King's College London

Aardman’s latest Christmas instalment marks the reappearance of Feathers McGraw, the mysterious and silent penguin villain from The Wrong Trousers (1993). It also represents the latest outing for the Bristol-based company’s signature stop-motion “claymation” style – which is both a symbol of the studio’s enduring relationship to craft, and a vital element of Aardman’s international identity as an animation powerhouse.

A new era of artificial intelligence is threatening to transform the boundaries of what we understand as art. So it is significant that one of this year’s most highly anticipated festive films celebrates the skill and spirit of handmade animation.

Aardman was founded in 1972. Over the last 50 years, the studio has cultivated a durable and worldwide reputation as a pioneer of animation as a handmade, craft-based art form.

Both before and after its feature-film debut, Chicken Run (2000), the studio’s stop-motion approach was refined across an extensive range of animated projects and commissions. These included short films like Creature Comforts (1990), the first Aardman production to win an Academy Award, as well as an array of television idents, music videos and advertising campaigns.

Such has been Aardman’s longstanding connection to claymation that when the Newplast company shut down in March 2023, sparking rumours of a shortage of its famous modelling clay, the studio issued a statement denying it was running out of materials, while assuring fans it would find a new supplier for future projects.

Aardman’s animated productions have been a staple of Christmas film and television since Wallace and Gromit creator Nick Park’s 30-minute short The Wrong Trousers debuted on Boxing Day 1993.

So much so, in fact, that Aardman proclaims that it is “proud to be synonymous with Christmas”. The many television specials featuring old and new Aardman characters include the 30-minute Netflix Christmas shorts Shaun The Sheep: A Flight Before Christmas (2021) and Robin Robin (2021), as well as multiple “cracking” Christmas advertising campaigns.

This Christmas season, that’s included the decorating of London’s Battersea power station with Aardman characters, and a collection of specially commissioned Christmas idents exclusively for the BBC.

Aardman goes digital

Despite a defining investment in the creative potential of claymation, the studio has occasionally dipped a toe into the the world of digital technology. A brief foray into computer-animated filmmaking in the early 2000s with Flushed Away (2006) and Arthur Christmas (2011) marked an ultimately short-lived creative partnership with DreamWorks Animation and Sony Pictures.

While Aardman’s involvement with these renowned Hollywood companies pushed the studio away from its house style and ushered in a new kind of big-screen humour, in design at least, these films retained their quintessential Aardman “look”. But though these characters appeared firmly from the Aardman stable (particularly in their recognisably exaggerated smiles), their animated perfection demonstrated the pristine visuals increasingly afforded by sophisticated computer graphics.

Clearly, much like Wallace, Aardman animators aren’t immune to the thrill of technological innovation. But they have still largely maintained their claymation methods of production, to instil in audiences the many pleasures of doing things by hand.

The glimpse of fingerprints accidentally pressed into the modelling clay, coupled with the jerky movements of their plasticine characters, emphasises that Aardman methods remain far removed from modern technology. Craft and the handmade are therefore as much business strategies as they are aesthetic choices, deployed to sell the Aardman brand around the world.

After a hiatus of almost 20 years, the imminent return of Wallace and Gromit to British screens seems a pointed reflection on the virtues of the handmade, against the acceleration of AI within the film industry.

With Vengeance Most Fowl telling the story of a rogue automatic garden gnome, Aardman is seemingly questioning a future built from computerised (and potentially dangerous) automation. By preserving the artisanal and anchoring its very British charm once again to the hand-crafted, slightly imperfect models that populate these stop-motion animated worlds, it seems that, for Aardman at least, computers are not always what they are cracked up to be.