Mack Garrison 6/17/24 Mack Garrison 6/17/24

Takeover Tuesday with Antoinie Eugene

An interview with Antoinie Eugene: a freelance Motion Graphics Animator based out of Tampa who loves to be engaged creatively.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks for joining us for Takeover Tuesday, Antoinie! Can you please give us a lil' intro?

Antoinie:

Hi! My name is Antoinie Eugene and I am a Motion Designer who loves to explore the endless creative possibilities in design/ animation and how it can be applied across various platforms.

Bella:

How did you get into the motion design industry? Do you have any formal training or are you self-taught?

Antoinie:

I got into the motion graphics industry after seeing my brothers take on a passion for animation learning. It was extremely inspiring talking to them about the projects they would create from scratch and seeing the work this industry puts out. It made me realize that we see motion graphics daily on our screens and in advertising. I started learning through online courses and Youtube tutorials then took on freelance work doing logo animations the same year. It has been a challenging yet fulfilling ride ever since.

Bella:

Do you have any advice for fellow freelancers trying to go full-time?

Antoinie:

Going to events such as conferences and meetups has been an amazing way to meet people in industry and connect on social media or linked in. You may find the opportunity to show a studio owner or producer who's looking to hire what you've been working on!

Bella:

Where do you find inspiration? How do you combat burnout?

Antoinie:

Every work day I like to briefly look at motion channels that post new work. Good Moves TV, Wine after Coffee, and good ole instagram feed has tons of inspiration to pull from and add to my never ending reference library.

Bella:

What would you tell someone who is trying to "find their style"?

Antoinie:

I am still trying to "find my style" and for me it starts with the basics. Getting a comfortable seat with the fundamentals and learning the techniques that set a foundation for you to explore more freely as you progress. We know so many artists for their unique style but need to consider that most of them started with art principles and amateur looking work. It's all a part of the process.

Bella:

Do you have a "dream client" that you'd like to work with?

Antoinie:

A dream client / job of mine is Headspace. I am a long time user of the app and have explored meditation with their courses and Netflix shows. The smooth animations on their social feed paired with relaxing sounds are my favorite videos to ogle at and listen to! Especially with most media being overstimulating these days. I also love the company culture. Of course a company who focuses on meditation would have amazing work life balance!

*Another from from “Between Lines” short film.*

Bella:

What are your favorite programs to use? Are there any plugins or expressions you use often?

Antoinie:

My favorite program to use is After Effects. That's the bread and butter right there!

Bella:

What's your proudest moment in your career thus far?

Antoinie:

I got to contribute to "Between Lines", a short film and passion project put together by Sarah Beth Morgan. Being a part of this incredible two year journey has been an unforgettable highlight. I collaborated with a group of exceptionally talented women and we came together for the premiere in Brooklyn. I'm deeply grateful for the opportunity to have been a part of such a remarkable experience.

Bella:

What's the future look like for you?

Antoinie:

I am now working with Warner Bros Discovery / MAX and learning a lot as it is my first time actually in an office setting!

Mack Garrison 6/11/24 Mack Garrison 6/11/24

Takeover Tuesday with Alina Marsh

An interview with Alina March: a kid-lit illustrator based in upstate New York passionate about colors and all things round and cute.

Interviewer: Matea Losenegger

Read time: 5min

Matea:

Hi Alina! Thank you so much for taking the time to participate in our series. Can you please introduce yourself and your work?

Alina:

Of course! My name is Alina Marsh and I’m a children’s book illustrator. I'm 23 years old and I live in upstate New York. Though I am in the early stages of my artistic journey, one thing I know for certain about my work is that it’ll always be fun and silly.

Matea:

What sparked your interest in art and illustration?

Alina:

I've always had an interest in art ever since I was a kid. Anything that has to do with the act of creating something from your imagination or expressing yourself in a way artistically is something that I've always been drawn to. Before I decided to learn to draw I considered myself a writer. As a child, I filled so many composition notebooks with fantasy stories and fan-fictions of characters (guilty as charged). I wanted to design my own characters for the stories that I wrote so I decided to learn how to draw. I realized drawing was pretty fun, so I never really stopped

Matea:

On your site you call yourself a kid-literature illustrator. Is there a specific path or different steps an artist must take when pursuing this pocket of the field?

Alina:

I guess you could say there's a difference when it comes to being an illustrator for children's books and children's media I think there's a bigger emphasis on collaborating with agencies compared to the freelance perspective of a general illustrator. There is a bigger benefit when you are working with a company or an organization that can actively be your guide to getting you projects especially if you are exclusively as illustrated not an author as well. Regardless of that, I also think that having a genuine interest and understanding of children's entertainment and media is important.

Matea:

Do you have a dream project or any specific stories you're itching to tell with your artwork?

Alina:

I have so many dreams and so many things! I want to do I just want to do all of the things! I think that's my biggest problem sometimes... I’d love to collaborate with a big company like Disney or Target for a merchandise project. I have such a love for illustrating specifically for physical items and seeing my work being showcased as part of someone’s style or personality.

*Birthday card for the visual arts department at State University of New York at Fredonia.*

Matea:

I absolutely love the way you utilize light and color. How did you develop your style and what is your process in creating these lovely pieces?

Alina:

Reading and observing art is just as important as actually picking up a pencil and making in my opinion. So many things I've learned about creating art, especially color theory, are simply by reading and understanding the thought process of another (way better) artist than myself. I think that there's a certain sort of patience and discipline that comes with learning light and color because it's such a complicated topic to study, but I do think that having that eagerness to learn is going to be just as important as actually practicing drawing every day. In terms of my process, I wouldn't necessarily say I go on intuition, but it's more of I go on the silly little feeling in my heart, cue the cheesiness! If something makes my heart flutter then I want to paint it! I am very much attracted to artwork that fills me with dopamine, which is why I love cute things and colorful things.

Matea:

From digital to gouache, watercolor, colored pencil and clay you work with an impressive variety of mediums. How do you decide which medium you want to use and is it project specific?

Alina:

It depends on what I'm itching to grab for. Although I tend to use digital as my main form of producing art, I don't want to be tied down to a specific medium just because I tend to get bored easily or I can sometimes get burnt out if I use the same media for too long. I do tend to gravitate towards digital a little bit more just because of the portability and the convenience of it, and I typically use it for larger products or illustrations that I plan on creating products or printing out just because I feel like I can get in the nitty-gritty details. Traditional media is where I can let loose and have fun.

*Draw in your style challenge for women.*

Matea:

Are there any mediums or styles you'd still like to explore?

Alina

I'd love to try animation. In my freshman year of college, I majored in animation and illustration but switched to just visual arts because I wanted to focus on illustration specifically. At the time, I was intimidated by the process of animation and I didn't think I had the attention span to keep up with it. But I'd still like to try and learn some of the basics again. I’d also love to try 3D modeling. it's a concept I still can't wrap my head around but I would love to make 3D models of cute little characters someday, and maybe make my own toys!

Matea:

The passion for your art really shines through in your work. How do you stay motivated to create and do you have strategies for combating burnout?

Alina:

I don't have a definite answer for this because I'm still trying to figure that out myself. I do think that your mind and your body are super connected so if you're not mentally feeling well then you're probably not going to be producing or creating art that you like, if you're even making art at all at that moment. I don't necessarily believe in motivation because if you rely on a will that you know comes and goes at random then you're just going to be wasting time. I think that if you are consistently working on placing yourself in a state of mind where you feel healthy enough to perform, that passion for making art will just come along with it if it’s something you genuinely enjoy. Sometimes I think it can be blocked when we aren't feeling well either physically or mentally. With burnout, I have a silly analogy, if you keep burning your toast, maybe try using a different kind of bread, get it?

Matea:

Are there any projects you're excited to share?

Alina:

I think that documenting your process and your thoughts is such a great way to connect with people and also to understand yourself, so I do want to work on filming more videos and perhaps invest some creative energy in a YouTube channel in the future this year. And while I'm still working on my professional portfolio, I want to focus on making art that gets me excited to work on it.

Matea:

Any final advice or takeaways?

Alina:

I don't think I would have gotten anywhere in my artistic journey if it weren't for having a community around me, and I think that's more crucial than ever in this day and age. I can think back to when I was in middle school, asking for critiques and advice on DeviantART, and just the fact that people were willing to look at my art and answer my questions was enough to give me the courage to continue creating. I think that understanding that when people are giving advice or critiquing your art, it's nothing that you should take personally. It should be something you should see from more of a professional point of view and learn to be better at your craft rather than feeling put down about your art. You should be willing to always seek help regardless of what stage you're in, I think it's always important to have someone share their perspective or give you guidance in any sort of way because I don't think you can do anything alone. Art will always be a team effort even if it's something that's that has independent is painting a picture.

Mack Garrison 5/28/24 Mack Garrison 5/28/24

Takeover Tuesday with Hamnah Rizwan

An interview with Hamnah Rizwan: a freelance artist and illustrator from Virginia.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks so much for taking the time to join us for this series. Can you please introduce yourself?

Hamnah:

Hello! Thank you so much for this opportunity. I’m Hamnah Rizwan, a 21 year old freelance artist/illustrator from Virginia, USA. I am part Hispanic and Filipino from my mom’s side and Pakistani from my dad’s side. I love all things fantasy (The Lord of the Rings is my favorite), spending time around horses, and I hold a Master’s in software engineering from Virginia Tech.

Bella:

How did you discover art and storytelling as a child?

Hamnah:

A lot of the credit goes to my parents. I grew up as a homeschooler which was a wonderful experience that allowed me to grow creatively and focus on what interested me, which was art. My parents encouraged my siblings & I to read about so many different topics and dig into what interested us, which really broadened my imagination. I can remember a couple major points in my life that really inspired me to get where I am today. The first moment was when I was around 9 yrs old and gifted a sketchbook and pencil/pastels set by my parents. This made me feel like such a professional “artist” and I spent all my time watching tutorials and figuring out how to use all these tools. I filled up a couple sketchbooks in no time.

The second moment was when I watched and read the Lord of the Rings for the first time around 10 yrs old. I remember feeling so many emotions after watching the films which included shedding a few tears. This was when I realized how powerful stories can be. I thought about how just one person’s piece of art could be so meaningful and touch so many people’s lives. I also watched all the behind-the-scenes footage for the films which got me excited to learn about concept artwork and design.

These experiences sparked my interest in all types of art including filmmaking, stop motion animation, graphic design, photography, and illustration. I created videos with my sister, animated stop motion Lego shorts that took months to create, and continued filling up sketchbooks of my own fantasy places. I collected every “The Art of” books I could find, my favorite being “The Art of How To Train Your Dragon.” I got my first Wacom Bamboo tablet around 12, and that’s when I knew illustration was the direction I wanted to get into. I loved the traditional work of artists like Tony DiTerlizzi and was drawn to incorporate that style into my digital work. Although I am technically self-taught, I don’t consider myself to be since all my skills have been gained through studying and learning from other artists through self-paced courses, books, tutorials, etc.

*Character illustrations as part of a commission Hamnah worked on.*

Bella:

How has being exposed to multiple different cultures influenced you and/or your work?

Hamnah:

Growing up, I was fortunate to have been introduced to many cultures and ideas. I am part Hispanic and Filipina from my mom’s side and Pakistani from my dad’s side. I grew up around all four of my grandparents living nearby and was constantly surrounded by many different languages, foods, stories, and SO many beautiful colors and patterns. This has had such a great influence on my art and creativity.

Bella:

I love your illustrations for children's books. Is that kind of work something you want to continue to focus on or are you interested in other types of projects?

Hamnah:

Yes! I would love to continue to work with more authors and publishers in the illustration field and this is my main focus. I have a particular love for projects that involve whimsical, fantasy themes and animals as well as projects that highlight cultures across the world.

Bella:

Do you have a dream project or client you want to work with?

Hamnah:

Outside of illustration, I have always wanted to be involved in an animated production (preferably fantasy related) as a visual development artist. I’ve always been fascinated by the pre-production stages of films from character design to set/prop design. This would definitely be an ideal project for me. So, if there are any studios out there, I’m here and ready to jump on board!

Bella:

Do you have any advice for someone trying to "find their style?"

