work, and I'm often proud of what I've drawn. But unlike a lot of artists, lately I don't feel creative if I feel down, and in the last year I've had a lot of that. In the times that I've felt okay, I've had creative bursts. I have confidence that when my mental health reaches a certain point of stability and being okay, I'll do more personal work. I have so many ambitions; it's definitely not a lack of drive. I just have to keep taking care of myself and that point will be reached.
11. Undertake self promotional work. Rating: 3
I have made a CV, but not an art CV yet. I've also made a business card, but it needs updating and new ones printing (since I rebranded recently.) In terms of visibility, I have a consistent online alias (Airusani) across all social media so I am easy to search for and the name is memorable. I've also got a website (this) with a professional domain and neatly organised portfolio. I should be posting more on social media though, and posting 'stories.' I think this stage of self promotion will come naturally when I'm creating more personal work, but that's not to say I shouldn't be trying harder right now. I should be making more connections in the animation industry, and emailing more studios, but I am sufficiently looking out for careers and opportunities on LinkedIn and the likes.
"Evaluate yourself according to these skills on a scale of 1 - 6 where 6 is strongest. You can use your responses to identify areas for improvement."
1. Work in an identifiable visual language. Rating: 5
I understand the principles and fundamentals of illustration and design and am always considerate about my decision making. I can't say I'm a 6 because I think there's still things I don't always get right in the discipline. It will come with practise.
2. Be stylistically consistent. Rating: 4
My friends and their friends etc. can usually tell if something has drawn by me, due to my colours, lines, brushes and approach to character design. But I am still learning and will continue to develop my skills, so my art is always evolving. My illustrations of still life and pixel art are different to my usual illustrations. But in themselves as mediums, they are consistent. I don't see this flexibility as too much of a boon because you have to be able to adapt to different styles in the animation industry. I don't plan to lose my individuality in making art. I want to keep improving and become more consistent with my style at the same time.
3. Use colour. Rating: 3
Colour is a weakness I'm aware of. I would also say I'm weak with lighting, backgrounds and perspective. I know I'm capable of getting better at these areas because I can pick things up fast when I fully understand the fundamentals, but I definitely need to try harder to work on these skills. I don't think I'm awful at them, but they can definitely be a lot stronger. I have some books that I've bought to get better in these areas; I need to read them and work from them.
4. Interrogate a brief. Rating: 6
I believe my English skill in analysis gives me confident strength to break a brief down to exactly what it is asking for.
5. Generate and select a range of ideas for a client. Rating: 6
Ideas generation is something I am good at. I don't slack in researching, considering all of the relevant options, and narrowing them down to the ones best suited for the client and the purpose.
6. Visualise ideas for a client. Rating: 5
Thumbnailing is something I'm very confident with. I am good at the process and at producing very clean, varied, considered and well presented visuals. I give a 5 instead of a 6 because I think I need to work at producing more visuals, but not of any less quality. I just need to get faster or learn how to be more focused.
7. Locate and appropriately use visual research where and when required. Rating: 5
Art education has taught me how to thoroughly research and use it in the design process for the optimal effect.
8. Work across a broad range of subject areas. Rating: 4
In college and year one of university I learnt a range of different art skills which allow me to thrive in more than one discipline across the arts. Subjects I could particularly do to improve on would include fine art painting and printmaking, as both would benefit illustration practise. There is software used in other subject areas that I also need to get better at using efficiently, like InDesign, Illustrator and Premiere Pro, that I don't use often enough, as well as software for the animation industry like Toon Boom, that I'm completely inexperienced with right now.
9. Make amendments to work in response to feedback. Rating: 6
I am very good at taking constructive criticism and applying changes to the work in a sensible and attentive manner.
10. Undertake personal work. Rating: 3
Outside of commissions and gifts, I very rarely do personal work. I sometimes struggle with balancing my time. I really enjoy making personal work, and I'm often proud of what I've drawn. But unlike a lot of artists, lately I don't feel creative if I feel down, and in the last year I've had a lot of that. In the times that I've felt okay, I've had creative bursts. I have confidence that when my mental health reaches a certain point of stability and being okay, I'll do more personal work. I have so many ambitions; it's definitely not a lack of drive. I just have to keep taking care of myself and that point will be reached.
11. Undertake self promotional work. Rating: 3
I have made a CV, but not an art CV yet. I've also made a business card, but it needs updating and new ones printing (since I rebranded recently.) In terms of visibility, I have a consistent online alias (Airusani) across all social media so I am easy to search for and the name is memorable. I've also got a website (this) with a professional domain and neatly organised portfolio. I should be posting more on social media though, and posting 'stories.' I think this stage of self promotion will come naturally when I'm creating more personal work, but that's not to say I shouldn't be trying harder right now. I should be making more connections in the animation industry, and emailing more studios, but I am sufficiently looking out for careers and opportunities on LinkedIn and the likes.
SECTION 2. TECHNICAL SKILLS
12. Select the appropriate software for a given task. Rating: 5
The processes of illustration I do right now don't use many different programs, but I know what to use to do certain things. If we were talking about animation though, I would need guidance of which software to use at this point.
13. Use Adobe Photoshop. Rating: 5
It is the Adobe program I am the most familiar with. I don't know absolutely everything about it, but I know how to do the things that I need to do.
14. Use Adobe Illustrator. Rating: 1
I have never really needed a reason to use Illustrator, so despite learning how to use it in year one, I haven't practised with it since. It's more used for graphic designers; I can draw things I need in Procreate or by hand. All I have really used it for is mocking up designs, but most of these are compatible with Photoshop or InDesign, so I use those instead.
