Animate! Finding the Magic with Neil Stubbings

As a director, designer, epic storyteller and skilled technical CGI animator, Neil Stubbings masterfully blends classic cartoon spirit with 3D modelling to create a classic and timeless result.

However, it is carefully considered character design that sets Neil apart from his peers. If he’s not forming on-going global partnerships with brands like Redbreast Whiskey, his characters are being turned into long-standing brand ambassadors, as they have for OnePlus.

His signature comic wit extends across his body of work, from short films including ‘Sunday’ to commercials for Nestle, McDonald’s and Kinsale Shark winning ‘Truckin’ for Swiss bag producers Freitag. Last year, the festive campaign he directed for PETA with House 337 was shortlisted at the British Arrows and picked up a gold award at the Swiss EDI awards.

LBB> How did you fall in love with animation?

Neil> I started my career with an apprenticeship as a classic graphic designer. While I enjoyed it, I found myself craving something more dynamic and exciting. That’s when I came across an internship in the on-air promotion department of a TV station. It was there that I first opened After Effects, and I was instantly mesmerised by the endless creative possibilities. From that moment, I was hooked.

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

Neil> I wouldn’t say there’s one single project that launched my career—it’s been more of a steady evolution. Over time, I improved my work, gained more exposure, and elevated the quality of my projects. That said, “Truckin’”, a cartoon I created for Swiss bag manufacturer Freitag, did attract some international attention. The bags are made from used lorry covers, and the project’s playful, narrative-driven style resonated with audiences and clients alike.

LBB> How would you describe your art style and what are your biggest inspirations that developed it?

Neil> Describing my own style is hard. When I ask ChatGPT it gives me this response which I can agree with: “The art style is bold, expressive, and highly stylised, combining clean, graphic visuals with cinematic storytelling and playful visual humour.

Dynamic characters with striking proportions and meticulous attention to detail create a polished yet fresh aesthetic, with a strong tie to the principles of 2D animation. It’s a sophisticated blend of artistic craftsmanship and commercial appeal, resulting in visuals that are both memorable and timeless.”

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

Neil> Animation comes to life when it has character and soul. It doesn’t need to be hyper-realistic—sometimes the simplest stylised animation can feel the most alive. The magic lies in timing, subtle detail, and where you place your emphasis.

Even at 8fps, animation can feel lively and believable if the movement and expression are executed with intention.

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

Neil> One of the most impactful projects for me personally—and in terms of its reception—was last year’s Christmas ad I directed for PETA. It’s a 90-second film featuring a variety of unique characters and intricate sets.

I overcame some extraordinary production challenges on this project over three intense months and pulled out all the stops to elevate the quality of the work - I even lived in my studio during parts of the production. The level of effort and love that went into it makes it a standout for me.

I was also proud to see it receive a shortlist at British Arrows as well as winning Best Director and Best Animation at Swiss EDI awards.

LBB> How do you approach character design? What is your creative process like? Show us some of your favourite characters and their journey from notepad to screen.

Neil> There are different ways I approach the design phase, depending on how I feel or what style I am going for. This can start with rough pencil sketches or working straight into the 3D program. 

LBB> Tell us more about observation and movement - what is the process you go through to study movement of characters?

Neil> Observation is key. I watch a lot of references, whether it’s videos online or real-life situations. I also act out scenes myself to understand how a movement feels and flows. It’s a mix of studying, performing, and capturing the essence of the motion that gives characters their authenticity.

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?

Neil> The rise of animation for adults is breaking the long-held stereotype that animation is “just for kids.” It’s becoming a respected medium for mature storytelling and sophisticated visuals, which opens up a whole new world of creative possibilities.

It’s good to see brands like Liquid Death and Beavertown opting for this style, having seen its success in the entertainment industry. This shift allows us as directors of animation to explore bold ideas, styles, and themes that might have been considered too unconventional for younger audiences. It’s an exciting time for innovation and risk-taking in animation. 

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

Neil> For me, there’s no fixed formula. Every story has its own DNA, and the right style reveals itself as I dive into the project. It’s about finding a visual language that enhances the narrative and connects emotionally with the audience.

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

Neil> Honestly, my brain. Tools and software are just means to bring ideas to life—they’re extensions of the creative process. The real magic happens in your head. That’s where the skill of a director truly lies.

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

Neil> I’m drawn to projects with humour, energy, and a touch of the unexpected— something a little crazy. I love ideas that allow me to push boundaries and surprise the audience.

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

Neil> The rise of stylised, 2D-inspired 3D animation is something I’m particularly excited about. I’ve been exploring this look ever since I transitioned from motion graphics into character-based storytelling. Seeing this style now enter the mainstream feels like validation—I’ve been searching in the right direction all along.

LBB> Who is your animation hero and what is it about their work that inspires you? What example of their work particularly stands out?

Neil> There are many heroes in my world, but one who truly stands out is Simon Otto, a fellow Swiss citizen. I had the privilege of meeting him in person and attending a short yet incredibly inspiring masterclass he led. Simon’s journey—rising through the ranks to direct the recent Netflix Christmas movie 'That Christmas'—is a testament to his talent and determination. His story reassures me that no matter where you come from, even a small country like Switzerland, it’s possible to achieve your dreams on a global stage.

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

Neil> Traveling. Exploring different places, experiencing new cultures, and discovering diverse ways of life is incredibly inspiring. I love observing foreign advertising, TV shows, architecture, cityscapes, and landscapes. Each journey offers a fresh perspective and countless creative ideas to bring back into my work.

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

Neil> Many don’t realise the level of effort, precision, and collaboration required to create even a few seconds of quality animation. It’s an incredibly time-intensive craft that combines artistry, technical expertise, and storytelling.

There’s sometimes a perception that animators are simply “technicians,” pushing buttons or following rigid instructions. In reality, animators are storytellers and artists who breathe life and emotion into characters and worlds.

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

Neil> Right now, generative AI is at the centre of everyone’s attention. It’s seen by some as a revolutionary tool that could solve creative challenges, while others view it as a potential job killer for many artists. The truth, at this stage, is that it doesn’t really solve problems—it often creates new ones.

The way I see it, we may already be past the "sweet spot" of generative AI’s development. Initially, these models trained on an abundance of human-created artwork, which gave them their strength. However, as AI continues to generate massive volumes of content, much of it will end up training future models. This recursive process could lead to a kind of “generation loss,” where the quality diminishes over time, resulting in an overwhelming flood of low-quality, uninspired “art.”

That said, I’m optimistic—or at least hopeful—that this will lead to a renewed appreciation for human artistry. As AI-produced content saturates the market, the unique, intentional, and emotional qualities of human-made art will stand out even more. This could spark a renaissance of fine arts, where artists and their craftsmanship are valued more than ever.

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

Neil> Never give up on your dreams.