PAINTING IN MOTION – WITH NERD PRODUCTION’S SHARON PINSKER

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With every brushstroke Sharon Pinsker tells a story that captures and captivates the viewer with images that last forever. Her authenticity and love of the craft shines bright like a beacon with her light inspiring others to pick up the paintbrush and paint. Her book ‘Figure: How to Draw & Paint the Figure with Impact’ is like the holy bible for those wanting to learn the art of mastering the human figure. Sharon’s knack of capturing movements has led her into the world of animation and live action films, collaborating with other barnstormers within the creative industries. From working on fashion campaigns, book covers and celebrity portraits her work shape shifts effortlessly into different mediums and formats. 

We recently caught up with Sharon to discuss her awe-inspiring journey not only as a creative but as a person, to further understand what shaped her work. Like us mere mortals, artists also go through the same self doubts and anxieties, and it can often be the daily obstacles that help shape the best art. 

When you started out as an artist did you ever think you would publish a book that would act as a resource and a guide for other artists?

I can’t honestly answer that question because I never “started out as an artist”.  As far back as I can remember I was only happy if I was making something, usually a drawing or a painting. My artwork was more of  a compulsion, than an ambition. So it was more by luck, than by design I discovered I was able to make a living out of my addiction. I certainly never imagined anyone would be vaguely interested in reading about my work process, let alone want to publish a book about it. So it was completely mystifying to me when a publisher approached my agent and requested a meeting to discuss commissioning a book.

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I remember the look of abject horror on my agent’s face when I turned to the commissioning editor and enquired – “Are you sure you have not confused me with someone else? Have you seen my work ? I really don’t think anyone would be interested in reading about how it’s done.”

EXAMPLES OF SHARON’S STORYBOARDS/VISUALISATIONS

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I still think that book was successful because I shared the struggle I have with achieving goals and meeting deadlines, rather than the work itself. The questions and conflicts that arise with all aspects of problem solving… and the continuous internal dialogue that we all have while working. The title was the editor’s choice, not mine. I felt it implies that I know “How to…”do something -but whoever reads it will quickly realise I am still working it all out myself! That’s ultimately how I see my work anyway, like the “working out in the margin” never as a finite piece.

I still get messages from people telling me how helpful the book has been to them, and it is listed as recommended reading ,even now. I am thrilled by that of course, but equally amazed.

Even more surprising is to see it mentioned in quite unexpected places!

The Interaction Between the Brain Hemispheres While Drawing – PRINT Magazine 

10 Libri per coltivare il “mindset” del perfetto programmatore

Did your distinctive style come naturally or was it something you developed while at Central Saint Martins and Parsons School of Design?

It depends on what you mean by “style”, maybe the images just end up looking the same .That is entirely unintentional though because more often than not, I am trying to do different things all the time. My work is developing and mutating with every new project. I don’t start with a particular look in mind  but every job will dictate how I approach it. Invariably it goes through many incarnations.

Yes, during this process I will be drawing on things I learnt while at CSM and Parsons but also everything I have done since then. Nothing is ever wasted, even if discarded… and a lot is discarded. Everything I do is a compilation of past trial and error.

It can be a hard life making a living as an artist, did you ever go through any self doubts early on in your career?

Every single day.

What do you think is the biggest obstacle for young artists in today’s environment?

I think young people today have so much more to deal with, the challenges must be overwhelming. When I was at St.Martin’s, as it was then, we had three choices for a degree course after Foundation, these were Fashion, Graphics and Fine Art Now young people have to choose from so much more including live action film, 2D animation, stop motion, photography, graphics, cgi, motion graphics, motion capture, VR, WebDesign, AI. to name a few ..there is so much pressure to specialize which takes time and experience which means less time for development and growth in other disciplines. 

The advantages of more advanced technology and accessible information at their fingertips doesn’t lessen the disadvantages of not having any more time or freedom to experiment and find their own focus. I wanted to paint people so I chose to study fashion because I realised I would have more access to life drawing classes. Fundamentally we had to know how clothes would work on a body. If I had chosen Fine Art, back then the life drawing  classes were few and far between, they had been abandoned in favour of Abstract and Conceptual Art.

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I don’t know if it would be so easy for me today to study Fashion and then Fashion Illustration but I do know that if I hadn’t had the chance to experiment in those fields then my work would not have taken me on the journey that ended up with my working in film and animation which was a place that my illustration work seemed to fit best. 