15. Use Adobe InDesign. Rating: 4
I have had a fair amount of practise with InDesign. I understand how to use it for it's typographic and layout purposes, which I think are the key things. I use it for creating the print PDF of my portfolio, and understand it enough to do this very well.
16. Use Adobe After Effects. Rating: 1
The core Adobe program I am the least familiar with. With my complete lack of interest in this robotic, cheap form of moving image, I don't really care to learn how to use it. Traditional/hand-drawn animation has so much more character, expression and love in it. If there is something After Effects can do that interests me, I wouldn't be against learning how to use it for that purpose.
17. Use Adobe Premiere. Rating: 4
I am pretty good with Premiere, having used it to video edit in my own time too. I used it to put together my two animation projects, and it's rather straight forward. There are definitely things I have forgotten since my tutorials in first and second year, so I could do to refresh myself with my old notes or new tutorials. It will likely continue to be my first-choice video editing software, but I am unsure of what animation studios use for this part of the process.
18. Use other Adobe CC software packages. Rating: 1
I don't have experience with the Adobe packages outside of what we learnt how to use in university. I'm interested in Adobe Animate but haven't made the time to experiment or research what can be achieved with it yet.
19. Use a scanner effectively. Rating: 6
100%.
20. Understand and correctly use resolution settings. Rating: 6
100%.
21. Save artwork in appropriate formats and colour modes. Rating: 5
I understand formats but sometimes I get confused between if things should be RBG or CMYK.
22. Set work up for print. Rating: 5
I am fairly confident in being able to set work up for printing, but when it comes to settings, sometimes I couldn't figure out technical printing problems myself. I have made notes on my phone though that should help with future complications.
23. Specify print requirements. Rating: 5
I know how to specify print requirements except for the colour modes.
24. Prepare work for web/blog/social media use. Rating: 6
I'm very good at presentation and keeping a quality and consistency with how I show my work.
25. Manage your own portfolio website. Rating: 6
I think my website is perfectly sufficient and professional. It is easy to find things and its presented well.
26. Create webpages and/or blog posts. Rating: 6
I have become very good at using Weebly to create blog posts and webpages with ease. I can also do this on Tumblr as an alternative, but it is less professional.
27. Communicate via email. Rating: 6
Since I am good with English and am well aware of professional courtesies, writing emails is not something I struggle with. I made a seperate business email too, which is always logged in on my phone, so I would never "forget to check" or miss a message.
12. Select the appropriate software for a given task. Rating: 5
The processes of illustration I do right now don't use many different programs, but I know what to use to do certain things. If we were talking about animation though, I would need guidance of which software to use at this point.
13. Use Adobe Photoshop. Rating: 5
It is the Adobe program I am the most familiar with. I don't know absolutely everything about it, but I know how to do the things that I need to do.
14. Use Adobe Illustrator. Rating: 1
I have never really needed a reason to use Illustrator, so despite learning how to use it in year one, I haven't practised with it since. It's more used for graphic designers; I can draw things I need in Procreate or by hand. All I have really used it for is mocking up designs, but most of these are compatible with Photoshop or InDesign, so I use those instead.
15. Use Adobe InDesign. Rating: 4
I have had a fair amount of practise with InDesign. I understand how to use it for it's typographic and layout purposes, which I think are the key things. I use it for creating the print PDF of my portfolio, and understand it enough to do this very well.
16. Use Adobe After Effects. Rating: 1
The core Adobe program I am the least familiar with. With my complete lack of interest in this robotic, cheap form of moving image, I don't really care to learn how to use it. Traditional/hand-drawn animation has so much more character, expression and love in it. If there is something After Effects can do that interests me, I wouldn't be against learning how to use it for that purpose.
17. Use Adobe Premiere. Rating: 4
I am pretty good with Premiere, having used it to video edit in my own time too. I used it to put together my two animation projects, and it's rather straight forward. There are definitely things I have forgotten since my tutorials in first and second year, so I could do to refresh myself with my old notes or new tutorials. It will likely continue to be my first-choice video editing software, but I am unsure of what animation studios use for this part of the process.
18. Use other Adobe CC software packages. Rating: 1
I don't have experience with the Adobe packages outside of what we learnt how to use in university. I'm interested in Adobe Animate but haven't made the time to experiment or research what can be achieved with it yet.
19. Use a scanner effectively. Rating: 6
100%.
20. Understand and correctly use resolution settings. Rating: 6
100%.
21. Save artwork in appropriate formats and colour modes. Rating: 5
I understand formats but sometimes I get confused between if things should be RBG or CMYK.
22. Set work up for print. Rating: 5
I am fairly confident in being able to set work up for printing, but when it comes to settings, sometimes I couldn't figure out technical printing problems myself. I have made notes on my phone though that should help with future complications.
23. Specify print requirements. Rating: 5
I know how to specify print requirements except for the colour modes.
24. Prepare work for web/blog/social media use. Rating: 6
I'm very good at presentation and keeping a quality and consistency with how I show my work.
25. Manage your own portfolio website. Rating: 6
I think my website is perfectly sufficient and professional. It is easy to find things and its presented well.
26. Create webpages and/or blog posts. Rating: 6
I have become very good at using Weebly to create blog posts and webpages with ease. I can also do this on Tumblr as an alternative, but it is less professional.
27. Communicate via email. Rating: 6
Since I am good with English and am well aware of professional courtesies, writing emails is not something I struggle with. I made a seperate business email too, which is always logged in on my phone, so I would never "forget to check" or miss a message.
