Animation brings stories to life, magically blending creativity and technical skill. In this series of interviews, we celebrate the artists who make the impossible seem real. One such artist is Rachael Olga Lloyd, an award-winning animation director specialising in stop-motion and puppetry. With a love for folklore, handcrafts, and storytelling, Rachael has a unique approach to her work that merges intricate detail with a heartfelt narrative.
We sat down with Rachael to chat about her journey into animation, which began with a spark of inspiration from the music video “Ready, Able” by Grizzly Bear. Her work, including her short films “Iktsuarpok” and “How to Count Sheep,” has garnered international recognition. Beyond her award-winning films, she’s collaborated with organisations like The Scouts and Fair Trials, creating meaningful and memorable animation projects. Through her creative process and personal experiences, Rachael offers insight into the world of stop-motion and the importance of self-exploration in artistic growth.
How did you fall in love with animation?
I have always been obsessed with art from as young as I can remember but never thought of animation till very late. Things like Wallace and Gromit never inspired me, it wasn’t until I first saw the Grizzly Bear music video “Ready Able” animated and directed by Allison Schulnik that I was suddenly like “Omg what is this? I want to do this! “
Tell us about the animation project that kickstarted your career?
My personal film Iktsuarpok, it was my first stop-motion film done to a higher standard and showcased a lot of things I wanted to explore more as an artist.
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How would you describe your art style and what are your biggest inspirations that developed it?
I guess I would describe my art style as very tactile, handcrafted, stylised, and sensitive. Most of the characters portrayed in my work have a sensitivity about them or sadness.
From your perspective, what’s the key to animation that really lives?
For Stop Motion specifically, I think it’s embracing the materials you use in the film. What makes stop-motion different is that it’s physical so you should embrace that and celebrate the handmade nature of it and not use so much CGI that it’s no longer recognisable as stop-motion.
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Show us your favourite or most impactful project that you’ve worked on – tell us, what is it that makes it special and what were the memorable moments or challenges?
I recently did a little video for the NHS, this stood out as it was the first time I made an informative video. It was a new and exciting approach to animation. The video is about chronic pain, it was a real challenge to communicate this complicated topic in a video but it’s probably the part I enjoyed most. It made me realise that I love communicating ideas, whether through images in my films, through teaching or any other way.
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How does one figure out what kind of animation style or styles fits a particular story or project?
You need to understand the audience for the film and the feel or style that suits it. If it’s for an informative video for example then it needs to be broadly relatable and representative and overall very clear to easily communicate the information. If it’s a story or music video I tend to go through the story or song a lot in my head to feel and immerse myself in the emotions and then I set art to visualse a style that would suit those emotions.
What is your favourite piece of technology or software that you use and how does it help your creative process?
It’s a bit silly but my Pinterest. It’s just a simple online pinboard to store images but I have thousands of images, it’s like my online sketchbook. Whenever I see anything ever I save it to my Pinterest for future reference. For example, I have a character pin board with hundreds of images of character ideas so when I start a new project I go on that and search through to find inspiration. It saves me so much time as well.
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Outside of the field of animation, what really inspires you?
Music, a lot of my personal work is massively inspired by music. When I listen to a song it helps to come up with ideas for films and characters.
I also find handcrafts inspiring, I have been to many places in South America and Scandinavia and brought back loads of handcrafts, weaving, sculptures etc, and decorated my flat liberally with them. I just love being surrounded by this kind of art it really inspires me.
What do you think are the misconceptions about animation throughout the industry?
That it’s mostly for children. Animation is an art form just like any other and is not restricted to only very young people.
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What are the biggest changes to animation and challenges facing animators at the moment and what are your thoughts on them?
With the emergence of AI, I worry about the threat of work for artists due to issues with companies choosing AI over people due to cost-saving.
Any advice you would like to give to aspiring artists?
Take time for self-exploration and what inspires you, as self-exploration and an artist’s style are connected. As we age, we should evolve and so should our art.
In this feature, we dive into the world of vibrant and mystical art by chatting with Helena, NERDs illustrator, whose colourful, detail-packed work is nothing short of mesmerising. From the early days of experimenting with digital tools to exploring a mix of styles and influences, Helena’s journey is a whirlwind of creativity and discovery. We sat down with Helena to talk about how she’s evolved her unique voice and how she embraced the thrilling opportunities of modern art spaces. Helena’s story has blown us out of the park with her incredible examples of different art eras she went through and we hope her story helps you find and refine your own artistic flair as well as see how this kind of style can be applied commercially.
How would you describe the work that you do?
Floral, full of fine detail, packed with endless symbolic elements, cosmic, portraiture, colourful and bright.
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How did you gravitate towards the particular medium you work in?
By accident! My preference is for oil painting or graphite, but in the early days of doing commissioned work I realised that it was much more time effective to draw on a digital tablet for pushing creative boundaries – when everything is in layers it’s much easier to move around elements and try new ideas without risking losing hours repainting. It also makes alterations and revisions much quicker when working with clients.
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And when you started developing your creative skills and styles, what were your inspirations and influences?
It was such a melting pot of so many influences that I find it hard to single them out, though art nouveau as a general style played a very large influence in helping form my initial handwriting. Photo collage also played a part in my inspirations, along with simple face sketches, baroque catholic sculptures and art, cosmic/spiritual art styles and beautiful flowers.
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How has your style evolved over time – and can you talk to us about some of the stylistic experiments or avenues you’ve explored over the years?
