Hemali discusses the creative mission that bridges together each of her unique projects, her experience working on the Oscar-nominated film Loving Vincent, and her excitement for what's next in New York City. “There is joy in the pursuit of anything.”
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Julia Pott Has a New Cartoon Network Series & A Ton of Creative Advice
Julia Pott tells us how she settled on the tone of her show, what it means to have plenty of Adventure Time alum by her side on this journey, and what she's learned about herself and the world of showrunning that she's excited to bring to Season 2.
Read MoreGoogle Creative Lab Partners with 9 Animators for Pixel 2 Campaign
Creative Director Kristen Lewis discusses Google Creative Lab’s “iPhone People Talking Pixel” campaign, which involved curating a diverse and global group of nine animators - most of them WNW members - with a variety of styles including 2D and 3D animation, frame by frame, and mixed media.
Read MoreDanny Capozza Animates "Malaria Must Die" Campaign for the Gates Foundation
WNW Member Danny Capozzi recently teamed up with the Gates Foundation to direct an informative and accessible tour of malaria's history. It's part of the global Malaria Must Die campaign.
Read MoreCorey Brickley Adds His Touch to Netflix's New Hit Doc
WNW Member Corey Brickley was brought in by Netflix and Duplass Brothers Production to create animations and illustrations for Wild Wild Country, a new documentary series about a controversial guru who builds a utopian commune in the Oregon desert, causing a massive conflict with local ranchers.
Read MoreLife & Work in Motion: Meet Art Director & Designer Joyce Ho
"Spending my formative years as an animator really helped me understand what is exactly needed to bring design to life through motion. This means when I’m art directing now, I can tailor my designs to fit a certain animation workflow or pitch something that is within the project budget because I know the ballpark on how long it might take to animate."
Read MoreThese Presidential GIFs Offer Actually Funny Alternative Facts
The All of Presidents is a 45-day GIF marathon that offers some 100% factual information about all the guys that have held the position throughout history.
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Jackie Lay
Visuals and Words of Wisdom from Animators at The Atlantic
Visuals and Words of Wisdom from Animators at The Atlantic
MIKE O'DONNELL / EDITOR
We interviewed WNW Members Jackie Lay and Caitlin Cadieux, both full-time animators at The Atlantic, to get some insight into what it's like contributing regularly to the history of such a storied publication. But while The Atlantic was founded in 1857, Jackie and Caitlin are at the forefront of its foray into animation. As Jackie tells us, "I started doing little animated trailers for each magazine issue we released. This caught the eye of our video department head, who was trying to do more animated content. She hired me over to the video team as their first staff animator, and I’ve been happily blending art, design, and storytelling every since."
We also source some great advice from both animators, who touch on the importance of committing to the research to fully inform your creative output. There's also a bonus to putting in this work, as Caitlin notes. "I learn so much on all of my projects because of the varied topics we work on, and how deeply we dive into the subject matter. I really like that we have this platform to share educational and insightful stories all across the spectrum, from science to politics to culture."
Tell us a little bit about your creative backgrounds. Who are Jackie Lay & Caitlin Cadieux and how did they get here?
Caitlin: As a kid, my fondest wish was to be a hand-drawn animator for Disney. I grew up in Oklahoma City, dreamed of going to art school, but opted for an in-state school because of costs. I studied Visual Communications/Graphic Design at the University of Oklahoma, and halfway through the program discovered After Effects. I ended up finishing the last year and a half of my degree doing animation and motion graphics projects instead of the branding/environmental graphics projects everyone else was working on. After college I freelanced quite a bit and worked in OU’s Web Communications department, then Time Warner Cable News in Albany, NY before I started at The Atlantic.
Jackie: I was much more naive with my career path. I always loved drawing and writing, and spent my time at University of Florida experimenting and trying out every genre of art (including stop-motion animation). After college, I lived in an art commune in Queens for a few years while doing odd jobs, but got very disillusioned with the art world and started thinking more about design. I sent myself to grad school for design at SVA and did my thesis project on explaining ideas through motion graphics (this was before the internet was chock full of animated explainers). Fast forward many years, after working at several design firms and then as an art director for The Atlantic magazine, I started doing little animated trailers for each magazine issue we released. This caught the eye of our video department head, who was trying to do more animated videos. She hired me over to the video team as their first staff animator, and I’ve been happily blending art, design and storytelling every since. It’s funny to me that I sort of fell into doing my thesis project again. Most of my career has felt very unintentional and ‘go with the flow’, and I’ve serendipitously landed in the perfect spot.
Caitlin Cadieux
How would you describe your respective creative styles? Do you recognize a signature style that links all of your respective projects, or do you try to excuse yourself and approach each project as its own entity?
Caitlin: I do make a consistent effort to switch up the look on every new fully animated project. I always want to be learning new things, and I’ve slowly started incorporating more and more Cinema 4D/3D work into my stuff. I feel like I’ve done a good job of exploring a bunch of styles, but I do think there’s a visible throughline to my work, especially with character animation, which I love. I’m definitely influenced a lot by feature and character animation.
