My interests have extended beyond animation into 3D character design for vinyl toys and IP creation. While these may seem like different paths, I’ve discovered they are deeply interconnected through storytelling, character appeal, and design thinking. Over the past few months, I’ve taken deliberate steps to prepare for industry opportunities that reflect this hybrid ambition.

I began by attending the “Preparing for Industry” and “Navigating My Options” lectures, which reshaped my understanding of the animation and design ecosystem. These sessions stressed the importance of professional branding, building a targeted showreel, understanding contract negotiations, and planning freelance careers, all of which are directly applicable to both animation and toy design careers.

To engage with the broader creative community, I attended London International Animation Festival 2024 and London Short Film Festival 2025. These events gave me insights into current trends, such as the resurgence of hand-drawn aesthetics and experimental storytelling formats. I interacted with creators exploring character driven storytelling and material-based animation, which helped me reflect on how character design can live beyond the screen, as both cultural icon and merchandise.

Submitting work to Pictoplasma 2025 was both challenging and motivating. Although I wasn’t selected, I received informal feedback from one reviewer suggesting my character lacked a distinctive “emotive hook”—a reflection that pushed me to revise my design language. I’ve since submitted my graduation film to the Student Academy Awards (May 17) and continue scouting other festivals for future submissions.

Networking has also played a vital role in my growth. Through the course, I connected with UAL alumni Michael Leung and Chris Colman. Leung shared that the UK offers a better work-life balance and slower production cycles, allowing space for creative thinking. Colman emphasized that both the UK and China host world-class companies, and that success often depends more on personal adaptability than location.

Most excitingly, in April, I secured a freelance role designing IP characters for a tech company in China. My task is to develop two mascots, each with diverse expressions and action poses for use in the branding of a new product app. The fully remote project, due for delivery on June 1st, has offered me a clear window into the professional workflow: from client brief, design iterations, feedback rounds, to final asset delivery. This experience has deepened my appreciation of both creative and business dynamics in IP-based design. While I succeeded in meeting deadlines and pleasing the client, I noticed a tendency to compromise my design language for the client’s taste. This tension has since become a focus in my ongoing self-study on how to balance voice with flexibility.

Despite training in character animation, my growing portfolio and professional engagements reflect a wider vision: telling stories through characters, whether animated or physical. UAL’s career support, combined with industry exposure and freelance practice, is enabling me to merge these ambitions and position myself as a multidisciplinary character designer. This journal marks not an endpoint but a snapshot of transformation in an informed, self-critical, and future-facing process.

References:

• Pictoplasma (2025) Pictoplasma – Contemporary Character Design and Art. Available at: https://pictoplasma.com (Accessed: 17 May 2025).
• Academy of Motion Picture Arts and Sciences (2025) Student Academy Awards. Available at: https://www.oscars.org/saa (Accessed: 19 May 2025).
• London Short Film Festival (2025) London Short Film Festival. Available at: https://shortfilms.org.uk (Accessed: 20 May 2025).

For the Chinese market, I am using BOSS Zhipin (China’s leading direct-hire job platform) to explore job opportunities and stay updated with recruitment postings from animation and toy design companies. I also regularly check company career websites and school recruitment channels. I have prepared a Chinese version of my CV, which aligns with regional expectations while highlighting my international education and skills in animation, 3D modelling, and visual storytelling.

To support both markets, I have an updated showreel tailored for animation studios and IP design roles. My portfolio includes short films such as “Be Yourself”, “Fake Truffle”, “Red Scarf”, and the London International Animation Festival trailer “A Crocodile That Wants to Be Pink”, where I served as director and led a creative team. These projects demonstrate my ability to work across pipelines — from concept art to rigging, 3D modelling, and final compositing.

This process has not been linear, but iterative. Each application, rejection, and conversation has sharpened my ability to communicate who I am, not just as a candidate, but as a creator with a story to tell and a brand to build. Next, I will update all my self-promotional materials to include my graduation film, which represents my most refined creative and technical work to date. I also plan to revise my CV once more to better highlight my leadership and IP creation experience. Additionally, I will continue building connections through both online platforms and networking opportunities, such as career fairs, alumni events, and animation festivals.

