#jam filled

[dailyttteedward]

I believe it’s easy to see why Edward is shipped so often with many characters, especially the other main tender engines. Edward is a character that embraces love, and what better month to celebrate that than February?

[graysthroughlife]

Easy recipe for these gorgeous and delicious jam filled heart cookies! Perfect for any occasion. Great for Christmas parties and Valentines

[jessiesketches]

Happy Valentine’s Day!!

[fullcravings]

Make an easy and simple but yummylicious treat that both kids and adults will love with this foolproof jam filled donuts recipe! https://theseamanmom.com/jam-donuts-recipe/

Congratulations Petro of Theseamanmom.com for having the winning submission April 22, 2019!

[foodweate]

@알렉산드리아

[pickingupspacetrash]

[frederator-studios]

Meet Mathieu Hains

Mathieu Hains of Ontario, Canada has contributed to the animation biz for eight fun years, working at studios like Mercury Filmworks, Big Jump, and Jam Filled, on shows you may have heard of, like The Loud House, Atomic Puppet and Penn Zero and Fish Hooks. He has a work ethic like few others: his days are spent making other creator’s shows awesome as a Lead Animator at Jam Filled; and his evenings devoted to his own awesome ideas, such as “The Angry Little Cupcake” (above), which placed 2nd in the Startoon development competition in 2016. Mathieu’s experiences in animation give great insight for anyone wanting to be creative in this industry - and his journey has only just begun!

How’d you decide to study animation, and where did you do it?

I went to Algonquin College in Ottawa, for their traditional animation program. I just knew I wanted to draw! I actually chose animation because a friend from my high school arts program was doing it, so I figured I’d try it too. He ended up bailing after a week, but I stayed and ended up loving it!

Can you lead us down the timeline of your roles in animation?

I started as a junior animator on Disney’s Fish Hooks, and worked my way up on Brickleberry and  The Magic Hockey Skates, which lead to supervising animation on Jake and the Neverland Pirates, Penn Zero and Atomic Puppet. I got to do some design work on AP, which made me interested in pre-production. I moved into animation fixing, working closely with directors to make the shows look as good as possible, and was storyboard revising on the side—which led to full time positions in the storyboard departments of If You Give a Mouse a Cookie, as well as Hilda (coming to Netflix on February 25!)

Since I’ve been at Jam Filled, I’ve been a lead animator and fixer for shows like The Loud House, Final Space and other amazing projects going on here. It’s a great role, because you take on challenging scenes and get a better understanding of the director’s vision. I also get to work on a lot of demos, pilots, and show intros; it’s a blast to be part of those teams, because that’s when everyone is the most passionate and excited about the work!

How many shows have you worked on, total?

Around 15 shows. Of those, only 2 have been strictly Canadian - and those were Christmas specials! Which I love, because they’re going to be on TV 15 years down the line. When I have kids, The Magic Hockey Skates will come on, and I can be like “Look! There’s daddy’s name in the credits!” and they'll be like, “yeah dad whatever.” We get a lot of work sent over from the states: Hilda, Brickleberry, Jake and the Neverland Pirates, Star vs. the Forces of Evil...

Wow! It’s like you’ve been a part of EVERYTHING.

I’ve had a hand in a lot of things, yeah! But I’ve also been focused on developing my own projects. About 4 years ago I leaned into that full tilt: from 9-5 I work for others, from 5-9 I work for myself.

What prompted the “full tilt” into your own projects - and how does that look on the day-to-day?

Awhile back, at Mercury Filmworks, the employees were invited to pitch ideas. When I did, they gave me awesome feedback and encouragement. I realized that I have a voice, and that developing my own work is really gratifying. So since then, I’ve pitched a lot, met a lot of great creators, directors, and producers, and read a lot of books on storytelling and screenwriting. Committing to my own projects has expanded the scope of what I thought I’d do in animation. I mean, I emailed Fred Seibert himself, and heard back from him the same day - I didn’t know that was possible! As an animator or artist it's always fun to talk about a project you're thinking of starting, but it’s harder to actually sit down and start it! So that's what I've been focusing on.

So “The Angry Little Cupcake” was all you, grinding in your off-work hours?

Pretty much! I designed, storyboarded, wrote the script, did the casting, FX, compositing, etc. My friend used to be a voice actress, and she was going to play the Cupcake, but she got sick the week we were recording. My girlfriend stepped in effortlessly! She totally killed the part.

Wifey her for sure! How was it making something from scratch vs. working on a show at only one stage in the process?

I learned so much. Just setting up a scene from nothing was harder than I thought… as an animator, you usually get a really good starting point: character builds, storyboards, audio, everything’s set up for you. With “ALC”, I was doing everything, making everything by hand. I mean... sound recording! I spent hours in audio banks trying to find the right sounds... but ended up making my own foley - so many mouth noises in there - experimented with recording with big blankets over me and the mic to see if the audio would be clearer. It didn't help... just made me sweaty. But I’m fond of all the little mistakes in the audio; they add character! And because of this experience, the next short is going to be awesome.