SECTION 3. TRANSFERABLE SKILLS
28. Communicate clearly in written form. Rating: 6
My writing skills are good.
29. Communicate clearly in verbal form. Rating: 4
Although I do naturally speak very clearly, sometimes my anxiety does get in the way and my words merge or I forget what I'm going to say. If I have to speak about something, I usually have a plan going in, or flashcards/a note of points at worst.
30. Manage time effectively. Rating: 3
Time management is a weakness. I've definitely improved in the last few years, but I think I get overwhelmed too easily and find it hard to prioritise the right things. However, if I have a realistic plan or schedule to stick to, I am significantly better at this.
31. Work to a deadline. Rating: 6
Even if I sometimes don't manage my time the best, I always meet strict deadlines. I find it easier to meet deadlines that others have set for me than the ones I have set for myself, but once it's on paper as a goal, I will meet it. I also understand how to compromise with a project if it takes an unexpected turn, to still deliver it on time.
32. Work quickly if and when required. Rating: 5
I am capable of working quickly but my typical work flow is a slower one since I am a perfectionist.
33. Manage resources. Rating: 5
I don't fully understand what this is refering to exactly by 'resources,' but if it is generally meaning organisational and management skills, I am proficient at them.
34. Work independently. Rating: 5
I'm great at working independently but sometimes I require advice from tutors or peers for feedback or to ask if something is headed in the right direction.
35. Work in a team. Rating: 5
I like working in a team! I know my boundaries as a member of a team and am reliable to fulfil my roles. I am not afraid to pitch ideas or raise my opinion if I think something isn't working in the bigger picture. I am quiet person though, so while I am not scared of speaking out, I wonder how easily I could be a pushover if people aren't so polite and understanding. Genreally I would know the correct protocol of how to deal with this, though. I am polite but I am also honest.
36. Adapt to change / moving goal posts. Rating: 3
While I know I can compromise to moving deadlines, I don't have much experience with having to deal with this. Due to the nature of how I work, depending on the extremity of the moving goal posts, I'm unsure how adaptable I can actually be. I really should practise doing speed drawing exercises so I can be more adaptable if these kinds of situations come up more often.
37. Respond well to criticism. Rating: 6
I can take critcism maturely and apply it conscientiously to my work.
28. Communicate clearly in written form. Rating: 6
My writing skills are good.
29. Communicate clearly in verbal form. Rating: 4
Although I do naturally speak very clearly, sometimes my anxiety does get in the way and my words merge or I forget what I'm going to say. If I have to speak about something, I usually have a plan going in, or flashcards/a note of points at worst.
30. Manage time effectively. Rating: 3
Time management is a weakness. I've definitely improved in the last few years, but I think I get overwhelmed too easily and find it hard to prioritise the right things. However, if I have a realistic plan or schedule to stick to, I am significantly better at this.
31. Work to a deadline. Rating: 6
Even if I sometimes don't manage my time the best, I always meet strict deadlines. I find it easier to meet deadlines that others have set for me than the ones I have set for myself, but once it's on paper as a goal, I will meet it. I also understand how to compromise with a project if it takes an unexpected turn, to still deliver it on time.
32. Work quickly if and when required. Rating: 5
I am capable of working quickly but my typical work flow is a slower one since I am a perfectionist.
33. Manage resources. Rating: 5
I don't fully understand what this is refering to exactly by 'resources,' but if it is generally meaning organisational and management skills, I am proficient at them.
34. Work independently. Rating: 5
I'm great at working independently but sometimes I require advice from tutors or peers for feedback or to ask if something is headed in the right direction.
35. Work in a team. Rating: 5
I like working in a team! I know my boundaries as a member of a team and am reliable to fulfil my roles. I am not afraid to pitch ideas or raise my opinion if I think something isn't working in the bigger picture. I am quiet person though, so while I am not scared of speaking out, I wonder how easily I could be a pushover if people aren't so polite and understanding. Genreally I would know the correct protocol of how to deal with this, though. I am polite but I am also honest.
36. Adapt to change / moving goal posts. Rating: 3
While I know I can compromise to moving deadlines, I don't have much experience with having to deal with this. Due to the nature of how I work, depending on the extremity of the moving goal posts, I'm unsure how adaptable I can actually be. I really should practise doing speed drawing exercises so I can be more adaptable if these kinds of situations come up more often.
37. Respond well to criticism. Rating: 6
I can take critcism maturely and apply it conscientiously to my work.
SECTION 4. FREELANCE BUSINESS SKILLS
38. Communicate with clients. Rating: 5
I am good with online communication. Physical communication with clients may be impacted by my awkward habits such as struggling at making eye contact and having closed body language. I'd like to hope the client can see past that, but it's not ideal.
39. Ask questions and obtain necessary information from a client / take a brief. Rating: 6
I'm not afraid of asking questions and will seek as much information out of the client/brief as I can so that the project will be its clearest.
40. Understand the commissioning process. Rating: 4
I only started doing commissions last year so I don't have much experience, but some. Copyrights are a bit tricky and I think I need to become an expert at knowing about them, rather than just knowing the basics. Rates are also really hard to figure out since there is so much to consider and it is different for every artist. I have read guides and figured out my own pricing sheet, but it may be subject to change in the future as I learn more.
41. Work out a fee. Rating: 3
Since I work slowly as an artist, I don't think it is fair to go by an hourly rate. I put together a way of pricing that goes by detail, if it has a background, how many characters, size, purpose, if it has colour etc. I turned this into a commission sheet, and at the very least it works as a base guide. But in the bigger scheme of things, pricing my artwork is something I'm not confident about.
