During my BA studies in the UK, I had the opportunity to visit Nathan Ward’s ASC Studios, an experience that gave me a unique understanding of how cross-media approaches influence professional animation practice. Nathan is a paper image maker, set designer and director whose work combines handcrafted materials with digital tools such as Blender. Observing his studio offered a valuable perspective on how physical craft can shape visual language in both animation and commercial production.
Industry Sector & Practice Context
Although Nathan’s work is not traditional feature-film animation, his practice sits at a critical intersection of visual development, set creation, stylised modelling, and cross-disciplinary design. This type of craft-driven workflow is increasingly relevant in London’s animation and creative industries, especially for studios that value distinctive aesthetics, tactile detail and artisanal qualities. Nathan has worked with institutions such as Jo Malone, Royal Opera House, G.F Smith and multiple commercial brands, demonstrating how handcrafted elements can influence high-quality visual production.
Heading Professional Roles Observed
Through this visit, I gained insight into several industry-relevant roles:
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Set & Prop Designer – designing physical sets or sculptural models that influence the look of animated scenes
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Paper Image Maker / Craft Artist – creating textures, shapes and silhouettes that later inform digital assets
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3D Modelling Artist – using Blender to convert handcrafted forms into digital structures
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Visual Development Artist – exploring style, form and atmosphere through physical experimentation
Nathan’s workflow blends physical and digital methods. For example, he often sculpts with paper to explore structure, then scans or recreates these forms in Blender as templates for 3D builds. This approach highlights how hybrid pipelines can shape animation aesthetics, especially in stylised storytelling.
Professional Practice Insight from the Studio Environment
Nathan’s studio was filled with unfinished sculptures, laser-cutting materials, tools, and remnants of past projects. This setup made me realise how much professional creative work relies on iteration, experimentation, and material research. He described how physical making helps him maintain a strong sense of form and texture—qualities that are just as important in digital animation.
This also aligns with current industry trends where studios integrate hand-crafted textures, analogue references or miniature sets into CG workflows to create more emotionally resonant visuals.
Reflection on Professional Development
For my own practice as a character animation student, visiting Nathan Ward’s studio expanded my understanding of how material-driven design and stylised modelling can influence performance animation. Observing his process helped me recognise the importance of:
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understanding material behaviour
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analysing silhouette and structure
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translating hand-crafted aesthetics into digital characters
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developing a unique artistic voice
While my MA focuses on performance and movement, I realised that a character’s design, physical form and visual texture significantly affect how animation reads on screen. This experience encouraged me to think more holistically about animation—beyond movement alone.
Working in London, where such interdisciplinary practices are common, would allow me to further integrate craft-based thinking with character animation, enriching both my artistic direction and future career potential.
References
Nathan Ward – Official Website / Portfolio.
https://www.nathanwardmakes.com/
ASC Studios – Official Site.
Celebrating 30 years supporting artists and makers
Ward, N. (2023). Paper Image Making & Blender Modelling – workshop notes/interview.
Instagram – Nathan Ward’s Studio Updates & Craft Process.
https://www.instagram.com/
My own BA PDP (Studio Visits PDF) – Primary Source Document.