Work Placement @ Picasso Pictures: Permitted Publication

Finally James Boty, a director at Picasso Pictures gave the permission to publish project  work I did during those two weeks back in May. Looking back at it, it was an exciting experience, an eye-opener too. I was lucky and happy to have had the chance to meet all the freelancing animators, directors and studio’s producers who truly convinced  and inspired to finish my own creative projects ( Ivan the Bird).

As for this document, it showcases the  pipeline I took for  producing 5 critters. Drawings were done by designer called DJ. I was translating them to 3D models and designing their textures.  The nuance of it was the complexity and details had to be suggested using only the color pass and there the director comes asking to make them transparent-like and so on.

We had to write a diary on our work experience, which can be found here .

 So there it is:

Work Placement @ Picasso Pictures by JJ Jolanta Jasiulionyte

Work Placement Evaluation: An Employers Word

Today I've received and can present evaluation of work placement from employers point of view.
Creative Director, James Boty and studio's producer Inga Johnson , sent their evaluation of my performance during the two weeks time:

"Whilst on a two-week work placement at Picasso Pictures in London during May of 2011, Jolanta worked diligently as part of a team developing 3d characters for use in animation. She showed great enthusiasm and skill in modelling 3d characters and creative flair in creating her own designs for character textures. Jolanta was very well organised and communicates well with her colleagues. She was also very accurate in her estimations of the time required to do particular models and reliably kept to her schedule. I would not hesitate to recommend her."

James Boty

Creative Director

Picasso Pictures

02074379888

"Jolanta was a pleasant and friendly addition to the production team during her two-week work placement at Picasso Pictures. She was able to integrate seamlessly into the company environment by helping out with the day-to-day running of the production office. Jolanta is a very approachable individual who is not afraid to offer assistance but also keen to learn more to develop her skills. She had a very methodical and focussed approach to the CGI work she was given and believe she will go a long way to reaching her career goals. We would be happy to welcome Jolanta back to Picasso for another placement if the opportunity arose."

Inga Johnson

Senior Producer

Picasso Pictures

0207 4379888

I'm happy to have received it but more importantly, to have had this opportunity.

Evaluation: Work placement @ Picasso Pictures

Sadly I can't apload any visual material for half a year. So only after that time I'll publish a large post of  entire production.

In the mean time these are  main points I’m taking away from the past two weeks:

Perhaps most memorable were times where conversation with industry’s professional felt really easy, just  simple sharing of experience, jokes  ect. Happy moments.

I took note on the advantages/disadvantages of working at a small company too . The environment feels very  informal. You get to know staff as close  friends . It also means there will be more of variety in assignments. Directors and producers expect you to be knowledgeable in many fields, therefore supposedly it promises less of a routine. ( for example one day a post-prod guy  was even doing a voice over for a commercial himself ).

From  health POV  clearly  it is necessary to do some sports. Everyone in the studio was doing either yoga, or going to gym, or swimming ect.  Buy the way, shockingly to me, almost everyone in the building looked awful lot younger their real age. I’ve mised  ages by an interval of 6-7 years! A friend suggested one day later I chose a good industry to help stay young  :D

I learned that a workday in a studio depends highly on which side of the fence you’re at. For example, a day of painting was a totally different experience to a day of laying out UV’s. I see now that it is very important to choose your work field wisely and from day one try and earn your stripes in it, so that with confidence you could step into it and no day would be a drag or bring exhaustion filled with doubts of your career choice.

Funny, but this is also what’s left vivid in my head. One day I was doubtful about the entire game in this field,  and we started discussing that. One of the colleagues brought a funny point. He said that at least we don’t get uniform or a suit, we get to be with our own closes. That somehow and weirdly tied up a lot for me. 

I'm gald I had these two weeks, thanks to Phil and Alan :]

 

8th Day in Picasso Pictures

After speaking today with James Boty, I’ve got few of the creatures done and ready, two almost there and one more to “bring to life”. I should finish the project before I leave Friday , so in a way, there  I have a deadline .