Jackie: I’m ok with not having a style and I like tailoring each project or series with a look. In fact, I’d love to explore way more and get a little weirder. If I can, I like to switch between hand-drawing in Photoshop and drawing vector stuff in Illustrator, because after a few weeks of doing it in one format, I get a little tired of it and feel like I need a break.
Jackie Lay
What does it mean to each of you to be contributing to the history of such a renowned publication like The Atlantic?
Caitlin: I couldn’t be more proud to work for The Atlantic. I learn SO much on all of my projects because of the varied topics we work on, and how deeply we dive into the subject matter. I really like that we have this platform to share educational and insightful stories all across the spectrum, from science to politics to culture.
Jackie: I couldn’t agree more. It’s an honor to be trusted with this legacy. It’s also a lot of pressure to get it right and feel like you’re living up to the name.
"Another challenge is feeling like you’re doing justice to the character or subject matter. I felt the most pressure for an interview with Obama on the subject of race - it’d be lovely if he could tweet at me and let me know if I did right by him..." - Jackie
Can you share some of the creative challenges and breakthroughs that come with animating these shorts and interviews for The Atlantic?
Caitlin: Because we’re in editorial, the turnaround is really fast. We also do all of the design and animation ourselves, generally with just one animator on a project. This makes it difficult to always get that level of polish that you might envision when you’re starting a project. I think it’s helped me learn how to work a lot more quickly, and how to cut corners in efficient ways that don’t hinder the story, or tailor the design to fit the deadline while still looking sharp.
Jackie: Agreed. I want to be doing stuff that’s on par with the finest work out there, but we work alone and we work fast, so we end up making sacrifices. For me, that often means I concentrate on the ideas and metaphors, and then the designs, and focus on the animation less due to approaching deadlines. Another challenge is feeling like you’re doing justice to the character or subject matter. I felt the most pressure for an interview with Obama on the subject of race - it’d be lovely if he could tweet at me and let me know if I did right by him...
Caitlin Cadieux
Caitlin Cadieux
What is the general process that goes into your animations? Do you rely primarily on the words of the journalist or subject, or do you do a good amount of research?
Caitlin: This can vary a lot! We adapt many videos from our articles; our writers are a huge benefit and resource for us. On more science- and educational-related videos, I often do extra research to make sure the visuals are accurate to what’s being described. On videos like How Do I Explain America to My Black Son?, I got on the phone with Vann Newkirk II to make sure as many details as I could were accurate – down to the make, models, and colors of the vehicles in the animation. On the Women in Tech animation, we did a TON of research on the history of computing and women’s involvement, much of which didn’t make it into the final animation.
Jackie: A few years ago, we adapted our own scripts from articles, so getting it right was crucial. Now that we’re a bigger team, we have producers who get interviews or write scripts for us, but there’s always more visual research to do. At one point, I created a series of visual histories on a subject, such as the history of weapons, or transportation, or hairstyles. I did all the research for those myself, and I read books and articles at night and drew them by day. Those videos get complaints like ‘hey, you left out this important thing’, but I’m still proud of the hustle and I did my best to make compelling, visually-stimulating videos.
Jackie Lay
Which of your Atlantic animations are you proudest of and why?
Caitlin: Oh man, this is a super tough question. I think the aforementioned Women in Tech project was a big one for me. I learned so much working on it, and really enjoyed being able to connect that story to a wider audience. I also am really proud of the look and feel on my latest, the Rob Reiner animated interview. Honorable mention has to go to the Augmented Reality piece, because I got to design and animate Pokémon. For work! Just the best stuff.
Jackie: I’m fond of my David Lynch piece. I’m a big fan of his, and his interview was terrific, and the storyboard came together so easily.
Caitlin Cadieux
Jackie Lay
Which of each other’s Atlantic animations do you like best and why?
Caitlin: Ooh, another tough one!! I couldn’t possibly pick a single one as the best, but Jackie’s work on the Bold Questions animated interview series was really phenomenal. This is such a good example of how animation helps storytelling, and the series format for these animated interviews makes it even better. I also really love the History of ____ series she worked on. It’s got everything; it’s educational and beautiful. Would definitely love to see more of those!
Jackie: The Rob Reiner interview has great style, and the Women in Tech video has those awesome 8-bit textures and transitions and is full of compelling characters. Caitlin has also animated the prettiest Black Holes you could imagine.
Caitlin Cadieux
What’s one thing, despite all of your expertise, that you still have a really tough time animating?
Caitlin: Human characters are still tough for me. I love character animation, but don’t get too much of an opportunity to do it, and it’s also extremely time consuming – so it’s not easy to implement and polish on our tight turnarounds. I’m making a point of concentrating on this in my off-hours!
Jackie: I still have not figured out how to do a decent walk cycle.
