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I've been involved in this project as a director, writer, designer and artist, working with a core team of four other creators in a Melbourne-based studio (one reason for my relocation to this city in 2007).
In re-creating the story from the ground up, we've elaborated some aspects of the 'Lost thing universe' which could not be entirely expressed within the confines of the original 32-page book.
For a fairly comprehensive description the animation process of our key team-members, Tom Bryant and Leo Baker, check out this article from Digital Media World. A couple of extensive audio interviews in the lead-up to the Academy Awards can be heard here: a conversation with fxguide, and another with Richard Arnold.
Character sketches for some of the citizens of the city who are part of the landscape; either technicians or office workers. A drawing of some non-human characters from 'Utopia', the land of lost things: 'Iron Lung' and 'Incubator', also known as 'Proud Parents'. Drawings of 'facial targets' for rigging a digital model of the main character 'The Boy' - how high eyebrows can go, the mouth open and so on. Searching the empty city; the use of splitscreen emulates the original compositional ideas of the book.


The city environment is a combination of hand-painted and digitally created elements blended seamlessly together. Finished scene from 'Utopia', the otherwise nameless land of lost things, each with their own particular personality.
26 Cubes - 27 SpheresPaul Lindley (CCW) 26 Spheres, 27 Cubes - Widening scope of and access to technical information. In collaboration with Process Arts this practical research exercise investigates the wide range of three dimensional techniques in use across UAL, providing content for the web site, while considering the complementary role of physical objects, still images, and text in supporting a range of learning styles.
Technique, material properties, imagery are explored in a way unconstrained by discipline or subject, while experimentation and curiosity are promoted as possibilities for students of all skill levels, and study areas.
Groups on process.arts provide individuals, project teams, courses or communities of interest a place to cluster online content together. It has been a long an complex project, and a great opportunity to learn about the differences between book illustration and animated film. In fact, I always saw the story in my imagination as a short film or theatrical piece, where the book presents us with a set of stills from some larger production. Also visit Tom Byrant at his website, Interference Pattern, and Leo Baker at the aptly named Turbo Radness.


Textures have been added using high-resolution scans of hand-painted surfaces, fabric and rusted metal.
The use of bright colour against dull backdrops is a recurring aesthetic of the file, and lighting is a crucial element. All images created by Tom Bryant (modelling, texture and lighting), Leo Baker (composition and animation) and Steve Evans (additional lighting). My background as a painter means that Ia€™m more accustomed to working with still, silent pictures that allow a viewer plenty of time to contemplate individual compositions. The key charatcer, a faceless creature, has in inherently animated personality which a painting struggles to convey - and finds it's full expression in the medium of film.
Animation is a very different medium, where questions of time and pace are much more critical, not to mention layers of sound and music.



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