During lunch brake I went for a walk in Soho and accidentally passed framework studio’s ( They did the spectacular illustration of The Tale of The Three Brothers, for Harry Potter Deathly Hallows )
. There were runners and rotoscoping artists just sitting on the stairs during their brake, so I asked them  about framestore and in general talked a bit. Apparently the studio  has two buildings, one working in films, one in commercials. The career steps for new recruits sounded very close to double negative’s  usual employment rutine , where you start from runner, then go to rotoscoping, do tutorials ect. Most importantly, the studio has recently launched a  massive employment and are looking for runners and employees in many other fields .

Lastly I was given an advice to make sure and get reference letters from Picassopictures, from people who I worked with mostly, that is Inga Johnson, producer, and James Boty.(I’ll ask Inga’s if she could do the same for Ruben).

And there are two more days to go…

7th day in Work Placement

 Today I’ve continued on texturing creatures.  Few sets of texturing are now waiting for director’s approval.  

Also, recently I’ve made one of the best art book buys , James Gurney’s Color and Light.  Initially the book aims to inform realist painters, but topics covered are universal: he explores lighting techniques, colour theories, visual perception and the science behind  all with resourceful illustrations. 

 I’ve  read it while on underground trains and little bits of knowledge and techniques didn’t long to find their place in practice.  I’m having it in front of me to reference theories of color wheel use, while  creating color palettes for creatures . The end results surprise myself. When looking back at designs I don’t think I would’ve come up with such solutions.

Week 2 in Picassopictures

I was fortunate enough to start my work placement at a time when one of the directors, James Boty,  brought a new project for production. He came with designs of 5 creatures and briefed me the idea of a game where these characters fit. Last week I’ve finished interpreting designs into 3d models and preparing for texturing.  

That stage of production, though asked a degree of creativity in problem solving, wasn’t particularly creative.  However to the end of the week director asked me to try and figure out creature texturing and gave freedom for my own interpretations.

To make sure nobody’s time is wasted I did initial texturing and showed it to James. 4 out of five got two thumbs up do develope further,  with notes taken down for changes to the last one.

Also director informed today that  these characters won’t have ‘fancy’ shaders ( no special settings for shaders or specular/ bump maps ect.) because of limitations in the game.It means all the complexity has to come from colour map . So today I also worked on one of the creatures detailed texturing aiming to find the balance between level of detail and cartoonyness.  All seemed to work nice and I have a clear standart to work to for for all characters.

to conclude, day ran  even faster than before, I've lost track of  time and found myself really engaged with painting. Also each day contributes to a larger, overarking view of this entire experience and soon enough I'll be evaluating my work placement.

End of First Week in Work Placement

It was a nice Friday in Picasso studio. I’ve moved into painting textures. James Boty provided me with reference imgaes and asked to create initial textures for each character, so we could move from there.  

Here is the reference sheet

 

some of the images are from finkbom's book of their characters. This have me an indication of the style to head for. 

With these images and a short line from director via email: “I would like them to have fairly bright colours and insect like material qualities...quite cartoony...” , I tried to come up with something.  Again, all examples will be shown in unit’s presentation as for half a year no true material can be published.

Texturing asked for quite intricate patterns and , as time is always a limitation, I quickly came up with some ideas. I remembered Bob showing me how Alchemy works. I’ve never used it myself, however thought this is perhaps the best, speediest approach for creating complex creature patterns. I quickly downloaded, installed and after a bit of acquainting I’ve painted patterns , few of them you can see here: (thanks Bob! )

I managed to develop texturing for two creatures. I've sent images to director, and fingers crossed any is going the right way ...

Time went quickly and the week is over . Looking forward to week two! :]

Day Four at Picasso’s

First week is reaching its end and I’ve finished modeling and UV layout for 5 creature-characters.

With directors approval I’m moving into initial texturing.  So far it has bean a unit-deadline type of work regime, quite intense. So that’s all about work progress.

Apart from that today it was me and a freelance compositor, Shelley Renville, working together with some producers or boss of the company coming to us for one or another matter. In an environment not too crowded with people or hectically busy there was a true opportunity for me to talk to all of them and ask a bunch of questions.

Perhaps the most memorable was the “chat” with Inga Johnson, the producer, and Shelley. They shared stories about their creative career and in general university, it’s importance, also, what it means to be creative in commercial industry. It was just an open and honest chat.  I  feel less confusion. This was the true gold of the day.  

