Kerry Dyer On Stop Motion Puppet Maintenance & Model Making

23 July 2019 // Women in Animation

Aaron Wood

Marketing Director & Writer

Over the past 10 years, Kerry Dyer has gained a wealth of experience across multiple stop-motion projects for both TV and film: Ooglies, Fantastic Mr Fox,The Pirates! In an Adventure with Scientists, Chuck Steel: Night of the Trampires and Isle Of Dogs to name just few. Currently working in ‘Puppet Maintenance & Rigging’ on the latest series of The Clangers at Factory Create, Kerry took some time out to tell us how she got started in the industry, some of the projects she’s worked on, and her advice for anyone looking to start a career in animation, model making or puppet maintenance.

As we know, persistence is key to getting your foot in the door in this industry – how did you break through, and do you have any tips for new graduates?

So, I studied Animation at university. I was lucky enough to get a couple of work placements while still there. After I graduated I spent a year going back and forth between temp jobs to keep me afloat and working for free on internships, and volunteering at Encounters Festival.

I actually started out bouncing between jobs as an animator and puppet maker. Pretty much taking any animation job that was offered to me.

I think the most important thing I did was to listen to the feedback I was getting on my portfolio/showreel. I’d show it to anyone who would look at it; at the animation companies I interned at, at companies I e-mailed it to and at events. And eventually, when I interviewed at Aardman for the first time (I didn’t get the job), I made extensive notes on everything they said my portfolio was missing. I went away and made all new things; I made an entirely new portfolio in 6 months and managed to get another interview at Aardman. This time it worked! They were impressed with how much I’d done in 6 months, but I think, more impressed that I’d listened to them. I’d shown that I could take direction.

Over the past 11 years, you’ve had quite a varied career and have worked at a range of different companies around the UK. Could you tell us about some of the projects you’ve worked on and do you have a favourite?

Hmm, I’m not sure I could pick a favourite!

My first paid job in the animation industry was as an animator on a CBBC show called Ooglies! Series 1 and 2 were shot in Glasgow and, even at the time, as my first job I knew it was a pretty special production. It was such a close knit team, especially since the majority of the crew had moved to Glasgow for the 6 month shoot.

Another stand out project was Isle of Dogs. I was on the Puppet Hospital team for 2 years and running the department for the last 7 months of production. The look of the film was gorgeous! Our job on puppet maintenance was to repair the puppets, tension the armatures joints between shots, making background characters and one off items, and to make sure the puppets looked good to camera. Styling the fur, ironing creases out of costumes with mini-irons. I really loved the on set aspect of that job. And again I worked with a fantastic team in Puppet Hospital! You need such a wide range of skills to be able to deal with any issue that arises and they were the best!

Isle of Dogs Puppet Hospital team (Kerry, top row, second left)

What made you decide that animation – and specifically model making – was the path for you? Was this want you always wanted to do?

Actually I was always adamant that I didn’t want to work in animation, which is a weirdly specific thing for a kid to say. I grew up in a town near Bristol (where Aardman is based) and any time I made any sort of model or miniature something I’d get asked if I wanted to be an animator. And I said no, because stop motion animators sit in dark rooms all day!

What changed my mind was getting hold of a copy Stop Motion Pro on my art foundation course. It gave me the opportunity to make my own characters and tell stories.

The move to model making came after spending a lot of time making my own puppets and seeing different production methods on the jobs I had. I really wanted to learn every part of the process, initially so that I could make better puppets of my own, but then I really began loving being part of a team, working together, coming up with better solutions and better puppets. Plus, you get to see daylight!

Do you have any advice for anyone wanting to pursue a career in model making or stop motion?

If you want to be an animator, the 3 month animation course is excellent! These days it’s run directly by Aardman and the NFTS and I believe they also run courses in model making and production management too.

But more generally, having a solid portfolio of work and contacting companies about trainee positions or work placements is a good idea. Ask for feedback on your work as often as you can. And a phone call to check who to e-mail your work to is always a good idea before you send anything.

What is a typical day in the life of Kerry Dyer?

Right now, working on the Clangers, I do Puppet Maintenance and Rigging, which essentially means repair work and making sure the puppets don’t fall over! At this point Clangers is a well oiled machine. A lot of what I do is reacting to what the animators each need for their shots that day. So at the start of the day, I’ll check what’s in the ‘Clanger Holding Pen’ on my desk, kind of an inbox for puppets that have been on set. Work through any repairs, and generally check them over. And usually while I’m working on that I’ll get called to set to rig a puppet in place, make it so the Sky Moo can fly, or build something to help a Clanger jump through the planet hatches. I was also asked to help build a new character at the beginning of production, but I can’t say what that is yet. And I got to work on the Astronaut for the 50th anniversary episode of the Clangers, which is amazing!

I also make my own stuff in the evenings. Mostly custom vinyl and resin toys. You can find my work over at kerrymakesthings.com or on instagram @kezdyer

Kerry working on the female astronaut based on Dr Maggie Aderin-Pocock for Clangers ‘The Visitor’ episode

What’s the favourite part of your job?

Getting to work with such talented people! And turning 2D concept art into a workable 3D character; making sure it moves properly. Also, holding tiny props and pretending I’m a giant!

Finally, do you have any other advice you’d like to give budding creatives?

Taking it back to your first question, I’d say persistence is essential. You want to keep reminding people that you’re there. I’ve been offered jobs in the past because I happened to call on the day the company started thinking about hiring someone new. But also, people in animation companies move on, or change jobs, so you need to make sure that the person responsible for hiring in whichever company you’re looking at, knows that you’re available. Oh, and spreadsheets – seriously, they’re great. I keep track of contact info, who I spoke to and what we talked about, its useful in the long run.

You can follow the work of Kerry at her website www.kerrymakesthings.com or on Instagram @kezdyer and on Twitter @kerry_dyer