Tag Archives: Bill Plympton

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Andy Sykes

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What is your name and your current occupation?
My name is Andy Sykes. I go by the name ‘Hexjibber’ onlline. I work as a part time lecturer at The University of Leeds, where I teach Animation and Digital Storytelling. I also work as a freelance commercial illustrator and animator.
What are some of the crazier jobs you had before getting into animation?
I’ve worked as a visiting artist in schools. Working with kids is rewarding, but very frenetic and tiring. I’m lucky that most of my jobs have been related to art in one way or another.

What are some of your favorite projects you’re proud to have been a part of?
I created 3 animated films with funding from Screen Yorkshire, called ‘Special Glue and Other Stories’. One of the films, ‘Stupid Table’ won the award for Best Short at Bradford Animation Festival in 2009. You can see it here: https://www.youtube.com/watch?v=tbkLwF8O7Jw, I have self-published 3 illustrated books. The first ‘The Hexjibber Colouring and Activity Book’, is a subversive activity book for adults. I created some bizarre adverts for it here: http://www.hexjibber.com/colouring-book/.’The Hexjibber Anti Revision Book’ is a creative procrastination book. ‘Hexjibber Hobbies Vol.1’, is a compilation of the first year of my illustrated blog http://hexjibberhobbies.blogspot.co.uk. I am currently working on Vol.2, which is a complete story, centring around my recent battle with insomnia. I enjoyed creating large scale interactive art projects for Light Night in Leeds. It is an art festival that takes place on the first Friday of October, involving installations, performance and projections. It is great get so many people involved in creating illustration and animation. You can see some video of it here: https://www.youtube.com/watch?v=eL2xAmTbg34, I created the ident for the Bradford Animation Festival in 2010, with illustrations from Tom Wooley. It is Jekyll and Hyde meets 90s anime. You can see it here: https://www.youtube.com/watch?v=_wd0NIOuvbc

Where are you from and how did you get into the animation business?
I am from Leeds, which is in the north of England, in the UK. Think Winterfell in Game of Thrones. It’s a bit like that:) I studied Interactive Arts in Manchester (which is also in England), where I worked mainly in animation. I taught myself Flash and started creating short animated films. It took me a long time after graduating before I started to make a living from it. I did some work for free for experience anywhere that I could find it. I created a lot of visuals for nightclubs and gradually started getting bits of paid work. Shortly after graduating, circa 2004, I applied for some production funding from NESTA (National Endowment for Science, Technology and the Arts) to make some ‘Pocket Shorts’. These were short films designed for mobile phones. These films started to get shown at festivals, which helped raise my profile a bit. Then I got some production funding from Screen Yorkshire to make ‘Special Glue and Other Stories’ in 2008. This did quite well at festivals and won an award. It has been a long drawn out process.

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Julio Díez

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What is your name and your current occupation?
My name is Julio Díez, I am character animation director/supervisor, as well, animators team coordinator.

What are some of the crazier jobs you had before getting into animation?
When I was fourteen I worked in a printing works as apprentice, but it was not my path, so , when I was seventeen I decided to work in an animation studio in Madrid as traditional animator, against my father´s opinion that considered that animation was not a
secured profession.

What are some of your favorite projects you’re proud to have been a part of?
As traditional animator I enjoyed working in “The Flinstones”, “Tom and Jerry”, “The Jetsons” ( Hanna Barbera), and in a lot of american and british Tv series and specials, the feature film “Asterix” (Gaumont) ,etc., as production manager and co-supervising animator in ” Count Duckula”, ” Foxbusters” (Cosgrove Hall), “Captain Star” (Filmworks), “Rhinegold” (Hibber Ralph). After some years working in traditional animation, in 2000, I was hired as character animation director to work for CGI productions in several 3D feature films such as “The Living Forest”, “A Midsummer Dream ” (Dygra Films), etc.

How did you become interested in animation?
From I was a child, I remember that I Continue reading

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George Pfromm

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What is your name and your current occupation?
My name is George Pfromm and I am a freelance animator and illustrator, and a full time faculty member in the animation department at the New England Institute of Art.

 

What are some of the crazier jobs you had before getting into animation?
Working the front desk at a walk in clinic for homeless schizophrenics and crack addicts in Seattle was a nutty one. I enjoyed almost every minute of that one truthfully.

 

What are some of your favorite projects you’re proud to have been a part of?
Hands down, storyboard artist at Flying Rhinoceros Inc. in Portland Oregon in 1999 –2000. It was my first full time animation job and I have not worked with the level of talent like that since. I got a few glimmers of how special it was and how good everyone in the animation department was but I had no idea how rare that perfect storm of talent can be.

 

How did you become interested in animation?
I blame it all on Jonny Quest, the Herculoids, and Alex Toth in general I guess. I watched cartoons every morning on Saturdays as a kid in the seventies, and used comic books to give me through the long week until Continue reading

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Frank Forte

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What is your name and your current occupation?
I’m a storyboard artist at Bento Box on Bob’s Burgers.

What are some of the crazier jobs you had before getting into animation?
Ha! I was a Tatto Artist, A line cook at a number of restaurants, and I got paid to watch movie screenings.