What advice can you offer to up-and-coming editorial animators and illustrators?
Caitlin: Definitely get involved! Your best work will come when you really sink your teeth into the subject. Ask questions, and even more importantly, do your own investigating and groundwork (and make sure you get everything approved!). Also don’t forget about the craft! Editorial’s big challenge is the fast deadlines, but you can use this to challenge yourself and improve your work – don’t let it get the best of you!
Jackie: Make sure to have fun with it and try to make it as entertaining or memorable as you can (within the story constraints). Break rules and expand boundaries (if the project allows).
Jackie Lay
Who and what are your biggest creative influences?
Caitlin: My number one influence will always be feature animation. I like to think that Disney sort of invented the explainer video, when they worked for the government during WWII producing not only propaganda films, but actual training videos for the military. Storytelling doesn’t have to be filmic, and I think a lot of those storytelling principles translate very effectively to what makes an excellent editorial piece. I’m also really plugged into the online motion graphics community; there are so many talented folks and agencies doing amazing work these days. It’s particularly inspiring to see stuff like Late Night Work Club, where a group of talented animators put together such fantastic anthologies of work for everyone to see.
Jackie: I look to the design and illustration worlds a lot but I also watch motion shorts every day and am inspired by so much of it. I’m even more impressed by self-motivated people who create originals like Felix Colgrave, Eion Duffy or Reka Busci to name just a few. I love animated tv like Adventure Time, Bojack Horseman, Avatar / Korra, Major Lazer, Lucas Bros Moving Co, among others. For feature-length animations, I loved The Secret of Kells and Song of the Sea by Tomm Moore.
Caitlin Cadieux
What are you working on now?
Caitlin: Ooh, can we reveal this? I’ll err on the side of caution. But I will say we have some really great animated interview material coming down the pipes that I’m pretty excited about. We also recently pivoted to focus on YouTube and rolled out a new science series, You Are Here! I animated the title sequence on that and collaborated on the overall look and feel with Jackie, and I’m really happy to see it out in the wild now.
Jackie: Yeah, we’re starting to do more live-action hosted series with animation layered on top. We’re also doing more fully-animated interviews with noteworthy people.
Jackie Lay
Jackie Lay
What do you do when Not Working?
Caitlin: Watching an inordinate amount of animation/cartoons and adding to my growing collection of animation and art books. I sneak in video games whenever I can scrounge up the time. (Still working on getting through Breath of the Wild at the moment!) I’m also finally realizing the importance of exercise, and started krav maga martial arts and ultimate frisbee this year! I’ve got some travel plans to San Francisco and Italy/Spain later in the year, and I’m hoping to get into a little plein air gouache and watercolor painting on those trips.
Jackie: I run, I drink cocktails, I watch too much tv.
Caitlin Cadieux
Who are some WNW Members, besides each other, whose work you admire and why?
Caitlin: I highly recommend to any and all that you check out Zack Lovatt’s profile. He’s done so much awesome work, and is also one of the masterminds behind a lot of AE scripts that are completely invaluable to my workflow. Ryan Summers is also fantastic; everything he tweets is a perfect nugget of wisdom. He also does some really amazing photography at zoos around the country and I will never get tired of seeing them.
Jackie: My friends Matt Chase and Daniel Savage are both absolute powerhouses in their fields.
Anything else you’d like to add?
Caitlin: Thanks so much for having us! If any students or people interested in learning more about animation and motion graphics are out there, please, please feel free to shoot me an email with questions, comments, whatever. Or tweet me! I would be more than happy to share whatever knowledge I can.
Jackie: It’s been an honor.
Jackie Lay
Jackie Lay
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ARTIST NICOLO BIANCHINO PAYS HOMAGE TO GIORGIO MORODER
ARTIST NICOLO BIANCHINO PAYS HOMAGE TO GIORGIO MORODER
WNW Member Nicolo Bianchino clearly has excellent taste in music. His latest project "Giorgio" is an ode to Italian singer, songwriter, and producer Giorgio Moroder. Nicolo's animations compliment voice-over musings by the man himself, as he discusses the discovery of his now infamous synthesizer sound. The featured music is "Giorgio by Moroder," a track by Daft Punk, who are just one of the many famous acts that Moroder has influenced.
Here's Free Range's personal favorite Giorgio Moroder song, from his soundtrack to the late-night 80s thriller Cat People:
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY TOKYO TRIP
ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY
TOKYO TRIP
WNW Member James Curran is spending the month of April in Tokyo. And what better way for him to share his experiences than by employing his creative chops with an animated diary. He's documenting his daily whimsy and wonderment in the form of a Tokyo Gifathon, and animated James Curran looks like he's having the time of his life. Taking in so much of what Tokyo has to offer within the first 3 weeks, from arcades to the Bonsai Museum to Yoyogi Rockabillies to cat cafés, we can only imagine what activities Curran has planned for the home stretch.