Hamnah:

I honestly am still trying to find mine. I understand the struggle with the almost infinite void of art inspo on Instagram and Pinterest. I try to think about what type of illustrations excite me most. Having a consistent style is important for your own branding and making your work recognizable, but it takes time and exploration. To help figure it out, I think it’s important to think about the type of story/theme/mood you are trying to portray in your work and what type of illustration comes easy to you.

*A spooky illustration for a Haunted House cover.*

Bella:

What programs do you use to illustrate?

Hamnah

I have experience using different types of programs, but my main workflow is using Photoshop paired with my Huion Kamvas 13. Photoshop is such a robust software with so many capabilities and I’ve managed to collect many wonderful brush packs from artists that I love to use. I also have experience with Procreate and Corel Draw which are both great alternatives.

Bella:

How do you stay motivated? What gets you out of a creative rut?

Hamnah:

One of my favorite quotes about creativity is by Jack London where he says: “You can't wait for inspiration. You have to go after it with a club.” Feeling unmotivated is completely normal and experienced by all of us every now and then. I work full-time in IT along with other projects aside from art, and it can be difficult to juggle it all and find time to create. When this happens, I remind myself of London’s quote and try my best to get out of that rut as soon as possible instead of letting the procrastination win.

I’ve been reading about different ways to do this and a helpful method I’ve found in the last couple months is utilizing our “limbic brain.” This is the part of our brain responsible for creativity, ideas/imagery, and activates dreaming when we sleep. Activating this part of our mind involves doing some sort of physical movements or an activity that allows us to think with images like reading. This is probably why we often hear about artists “taking a walk in the neighborhood” to help cure their creative block. I typically try to catch up on a book that I’m reading, exercise, or journal to keep ideas flowing.

Another strategy that helps is making it easy for yourself to create. Most of the concept work for my personal and client work is done in a sketchbook that I carry around. Once I’m happy with it I’ll import the sketch and clean it up digitally with all my tools. The idea of having to draw in a clean, quiet space with all the tablets/laptops/etc. and at a specific time can become a form of procrastination. I try to carry around my sketchbook and squeeze in time to draw throughout the day.

Bella:

Is there something you've worked on that stands out as a favorite to you?

Hamnah:

There have been multiple projects that have stood out to me. One was a promotional illustrational I created for an organization that provides educational resources for children of the Wayuu tribe in Colombia. It was an incredible experience learning more about the culture of the Wayuu people which is primarily governed by women. My artwork was even presented to the leader of the tribe who said she loved it! Another wonderful project I’m currently working on is a picture book for a therapeutic horse-riding center for children with special needs. I am a crazy horse lover and the opportunity to create illustrations and a story about all the beautiful horses for their students is so rewarding and fun.

Bella:

Any final advice or exciting things coming up you'd like to share?

Hamnah:

There is a quote I love by Richard Bach where he says: “Argue for your limitations and sure enough their yours.” It is very easy to create fears and perceived barriers in our minds that block us from reaching our full potential creatively. There will never be a perfect moment to create something, which is why today is! I am a strong believer that art and storytelling have a power that helps us think, stirs our emotions, and opens our minds. I’m looking forward to working on more meaningful projects in the new year. Thank you so much for having me!

Mack Garrison 5/21/24 Mack Garrison 5/21/24

Takeover Tuesday with Cynthia Soe

An interview with Cynthia Soe: a motion designer, animator, and illustrator

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks so much for joining us for Takeover Tuesday, Cynthia! Please give us a lil' intro.

Cynthia:

Hi! Thank you for having me :) I am a motion designer, illustrator and animator. I mostly work in the 2D field of motion but lately I’ve been venturing into different mediums and techniques. I am originally from Myanmar, Burma but I spend most of the undergrad and grad life in the States. Oh and when I’m not working, I am probably binge watching a show or baking.

Bella:

What sparked your interest in motion design?

Cynthia:

I’ve always loved telling stories and drawing but I never knew where in the design and art field I belonged to. I dabbled in architecture during my first two years of undergrad but I decided that it wasn’t where my passion lied so I made a 180 switch to Animation. After graduation, I was able to get a freelance opportunity with Digital Kitchen where I worked on a title sequence as an animator and that was when I learned about the field of Motion Design and everything unraveled from there.

*Title sequence from Helstrom: a psychological family thriller about Ana and Daimon’s traumatic past*

Bella:

How do you think your experience at CCA as well as SCAD have influenced you?

Cynthia:

I think they both helped me grow immensely as an artist. While I was at CCA, I was still unsure of what kind of artist I wanted to be. I explored a lot of techniques from hands-on building, illustration and prototyping. When I came to SCAD, I was more in tune with the field of Motion and knew that it was exactly the field I wanted to work in. My professors and peers from both schools are amazing. They really shaped me in how I view the world of design. I want to thank them so much for helping me become who I am.

Bella:

Do you think having formal training makes a difference in getting a job in the motion design industry compared to being self taught?

Cynthia:

Honestly, I don’t think it does. There are so many amazing self taught artists. I believe you just need ambition, grit and constant motivation and eventually you will earn the job you want. I also think connection and networking is very important in the industry.

*Frame from The Great British Bake Off, title sequence.*

Bella:

You are skilled in both animation as well as illustration. Do you prefer doing one over the other?

Cynthia:

Yes! After working for a few years now, I would say that I like designing/ illustration over animating. I love researching about the project and envisioning different ideas that will satisfy the client by creating different styles. I do enjoy animating but since I was formally trained in cel, sometimes it can get tedious. Both are definitely fun, especially to see your designs in motion as it comes to life to tell a story.

Bella:

What's your favorite kind of project to work on?

Cynthia:

So far it would be title sequences or brand packages. I do want to work on other types of projects such as 2D and 3D mixed with live action or even music videos. I am honestly excited for any project.

*A series of styleframes based off Robert Frost’s poem “Fire & Ice”*

Bella:

Your work is colorful and playful and I love the use of texture. What advice do you have for someone trying to "find their style?"

Cynthia:

Oh thank you so much! I think it has very much to do with who you are. It took me a while to find what type of drawing style I liked and fit me. I played around with a lot of drawing styles but the more I drew the more I gravitated towards specific types of colors and design languages which has become my style.

Bella:

What motivates you? How do you get out of a creative rut?

Cynthia:

My friends and family are the main motivators. Since I have a lot of creative friends, seeing all their amazing work helps fuel my creativity as well. When I am in a creative rut, I try to give myself breaks. I would either go on a walk or maybe just take a day to do nothing. I feel taking a break really helps me become creative again. Overall, having a great support system keeps me motivated.

Bella:

What's your proudest moment in your career thus far?

Cynthia:

I would say that the proudest moment in my career is to see my work out in the world. It feels great to see my friends and family going out or watching a show and to send me a pic of them seeing my work.

*A frame for Hermès: a French luxury design house established in 1837.*

Bella:

Anything coming up that you're excited about?

Cynthia:

Well, I recently just graduated from SCAD and earned my Masters. I have some new projects that I am currently working on and I am hoping to share very soon :)

Mack Garrison 5/14/24 Mack Garrison 5/14/24

Takeover Tuesday with Eejoon Choi

An interview with Eejoon Choi: an LA-based illustrator and designer that loves ambient dreamscapes and cute little critters.

Interviewer: Matea Losenegger

Read time: 5min

Matea:

Can you please tell us a little about yourself?

Eejoon:

My name is Eejoon and I'm a Korean illustrator/designer based in LA!

Matea:

What is your background and how did you wind up in the creative space?

Eejoon:

I was first really drawn to art in middle school because I admired another student who always drew fanart of shows and KPOP groups during class. I also really grew fond of Adventure Time around the same time and wanted to draw things that people could equally enjoy! I continued to pursue art but it wasn't college, when I took an illustration class taught by Angie Wang, that I realized how diverse the creative world was.

Matea:

Can you explain what makes editorial illustration different from other forms of the medium?

Eejoon:

With editorial illustrations, I think you really have to do more research to best portray a topic or a person properly. For me, the most challenging aspect is trying to find a good balance between reality and abstracting a narrative/concept into a single illustration.

Matea:

Do you have a different approach to how you tackle editorial illustration vs a motion design project?

Eejoon:

A little! I think my approach is somewhat similar but with editorials, I prioritize capturing another person's story or condensing a larger topic into one illustration. However, with a motion design project, I can break down different elements and tones of a narrative into multiple scenes that lead into one another!

Matea:

I've noticed your work tends to have a surreal flair to it. How do you come up with ideas and stretch your imagination?

Eejoon:

I always go to classic children's books for inspiration! There's so much whimsy in children's books that's hard to find in other forms of media. The underlying warmth in each illustration is so tangible and being able to evoke such soft feelings while also being able to portray the protagonist's fears just through textures, colors and composition is a skill that I'm always working to improve.

Matea:

In a similar vein, where do you find inspiration and do you have any favorite artists that have influenced your style?

Eejoon:

I love Brian Wildsmith and Georg Hallensleben's paintings!! I also think Timothy Basil Ering's illustrations in The Tale of Despereaux left a huge impact on me as a child. I also find myself often going to Angie Wang, Jillian Tamaki, and Karlotta Freier for inspiration!.

Matea:

You've created a lot of cool work for NPR. How did you build that relationship and what's it like working with them?

Eejoon:

I applied to work on their Next Generation Radio project when they were collaborating with USC! I honestly feel so lucky that I've been able to work with them on so many projects and being able to watch budding journalists find amazing stories of people across the world!! The illustration team that we've built is so encouraging as well. The creative field can be quite daunting so having such a strong cohort of talented artists who put so much love into their craft is so amazing.

Matea:

If budget and time weren't constraints, what would be your dream project to work on?

Eejoon:

My own children's book!!! I love the medium so much and I've learned so much from them that I'd love to make my own.

Matea:

Do you have any wisdom for aspiring creatives and what do you wish you had known when you first started out?

Eejoon:

Gosh I feel like I'm still learning so much that I don't know if I have any enough wisdom to impart! I do wish I had more confidence to experiment with my art more when I was starting out. I have red-green colorblindness and it affected how I viewed myself as an artist. I was so focused on my disadvantage which made me afraid of freely letting my art look bad to learn and grow. So I guess I'd just tell everyone, including myself, to have more confidence!!

*Another NPR NextGen Radio Illustration.*

Matea:

Do you have any upcoming projects you're excited to share with the world?

Eejoon:

I'm working on an illustration series about my dog! My dog Lucky, who's been by my side for 14 years, passed recently. I've been grappling with this sense of loss like never before and I've been thinking of ways to channel it into my art to honor her and immortalize her forever. Because most of my work has been to capture a person's life, community, or work, I want to do the same with Lucky where you can really feel her presence and love in a series of illustrations!

Mack Garrison 5/7/24 Mack Garrison 5/7/24

Takeover Tuesday with Dee Divakaran

An interview with Dee Divakaran: a Motion Designer and CG Generalist based in Savannah, Georgia who comes from a multidisciplinary background in illustration, design, 2D animation, and visual effects.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks for joining us for this Takeover Tuesday, Dee! Please introduce yourself to the people.

Dee:

I'm Dee, a motion designer and CG generalist with a diverse background spanning multiple disciplines. Beyond the world of pixels and graphics, I immerse myself in the vibrant realm of plants. Being an avid fan of magical stories, the wizarding world of Harry Potter holds a special place in my heart. When not tending to my green companions or lost in captivating narratives, I channel my creativity into the art of cooking. Experimenting with flavors and trying out new recipes adds a touch of magic to my daily life.

Bella:

How did you find yourself in the motion design world? Did you always know this is what you wanted to do?

Dee:

My journey into the world of motion design has been quite an unexpected ride. Initially, I had no clue what motion design even meant, or so I thought. It was during my time as a visual effects undergraduate student at Savannah College of Art and Design that I stumbled upon my connection to this field. I had been training in animation before venturing into visual effects, and I realized that during my time as an animation student, I was taught the concepts and principles of motion design. Intrigued and drawn to the combination of design and animation, I then decided to pursue a minor in motion design.

The turning point came during the pandemic, the sudden changes in life served as a wake-up call, prompting me to reevaluate my priorities and career path. This period became a catalyst for rediscovering my passion for experimenting with design, illustration, and animation. I started feeling a sense of belonging in the world of motion design. What resonates with me in this field is the fact that I get to utilize my skills and draw upon my unique background. It's like finding the perfect canvas where I can effortlessly blend my multidisciplinary skills into a visual narrative. So, while I didn't always have a clear roadmap to motion design, being immersed in this creative space now feels like stumbling upon the ideal destination for my career and artistic journey.