42. Negotiate terms / usage. Rating: 2
I inform my clients that they can only use the artwork for the proposed purpose, or something we can agree on. But if they were to go against this, I have no experience in knowing how I would handle that legally. I'm also really not sure how to manage rates of proposals for extra useage than originally agreed.
43. Issue an invoice. Rating: 3
I issue invoices that state very clearly the price, and why the commission is that price. I have recently learnt the importance of writing the purpose/useage as part of the invoice, but my past clients were kind enough to understand that this was intended as part of the agreement. I could definitely improve on the professionalism of my invoices if I had confidence in my rates system and knowledge of the legalities of the commissioning process.
44. Manage finances. Rating: 4
I haven't had experience with this yet, since my commissions have been digitally made and digitally delivered. I have had one client request a physical canvas, so I looked at how much this request would cost on Mixam, but I discovered that print companies generally cater to mass printing. I'm currently unsure on the best method of print for a single commission. I score myself highly for little experience since I am good at managing finances in day to day life.
38. Communicate with clients. Rating: 5
I am good with online communication. Physical communication with clients may be impacted by my awkward habits such as struggling at making eye contact and having closed body language. I'd like to hope the client can see past that, but it's not ideal.
39. Ask questions and obtain necessary information from a client / take a brief. Rating: 6
I'm not afraid of asking questions and will seek as much information out of the client/brief as I can so that the project will be its clearest.
40. Understand the commissioning process. Rating: 4
I only started doing commissions last year so I don't have much experience, but some. Copyrights are a bit tricky and I think I need to become an expert at knowing about them, rather than just knowing the basics. Rates are also really hard to figure out since there is so much to consider and it is different for every artist. I have read guides and figured out my own pricing sheet, but it may be subject to change in the future as I learn more.
41. Work out a fee. Rating: 3
Since I work slowly as an artist, I don't think it is fair to go by an hourly rate. I put together a way of pricing that goes by detail, if it has a background, how many characters, size, purpose, if it has colour etc. I turned this into a commission sheet, and at the very least it works as a base guide. But in the bigger scheme of things, pricing my artwork is something I'm not confident about.
42. Negotiate terms / usage. Rating: 2
I inform my clients that they can only use the artwork for the proposed purpose, or something we can agree on. But if they were to go against this, I have no experience in knowing how I would handle that legally. I'm also really not sure how to manage rates of proposals for extra useage than originally agreed.
43. Issue an invoice. Rating: 3
I issue invoices that state very clearly the price, and why the commission is that price. I have recently learnt the importance of writing the purpose/useage as part of the invoice, but my past clients were kind enough to understand that this was intended as part of the agreement. I could definitely improve on the professionalism of my invoices if I had confidence in my rates system and knowledge of the legalities of the commissioning process.
44. Manage finances. Rating: 4
I haven't had experience with this yet, since my commissions have been digitally made and digitally delivered. I have had one client request a physical canvas, so I looked at how much this request would cost on Mixam, but I discovered that print companies generally cater to mass printing. I'm currently unsure on the best method of print for a single commission. I score myself highly for little experience since I am good at managing finances in day to day life.
16th February 2021
Animation Careers Resources
One of my friends is studying BA (Hons) Animation at Nottingham Trent University, and I was chatting to her about the animation industry. Since the University of Cumbria doesn't have an animation course we don't have the same level of software, resources and the same learning opportunities for this discipline as you may find at other institutes. Naturally, as a student on an animation course, she was able to provide me with many insights and resources from guest speakers, lectures and general knowledge about this industry.
Key Information
My friend also kindly sent me a recent Word doc. made by one of her tutors that contains a useful list of UK studios. I have linked the file below.
Key Information
- Study from the book titled the 'The Animator's Survival Kit' by Richard Williams, which covers the fundamentals of animation, and is the book that they learn from on animation degree courses. I now own this book and am making my way through it.
- Keep tabs on the Google Doc of animation job listings as it is "updated all the time." It is everything about current animation opportunities and studios in one place. This link has come internally from Nottingham Trent University but it can be accessed by anyone.
- For interest in the crossover of working in the video games industry, there is a website dedicated to mapping games development studios worldwide.
My friend also kindly sent me a recent Word doc. made by one of her tutors that contains a useful list of UK studios. I have linked the file below.
| useful_links.docx |
15th February 2021
Netflix Japan International Scholarship
Some of my biggest animation inspirations come from Japanese animation, in particular the studios of Kyoto Animation, Studio Trigger and Studio Ghibli. There are countless more that are influencial to me, for the country has such a big 2D animation industry. The idea of working in Japan myself on such projects always seemed far out of my depth due to lack of foreign opportunity, expense, language barriers and culture, but yesterday (14th February) an article was published that discloses that Netflix are creating an opportunity that can challenge these issues.
As the headline states, Netflix are offering full Tokyo anime school scholarships with living expense support, open to foreigners age 18-25. The course curriculum has been designed by Studio Ghibli veteran Hitomi Tateno, who worked on Kiki's Delivery Service, Howl's Moving Castle, Spirited Away and My Neighbour Totoro as an animation checker. Tateno will be an instructor on the program - what an honor that would be to work under someone of such brilliance. Netflix are working with WIT Studio - the makers of the popular animation "Attack on Titan," in the formation of the "WIT Animator Academy."
