MA Professional Placement Blog

June will always be the month I said goodbye to my Grandad. The days leading up to the funeral were filled with a quiet, heavy sadness, but the church service itself was an incredibly lovely send-off. Although it was a day for mourning, it also felt like a true celebration of his life and all he had done for the Boys' Brigade and his local community. Having all of his family and friends there made the day feel so much more comforting, and the stories shared within my Mum’s eulogy painted a vivid picture of the man he was—funny, kind, and always ready to lend a hand. In those moments, I was able to feel the immense love that surrounded him and our family.

From there onwards, I needed something to distract me from the sadness. So, I turned to my computer to continue working on an animation test I'd recently started—just a short, 15-second clip of a character getting ready to pounce. I found working on this small project very calming and therapeutic as I was completely focused on the small details, meticulously trying to make the movement look just right, like it would in real life.

May was an incredibly difficult month for me as I was given the news that my Grandad had been put onto end-of-life care. The next 10 days were a blur of grief, goodbyes, and constant trips to and from Hartlepool to visit him and be there for my Grandma. When he eventually passed, the funeral, which was then three weeks later in June, and right before my birthday, just intensified the feelings of loss.

During this time, I found it impossible to focus on anything professional. I had a clear plan to start my job hunt—updating my CVs, refining my portfolio, and networking with potential employers. But the emotional toll of losing my Grandad was just too mentally and emotionally consuming for me. I became completely drained, and all my energy was spent just getting through each day.

In April I attended the Tim Burton exhibition at the Design Museum in London with my family which was an incredible experience. The moment I stepped inside, it felt like I was walking right into his brain. It wasn't just film props; it was a peek at his notebooks and sketchbooks, the raw and messy creative origins of everything.

I could have spent hours looking at his original art. The exhibition featured early character designs, and I even saw a children’s book he wrote and illustrated, ‘The Giant Zlig’. It was wild to learn it was never published because it was too similar to Dr. Seuss. The best part, though, was seeing the doodles on napkins and scraps of paper, showing how his ideas were always flowing.

As a digital artist, seeing all this was a huge wake-up call. I've always loved his weird, gothic style—the long, skinny figures and strong contrasts—but seeing how it all started was genuinely inspiring. It wasn't about the final, polished product, but the raw ideas and imagination that went into the final results. I left with my head full of new concepts, itching to start sketching characters with those exaggerated proportions and play around with textures inspired by his rough, handmade drawings. It really feels like it's opened up a new creative path for me!

In March, I attended the Film and TV job fair in Harrow, eager to kickstart my career in the industry. My main goal was to find a starting point, so I actively engaged with many companies. I submitted my details to numerous firms advertising roles like Production Assistant and runner, seeing these as vital entry-level opportunities to learn the ropes. This proactive engagement felt like a significant step forward.

The most challenging, yet crucial, part of the day was my in-person interview with CineCite for a Post-Production crew job. After countless online applications, securing a direct interview was a huge moment, making me quite nervous. I focused on articulating my skills and my passion for working with the company. Unfortunately, it didn’t lead to anything. But doing the interview for experience at least made it worthwhile.

Following this, I plunged into a speed networking session, a whirlwind of quick introductions. With only 30 seconds per person, I had to be concise, explaining my background and what I sought in the industry to make new connections. It was intense but fun, and a true test of swift communication. Surprisingly, during this session, I connected with two other animators – one a stop-motion specialist and the other a 2D animator. Remarkably, we all discovered we had studied Animation at Norwich University of the Arts, creating an instant bond and a fantastic connection.

For most of this month, my focus was on producing work for Casual Minds Matter. Their mission deeply connected with me, and my primary project involved creating new graphics for their mental health awareness clothing and accessories line.

By blending AI with my Photoshop skills, the ideas came pretty naturally, despite the open brief. While open briefs are creatively liberating, they can also be a bit daunting with a tight deadline. The biggest hurdle, though, was the strict 25-hour budget I had for the whole project. To ensure I could still create five distinct, high-quality designs, ready for print and distribution, I brought in some assistance. I specifically utilized AI to help generate initial concepts and elements. This made all the difference, enabling me to deliver excellent results efficiently. I'm really proud of how the designs turned out; I think they perfectly blended impact with subtlety.

The remote work had its challenges, but I felt communication with Dave the Director was well received. I quickly grasped their vision, and my self-management skills were definitely put to the test. We had a couple of feedback rounds which I handled well, adjusting designs to Dave’s viewpoint. So, I'm confident the final versions were significantly improved.

