Alex animating

MACA Unit 1

26th November 2025
by Alex Wilson
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Role: Series Animator

Why this industry interests me 

I am drawn to this type of role, working within a team with an ongoing series and partially because of my work style, I need a team to help keep me on track, and gaining feedback and advice from other higher or lower in the industry is always helpful. Another reason is that many animator grow attached to or fond of the characters, series animation more often than not indie animation series’ gain a following that provides a community around that show.  

How the pipeline works 

The pipeline works like most animation pipelines, with a 30 minute episode taking 3-5 month to create end to end depending on the style, complexity of the scenes and whether there are any delays. Episodes often overlap in production keeping studios busy however this means any delays in any place in the pipeline holds up the whole rolling operation. 

The skills needed  

The specific skills needed for a recurring animation show or series are consistency, being able to create consistent drawings and actions, so that it doesn’t become confusing for the viewer. This becomes difficult for new animator joining a series halfway through and having to learn about and understand the characters, how they move and think, and they be able to match their animations to past ones. Storytelling is also a big part of series animation, with the incredibly fast turn around, writing, storyboards and animatics and to be made quickly and be able to get across the plot efficiently.

My path towards getting there 

Networking seems to be the most common piece of advice given to animators, as it’s a tight knit industry, so that would be my main thing to focus on. I also need to be able to show consistency in my portfolio, and adaptability within character design, style and mood within a scene.  

26th November 2025
by Alex Wilson
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Role: Animator in the games industry

Why this role interests me

I am very much more interesting in visuals, fluid animation that brings a character to life, I struggle with the skills needed to storyboard or produce, and I very much have an insterest in the games industry, I have made  video game sprites for a past project and I really enjoyed the process of animating, testing and adjusting, as well as being able to have other people experience what I’ve made. 

How the pipeline works

Reading a blog post on the games animation pipeline by Harvey Newman who was a 3d animator working at Lionhead at the time, the process is much the same as the regular animation pipeline, writer to artist (to model builder and rigging teams if 3D) then its handed over to, and distributed among the animation team, then depending on whether it is a test animation for the game or a final animation the animator will work accordingly. Everyday every person working on the same part of the game has a meeting to update each other and make sure everyone’s on the same track. 

The skills needed   

Some of the skills that are crucial to game animation are having knowledge of videos games and how they work, knowing how the game will be played, and the insight into the users experience can aid in creating immersive animations. Knowledge of how games are built and game engines, using how they will process your frames will prevent any errors and keep the process running smoothly.  

In every kind of animation communication is key, but in this instance you are working with programmers, who have no knowledge of animation as much as most animator have no knowledge of coding, so communication and understanding exactly what needs doing in crucial. 

Sprite Sheet Animator: How to Make a Sprite Sheet

Why I feel this role would suit me 

I feel I would fit into the role of an animator in this field because I have an attention to detail, and when making sprite animations for example, the tiniest of movement must be smooth to keep the immersion, and every one of the actions must fit together seamlessly, which means perfecting the animations you are tasked with doing. I also think my communication skills are good enough that I would be able to handle a project that must be seemless across animators, coders and several other teams. 

References 

https://www.screenskills.com/job-profiles/browse/games/animation/animator-games

26th November 2025
by Alex Wilson
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Where I’d like to work

Industries?  

When considering industries I could bring my skills to, the games industry is my first pick, having used animation to create an interactive piece and my personal interest in gaming, I really enjoy that extra level of problem solving and feedback for people who get to experience what I make. 

Within the purely animation industries I’m more drawn towards series animations, often western kids shows with fun colourful characters and simple storylines or more adult animations which have more complex stories while keeping the visuals cartoonish. 

Rumpus Studio  

Rumpus is an animation studio based in Bristol, producing adverts, TV shows and games, they’ve worked on projects  for companies such as CBeebies, Disney and cartoon network. I feel that me and my style would fit in at Rumpus as many or the style lean more toward cartoonish with exaggerated expressions and dynamic actions within their range of styles. They also produce animations for games such as Battle toads which is the industry I would like to be a part of. 

Rumpus Animation | Bristol

Sun and Moon studios 

Sun and Moon are a company in Bristol who produce for animated series such as Maddie and Trix and games like Petal Pinchers, I have followed them through social media and as a company they seem to interact with younger aspiring animators through educational courses and generally being open about the industry.   

Their work is a broad range of styles for different audiences, as well as a mix of short form, long form and commercial work to show, which I would find exciting to work on, as I would not be bored. The topics they cover are often children- level stories or educational animations, which would fit really well with my style and interests.  

How move forward with these in mind  

Being able to enjoy the work I do is important to me, and that means finding work or a workplace that produce work I feel passionate about, many of these companies are looking for people with experience in the animation pipeline as well as the software they work with, so my next step would be to take some courses on different animation software and start to network. 

5th March 2025
by Alex Wilson
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Simulated work experience

For my simulated work experience I created a character expression sheet for the second year’s main character, we decided on this after I had looked over her work so far as well as her animatic, and then after sending over a few sketches of her character as well as some previous character work I had done.

She expressed that she felt that she wanted to complete the turnaround herself as she still had some things to figure out about the character, but she said she liked my expression sketches and asked me to create an expression sheet. Normally this task would be done by character designers/artists within a professional industry pipeline to help storyboard artists, animators etc with visualising how different character’s faces would move and where limits would be with extreme expressions. 