This isn't James's first foray into Gifathons. Here are his recaps of his time in Los Angeles and his time in New York.
Day 2 - Eating flying sushi.
Day 3 - Street fighting in arcades forever.
Day 4 - Crossing Shibuya Crossing.
Day 5 - Running through cherry blossoms.
Day 6 - Ramen noodle refills.
Day 7 - Always losing to claw machines.
Day 12 - My first Tokyo earthquake.
Day 13 - Bonsai museum.
Day 14 - Cat café.
Day 15 - Sake tasting.
Day 16 - Yoyogi Rockabillies.
Day 21 - Origami.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Hi Stranger, This Short Will Leave You Creeped Out Yet Comforted
"Hi Stranger. It's been awhile..." And just like that, we're finally reunited with a noseless, clothesless and waxy individual we never realized we were missing
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FREDDY ARENAS ANIMATES A NEW HBO DOCUMENTARY
FREDDY ARENAS ANIMATES A NEW HBO DOCUMENTARY
HBO Docs invited WNW Member Freddy Arenas to collaborate on directing the animated inserts for their documentary Risky Drinking, directed and produced by Ellen Goosenberg. Freddy's creative contributions help illustrate the scientific facts behind the film and the hypothetical situations within it. Below, we talk to Freddy about his creative style and process, as well as the creative challenges of this brief.
Tell us a little bit about your creative background. Who is Freddy and how did he get here?
I'm an independent director focusing on animation and starting to explore the live action world.
I was born in Caracas, Venezuela where I also went to school for visual communication. I've always being interested in animation and storytelling but that wasn't my school's focus, so I tried to learn everything I could on my own by reading articles and books as well as doing software tutorials online.
As soon as I graduated I started a small motion graphics studio, which helped me put everything I've learned to practice. After two years, I decided to moved to New York, the center of the motion graphics industry. My experience in NY has been amazing. I've had the opportunity to work at some of the most interesting studios including Buck and the Google Creative Lab.
For the past three years I've been working independently directing and producing projects for clients such as The New York Times, California Sunday Magazine, Netflix, and HBO Documentaries, among others.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
I think there's a certain way in which I approach projects that spill over across all of my work. I tried to find the right solution for each project, but as an independent director most of the times the clients come to me for "my style" either narratively or graphically so in a way, my approach already fits the project.
I'm constantly exploring new techniques to expand my skill set and find new ways to tell stories, so I have something else to offer to clients and to keep myself motivated as a creative. I share the experiments that come out of this on Instagram and Tumblr .
How did you come to animate an HBO Doc?
Ellen Goosenberg, the producer and director of the film, had seem this piece for The New York Times and thought I would be a good fit for the documentary. She wanted to include animation within the film to explain certain scientific facts and some hypothetical situations.
Can you tell us a little bit about your process for this project? What were some of the challenges?
It was amazing working with Ellen and the rest of the people involved in the film. They are amazing professionals and the way they set up the project allowed me to developed my vision and really craft the piece to a point where I was totally happy with the final result. In the motion graphics industry things move really fast and sometimes projects leave my hands when I still feel I could keep working on polishing them.
It was challenging to translate the emotion of the film into animation. I think Ellen created a really emotional and complex film, so it was interesting to find a way to carry that mood into animation.
Anything else you'd like to add?
Just want to thank again Ellen Goosenberg for inviting me to be part of her film and to HBO Documentaries for the great platform and their interest in creating this kind of content.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
SØREN ROSENKRANDS-DANIELSEN GIVES HEARTFELT & ANIMATED THANK YOU
SØREN ROSENKRANDS-DANIELSEN GIVES HEARTFELT & ANIMATED THANK YOU
Copenhagen-based WNW Member Søren Rosenkrands-Danielsen used some skills he honed at his Nice&Serious internship to extend the London-based studio a heartfelt and animated "thank you" for the experience.
In our interview below, Søren tells us, "It can be a bit scary to move to a new country without knowing anyone, but they made me feel very welcome right from the beginning. And they were always great at giving each other gifts and celebrating each other."
If you're in need of an animator, wherever your company is based, Søren's ready to pack his bags. "I have a few freelance projects coming up, but I’m starting to get an itch to move to another country and find a cool animation job!"
Tell us a little bit about your creative background. Who is Søren and how did he get here?
Hej! I grew up with a bunch of sisters who were very much into fashion, so I picked up on that and thought I was going to be a fashion designer. Then I ended up mostly doing graphic t-shirts and that led to getting a degree in graphic design. At school, I tried After Effects and was hooked, so I moved to Sweden for a year to study motion creative at Hyper Island.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
I didn’t think I had a style before my friend told me that I always do “fun bright colors and a mix of 2d and 3d elements”. And looking through my dribbble account, I’d have to agree with him!
What was it like interning at Nice&Serious in London? How did you wind up there? How long was your stay?
I made a video searching for an internship and they reached out to me. It’s a great place because of the people who work there. They are all really friendly and believe in what they do.