"...The program will be a six-month course, with classes held five days a week, and following completion students will be retained as subcontracted animators for a Netflix original anime to be produced by WIT or its sister studio Production I.G."
For the first batch of students, Netflix and Wit are looking for just 10 people. While Japanese residency is required, Netflix are paying for this, and foreign residents of Japan are welcome to apply. The article writes that while the applicant doesn't have to be fluent in Japanese-language, they must be able to hold day-to-day conversations in Japanese. As a student that doesn't know much Japanese, this would be a problem.
"Applications can be made online between now and February 28 here through the WIT Animator Academy website, with practical skill exams and interviews, as fell as final selection of successful candidates, taking place in March."
This program reminds me a lot of the small inexperienced animation team that was working under Studio Trigger, creating the animated film, 'Little Witch Academia.' This team lead by animation director Yoh Yoshinari filmed a documentary recording the day-to-day working of the studio. It's a very interesting and insightful watch.
As the headline states, Netflix are offering full Tokyo anime school scholarships with living expense support, open to foreigners age 18-25. The course curriculum has been designed by Studio Ghibli veteran Hitomi Tateno, who worked on Kiki's Delivery Service, Howl's Moving Castle, Spirited Away and My Neighbour Totoro as an animation checker. Tateno will be an instructor on the program - what an honor that would be to work under someone of such brilliance. Netflix are working with WIT Studio - the makers of the popular animation "Attack on Titan," in the formation of the "WIT Animator Academy."
"...The program will be a six-month course, with classes held five days a week, and following completion students will be retained as subcontracted animators for a Netflix original anime to be produced by WIT or its sister studio Production I.G."
For the first batch of students, Netflix and Wit are looking for just 10 people. While Japanese residency is required, Netflix are paying for this, and foreign residents of Japan are welcome to apply. The article writes that while the applicant doesn't have to be fluent in Japanese-language, they must be able to hold day-to-day conversations in Japanese. As a student that doesn't know much Japanese, this would be a problem.
"Applications can be made online between now and February 28 here through the WIT Animator Academy website, with practical skill exams and interviews, as fell as final selection of successful candidates, taking place in March."
This program reminds me a lot of the small inexperienced animation team that was working under Studio Trigger, creating the animated film, 'Little Witch Academia.' This team lead by animation director Yoh Yoshinari filmed a documentary recording the day-to-day working of the studio. It's a very interesting and insightful watch.
15th February 2021
1 Minute Storyboarding Tips
Browsing LinkedIn, one of my peers shared a series of 2D animation storyboarding 1 minute tips. This post is the first in the series. Looking out for things like this doesn't seem like a lot, but will probably have great affect on my skills in the bigger picture. The artist is posting one of these every week on LinkedIn.
15th February 2021
Blue Zoo Internship "Webinar"
When I was researching about Blue Zoo, I followed their careers Twitter, which was advertising this Webinar. It took place at 1pm today; here's my notes:
2021 Internships
2021 Internships
"Feel free to link in with us on LinkedIn and ask questions."
Questions can also be asked at recruitment@blue-zoo.co.uk, and opportunities will be posted on social media and at www.careers.blue-zoo.co.uk.
Thoughts from 2020 Intern, Guia
Recommends Blue Zoo - "very friendly" and "enthusiastic." Great for getting industry experience - even the remote work was organised and connected. Non-students can also apply for this internship which is rare and kind. She got a bit emotional at being so thankful for the opportunity, and being able to work with wonderful people and be a piece of the puzzle that can make such grand things.
Advice she offers is "apply, and be yourself. Behind the screen is just people. And if you get the place, absorb as much as you can from your mentors and teachers. Communication is also fundamental. Be present."
The internship is open to people outside of the UK too, working remotely (Guia lives in Italy!) It is an equal opportunity and you don't need industry experience to get an internship with Blue-Zoo. It is targeted at those that need to get "a foot in the door," be it a student, a post-grad or someone taking online courses. As long as you haven't had professional experience in the animation industry, you can apply.
Intern 2021
Working on a summer short. Will be great for your portfolio and show reel as it is released a couple months after the internship, so you can use it for applying for jobs. This year there are 4 internships for the summer and 4 internships for the winter. The winter departments haven't been announced yet, but the summer is:
- 3D Animation
- Surfacing
- FX
- Lighting and compositing
Details:
- Applications are open from today (15th February) at 2pm until 12th March 2021
- Interviews 15th March 2021 - 1st April 2021 (remote)
- You'll know by 9th April 2021 if you have been successful or not
- Paid at the London living wage of £405/week
- 6-8 Weeks from mid-July 2021
- Aimed at talent that hasnn't worked in the animation industry before
- Aiming to have the intern in the studio 2 days a week, and 3 days working remotely, but it is an adabtable situation due to Covid-19. Interns will be trained to work remotely
- Apply at www.careers.blue-zoo.co.uk
Top Tips
- Less is more. Blue Zoo prefer a black and white, traditional CV that is clear and concise, over an art CV. On your CV, mention any online courses you may have taken
- "Put your best foot forward" - Show your best work in your portfolio or show reel; what you are most proud of
- Be honest and clear. If you did a group project, note exactly what you did for the work that you're showing. Also make notes of which software you used to do each thing
- Show the process/journey in your portfolio
- Showreels should be no longer than 1 minute
- Check the finer details before submitting your application. Is your email address right? Are any of your links broken?
You can apply for more than one department but change your reel/portfolio to reflect the discipline being applied for. One reel with all departments together isn't satisfactory for this application. While you can apply for each internship opening, the team recommend you only apply for the departments that you're passionate about, and not just for the sake of getting experience. Additionally, if you are applying for a career with Blue Zoo, you still have to apply for an internship seperately - one application doesn't count for everything.