Also, as I’m partly a runner, I’ve got to do the shopping, some good old cleaning, take care of recycling and post deliveries  all for company’s good.

Third day at Picassopictures

 This day had its new flavour in that nothing elementary is a mystery any more (how to get to the building, which directory to use, who to report to or ask for work, where to have lunch ect.) . Oppositely, I started my day knowing where is my place and what I’m supposed to work on.

Today I’ve modelled another creature and prepared 3 others for texturing. Director also trusted me to  texture them . He’ll provide reference sheets for materials, a direction he wants me to follow and asked for my own input and interpretation on it as well. That was some good news for me. I’ll be using an epic size pen tablets, so it seems I will be able to actually put some kinetic energy to the paintings: D

He also told more about the game these creatures will be in. Basically a player will fight every creature in each level.

Other news include that two main workers at Picasso are leaving for a short time. They have one  worker to replace them, however Inga warned the studio might throw anything to us, practicioners,  so we best be prepared.

Also today I met a freelance illustrator, Shelley Revill,  who not so long ago won The Puffin Digital Prize. She  shared her “tips and tricks” how to get involved in freelancing  projects. It seems that members of the studio in general agree that freelance experience in general is a good thing and a “should do”. The downside is the uncertainty of scedule, whether there will be a job . There are ups and there are downs, a stressful game.

But to get back to Shelley, here's some of her illustrations: 

For more go to  wriggleplum 

Picassopictures: Day Two

 And I’m already knee deep into work assignments.   I continued on working for James Botey, finkbom (what is finkmbom??) director. I’m modeling aliens and creatures for game. So it has to be low poly, as efficient as it can  however not using triangular faces as they’ll use it in other programs.  With three creatures finished in two days  and two waiting to be done, I’ve got the feedback to so far be spot on with directors intensions. After seeing them he asked to prepare models for texturing (layout UVs).

I also come very handy when coffee needs  to be bought or packages taken  to the post. :D Which is great to me – I don’t mind having a walk outside to break off computer screen.

A particularly interesting point today  was a chat with Steve May, director of Rabits. I gave him my booklet yesterday. I’ve got some good notes from him on Ivan’s design as well as the environments featured in animation. It was a surprise for me to get the compliment. Well happy I was :D

Also I passed Phil’s regards to the producer, Inga Johnson, she in turn shared she  thinks that us students are in very caring hands and Phil is definitely what a student of our field really needs.

The end of day two :]

To continue on exploring the studio, this time I present another director, Julia Pott:

„When Julia was younger she wanted to be a balloon“

Now she is a freelance illustrator and animator, currently completing an MA in Animation at the RCA, she is also part of the animation collective Treat Studios, and is signed as an animation director to Picasso Pictures.

Toyota Auto Biography from Julia Pott on Vimeo.

Her work tends to explore the motivations behind human relationships, representing characters as mildly ridiculous anthropomorthic animals.

For more see her profile on vimeo. 

PicassoPictures, A Company Profile; Part 1:

  

PICASSO PICTURES is one of the UK’s leading independent animation production companies representing a diverse range of directing and design talents. It has a reputation for producing original and highly creative work. 

Therefore the research into company’s profile will be aiming to look into it’s talents, their outstanding directors, profiles. 

As Inga Johnson, a producer for PicassoPictures,  during the visit at UCA pointed out, the works Tokyoplastic's delivered is what studio is most proud of. The founders of Tokyoplastics are Sam Lanyon Jones, background in photography and Andrew Cope, industrial designer. 

Jaded Expression Magazine describes them: “Animation is at its most imaginative and original height. In the same vein as their imagination, there is no line drawn between the mediums of art that they work in”. One of significant examples would be the Drummachine, which won awards and achievements in film festivals all around the world, most notably the people's choice winner of best animation at the 2004 Sundance film festival. 

The animation evolved as a symbiosis between the music and the visuals, a composition of both animation and sound.
 

The other example is of MTV flower, an animated abstract structural growth:


MTV - Flower from tokyoplastic on Vimeo.

Other examples of their work iclude Nokia Pop vs DJ, Nokia Lips VS Mind Reader, Toyota Chase and others
More of profiles on creative crue are comming soon.