How did you first come up with the idea for “The Angry Little Cupcake”?

It was a looong time ago. From high school to college, my side gig was illustrating for magazines. It definitely beat bagging in a grocery store. I was considering doing it professionally, so I was putting together a portfolio that needed a music themed piece. I came across this interview of Tokyo Police Club where they talk about their cupcake tradition: because they had a bake sale to raise money for their first show, they eat cupcakes before every show.

I was struck by the juxtaposition of a rock band enjoying sweet little cupcakes backstage before a show. It was just an awesome contrast that felt so visual to me.  So when it came time to come up with a character for a show idea, I had this bad ass cupcake idea to go to. She resented being talked down to and called “cute”; it pissed her off and made her want to prove herself, to be seen as hardcore and awesome, how she sees herself. To balance all her anger and angst, I teamed her up with Michael - a geeky awkward kid, who also really wants to be “cool”.

Which experience has best prepared you to be a creator?

Working on so many great projects and alongside some seriously awesome artists.  What really opened my eyes was the show Atomic Puppet, because so much was in house. The scripts, story-breaks, boarding, character designs: it was all happening right there, and I was surrounded by talk of it. The development team went through what looked like over one hundred designs for the main character, all of them amazing, but only one of them right for the show. I didn’t realize that was normal and all part of the process! Working in an animation studio, you’re trained to do one thing, and do it really well. When your role is so specific, it’s easy to stay in that lane. Wandering out exposed me to so much of the process I didn’t see before.

What’s your favorite project you’ve worked on?

Oh man, Hilda, Atomic Puppet, The Loud House… the show I’m on is always my favorite! The one that I’m working on now - I’m not allowed to say what it is - I’m sure it’s going to be huge. I’m fortunate that the studios in Ottawa are pulling in these great projects.

What have you learned from your leadership roles?

When I started supervising, I thought it was about getting the show to be better. But it’s really about learning to work with different personalities, and bringing the best work out of these incredibly talented people. Helping everyone do their best is how you make the show better. I’ve learned so much from the people I work with, and how they work, frame by frame.

What are your favorite cartoons?

I loved Reboot and Beast Wars growing up. Living in Quebec, we had only one English channel, and my brother and I actually didn’t understand English—but we still watched Beast Wars religiously, not needing the dialogue to love it! Gargoyles, Batman Beyond, Kim Possible. Samurai Jack has best story pacing I’ve ever seen, with those long, slow swaths that just erupt into explosive action scenes. One day my older brother brought home a VHS he got from a friend that was loaded with action sequences from anime: Evangelion, Ninja Scroll, Akira, Ghost in the Shell - all the best from that time. It opened my eyes to this whole other world of animation, leading me to watch amazing shows like DBZ, Cowboy Bebop, Samurai Champloo, Naruto, FLCL, and everything from Miyazaki. On the modern end, I think We Bare Bears has the coolest hipster characters ever, and I also love Clarence, OK KO! and the Mickey Mouse shorts.

How about favorite artists and influences?

It’s always growing and changing.  I usually get obsessed with a couple of artists for awhile and then move on.  Right now I can't get enough of Louise Evans (the creator of Feltmistress)  and El Grand Chamaco. I'm always digging on tumblr or instagram to find new artists to follow.  But the main ones that really inspired me at the start are: Jamie Hewlett, Akira Toriyama, Craig McCraken, Genndy Tartakovsky, Katsuhiro Otomo, Kevin Dart, Bryan Lee O’Malley, Corey Lewis, Hiroaki Samura, Luke Pearson, Jen Lee, Bill Otomo, Jerry Frissen, Fabien Mense, Sam Bosma, Kali Ciesmier, Robert Valley. There are also a ton of mind blowing directors, designers and animators I’ve worked with over the years that have inspired me to no end.

Is “The Angry Little Cupcake” the show you would make tomorrow, if someone said “Yes! Make us a show!”

Yes! Either that or “Neighborhood Watch”. I’m really happy and proud of how those two are shaping up... there are also 2 others that I've been kicking around for awhile, and then an idea I want to turn into a movie script, and also an adult comedy with a writing partner that I'm super excited about—there are a ton of projects that I'm ready to start making!  I'll keep grinding after hours until I do get that "Yes! Make us a show!" moment. 

We end with how All began: Cupcake kissing a filthy burrito. Thanks so much for the chat, Mathieu! Can’t wait to see how all of your ideas unfold and come to life. And for all y’all: follow Mahieu’s tumblr here!

- Cooper

[isawyouwithaticketstubinyourhand]

Da Phish. Bakers Dozen. Jam Filled