They held a Q&A where I asked about what they would like to see in a portfolio coming from an illustrator (and how big the portfolio should be), but they didn't see my question. There were a lot. "If we don't answer your question, you can ask on LinkedIn or at recruitment@blue-zoo.co.uk." I will email them. Here are the questions I noted down that were relevant to me:
What are questions you wish people would ask in Q&A, but often don't?
"Ask about the studio, their vibe, ethos and culture.
Do you hire 2D animators often?
"Very often. Where possible, we'd like to welcome in a 2D animation internship later on in the year, maybe perhaps if that's the most popular for the winter internship. But we do have quite a few 2D shows on the horizon, and we're working on quite a few at the moment as well, and there's a smaller talent pool definitely for 2D animation so we absolutely welcome that - especially character designers too. Those roles are always live on our website. You can always welcome that and apply. We use Toon Boom for our animation."
Can you apply for a 3D internship if your experience is mostly 2D?
"It's still good to see your experience, we'd still welcome it, because it may well mean that we integrate that into the short. It just depends on the specifications for that particular department for this short. It's hard to determine at this time because we're not there yet. But we would welcome it in the application regardless."
Last year there were too many applicants to give individual feedback on portfolios. Do you know if there will be feedback this year?
"So when you're at the first application stage, if you don't get any further, it will be really hard to get feedback to everybody. For a bit of background, last year we received over 2000 applications in total from interns. That was a lot for us to go through, so unfortunately we won't be able to give feedback to everyone at that stage. But if you go past that stage, we will give feedback to everybody that went to the interviews stage and offers stage. We are looking at doing more feedback sessions in the future, with our artists, so we can have a look at your portfolios. We attend as many events as we possibly can remotely. Keep an eye out on our socials for these events. There's also AnimDojo which is really good for if you're trying to get into the industry and you want more feedback on your work. It's a great resource for what to put in your portfolio and things like that."
Do you need to be based in the UK for the internship?
"If you apply and you're out of the country, and you won't be able to come into London, that's absolutely fine. You will be able to do the internship remotely. If you so happen to apply and you're based in the UK closer to London, and were able to go into the studio for some of the time, then we'll welcome that. If you're not, and you're based in London, and you want to work remotely and stay safe, of course that's the first priority that we'll ensure."
Advice on what to put in an animation showreel?
"We want to see your best work. We want to see examples of how you lip-sync, walk cycles, being able to move the rig and the model. Have a look at our work we've produced in the past and see if there's any of your work that matches up to that."
Storyboard internships?
"That's always been a very popular department. Hopefully we are able to welcome that for our winter one but we haven't determined those departments yet, or dates for the winter internship. Please just keep in touch with us and keep up to date with socials and LinkedIn. Chances are we'll host a Webinar closer to the time as we have today."
Preferred software for FX?
"Maya and Houdini"
Do we need experience? A lot of other studios ask for 2-3 years of experience.
"This internship is a foot in the door. You don't need to have any experience. As long as you're confident in the department that you want to work in and you have some knowledge of the software and skills that we would need in place for this position. We absolutely welcome the application, with no experience in the animation industry beforehand. We have a 70% return rate for candidates that have worked here as interns and we've welcomed back in the future as artists on our amazing shows."
What do I put in my show reel?
"If you have experience in blender that's great to see. Or just any of your animation skills and experience."
Does the work submitted have to be in Blue Zoo style?
"I know I said try to put together work that is in our style or reflects it, but even if you don't have work like this, still send it forward and we'll happily look at it. You never know and there could be a show coming up that's in a very different style. Just apply."
Tips for interviews?
"We encourage you to prepare. It's good to know about the studio you're applying for, whether that's with us or another studio, so having that knowledge and passion to work there has to come accross in the interview. Do your research and in specifics for the department that you're interviewing for, I think be honest about your experience so far - what you like about it, what you don't like about it, that's always good to know because then we can always upskill you in that specific part of the discipline if that's something that you need to learn more of, so you feel more confident in it. It's good to talk about what's relevent - don't go too off topic with other subjects where you've had experience in something else. Keep it as streamlined as possible and interview based on the discipline and studio you're interviewing for. If you feel like you don't have much to talk about, that's absolutely fine. As long as you're keeping your answers considered and honest, that's how we interview across the board here at Blue Zoo."
(For Guia) Which online courses would you recommend?
"With Aaron Blaise, one course about character design, and another about anatomy. I have also done some courses on Schoolism, a character design one with Wouter Toup, and another character design one with Daniel Arriaga."
Do you take cover letters?
"Cover letters we welcome but... Chances are, we won't read them, if I'm honest as a recruiter. I think not just at our studio but in the wide industry, it's really about your show reel (/portfolio) and your CV. If there's something specific that you need to highlight to us in your cover letter, absolutely we welcome it. But we're looking at your experience, your education, the courses that you've done, any personal work and then your show reel and portfolio. So please ensure those are the ones we receive more so than a cover letter. In terms of CVs, yes, no longer than 2 pages please. And if you don't have experience specifically in animation, chances are it's only going to be a page and half anyway, and that's absolutely fine. Less is more. Just be honest and send across what you've experienced so far, and if it's just university or college education, or it's just a course that you've done on your own, that's absolutely fine."
If the software used in my show reel isn't the same as the software you use, will it affect my chances of being accepted?