I’ve been experimenting with art since I could hold a pencil! My parents were very supportive of my love for art and creativity, and I’ve done works in sculpture, japanese style manga, watercolours, landscapes, portraits, animals…the list goes on! The only things I’ve not tried are some of the more technical digital art forms such as digital 3D rendering or animation.
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And was there any one particular moment or project that really crystallised your understanding of what your style is or should be?If so, can you tell us about it?
I took six months off from my previous career to focus on art while living in Vietnam, and having that time to spend 12 hours a day every day painting really helped me hone in on a personal style.
I’m trying to grow my art to explore emotion a little more, along with deeper themes and meanings rather than focus on aesthetics. AI art has really changed the current landscape for art, and I think the natural step forward is to create art that has a real human edge to it that is immediately recognisable.
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From NFTs to the metaverse, there are more spaces for your work to show up – what are your thoughts on the impact, challenges and opportunities brought up by these spaces? And do they influence how you think about your style (ie. is there pressure to adapt or change your style to fit these new digital frontiers – or is it kind of exciting?)
I’m an extremely optimistic person, so I always like to find the positives in a new situation or space and find ways to use it to my advantage rather than complain about change. There are always challenges that arise, however these often are the roadblocks we need to grow and become better. Good art often comes from being pushed rather than being complacent.
Working in the commercial sphere, is it more important for an artist to have a distinct brand or style? What’s the balance between having a distinctive voice and being able to accommodate the visual language of the brand/campaign?
Yes I think so, I think having a brand approach you because they know the style that you are able to deliver ensures a smooth process with expectations met on both sides. It’s important however to grow your style over time and not become stagnant – art is ever moving and it’s easy to become left behind if you never grow.
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What projects have you worked on recently that you feel were a really satisfying marriage between a brand and your own style? What was it about these projects that made them really interesting to work on?
I’ve been working on a lot of Romantasy book covers lately, and I find that my work lends itself really well to this genre. I’ve also had some very enjoyable interior artwork projects for astrology or spiritual based calendars which lend themselves well to my more cosmic/detail based style.
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In celebration of World Photography Day, we sit down with our Photographer Manos Chatzikonstantis to dive deep into one of his most cherished projects: Salt of the Earth. Authored by Carolina Doriti and published by Quadrille, this book is a vibrant exploration of Greek cuisine and culture. Manos shares insights into the creative process and techniques that shaped this unique project. From the initial concept to the final shoot, discover how personal heritage, innovative lighting, and minimalist design came together to bring this culinary journey to life.
Project Data
Book: Salt of the Earth Author: Carolina Doriti Published: March 2023 Publisher: Quadrille Art Direction and Design: Claire Rochford Editor: Stacey Cleworth
The book “Salt of the Earth” is one of the projects I’m particularly fond of. It’s a book about food and a sense of place for a London publisher. I had previously worked with this publisher on an extensive project shot across Europe, Asia, America, and Africa for an established author, which established a strong sense of trust.
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What was about the initial brief that intrigued you?
They approached me to discuss a project of a first-time author, a young Greek chef and writer. The idea was to do a book about off-the-beaten-track Greek recipes, in a fresh style, using a bright palette of colour. Having Greek heritage, for me, that was a special project to embark on!
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What were your first steps when it came to breaking down the brief and formulating your ideas?
I suggested a minimal approach, with few elements, where the background surface would give the tone and shadows would be active styling elements. I imagined a book in a style influenced by contemporary photography where colour and light would be used to frame the food and simultaneously define a Mediterranean space of quaint beauty and simplicity.
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And what were the ideas and influences that you wanted to bring together?
The images by the old master Herbert List were certainly an influence, the colour work by Alex Webb and Constantine Manos, and maybe even architectural photography utilising lines, shadows and vanishing points.
Tell us about the location or setting – where did you shoot and why there?
As the author is based in central Athens we had to shoot there. Fortunately, she had a spacious flat with good light and we transformed a small part of it by the terrace into a studio. Surfaces had to be built, painted and plastered in various sizes. Fabrics were carefully chosen and crockery was sourced from Athens’ flea markets and garage sales. We had a travel budget and were able to head out to an island relatively close to Athens for a few days to get some location shots.
Initially, we did a 2-day shoot to establish the style and streamline the process of working together. The client was happy and we had very valuable feedback from the art director for the rest of the production. I believe that everyone involved must be on the same page and understand the situation and needs of the other parties.
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Tech specs – what did you shoot on? Any interesting elements in the lighting or lenses that we should know about?
I used a combination of natural light and a large cine light to manage the shadows. While Greece is known for its sunny weather, the sun doesn’t always cooperate, especially on a seasonal project with multiple shoots. To maintain consistency in the lighting style, I relied on this setup throughout.
I shot with a 50MP Canon 5DS to ensure high-resolution files for cropping while keeping the equipment flexible and transportable for location shoots. Most of the shots were taken with 50mm and 90mm lenses. For some location shots, I used Fujifilm cameras due to their compact size and excellent color rendering. The food shoot was done tethered, and as usual, I worked with Capture One for real-time grading and colour correction before diving into more detailed edits later.
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When considering the final shots, why this particular shot over any of the other takes?
Most of the shots were done in more than one version to give the designer space to work and choose the ones that matched best with the layout.
What is it about this project that stays with you? What made it different from anything else you’ve worked on?