References:

• Gao, J. (2025) Jing Gao – 3D & 2D Animator. Available at: https://jinggao.cargo.site/ (Accessed: 20 May 2025).
• Kanzhun Limited (2025) BOSS Zhipin – China’s Leading Online Recruitment Platform. Available at: https://www.zhipin.com (Accessed: 19 May 2025).
• London International Animation Festival (2025) London International Animation Festival. Available at: https://www.liaf.org.uk (Accessed: 25 May 2025).
• Vimeo (2025) Vimeo Help Center. Available at: https://vimeo.com/help (Accessed: 17 May 2025).

In the UK, IP character designers often work closely with animation studios, game companies, and licensing firms, emphasizing narrative, originality, and global market appeal. The UK value’s distinct visual identity and often merges character design with transmedia strategies. Vinyl toy culture is more niche, rooted in independent art toy creators and collectible markets like DesignerCon or ToyCon UK.

In contrast, China’s designer toy industry is experiencing rapid growth. The market size of China’s designer toys is expected to exceed 110 billion RMB in 2026, nearly doubling from around 60 billion RMB in 2023. POP MART alone achieved a revenue of 13.04 billion RMB in 2024, reflecting a year-on-year increase of 106.9%. Design trends are often shaped by consumer data, with younger consumers driving demand for personalised and stylised collectibles.

Considering my future, I’ve weighed both the UK and China in terms of work opportunities, environment, salary, and lifestyle. The UK offers a mature creative industry, strong IP protection, and a multicultural environment, but work visas and relatively high living costs are challenges. Salaries may be modest, especially in junior roles. China offers rapid industry growth, especially in the toy and tech sectors, competitive salaries, and proximity to family. However, the creative industry can be fast-paced and commercially driven, with less protection for individual creators.

Rather than choosing between them, I developed dual strategies:

• Plan A (UK focus): I will continue applying to studios such as Blue Zoo and Aardman, expand my professional network on LinkedIn, attend animation festivals like Annecy, and apply for a Graduate visa to gain local work experience. I will also seek opportunities to collaborate with indie toy designers or start self-initiated projects targeting the UK art toy market.
• Plan B (China focus): I will return to Shenzhen, attend local design expos, apply to companies like 52TOYS and POP MART, and leverage local platforms like BOSS Zhipin. I will also explore launching a personal vinyl toy brand, combining Western aesthetics with Eastern storytelling to appeal to a broader audience.

To support my research and planning, I’ve taken several steps. I have set up professional profiles on both LinkedIn and BOSS Zhipin, begun actively applying to companies in both countries, and reached out to industry professionals. Chris Colman, a British animator with China experience, told me that both countries offer outstanding studios and exciting opportunities. 3D animator Fung Michael Leung emphasized that working in the UK has allowed him to maintain a better work-life balance, which is something I deeply value.

Ultimately, I aim to make a final decision based on early job responses and visa conditions. By actively exploring both paths and building on what I’ve learned at UAL, I hope to position myself for a fulfilling international career in character design. A hybrid career might involve freelance collaborations, international licensing, and dual-market IP rollouts. My priority now is to stay adaptable while letting early job responses and legal conditions shape my final decision.

References:

• Xinhua (2025) ‘From designer toys to AI creations, Chinese toymakers go global with innovation, originality’, China Daily, 15 April. Available at: https://www.chinadaily.com.cn/a/202504/15/WS67fe0c3aa3104d9fd381f690.html (Accessed: 17 May 2025).
• PR Newswire (2024) ‘POP MART Releases 2024 Financials: Revenue Surpasses 13 Billion RMB, Net Profit Reaches New Peak’, 26 March. Available at: https://www.prnewswire.com/news-releases/pop-mart-releases-2024-financials-revenue-surpasses-13-billion-rmb-net-profit-reaches-new-peak-302412989.html (Accessed: 20 May 2025).
• ToyCon UK (2025) ToyCon UK – The UK’s Only Dedicated Designer Toy Convention. Available at: https://www.toyconuk.com (Accessed: 17 May 2025).