"No. There's a lot of software accross the board and we do also use a lot of software in-house as well. A lot of times those skills are transferrable and we can upskill you in learning those pools. But it's also still useful for us to know exactly what you have done so please do make a note of that so we can see that in your reel."
If I submit my application early, does it make a difference? Would applications submitted just before the deadline be at a disadvantage?
"No, early application doesn't matter. All applications between the opening and the deadline are sorted into a shortlist, and shortlisted applications stay on the shortlist."
This webinar was a really useful session to attend. I'm not passionate about the current departments that are available for the summer internship, but I will keep an eye out for the winter opportunities when they get announced later in the year. Despite the competition as a really popular studio, the requirements to get a place are really realistic and possible for a student like myself. Also upon learning Blue Zoo use Toon Boom for their 2D animation, I will definitely try to get a free trial and get to grips with it. I'm sure there are resources online that could help me learn how to use it. The online classes are very interesting to hear about too, as such work in that intern's portfolio landed her a position at the studio.
2nd February 2021
Blue Zoo
Blue Zoo is an animation studio in London that stood out to me for their consistent quality of work and studio morale, as well as the locality when compared to a lot of the foreign studios that interest me.
"Now in our 21st year, we’ve grown to become one of the UK’s leading animation studios. Our aim is simply to produce joyfully compelling stories that are packed full of character, through creating beautiful animation. Moreover, we aim to do this through building a positive working environment, filled with talented, happy artists crafting content they are truly proud of."
https://www.blue-zoo.co.uk/
Blue Zoo have three animation studios in London, one of which specialises in episodic 2D animation, the form of animation I am most passionate about. The others are CGI studios, which would be just as valuable to work at.
"Now in our 21st year, we’ve grown to become one of the UK’s leading animation studios. Our aim is simply to produce joyfully compelling stories that are packed full of character, through creating beautiful animation. Moreover, we aim to do this through building a positive working environment, filled with talented, happy artists crafting content they are truly proud of."
https://www.blue-zoo.co.uk/
Blue Zoo have three animation studios in London, one of which specialises in episodic 2D animation, the form of animation I am most passionate about. The others are CGI studios, which would be just as valuable to work at.
Longform Animation and IP Animation
- Clients: StudioCanal, Heyday TV, Fizzy Productions, Mercis B.V. , BBC, Fremantle, Houghtin Mifflin Harcourt, WGBH, Alphablocks Ltd., Snapper Productions, Playmobil
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Shortform Animation and Advertising Animation
- Clients: Wax On, Gleam Studios, Nickelodeon, Maverick Media, Leo Burnett, Phil Mcintyre TV, Facebook, TMI, Danone, The Social Partners, BBC Creative, BBC, Disney, Cinco, HSI
'Via' short
'Pokemon Go' advertisement
I love this one. It really moved me, especially as a Pokemon fan. Advertisements can be such a powerful form of media.
I love this one. It really moved me, especially as a Pokemon fan. Advertisements can be such a powerful form of media.
Careers with Blue Zoo
Blue Zoo currently have an opening for a Storyboard Revisionist, a role that would interest me. The role requires:
Production experience is a 'bonus point'. Looking at this list can help me to understand the realistic requirements of a portfolio for animation preproduction. Is my portfolio ready right now? No. Will it be ready when I graduate? Yes. I feel this type of application might also benefit from an Art CV.
Blue Zoo currently have an opening for a Storyboard Revisionist, a role that would interest me. The role requires:
- Excellent understanding of perspective.
- Exceptional application of strong posing and character.
- Strong knowledge of layout and composition.
- A demonstrated and accomplished understanding of story.
- Both self-motivated and enthusiastic.
- Able to take direction and willing to address constructive feedback.
- Able to communicate clearly with colleagues.
- Able to work collaboratively, as well as independently.
- Have an appreciation of accuracy and pay close attention to detail.
- Be able to deliver on schedule, working calmly and efficiently under pressure.
Production experience is a 'bonus point'. Looking at this list can help me to understand the realistic requirements of a portfolio for animation preproduction. Is my portfolio ready right now? No. Will it be ready when I graduate? Yes. I feel this type of application might also benefit from an Art CV.
29th January 2021
Preproduction at Cartoon Network
A blog that I have been following for a few years now is King of OOO, which is ran by the preproduction art team of Cartooon Network's 'Adventure Time'. Studying their storyboards and concept art is really insightful to how a professional studio process looks. It's my favourite blog due to how much it shares about animation production. I also have the physical art-books for this show.
The main Cartoon Network studio, like most big studios, is based in Burbank, California, US. There is also however a Cartoon Network studio over here in the UK, in London, called Cartoon Network Studios Europe, where the main studio outsources projects or work to. One of the studio's more successful shows, 'The Amazing World of Gumball,' was made in the UK.
As a preproduction artist for TV or film animation, I could be doing any of the types of work below.
The main Cartoon Network studio, like most big studios, is based in Burbank, California, US. There is also however a Cartoon Network studio over here in the UK, in London, called Cartoon Network Studios Europe, where the main studio outsources projects or work to. One of the studio's more successful shows, 'The Amazing World of Gumball,' was made in the UK.
As a preproduction artist for TV or film animation, I could be doing any of the types of work below.
Concept art:
Storyboards and promotional art:
Title card illustrations:
The Adventure Time team running King of OOO have also posted full storyboards for the episodes Play Date, Breezy, All Your Fault and more.