I found this feedback was very helpful as it wasn’t too critical or vague and gave me a very clear direction to move forward on, I did find the task a bit daunting as I don’t have any previous experience working with someone else’s character especially as it was drawn in a different style to mine, but I found the task interesting and enjoyed working on the sheet. The only negative part of this task was that she messaged me quite late, and we didn’t end up being able to talk her project through in person which meant I couldn’t get as much feedback as I drew the sheet as I had wanted, as well as not giving me the maximum amount of time to complete the work.  

My main take-aways from this experience is recognising the work that goes into understanding someone else’s character fully before being able to draw and change them, I used a lot of the tools taught during or character design classes to help map to the face and body when sketching the character, to make sure I got the proportions right. This project also emphasised the importance of proper communication, making sure you have enough time for everything as well as making sure the work you are doing is exactly what the person is expecting of you. I will take this knowledge into the LIAF project where communication is crucial and getting information and roles sorted as soon as possible is the best way to avoid late hand-ins. 

Expression sheet for Simiao Wang

5th March 2025
by Alex Wilson
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Why ‘Who Framed Roger Rabbit?’ is one of a kind.

Who framed Roger rabbit (which I will refer to as WFRR) is a film released in 1988 using a mixture of live action and 2D hand-drawn animation, impressively using no VFX at all. The film follows Roger Rabbit, who after suspecting his wife is cheating on him with a guy named Marvin, hires a detective, only for Marvin to be found dead, making Roger the prime suspect.

At the start of the 1980s, the Disney company was struggling, 1979 had seen a walkout of all the major animators led by Don Bluth, the company was then saved by the Bass Brothers in return for choosing who runs the company, the company was back from the edge and now had to clear their name.

1989-1999 is referred to as the second golden age of animation or the renaissance of animation especially for the Disney company, and WFRR being released in 1988 really woke up audiences to animated features films as well as waking up other animation companies.

Disney felt the pressure to make this film the best it could be, they had to save not only their company but bring back the love and trust people had in animated films. At this point animation was a dying film genre, saved for Saturday cartoons or commercials, animated films were seen as risks. which is why Disney looked to Warner Bros, who were successful their TV shorts with their iconic characters to help them and Warner Bros agreed.

The agreement in having the two companie’s characters interact is that they were treated equally, in on-screen time, in skill, in humour; no character from one side was to be seen as ‘better’ in any way because whilst working on this film, they were not competitors, they were working together.

The response the film was immense, bringing in 11 million dollars in it’s first weekend at the box office and raked in 330 million worldwide, as well as getting three academy awards; Best film editing, Best visual effects and best sound editing.

Warner Bros and Disney characters interacting was a groundbreaking thing when the film was made and almost an even bigger deal today, Disney in it current age is extremely uptight on it’s characters and how they’re used, armed with lawyers who take down merchandise and dispute references to characters, let alone them featuring in an entire film.

Something very controversial at the time was seeing cartoon characters using adult humour, swearing and interacting with themes of sex and violence, WFRR shone a light on how effective and enjoyable animation can be from adults without being too edgy, the film doesn’t try to be edgy but simply shows that animation is for everyone, these iconic characters, though often marketed toward a younger audience, are iconic because older generations know them too.

https://www.nathanrabin.com/happy-place/2022/5/17/the-fractured-mirror-20-22-who-framed-roger-rabbit-1988

https://thatoldpictureshow.com/2017/07/08/the-importance-of-who-framed-roger-rabbit/

https://kylelovesanimationnmore.wordpress.com/2017/10/09/who-framed-roger-rabbit-an-animation-thesis/

4th March 2025
by Alex Wilson
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Practise Based Research: Sketching believable characters

In this blog post I will document how sketching character design sheets and storyboards onto paper has helped me improve my character design as well as inform and make my animations feel more believable.

Fig. 1

These are initial sketches (Fig 1) of the two bouncing characters I created, it was a test to see how the things such as antenna or wings would move at extreme poses during the bouncing cycle, I focused on making sure they looked believable and natural. Sketching the character, even though I wasn’t storyboarding helped me get a feel for the character through how I moved them, which in turn helped me bring the animation to life more.

The above sketches were for an exercise where we had give a chair a personality or emotion, I considered a few options as shown above in Fig 2, but they all seemed too rigid so, trying to find a way for the chair to stop being so rigid I draw it stretching, once I figured the chair resembled a cat, I found that I could move the chair in an organic and lifelike manner, I used a video reference as well as some squash and stretch to achieve a cat-like stretch in the final outcome.

Fig. 3 shows some sketches I did before I started to work on my quadruped walk cycle, I had gotten in my head about making the dog look as realistic as I could, that I forgot that I just needed to make it believable. I took reference from the Disney character Pluto, a big dog but lanky, and this really helped me when key framing the movement because I could visualise how this lanky dog would move. The final outcome of my quadruped cycle held the same personality as these sketches in my opinion.

Lip-sync task: The Angry Parrot

Fig. 9

Having gotten more confident by the time I got to the lip-sync exercise I wanted to create a really well-rounded character that would drive the story and that maybe I could use again in the future. Having given my character an angry/annoyed audio line I decided to portray him as angry with a bit of insecurity, and these show through in his expressions, not making eye contact, looking unsure before remembering why he’s angry, I feel that these made him a believable character. To make sure I got the character design consistent throughout the animation I sketched a character sheet that included expressions and a side profile (Fig 6 and Fig 7) these sheets in turn informed the lip-sync chart as I knew how his face moved and the limitations of it.

The lip-sync chart I created shown above in Fig 8 made adding the mouth to the audio pretty easy, some sounds are pretty hard to show such as ‘s’ or ‘kuh’ but I learnt from playing around with different techniques that I didn’t have to animate every sound in every word, only the prominent ones such as vowels as these are the loudest or ‘th’/’f’ as these are unusual and our eye picks up on these more.