Animate! Starting on Organic Elements with Johnnie Semerad

At eighteen Johnnie Semerad attended Pratt Institute to become the next great American illustrator. The fine art career quickly gave way to a career in computers and special effects.

QuietMan was started a few years later. An innovative company with many firsts. The first Beatles music video, the first primetime Emmy for a tv commercial, the first five second tv commercials. QuietMan has won virtually every advertising award, Emmys and even a Grammy. We’ve worked on over 100 Super Bowl commercials.

QuietMan don’t really keep track but its won multiple Cannes Lions including best of show. Multiple One Show pencils including best of show. Dozens of Clios. QuiteMan has been in the AICP Show which means its in the permanent collection at MOMA.

Recently Johnnie did an animated short that has gotten into over 100 film festivals, won over 30 awards and become academy award eligible. It’s been seen all over the world. Feel free to call me 'an international sensation.'

LBB> How did you fall in love with animation?

Johnnie> I fell in love with animation as a child. Harryhausen, Disney, fantastic planet. There is a term among filmmakers “do what you have” As a kid I had a super8 camera and did a lot of stop motion and blew up a lot of models. I’m amazed I still have all my fingers.

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

Johnnie> That’s hard to say. We did a spot for HBO called 'Chimps' where we made monkeys lip-sync famous movie lines. It won the first primetime Emmy ever and since then it seems I’ve made every animal object in the world talk.

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

Johnnie> I do a lot of photorealism. There is a professional demand for it. You spend weeks on a project, then you show it to someone and they say “What did you do on it?” For the art I do on my own even though I’m on a computer, I’m trying for a very organic feel. Stop motion or practical feel. People often ask “Did you shoot actors?” 

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

Johnnie> That magical moment is what keeps every artist coming back for more. Once I asked Jim Henson about lip sync. The muppets only opened and closed their mouths but were alive and spoke. He basically said “They’re either talking to you or they’re not”

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?

Johnnie> 'A Tree Once Grew Here' is a short I did with a pro-environmental message. It’s won a lot of awards and has been seen all over the world. Animation Magazine did an Oscar watch list with 'A Tree Once Grew Here' in it. There is no dialogue which was a real challenge. But no dialogue made it very universal. You can show it anywhere in the world to anyone of any age and they’ll get it.

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

Johnnie> Acting it out. I shoot a lot of reference footage. Almost all the stuff I do starts with an organic or natural element. Acting it out and really feeling the motions or expressions takes things to another level from watching footage. 

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?

Johnnie> Animation seems to be thought of as a second-class art form. A cartoon? When you go to a film festival they’re usually all live action with sometimes one or two animations. We’re all hoping that there will be more opportunities for animation as an art form.

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

Johnnie> Experimenting with different styles is the great fun of animation. You can cater your style to the audience. You can go sophisticated, simple line, or high production depending on the message you want to send or the audience you’re talking to.

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

Johnnie> I have two favourite pieces of technology. One is Autodesk Flame. An area I pride myself on is coming up with interesting, high-production looks. The Flame definitely is a great compositing tool that brings everything together. The other thing is AI. AI is making everything much faster than it has been in the past. I’ve chosen a very expensive art form which makes a personal message almost impossible. Anything that helps artists develop and spread their voices is welcomed.

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

Johnnie> To be honest I love being part of a good team. I love working with people who challenge me and push me. I like bouncing ideas off of each other, creatively going in directions I wouldn’t have thought of, pushing boundaries, solving problems, and growing with people around me.

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

Johnnie> 'A Tree Once Grew Here' is an animated short we did with an environmental message that’s won a lot of awards and been seen all over the world. It’s been very rewarding to have this message seen by so many people.

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

Johnnie> So many heroes. The Brothers Quay, Ray Harryhausen, Disney, Pixar, more than I can mention. If I had to pick one it would be Ghibli. The world-building, the connection to the characters, the artistry. Some would say I watch too much anime. I say I watch just the right amount of anime.

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

Johnnie> My daughters Emma and Dara, nature and art also inspire me. I can’t get enough time with my daughters. They mean everything to me. It sounds strange that someone who sits in front of a computer all day loves nature. I try to be outside as much as I can. I also love looking at other people’s art. There is no such thing as too many art books.

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

Johnnie> There are so many misconceptions about animation. The biggest misconception is that it is for children. Animation is a legitimate art form that can express anything

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

Johnnie> It’s a very exciting time to be in the industry. We are in the beginning of a technological explosion. If you embrace the changes it could be great for everyone.

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

Johnnie> Start and finish. Don’t wait for a great project to come through the door. Create your own opportunities and always be working on your own art. Make sure you finish them.

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.

First sketch and final animation