The shoot was great fun and totally delicious too (the perks of shooting food!). The author was an absolute pleasure to work with and, as we both loved the style of the book, the inspiration level was very high.
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Social media is one of the most fast-paced areas in the advertising and marketing world. From the big personalities running the platforms to the rapid adoption of new tech and formats to the constant flow of hot takes and lively discussions, there’s never a dull moment.
We chatted with our own social butterflies at NERD: Viktoriia, our PR Manager, and Margaux, our Social Media Manager. These talented ladies are the ones behind everything you see from NERD Productions online. Whether it’s a big PR feature, a daily story, or a fun get-together reel, they’ve got it covered. We caught up with them to talk about their expertise, what inspires them, and the essential tips you need to thrive in this industry.
What’s the most significant development or trend shaping the social space right now?
M: Short-form videos and community building are essential. Platforms themselves are the ones pushing creators to post more short-form videos by adding features such as templates, trends, transitions, and audio syncing to make short-form videos easy and fun to edit. On the other hand, community building has become an important channel for brands that want to stand out and stay authentic. A good example would be Rhode and their NYC Summer Pop-up Event, which many fans flocked to because of pop-up exclusive products and a themed event.
V: One trend that I feel is quite new this year is the even greater focus on community. With Threads launching last year and community channels on Instagram, brands and influencers can now connect with their audiences on a deeper level. You can never expect all your followers to be there, but those who are, are highly engaged. Just by looking at how REFY or WE ARE TALA do it, you can feel like a part of the brand with their feedback sessions, community trips, events, and more!
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Every platform functions so differently – and the way they function evolves there’s a lot of fun to be had on social, from shoppable live streams to AI filters – so where are you finding the most satisfying or exciting creative opportunities right now (and can you give an example of a campaign that demonstrates that)?
M: I love how Instagram’s stickers have evolved, especially the ones used for Instagram Stories. You have many creative possibilities not just through aesthetics but also through functionality such as being able to add a link, a location, share a profile, add music, and so much more. There isn’t exactly a specific campaign to demonstrate it but I see brands and people using it every day on Instagram. That being said, watch out for our latest film for Instagram that is coming to you in September!
V: I totally echo what Margaux just said. A strong community focus is where you can tap into your audience and boost creativity. I’m a big fan (or victim) of the TikTok shop and how it seamlessly integrates with content. They have created a smooth shopping experience and customer journey from a TikTok video to a purchase. It’s not only effective for marketing but also a great creative outlet for marketers and social media creatives to capture attention.
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What does ‘craft’ mean to you in a social context?
M: To me, it means to continuously experiment and to strengthen specific skills. Social media is ever-changing, the algorithm is always changing, the platforms, and the trends. There’s always something new to learn — the learning never stops.
V: ‘Craft’ in social media, for me, means the art of creating engaging and meaningful content that resonates with our audience. It is about all parts in one – visual content, captions, stories, comment interactions and ALSO how your content strategy flows between different platforms.
Social media has been accused of driving polarisation and spreading misinformation, while others call it the marketplace of ideas. Whether or not that’s the whole truth, it is certainly shaping discourse and is one of the key venues for culture war-ish behaviour. What’s your take on the role of social media in society and what responsibilities do brands and individuals working in social have?
M: As brands, it is our responsibility to uphold the philosophies the brand believes in. AtNERD, for example we support under-represented talent, so LGBTQIA+ community, female talent, minorities and more. We are always consistent with our support towards them may it be online or offline, on set, in production, in post production etc. It goes the same way for any cause or advocacy we choose to support. Whether you are a production company or agency, it is our responsibility to spark!
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V: That’s why it’s called Social Media! I firmly believe that once you post something on social media, you accept that it will receive public reactions, both positive and negative. It is up to you how you react to it. If someone wants to protect their views, they should use private accounts or close friends’ stories. It’s unrealistic to expect only positive feedback. I personally use social media for inspiration, new fitness and travel content, and to see what my friends are up to. I curate my feed and follow only those who inspire me, avoiding politics. From a brand perspective, a brand should stick to its core values and prioritise customer well-being. As Social Media Managers, we nurture our community but can’t control what everyone else does on social media.
How do you balance traditional PR efforts with social media strategies, and can you share an example of a campaign where both elements were successfully integrated to amplify the overall impact?
M: I think PR and social media go hand in hand. Both channels are crucial for gaining or receiving information about a brand. For example, I might see a social media post about a project and be led to its website, where I find more content to explore. Another example is receiving a newsletter and clicking on their social media links. It’s always a good sign when a social media account is consistent with newsletter content and is regularly active.
V: At NERD, our marketing strategy is based on storytelling and collaboration. Everything we do in PR has its voice on social media and usually, it continues the story. Whenever we do a PR feature, you will always find it on our socials and all of our PR will always link back to social. As a production company, all of our work is visual and it is only fair to use all of our media outlets to show it off harmonically.
Inevitable AI question! How are you applying AI in your day-to-day role and what have been your key insights/observations about the best way to approach it in the campaigns you’ve worked on (feel free to share examples)?
M: At NERD we embrace all new tools that can help us achieve our best work, however we pride ourselves in our authentic voice and creations so we use AI to do the heavy lifting where needed and leave the creative, juicy part for our talent . For example, I usually use AI as a research tool. If I want to know about why a certain trend is trending etc. Sometimes, I use it to learn what are good hashtags to use for a certain topic in the week. It makes my work faster because I feel like it assists me a lot when it comes to brainstorming and thinking of how to strategize my content more effectively. It’s like a booster that helps me think faster and therefore I can use my time to put the pieces together much easier.