The pressure of having to choose a career in itself is a terrifying prospect for a young person when they are trying to find their way in a scarily competitive field. They need space to make mistakes and learn from them and how valuable they are… more valuable, in my opinion, than their successes.

So to answer your question the biggest obstacle for young people, I think, is lack of time to find their feet before having to join the race.

You’ve worked with fellow NERD director Shay Hamias, could you maybe tell us a bit more about that dynamic?

Shay is fabulous to work with. He is one of those people that can make anything work. However challenging it might be, he makes it look easy. I remember if ever I saw a problem he would see a solution. 

He smiles a lot too and that makes a world of difference, collaboration with Shay was a joy! 

I can’t wait to craft with him again.

Do you still feel like you’re learning and growing as an artist?

Absolutely. It’s that eternal paradox, possibly Aristotle? ” The more you know, the more you know you don’t know “. 

The learning and growing process only increases the more you do… which is all the more frustrating  because, of course, then you have less and less time!

Whether you’re just starting your painting journey or looking for a source of inspiration we highly recommend reading Sharon’s ‘Figure: How to Draw & Paint the Figure with Impact’ and to see more of her wonderful work click here.

DEVOTED TO THE DOUGH – THE MOUTH WATERING NEW PAPA JOHNS CAMPAIGN

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The new Papa Johns rebrand film is a love letter for pizza enthusiasts all around the UK, a kaleidoscope of cheesy saucy goodness. Centered around its pizza-obsessed consumers and the brands own commitment to better pizza and superior ingredients, we are delighted to share with you the “DEVOTED TO THE DOUGH” TVC.

The brilliant creative chefs behind the new campaign cooked this one to perfection, deserving of a Michelin star or too. The film was brought to life using various mixed media techniques like cutouts, photography, 2D animation, AI generated assets and glorious food shots. All of that came together in a collage of bombastic colours and flavours. Weaving between delicious live action ingredients and animation which brings playful, vibrant and fun energy to the piece.

Director, Ahmet Iltas shared his experiences working on the project “Making the Papa John’s film was an incredibly exciting experience for me. The creative challenge of bringing together the idea of pizza obsession and PJ’s DEVOTED TO THE DOUGH across various media and visual styles kept things fresh and dynamic throughout the process. From intricate close-ups of the product to quirky moments that introduced relatable humor and personality, it was about finding a balance between the love of pizza and making something that would grab attention in today’s fast-paced, content-saturated world.

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The mixed-media approach allowed us to explore multiple layers of storytelling playfully, merging real footage with illustrative elements and graphic transitions. This kept the visuals both engaging and unpredictable, which was something I really wanted to achieve from the start. It’s always fun to experiment with different mediums and see how far we can push the boundaries while still staying true to the brand’s identity.”

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Ahmet adds  “By combining traditional live-action footage with AI-generated elements, design, and animation, we were able to create something truly innovative. The result is a next-generation mixed media film that feels fresh and forward-thinking. It’s also a reflection of where modern storytelling can go while keeping the essence of the brand intact.”

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Milana Karaica, Executive Producer, adds – “Being a part of such a big rebrand is a huge responsibility! Having said that with our collaborative agency and trusting brand partners, this project was still such a fun and dynamic production from start to finish. This approach also allowed us to make something that looks and feels fresh. We ended up with a film we are excited to share, that really speaks to the tastes and attention spans of our audience.

And if the delectable imagery and whimsical animation weren’t enough to win you over, the film also features a catchy tune that will be imprinted into your head for the foreseeable.

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Papa Johns DTTD credit list:

Agency – Bicycle
ECD: Graeme Douglas
Creative director: Leigh Gilbert
Creative director: Scott Andrews
Business director: Rosie Bloxham
Senior account executive: Izzy Nott
Senior producer: Bethany Easton

Production Company: NERD Productions 

Director: Ahmet Iltas
Executive producer: Milana Karaica
Producer: Phil Burgess
Director of Photography: Simon Paul
Lead animator and head of compositing: Selahattin Iltas
Art director: Saeed Noroozi
Food stylist: Kostas Stavrinos
Colourist: Danny Atkinson
Music: Resister Music
Audio record & mix: Page Not Found

Perfect Imperfection: How NERD’s Lewis Andrews is Redefining Commercial Direction

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We sat down with NERD’s director Lewis Andrews who brings a refreshing perspective to the evolving landscape of advertising and filmmaking. Lewis has carved out a distinctive space in the industry, embracing both traditional cinematic excellence and the raw authenticity that modern audiences crave. From shooting music videos in Prague to crafting horror shorts in his hometown, his journey offers unique insights into the future of commercial directing.

