Animate! Creating Digital Worlds with Lawrence Scanlon

Lawrence Scanlon is a skilled animator with a keen eye for design. A Central Saint Martins graduate with a degree in graphic design, he specialises in visual communication, as well as 2D and 3D motion graphics.

Since joining Blind Pig, Lawrence has worked on campaigns for the likes of Paramount+, Ted Baker and UKTV Play, utilising his full arsenal of skills to create typographic animation, 3D visualisation and graphic design offerings. 

LBB> How did you fall in love with animation?

Lawrence> In a way I've always been in love with it. Some of my earliest memories are of watching cartoons with my sibling - like the Aardman catalogue, Samurai Jack and Hayao Miyazaki's works. The animators created intricate and interesting worlds that had a unique beauty to them, keeping them culturally relevant for years.

I always loved to draw and paint, but as I got older I got into creating digital worlds in Photoshop. I loved the idea of world-building, creating environments and imagining what kind of creatures and civilisations would inhabit them. I never thought it would be something I actually got paid to do as an adult. 

LBB> Tell us about the animation project that kick started your career?

Lawrence> I can’t think of a single project that kick started my career - it’s more of a collection of small things. My time at CSM doing graphic communication design really opened my eyes to what was possible in the creative industry. I never really understood before (or even at the time) the opportunities out there for someone like me. It really lit a fire in me to push myself: to absorb everything I was learning and to put it to good use.

LBB> From your perspective, what’s the key to animation that really lives?

Lawrence> For me, it lies in the seamless marriage of movement, emotive storytelling, and attention to detail. A successful animated piece is more than just moving imagery. It captures a feeling or an emotion, communicating that through a lens to speak to people. All of the best animations have a deeply considered narrative that can bring people joy - or even make them cry!

LBB> Show us your favourite or most impactful project that you’ve worked on - tell us, what is it that makes it special and what were the memorable moments or challenges?

Lawrence> Ocean Outdoor runs a prestigious competition every year to win valuable airtime at their signature DOOH sites throughout the UK. Myself and the crew at Blind Pig helped Anomaly win their bid for the most prominent space of them all - Piccadilly Circus. The concept, which was for Ancestry, was simple; to recreate the iconic advertising landmark as it was at key points through the twentieth century, channelling the brand’s tag 'Bring your Backstory to Life'. 

We painstakingly and with great detail, redrew historical campaigns and typography to match the originals, before using these images to build 3D models of each display. It was great to delve into archival the campaigns displayed on the lights in the ‘40s, ‘60s and ‘80s.

LBB> We all know of some ever-green adult animations, but lately they have definitely been on the rise, from Rick and Morty to Arcane. What sort of opportunities does this open for animators, both within and outside the advertising industry? 

Lawrence> We’ve all grown up - and so too, has animation. It feels like it's the same kids who watched the heyday of Cartoon Network (which hosted some of the most entertaining animation at the time) still want to watch that kind of content. There is a strong desire for nostalgia through animation, but we are now able to appreciate better world-building and narratives. 

As a result, more and more animation is being produced by companies like Netflix who are willing and able to fund limited series’ like ‘Love Death + Robots’. In advertising, creative agencies are catching on too. It feels like, since COVID, more clients are utilising the art form as a reliable skillset in marketing products. 

LBB> How does one figure out what kind of animation style or styles fits a particular story or project?

Lawrence> For me, every project starts with a load of contextual and visual research. First I’ll do a broad dig into the background of the product and its message, then I’ll collate some relatable visual imagery and think about the style of animation that might fit. I’ll go back and refer to this throughout the whole process, but aesthetics are always going to shift from the initial vision as a project progresses - and that’s a good thing!

LBB> What is your favourite piece of technology or software that you use and how does it help your creative process?

Lawrence> I love using Cinema 4D with Arnold. It allows me to sketch - then block out - a scene’s composition fairly quickly, giving me more time to focus on the finer details of the animation. It helps to have an arsenal of assets that you can pull in to get started setting the composition and movement of the scene, before making the more detailed creative decisions. 

LBB> What sort of briefs or projects do you find more personally satisfying to work on?

Lawrence> I love working on projects with a unique stylistic or technical process which challenges me. The feeling I get when I develop a unique process to produce something really cool and answer the client’s brief is so rewarding. These kinds of projects rarely come in a single form, but that’s the joy of the industry, there is never one right or wrong way to approach a creative idea. 

LBB> What recent projects have really stood out for you and why?

Lawrence> Following on from the above question, I recently stepped into the client’s shoes and gave my own brief. I designed a template in Cinema 4D for an ongoing animation, and challenged my co-workers to design an environment to slot into it. The result is an ever-turning, unlimited film, comprised of a myriad of 2D and 3D worlds.

LBB> Outside of the field of animation, what really inspires you?

Lawrence> The physical things in life: I find a lot of inspiration in the textures and designs of furniture, architecture, and ceramics. Exploring these forms fascinates me. They present amazing creativity and are surprisingly helpful with problem-solving. Understanding the processes people use to manipulate/combine elements to craft aesthetically pleasing and functional pieces of designs is awe-inspiring.

LBB> What do you think are the misconceptions about animation throughout the industry?

Lawrence> That animation is easy and quick. While it might seem quite effortless from the outside, the reality is quite different. Crafting compelling animation requires meticulous planning, attention to detail, and a significant investment of time and resources. Each element needs careful consideration, and even with technological advancements like AI and automation, producing high-quality outputs still takes a significant amount of skill, creativity, and patience. 

LBB> What are the biggest changes to animation and challenges facing animators at the moment and what are your thoughts on them?

Lawrence> The exponential speed of development in AI in the animation world is amazing for processes that enhance efficiency and the creative process. However, the development of these technologies also poses a huge risk to a large portion of the industry. We have to be considerate about our artistic integrity, the ethical implications, and the necessity for animators to adapt their skill sets to leverage these advancements effectively, otherwise, we risk falling behind. 

LBB> Any advice you would like to give to aspiring artists?

Keep creating. Whether you're drawing, painting, modelling, or animating, never stop bringing your ideas to life. Embrace the process, keep learning, and let your creativity flow freely.