This month I have been engaged in my MA professional placement year, commencing with my first paid freelance graphic design opportunity with Casual Minds Matter, a Burnley-based CIC (non-profit organisation) supporting marginalized individuals. An initial video call with Dave the Manager and Steven outlined the organization's ongoing mission, focusing on support for mental health awareness through merchandise sales.

Dave’s vision involves moving away from designs heavily reliant on Burnley Football Club imagery, aiming to broaden the organisation’s clothing appeal to a wider community of both young men and women. This strategic shift will mean more varied and inclusive designs for the organisation.

My initial task involved developing a visual identity via mood boards, reflecting the core values of community, inclusivity, and hope. These boards incorporated a range of themes including band logo fonts related to mental health, animal imagery that symbolises comfort, along with relevant song lyrics. Motivational quotes, local dialect, and phrases were also included to foster location authenticity. Furthermore, ideas such as anti-drug and suicide prevention artwork would address critical local issues, whilst music references would ensure cultural inclusivity.

December was a month of digital LEGO building, dedicated to mastering Studio, the BrickLink software, to build my portfolio and demonstrate a proficiency in digital LEGO building, a crucial aspect for the TT Games Model Artist/Designer roles I was aiming to apply for.

The Studio interface initially felt overwhelming. Navigating the vast parts palette and manipulating the virtual bricks was a very surreal experience compared to building with real LEGO to begin with. The digital environment presented a unique set of challenges. However, I persevered, diving into online tutorials and focusing on fundamental techniques. I practiced connecting bricks, creating sub-assemblies, and familiarising myself with the various manipulation tools. Slowly, the complexities of the software began to make sense, and I started to feel more comfortable navigating the digital LEGO software.

I decided to recreate some of my favourite physical builds digitally. This helped me understand how real-world techniques translated into the virtual environment. The challenge lay in accurately replicating the intricate connections and ensuring stability within Studio's physics engine when following online instructions for the LEGO builds. I spent hours tweaking angles, adjusting positions, and experimenting with different part combinations.

Beyond basic building, I used Photoshop and Studio's Part Designer to create custom decals, adding unique details to my models and showcasing my understanding of the customization workflow. This, along with experimenting with complex geometries and intricate detailing, pushed the boundaries of my Studio creations. I also explored the rendering capabilities to create visually appealing images of my digital creations.

This month I attended The Manchester Animation Festival which was a whirlwind of fun and it opened more doors for new opportunities. As an aspiring Digital 3D Artist eager to break into the industry, I saw it as an invaluable chance to network and build connections with more industry professionals.

The festival showcased a diverse range of animated works from around the globe such as short films by students to cinema released features. I immersed myself in screenings and talks, attending a showing of Dreamwork's newest movie "The Wild Robot" as well as a talk led by the renowned voice actor, Writer and Director Chris Sanders, writer and director of "The Wild Robot". The presentation gave us a 'behind the scenes' look into how the film was created and the ideas behind the characters and story. I found his talk incredibly inspiring as it helped me absorb the latest Animation trends and techniques even though my primary focus was on networking. It was also my highlight of the festival.

Any moment or opportunity I had I used to mingle with animators, producers, and recruiters, as well as any friendly face I came across who was free for a chat. I had prepared an elevator pitch about my skills, aspirations, and how I was actively seeking a placement or any work opportunity within the Animation industry, so I actively sought out conversations. I received business cards and connected on social media, following up with promising leads after the festival.

One person in particular, also the main connection I made that day was Tom Parkin, an Artist who previously worked for TT Games (A gaming studio in Knutsford renowned for its popular Lego games). Upon receiving his contact details, I seized the opportunity to ask him about placements, work opportunities and jobs with TT Games, share my portfolio, and express my passion for the Lego and gaming field over social media. This not only provided valuable insights but also opened doors to potential job opportunities with TT Games.

To begin my hunt for possible work placements to do as part of my MA, I started by reaching out to each 3D animation studio on a list of Animation Companies on the "Film London" website, such as: DNEG Animation, Jellyfish Pictures, ILM, Space Age Films and Hocus Pocus etc..., tailoring my approach based on their specific information. For those with open positions, I applied through their online portals or directly emailed my CV with a cover letter, highlighting my relevant skills and experiences. I carefully customized my cover letter for each studio, emphasizing how my work aligned with their style and projects.

For studios without immediate vacancies, I sent unsolicited applications, expressing my keen interest in their work and potential future placement opportunities. I attached my CV and provided a link to my portfolio, showcasing my animation skills and previous projects. I aimed to create a positive impression and leave a lasting impression, hoping to be considered for any future roles that might arise.