Manddy Wyckens on Dreaming Bigger and Drawing Softer
They often say that the best directors are those who are able to see the world’s invisible layers, details and grids – and this is proven true of the director we talk with today.
With a portfolio spanning BAFTA-nominated series, EMMY-winning specials, and poetic commercial work, Manddy Wyckens has carved out a space that blurs the boundaries between illustration and animation direction. Known for her bold compositions and powerful characters, her visuals carry both graphic strength and emotional nuance, and they all go back to one thing – noticing the details and subtleties of both the world, and her work.
Currently collaborating with Studio AKA, Manddy has lent her hand to projects like ‘Queen Charlotte’, ‘Here We Are: Notes for Living on Planet Earth’, and the ComArts-awarded ‘Bellfaire PSA’. But while the projects grow in scale, her approach remains grounded in personal storytelling. Whether directing a title sequence or sketching suspended figures on paper, Manddy brings a striking clarity to a multitude of complex, emotional worlds, because of her constant groundedness and the clarity it brings.
This is a director that is deeply attuned to the subtleties that make an image resonate – it’s what drives Manddy’s intention when creating, and emboldens her when making directorial decisions. But, she’s just getting started.
Today, LBB takes a peak into her inner world and inspirations.
LBB> Your work balances bold compositions with delicate sensitivity. How did you arrive at this distinctive visual style?
Manddy> Thanks – it really comes down to a mix of influences. I fell in love with Hans Bacher’s work early on. His approach to cinematic composition taught me not just to balance a frame, but to intentionally create imbalance as well. That experience gave me a kind of internal grid: a way to break down and analyse everything I admire, ensuring that every framing choice has a clear purpose and meaning.
As for the sensitivity in my work, that comes from my love for subtlety and the unspoken. I’ve always been drawn to understated details – whether in books, comics, films, or in everyday interactions. Paying attention to these small things naturally influences how I compose my shots.
LBB> Cinematic lighting and body language play a big role in your imagery – what draws you to these storytelling tools, and how do you use them to evoke emotion?
Manddy> It’s really a mix of ability and taste. I love cinematic lighting because of how it reveals things, transforming an object depending on how the light falls on it. What started as pure appreciation soon became a skill – I discovered I was naturally good at it, even if it wasn’t intuitive at first. I’ve always admired colour, but my ability to use light developed more strongly, shaping my artistic approach regardless of formal training.
When it comes to body language, it’s similarly a personal taste. I’m fascinated by movement and how hands, in particular, express so much emotion. Even though I’m no dancer, I observe ballet, I observe the everyday gestures of people, then try to capture that movement on paper.
My partner often jokes that I’m a regular, clumsy person – yet my hands come off as remarkably poised and expressive. I guess that's because I naturally use gestures in my drawings, letting my art subtly shape the way I move through life.
LBB> You’ve worked across film, TV, and commercials. How does your creative approach shift depending on the medium or project type?
Manddy> I don't really change my creative process – it’s essentially the same for film, TV, and commercials. I start with a burst of ideas, followed by sketches, black-and-white composition studies, and then colour exploration until it all comes together in the final result. The timeline for each stage varies depending on the project, sometimes moving quickly and other times allowing for more detail. The process might also include a bit of supervision, client discussions, and teamwork, but the core approach remains consistent across the board.
LBB> The title design for ‘Queen Charlotte’ is a standout – what was it like to shape the visual identity for such a high-profile series?
Manddy> Honestly, I think I was just as surprised as anyone when it all came together! But overall, it was a dream project. Shonda Rhimes and the director, Tom Verica, supported my vision from the very beginning. There was a real mutual respect – I could feel how much they cared about their craft, and they recognized the same in me. We were all aligned in wanting to make the best title sequence possible.
What made it even more exciting for me was that I had pitched a pretty bold, uncompromising idea – something I knew could’ve cost me the job if it didn’t land. But they went for it, fully. I had the time, the budget, and an incredibly skilled team. The whole process just felt smooth – like everything lined up. Honestly, if I had to describe it, the weather report for the project was just: sun, sun, sun! We did our best work, and it was received with real enthusiasm. I’m still kind of stunned by how well it all flowed.
LBB> You’ve collaborated with studios like Studio AKA and worked on award-winning productions. What do you look for in a creative partnership?
Manddy> For me, it really comes down to belief. I value working with people who champion you – who push you to do your best and do their part to shield you from the noise so you can focus on creating. That kind of support, both practical and emotional, is what I look for in a studio or an agent.
With Studio AKA, there was also a strong sense of kindness and an unwavering commitment to craft. Their craft is incredibly detailed and thoughtful – uncompromising in the best way. Add to that a genuinely decent work environment and a team with a positive, respectful mindset, and it just made total sense for me.
Special mention to Marc Craste and Philip Hunt who both brought a lot of role-modelling to the table for me, as to how to direct not only films but also teams of people.
LBB> When starting a new project, do you begin with sketches, a moodboard, or an emotional tone? What sparks the initial idea?
Manddy> It depends! Usually I will look at loads of things, read, nourish myself with everything that pops into my mind. I then scribble a lot and put a little checkmark next to the more worthwhile ideas. Maybe 30% makes the cut to more refined sketches and then that’s it!
LBB> How do you navigate the balance between your animation direction work and your more introspective illustration practice?
Manddy> To be honest, there isn’t much competition between the two. Animation direction is my main focus, while illustration is something I tend to keep a bit more for myself. The kind of illustration I do leans toward the introspective – sometimes a little too dark to be commercially viable – so I’m rarely overwhelmed with illustration work. I do some editorial pieces here and there, but otherwise, I mostly just draw what I want, when I want.
That said, it’s definitely a balancing act in my mind. Both parts of my practice feel like they want to grow, and I still feel a bit in-between – like I haven’t fully planted my feet on either side. Sometimes I wonder if I’ll eventually have to choose, or if the line between animation and illustration is actually just getting blurrier, in the best possible way.
LBB> Are there any themes you find yourself revisiting in your work, either consciously or subconsciously?
Manddy> One of the most obvious recurring themes is probably all the floating figures. For a while, I was having strong falling sensations in my sleep, and I ended up exploring that visually – leaning into that feeling of suspension, weightlessness, or lack of control.
I’m also very drawn to the idea of support – how a body leans, holds, or is held. There’s something about physical positioning that reflects emotional states. The way bodies interact with each other, or with objects, often carries more meaning than the expressions on their faces.
And then there’s the theme of reveal. I’m fascinated by how light can shape, distort, or slowly unveil something. I like playing with perception – showing things that shift or transform once you spend time with them, or that aren’t quite what they seemed at first glance.
LBB> What’s a dream project or format you haven’t tackled yet but would love to explore – maybe a graphic novel, feature animation, or something completely unexpected?
Manddy> Let’s start small: very urgently, I’d love to make a children’s book – or several! I recently had a baby, and I really want to be able to say, “Look, I made this for you.” I’m not quite sure how to make it happen yet, but maybe I should start by leaning into a softer, more playful kind of illustration.
On a bigger scale, I’d love to direct a TV show or a feature film one day. It actually almost happened once… so I’m not giving up on that dream. Adapting a book I love would also be incredible – bringing a beloved story into a new form feels like such a rich creative challenge.
That said, I think for a long time, I didn’t really allow myself to dream too big. I’ve always been a little amazed that I get to draw for a living at all. I thought, with time, I’d start to relax into that and let myself imagine more – but I’m still learning how. Lately, though, I’m becoming very aware of how much I need to dream more – and dream bigger.
