Exploring Motion Design: Insights from Gemma Kingsley’s Two Decades in Film

I first learned about motion design in my second year of university, a subfield of graphic design I hadn’t considered when I began the program. To me, motion design is “design brought to life,” combining technical skill and creativity. Those wanted posters that date back to 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. With approximately 20 years of experience, she studied Graphic Design and Technical Illustration before earning a Master of Arts in Production Design for Film & Television. 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 glimpse into the film world and what it truly takes to make motion feel alive.

Kingsley worked on the series, Black Mirror (2016) NOSEDIVE

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?

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.

TT: Is there anyone who influenced or inspired you as a designer?

GK: 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: 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: How do you deal with or think of the deadlines on some projects? Do you have any advice for dealing with deadlines?

GK: You always have to meet the deadline, no matter what the job is. You work on it by being organized. If you are not organized, then you will not make the deadline or be terrible to work with. In film, you cannot miss the deadline due to the cost of filming.

TT: Did you ever have a point in time when you wanted to give up on your work? Is it easy to get discouraged, and how do you bounce back?

GK: Yes, many times I was rejected when sending emails out to get work. You have to handle rejection; otherwise, you will fail at your dreams. Eventually, you succeed, but you have to be prepared to fail and to be rejected a lot along the way.

TT: What do you feel determines if your work is successful?

GK: If nobody calls me to tell me something is wrong! Ha ha generally people recommend me a lot, and I am always working, and people like to keep me for their next job, this is generally how I determine I am good at my job. I keep getting called.

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: Is there a project that you worked on that 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 kind of people and clients do you work with? What is some advice when taking on projects? If any, how many aspects of design or creative freedom do you have to sacrifice for the sake of the client?

GK: All kinds of people! There is not one kind. But usually good people who are fun to work with. You are always sacrificing your creative freedom because it belongs to the production designer; you cannot take your job personally. You get paid to do what the client wants. But some films are just a pleasure to work on, period style films especially.

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 you 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 the future, I would love to work on a Michael Mann film.

This interview was conducted via email in November 2022 for a college paper and has been edited and condensed for clarity.