*A frame from Rickshaw Run: a 10-week mentorship program with* *The Mill* *and SCAD.*

Bella:

How do you think growing up in Oman has impacted you and your work today?

Dee:

Growing up in Oman has left a lasting and positive impact on both my personal growth and professional approach today. Being immersed in a multicultural environment has not only made me comfortable with diversity but has also instilled in me a genuine appreciation for understanding various perspectives. The rich tapestry of Omani culture, with its blend of traditions and modern influences, has provided me with a unique lens through which I view the world. While I grew up in Oman, I was fortunate to have Indian values deeply ingrained in my upbringing by my parents. I feel that immersing myself in diverse cultures has enhanced my adaptability and refined my communication skills, enabling me to connect better with people from various backgrounds.

Bella:

Do you think getting a college degree in the motion design industry is important? How has it helped you?

Dee:

I don't have a definitive answer to whether a college degree is crucial in the motion design industry. Based on my personal experience and conversations with others, I've realized that there are several factors involved in this matter, such as learning style, accessibility, and an individual's background. From a personal standpoint, pursuing an education in motion design provided me with a clear sense of direction, which in turn helped improve and refine my skills. But it's essential to recognize that everyone's career journey is unique. I strongly believe that remaining open to learning and growth, utilizing every opportunity, and being receptive to unexpected options are key in this dynamic field.

*Palpod is a startup pitch created for SCAD* ***StartUp****, an annual week long design sprint hosted by* ***FLUX*** *in collaboration with* ***SCADPro***.

Bella:

You have experience in a variety of different mediums. Which is your favorite to work with?

Dee:

Growing up, I didn’t have a lot of chances to take up any formal art classes. However, I loved to explore a variety of mediums on my own. As someone who sees art and learning as great ways to express myself and have fun, I find it challenging to settle on just one medium. When it comes to, learning about new software, exploring different techniques, or experimenting with emerging technologies, a commitment to ongoing learning allows me to adapt and refine my skills across various mediums.

Recently my focus has circled back to 3D art. I find the technological advancements in this medium to be very exciting, particularly the prospect of combining 2D and 3D elements. Inspired by films like 'Spiderman into the Spiderverse' and 'The Mitchells vs. the Machines,' my goal is to explore and integrate these dynamic techniques into my personal projects so that I can learn and grow from them.

Bella:

Are there any mediums or styles that you have yet to try out, but would like to?

Dee:

Absolutely! There are several mediums I haven't explored yet, and I feel a surge of excitement every time I come across another artist showcasing something new and inspiring to me. I have a particular fondness for cinematography and photography. Having explored these mediums in the past to enhance my understanding of composition, this experience has significantly influenced how I design and compose elements across various projects. Lately, I've been eager to revisit cinematography. I'm drawn to the idea of exploring storytelling on a deeper level through cinematography tools, such as composition, color, lighting, pacing, and more. There's a rich world to explore in this medium, and I'm looking forward to incorporating these insights into my current and future creative projects.

Bella:

What's the ideal project for you and why?

Dee:

In my perspective, an ideal project is any opportunity that facilitates the learning of a new skill or one that enhances an existing one. Even when I take up challenging projects, I find that navigating through stressors not only tests my abilities but also leads to valuable self-discoveries. I also firmly believe that learning is a lifelong journey that extends beyond an academic environment. Embracing this philosophy, I approach each project with an open mind, excited about the continuous learning and personal development it offers. For me, it's not solely about being an artist; it's about evolving as a person through the work I do. I'm excited to see the extent of my growth through each project and experience in the future.

Bella:

What motivates you/how do you keep going when feeling creatively burnt out?

Dee:

When creative burnout sets in, I've learned the importance of stepping away from work and immersing myself in other passions or engaging in simple tasks, such as taking a walk in the park. Although it can be challenging, especially when a lengthy to-do list is always looming in the back of my head, I've realized that this break is crucial for reigniting creativity and enhancing my overall productivity. By detaching from work and allowing myself moments like this, I create mental space for fresh perspectives and ideas. This time away acts as a reset button, enabling me to return to my projects with a renewed and clear mindset. Taking a break is slowly becoming a strategic move for me to accelerate productivity in the long run. However, I must admit that finding the right balance, especially in the context of time management and deadlines, can be challenging. Although I’m still refining this process, I still consistently find that incorporating moments of relaxation into my routine is the initial step toward overcoming creative burnout.

Bella:

What's your proudest moment in your career thus far?

Dee:

My proudest career moment to date is the unexpected opportunity to collaborate with NASA. As someone who has always been passionate about science, this experience has been a dream come true. It marks a significant professional milestone, as well as a deeply personal achievement that I never thought possible. I’m honored to have been part of the incredibly talented team that worked on this project and to have played a role in promoting NASA's ICESat-2 mission. The mission, abbreviated for Ice, Cloud, and land Elevation Satellite-2, plays an important role in our understanding of the Earth's changing climate. ICESat-2 utilizes laser technology to measure changes in ice and land elevation, providing critical data for studying ice sheets, glaciers, and sea ice. It also measures Earth’s heights throughout the year across diverse biomes, accounting for vegetation in forests worldwide. Being involved in promoting this mission aligns well with my passion for science, and it adds an extra layer of fulfillment to my work.

*Make sure to check out Dee’s* *demo reel.*

Bella:

Is there anything coming up that you're excited to share?

Dee:

I’m currently in the ideation process for my final graduate project. My plan is to experiment with the combination of 2D and 3D mediums, with the aim of integrating these elements into a visually captivating and cohesive narrative. What makes this project even more exciting is the integration of my experiences from internship, professional project, collaborations, and mentorships, weaving in a rich tapestry of skills and insights. I will be documenting the process on my portfolio website. I’m really looking forward to sharing the results and all the valuable lessons I’ll be learning along the way!

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Takeover Tuesday with Andrea García

An interview with Andrea García: a 26 year old Mexican artist living in Mexico City that graduated from Universidad Anáhuac in Multimedia Design who has great interest in character design and visual development.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thank you for joining us in this series, Andrea! Can you please introduce yourself?

Andrea:

It’s my pleasure! Thank you for inviting me. My name is Andrea García, I am a 26 year old Mexican artist.

Bella:

How did your art career begin?

Andrea:

It begin little by little. I started taking as many character design and illustration courses as I could. Once I started to feel more confident about my work, I decided to volunteer at projects. In this phase I designed characters, I interned as a color artist for a movie, and I started offering my illustrations as a freelance. After that, and after a lot of failure, projects started coming.

Bella:

What is the design industry like in Mexico City?

Andrea:

I think it’s a very competitive industry where you have to give your best to stand out. But I think that is great, because thanks to this, every time there are more talented mexican artists.

Also, people in this industry are very nice. Professionals are always open to help you grow and give you advice if you reach out for them. So, it’s a great time to be a part of this industry.

Bella:

Is there an artist or piece of work that inspires your art style?

Andrea:

Absolutely, a lot of them actually. But if I have to name a few, I would say Stephen Silver, Jean Fraisse, Torsten Schrank, and Gaby Zermeño.

Bella:

When you're feeling stuck, what keeps you going?

Andrea:

Definitely the motivation of achieving my dream. Feeling stuck is normal, specially when you are working hard on something with no results, and I think it’s okay to take breaks when needed. As I said, it’s a very competitive industry, and this also means it’s hard to get in. There are many rejections on the way, and this can be very frustrating sometimes, but you have to be patient with your path and figure out how to get better until you make it.

I guess I was so sure of what I wanted to do, that I just had to come back every time and keep going.

Bella:

Do you have a dream project or anything specific that you dream of working on?

Andrea:

Yes, I dream on designing the characters of a big movie.

Bella:

Are there any mediums or styles you'd still like to explore, but haven't yet?

Andrea:

Sure, but I think there are some things that you explore on the way. Working for different clients definitely helps with this style exploration, and I am sure this will keep making me expand my styles.

Bella:

Is there a project you've worked on so far that stands out as a favorite to you? Why?

Andrea:

Yes, a pilot episode for a TV show where I worked as a character designer. This was great for me because I had a lot of creative freedom, so the characters turned out to be pretty much what I pictured them to be. Also, I love working on projects for children, and this was the case. I got to work with amazing people and it was so exciting to be a part of a talented team. There were a lot of things that made this project special and I am really grateful that I got to be a part of it.

Bella:

Is there anything coming up that you're excited about?

Andrea:

There is! I am about to start a new project where I will be designing the characters of a new TV show. I am really excited about it!

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Takeover Tuesday with Elizabeth Gu

An interview with Elizabeth Gu: is an illustrator and designer based in Houston, TX. With an interest in creating worlds suspended between fantasy and reality, she likes to relate these unseen, surreal worlds to the psyche and internal states of mind that are often difficult to express through words.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Hi Elizabeth! Thanks for taking over this Tuesday with us. Can you please introduce yourself?

Elizabeth:

First of all, thank you so much for having me! I'm so excited to contribute to this series.

My name is Elizabeth and I’m a designer and illustrator based in Houston, TX. I initially studied civil engineering before taking what feels like a tremendous leap into the design world. At the time, I was working as Art Director at my school’s daily news publication and pretty much decided to take my interests in illustration and design more seriously. After shifting gears, I got my first design internship with Pixel Park. Interning there was super formative to my artistic growth, but also more profoundly - my sense of community in the motion design industry. Shout out to the Pixel Park family, love you guys! <3

Since then I’ve found myself freelancing on projects in graphic design, editorial illustration, and motion design. I feel very fortunate to have landed these opportunities and I’m just excited to continue learning more.

Bella:

What sparked your interest in illustration/design?

Elizabeth:

I spent a lot of time drawing, painting, and dabbling in arts and crafts as a child. So I think the interest has always inherently been there in some way. When I got a bit older I started messing around with digital art and using an Intuos tablet for the first time. Making the switch from traditional to digital was absolutely mind boggling while opening up this whole new world.

As a Chinese-American, I grew up with certain expectations about what my job should look like and the reality of adulthood made anything artistic feel like a non-option. However, when I was studying at the University of Southern California, I came across their animation program and ended up completing an animation minor. So as an adult, I was able to rediscover what illustration and design meant to me while also seeing how art could be applied in the real world.

*Illustration titles “Dreamless Slumber.”*

Bella:

What inspires you and your work?

Elizabeth:

I love themes of magical realism and surrealism. Both visually and conceptually - things like seeing the ordinary as opportunities for magical moments. As a child, I was enchanted by the kodamas in Hayao Miyazaki’s Princess Mononoke. Or the soot sprites hidden away in the old countryside house in My Neighbor Totoro. Ideas that were saying if you looked closely enough, you would find something sacred and magical. Perspectives of reality can bend.

Also as a general rule of thumb, I try to stay open minded to new experiences. This keeps the flow of inspiration in motion for myself. Seeing new places, people, or perhaps indulging in new food from different cultures. Anything to expand and change your brain is so invaluable for creatives.

Bella:

What advice do you have for artists trying to find clients?

Elizabeth:

I would say to value every interaction you have within the community. Don’t expect anything to be a one-off, and put in energy to stay connected with the people it comes naturally with. Not only do you end up learning a lot from them, but it’s also an immense mood booster when you’re feeling lonely on your freelancer island.

Speaking more strategically, Motion Hatch is a wonderful resource that goes more deeply into the freelance game. Hayley Akins talks about how to build your online presence, warm up to clients, but also how to use your pre-existing network (work smarter not harder). I know for me specifically, I learned a lot about how to phrase cold emails but she has since put out a ton of useful content specific to the motion design industry. Definitely worth checking out!

*Frame from one of Elizabeth’s Social Media Explorations for* *Pixel Park.*

Bella:

A lot of your work has a deeper meaning and seems to be expressive of something you've been through. How has illustration helped you through tough times?

Elizabeth:

I’ve always been drawn to illustration that operates like visual essay. Subconsciously, I want my own work to have layers of story that might be interpreted in different nuanced ways. I think it's helped me in the sense that it doesn't require verbal explanation and the healing is in the process. It's like a meditation through the act of creation.

