IdN features Martyn 3 Press

IdN feature Martyn

1. How do you improvise the elements of symmetry and patterns into your motion piece?

When telling Martyn's story we felt it important to link it back to the place he lives, Cornwall. Due to the length of the film it was important for us to condense the script to the key moments in his life but remain true to Martyn's whole journey. As we would be editing quickly from one location to the next it was important that it didn't distract too much from the central theme so we decided to shoot each location symmetrically, with a fixed central horizon.

2. How did you come up for the concept of your works?

We started to visualise the script by exploring very abstract ways of representing Martyn’s life and personality. We considered creating an installation piece where different a series of projected animated loops would combine to tell Martyn’s story - this creative freedom to explore different ideas was a really enjoyable part of the project. We wanted to tell his story in a way that everyone could relate to on a personal level and not talk overtly about the autism itself, in fact we don't mention autism once in the script.

3. What was your process for creating work?

It was felt that our film needed a stronger narrative core to tie the story together so we looked at creating a central animation with a view to then presenting it in an unusual way. In an effort to reconnect our ideas back to the Cornish landscape where Martyn lives, it was decided that we would present the animation through the triangular structures that would ‘live’ within the landscape, which was led by our initial branding of the charity.

Once we were happy with our script, we began visualising the central animation that takes place within the triangular structures. These scenes gave the film a narrative backbone so once they were in place we were able to consider the movement and transition of the 3D 'screens' and the various Cornish locations the structure would inhabit.

4. You prefer creating all the elements by hand or digital? What was your motivation for that?

We didn’t have a look or style in mind other than we wanted it to be completely different from the film we made for Spectrum earlier this year ( The various techniques used to create the film were a result of our creative ideas, rather than the film being technique led. We have a great relationship with Spectrum which brings lots of creative freedom in how we approach projects, so wanted to take the opportunity to attempt something a little different.

5. Tell us the advantages and disadvantages of using symmetry and patterns as the key elements for motion design?

The use of compositional symmetry and pattern can certainly give work a strong visual style. It's important that this is used for a reason; as an aid in getting a certain message across or holding together a central theme. With a background in graphic design it feels very natural for us to create strong graphical compositions, and the use of symmetry and pattern is very much a part of that. The flip-side to that is creating a film using pattern and symmetry without any consideration of why this approach is being used, as a purely aesthetic choice rather than a narrative tool.

6. Are you please with the results of your work so far and what's your plan in the near future?

We had great fun making 'Martyn' and overall we're pretty happy with the results . As Art & Graft, our aim for the future is to continue to work on interesting and worthwhile projects, continue to learn and test ourselves, keep learning and strive to improve as we go.

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