Through research, I discovered that vinyl toy design requires more than just 3D skills. A designer must understand branding, storytelling, market positioning, and licensing. My training in anatomy, 3D modelling, and animation, using software like Blender, Maya, C4D, and Rhino, gave me a solid technical base.

My earlier working experience in China, as a designer assistant, helped me understand user research, branding, and visual production. Later, directing the LIAF promotional animation allowed me to lead a team and create a marketable original IP. These experiences showed me the importance of consistency and narrative in character design.

Although I initially believed I had already developed the right skill set, the experience of leading a project from concept to execution revealed deeper challenges. I struggled to align the character with market trends, merchandising potential, and cross-media scalability. This helped me understand that sustainable IP design demands more than execution skills—it requires a cultural and strategic lens.

To expand my understanding, I’ve started studying artists like Kenny Wong and Amanda Visell, analysing how they fuse personality, narrative, and visual language to build enduring character brands. Simultaneously, I am sketching and prototyping my own small-scale IP with the goal of testing its resonance both digitally and physically.

This process has given me clarity and confidence. I now understand the multidisciplinary nature of this role, and I am actively aligning my skills and experiences to fit the demands of the industry. Rather than viewing my career as either animation or toy design, I now see myself as an IP storyteller operating across platforms.

References:

• PR Newswire (2025) ‘POP MART Releases 2024 Financials: Revenue Surpasses 13 Billion RMB, Net Profit Reaches New Peak’, 26 March. Available at: https://www.prnewswire.com/news-releases/pop-mart-releases-2024-financials-revenue-surpasses-13-billion-rmb-net-profit-reaches-new-peak-302412989.html (Accessed: 19 May 2025).
• Kidrobot (2025) Kidrobot – We bring art to life. Available at: https://www.kidrobot.com/ (Accessed: 17 May 2025).
• Visell, A. (2025) Amanda Visell – Official Website. Available at: https://www.amandavisell.com (Accessed: 20 May 2025).

Kain is an animation director based in London with her own studio. She focuses on creating animations with puppetry performance. Here’s what she shared during our chat:

1.What’s your role in animation, and what do you do?

I’m an animation director. Usually, it starts with pitching to get a project. Once we get it, I build a team, plan the production with storyboards, set up the pipeline, and then start making the animation.

2.Why did you choose animation as your career?

I studied media design in China for my bachelor’s, and then interactive arts in the UK for my master’s. I got into puppetry and started making puppet-based animations. In 2022, I signed with Passion Pictures and began working on theater puppet projects.

3.What’s the animation industry like now? Has AI impacted your work?

The industry is growing. My clients are mostly from the US, which is a great market for animation. If you’re into 3D, looking at the US market might be worth it.

AI has made my work faster and easier. Tools like Adobe with AI features help me with scripts, materials, and even brainstorming ideas. For short commercial projects, AI really helps me maintain quality in tight deadlines.

4.What’s different about animation in London versus other places?

In the UK, traditional techniques like stop-motion are more popular because they have a unique tactile feel. Internationally, especially in the US, 3D animation is huge. I’m experimenting with combining CGI and puppetry.

5.How can internships help break into animation?

Email studios, send your portfolio and CV, and tell them what you want to do. Work on different commercial projects to learn how things work.

6.What should I focus on when making my portfolio?

Keep it clear and simple. Put your best project first. Show two pages per project—one with a finished screenshot and animation link, and another showing how you made it. Don’t forget to include your CV and a few extra skills.

7.Any advice for someone about to graduate?

Try different things! If you’re into 3D, apply to tech companies like VR/AR. Go to festivals and reach out to 3D artists you admire.

Reflection and Summary

Talking to Kain gave me so much clarity about my future in animation. She encouraged me to explore various techniques and learn about the international market.

She also recommended Pictoplasma, a festival in Germany focusing on character design. I’m excited to explore opportunities like this to connect with professionals and learn more about the industry. Moving forward, I’ll focus on improving my portfolio, trying internships, and looking for ways to combine creativity with new technology. Kain’s journey reminded me to stay curious and flexible which will keep in

The London International Animation Festival (LIAF) is a premier event celebrating the art of animation, showcasing a diverse range of short films, features, and experimental works from global talents through screenings, workshops, and panel discussions. In the LIAF programme, I successfully pitched for the position of director for the sting of Playing with Emotion programme. And led my team to successfully deliver the client’s needs within the limited project timeframe. This project has given me some inspiration and reflection on the position of animation director. This project has given me some inspiration and reflection on the position of animation director.