Granted, sometimes my pieces can feel so obviously diaristic I want to take them back because it’s too embarrassing! But then you realize everyone is the same way, stumbling in their vulnerability. So better to have shared than to hide away. It's kind of what art is for - to share and discover that we're all the same in a lot of ways.

Bella:

I love the colors and textures you use. What's your process of finding a color palette for a project like?

Elizabeth:

Thank you! I think working with colors might be my favorite part of the whole process. I usually gravitate towards purpley blues and love pairing that base with yellow or pink accents. Anything that gives off a moonlit nocturnal scene I’m pretty much always partial to. With specific projects where this isn’t the case, I usually first identify the tone and mood. Then I play around with colors that match and I take time to assess my reaction. I try to find ways to use my favorite ones into projects, but I also like the challenge of an unfamiliar color that isn’t in my typical wheelhouse. I’m not a color expert, but the process is often an intuitive back and forth more than anything else.

Bella:

What advice would you give to someone who is "trying to find their style"?

Elizabeth:

I would say a big part of it is honoring your interests and being willing to explore them in your work. I still find this difficult myself when certain visual styles are in vogue and seem to dominate the “look” of the industry. But personal style is ever-changing and takes a bit of time to develop, so it's important to keep creating and investigating what you like. It helps me to see it as creative playtime rather than the pressure of finding your style as soon as possible.

Bella:

Do you have a dream project or client you'd like to work with?

Elizabeth:

I always have a hard time answering this! I think there are so many cool projects going on, both big and small. I would say story-based concepts that are emotionally explorative in nature would be such a treat to contribute to!

I’ve recently been enjoying sci-fi content like Scavengers Reign which has such immersive alien world visuals. Bladerunner 2049 is another recent watch of mine and I can’t get the striking dystopian set design out of my head. Paired with concepts about the human condition, our relationship with technology, environmentalism, etc. I find any project that touches on these themes so compelling.

Studio-wise, I have also adored Chromosphere’s work. In particular, the short film “My Moon” which explores romantic versus practical love. This is represented in a love triangle with the Earth, Moon, and Sun. The Sun provides light, energy, and color to the Earth while the Moon is less practical. I’m such a sucker for symbolism in the form of celestial bodies!

Bella:

Is there anything you've learned as an artist thus far that you wish you knew when you first started?

Elizabeth:

I wish I understood sooner that the only person I was competing with was myself. As someone who came from engineering where a lot of processes can be more linear with exact steps - I started creating this unnatural checklist fueled by anxiety and comparison. I remember telling myself I needed to work with certain clients by a certain age which was absolutely ridiculous and unfair to myself when I needed the time to switch industries and gain footing. Obviously there are crucial beats to hit such as developing your portfolio, but in large it’s much healthier to be patient with yourself and let your circumstances naturally guide you.

“*The Big Role Nostalgia Plays in My Life”*

Bella:

Anything exciting coming up that you're excited to share?

Elizabeth:

Client-wise, I designed a piece for Blue Cross Blue Shield of North Carolina that’s out now! Many thanks to Kyle Griffin who animated and also played a major role with design concepts.

And for personal work, I would be remiss to not mention My Shadow which was designed under my mentorship with Dash. Shout out to Meryn Hayes and Meg Snyder for supporting my ideas and offering their sage advice along the way! It deals with themes of the inner child and rekindling a sense of wonder and curiosity.

*“My Shadow” Based on a personal dream where a young girl is gifted her shadow.*

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Takeover Tuesday Catarina Alves

An interview with Catarina Alves (AKA itsacat): a Graphic Designer and Illustrator born in Portugal who is constantly diving into the world of shapes and colours to bring them to life through animation.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks so much for joining our Takeover Tuesday series, Catarina! Please introduce yourself for the people who aren’t familiar with you.

Catarina:

Thank you for having me! I'm so happy! I'm Catarina, an illustrator and designer. I was born in Porto and currently live in Amsterdam. I've always been interested in art because my parents are both artists, so I studied graphic design.

I currently work as a designer/illustrator for the animation industry.

Aside from my work, I have a cat called Jimi and I'm obsessed with him (he reminds me of the Chinese lucky cat, fat and fluffy).

One of my hobbies is scuba diving but, now that I live in the Netherlands, it seems nonsense haha. However, it's something that makes me completely disconnect and feel like I'm in a whole different world. So, whenever I go on vacation, I try to go to destinations where I can dive to detox from the whole year I've been in front of a computer.

I'm also obsessed with food, and I love trying new restaurants with different concepts.

Bella:

How did you get into the motion design industry?

Catarina:

I started studying Graphic Design, and then I had the opportunity to work in a video mapping company. I began to explore 3D and 2D animation, so I took a postgraduate course in motion design. From that moment onwards, I had worked in an animation production company in Barcelona for five years.

However, keyframes weren't exactly what I wanted to do, mainly because my background was in design, so I started working more as an illustrator/art director for animation. Everything I learned in animation made the transition easier, as I began to understand better how to develop ideas and to design for the animation world.

*Welcome illustration for Catarina’s website.*

Bella:

What’s your experience been like working with Buck?

Catarina:

I'm really glad about this new step in my career. I had spent three years as a freelancer and, although it was something I loved doing, I have always had the ambition to work at Buck and develop my skills alongside their team.

Sometimes, changing from freelance to full-time can be challenging because both have pros and cons. But, so far, it's been a great experience to work with a team again, absorb wider knowledge, and grow professionally.

When we have such a talented team, sometimes we can feel pressured about your work, but, at the same time, we can learn more and understand that everyone has the same fear. So, we need to start believing in our skills. Nothing is impossible.

Bella:

I love all of the different characters you create. How do you give unique personalities to each of them?

Catarina:

Oh, thank you so much! I don't have an answer to that because I don’t have a very defined style like some artists. I try to absorb a bit from my day-to-day life and gain inspiration; which means that most of the things I develop are very trial and error oriented.

I have always had some difficulty in drawing certain body parts and I started doing it regularly so that I would feel more comfortable in that area. That’s why nowadays I really like drawing hands with different proportions.

I like exploring different styles, namely 3D realistic drawings, and more minimalist images…

When I don’t feel that inspired, I look up for photos I like and stylize the character as much as possible. That helps me develop my skills and explore my creativity.

*Forbes Virtual NFT Billionaire Character Illustrations*

Bella:

What’s the workflow like when combining 2D with 3D?

Catarina:

I've always loved mixing media between 2D and 3D, and for that reason I’ve been working a lot with Jonas, as he is a 3D designer. One of the best things when you team up with someone is trying to take the most out of the other person’s skills.

So I started creating some drawings, and then Jonas would do the modelling. After that, I could explore different textures, colours, and ideas.

I began to feel that some of the things would work better in 2D rather than 3D, so I decided to replace some 3D elements. Then, we realized that it works and brings character to our work.

Bella:

Is there a project you’ve worked on that stands out as a favorite to you?

Catarina:

One of the projects I loved doing was for Forbes. I was lucky enough to have all the freedom to design this project. The idea was to create different characters that could work as a toolkit.

I started by developing the first sketches, working on proportions, and exploring different eyes, hair, and clothing.

The challenge was to integrate 2D well into 3D. So the same eyes or hair could work on other faces. I felt really happy with the result, and the client did too, which was very important to us.

Another one was a secret pitch, I really enjoyed working on it. It consisted in an animation video using paper characters. When I saw the references for the first time, I thought, “Omg, what am I going to do with those paper references, how can I create some cool characters using paper?” So it was a challenge!

At the end, it turned out to be an incredible assignment, one I couldn’t even imagine it would have such a new and different result. For me, developing the animals was a challenge because I wanted them to be singular and, at the same time, to be able to build them up on paper. We nailed it because we had finally found a graphic style with which we identified ourselves.

I share with you my favourite animal.

Bella:

What/who inspires you?

Catarina:

Lots of things and people. It’s something that happens naturally on a daily basis. I learn something new every day, whether through a conversation, a project I've had the opportunity to collaborate on, or just something I've seen.

I'm a person who is constantly overthinking about everything but also very emotional at the same time, so, sometimes, the way to get my feelings out is through drawing. So, my biggest inspiration is my daily life.

Bella:

What advice do you have for getting out of a creative rut?

Catarina:

When I feel blocked, I try to get out of my routine, see something new, take a different route, and try to meet someone I haven't met for a long time, but who will bring me something new. Nowadays, it’s very normal to feel blocked; there’s so much going on around you that sometimes it makes you feel too small.

Most importantly, we should respect that sometimes we need time and space and not push ourselves too much; take your time.

Bella:

How would you describe your brand/style?

Catarina:

It’s a tricky question; I’ve never thought about it. It was something I developed when I started freelancing since it's important to show more solidity and to keep up to date. Whenever I develop a new project, I try to explore other styles within "my" style. I don't like to feel that I'm always doing the same thing because I end up building limitations and not growing professionally.

I think that the best way to describe my brand/style is as friendly and with a great connection with graphic design.

*Some of Catarina’s personal illustrations!*

Bella:

Anything coming up that you’re excited about?

Catarina:

There are many things, but I’ve been working on a toy, in collaboration with my partner, Jonas, for some time. I've almost finished the design, and now we're working on the modelling to print and paint it. We will do everything in-house because we had already explored some prototypes a year ago and want to do everything from scratch. The idea will be to develop a limited edition. I love drawing something and bringing it to life; I think it’s quite special.

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Takeover Tuesday with Charmaine Yu

An interview with Charmaine Yu: freelance illustrator and designer from the Philippines. I'm passionate about storytelling, and I have a curiosity that constantly fuels my drive to improve, try new things, and learn new skills

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thank you for joining us for Takeover Tuesday, Charmaine! Please introduce yourself!

Charmaine:

Happy to have been invited 😊I’m Charmaine Yu! I’m a freelance illustrator and designer from the Philippines. I love working on motion design projects — creating storyboards, style frames, character designs, and other illustrated assets. When possible, I also enjoy working on editorial and branding projects. Recently, I’ve also started to call myself a budding cel animator, since being immersed into the world of motion design & animation has really inspired me to take the steps to learn how to make my drawings move.

Bella:

How did you get to where you are today in the industry?

Charmaine:

Hmm, there are definitely a whole bunch of things that I’m grateful for that helped me get to where I am now – education, experience, support, trust, luck, and dedication (or in other words stubbornness 😂).

I started off my career in 2019 as a fresh graduate from the University of the Philippines with a BFA in Visual Communication. Then, I worked as an in-house illustrator for a local tech startup, but after a year, I felt like I wasn’t making the work that I wanted to and decided to make a huge shift by jumping into freelance. Around the same time, I took School of Motion’s Illustration for Motion online course, which gave me the confidence to start doing work in the motion design space. Afterwards, I got to connect with amazing talented people in the industry, worked on my first few motion projects (thanks to studios and fellow freelancers who took a chance on me), and joined different motion communities where people would share resources, experiences, and opportunities (like MDA and Panimation slack channels).

Since then, whenever I’m on a project, I make sure to do good work; when I’m not on a project, I continue reaching out to studios/agencies, work on personal pieces or projects, and find ways to improve my skills.

Since I jumped into this industry as a freelancer and never got to experience being a part of a motion studio yet (though it is definitely something that I want to do in 2024 or after), research, reaching out, and asking questions have been incredibly important to navigating the industry. Being a part of Dash’s mentorship program in early 2023 also helped me so much in figuring out how certain things work, as well as how I could grow and progress as a creative.

I still have a long way to go career and skill-wise, but I’m incredibly fortunate and grateful to have been a part of some fun projects so far and to have worked with people across the globe!

*In her free time, you might find Charmaine interacting with animals, figuring out cel animation, crocheting, learning a language, or searching for my next adventure.*

Bella:

Do you have any advice for someone trying to be a freelance artist full-time?

Charmaine:

A WHOLE BUNCH. Hope it’s ok if I share a few!

Firstly, before going freelance full-time, create a potential client list. It would be a much smoother start into freelance if you already have a few potential clients who know and/or trust you and would probably be able to give you some work. If not, at least have an idea of who you can offer your services to and who would be your target clients.

Secondly, build out your savings (ideally enough to cover 6 months to 1 year of expenses) so that you’ve got a financial safety net in case it gets tough to find work, especially within the first year or so (or during a recession). This also gives you some financial peace of mind — enough to avoid pricing low on jobs just to get some money to pay the bills.