What are some upcoming projects that you’re excited about? Tell us a bit about them?

While working on Amazon’s TV show Blade Runner 2099 in the Czech Republic, I’ve been simultaneously directing two music videos too. One captures the essence of Prague’s heart, while the other, shot in Barcelona, draws inspiration from the Dune franchise. I’m particularly excited to reveal the Barcelona project soon, which pays homage to Dune’s cinematic universe.

What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities? 

The most exciting development is the industry’s metamorphosis toward natural, raw, accessible visuals rather than glossy overplayed perfection. We’re in an era where a single tweet or Instagram post can outperform a multi-million-pound campaign. Look at British retailer Currys, who now uses employees for social media content, or Kanye West’s Super Bowl LVIII ad – just a selfie video in a car announcing he didn’t spend money on traditional advertising.

Of course, not every filmmaker can achieve Kanye’s results with a selfie video. But what these big players have demonstrated is that traditional filmmaking isn’t always necessary. The impact of a brand’s advertisement depends on the message, creativity, and authentic resonance with the audience.

What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

I’m drawn to unique concepts, extremely high stakes, time travel, apocalyptic moments, disaster, quick-witted dialogue, comedic timing, and culturally relevant themes. I love when scripts incorporate topical news stories and social issues that challenge viewers’ values and beliefs. There is no perfect film script, because art is supposed to spark debate and divide people’s opinions.

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How do you approach creating a treatment for a spot?

My process often starts in complete darkness. The creative process isn’t always linear – I’ll work through multiple ideas until something clicks. It’s not methodical or structured; I let ideas flow and see how they align with each brand’s needs.

If the script is for a brand that you’re not familiar with/ don’t have a big affinity with or a market you’re new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

A brand will approach me based on my creative skill and capabilities as a filmmaker rather than my detailed knowledge of their brand history. When it comes to creative direction, you can develop an affinity with anything, even without knowing the full facts. I welcome each project as an opportunity to be unbiased in my creative assessment, basing the direction on my creative instincts first.

For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

A great director has a strong working relationship with all creative professionals involved – Director of Photography, Camera Operator, Art Director, Producer, and Costume Designer. The team can make or break a project, which is why I maintain a black book of industry-level talent.

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What type of work are you most passionate about – is there a particular genre or subject matter or style you are most drawn to?

I am quite drawn to horror, and all things which seem a little bit off. I love reimagining. I love reimagining characters, emulating real-life encounters, and incorporating my dreams into my film work.

What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

I once had less than 24 hours to coordinate a shoot in Morocco. We managed by connecting with a local film student who had filming permissions, enabling us to shoot in Marrakesh, the Agafay Desert, and city center.

How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Clear communication and thorough pre-production breakdown are essential. This preparation helps prevent later confusion. I keep in mind that creative briefs are just ideas, and ideas for someone else’s project can never truly be yours, because that wouldn’t be a collaboration.

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What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

AI is a genie out of the bottle for quickly projecting ideas in pre-production stages. Mid Journey is a super tool that can produce fluid imagery from text. In the past, I would solely use photoshop to enhance treatment imagery but now I can create rough concept art quickly with Mid Journey then I process it to finalise.

Which pieces of your work do you feel show what you do best – and why? Include 3-4 links and a sentence or 2 about each piece of work!

I would love to share the new works here but they are not quite ready yet! To give a flavour …

DRINK (Music Video): https://wonderfilmpictures.com/directings/drink/

DRINK was a project where I could control every creative aspect. From the set design (creating a cobwebbed dark bedroom out of my outdoor cupboard space), selecting and designing the costumes, sourcing an E-Type Jaguar, creating and executing the whole film storyboard, embedding cool visual effects. DRINK was a project I was fully immersed in.

Clown (Short Horror Film): https://wonderfilmpictures.com/directings/clown/

Clown was a short film which represents the imperfection I was talking about earlier in the article. It’s a small project I created with my friends in the town where I grew up. We shot it in the early hours of the morning so that I could transform the town into an eerie film set. I wanted the piece to feel as morbid and haunting as possible whilst retaining the audience until the end.