What are some of your favorite projects you’re proud to have been a part of?
It was really fun to work on Despicable Me 2 doing storyboards. I really got to flex my creativity and have fun. the director let me add gags and take the action in crazy directions just to see what I would come up with. LEGO:Star Wars The Empire Strikes Out (at Threshold Animation) was really great because I got to finally work on a Star wars project AND we got to make fun of it.

How did you become interested in animation?
I grew up on classic Warner Brothers and Tex Avery shorts. They used to show those on TV. Then in college I would Continue reading

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Mike Blum

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What is your name and your current occupation?
My name is Mike Blum and I am a director, producer, writer and owner of two boutique production companies, Pipsqueak Films and Blumayan Films. Pipsqueak Films works on animated content of all sorts and Blumayan Films produces live action features.

 

What are some of the crazier jobs you had before getting into animation?
I waited tables while being a ski bum after college. I couldn’t ski more than 5 feet without falling at the start of the season but was cruising black diamonds by the end. Never did learn to wait tables all that well…And when I was in junior high and high school I worked at this crazy nut, candy, coffee store called The Head Nut. Come to think of it, slinging nuts and candy is a lot like turning the crank in production — head down and scoop away!

 

What are some of your favorite projects you’re proud to have been a part of?
My favorite projects are the ones I’ve had the biggest hand in seeing through creatively. So, even though I worked on nearly a dozen features with world class artists and technical people while at Disney Feature Animation, none gave me the same satisfaction as working on my first shorts, Oil & Vinegar and The Zit.  And while a lot of my colleagues gave me funny looks when I told them I was leaving Disney to direct a series about a pair of talking testicles, The Adventures of Baxter & McGuire (for Comedy Central), got me nominated for an Emmy and took me to great festivals like Sundance and Annecy. And I worked with the amazing showrunners Michael Weithorn and Nick Bakay.  But my favorite project so far is the one I just completed, Samurai! Daycare. It’s a 10 part, Flash animated web series I did for the new YouTube channel, Shut Up! Cartoons. It’s the first property I sold that made it all the way to series and it was great fun to showrun my own creation.

 

How did you become interested in animation?
Where are you from and how did you get into the animation business?
I’ll answer these 2 questions together…. I was a huge fan of Bugs Bunny growing up. I know, I know I have such unusual tastes. But I really never had any classic artistic skills and grew up so far removed from “the industry” in the Philadelphia ‘burbs, it never occurred to me in at least a conscious way that it could be a career. I did, however, Continue reading

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Gerry Mooney

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What is your name and your current occupation?
My current name is Gerry Mooney, and my occupation is Director of Motion Graphics for a litigation graphics firm in Westchester, New York.

What are some of the crazier jobs you had before getting into animation?
I designed slot machines for a tiny outfit in Charlotte, NC, for a year. It was moderately interesting, in that there is some amazingly sophisticated graphic and animation work being done for slots and their related displays these days, but the downside is that the gambling industry is not that interesting. So it was fun to do the work, but what you were selling was not very challenging.
In between my magazine illustrating days and animation, I did web design for a few years. One temp job I got was with a pretty major NY ad agency where the entire web staff had walked out the day before, so they were desperate for freelancers to jump in and take up the slack. I worked there for a month and the odd thing was that since everyone had walked out, I never knew for that whole month who exactly I was supposed to report to. I handed in my work to a guy across the hall, but he wasn’t my superior or manager, he was just a guy who was still there.  I’ve always managed to make my living as an artist though. I worked in a framing shop after college, assisted Joe Simon in his home studio back years ago, and did layout and pasteup for a physics journal, “The Physical Review” at Brookhaven National Laboratory.  I spent most of my professional career as a magazine illustrator for pubs like Forbes, Parents, The New Republic, Cruising World, Medical Economics, The NY Daily News, a Consumer Reports magazine for kids called Zillions, and American Express, clients like that. One of my favorites was doing a regular humor feature for Isaac Asimov’s Science Fiction Magazine, called “Mooney’s Modules”. That ran for three years and was the first place the Gravity Poster was seen by a large audience.

What are some of your favorite projects you’re proud to have been a part of?
Certainly that Asimov’s gig would be at the top of the list. I would submit a bunch of sketches, and I’d be surprised at some of the ideas they signed off on. I wondered sometimes if they actually got the jokes or if they just didn’t want to appear that they didn’t.
I completed an animated music video last year where I was given complete creative control. It was for Shawn Letts, an American musician who lives and works in Singapore. It was a dream job! I was just told, “Call us when it’s done”. I really felt free to explore imagery and effects that I could just play around with, without having to “sell” a client on the concepts. And then of course there’s my graphic novel, “Sister Mary Dracula”, which is currently being shopped around to publishers. It originated as a Flash animation that I did in 2001 and put online. It got accepted as an entry in the San Diego Comicon’s Independent Film Festival in 2004, which motivated me to expand it into a graphic novel that took me four years to complete.  These are all one-man projects, not strictly speaking things that I was “a part of”; I WAS the projects!

How did you become interested in animation?
I’ve always been interested in animation and dabbled as a kid with both clay and cel animation, but Continue reading