There’s a lot more I could say, but to keep it short, here’s my last piece of advice: talk to other freelancers. Working as a freelance artist can be kinda lonely — you may not have a team that you always work with or a boss/mentor to approach when you need guidance. I think it’s incredibly helpful to find freelancer friends who you could share experiences with; ask for help, advice, or critique when you need it; or collaborate with when working on larger projects.

Bella:

I loooove your characters. They have so much personality. How do you give life to something that isn't human, like your fluffy cloud-like creature in "Bounce"?

Charmaine:

Ahhh, thanks so much! Hmm, whenever I create characters (human or non-human), I always try to come up with a backstory: What’s their personality like? Why are they doing whatever they’re doing in the scene? What’s their relationship with other characters in the story? How are they feeling in this moment? And so on. This really helps to build up the “why” in my character designs and informs my decisions in the shape language, details, colors, etc.

Bella:

Is there a project you've done that stands out as a favorite to you?

Charmaine:

Well, “Bounce” definitely remains as one of my top favorites. It was my first fully illustrated looping animation! I went into it not quite sure if I could actually make what I was imagining in my head and with no idea of whether what I was doing was even right, but I came out of it incredibly happy with the outcome!

I said “yes” to something I haven’t really done before and gave myself a difficult challenge, but I was thankfully able to do it and deliver! So this project really felt like such an accomplishment to me and that I had leveled up because of it!

Bella:

What kind of work is most fulfilling to you?

Charmaine:

I find it very fulfilling when I get to discuss and brainstorm ideas on the project I’m working on — in other words, any project where I have a voice that will be heard and where I can suggest concepts, art direction, visual solutions, or approaches to accomplish the project’s goal. Basically, I like being valued as an artist not only by my technical skills, but my creative ideas & vision as well.

Being able to collaborate with a team of amazing artists is also incredibly fulfilling for me. I think it’s so awesome to have creatives, all with different skills and strengths, working together on a larger project and creating something that might’ve been impossible for just 1 person to make — like a community helping each other out and working towards a common goal.

Bella:

What method are you using to learn 2D cel animation?

Charmaine:

I’m on the journey of teaching myself 2D cel animation — that means Youtube “academy”, whatever free or affordable resources I can find online, books, lots of practice, and self-discipline. However, I’ll be honest that my cel animation learning has been kinda on and off throughout 2023. To add to that, it’s also been way too easy for me to just consume study content about cel animation and call it a day (or as it was coined in a substack post by Beth Spencer — “pro-CLASS-tinating” 😅). However, I’ve realized that I want to be serious about learning this, and that if I didn’t put in the hard work and actually apply those learnings into consistent practice, then I would never make any progress. That’s why, last November, I started planning out my own lesson plan, exercises, and personal projects that I wanted to work on in order get those practice hours in and create more animated work. I’m not sure how long it’ll take for me to get good and become more confident in my animation skills, but I’ll probably keep at it till I get there!

Some learning resources that I’ve been using include The Animator’s Survival Kit by Richard Williams, various Skillshare classes, and youtube videos (like those from Alex Grigg & Toniko Pantoja). I’ve also been studying animated shows (especially anime, which is a goldmine of amazing handdrawn animated goodness), films, and works from amazing animators I follow online (e.g. Reece Parker, Rachel Reid, Jocie Juritz, Henrique Barone).

“Bounce” - One of Charmaine’s favorite projects.

Bella:

Where/what do you get inspiration from?

Charmaine:

Anywhere and everywhere, really! I love getting inspired by artists I follow on Instagram, articles I read on Substack/Creative Boom/It’s Nice That, whatever I come across on Pinterest, and films & series that I’ve watched. Outside of the screen, I also draw inspiration from people-watching, nature, travelling, my daily life, and other experiences.

Bella:

What helps you get out of a creative block?

Charmaine:

Whenever I’ve felt uninspired, I’ve never liked trying to force my way through it as often it leads to results that I’m not really happy with. Instead, I find it helpful to step away for a bit, take a break, and do something that can relax my creative brain. Usually, I would get off my desk to take a walk, grab a snack, play with my cats, or simply take a nap — it’s amazing how many times sleep has given me a creative boost!

If the creative block is kinda bad, like maybe bordering on burnout, I would ideally take a longer break and try to find some inspiration: maybe I’ll decide to play around with materials and mediums that I wouldn’t normally work with, or maybe I’ll go on a vacation to see some new sights and create new experiences.

*A set of styleframes that I created for a client titled “A Different World.”*

Bella:

Any advice/takeaways?

Charmaine:

Sharing as advice something that I absolutely live by: Never stop learning! Whether it’s to improve your current skills to help level up your work or to learn a new hobby that you just want to get into, don’t be afraid to get out of your comfort zone, make mistakes, and learn something new ✨

Thanks again for inviting me onto Takeover Tuesdays and hope everyone has a lovely day!

Mack Garrison 12/12/23 Mack Garrison 12/12/23

Takeover Tuesday with Nicola Gigante

An interview with Nicola Giganta: an illustrator based in Orlando, FL whose focus lies in signage design, illustration, background painting and concept art for both the film and themed entertainment industries.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Yo Nico! Can you give a lil' introduction for those who aren't familiar with you?

Nico:

Hi y’all my name is Nicola but my friends call me Nico. I’m an illustrator and concept artist originally from Mexico but based in Florida for the past 16 years. If I’m not in the studio working on a project you’ll catch me painting outside, playing soccer, traveling a la backpack, or trying to tire out my restless Aussie.

Bella:

What led you to a career in the art world?

Nico:

I feel very lucky to have discovered art long before I knew it could become a legit career path. When I was a kid, I’d fill out my homework papers with fantastical sketches from top to bottom, my teachers weren’t necessarily happy about that, but everyone sort of knew I was “the kid who can draw”. I also feel very lucky to come from a family who fostered and encouraged me to do what made me the happiest, and that was art! (but trust me, they weren’t very happy about me sketching on my math homework either). My mom is an award winning chef and my dad an architect and pottery artist, so if I wasn’t hanging out in the kitchen, you’d find me making clay sculptures. This cross-pollination environment helped a lot with fueling my creative imagination. Fast forward a bunch of years later, and I found myself making both the hardest and easiest decision of my life, should I go to art school, or should I pursue another non-creative career path at a more “traditional” university. I ended up choosing to attend SCAD for illustration. To me that was a “no-brainer”, easy choice because I knew I’d be pursuing my passion and love for art, but it was also hard because I still wasn’t unsure about what a life as an artist outside of school and home might look like, and all the challenges that my decision could bring in the coming years. That was certainly scary.

Bella:

How do you think your time at SCAD made a difference in your life?

Nico:

My time in SCAD made a huge impact in my life. It was very much a right of passage for me, and I’m very lucky to have had that experience. I joined as a transfer student in the spring of 2015, and made a few friends on the first day, many of them whom I’m still very close to. SCAD is located in Savannah, a beautiful Spanish moss-adorned city just by the South Carolina-Georgia line. Living there was very inspiring in so many ways, and my peers, professors, and friends all contributed to my growth as an artist.

Bella:

Is there a project you've worked on that stands out as a favorite to you?

Nico:

I’ve been a part of many projects that have been in a way cornerstones in my career, most of them spanning different industries. When I’m posed with the “what’s your favorite project so far” to me is like asking a parent to chose a favorite child! But one project that I really enjoyed doing was the concept art I was tasked to do for the award-winning short film FATHEAD. Within the first meetings I had with the film director c. Craig and the producers, I knew this was a passion project for many in the production, and I immediately felt both very lucky and the pressure to do my very best. During the production, I got the chance to collaborate with many talented people in all departments of the filmmaking pipeline, and I got my first end-credits mention in a movie! FATHEAD has been shown in many film festivals around the world, and it’s won a lot of awards so far such as gold at the prestigious Cannes Film Festival in France! It is also the first film to be produced in Amazon’s LED volume, a new technology in filmmaking that’s already breaking ground in the industry, with shows like The Mandalorian and HBO’s House of Dragons using it after FATHEAD paved the way.

Bella:

It must be so cool to see your work out in the world, like at The Children's Music Museum in Upstate/Greenville, South Carolina. What was the workflow like for this project?

Nico:

The Marsh Music project at the Children’s Museum in Greenville has to be also one of my favorite projects I’ve worked on so far in my career. No short in challenges though, I was very fortunate to have worked alongside creative powerhouses Jessica and Henry Marchant of Marchant Creative Group to bring this space and it’s characters to life. It started with a story about a frog and his swamp friends, all living in the South Carolina marshlands. The big element to the story is music and education. Each section of he story, or “beat”, features a different musical instrument that kids can learn to play as they go around the room. The concept/beginning stages of this project involved a lot of meetings to come up with the instruments that needed to not just sound good and work well but tie in to the story and setting, so we designed them all to fit the swamp/marshland theme. After a few brainstorming sessions, we came up with a lot of fun things, from rain wheels in the shape of lily pads, drums shaped like turtles, to a giant banjo/harp instrument that looks like an alligator! I then proceeded to illustrate 12 murals, character designs, and a few posters in an animated style that was quite new to me, but one that I’ve adopted well into other projects and personal pieces afterwards. If you’re ever in the Greenville area make sure to stop by and check it out!

Bella:

What advice would you give someone who is trying to "find their style”?

Nico:

When I was in college, and slightly after graduating I had a really hard time being happy with what I was producing as an artist. I remember being surrounded by lot’s of very talented illustrators and artists whom styles were so well defined it left me thinking “I’m so behind”. Finding your style isn’t a straight path, but a windy and bumpy one. It takes a lot of trial and error. One of my favorite quotes from a mentor I had earlier in my career is “practice makes progress”. If you find yourself having doubts about your work and your own style, just keep producing, don’t stop. A baby who stops at the crawling phase will never learn how to walk. I don’t mean to sound cliché or anything like that but everyone has a style, just like we all have different fingerprints! It’s just a matter of time before you find it and hone your skills, because most of the time you’ll likely be the last to notice it while people around you will see it first.

Bella:

Where do you find inspiration? How do you combat creative burnout?

Nico:

Inspiration is everything, everywhere, all at once. I am inspired by other artists, the masters of old too. When you imagine you’re inspired. Music is a big player in my inspiration along with traveling. I sometimes find myself listening to a song and imagining the lyrics transform into a music video inside my head. Going places is a way I relieve burnout, it allows me to have a break from the screen and tablet. It’s a way to recharge by doing other things not related to your daily routines back home. Traveling is a big source of inspiration for me as well. When I break up my daily routine to go someplace new or old, I try to look at everything from an artist point of view. Inspiration is fueled by intrigue. I like to question how things are made, like what makes a certain object interesting that most people would otherwise consider mundane or ordinary. Finding beauty in the mundane is a great way to overcome the “art block”. Once I started looking at the world through that lens I started producing art that I was very happy with!

*Planning for the Marsh Music Exhibit in Greenville, SC.*

Bella:

What's your favorite type of project to work on?

Nico:

Good question! I love projects that have a story behind it. To me, stories are the veil of good art, because without a story then how can anyone relate? The nature of being an illustrator means sometimes I’d be tasked to a project that doesn’t necessarily have a specific story to tell, but by looking at it through the lens I talked about in the previous question, I try to make it interesting and fun. I specifically love animation and film. Growing up I remember being so intrigued by the backgrounds in Disney movies and other tv shows that I’d sometimes forget about the plot. Some of my favorite projects have been illustrating backgrounds and landscapes. To me they’re just as important as the main characters themselves!

Bella:

What are your favorite softwares and tools to use when illustrating?

Nico:

I like to think the ax doesn’t to the tree cutting, the lumberjack does. Tools are there to help, not create. A lot of amazing things have come out of a simple napkin sketch, like the design of the new Chevy Camaro for the Bumblebee movie! But when it comes to client work, Adobe Photoshop and Illustrator are my bread and butter. If I’m doing personal work, I often bounce in between Procreate and HeavyPaint, depending on how much time I want to dedicate to the piece. I love the user-friendly ui of Procreate the most, I was able to pick it up and master it in a few weeks! HeavyPaint is a great app that allows you to paint quickly without worrying too much about details, it’s great for plein air painting for that matter. Additionally, if you’d ever met me in person, there’s a good chance I was holding my sketchbook in hand. I carry a pocket-size Moleskin sketchbook with a few micron pens everywhere I go! It’s the best way to capture anything that inspires me while I’m on the go, and it allows me to further develop drawing skills.