Enhancement of my personal competence during project practice

This project marked the first formal and well-developed endeavour in my academic journey, making it a significant and meaningful practical experience for me. I had to pitch my ideas to the client, and after being selected, I let my team from the initial concept through to the final production. During the preparation phase, I continuously refined and rehearsed my presentation to enrich the story and ensure the client could clearly understand my vision. This process not only strengthened my communication skills but also made me realize that I excel in this area.

During the production process, this project challenged me in multiple areas and pushed me to continuously improve. Among all the skills I developed, I believe the most valuable were my communication and leadership abilities.

In collaborating with my three teammates, I needed to work closely with each of them, understand their individual strengths, and assign tasks accordingly while establishing a clear production workflow. To ensure everyone could fully grasp the project’s objectives and our desired visual effects, I used clear and straightforward communication to convey our vision effectively.

Time management also played a crucial role in the success of the project. I created a detailed schedule and task allocation plan, which not only helped each team member understand their responsibilities but also ensured the smooth and timely progress of each stage. This experience significantly enhanced my ability to plan meticulously and execute efficiently.

Inspiration and Reflection on Human Relationships

Our composer is a friend of one of our team members and a previous collaborator. This close relationship has significantly enhanced our team’s communication efficiency, allowing us to start considering music production early in the project. This experience has made me realize that, beyond creativity and technical expertise, expanding one’s network is equally crucial. Building connections with professionals from diverse industries is often a key factor in ensuring a project’s success.

I went to Playgrounds In Motion London Fastival on 11^th October to stay up-to-date with the animation industry and participate in portfolio reviews. Playgrounds in Motion London is an inspiring animation and creative arts festival celebrating cutting-edge motion design, CGI, and visual storytelling. It showcases works from top artists, animators, and studios, featuring talks, workshops, and portfolio reviews. This experience allowed me to get feedback from the industry and to better understand the requirements of a career as a 3d character animator.

Portfolio Review

I met Tim Booth from Treatment Studio. Treatment Studio is a creative production company specializing in crafting high-quality visual effects, motion design, and immersive storytelling for film, advertising, and live events. Based on what Tim does and his experience, he can give me more professional advice about CGI.

After looking at my portfolio, TIM thought I had a strong personal style, a well-conceived story, and original character designs. He suggested me to learn more tools for producing CGI such as C4D, which is also what they are using in the industry. Trying to find an internship and taking part in some commercial projects is what I should do at this stage. This will give me a better understanding of how people work in the industry and familiarize me with the process of producing mature work.

Visit Nexus Studios

I visited Nexus Studios on 26^th of September. Nexus Studios is a creative studio known for innovative storytelling that blends animation, interactive technology and immersive experiences to produce content for film, advertising and digital platforms.

During the studio tour, I was able to take in the work of the best studios in the industry and learn about the work they are doing and their goals for the future. This gave me a clear understanding of the kind of people the industry needs. I learnt that they have increased their production of 3d work in the last few years and that they use advanced 3d technology and build their own AI models to create a great user experience. This excited me and I learnt that the industry is increasing the demand for 3d producers.

Reflection and Planning

Over the next Christmas break, I plan to learn more about the software and tools I will use at work. Learn more about how the process of taking a project from idea to realized output at work differs from project production at school. In the meantime, I will be revising my portfolio based on the advice I have received and trying to contact interested studios and artists for employment opportunities. Of course, being aware of the latest technological developments helps a lot in 3d production as well, I need to learn more about AI, VR and AR.

As a soon-to-be graduate in character animation, my career plans align with my academic and creative experiences. During my undergraduate studies, creating 3D effects for performance and fashion fostered my passion for characters and their stories. Pursuing an MA in Character Animation allowed me to deepen my expertise in character creation and storytelling. Among the technologies I’ve explored, CGI remains my strongest and most loved area, enabling me to bring rich imaginations to life.