What was it about the experience that inspired such a heartfelt and animated “thank you”?
Well, it can be a bit scary to move to a new country without knowing anyone, but they made me feel very welcome right from the beginning. And they were always great at giving each other gifts and celebrating each other :)
What makes Nice&Serious a special place to work? What are your biggest takeaways?
The people. I learned a lot from the animators there (Luke, Guillaume and Max). I think my biggest takeaway was to remember to have fun at work (the football table helps with that a lot!)
Which of the projects in your portfolio are you proudest of and why?
The video searching for, and the video thanking for the internship have been the two projects I’ve had the most fun with. I did many experiments and learned a ton from making them.
What are some of the motion design tools/lessons you picked up at Hyper Island?
We had great animators come by the school to do workshops with us. However, the best lesson I learned was that it’s just as important how you function as a team as the quality of the work you put out.
What’s the creative scene like in Copenhagen?
I’ve mostly been freelancing with ad agencies here in Copenhagen – we don't have a lot of animation studios here, which is something I miss!
What’s next for you? What are you working on now?
I have a few freelance projects coming up, but I’m starting to get an itch to move to another country and find a cool animation job!
What do you do when Not Working?
I like 3D printing gifts for people, and I’m also trying to make a VR experience with a friend of mine. But when I’m not at the computer, I love baking.
Anything else you’d like to add?
If you work at a cool company that needs another animator, hit me up at www.soren.works ! 🤙
Animation Credits: Character design by MaryLou Faure / Dance song “Lift Off” by SUKEN / Sound effects by Engan - and Zeemon / "Blue hand" artwork courtesy of Sexy Brut.
26 ARTISTS: WHATEVER YOU CALL 'EM, REMEMBER TO "CHECK 'EM"
26 ARTISTS: WHATEVER YOU CALL 'EM, REMEMBER TO "CHECK 'EM"
London-based Seed Animation Studio has released "Check 'Em", a short animation film for Breast Cancer Awareness, in association with Breast Cancer Care. Twenty-six artists contributed original pieces, including six WNW Members. Considering they're all tackling the same subject(s), it's inspiring to see the artists show off such an array of eclectic animation styles. They've somehow managed to collectively match the creativity and absurdity of the many nicknames we have for "Brad Pitts", "Twin Peaks", "Fun Bags", "Norks", or "Wopbobaloobops" if you're not into the whole brevity thing.
Take a look at a handful of the many different takes below, and whatever you call 'em, don't forget to "check 'em."
"Bazookas" by WNW Member Jack Sachs
"Bonbons" by WNW Member Caroline Attia
"Baloobas" by WNW Member Antonio Vicentini
"Mammaries" by WNW Member Andrew Khosravani
"The Twins" by WNW Member Sophie Koko Gate
"Knockers" by WNW Member Yukai Du
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: AUGUST 1ST
PROFILES OF THE WEEK: AUGUST 1ST
Ricardo Portocarrero, Designer. Rio de Janeiro.
Ida Kristina Andersson, Animator. London.
Sara Vrbinc, Designer. London.
Jacob Stead, Illustrator. Amsterdam.
Dan Rollman, Copywriter. Los Angeles.
Eric Anderson, Front-End Developer. Brooklyn.
Giedre Domzaite, Motion Designer. Sydney.
Josh Goldsmith, Producer. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
WONDER WHAT IT'S LIKE GOING TO THE OSCARS? ASK JULIA POTT
WONDER WHAT IT'S LIKE GOINGTO THE OSCARS? ASK JULIA POTT
When renowned filmmaker Don Hertzfeldt asked fellow animator and WNW Member #2791 Julia Pott to voice the character of Emily in his newest animated short World of Tomorrow, Julia didn't hesitate. "He said he wanted the woman to sound a bit like Mary Poppins and I was immediately on board." And then, on January 14th, World of Tomorrow was nominated for an Oscar. And then, as if things couldn't get better, Don invited Julia as his plus-one.
We hit the rewind button and make Julia help us live vicariously through her, every step of the way: from recording her best Mary Poppins impression at Don's home in Austin, fueled by sugary cereal and tequila, to waking up to a special Facebook post from Don with the news, to hilarious advice from her mom, to montage-worthy moments trying on dresses for Hollywood's biggest night.
We made sure to ask Julia the most important question of all: Who are you wearing? "In the end I went with a dress from a little known store called ‘Nordstrom’."
Indiewire is predicting an Oscar for World of Tomorrow. Who knows, maybe Don will cast Julia as the voice of his acceptance speech.
How did you come to be the voice of Emily in Don Hertzfeldt’s mind-bending Oscar-nominated short World of Tomorrow?
Don and I met at Sundance in 2012 when both our films were in the Animated Shorts category. I tried to keep it casual and not let on that I:
a). knew his work
b). liked it a lot.