From navigating last-minute shoots in Morocco to transforming outdoor cupboards into cinematic sets, Lewis Andrews exemplifies the modern commercial director’s need to balance technical precision with authentic storytelling. His approach – embracing both high-end production values and raw, unfiltered creativity – positions him at the intersection of traditional filmmaking and contemporary digital culture. Andrews isn’t just adapting to the changing landscape of commercial directing; he’s helping to shape its future.

The Directors: Marta Chierego

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Marta Chierego joins NERD Productions roster as a pioneering director who seamlessly merges live-action with CGI. Her experimental techniques and refined aesthetic have attracted luxury, fashion, and automotive brands worldwide.

Her global perspective is shaped by life in Northern Italy, London, Geneva, New York, and Los Angeles. Marta’s experience across 40+ countries infuses her work with authentic human connection.

Join us as we explore Marta’s craft, inspirations, and vision for the future of storytelling.

Your work spans from technology docu-style films to branded content for spirits like Don Julio. How do you approach storytelling differently across these diverse topics, and what remains consistent in your narrative approach?

I’m naturally curious, so I always approach each project with a clean slate. It’s the best way to create something that truly connects with an audience since they’re coming to the story fresh, too. What’s consistent across all my work, whether it’s tech, spirits, or fashion – is recognising the human intent behind every brand or product. At the core, these are signals of passion, dreams, or purpose, and that universal human element is what I tap into as a foundation. From there, it’s about balancing precise storytelling with a cinematic edge to create something that not only resonates but sticks emotionally.

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As a polyglot who has travelled from Mongolia’s yurts to megacities across multiple continents, how do these diverse cultural experiences shape your ability to connect with subjects from different backgrounds?

Traveling has always been my greatest teacher. Growing up in Italy and then living in cities like London, Geneva, New York, and Los Angeles expanded my understanding of the world. I’ve shot projects in over 35 countries, and that has given me a beautifully unique insight into how people view the world. These experiences have taught me that while surface details may vary, every story holds a shared humanity. My job is to find that connection and build from it, no matter where I am or who I’m filming.

Your work seems driven by a desire to uncover authentic human connections. In an era of increasing digital complexity and AI, how do you ensure the human element remains at the heart of the stories you tell?

I’m passionate about technology and firmly believe that, when used ethically, it can propel humanity to heights we couldn’t achieve on our own. The key lies in defining our collective values as a diverse, inclusive society built on mutual respect and equal rights. While the world faces significant challenges, I focus on the immense potential for positive change. Stories about sustainability, circular economic models, regenerative practices, ethical connectivity, and respect for individual privacy inspire me. I’m excited by tools and projects that can transform healthcare, education, and infrastructure for the better. There’s so much untapped potential, and I love collaborating with brands committed to human well-being and planetary stewardship.

What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

With all the talk about AI and technology, personal, authentic storytelling is becoming more central than ever. Many brands recognise that to resonate with their customer base, they must express thought leadership within the core values their brands represent. As a director, translating that into powerful human-led stories is incredibly rewarding. I also see great potential in the ethical use of new tools to expand the potential of how visual effects can be used to expand the limits of creativity.

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What elements of a script set one apart from the other, and what sort of scripts get you excited to shoot?

I love it when a script hints at something visually ambitious and offers a chance to create iconic moments or push the boundaries of what’s expected. I’m drawn to scripts that evoke a visceral emotional response — something that feels personal yet universal. The story should immediately hit me at an emotional level and make me think, ‘How can I make this unforgettable for the audience?’ 

The best scripts provide a foundation but also invite me to bring something extra to the table. That creative back-and-forth is where the magic happens.

For you, what is the most important working relationship for a director to have when making an ad, and why?

It’s crucial to have a strong relationship with both the producer and the client. For me personally, having the right DP by my side is essential, it ensures I feel supported and empowered to deliver the full potential of my vision.

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What is your favourite piece of work and why?

I love Unconditional because it flowed out of my subconscious and was shot on film. I also love AR Johwska because, with very few resources and some talented VFX collaborators, I was able to create something new that feels futuristic, elegant and organic.

And finally, since you are now a NERD, tell us a nerdy fact about yourself.

I taught myself English when I was in primary school because I wanted to play the same video games as my older brother. It was amazing because it exposed me to so many different registers — from LA ‘80s slang to RPG-style ancient English. Sitting by a computer screen with a dictionary in hand to figure out what was going on was magical.

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See Marta’s work here.