3D Character Designer: Research and Insights

To achieve my career goals, I have delved into the responsibilities and skills required to be a 3d character designer. 3d character designer responsibilities include conceptualising characters, converting 2d ideas into 3d model designs, and refining details such as textures and materials. Proficiency with tools such as ZBrush and Maya is required and is vital for modelling sculpting and texturing. Additionally, an understanding of the binding skeleton and animation process makes it easier to collaborate with other departments. Excellent creativity, technical refinement and strong communication skills are key to becoming a 3d character designer.

In the UK, I am particularly inspired by studios like Framestore, Blue Zoo, and Aardman Animations, which produce groundbreaking character-driven projects. Artists such as Mike Hill, who specializes in stylized characters, and Tom Bancroft, a renowned character animator and designer, are what I want to be in the future. The demand for 3D character designers is growing, driven by advancements in gaming, films, and virtual reality, making the UK an ideal place to pursue this path.

Discovering Animation Direction

My experience at MACA inspired a new passion for directing animation. During the LIAF programme, I discovered that I was good at selling my ideas competing for the director’s position. During the production process, I discovered that as a director myself I have a talent for leadership and communication and can facilitate teamwork and efficient workflow.

The position of Animation Director involves overseeing the entire production process from concept development to final delivery of the finished product. They lead every stage of the creative process, working closely with producers, animators, storyboard artists, and everyone on the creative team to ensure that the final product is as good as the original concept. Key skills include idea conceptualization, team communication and delivering work within a limited timeframe and budget.

In the UK, lots of directors like Nick Park, who created Aardman’s iconic “Wallace and Gromit” series, and Joanna Quinn, known for her impressive animation. They merge art and direction into culturally significant works, which motivated me to explore this career further.

Reflection and Future Steps

In the future, I plan to strengthen my animation production skills, expand my network by visiting studios and film festivals, and seize opportunities to lead creative projects whilst producing compelling characters. The UK’s thriving animation and visual effects industry provides the perfect platform for me to grow and make a meaningful impact.

Pixar Animation Studios is a pioneer company in innovative animation. Its work is known for its use of advanced technology and for bringing inanimate objects to life. Pixar was founded in 1986. Founders such as Steve Jobs and John Lasseter transformed it from a company selling computer hardware into an animation production company. It was they who ushered in a new world where art and technology complemented each other.

Early Pixar animation works were mainly experimental computer animation, such as “Luxo Jr.” (1986). In order to survive and be known, they also produced commercials for their clients. These works not only showed the infinite possibilities of computer-generated imagery (CGI) but also introduced the audience of the time to this new type of animation.

The collaboration between Pixar and Disney in the early 1990s was a pivotal moment that led to the creation of Toy Story (1995), the world’s first full-length CGI film. The film is one of the most important works in the history of animation. Not only did it gross $370 million at the box office, but it also helped to build the audience for Pixar’s later animations. Pixar continued to produce successful animated films such as “Monsters, Inc.” (2001), “Finding Nemo” (2003), and “The Incredibles” (2004).

Throughout such processes, Pixar stays true to its purpose of innovating and exploring everything. They use advanced technology to depict interesting stories. Their love of animated films has led them to break the “second product syndrome” and win accolades such as the Academy Award.

In 2006, Disney acquired Pixar, combining Pixar’s creative storytelling and technical innovation with Disney’s rich animation heritage. This partnership has enabled Pixar to continue to produce films beloved by children and adults alike, exploring complex themes of identity, family and belonging with humor and sincerity.

Today, Pixar is a milestone in the history of animation. Pixar’s movies are more than just entertainment; they are cultural touchstones that resonate with audiences around the world. They are the ones who wrote the story of how technology and animation complement each other.

Pixar’s Official Website: https://www.pixar.com/ • Offers details on Pixar’s filmography, company history, and news.

The Walt Disney Company: https://www.thewaltdisneycompany.com/
• Provides information on Disney’s acquisition of Pixar and their collaborative projects.

Books:
• “Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration” by Ed Catmull, a co-founder of Pixar, provides insider insights into Pixar’s creative process and management philosophy.

Documentaries:
• “The Pixar Story” (2007), directed by Leslie Iwerks, offers a documentary perspective on the history of the studio.