We kept running into each other at film festivals and became real life friends. As I live in LA and he lives in Austin we communicate mainly through funny owl videos on Facebook Chat - but I think that still counts. We ended up at Sundance together again in 2013 when my short film The Event was playing and he was one of the judges (let the record show – I didn’t win). It was there that he said he wanted a British woman for his latest project because his niece, who would play the other role, was Scottish. He said he wanted the woman to sound a bit like Mary Poppins and I was immediately on board.
Had you ever done any voice work before, besides the Golden-Globe winning WNW Microsoft Commercial? Tell us about the experience.
This is my first and only voice-over experience and it was really great. We recorded it in Don’s house in Austin and he has a pool with about 5 - 10 oversized animal floaties in it at any given time. He also has all of the sugary cereals you’ve ever wanted to buy from Trader Joe’s but couldn’t justify, so staying at Don’s is like being 8 years old again. We would get up in the morning, get pumped up on sugar and go into the recording booth for the majority of the day with a mental break around lunch time when we would go get some BBQ or TexMex. If I ever had trouble with the lines I would drink some tequila. Everyone has their methods. Apparently this is mine.
Were you already familiar with Don Hertzfeldt’s work?
I was in college when Rejected was released online so I was one of the many student animators who said “my spoon is too big” way more times than was ok. I went to see him speak in London in 2009 and followed up with a casual/creepy fan email.
Where were you when Don told you he was bringing you to the Oscars? What was the first thing that came to your mind?
I woke up to a facebook post from Don with the news.
My mother rang soon after and we both freaked out. She has since called me up several times with various styling tips. My favourite being that I should walk down the red carpet with helium balloons with my name written on them in sharpie, as an homage to the movie Up because I am in the animation category.
How have you prepared for the Oscars? Most importantly: Who are you wearing?
I am not very good at grooming myself so my friend Eliza Wexelman offered to style me. We had a lot of montage-worthy moments in vintage stores and my living room trying on a variety of dresses she ‘pulled’ for me (I’m learning all the stylist lingo). In the end I went with a dress from a little known store called ‘Nordstrom’.
The other grooming-based preparations started yesterday. The day we found out about the nomination I called up a fancy hairdresser that I’ve been wanting to try for ages. They informed me that they had no appointments on the day of the Oscars so I asked them what their latest appointment was the day before. The woman said 5pm. I asked her if I slept with a hairnet on did she think the style would keep until the next day. There was a long pause and then she said ‘ok’ and I could tell from her tone she doesn’t think this is a good idea. I booked the 5pm appointment.
Has Don cast you as the voice of his acceptance speech if/when World of Tomorrow wins?
Hopefully.
Which actors and actresses are you hoping to bump into on the red carpet or in the buffet line? (Is there a buffet line? We’ve never been to the Oscars…)
I’ve been told the best celebrity spotting is in the bathroom line. My mother has advised me to ‘accidentally’ walk into the men’s bathroom instead, “just to see”.
My ultimate celebrity spots would be Meryl Streep, Tom Hanks and Emma Stone. I want to make Emma Stone my friend.
Are you a big movie buff? What are some of your favorites?
I tend to like movies that fall under the category of strange or romantic. I’m a big fan of Charlie Kaufman and Michel Gondry but my all time forever love is Nora Ephron. More specifically When Harry Met Sally. Everything I do is in an attempt to make my life more like that movie.
What was your favorite feature-length film this year? Any Oscar predictions you care to share? Is it FINALLY Leo’s year?
I loved the movie Spotlight. It made me want to watch every newspaper based movie ever made. There was something about it that was both soothing and compelling – like The West Wing…or Gilmore Girls. I was also completely in love with Room - all the praise and accolades for that bad boy are so well-deserved.
Leo’s been scooping all the awards - he has to win this right? Although I thought he should have won for Romeo + Juliet based purely on his attractiveness.
What’s next for you?
I am currently in development at Cartoon Network in a program that creates projects for potential series consideration. I also just started as a writer on Adventure Time. I’m a huge fan of the show so the whole process is a dream.
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Kirsten Lepore Gives Adventure Time a Stop-Motion Makeover
Kirsten Lepore Gives Adventure Time a Stop-Motion Makeover
MIKE O'DONNELL / EDITOR
Whoever you are, and wherever you are, find a television and sit in front of it at 7:30PM ET. WNW Member #3094 Kirsten Lepore has written and directed "Bad Jubies", the newest episode of Cartoon Network's Adventure Time, which airs tonight. What's more, she's given the show a complete stop-motion makeover. We spoke to Kirsten about the process of recreating this world with her voice: "In terms of creating a version of the show that felt like me, it was actually less of a challenge than I thought it would be. I think my visual style and story sensibilities have a lot in common with AT’s off the bat, which made the process go pretty smoothly. The hardest part for me, that really forced me out of my element, was writing all the dialogue and jokes. My personal films usually have no dialogue whatsoever, so I was incredibly nervous when I finally went to pitch to the network. Luckily it turned out to be a great experience."
