Raoul Marks\u2019 work as a digital animator has taken him from a publishing house in Perth to the red carpet of Hollywood. The Curtin graduate\u2019s striking visual style, which recently earned him an Emmy, is as multilayered as his career.<\/p>\n
Raised in Fremantle, Marks completed a degree in multimedia design at Curtin. He fondly remembers a number of lecturers who played a role in his formative years, notably Dr Andrew Hutchison, Xavier Ng Cheong Tin, Georgina Noble (retired) and Steve Rubeck (retired).<\/p>\n
Marks says some of the course\u2019s most valuable aspects were the robust debates that took place in-class about the ability of design to explore deeper issues.<\/p>\n
\u201cFinding that link between broader politics and design was a really engaging and illuminating part of the course,\u201d he says.<\/p>\n
After graduating, Marks designed publications for Perth companies and then took up a film-advertising job in Edinburgh, Scotland. There, he learnt the \u201cartful skill of adding exploding cars, muscled superstars and machine guns\u201d to DVD box art.<\/p>\n
The experience sparked his interest in the entertainment industry and motion graphics. He joined Antibody, a creative production team based in Sydney, and designed graphics for commercials and computer games, including Tom Clancy\u2019s The Division<\/i> and Ghost Recon<\/i>.<\/p>\n
Catching the attention of major US producers, Antibody was invited to pitch for True Detective<\/i>. <\/i>The team beat four industry-experienced firms to take on the project and, with Marks as head animator, won the 2014 Emmy for Outstanding Main Title Design.<\/p>\n
Marks\u2019 appreciation of complexity and nuance is perhaps best demonstrated in the work. Incorporating intricate detail and carefully overlaid imagery, the talented animator shows a keen understanding of visual allegory. In the montage, images of fire, streetscapes and polluted Louisiana waterways fill up the characters\u2019 silhouettes.<\/p>\n
\u201cWe liked the idea that the characters and the landscape were intrinsically\u00a0linked,\u201d Marks says. \u201cThey are born of that environment, in the way that a tree grows crooked on top of a windy hill. These characters are people born of a psychological wasteland.\u201d<\/p>\n
In recent years, TV series like True Blood<\/i> and Game of Thrones<\/i> have cemented the titles sequence as an art form.<\/p>\n
\u201c[For True Detective<\/i>] the most crucial element was to help tell the show\u2019s story, to enrich it,\u201d says Marks. \u201cThe biggest compliment for me is being told, \u2018we didn\u2019t skip the titles\u2019.\u201d<\/p>\n
Marks has since been involved in the highly successful Adidas FIFA World Cup campaign and worked on the titles for the acclaimed new AMC TV show, Halt and Catch Fire<\/i>. Now based in Melbourne, he is continuing his work as a freelance motion designer for local and overseas clients.<\/p>\n","protected":false},"excerpt":{"rendered":"
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