Worked part time morn­ings and night, pitched ideas for mu­sic videos dur­ing the day

Hey! This page con­tains em­bed­ded con­tent from Youtube, who might use cook­ies and other tech­nolo­gies to track you. To view this con­tent, click Allow Youtube con­tent.

Stylopohinic - Soul Reply

Did stuff with ba­sic tech eg. mak­ing a land­scape in pho­to­shop, pan­ning across it in AE

Hey! This page con­tains em­bed­ded con­tent from Youtube, who might use cook­ies and other tech­nolo­gies to track you. To view this con­tent, click Allow Youtube con­tent.

Linus love fear Sam Obernirk - stand back

Make work that rep­re­sents the type of work you want to do

started mak­ing more il­lus­tra­tion work (prison ed­u­ca­tion thing) 4 hour spot il­lus­tra­tions for the guardian Used to go around and find out who the art di­rec­tors at the news­pa­pers are, get their email and send them work

Be en­gaged and get in­volved

Important to go out and try things eg make prod­ucts, worst case sce­nar­ion you’re gonna meet some good peo­ple you never know where things are gonna go etc


Started out as just col­lege friends show­ing each other their work, re­fer­ring comis­sions and stuff

fig­ure out what you want and the steps needed to het there. This in­volves re­seatch and ask­ing wues­tions poliyely

Learn to write a de­cent email

How we got to now production shot did a un­paid trip drawi­ing sort of thing, turned into a no­brow book when he got back kept work­ing with them af­ter

try try again

pitches don’t al­ways work out

Classic Matt lead­ing ques­tion: Should il­lus­tra­tors do an­i­ma­tion or should they ab­solutely do an­i­ma­tion?

Either make an­i­ma­tion work, or at least have an un­der­stand­ing of how your work might move Look at dif­fer­ent types of an­i­ma­tion, see what suits your work. Also good to show other peo­ple’s work for pitches so you don’t have to make a whole an­i­ma­tion for noth­ing.

How we got to now production shot

How we got to now

BBC wanted a draw on a white­board thing, thought about do­ing col­lages in­se­tad Mo­tion tests, how would it work to­gether with footage of a pre­sen­ter (all this work hap­pens be­fore the first meet­ing). About an hour of an­i­ma­tion in to­tal. Got an emmy for it!

Again if you want to do stuff like fancy 3d pipes in space, com­pos­ite footage of a note­book etc just get some­one else in to do it.

Do things well and every­thing might leads to some­thing else Peo­ple who work with you on one job will move around to dif­fer­ent jobs, they might give you work there

Map of hell production Shot

Map of hell Director who did the BBC show re­ferred a National Geogrpahic job on Dante’s Hell (with Danny Trejo nar­rat­ing for some rea­son)

Filmed dancers in a green­screen stu­dio, col­laged that to­gether with stock footage Even when you’re es­tab­lished you will still sit and watch tu­to­ri­als at night

Keep learn­ing

Stay rel­e­vant and all that does­n’t have to mean just new tech­nol­ogy, eg. he’s do­ing tex­tile stuff

Got a chance to do a japan trip to show the tex­tile stuff

On get­ting your work seen: Unless you’re do­ing print­mak­ing just make a web­site, also be a de­cent per­son. If you’re go­ing to be on so­cial me­dia then know what you’re do­ing, use it to then meet peo­ple who can ac­tu­ally get you work. Different in­dus­tries will care more or less about how many in­sta­gram fol­low­ers you have. Don’t spend too much time look­ing at It’s Nice That

Good to be re­flect­ing, think about what you want to be do­ing Say you want to make a fea­ture film, fig­ure out what the first step in that process would be. Maybe make a short film first etc.

Cons of hav­ing an agent: They take your money If you’re do­ing ed­i­to­r­ial work you have to make a lot of it to be sus­tain­able, be­comes harder when you loose a cut Also might not get you enough di­verse work or stuff you’re in­ter­ested in work­ing on

Pros are they get you good rates, work you would­n’t find your­self. Probs smart to get an agent in a coun­try where you can’t get to and meet peo­ple

Also smart to try things on your own first, so when you do start talk­ing to an agent you have some back­ground knowl­edge, and you can show that there’s al­ready a mar­ket for your work.