V: I am not too clued up on all things MidJourney etc, but I am a big fan of AI when it comes to checking my punctuation and grammar. I also use AI for concept generation with prompts sometimes. It is great for helping me brainstorm and pushing me into things I might’ve missed, although it is all about prompts and how you talk to AI.
When you’re not working, what social platforms and content do you personally enjoy engaging with and why? What creators, influencers and social communities do you love?
M: I’m always on Pinterest and Instagram, and I’m also on X and Reddit a lot. I love looking at aesthetic photos on Pinterest, it calms me so much. On Instagram, I interact with the same content that I do on Pinterest. I’m mostly in the vintage fashion, beauty, crochet, and pottery communities so it’s very coquette. I love creators like Garbo Zhu because she’s both a fashion and pottery girl.
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V: I have a few personal accounts, travel, fitness and photography, and on each of them I get different content. I like creating content in my free time and I can say I live and breathe social media and digital space in general. Right now, my TikTok feed is full of Wimbledon and Mallorca because I am going on holiday and tennis has just been on ! My Instagram is always full of castles and Scotland content because that’s the kind of content I create as well as more lifestyle bits and bobs like outfits and coffee. Honestly, I love it!
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What advice would you give to people who are looking to get into social, whether as creatives, strategists or producers?
M: Experiment with your accounts, and you’ll start having an analytical approach towards social media. It’s about what cover image or thumbnail works, it’s about what clips reel people in, it’s about what time you’re posting, it’s about how often you’re sharing, and so many more. Then you’ll learn that even if there are so many different businesses out there, we’re following algorithms set by the makers of the platform. That’s the time you’ll learn that hey, I can do this to pretty much every account I’ll handle – you just have to make a few tweaks here and there like curating content to a certain audience or community. It’s fun to look at it with an analytical approach like it’s an experiment you’re trying to improve over and over again.
V: I got into social media organically, starting by sharing my photography on Instagram. This led to opportunities in PR, social media, and photography. I ended up at NERD thanks to Billelis, who introduced me to Milana (NERD founder and EP), and I met Bill through social media too!
My advice is to start your social media account in a specific niche, whether it’s fitness, cooking, comedy, or something else close to your heart. You’ll find your community. Treat social media like your favourite game, tracking views and likes. Discover what content works and why.
Follow your favourite brands to learn their strategies. Personal experience is crucial for landing your first role or internship. For producers, social media is great for inspiration and industry connections. As a creative, sharing your work on social media is essential—many of our talent at NERD have strong social media presences, which helps attract clients. I firmly believe social media will help you if done right.
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Skittles has been dazzling fans with Pride-themed packaging since 2020, reinventing their classic design each year to amplify awareness and spread joy. This year, the vibrant new pack, crafted by NERD’s dynamic LGBTQIA+ talents Shay Hamias and Esther Lalanne, bursts with fun and energy to honour the LGBTQIA+ community.
NERD, an eclectic team of directors, illustrators, and photographers, is renowned for their creative flair and commitment to diversity across various platforms. Their recent collaboration with Skittles on the annual Pride pack is a testament to their shared mission of celebrating and uplifting the LGBTQIA+ community with exuberance and style.
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For this project, Milana (NERDs Founder & EP) brought in visual artist Esther Lalanne, known for her dynamic style, to lead the design. Together with creative director Shay Hamias, Esther turned the Skittles rainbow into a lively scene inspired by Berlin’s Tempelhof Field. The design features hands, feet, and a single head, all engaged in different activities like roller skating, playing musical instruments, and forming a love heart with multiple hands. The design also includes an easel and a camera, symbolising creativity and capturing the moment. The vibe is confident and carefree, with the tagline: “When you find your community your colours shine.”
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Esther shared that balancing diverse identities in the design was a delicate and intricate challenge. The final artwork brilliantly captures a supportive and creative community spirit, using vibrant elements that resonate with everyone. Instead of individual characters, the design weaves together symbols that celebrate unity and self-expression, keeping the essence of togetherness at its heart.
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With Pride Month upon us, the limited-edition pack is now available to consumers, and Skittles has promised to donate $1 for every pack sold (up to $100K), as well as match donations up to $25k. These contributions will go to GLAAD, a non-profit LGBTQIA+ advocacy organisation that has partnered with Skittles for Pride Month every year for the last five years.
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Billelis’s distinct visual style serves as a testament to his unconventional inspirations. Drawing from a diverse array of influences including religious iconography, Tarot symbolism, sci-fi aesthetics, demonic imagery, Renaissance masterpieces, anatomical illustrations a la Da Vinci, classical Greek and Roman sculptures, Baroque extravagance, tattoo artistry, and adorned saints, his work resonates with a haunting beauty that defies categorisation.
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Bill’s recognisable artworks have captivated audiences across the world, propelling him into collaborations with industry titans such as Nike, Warner Music, Netflix, Red Bull, Sony, and Apple, among a myriad of others. Through these partnerships, he continues to push the boundaries of artistic expression, leaving an indelible mark on the creative landscape.
We sat down with Bill for a cup of tea, (yes he drinks tea… just like us 🙂 ) to find out more about the most prominent moments of his career and hope for the future.
What’s the most exciting place one of your artworks have lived in?
Choosing between Times Square and The Dart Milan art gallery is a tough decision! Both hold significant moments in my career and are iconic in their own right.
