We caught up with the brilliant and insightful Jill Halliday a few weeks ago and have shared our conversation below.
Alright, Jill thanks for taking the time to share your stories and insights with us today. What’s the kindest thing anyone has ever done for you?
Kindest thing someone has done for me
I am going to assume that this question is referring to my professional life. Picking one is a big ask. There have been so many kindnesses since having to leave my career in animation.
But. The kindness of one particular colleague stands out as it was a long game, and hard on both of us. There was a time in my life only a few years ago when I was suffering staggering losses, and was literally inside out with despair and self loathing. This person, this powerhouse, this incredibly successful, creative, driven, positive Pro had a dream to assemble ten professional Canadian artists, Brand them, and Show as a group, and wanted ME to be one of them! WOW! AMAZING! I couldn’t believe it!
So naturally I said no.
And this is where the kindness started.
This person was incredibly hard on me! They didn’t accept my “no”, and went on to challenge every aspect of my capabilities as an “artist”. You see, I identified, and still do, as an “animator”, not, back then, as an “artist”. COMPLETELY different animals. The learning curve for me was steep, took time, and remember. I was “inside out with despair and self loathing”! My recovery was slow, and this person never, EVER, gave up on me. If it was not for them, I would not be doing the art that I’m doing today. Hands-down. This person’s steadfast patience, generosity of time, infectious enthusiasm for my art and artists’ successes single-handedly got me drawing and working as an artist for the first time in my life.
Her name is Eileen Hennemann, Creator and Caretaker of
The Ten Collective
She. Da. Boss.
Lucky me. :)
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
I’m a classically trained Animator. You know. Old school. Pencil on paper. Film? It’s all I ever wanted to do, and I was one of the lucky ones because I had parents who fully supported that goal. After graduating from the Sheridan College Classical Animation Program in 1983, I moved from my home in Toronto to Ottawa, then in 1986 to Almonte. I enjoyed a long career in the animation industry, incorporated in 1994, and worked for various international studios, including Nickelodeon, Walt Disney, Universal, and Warner Brothers. I wasn’t always animating. There are many, many stages from concept to screen, and one of them is called “Sheet Direction”. This is the preproduction stage that comes after storyboarding and the voice recordings, and describes in extreme detail how to animate each scene. (because it will be sent overseas) The soundtrack is broken down frame by frame and transcribed onto sheets of paper which have columns representing the single frames of film. There are twenty four frames (drawings) per second of film. Yep. Twenty four drawings per second. The sheet director listens to the recording of the voice actor, then frame by frame, describes the action of the acting they want and how that will look by doing rough sketches, the poses, the actions and facial expressions, and any and all camera moves and special effects. I loved this work. After animating, this was a joy to do. Working rough is fun, and timing is something I love to do. Good timing can be the difference between a mediocre bit of stale acting, or a nice punchy delivery with bright eyes and the illusion that this character is alive! My work took me to a few great places. Hollywood, New York City, Berlin. Scarborough. In 1994, I was honoured with an Emmy from the National Academy of Television Arts and Sciences for my work on “Where On Earth Is Carmen Sandiego?” The best time I ever had was animating on Seasons One and Two of “Ren & Stimpy”. I learned so much, and had a great time in the process. During my 20-plus years in the industry, I remained steadily employed but for the usual gaps between contracts.
In 2002, just days after my fortieth birthday, I underwent emergency brain surgery. The fallout abruptly ended my career and forced me into intense physical therapy. Over the next few years, I would relearn how to walk, talk, and how to hold a pencil.
I continue to work from my Almonte Studio. Today, my drawings and paintings hang in private collections from Almonte to New Zealand. I am presently an active and proud original member of The Ten Collective. We are a group of artists brought together, branded, and promoted by Creative Eileen Hennemann. (Logo by Allan Stanley). My passion was, and still is, the intimacy between pencil and paper. My goal is to create small works that draw people in, up close, to make a connection with the subject. I try to do, in ONE drawing, what I used to do with HUNDREDS, and that’s to make you fall in love with an illusion. It has to tell a story.
That single drawing has a big job to do, and it’s my job to find that drawing.
Can you tell us about a time you’ve had to pivot?
Animation was my calling, and like most animators, artists, and many other Creatives lucky enough to make a living doing their work, I never thought I would retire. I loved what I was doing, and I lived and breathed animation. All my friends did, too! Tons of us were at Sheridan College together, then moved into the industry in the 1980’s. Oh my gawd. What a charmed time that was for us. All we did it seemed was work, party, play, laugh, draw, and immerse ourselves in everything animation. It was ALL we talked about. And there was artwork everywhere, taped all over the studio’s walls, stairwells, and halls. Cartoons, caricatures, life drawings, cards, and upcoming Party posters! And so much laughter, too. As years passed, people moved on, many finding incredible and much deserved successes at studios all over the World. I incorporated, and worked from my home studio in Almonte, Ontario.
The “pivot” was initiated suddenly in March of 2002 after an unexpected twelve hour emergency brain surgery. I spent the following two years in physical therapy. I did not get a full recovery, however, I’m still in my home in Almonte, and am now doing my own art thanks to the fellowship and support of the artists/members of The Ten Collective.
I miss being an animator. I long for it. I know I’m being a baby and all that, but I wasn’t ready to stop. Hell. I was just getting started!
But it’s okay because I am surrounded by great people who literally raise me up and keep me drawing. Hell! I’m just getting started!
In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?
Buy original art. Buy original art and handmade goods. Get in your cars, onto your bikes, into your shoes, onto Public transit, grab the dog, your partner, your crush, or simply your self, and get the hell to galleries and shops that sell original art and the things created by makers.
That’s Step One.
Step Two:
When you fall in love with that chunky little $90 original painting, do not automatically tell yourself “it’s too expensive” or, “you don’t need it.”
Of course you need it “IT” is THE STUFF OF LIFE. Original art feeds the World’s soul, and YOUR soul. When you stand in front of a work that speaks to you, I promise, when you get it home, it will feed your soul with warm, life enriching light every time you look at it, just like it did the very first instant you fell under its spell. That feeling never fades. That painting will lift you up absolutely every time your hurried self suddenly pauses to gaze at it, your beloved artwork, to share a moment together. And, it’s an unparalleled and incredibly creative way to cover that bad drywall patching job you did last summer.
As for the cost? Well, as long as the kids and pets are fed and comfy, I say go for it! To date, my dog loves every creative investment I have ever made.
True story.
Contact Info:
- Instagram: jillhalliday.art
- Other: thetencollective.com https://www.thehumm.com/online/article.cfm?articleid=3493
Image Credits
Jill Halliday