Jez Hall is no stranger to animation. Having worked on nearly 50 shows over the last three decades, he’s carried titles such as Storyboard Artist, Layout Artist, Designer, Director, and Animator. If you feel intimidated, please don’t. Jez is a down to earth, kick-ass individual who has been a part of the
AF community since it launched. You probably already know him as “
Knunk”
Jez, I’ll start by linking to an interview you did recently with
Toonhound so that our readers can get a glimpse of your story up until now. Seeing as there is no real reason to repeat questions you’ve previously answered, I would like to take this chance to ask you more in depth questions regarding your thought process and work ethics.
GK: Ok lets kick things off with what goes on in that head of yours. Are you one of those artists that zones out while you work and prefers not to be disturbed or do you find the need for human interaction?
JH: Both really. It depends what Im doing. My last project, I was working with some really talented guys and it was a buzz to see them doing their thing. You feed off each other. That was doing concept work, so bouncing ideas off each other is part of it. What was great was seeing them take off and work up your concepts. Great seeing peoples reactions to the stuff you’re doing. Of course when there were many more actual animation studios in the world this happened all the time. Pinning boards up on the wall. Everyone aware who the good guys were. Looking over the older guys shoulders while they drew. That buzz you get in a studio is hard to beat.
When it comes to thumb-nailing storyboards or timing I have to shut myself away. I’ve worked at home on my own and in studios. Both have pros and cons. I must say Im not one for office politics or anything and I don’t do well with people that play that game. I find it very difficult to take orders and hold my tongue. ha ha.
But I guess I zone out where ever I am. Home or studio. Did that answer the question at all?
GK: As fun and creative as this industry is, it also comes with it’s share of stress. How do you keep yourself grounded when tense moments arrive?
JH: Its something I’m fine with in work. Real life stress I’m not so good with. Girls, bills and shopping, eek! Give me directing a TV show any day. I do drink too much coffee though.
GK: Having worked on so many shows is there anything that you bring with you into each new production to help you hit the ground running? (Ex, Books,Templates, Color Charts, References, ….etc.)
JH: Just me. It depends again what you’re doing. Any project you are involved with, you should do your homework. Know your show inside out.
I’ve just started directing on Fleabag Monkeyface for CITV and Impossible Kids here in the UK. So I spent my time before hand reading what related material I could. Going through the bible, the designs and scripts. Anything that exists. Getting to know the characters. Make them your own if you are directing. So when you step in you must speak with authority on what the characters can and can’t do.
I do have templates for boards but I don’t use much else. Most of its in my head after so long.
If I see a animator with a how to animate book on his desk I worry.
GK: I find that artists often have something unique by their workstations, is there anything special that you keep on your desk while you work?
JH: Coffee. A sketchbook, ink…i’m looking around. If Im away a picture of my two boys. I don’t collect toys or anything my desk gets cluttered enough.
GK: What production tools/apps have you grown fond of over the years?
JH: My Iphone is a big one. Its like an extension of my computer. I can take my work with me. I cant draw with my fingers or anything though.
Apps wise, its still Photoshop CS5 and After Effects. I sometimes use Sketchbook pro and Flash CS3 not CS5 though. Adobe seem to have broke it. Again.
But I spend most of my time in Photoshop. Its an amazing program. The last 3 months Ive been sat by an amazing artist
Miklos Weirgert(
http://miklosweigert.blogspot.com/). Mik uses Photoshop everyday also, but totally different to me. Actually I think he knows what more of the buttons do. I have about 3 brushes I use and thats about it.
Also I couldn’t be without Google.
GK: Is your workflow purely digital these days or do you still find yourself reaching for a pen and pencil?
JH: I work straight into the machine mostly. I’ve been using a new Cintiq which was very lovely, but Im now back to my Wacom. Like I said I always have a sketchbook with me. Always have. I do actually produce a lot of personal work. Or did until I became so busy. Hopefully I can get back into that.
On Fleabag I’m pen and paper making notes and shot suggestions, but if Im boarding I draw straight into the computer.
GK: I’ve noticed that you like to get involved on all aspects of the production process. Have you ever thought about directing/writing your own short? If so, can you share any details on the subject?
JH: I’ve lots of ideas but little time. When I do get a break I think its important to chill. I’ve burnt out in the past, and that takes some time to come back from.
But I do have many projects of my own Id like to get together. Shows, shorts and paintings.
GK: A lot of artists/animators seem to go off the grid once they go pro, yet you keep yourself involved in the independent animation community such as AF, helping others along the way. What makes you stick around?
JH: A lot of guys are on the internet. I’ve met many many cool people online. So I hear you but most of the pros I know are pretty active online. Often a little quiet, but they are about. Theres a few old farts who begrudgingly pop up on facebook now and again.
Its a great thing. I’m in contact with friends old and new all over the world. People I’d never be able to contact or work with. There’s a good vibe to AF though. Some really nice helpful people.
You’ve done a great job getting it together mate.
GK: If you could give advice to an up and coming animator in 3 words or less what would it be? (Ex. Timing, Staging, Appeal, Posing, Arcs, Lines, Spacing…. Etc..)
JH: “Cheap, fast, good” ..pick two. Thats a good rule for anyone.
Advice like posing and timing is a given. You want to be an animator? Know it. All of it. Know it and be good.
Get a degree. Take a few years at Uni. But keep in mind that the degree you come out with means nothing in the real world. Having reviewed many portfolios over the years there only one thing that matters. And you know what that is.
So going to college/Uni is great. Use the time there to learn to draw. Also get some life experience. Have fun.
GK: And most importantly.. how much wood would a woodchuck chuck if a woodchuck could chuck wood?
JH: Depends on how much you were paying him. But I think I read online somewhere that its 7.
GK: Thanks for your time Jez .
If you would like to follow Jez’s creativity , you may do so by subscribing to his
Blogas well as
Freakish Kid.
