The tones in Violets.

Here are the characters in their Lavender hues for the scene in Violet’s bar. (Violet is the barmaid in the purple pearls)

I’ve changed the look of the two girls a little bit since the animatic, and the blonde actress will have a wide brimmed hat.



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No sound effects yet. Played it to Steve, he suggested I clarify what happens in the bar, and simplify it a bit. He said it made him think of Midnight In Paris, the Woody Allen film, which I like because I imagined that inside the bar is all 1930/40s and outside on the street is a more modern London.

London Characters

Here are some of the evolving background characters for the LTM film (and some characters who almost certainly won’t actually make it into the film!) You can see the influence of Edward Burra’s paintings on a number of the designs.

Paranorman Poster

Here’s a super nice piece of Poster Art from Kevin Dart (reblogged from Super Punch)

I just got the “Making of Paranorman” book this morning. I usually wait to watch the film first before the making of incase it spoils the film, but I think this time I more excited about the film having seen how they made the puppets and the intricate sets.


I’ve been meaning to post my choice for the LTM pitch. There were so many brilliant posters with a whole range of characters, right from the moment I saw ‘Parties’ by Alan Fletcher during the briefing I wanted to use it. I thought more about it and considered some potential ideas with other posters, because there were some I also liked with more distinct characters, but I kept coming back to this one. It would be such a great opportunity to make a film based on this because I am a fan of his work, so I’m very excited about the idea I’m developing. I’ve done some research into his other posters, drawings and collages which has proven to be very useful in developing the idea.


The Group Project…

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When we received Freda Lingstrom’s poster we were delighted to begin working with such an elegant starting point for our animation. We quickly agreed that we would maintain close reference to the dimensions and appearance of the original poster; the focus would be on moving the existing elements within. Horace Taylor’s work inspired us to further simplify the design, creating a colour-block version of  Lingstrom’s original poster for our animation.
We wanted to respond to the clients target audience and aimed our animation at the London Transport Museum’s family oriented demographic. Later in her career Lingstrom was a highly influential figure in British children’s television programs of the 1950s.  We hoped our animation would appeal to children but also to an adult sense of nostalgia.As the animation consisted of only one shot, rather than assign sections to individuals, we met as a group everyday. We found that we worked well together and it was productive to be in the studio and solve any issues that arose and adapt the ideas accordingly.