Bella:

Anything exciting coming up/final words of wisdom?

Nico:

I recently started becoming more serious about freelancing versus looking for an in-house job. It’s been quite challenging and scary, alas terrifying, and the road stretches far and wide. I’ve been struggling to find something stable, being an artist is no smooth path. But I try to celebrate any wins, big or small. When I’m feeling like I’m not heading anywhere or that my career is stalling, which happens more often than I’d like, I try to focus on why I decided to pursue art as a career in the first place. Keeping my goals in check, writing stuff down, sketching things and ideas, reading books, connecting with other artists, these have all been some of the ways I’ve been keeping myself from quitting the creative world. If I had any final words of wisdom, it’d be to remember we’re all in our own timeline. There’s no shame in being or feeling like a “late bloomer” in your career, or feeling that you haven’t found your style and you’re falling behind. Stop comparing yourself to others much more ahead in their careers than you, instead, learn from them. Reach out to your heroes, even if not all of them respond you never know who might. You’ll get there, but in your own time. By having trust in the process, and practicing as much as you can every day, things will come your way and doors will start to open. Just have faith and patience in yourself and try to have fun while you can!

Mack Garrison 12/5/23 Mack Garrison 12/5/23

Takeover Tuesday with David Holm

An interview with David Holm: a 2D animation & illustration specialist from Detroit, Michigan.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks for joining us for Takeover Tuesday, Dave! Please give the people a lil' introduction!

Dave:

My Name is David Holm and I am an animator/designer at Boxfort, in Detroit Michigan.

Bella:

How did you get into motion design?

Dave:

I went to school for graphic design originally but always wanted to make cartoons and make short films.

The community college at the time didn't have any classes for 2d animation.

But towards my last semester I won a scholarship contest. Which gave me the funds to take a full year of extra classes. So I took Intro to After Effects and Advanced After Effects(taught by Steve Savalle at the time)

And those two classes really helped me use my graphic design and illustration skills in a new way.

Then a year after graduating college in 2012 I landed my first in house studio job as a motion designer!

Bella:

What's the workflow like when mixing 2D and 3D styles together?

Dave:

When I work with mixing 2D and 3D I usually like the 3d elements to ground the 2D animations. So the characters will be all 2D animated but the environment is all made in 3D.

I just think mixing the 2d/3d can give you a really unique look and results. I also really like using glass and reflections to get cool random light leaks.

Bella:

I love me a character made from an inanimate object- big fan of yours. How do you give personality to something that isn't a human?

Dave:

Thank you! I really have a wild imagination that lets me give random objects backstories and wonder how this character/object behaves in an animated world.

Every object in my house has been drawn with a face lol

Dave worked with his pals Gunner to create some animated stickers for a unique mint company called Flintt Mints

Bella:

Do you have a favorite project that you've worked on?

Dave:

My favorite project I've worked on is probably Recess or Half Rez, because we collaborated together to mix a bunch of styles together and made something that felt fresh and unique.

Bella:

Where do you find inspiration?

Dave:

I find inspiration in everyday life. I really benefit from going outside and just watching the plants sway in the wind. And see the wild life thrive and just live around us.

Also bringing a mini sketch book around and using it to do quick idea sketches on the spot.

Bella:

What are you most proud of in your career thus far?

Dave:

What I am most proud of in my career would be probably being able to successfully work as an animator/designer and pursue other hobbies on the side.

Recently I joined my friends band and being freelance lets me be flexible to do both. Also, contributing on the Dash Bash titles this year was a highlight too!

It was a dream project to work with Dash and have it be seen by so many creatives.

*Frame from Recess, a* *Boxfort* *short film.*

Bella:

What's it like working at Boxfort? Do you collaborate often with fellow freelancers?

Dave:

Working at Boxfort has been incredible, we have grown a lot in the last year and we have a lot of new creative energy. We do collaborate a lot by giving each other advice or suggestions. And we are also in the process of creating a handful

of new animated short films. We actually just released an animated short for the new Gunner School. You can check that out here.

Bella:

Do you have any advice for being stuck in a creative rut/how to get out of it?

Dave:

If I get stuck in a creative rut, I usually need to take a break from the screen and all technology. Taking a walk in the woods or a park helps me so much to give myself some clarity and motivation.

Music playlists that are made to get me motivated and stay creative help me a lot too. Also exercise a little will give your brain a boost. We like to play hacky Sack to break up the screen time. It gets your body moving and it's fun!

Bella:

Any final words of wisdom?

Dave:

Final words of wisdom would be to write down your projects/to do lists daily. Sketch ideas out instead of doom scrolling social media. Also, you should set aside a day to not be on the computer at least once a week.

Mack Garrison 11/28/23 Mack Garrison 11/28/23

Takeover Tuesday with Liz Klein DiBello

An interview with Liz Klein DiBello: a Brooklyn based designer, animator and creative director.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks for joining us for Takeover Tuesday, Liz! Can you please give us a lil' introduction?

Liz:

Thanks so much for having me in! I’m so happy to be a part of this!

I’m Liz Klein DiBello, and I’m a Brooklyn based designer, animator and creative director.

I come to motion design with a graphic design background, and it’s a part of everything I do. My work has focused on design-based motion projects like network rebrands and broadcast design, commercials and online videos, but has also included projects that focus more on a collage and texture-based approach which lends itself to projects like explainer videos, PSA’s and more.

Also, I just recently joined the incredibly talented team at Mighty Oak full time as Associate Creative Director!

Bella:

How did your career in motion design begin?

Liz:

From a young age I was always interested in anything related to drawing, painting and crafting, so I guess you could say it started there. There was a chest of drawers in my house filled with all sorts of crafting materials: different types of papers, scissors, pastels, crayons, markers and more (this is probably what started my interest in collage). When I got older and my family got their first computer, I got super into Photoshop and discovered graphic design. Later I found out that I could do this as my career, and that’s what made me pursue a design education.

But for motion design specifically, that part of my story started in school. I was going to the School of Visual Arts in New York for Graphic Design, and took Ori Kleiner’s intro to motion class Junior year. Motion design and After Effects was still relatively new at the time, and I loved the idea of bringing design to life and pairing it with music. Ori would show the class so many examples of great titles sequences and introduced us to the process of making motion graphics. I was super inspired by seeing how others were using this new tool. Senior year there was an option to specialize in motion design and I knew it was the right move for me. I decided to do a portfolio class with Ryan Moore.

During school I had always kind of been working, I was always very practical and really wanted to dive right into real life projects. I was interning at Nickelodeon, but I also started taking on a few freelance jobs here and there. One of my first motion design jobs was a book trailer that was all kinetic type, which was trending at the time.

After I graduated, I found my first full time job at The String Theory, a small studio in Manhattan that introduced me to so many different types of projects– anything from broadway commercials, to billboards in Times Square, explainer videos, lyric videos and so much more.

Bella:

With expertise in multiple areas, from illustration to art direction, is there a part of the creative process that you enjoy doing the most?

Liz:

The beginning of the creative process is always my favorite. I like to spend time upfront researching, learning, looking for inspiration, and exploring the different directions a project could go. What I find during this phase can help inform design decisions, and the look and feel of what I’m working on. There’s so much potential during this step.

Bella:

Do you have any advice for other artists trying to go full-time freelance?

Liz:

I have SO many freelance words of wisdom! One big one is that community is super important for many reasons- it will not only keep the jobs flowing, but there’s also an element of support that is there. There’s moments where you might feel isolated because you are flying solo. You’re going to have questions about rates, or the hold system, or maybe you just want to bounce an idea off of someone, but you don’t have co-workers anymore to do that with. Panimation NYC is one of those communities, and Dorca Musseb asked me last year to become an admin. It’s such a great space to provide all of those resources, plus just being a way to meet some genuinely cool people, and I’m happy to be a part of that.

Another piece of advice is boundaries during bookings- define them before you start looking for jobs, and stick to them. For example, how many hours does your rate include, 8, 10? What is your overtime rate, and when does that kick in?

Bella:

Where do you find inspiration? How do you combat creative burnout?

Liz:

Of course I’m constantly inspired by the many talented artists and studios in our community, but I try to look outside of the industry as well so I can get a fresh perspective. Some of the best inspiration can come from a trip I just took, an exhibition that I recently saw at a museum or gallery, or just walking around the streets of New York. Music has also always been a huge inspiration of mine– when I go to a concert, I always look forward to seeing what kinds of graphics are on the screen behind the band and what the merch looks like. Music can have such an impact on how something moves and looks.

Inspiration is also one way to fight burnout. Burnout is so real and so important to acknowledge. It’s important to get ahead of it and realize when it’s starting to happen and what your key signs are. For how to recharge, it’s kind of a balance between just stopping to relax fully physically and mentally, but creatively. For the physical/mental part, doing something away from the computer and devices is pretty key- like a hike in nature, or yoga.

Bella:

Your style is super fun and colorful. What would you tell someone who is trying to "find their own style"?

Liz:

Thank you! I would say to take note of what you enjoy working on the most, and try to do more of that. Your style will naturally evolve from there.

I’d also say my own style is still evolving, it’s a long road! So don’t get discouraged if you don’t have a “style” right away. Sometimes you can only see the pattern in your work by looking back at your past work and seeing the common threads.

Bella:

Do any of the projects you've worked on stand out as a favorite?

Liz:

I don’t know if it gets much better than DOGTV. I had always wanted to work on a network rebrand, and Andrea Pabalan and Darci Manely at thelab nyc approached me to art direct a rebrand for the streaming service.

I should explain that DOGTV is a streaming service for dogs– it keeps them occupied while their pet parents are out of the house, and is actually based on scientific research around reducing stress in dogs. The channel content is actually broadcast in colors that dog’s eyes can see. So it’s a fun project but also serves a helpful purpose.

Our team worked on an entirely new set of assets for the brand that could live on the streaming service, but also in print and digital too. We started with a new logo, typefaces, colors, tone of voice, custom patterns, illustrations, and a brand new photo and footage library. Then we took those elements, and created a new look and feel for the streaming service itself and its content– so everything from bumpers, to transitions and lower thirds, to a sample promo for one of the shows.

We wanted the look and feel to reflect the energetic and unique personalities of dogs, so we went super bold, colorful and poppy. Knowing this was a rebrand for a channel based around dogs, motion was always a huge part of this rebrand and would be something we kept gut checking ourselves against throughout the process. We knew everything we created had to feel like it had the right energy and a playfulness to it.

One of the most fun parts of the project was getting to have a two day photo and live action shoot with over 30 dogs. I made a lot of new furry friends!

Bella:

How do you make yourself stand out among other artists when pitching to a new client?

Liz:

For me it’s not about looking at it as a competition. It’s all about recognizing what you bring to the table and pointing out what makes you and your skills unique, and why and how those things would make the client’s project great. For me, it’s that I can wear many hats- I can design, animate, edit, illustrate, and direct. And I enjoy hopping into all of those roles!

Bella:

What's your proudest moment in your career thus far?

Liz:

I’m really proud of the projects that I work on that give back in some way and use design and animation to serve a greater purpose. I’ve now worked on a few projects that are centered around the importance of elections and voting, a cause that I deeply believe in. I was lucky enough to work on FiveThirtyEight’s The New Bellwethers series, which came out at the time of the 2016 election. Even though the election didn’t pan out as I had wanted, it felt good to be able to contribute to the conversation at that time. Another election based project I’ve gotten to work on recently with Mighty Oak is a spot for NYC Votes. We’re breaking down the process of how to vote to help get more people out there on election day.

And one more bonus proud moment- someone once got a tattoo of a logo that I made. I can’t believe someone liked my design so much that they wanted it with them forever! So that’s definitely up there with my top moments.

*Frame from FiveThirtyEight’s The Bellwethers series.*

Bella:

Are there any projects coming up that you're excited about?

Liz:

Right now I’m working on a series of collage-based videos for IBM, which I’m pretty excited about.

Thank you so much for the invitation again, it means so much to me. I really enjoy reading these interviews and it’s great to be a part of this series!

Mack Garrison 11/21/23 Mack Garrison 11/21/23

Takeover Tuesday with Alejandro Grima

An interview with Alejandro Grima: a freelance art director, motion designer and animator based in Madrid, working for start-ups, companies and agencies around the globe on projects big and small.