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What is something you’re looking forward to exploring or learning more about when it comes to your craft?
Discovering the fulfilment that arises from achieving a genuine balance between life and work has been a game-changer. Over the past decade, I immersed myself in work, but it took a toll on my personal life. Recently, I’ve made a conscious effort to prioritize my free time, and surprisingly, it has led to heightened productivity and inspiration. It’s as if setting self-imposed deadlines at the age of 35 has proven to be incredibly effective for me.
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Do you have any dream illustration projects? What are they?
We love a glass ceiling, don’t we? I have been so fortunate to work with many aspects of Hollywood and the gaming industry, coupled with the music industry and publishing book cover scene, I found myself spoilt for choice.
I have recently really enjoyed working on more collaborative projects like beer can artwork, stage art for bands and personal illustrations.
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I would love to create a coffee table book with my entire body of work, but focusing on commercial opportunities I would have to say more gaming projects and perhaps a curveball would be fashion. The tangible aspect of my work out in the world is very fulfilling.
Step into a world where magic, laughter, and creativity converge. Join us as we uncover the magic behind the making of SpinMania – a journey that promises laughter, wonder, and a truly enchanting experience. Discover a captivating journey of a director whose background includes legendary animated shenanigans featured in Hollywood franchises like Madagascar and Shrek.
Light & Mathematics aka Peter S, as someone who has contributed to iconic franchises like Harry Potter and Star Wars, how do you plan to infuse the magic of those worlds into this commercial while still keeping it fresh and original?
I approach every project as an opportunity for world-building and storytelling. Who are these little characters? Where do they live? How do they move, play, and explore? In the case of this commercial, my goal was to draw upon the whimsical charm and fantastical elements of these renowned franchises in order to imbue these fantasy figures with a life all their own.
Click the image to see the spot
Drawing inspiration from the rich storytelling and imaginative settings of the Hollywood films I’ve contributed to, I sought to create a world that resonates with audiences on a nostalgic level, evoking the same sense of fantastical, somewhat medieval wonder these beloved franchises offer. At the same time, I aimed to introduce a unique and innovative narrative that captures the spirit of Migros and the playful concept of spinning top characters.
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It’s a delicate balance – maintaining the action and humour that fans of these franchises adore while weaving in new layers of creativity that elevate the commercial to its own level. Using classic story-telling techniques, we build on a solid foundation of narrative fundamentals, while introducing new and clever ways for the characters to interact. We want to keep the audience captivated by the new ways they interact with each other, and the vast world around them.
Ultimately, my experiences have taught me the art of storytelling and world-building. With this commercial, I aimed to channel that knowledge into a project that captures the heart of the Migros brand so beloved by the Swiss viewers, delighting and surprising audiences while offering them a truly enchanting experience that feels both familiar and original.
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The concept of SpinMania sounds exciting! The medieval festival setting with knights, mermaids, and Cyclops sounds right up your street. Can you share any quirky behind-the-scenes anecdotes or fun moments from the set that capture the playful atmosphere of the commercial?
One of the most memorable moments transpired during our early character-testing phase. As we explored how the various spinning top characters interacted, we had a whimsical idea to infuse even more drama and excitement into the narrative. While the unexpected twist in the script was that the Mermaid emerged as the victorious champion, we thought it might make things even more fun if we drew the scene out and had them collide more than once, with the losing characters flying entirely out of the scene.
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Picture this: the characters spinning, twirling, and manoeuvring in an epic battle, and then, with a carefully calculated spin, the Mermaid comes out on top – quite literally! Such a good twist, and since we dialled the action by extending the duel scene, the laughter and cheers from the creative team helped us realise that this approach injected an extra layer of fun and surprise into the storyline.
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This playful experimentation not only added an element of excitement to the commercial’s concept but also perfectly captured the essence of the entire production process. These moments of spontaneous creativity define the spirit of SpinMania and genuinely reflect the dynamic and imaginative approach we took in bringing these characters to life.
How did you plan to add unexpected comedic elements that take the audience by surprise and leave them laughing?
One instance where we’ve harnessed the power of surprise and humor is with the character interactions. Take the playful duel between the characters, for example. In a sudden twist, the Cyclops, after being skillfully knocked out of the ring by the Mermaid, ends up soaring skyward, landing comically in a tree. This unexpected turn of events alone should get the audience chuckling, but the comedic touch doesn’t end there!
As the Cyclops settles into the nest, his rather abrupt landing inadvertently prompts a tiny Phoenix chick to emerge from its egg. This whimsical touch adds a layer of lightheartedness. It creates a delightful visual gag that catches the audience off guard, sparking genuine laughter while introducing and highlighting another of the collectable toys.
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These unexpected comedic elements, carefully woven into the narrative, aim to surprise the viewers and evoke genuine amusement. By leveraging creative twists like the Cyclops and the Phoenix Chick, we ensure that SpinMania is not only visually captivating but also a source of true delight, engaging the audience in a way that’s both memorable and light-hearted.
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With the rise of humorous ads, how do you see the evolving role of humour in advertising today compared to traditional approaches?
Humour in advertising has evolved significantly with the rise of humorous ads most recently, moving from a sporadic element to a strategic cornerstone. Unlike traditional approaches that convey information directly, humour engages audiences universally and memorably through positive emotions, kind of like what we do in films made for younger audiences like Madagascar and Ice Age. It captures attention in today’s media-rich environment, fostering emotional connections and brand loyalty without being overly sales-y. Humorous ads entertain, humanise, and amplify brand personality, creating relatable narratives that resonate and endure. In a landscape where authenticity matters, humour is a powerful tool to forge lasting and enjoyable connections with modern audiences.