This is too cool! How’d you get tapped to write and direct an episode of Adventure Time?
About a week after I released my grad thesis "Move Mountain," I got an email out of the blue from Adam Muto, the showrunner on Adventure Time, saying that they'd always wanted to do a stop-motion episode and after seeing my film (which was coincidentally also an 11 minute stop-motion short), they thought I would be a perfect fit to write and direct an episode of the show. After freaking out with excitement, I said yes, and started developing concepts for the episode.
Did you know from the get-go that you would give it the stop-motion treatment? What was it like, recreating this world on your terms, in your wheelhouse?
It was always going to be a stop-motion episode, as this is what the network was excited about - but it’s also what I specialize in, so it made sense. I definitely came up with some concepts in the beginning where Finn and Jake were a little too aware of the fact that their medium changed and Pen talked me out of that. I’m so glad he did, because I think what the episode evolved into was much better. There’s still a little wink & nod at the fact that they look different, but I tried to keep it subtle. In terms of creating a version of the show that felt like me, it was actually less of a challenge than I thought it would be. I think my visual style and story sensibilities have a lot in common with AT’s off the bat, which made the process go pretty smoothly. The hardest part for me, that really forced me out of my element, was writing all the dialogue and jokes. My personal films usually have no dialogue whatsoever, so I was incredibly nervous when I finally went to pitch to the network. Luckily it turned out to be a great experience - there were about 30 people in that room and everyone laughed! It felt great to know that this storyboard I slaved away at privately in my bedroom for 5 weeks actually worked as an episode once I shared it with an audience.
Can you give a little insight into the process of writing and directing an episode? Were you a big fan before working on the show?
It’s funny, I actually didn’t really watch the show before I got the directing gig. But I set out to watch every episode for research, and about 4 episodes in, I was already completely obsessed with the show and had become a super fan. So at that point, the pressure felt even higher to create something that would fit into this wonderful world that had already been established. Writing was definitely the hardest part of the process, but once I was finished, it was a joy to direct it and actually make it happen. It was incredibly exciting to finally step back from all the animation and building responsibilities that I usually take on, and let the professionals at Bix Pix (where we did all the production) work their magic with me supervising. They did such an amazing job - sooo much better than anything I could have done, and it was such a joy to work with them. And directing wasn’t without its stresses, but it was certainly more enjoyable with a team than by working alone.
What other animated shows would you love to work on, and add your touch?
Oh man! I’ve never even thought about it! Hmmmm, it’d be pretty fun to do a Simpsons' couch gag, actually.
Based on everything you've learned as a creative professional, what are some top tips you can share with the WNW community?
I think the biggest ones that have helped me are:
1. Finish your films/projects.
This is more applicable to people making time-based things or really huge projects that take extended periods of time. I’ve found that inevitably there’s a point in those long projects that you’re totally over it and want to give up. But the world hasn’t seen it yet, so it’ll still be new and exciting to them - but they can only see it if you finish it. Sometimes you really have go back to your initial sketches and get back in touch with what excited you about the project in the first place to reignite that spark.
2. Put them online and keep a well-curated online portfolio.
This is pretty simple, but I have to say it because I often see people hiding some of their best work away because they’re too self-conscious or something. I think it’s really important to keep your online portfolio up to date and constantly evolving. The internet is the best free distribution platform - it’s how I’ve gotten all my work and why I’m able to support myself. The WNW community seems to have their stuff together though, so I’m not even sure how much this applies. I feel like the community members really know how to design and to present themselves professionally.
What’s next for you, besides remembering daily that you just wrote and directed an episode of Adventure Time!
Haha - it is really exciting! But currently I’m helping a good friend write her show that’s in development, as well as working on a new short of my own that I hope to complete in the spring!
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
MEET #3219 RACHEL YONDA
MEET #3219 RACHEL YONDA
Animator • Los Angeles, CA
WNW Member #3219 Rachel Yonda has created 2D, 3D, character, and graphic animation for a range of enviable clients, like Disney, Nickelodeon, SNL, Cartoon Network, Google, Virgin America, Sony, and Microsoft. She's currently working on design and motion graphics for The Late Late Show with James Corden. Rachel tells us how she started in the biz, stays motivated, and manages her secret double-life as a camp counselor. She also sends a helpful reminder to fellow freelancers: "The world is smaller than you think it is and your reputation will precede you wherever you go. A little self-awareness goes a very long way. Stick up for yourself, but never burn a bridge."
1. How long have you been freelancing?
8 years.
2. Is there a time or place that you feel most creative/have the best ideas?
Nighttime trips by plane, train or automobile.
3. What's your ideal Working:Not Working ratio?
Giving 110% in the Post-Breakfast, Pre-Dinner hours Monday through Friday. The rest of my time belongs to me, my family, friends, and cat.