Interviewer: Matea Losenegger

Read time: 5min

Matea:

Hello! Thank you for taking time to participate in our series. Can you please introduce yourself and your work?

Alejandro:

Hi there! My name is Alejandro and I’m a Madrid-based motion designer and animator. I was once a jack-of-all-trades graphic designer that worked on digital design, packaging, branding and animation, but 7 years ago I specialized in motion graphics and I’ve been freelancing since.

I’ve been able to work with clients and studios around the globe, and not being restricted geographically and being able to meet people from different backgrounds are some of the things I enjoy the most about freelancing.

When I’m not playing around with keyframes in After Effects, I’m probably discovering new fancy coffee shops, running or taking photos.

Matea:

You have a lot of fun and striking vector work in your portfolio. How did you develop your design style?

Alejandro:

I didn’t really develop a style in a conscious way, I think it has more to do with the evolution of my career: I started out as a branding/digital graphic designer without a proper interest in illustration and maybe that’s how I was initially attached to using simple vectors (also due to the lack of more complex illustration skills). It was later on that I gained interest in more illustrative styles after meeting and working with illustrations, animating their work, and then trying to replicate what they were marvelously doing.

Having said this, I’m really happy that I come from a pure graphic design background, because it allows me to approach each project from a functional point of view and then go for the style that I think should work best. Versatility is key!

*A frame from Alejandro’s Lucidity Tech project.*

Matea:

On a similar note, I really love your logo and 36 days of type animations. Is there a secret sauce in creating precise and effective visuals?

Alejandro:

I would say trusting the process. I usually get to a result animation I’m happy with after following these three steps:

First, planning everything, doing quick sketches or a storyboard to visualize how everything is going to move.
Secondly, work on the movements, nailing the key poses and how every element interact with each other.
And last but not least, spending time working on the timings of every move, because many times a movement lasting ore or a few more/less frames can really make a difference in the end result.

Matea:

You've obviously honed your craft in Adobe Illustrator and After Effects. Are there any plugins or additional software you like to use in your work?

Alejandro:

Way to many, perhaps! But mainly Overlord (which I find crucial to effortlessly bridge between Illustrator and After Effects), and Duik, Key Cloner and Nudge for quicker and precise keyframe tweaking.

Penpal and Anubis also do come in handy.

*Some of Alejandro’s 36 days of Type explorations.*

Matea:

Where do you find inspiration- in and out of the art world?

Alejandro:

In regards to art related stuff, I enjoy going to exhibitions and having a look at anything that has to do with product design and architecture. I even have a dedicated architecture-focused Instagram account because I also love photography and these two subjects collide frequently.

Outside of the arts world, I think what inspires me the most is probably meeting people. I’m a shy person, so it isn’t always easy, but I actively try to push myself out of the comfort zone because I find discovering about other people’s lives, jobs and ways of thinking absolutely enriching.

Matea:

What was your favorite project you've worked on and why does it stand out to you?

Alejandro:

Probably the work I did for Lucidity. I got to learn a lot of really interesting stuff from their team, and they were all a delight to work with. They really know their product and are were able to contribute with interesting ideas while giving me absolute freedom to visualise the information at the same time and could work on some interesting animations and transitions.

Matea:

You've worked with an interesting variety of clients. What's your favorite type of client to work with?

Alejandro:

Definitely the clients that, because of the nature of the project, make you learn new stuff. For example, I worked on a couple of animation explainer videos not too long ago for a blockchain-based technology and a new pharma product, so in order to being able to translate the information into something visual you have to understand well how this technology works and how that medication affects the body. And, by the end of the day, you go to bed with knowing more interesting stuff than when you woke up.

Matea:

How do you fight burnout and stay motivated to create?

Alejandro:

For me, it’s a balance between routine and the unexpected. While exercising and meditation have become keystones of my mental health, I also try to fit as many activities involving new experiences in my schedule as possible. Be it seeing an exhibition, trying a new sport, getting lost around a part of the city you’ve never been to, or trying that fancy new cocktail bar you discovered last week.

Also, special mention to the occasional chatting with my creative friends Vivian, Lucía and Miguel over a cup of coffee. They’re incredibly inspiring people and their insight has got me out of a creative block more times than I can count (thanks guys!).

Matea:

Is there a type of animation you're interested in exploring?

Alejandro:

I’m always trying to learn new stuff but seeing so many talented people doing so many different things on social networks doesn’t really help with the fact that there are only so many hours in a day (ha!). So one can just set priorities, and my current priority is improving my frame-by frame animation skills. After this, I would love to start playing around with code and interactive animations.

*Motion for* *Wearebold* & *Somosmejor’s branding of OEI*

Matea:

Are there any upcoming projects you're excited to share this year?

Alejandro:

As for commissions, I’m particularly excited about the motion identity explorations I’m developing for a couple of design studios here in Spain. And in regards to personal/side projects, I’m working on my first short film that’s allowing me to explore new techniques. All I can say for now is that it’s about museums and some absurd things happening inside them ;)

Mack Garrison 11/11/23 Mack Garrison 11/11/23

Takeover Tuesday Veterans Day Edition with Jeffery Lawson

An interview with Jeffery Lawson: an Art director / Illustrator born and raised in NC who it a bit of a tactile tradesman , lover of all things nature and color.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks so much for joining us for Takeover Tuesday, Jeffery! Could you tell us about yourself?

Jeffery:

I am a Veteran, Art Director, Designer, and illustrator born and raised in North Carolina. Most of the work I love making is mixed with fun and a bit of thoughtfulness. I love printmaking and collecting vintage goosebumps books. I am a nature lover and 80’s horror movie aficionado and lover of all things spooky.

Bella:

How did you find your way into motion design? A bit of your background?

Jeffery:

That's a bit of an interesting story! Hold onto your seats, this one's a doozy. My journey into motion design looks like a bit of a treasure map with many points. In the early 2000’s I got started in design learning to be a screen printer and tattoo artist in my local area. Fast forward many moons later I ended up leaving my career in the military and going back to college to be a student.

*A frame from Jeff’s Logitech project with* *Demo Duck*.

Bella:

How was the transition from the military to being a student?

Jeffery:

It was by far one of the most challenging periods in my life. I like to call this my transition phase. My most memorable moment, which was the most challenging, was when I separated from the military on a Friday and Monday morning I was sitting inside a college classroom. It was a complete mental shock not only culturally but mentally as well. Having served in two combat zones made it a little harder given the difference between military life and civilian life. For example, there are strict timelines in the military, and transitioning to civilian life you no longer have those in place and must set them for yourself.

Bella:

What did you learn from being in the military that carries over into your career today?

Jeffery:

There are a few military lessons that I still carry with me but the most important comes from an old army leadership manual. For more about this topic, you can google the 4 c’s of army leadership.

Competence - This means being operationally and technically skilled at what the organization does. When one moves up their understanding of the entire process is far more important than technical skills.
Commitment- This means placing heart and soul not only into the organization but most importantly of all its people. For example, A great leader arrives an hour early and leaves an hour after the last team member clocks out. A committed leader takes the time to learn the habits of each team member and then leads them accordingly.
Candor - This means always being able to be candid at all levels regardless of position. Basically, it means being able to be honest about something regardless of how someone might feel.
Courage - This means having not only physical courage but moral courage to say and do what is right even if one must stand up to someone.

*One of several concepts chosen for a client pitch for Tango Analytics*

Bella:

What do you want to say to those who were in your shoes a few years ago?

Jeffery:

I'd tell them to reference an old proverb that goes like this “Seek and you shall find “. How this relates to your career is as follows.

1- Seek to fill the gap- There's a beautiful video series by Ira Glass that was shared with me called The Gap. In this video, he talks about going through a volume of work to fill the gap between where you are and where you want to be. My interpretation of this is something I always share with my mentees and I want to share it with you. In order to get where you are trying to go you have to fill this imaginary hole with things that are going to make you better. Examples of these things are tutorials, podcasts, lectures, meteors, personal work, feedback, and books.
2- Seek discipline - There's a great book out there that I've read several times called “Discipline Equals Freedom: Field Manual” by Jocko Willink which is essentially the key to filling the gap that I discussed above. The term discipline equals freedom applies to every aspect of your life and if you want more freedom you gotta get more discipline in your life.
3- Seek a village - There's a quote by the motivational speaker Jim Rohan that states that we are the average of the 5 people we spend our time with. My interpretation of this is that during my career so far I've befriended people who share similar values and beliefs as I do but who are also far more talented than me. By seeking a village of people who support you but who can also offer up honest advice it will help you see the chinks in your own armor and make you stronger.

Bella:

What are some of the techniques you use to create the work you do?

Jeffery:

A magician never tells his secrets, am I right? WRONG. To be super transparent I'm all over the place with techniques because I love exploring and experimenting. I will say that I consider myself a tactile tradesman of sorts. I enjoy integrating things that can be done using printed methods or by hand and merging them with digital aesthetics. For example, recently I had the pleasure of creating a title sequence project at Gunner School, and after brainstorming and pitching two directions I settled on one that used scanned-in elements from nature to emphasize the core elements of the movie.

*Art Direction Jeff provided for Prisidio vis* *Demo Duck*

Bella:

Do you have a favorite type of project to work on?

Jeffery:

This question is a bit of a hard one! In general, I have a deep appreciation for mixed media art. My interests span from collage to two-dimensional works and even dabble in a small touch of 3D. My preferred project styles can vary, but there's usually a common thread tying them together, and that's the element of enjoyment. Much of this passion is showcased on my website within a category I've named "TIDBITS," where I explore diverse artistic styles.

Bella:

You mentioned schooling and I see you recently attended Gunner School. What was that like?

Jeffery:

Attending Gunner School was a truly transformative experience. I had the privilege of exploring new ways of animation, thanks to the guidance and support of my peers and mentors. This opportunity encouraged my passion for learning and pushed me to unlock my potential. Through collaboration and hard work, I grew into a more confident and knowledgeable individual. This journey left a lasting impact on my life, opening doors to exciting possibilities and shaping my identity and outlook in profound ways.

Bella:

What are your goals for the next couple of years?

Jeffery:

Career:

1- Full-time employment with studio
2- Explore more creative styles of design
3- Publish a book on creative thinking

Personal:

1- Spend more time with family
2- Nurture more creatives
3- Watch more horror movies

Bella:

Was there ever a time when you didn't think breaking into Motion Design was even possible?

Jeffery:

Indeed, it's important to remember that every profession has its share of highs and lows, and taking that initial step can be quite challenging when embarking on any career journey. In my own experience, after graduating, I initially had a fantastic internship opportunity lined up, but unexpected circumstances threw a wrench in my plans. After this happened, luckily, I had the awesome support of a mentor whom I met through School of Motion to help me navigate such an event. Fast forward 8 months and with this person's help I had built a portfolio.

Bella:

Who are your personal heroes?

Jeffery:

Please bear with me as I share a touching story about my personal hero, Amanda Russell. Amanda is a Creative Director at CREAM Studio, and she is not only a highly accomplished professional but also an exceptional human being. Her boundless compassion has left an indelible mark on me that I try to emulate to others. Countless times, Amanda's unique blend of creativity and kindness has guided me through challenges in my own career that I couldn't have overcome on my own. In addition to her unwavering empathy, she serves as a deep wellspring of inspiration, embodying the qualities I deeply admire and aspire to cultivate in myself. Her steadfast commitment to creativity and the well-being of those around her should serve as a guiding light for anyone seeking a mentor in their career.

Bella:

Who are your personal heroes?

Jeffery:

Eddie: I was in the desert once, out in the middle of nowhere, absolutely nowhere. Just me, the sand, and silence. But if you know what to listen for, it ain’t silent out there. I heard a music out there I never heard before. In the silence. That’s what I’m after, kid. That’s intense. You dig down deep and touch something like that, people are gonna listen. They’ll listen to you because you got something to say! Not just something to show. You understand?

This quote comes from one of my favorite 80s movies called ‘Eddie and the Cruisers”. Sometimes you have to shut out all the noise of the world so you can hear your own internal voice. We all have an internal compass / creative voice we must listen to and when you add in the many distractions of the modern age it can get quite noisy. Enough to the point where you can't even discern what direction you should point your compass.

