Gemma Kingsley on her work in film and design

During my second year of university, I learned about motion design, a subfield of graphic design I hadn’t considered when I first started the program. To me, motion design is “design brought to life,” combining technical skill and artistic instinct. Those wanted posters that place a film in the early 1900s and the superhero title sequences that defined the early 2000s, are just a few of the visual moments a motion designer might help create.

Few people navigate that space with as much clarity and curiosity as Gemma Kingsley. When I emailed her, we discussed everything from her creative process to the challenges that shaped her journey and the ideas that keep her work evolving. Our conversation offered a vivid glimpse into the film world and what it truly takes to make motion feel alive.

The interview has been edited and condensed for clarity.

TT: What influenced you to work in graphic and motion design? At what point in your life did you know that you wanted to work in this field?

GK: I enjoyed art and design at school. My degree involved motion design, and I enjoyed this. I decided I wanted to work in film when I was 20 years old, but at this point, I didn’t know which field, due to not knowing you could even do graphics in film at that time. It was not advertised in the same way as other jobs were.

TT: When I looked at the different projects you worked on, I noticed that you worked on various signage, typography, and UI. Would you say that you have a style? Is there a common theme or characteristic found in your work?

GK: No, there is no common theme or style. In film, you have to be adaptable to the requirements of the job, and if you can't do it, then you need to find someone who can. It is really all down to the job requirements.

TT: What inspires your work? Where do you look for inspiration or research on your projects? Is there anyone who influenced or inspired you as a designer?

GK: Every job is different because the script is always different. I usually research real-world technology or signage from whatever period the film originates to achieve the look of the film. I work with the production designer and set decorator, and if they have specific ideas from their own research, we work together to achieve what the production designer is looking for in the film. It is usually a collaborative process.

I loved watching films as a child. I would say Dante Ferreti influenced me a lot earlier on in my career, as I did some work experience on Sweeney Todd and saw his drawings, which were memorizing.

TT: Is there a project that you worked on which you felt was the most impactful to you or the audience?

GK: Black Mirror episodes - I get a lot of people contacting me about what inspired that work, and even people looking to create new technology from it.

TT: What does your creative process look like? How do you decide on which direction to go with a project?

GK: I research, then create a mood based on the research, which I show to the designer. He picks out areas he likes or sends me research of ‘looks’ that he likes, and I then created different designs and adapt to the changes as per the production designer.

TT: What is your favorite part of working in graphic and motion design?

GK: Seeing my work on screen, visiting the sets and seeing what has been created. Watching it all come together with the other departments, lighting, props, etc., I love the collaborative process. It is less about the ‘graphic design’ that I love, it is how this is immersed into the film environment to create the story.

TT: Did you need a good internship or work-study during university in order to have clients right after graduation? In this field, what is your advice on getting jobs and commissions?

GK: It does help as you meet people and get work from that. But it is very difficult to get those. I would advise to keep contacting people whose work you admire, improve your portfolio, ask questions about their advice and then show them that you have listened to their advice. At some point you will get a job based on that, which is what worked for me.

TT: Are you working on any projects now? Are there future projects or people that you would like to work with?

GK: I am working on a major feature film now. Yes, in future I would love to work on a Michael Mann film.