Careers with Cartoon Network
- Official CN Studios Recruitment Opportunities + Portfolio Advice
- CN Jobs Website Page - US Based. Internships aren't open right now, and by next semester I will no longer be eligible for them. I can still look out for job openings, though
- Warner Bros. UK Internships - There is a 'preproduction placement' but it does not seem to be linked to animation
- Warner Bros. LinkedIn Page
- Turner LinkedIn Page - Links lead to the Warner Bros. page, but the LinkedIn map at least recognises the UK studio
- Cartoon Network Studios Europe Wikipedia - I cannot seem to find an official website for the European/UK studio. Since there is no official website for this studio, and nothing on its LinkedIn, it's really difficult to find any information on how to get an internship or job with them.
- The CN UK contact email address is contact@cartoonnetwork.co.uk. I will email them and try to find out more information
1.1 Where to Work
28th January 2021
Work Strengths
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Interests
- Animation - TV animation, film, preproduction arts
- Video games, especially life simulation games
- Art books for animation and video games (of course)
- Graphic novels, comics and webcomics
- Illustrated children's books
- Drawing, emroidery, collage and pixel art
- Sketchbooking/travel journals
- Illustrated surface pattern design
- Cover illustration for music
Reflection of Potential Specialisms
Animation industry:
Preproduction for animation - storyboarding is the focus path that I believe could compliment my skills and passions the most
Working as part of an in-house studio. This is important to me starting out so that I can get industry experience and learn from others, and I prefer having a stable income and a team that I learn to be familiar with (instead of commissions)
My skills could also be useful for the design and writing areas of preproduction
Storyboarders sometimes get asked to work on things like Title Cards for TV animation, or promotional art, so my illustration skills would still also be used often. I've researched into the functionality and process of this specialism more than any other. I also wrote my extended essay around animation preproduction and production, and my interest in immersion and storytelling. It is the medium that inspires me the most.
The studios that influence me the most are the big ones: Cartoon Network (CN), Disney TV Animation (TVA), Disney, Dreamworks Animation and Nickelodeon Animation - CN and Disney TVA the most, since they specialise in 2D digital animation, the type of animation that interests me the most. Another studio that specialises in 2D is Cartoon Saloon, which unlike the others is based in Ireland. Most of the big studios of the animation industry are in California, USA. LAIKA animation (specialising in stop motion), which I also admire, is in the USA too. I wouldn't rule out moving for work or opportunities, or something like an internship. It would be unquestionably valueable.
Cartoon Network does have a smaller studio in London, which would likely be competitive to become a part of, but absolutely worth such an experience. Outside of London, there aren't many UK animation studios that produce for media outside of advertising, so while I am aware of their existence, I do want to look at the broader spectrum of opportunities. I'm also inspired by the animation studios Kyoto Animation and Studio Trigger, which are situated in Japan - but moving to Japan is a whole different league to working in the US due to culture and language barriers, expense, and from my knowledge it isn't uncommon for animation teams to be overworked over there due to the anime industry.
My interest in animation could also crossover with the video games industry. Game studios always have an art team that works on development - and games themselves are made up of animation. While I could be involved in projects on the preproduction side, my knowledge on game design fundamentals, the process and technicaliites such as coding, is lacking at this time. But perhaps this outlook is similar to having little experience on the actual animating side of working within the animation industry. Given my intrigue towards a video game project due to their reasonance and active impact on my life, I should definitely consider video game studios as a path that could potentially also work for me as an artist. I will be looking out for opportunities.
Preproduction for animation - storyboarding is the focus path that I believe could compliment my skills and passions the most
Working as part of an in-house studio. This is important to me starting out so that I can get industry experience and learn from others, and I prefer having a stable income and a team that I learn to be familiar with (instead of commissions)
My skills could also be useful for the design and writing areas of preproduction
Storyboarders sometimes get asked to work on things like Title Cards for TV animation, or promotional art, so my illustration skills would still also be used often. I've researched into the functionality and process of this specialism more than any other. I also wrote my extended essay around animation preproduction and production, and my interest in immersion and storytelling. It is the medium that inspires me the most.
The studios that influence me the most are the big ones: Cartoon Network (CN), Disney TV Animation (TVA), Disney, Dreamworks Animation and Nickelodeon Animation - CN and Disney TVA the most, since they specialise in 2D digital animation, the type of animation that interests me the most. Another studio that specialises in 2D is Cartoon Saloon, which unlike the others is based in Ireland. Most of the big studios of the animation industry are in California, USA. LAIKA animation (specialising in stop motion), which I also admire, is in the USA too. I wouldn't rule out moving for work or opportunities, or something like an internship. It would be unquestionably valueable.
Cartoon Network does have a smaller studio in London, which would likely be competitive to become a part of, but absolutely worth such an experience. Outside of London, there aren't many UK animation studios that produce for media outside of advertising, so while I am aware of their existence, I do want to look at the broader spectrum of opportunities. I'm also inspired by the animation studios Kyoto Animation and Studio Trigger, which are situated in Japan - but moving to Japan is a whole different league to working in the US due to culture and language barriers, expense, and from my knowledge it isn't uncommon for animation teams to be overworked over there due to the anime industry.
My interest in animation could also crossover with the video games industry. Game studios always have an art team that works on development - and games themselves are made up of animation. While I could be involved in projects on the preproduction side, my knowledge on game design fundamentals, the process and technicaliites such as coding, is lacking at this time. But perhaps this outlook is similar to having little experience on the actual animating side of working within the animation industry. Given my intrigue towards a video game project due to their reasonance and active impact on my life, I should definitely consider video game studios as a path that could potentially also work for me as an artist. I will be looking out for opportunities.