Unveiling The Enchanting Spinmania Campaign: How Nerd’s Director Light & Mathematics Weaved Magic And Charm In This Fantastical Commercial 129 - Nerd Blog
In a world saturated with ads, what is the single most important thing when making a commercial you want to be remembered?
The most critical factor in creating a memorable commercial is the ability to evoke a genuine emotional response. Amidst the multitude of ads, those that elicit a heartfelt emotion – whether it’s laughter, inspiration, empathy, or awe – are the ones that etch themselves into the viewer’s memory. An emotional connection transcends fleeting visuals and catchy slogans, leaving a lasting imprint that resonates long after the ad has ended. Crafting a narrative that tugs at the heartstrings or triggers a relatable sentiment is the key to making a commercial that stands out and lives on in peoples’ minds and hearts.
Unveiling The Enchanting Spinmania Campaign: How Nerd’s Director Light & Mathematics Weaved Magic And Charm In This Fantastical Commercial 130 - Nerd BlogUnveiling The Enchanting Spinmania Campaign: How Nerd’s Director Light & Mathematics Weaved Magic And Charm In This Fantastical Commercial 131 - Nerd Blog
Following on from Immigrant Heritage Month, we had the opportunity to connect with Lana, one of our talented illustrators, from Ukraine. As she navigates her life amidst the ongoing progression of the war, we sparked a conversation, seeking to uncover the intricate realities of being a creative in Ukraine. Through thought-provoking questions, we aimed to shed light on the challenges and aspirations that shape Lana’s journey. Join us as we embark on an insightful exploration of her unique perspective and the resilient spirit that fuels her creativity.
Please tell us a short story about your experience of learning about the conflict and then making a decision to leave.
We anticipated the conflict but didn’t truly believe it would happen until the last minute. During the invasion, both my brother and I were in Kyiv. We quickly found a car and travelled to my hometown in central Ukraine. I stayed there for around 3 to 4 days before making the immediate decision to leave, as advised by my mom. I went to Poland, to begin with, where my cousin had been living for several years.
Art In War - Lana Dudarenko 151 - Nerd BlogArt In War - Lana Dudarenko 152 - Nerd BlogAnother goodbye, one of dozens in 1.5 years. Work/sleep setting for the first two months of war
What motivated you to return to Ukraine despite the ongoing conflict? How did you find the courage to face the challenges associated with going back to your life there?
After staying in Poland for a little while, we decided to go further and the idea of staying in a safe country like Portugal was wiser, but the unbearable thought of being far from my family made me decide to return to Ukraine after months and months of struggle and tears. It took me days to travel across the country, but after months of emotional struggle, I bought plane tickets without telling my family and came back to be with them. We can’t predict the future, so being together was my priority.
Art In War - Lana Dudarenko 153 - Nerd BlogArt In War - Lana Dudarenko 154 - Nerd BlogArt In War - Lana Dudarenko 155 - Nerd BlogArt In War - Lana Dudarenko 156 - Nerd Blog1st and 2nd visit home, more goodbyes! This was the time Lana realised she needed to come back to Ukraine.
How has your experience as a creative person abroad influenced your artistic expression upon your return? Have you found new sources of inspiration or a different perspective that informs your work now?
The situation affected me, and I channelled my emotions into art, but I struggle to share it publicly. Despite knowing its importance, I find it complicated and have mixed feelings about posting my work online.
My friend and assistant, Gina, who had witnessed the power of my creations, urged me to post my work, recognising the value it held not only for myself but potentially for others as well. Yet, every time I approached the moment of clicking that “share” button, I just couldn’t do it. On one hand, I know it’s important for me to create and express myself. But when it comes to actually posting my work during the war, something doesn’t feel quite right. I can’t fully explain why, and it leaves me with mixed feelings.
Despite this confusion, I actively work on understanding my own beliefs about sharing my art. I remind myself that it’s important, even if it doesn’t have a big impact on the world. I push myself to overcome the hesitation and doubts, knowing that creating and expressing myself through art is meaningful. While the complexity of this issue may remain, I am determined to move forward and share my work with others.
Art In War - Lana Dudarenko 157 - Nerd BlogArt In War - Lana Dudarenko 158 - Nerd BlogThe series Lana created a few months after the invasion began, these illustrations were never shared publicly.
As the months passed and all events unfolded, did you experience a surge of inspiration to create more?
During the first wave of shock and fear, I created a series of three illustrations to express not only my own feelings but also those of fellow Ukrainians I knew. These artworks depicted various emotions such as anguish, pain, and fear. However, I never shared or posted them publicly. It felt like a personal creation, something just for myself.
As an illustrator, I initially focused on simpler art and commissioned work. But over time, my style evolved, and I began exploring more complex and expressive pieces. I am transitioning from being solely an illustrator for clients to embracing the role of an artist who conveys my own vision, thoughts, and mindset through my work. This shift in focus and artistic growth coincided with the experiences during the war, acting as a catalyst for this transformation.
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Can you share any particular moments or encounters that made you realise the importance of contributing to the artistic and cultural scene in your home country even during the war? How do you hope to make a difference through your creativity?
