A compilation reel of my work as a 2D animator and animation director.

Credits:

00:02 Amex / Not To Scale / Animator

00:06 Fanta / Strange Beast / Animator 

00:09 The New Yorker / Animator & Director

00:11 Octopus Energy / Animator & Director

00:13 Headspace / Nexus / Animator

00:15 Kettle Brand / Passion Animation Studios / Animator

00:17 The New Yorker / Animator & Director

00:22 Le Shuttle / Not To Scale / Animator

00:24 The Beatles / Trunk / Animator

00:24 Cookie Run x BTS / Passion Animation Studios / Animator

00:31 Pop Idents / Blinkink / Animator

00:36 Akvilė Magicdusté / Animator & Director
00:39 Amex / Not To Scale / Animator

00:41 The New Yorker / Animator & Director

00:46 Tulipop / Blink Industries / Animator

00:48 Octopus Energy / Animator & Director

00:50 Wacom / Not To Scale / Animator

Role: Animator & Director

Client: The New Yorker

To coincide with their Centenary, I animated New Yorker gag cartoons, by Roz Chast, Emily Flake, Amy Hwang, Lonnie Millsap. The goal was to stay so faithful to the original drawings that it looked like they had spontaneously come to life. I used a combination of traditional hand-drawn animation mixed with frame-by-frame cut-out techniques to bring the characters to life. The gaps in the original background art were hand painted in and ambiently animated.  The shorts were voiced by Jon Hamm, Tig Notaro, Mindy Kaling and Ellie Kemper and have been viewed 3.8M times.

Since 2024 I have also independently animated gag cartoons by New Yorker cartoonists, including Will Santino, Hartley Lin, Paul Noth, Ali Solomon and War and Peas.

Role: Animator

Production Company: Not To Scale

For these television commercials, by Colin Hesterly and Matthias Hoegg, optical illusions were used to transition between animated travel illustrations. Leading to a result as surprising as it elegant. An array of animation techniques were used for this project, including traditional hand-drawn, motion graphics and 3D, which blend seamlessly together.

Role: Animator & Director

Client: Octopus Energy

At the heart of Octopus Energy’s visual identity is their mascot Constantine the octopus.  I created a library of animations of Constantine exploring green energy, these were made both as videos for Octopus’s advertising and marketing, and as Lottie JSON files for their app and website.

Role: Animator

Client: Monocle

For Monocle’s guide to Hammams, the animation needed to be as luxurious and relaxing an experience. Using frame-by-frame cutout animation I animated Gwendal Le Bec’s illustrations directed by Helena Kardová and Jessica North-Lewis. The organic quality of the line work was matched with the subtly boiling animation and the experience of the hammam was accurately depicted with elegantly naturalistic character animation.

Role: Animator

Client: The Beatles

Production Company: Trunk Animation

I animated John Lennon’s drawings for this music video celebrating 50 years of The White Album. Directed by Alasdair Brotherston and Jock Mooney, I traditionally animated the playful drawings of John and Yoko running away from a censoring eraser.

Role: Animator & Director

I animated Becky Barnicoat's comic which features in her graphic memoir Cry When The Baby Cries. Her comic evocatively expresses the potentially toxic idea of 'having it all'. Using a mixture of hand drawn and cut out animation techniques, the big emotions in each panel were exciting to bring to life. Becky also provided the narration.

Role: Animator

Production Company: Nexus Studios

I animated on this bold and playful animation for the world-leading meditation app Headspace. I animated it traditionally frame-by-frame and it was cleaned up to vector perfection and then composited with subtle textures.

Role: Animator & Director

I directed, designed and animated a series of playful idents for Rowse, the number one honey brand in the UK. These charming spots can be found airing during ITV Daybreak Weather.

They follow chirpy characterful Bees on their seasonal adventures to collect pollen, with bees reacting to different weather conditions, having BBQs, awaiting the pollen count and having their clothes blown off in the wind.

Role: Director & Animator

Agency: M&C Saatchi

I designed, directed and animated on these idents for the NHS’s Change4Life's 'Shake Up Time' campaign to encourage children to be more active.

Role: Director & Animator

Agency: MullenLowe

One of Bloomingdale's Dubai's largest regional advertising campaign to date, which marked the store's launch of its 'New York, New York' clothing collection. I directed, designed and animated the television and cinema commercial, set in a surreal world where King Kong and the Statue of Liberty live in a literal big Apple, which is having arrows fired at it by William Tell.

