How did you become an animator and director?

Visual arts runs in my family from my Dad being a goldsmith to my grandparents being architects and illustrators so a big part of me thinks that it was written in the cards. My parents say that I would come home from school and before I could have a snack, or tell them how my day went, I had to go up to my room and draw a picture of something that was stuck in my brain that needed to come out. I had always said “I am going to be an artist” growing up. I remember seeing the movie Beauty and the Beast, and that is the moment that I really felt like animation was where I wanted to go in my career. I would spend hours trying to recreate the Candlestick!!!

I earned my BFA Honours before heading to Vancouver to get my Animation degree. From there I worked my way up in all areas of animation, including storyboarding, design, rigging, animation, and animation directing before becoming director, which I love more than anything-mostly because you get to touch all stages of the creative process.

What was your favorite TV show when you were growing up?

I only had one channel growing up so that really dictated what I was watching! When I was very little I was one of (what I think) the lucky kids and had kindergarten in the afternoon, which meant I could watch Sesame Street and Mr. Dressup (Canada’s version of Mister Rogers) before school. When I got a little older, my go-to shows were The Smurfs, He-Man, Degrassi, The Raccoons, and sometimes I could get a very fuzzy version of Wonder Woman if the weather was good!

What is your favorite episode of Through The Woods?

How am I supposed to pick??? I love so much about Through the Woods -- if you hit pause at any given moment in any episode I will love it. It looks like a storybook come to life! Marie [Thorhauge] did such an excellent job coming up with the look of the show. I will forever be “Team Wolfie.” I think my favorite episode is “A Snowy Morning,” followed closely by “Fairies & Fireflies.” In “Snowy Morning,” I can just feel the cold. I love the absolute silence of winter when the world is covered in snow, only being interrupted by the crunching snow under your feet or the sound of a bird in the distance, and I thought Rider running through the woods captured that perfectly. I see deer often on my drive into the studio and am reminded every time about this episode. The colors in “Fairies & Fireflies” are brilliant. I love being outside when the sun is setting and have seen many fireflies with their “lights coming out of their bottom.” (giggle)

How has making the show changed the way you engage with nature and the outdoors?

I was lucky enough to have been raised in a small village surrounded by the woods. Most of my childhood was spent on what was called “The Nature Trail,” which was trails through the woods surrounded by a large creek. I definitely drew on this particular area of Midhurst for reference during this season. Rider and I would have for sure explored this area together.

I spent a lot of time camping and exploring the outdoors growing up and worked in a Provincial park in high school and university, which continued to hone my love of nature. I still think of Algonquin Park as a second home and to this day spend several weekends every summer canoeing though the lakes.

Since “Through the Woods,” I do find myself examining more nature, and when I see an animal outside, I wonder how Rider and Wolfie would engage with them. I am confident that that Wolfie would manage to avoid a skunk, but would still think it was pretty cool. I don’t think that Ellen (Doherty, the creator and executive producer) gets bored of me texting her lines from the show when I see any animal that Rider has visited in the show!

 

How did you become a costume designer?

I became a costume designer by happenstance! I wanted to be a sound engineer, but out of college the only positions available in theater were in costuming. I’d always sewn, having been taught by my mother, and was interested in fashion and design, so working with costume and design just came naturally. I was always putting together wild outfits as a kid/teen, ah who am I kidding, as an adult as well. I taught myself to sketch and express my ideas, and I was already a fabulous shopper as evident by my vast personal wardrobe, so it all came together along with hard work and learning from other costumers with more experience.

What was your favorite television show when you were growing up?

I had a few – during the daytime I’d watch Days of our Lives (my mother used to joke she thought I would become a dramatic actress). At night, I was a HUGE fan of The X-Files, Unsolved Mysteries and Star Trek: The Next Generation. I have always had a fascination with drama and fantasy looks.

What are the steps that go into making a costume?

Lots of steps go into the making of a costume, and it usually repeats the same format every time. I start with cues from the character descriptions and actions in the script. I then interpret what I’ve read and present a design through sketches, reference images and fabric swatches.

After executives and directors approve the looks, there are two paths – one down the route of building it from scratch, which would then be taken on by my cutter, who creates the patterns for the garments from my sketches. We measure the actor, buy the fabrics and notions. Sometimes we make a mock up – this is a way to figure out fit, drape and overall look of the costume using muslin (an inexpensive cotton), as the “real” fabrics tend to be pricier and we don’t want to be wasteful. After a fitting or two, the garments (if required) get broken down before the final product makes it to camera.

If it’s not a build, then it’s a store purchase, and I’ll set out shopping. Sometimes, we have to alter a purchased garment so that it fits within the overall design of the show. We might tea dye it, or remove pockets or make it look worn using paint.

What is your favorite costume that you’ve made for Odd Squad?

A favorite Odd Squad costume, isn’t that like asking who your favorite child is!? Lady Bread was one of my favorites because the only direction I was given was, “she has bread for hands”. Using the inspiration of Marie Antoinette, I set out to create a regal bread basket look. Around the corner from our studio was a fabulous bakery, where I purchased $35 of fresh bread to make her look. I cut the slices in half, dried and lacquered them, and then applied them to the crinoline base. Big loaves were hollowed out to make room for the actor's hands. Over twelve yards of fabric are in her skirt, which was in line with the excessively elaborate nature of the 18th century way of dressing royalty.

What are you going to be for Halloween?

I’ll be honest with you – everyday is basically Halloween, so I usually don’t dress up myself. I love to see what the everyday person comes up with using cardboard, paint, found objects and balloons. One year, someone covered themselves in balloons to make up the chemical compound of the influenza! Another year, I saw a group of people as Mario Kart characters with cardboard cars and balloons hanging above them, representing their lives! It’s a day of the year for the general population to express themselves creatively through costume, whereas I am so fortunate to be able to call that my day job.

 

We’re pleased to announce that Ellen Doherty has joined The Fred Rogers Company as executive in charge of production. In this newly created position, Ellen will oversee development of our educational children’s media offerings, including Daniel Tiger’s Neighborhood, Peg + Cat and Odd Squad, for PBS KIDS. She will also work with co-production partners, animation studios, and public broadcasters to deliver groundbreaking broadcast and digital media properties as well as oversee digital content producers in creating online and mobile games and apps based on the company’s series.

An Emmy Award-winning producer, Ellen most recently served as executive producer of the math-themed PBS KIDS series Cyberchase and drove its digital content.