During such a challenging time, my primary concern has been the well-being and safety of my family and myself. The overwhelming nature of the situation has prevented me from formulating concrete plans or specific encounters that made me realise the importance of contributing to the artistic and cultural scene in my home country during the war. My immediate focus has been on survival and ensuring the safety of my loved ones.
In your art in general, past, present or future art, do you incorporate any symbols or colours that could tell people who you are and where you’re from?
That’s a great question because it made me reflect on my artistic journey. Previously, I didn’t prioritise incorporating elements of my cultural identity into my work. However, as I continue to develop my style and explore my art, I am beginning to recognise its importance. I hope to find the courage to share my cultural perspective with my audience soon. While I used to believe that my art could change the world, the current situation has made me question its impact. Nevertheless, I strive to be more socially active and understand that art can still influence various aspects of life.
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Having worked with a number of amazing clients and being an important part of NERD, how do you think your decision to stay in Ukraine will impact progress in your career?
The situation definitely had an impact on my work, although not specifically with NERD-related projects. Due to the circumstances, I had to take on various projects to support my family financially during the initial challenging phase of the war. This heavy workload took a toll on my mental state and led to burnout.
Art In War - Lana Dudarenko 165 - Nerd BlogArt In War - Lana Dudarenko 166 - Nerd BlogSingle Cover commission
Looking ahead, I remain hopeful for the future of Ukraine. I aspire to see a time where we can build our lives and dreams within our own country, rather than seeking opportunities elsewhere. As for my art, I am focusing on transitioning from being solely an illustrator to embracing the role of an artist. I am open to where this artistic journey takes me, going with the flow and seeing where it leads.
One Of The Most Recent Illustrations From Lana For The Saddlehill Academy Book.
From stumbling upon a hidden door into the filmmaking world to working on some of the biggest feature films and winning awards, NERD’s director Peter S uncovers the secrets behind his remarkable journey. Join us for an enlightening Q&A as Peter shares intriguing insights about his craft, granting us a glimpse into the enchanting realm of VFX.
VFX is a true craft in the classic sense of the word. Where and why did you learn your craft?
Similar to cinematography, VFX is one of those disciplines that requires the encyclopaedic accumulation of knowledge and techniques. You never stop learning, but working at big shops like Weta, with the best in the business, really inspired me to dream big. Initially, I went into VFX because it was a sort of secret door into the filmmaking world. I just happen to have the right skill set, at the right time, and in no time at all, I was sitting beside the world’s biggest directors, studying their approach to storytelling.
There are two ends to the VFX spectrum – the invisible post and the big, glossy ‘VFX heavy’ shots. What are the challenges that come with each of those as a director?
The invisible shots require a good deal of humility and restraint. Every artist wants to be noticed for their work, but there are better ways to approach those shots. Instead, you have to just stick with the reference, and keep the overall purpose of the shot in mind. It’s a thankless job. The flashy stuff is really fun, but now ALL EYES are on your work so you better not drop the ball! Those are the shots that give you stomach ulcers in dailies. The potential to fail spectacularly is very real.
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We imagine that one of the trickiest things with VFX is, time issues aside, deciding when a project is finished! How do you navigate that?
With commercials, usually, it’s done when the clock runs out, but on some projects, you are given a lot of time to nail it. And yes, sometimes you can be your own worst enemy, tinkering well past the apex of its potential. I just think that walking away from your work for a little while is the best way to get perspective. Go snowboarding, race go-karts, hike with your kids, anything works. As long as you earnestly disconnect for a little while, and then can return with a fresh pair of eyes.
Is there a piece of technology or software that’s particularly exciting to you in VFX? Why?
At first, I was a little spooked by the AI software that was coming out, but then I leaned into it on a few projects and realised that it can be a useful tool. Anyone who has spent a decent amount of time with AI knows you still need an operator guiding the creative process. It brings a few types of tasks, that have only really been available to the top-tier VFX studios, to everyone else. I’m excited because it levels the playing field a bit, and I can go toe-to-toe with the Titans of VFX!
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How did you first get into the industry? What was your very first job in the industry and what were the biggest lessons that you learned at that time?
I had a terrifically lucky break when I applied to a little-known studio, called JAK Films, in Northern California. It turned out to be the secret art department that George Lucas was running out of Skywalker Ranch during the making of his Star Wars prequels. It wasn’t until years later that I fully appreciated what a mythic cathedral of storytelling that place was. George had a team of the top concepts in each field – Costume Design, Industrial Design, Creature Design, etc. I got to sit in a room with them every day and see first-hand how much magic you can create when you put egos aside and work to inspire the people around you.
What was your most recent exciting milestone in the industry, you were super proud of?
While I have won a few awards for some of my commercial work in the past, the award I received last year from the British Animation Awards for AirWick was a really special one. The film was such a simple, clever script that called for a poetic, zen-like approach. Everyone involved respected that calm approach to the crafting of it, and I believe it really shows in the final product. I think that little film will stand the test of time.
What is your favourite commercial/film of all time?
The work that blows me away year after year, is the stuff that I truly have no idea how they pulled off. Apocalypse Now, (based on one of my favourite books) still makes my head explode. It’s spellbinding in its ability to be a huge spectacle, and deep meditation, at the same time. A film like that will never be made again. Like all great art, it demanded the creator’s journey into madness in order to bring back something so special.
In a world of computer-generated everything, there are still a few of us who are holding on tight to the traditional and truly handcrafted ways of bringing stop-motion and mixed-media films to life. It’s a bit like being part of a secret society, except our secret handshake involves a glue gun and some felt.