Role: Animator & Director

To bring to life the cover art of Flora Carr’s THE TOWER, I recreated the artwork as vectors and used a combination of hand-drawn and cutout techniques. It was exciting to translate the evocative interplay of bold shapes and colours from still image to animation. Working backwards, new poses and states were found for all the elements of the illustration, which then resolve into their original state, revealing the book cover.

Role: Animator

Production Company: Pixel Artworks

I was the lead 2D character animator on this immersive experience, bringing to life a cast of characters illustrated by Javi Aznarez. To fill the 17-minute experience with expressive and elegant animation, I used a mixture of hand-drawn and cutout animation techniques to create subtly looping animations that work together to set the scene and tell the story. The animations were made as vectors so that that they could be scaled and adapted for the needs of the immersive space.

Role: Animator

Production Company: Balloon Entertainment

I designed and animated a spoof of 1970s paper puppetry. To celebrate 100 years of the BBC, Captain Pugwash was recast with Rod Stewart and Ted Heath for Harry Enfield and Paul Whitehouse’s Adam Curtis-style documentary spoof, The Love Box in Your Living Room.

Role: Animator

Production Company: Not To Scale

I animated on this beautiful film for Wacom Cintiq about the creative journey. I animated traditionally frame-by-frame and cleaned it up as vectors, which were composited with subtle textures.

Role: Director & Animator

Agency: Red Bee Creative

I directed this series of eight animated films answering questions about the TV Licence.

We created the films animated presenter Nelly Telly, who with her cat, sets the playful and informative tone.  She was animated using puppet cutout animation with a library of possible poses, expressions and lip sync, to allow for full animation across 30-minutes of footage. It was designed to be updatable for future updates to the details in the videos.

Role: Animator

Production Company: Not To Scale

I animated the excited characters on their travels in this commercial directed by Colin Hesterly. I traditionally animated the characters frame-by-frame with big-hearted performances to highlight the transformative joy of a family holiday.

Role: Animator and Rigger

Production Company: Blink Industries

I animated and created rigged character puppets for this animated sitcom for Channel 4, directed by Dan Britt. The goal was to create expressive animatable puppets with the possibility of a full range of expressions and movements and then animate quirky though grounded character performances.

Role: Animator

Production Company: Passion Animation Studios

I animated on these whimsical TV spots, directed by Andy Martin. I animated traditionally frame-by-frame concentrating on giving an elegant naturalism to the big character performances.

Role: Animator

Production Company: Strange Beast

I animated on these surreal spots for Fanta. The characters were traditionally animated frame-by-frame with big performances to match the whimsical scenarios and teenage drama.

Role: Animator

Production Company: Blink Industries

I animated two Halloween themed idents for Pop, directed by Dan Britt. I animated them traditionally frame-by-frame concentrating on the comic timing and big character led performances highlighting the jokes.

Role: Animator & Director

Client: Octopus Energy

I designed and animated playful new characters to bring to life Octopus Energy’s EV charging and explain heat pumps. The goal was for the characters to express our excitement about green energy. These were made both as videos for advertising and marketing, and as Lottie JSON files for their app and website.

Role: Animator

Production Company: Nexus Studios

I animated these playfully abstracted characters interacting with personalised Facebook posts, directed by Johnny Kelly. Animated traditionally frame by frame and combined with code to personalise the videos for Facebook users.

Role: Animator

Production Company: Blink Industries

I was lead animator on a short film and pilot for Tulipop, the success of which led to the series being commissioned. Hand animated frame-by-frame the animation combines fantastical characters with naturalistic acting, grounding the world building in relatable emotions.  

Role: Animator

Production Company: Passion Animation Studios

I animated on this 2D launch trailer directed by Andy Martin. Animated traditionally frame-by-frame, I got to animate some slap-stick comedy and recreate a BTS dance routine.

Role: Animator & Director

I directed and animated this campaign of four commercials where kids put Land’s End productions through some extreme tests. The characters were traditionally animated frame by frame and combined with stop-motion animation and photography for the products for these mixed media spots.

Role: Animator & Director

I co-directed and animated these quirky hand-drawn commercial for Ore-Ida's all natural Simply Fries. The characters we’re traditionally animated frame-by-frame and combined with photography for these mixed media spots