4. Do your parents understand what you do?
Neither of my parents were ever in the industry, but they'd go to small film festivals near my hometown and bring back VHS tapes full of amazing independent animation for my brother and I. It's because of them that I grew up loving cartoons produced by the National Film Board of Canada just as much as I loved Looney Tunes and Disney, so as far as animation goes, I'd say they get it. Freelancing on the other hand, generally not so much!
5. What scene from a movie makes you laugh just thinking about it?
The scene in Home Alone when Kevin McCallister screams "When I grow up and get married, I'M LIVING ALONE!"
6. If you were stranded on a desert island, with your computer, what 3 websites would you take with you?
7. What do you do when Not Working?
Anything that involves moving my normally desk-bound body in the outdoors, visiting friends & family in various locations from coast to coast, living my secret double life as a volunteer camp counselor in the San Jacinto Mountains.
8. Do you have a hidden talent?
I spent more time in college studying music than I did studying animation.
9. Any tips or advice for fellow freelancers?
The world is smaller than you think it is and your reputation will precede you wherever you go. A little self-awareness goes a very long way. Stick up for yourself, but never burn a bridge.
10. What's your favorite thing on the internet this week?
It pretty much stays the same every week.
11. Who are some other WNW members whose work you admire, and why?
There are many, but perhaps I should start with the one I'm married to: Ben Yonda
To name just a few more, I've also had the pleasure of crossing paths with these fine folks:
Michelle Higa Fox, Jordan Scott, and Trevor Conrad
These WNW members in particular are all a huge inspiration to me when it comes to being self-motivated, profoundly creative individuals.
12. Anything else you'd like to add that we haven't asked?
I have a Bart Simpson balloon that's been floating for 5 months. I think it’s going to last forever. I’m proud of it.
More of Rachel's Work
Rachel's Workspace
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
MEET #1204 JAY QUERCIA
MEET #1204 JAY QUERCIA
Illustrator / Animator • Brooklyn, NY
WNW Member #1204 Jay Quercia has collaborated with an eclectic mix of clients that include Adobe, Chobani, Google, GE, MOMA, Nickelodeon, Nike, and Wired UK. He's also received accolades from The Webbys, The One Show, FWA Site of the Day, and the Pixel Awards. We asked Jay if his parents understand what he does for a living: "I started my professional career in 2009 at a shop called Big Spaceship. When I told my Mom where I was working, she couldn’t figure out why I spent 4 years in design school to give it all up to be an astronaut." And tips for fellow freelancers? "Start making time to create work for yourself. Book yourself for a week and commit to it. Personal projects let you define your style more than client work generally does. Plus, there are no notes to address at the end of the day!"
1. How long have you been freelancing?
I started freelancing October of 2013, so a little over a year now.
2. Is there a time or place that you feel most creative/have the best ideas?
Changing up my surroundings regularly seems to be the best way to jumpstart the old brain. I've been noticing that the limitations of my environment are often more conducive to creativity (especially around tasks that involve ideating or rough sketching). Coffee shops with just a sketchbook, or even confined plane rides without wi-fi seem to do the trick.
3. What's your ideal Working:Not Working ratio?
Although I’d like to believe otherwise, on some level I’m always working, even if I’m not booked. I’m always taking creative cues from my surroundings, or brainstorming ideas with friends. Even travel is a means of gathering experiences which inevitably find their way into my work.
4. Do your parents understand what you do?
I started my professional career in 2009 at a shop called Big Spaceship. When I told my Mom where I was working, she couldn’t figure out why I spent 4 years in design school to give it all up to be an astronaut.
5. What scene from a movie makes you laugh just thinking about it?
This scene from A Mighty Wind is genius. Oh, and pretty much any scene from Fargo with William H Macy in it is just tickling.
6. If you were stranded on a desert island, with your computer, what 3 websites would you take with you?
It’s Nice That, Cartoon Brew, and Working Not Working - brownie points ;)
7. What do you do when Not Working?
I dig going to shows, eating breakfast-y foods, or just staying in and catching up on films I’ve missed. I’ll stop before I get to the long walks on the beach section.
8. Do you have a hidden talent?
I used to play guitar pretty well. I’ve also been crowned a regional Rock, Paper, Scissors champion.
9. Any tips or advice for fellow freelancers?
I’m not sure I’m really qualified to give advice after only a year of freelancing, but I’d say start making time to create work for yourself. Book yourself for a week and commit to it. Personal projects let you define your style more than client work generally does. Plus, there are no notes to address at the end of the day!
10. What's your favorite thing on the internet this week?
My favorite thing has to be this ridiculous spot for Sauza featuring Justin Timberlake.
11. Who are some other WNW members whose work you admire, and why?
Philip Sierzega, Brandon Aviram, Daniel Savage, Ian Sigmon, Matt Delbridge, Evan Anthony, Andrés Rivera, Jorge R. Canedo Estrada, & Lucas Brooking — just to name a few. These guys are all at the top of their game.
12. Anything else you'd like to add that we haven't asked?
I’m pro Cottage Cheese.