Hayley: ‘For me, there’s nothing quite like the satisfaction of creating something truly unique with my own two hands. I love experimenting with all kinds of physical materials – from paper and fabric to fibres, found objects, and even the occasional pinecone (yes, you read that right!).
But, as with most good things, there’s a downside. When you’re working with real stuff, you’re also generating real waste. After years of working on commercial productions, seeing all those non-biodegradable materials being tossed in the bin at the end of the day was a real bummer.
That’s why I’ve made it my mission to think about the materials I choose to use and encourage others to do the same. By making sustainability a key part of my creative process, I’m always looking for ways to repurpose and reuse materials wherever I can. It’s a bit like a game of “How many different things can I make out of this one roll of paper towels?” (Spoiler alert: the answer is usually a lot.)
But here’s the thing: being environmentally conscious doesn’t have to be a drag. In fact, it’s made my work even more fun and challenging. I’m constantly pushing myself to develop creative solutions for every project, and I’ve discovered all kinds of new techniques and approaches along the way.’
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So, how do I do this in stop-motion animation?
I have a stash of reusable materials for every project. My advice to the animation industry is to integrate sustainability into each project from the start. We should recycle, conserve energy, and repurpose waste. Every project is a puzzle that requires its own sustainable solutions. As artists, it’s our responsibility to be environmentally conscious. Here are some ways I apply this mindset: I use my collection of recycled materials, and when I buy new items, I choose eco-friendly options.
Repurpose
Repurposing objects is not a new concept in animation or human experience. As children, we often use everyday items to create our own imaginative worlds, such as a pile of leaves becoming a castle and a stick becoming Excalibur. As animators, we have the opportunity to continue this sustainable projection of imagination and build worlds that inspire creativity.
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Renowned animators such as the Brothers Quay and Jan Svankmajer also repurpose everyday objects, imbuing them with emotional resonance. They transform the contents of our kitchen drawers into a cacophonous consumer or coat old doll heads with a chilling patina of menace. By using familiar objects, viewers can transition in and out of the illusion, recognizing and reinterpreting them. Animators direct an intimate dance with the object, creating a powerful alchemy that can make audiences fall in love with a puppet made from forks.
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In the music video “Bounce Bounce” for Hilary Hahn and Hauschka, I repurposed forgotten objects found in Brooklyn flea markets and antique stores. A vintage scarf became a fleet of crabs, a doily transformed into a starfish-like creature, sink strainers were used for sea anemones, and even a discarded toy piano became a reef for sea snails and ocean plants. By giving new life to these objects, I created a whimsical and unforgettable display of creativity.
Too often we dismiss it as a problem that’s out of sight, out of mind. We toss our trash into bins and watch as it’s whisked away by garbage trucks, never stopping to consider the bigger picture. But what if we approached waste in a different way?
When I was working with Explosions in the Sky on their music video for “The Ecstatics,” we wanted to explore the concept of mental clarity and the layering of thoughts. To achieve this, we used transparent materials like plastic, glass, thin paper, and light projections. But where did we find these materials? In rubbish bins, of course!
By collecting plastic bottles and other waste materials, we were able to repurpose them into breathing lungs and organic forms. We even used reused glass shards to create custom glass-blown shapes. And to top it off, we used antiquated plastic overhead projector sheets to create an etched 2D animation for the finale. By giving new life to materials that would have otherwise ended up in a landfill, we were able to create a thought-provoking and visually stunning music video.
Imagine creating an entire universe from a single sheet of paper. It may seem daunting, but with the right approach, it’s possible. By embracing the limitations of a single material, we can push the boundaries of our creativity and explore its full potential.
Instead of overwhelming ourselves with endless possibilities, let’s focus on the beauty of simplicity. Let’s take a single sheet of paper and see how far we can stretch its life. Can we create intricate origami designs? Can we use it as a canvas for stunning artwork? Can we fold it into beautiful paper airplanes that soar through the sky?
If we want to create a more sustainable future for animation, we need to start by collaborating with conscious brands and inspiring others to make eco-friendly choices. One example of this is a commercial for Charlie Banana that was particularly special to me, especially as I was pregnant at the time. Even if I wasn’t working on this project, I would have chosen cloth diapers for my baby because of my commitment to sustainability and my understanding of the impact of products on the environment.
In bringing this film to life, we wanted to showcase the beauty of paper and how it can be seamlessly combined with digital compositing and hand-drawn elements. I made sure to source recycled paper to reduce the project’s environmental impact. But the sustainability efforts didn’t stop there! I saved all the paper scraps from the cutout puppets and props and plan to turn them into new paper, using my skills in papermaking that I learned in a class a few years ago. I love how this process can transform discarded scraps into beautiful, usable paper, even using fibers like old denim jeans!
These inspiring sustainable films demonstrate the incredible versatility of stop-motion animation when done mindfully. As a proud member of NERD team, who shares a passion for sustainability, I am thrilled to see more organisations like AdGreen leading the way in sustainable production practices. It is essential that we take responsibility for the environmental impact of our creative endeavours and strive to make positive changes for future generations.
I believe that as creators, we have a unique opportunity to inspire change through our work. By rethinking our processes and the materials we use, we can create compelling, environmentally-friendly films that make a positive impact. Though it can be a challenge at times, there are countless ways to craft sustainably and make a difference. Let’s all do our part to build a more sustainable future for our planet!