Mack Garrison 10/31/23 Mack Garrison 10/31/23

Takeover Tuesday with André Leite

An interview with André Leite: a motion designer and pizza lover from Brazil, currently living in Lisbon, Portugal.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks so much for joining us for Takeover Tuesday, Andre! Could you please give us a lil' intro?

André:

Hey there! I'm André Leite, a creative motion designer, punk rock enthusiast, and pizza lover, originally from Brazil, but currently rocking it in Lisbon, Portugal.

Bella:

How did your career in the motion industry start?

André:

This a long one…before diving into Motion, I went through various "fun" jobs. I worked at a skate shop, a tattoo studio, and also organizing music shows in Fortaleza (my hometown). By chance, in 2008, a friend invited me to work at a local TV network that only played music videos. I've always had a passion for videos and music, so when I saw the editing suites there, I thought to myself, "This is where I belong, sitting in the air conditioning (Fortaleza is crazy hot!) and editing MTV style segments - this is perfect!”

After learning how to edit, I started watching Andrew Kramer's videos and gradually transitioned from editing to VFX. I dived deeper into my studies through tutorials and books. In other words, I was completely self-taught on this journey.

I then began working at commercial production companies, where, in addition to editing and VFX, I was also required to animate texts, icons, packshots,

transitions, and more. It was there that I discovered the magical world of animation. Although I sometimes worked 14-18 hours a day and even slept several nights on an air mattress in the editing suite, I can say that this period was an intensive After Effects course. I faced all sorts of challenges and never had enough time. I struggled a lot, but I also learned a great deal.

After working some years at the top video production companies in Fortaleza, I moved to São Paulo, the land of opportunities. If you stand still for too long on street corner in São Paulo, a job might just fall and hit your head. After a while, throught networking, agencies and studios were constantly calling me to create explainer videos, which I loved because I found working with animation is much more enjoyable than VFX. I became a freelancer and never looked back. After a few of years, I wanted to challenge myself so, I bought "The Animator's Survival Kit" and focused my studies on character animation. And that's what I continue to do to this day.

Bella:

With over 10 years of experience in the industry, how do you feel it has changed over time?

André:

Definitely, the amount of information and softwares is crazy now! Back when I started was challenging to find study materials, especially for those who didn't speak English. It was very rare to come across another motion designer. Nowadays, if you open a pack of cereal, you might even find a motion designer as prize…

Motion design has become incredibly popular. Every client wants or already has a motion video for their company. With each passing day, there is new information and techniques to study. At the same time, I really feel motion design has evolved into a vast international community, where practically anyone can participate, whether they're working in the field or simply appreciating the work. And events such as OFFF or Dash Bash really help to consolidate this sense of Community.

Bella:

What's the animation scene like in Portugal? Are your clients mostly there or do you find yourself working more internationally?

André:

When I arrived here in 2017, I was primarily working for the Portuguese market. It was great! I made a lot of networking connections, friends, and learned a lot. However, Portugal is a small country, and there aren't many clients with big budgets. So, gradually, I started seeking international clients to not solely depend on the local market. In my case, nowadays, I would say that I work 25% for Portugal and 75% overseas.I believe the studios here are doing the same, increasingly looking for international clients.

An undeniable fact about Portugal is the abundance of talent—there's truly a lot of it! However, when these talents are unable to work remotely, they often move to countries that offer better pay. Overall, I feel that with each passing year, the motion community in Portugal is stronger and more competitive.

Bella:

What's your process like for animating characters? What's your favorite thing about character animation?

André:

I'm a rebel who likes to do everything within After Effects, including the illustration, if possible. And I stick to the basic principles of animation.

I normally start by creating simple key poses, sometimes using "stick paths" just to understand what kind of rig I'll need. Once I have a simple rig for the character, I begin animating the in-between frames, and only then do I add details like lighting, shadows, and textures. I usually leave the animation of the head/face for last, I'm not sure why, probably it's just a habit.

Without a doubt what I enjoy the most is the challenge of always doing something new, either animating different art styles or trying out a new character movement that I've never done before. It constantly requires me to put my brain to work, figuring out how to achieve it, and it never gets boring.

Bella:

You've worked in so many different fun styles. Is there one you enjoy the most?

André:

To be honest, I don't have a preferred style, I simply enjoy animating. Nowadays, I have been able to choose

my projects with more aesthetic consideration, which is great! In the past, I animated numerous stock image characters, but now I tend to collaborate with illustrators who have their own unique style. In addition to character animation, I'm particularly drawn to animating technology videos in a UX/UI style, with all that gradients and abstract shapes, I love it!

*Gif from the “Make your Flag Green” project.*

Bella:

Is there a project you've worked on that stands out as a favorite to you?

André:

Yes! I’ve a project that is very dear to me, and surprisingly, it's a video without any characters. What makes me love this video so much is that it was created from scratch - script to final video by myself, my wife, and my former business partner— a very small team. We had limited time and resources, but it was a lot of fun to work on and it gained quite a lot of views on social media.

Here's the link for anyone who wants to check it out.

Bella:

When you find yourself in a creative rut, how do you get out of it? What or who inspires you?

André:

Well, I strive to remain in a perpetual state of motion, keeping myself updated both online and in the so-called "real world," although who knows if we're already in the Matrix after all these AI advancements. I go to museums, concerts, and industry conferences to seek

inspiration too. Sometimes, I observe people, like people riding bicycles on the streets, and that becomes a source of inspiration for animating a character. I’ve always been very observant, so be careful not to become a reference in my work!

Bella:

What's the proudest moment in your career thus far?

André:

The first time I worked for a major studio outside of Brazil I really felt like I had broken a barrier. After opening that door, international clients started coming one after another, leading to cooler projects, working with big teams and renowned brands.

Bella:

Any final words of advice or projects coming up this year that you're excited about you'd like to share?

André:

Firstly, I would like to thank Dash for the invitation and acknowledge this initiative that, in my opinion, adds a lot to our community. Thank you!! \o/

A piece of advice for everyone starting in this field is to remember that it's not enough to master all the software. We must realize that a significant part of the work is communication. Often, the biggest challenge is understanding what the client truly wants and finding the best way to convey the message. Sometimes, it's something simple, yet powerful. What I mean is that having good communication with your client is more

valuable than spending nights trying to create something overly complex that isn't what the client desires but rather what you want.

Recently, I was invited to animate Colonel Sanders from KFC, which was awesome, because he is such a recognizable character. It was a super complex photo-collage project, but at the same time, a lot of fun. We are still working on the Behance page, but here is the final video. I hope you enjoy it:

Mack Garrison 10/17/23 Mack Garrison 10/17/23

Takeover Tuesday with Elyse Kelly

An interview with Elyse Kelly: a filmmaker who unites the unique characteristics of animation with documentary storytelling.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Hi Elyse! Thanks so much for taking the time to join us on a Tuesday Takeover. For those who aren’t familiar with you or your work, could you tell us about yourself?

Elyse:

Hi! Thanks for having me. It's an honor to be in such good company with this series.

I'm a director based in Washington DC, as well as the founder of Neon Zoo. I'm best known for my work in the documentary world, but I've done a little bit of everything at this point in my career. Regardless of genre, what I love most is giving a platform to unexpected and untold stories.

I also teach animation at Georgetown University, which I'm told by my partner is my one true love when it comes to anything career related. Who knew!

Bella:

How did your career begin? Did you always know you wanted to be in the motion design industry?

Elyse:

To be honest, I don't know if I would consider myself to be in the motion design industry even now! I'm more of a "floater" (that's definitely going to read weird) between a bunch of different industries in our entertainment/media world.

I did always know that I wanted to work in animation though. Not to age myself... but I fell in love with animation after seeing the 1990 re-release of The Jungle Book in theaters. It totally amazed me to think that grownups could make cartoons for a living. What more could you ask for?

Of course, my journey to get where I am now was anything but linear, and includes everything from mocapping robots to cheesemongering and everything in between. But looking back on it all, it's amazing to think that I essentially achieved my childhood dream.

Bella:

Tell us about your full-service animation studio, Neon Zoo!

Elyse:

Neon Zoo is a little over a year old now! But really it's much older than that in practice--it was a natural next step to the work I'd already been doing for years, which is directing/producing projects with the most creatively talented and joyful artists you could hope to work with. Definitely make sure to check out our portfolio to see all their credits--hire them, befriend them, and hug them for me if you live in the same city! I have too many Zoom friends... but now I'm rambling.

Building off of my work in the documentary world, our focus at the studio is to create both "impact-driven and artistically-minded content for film, television and the web." If we can use our skills to help uplift communities and important messages, that's where we're interested in spending most of our time.

In addition to that, we're continuing to invest in our community by supporting teammates in telling their own stories. We have a number of projects in development that range from very personal short docs to surreal narrative series to interdisciplinary productions. It's early days for a lot of them, but I can't wait to share them with you all.

Bella:

The motion design industry is full of folks who have extensive schooling and none at all. Do you feel like getting a Masters Degree in Animation and Digital Arts helped a bunch? Would you recommend higher-education for other folks?

Elyse:

Don't do it! Haha. I'm joking. Kind of.

I talk about this a lot with my students who oftentimes feel that they'll be at a disadvantage in the industry for not attending an art or film school. But there are so many different angles to approach a career in our field, especially if you want to direct. And the skills you use most in those roles aren't the ones you "learn" in school: good communication (see every relationship), effective sales (cheese shop), and compassionate leadership (real estate firm).

Grad school is a huge financial commitment; you can't quite wrap your brain around it when you're younger, or at least I couldn't. So what I would say is think about what you're looking to get out of a formal education: is it skills? Contacts? Time? If you have the means and feel that it's worth the cost (in all senses of the word), go for it. But if it's not for you, that's ok. There are definitely alternative places to learn, and build your community.

And while I don't think grad school was necessarily the right fit for me, I did meet lifelong friends and creative partners that I'll always carry with me. That wasn't my "goal" going in, but it's definitely not something I would trade.

Also, I did learn one CRITICAL lesson in grad school: YOU DON'T HAVE TO ANIMATE ON 1s?! (shoutout to Sara Spink and Willie Williams! IYKYK).

*Frame from “Johnny’s Home” - a 2018 Annecy Selection.*

Bella:

You have a super impressive resume of clients (Netflix, the ACLU, Sony Music, etc.) as well as awards (Emmy, Webby, Addy, etc)! Tell us a little bit about that.

Elyse:

It always sounds so fancy when you line everything up together. What I'll say is that I've been incredibly lucky to have worked for and with incredibly talented people--clients who trust us to bring their stories to life, and artists who pour their hearts into every project that we do. All of that comes through in the work.

Bella:

You are an amazing storyteller and all of the work you’ve directed evokes such emotion. Where do you find inspiration for the stories you tell?

Elyse:

That means a lot. Thanks so much.

The inspiration always comes from the people featured in the work. That's definitely true with documentary projects, but applies to my other work as well. I start by asking the basic questions, "Who is this person? What is their story?" You can tell a lot about someone by the way they tell their own story--their tone, when they pause, what makes them cry (and sometimes more importantly what doesn't). As a director, it's my job to figure out how to translate that in the most authentic way possible. Being the custodian of someone else's story is a lot of responsibility, and not one that I take lightly. Every creative decision is made not just in service of "the art", but with that person and their experience in mind--they are my audience and end game. If I can ensure that our work connects with and respects those people, anything else is just icing.

Bella:

How do you get yourself out of a creative rut?

Elyse:

Great question. I feel like I'm continuing to evolve my approach to this. One thing that I'm working to be better at is giving myself the time and space to just "be". There's a lot of pressure as a creative to always be doing, making, creating. I've found that I'm most creative after I've taken time for myself, even if it's just a walk around the neighborhood. It's obvious, but definitely a lesson I keep reminding myself of. I've also learned over the years not to put too much pressure on having to make "my own" work. We pour so much of ourselves into everything we do, including client work, that sometimes that's enough for me to be creatively fulfilled. Plus those client projects help me flex my creative muscles while giving space to simmer on all the personal stuff that I'm excited about.

Bella:

What’s your favorite thing about being a director?

Elyse:

My team. Day in and day out. Their passion and insane talents inspire me, drive me to be better, and really make this job worth it. And to go back to the previous question, definitely help pull me out of those creative ruts!

Bella:

As someone with over 15 years of experience in the industry, where do you think the future of the motion design industry is headed? And how is it already different now than it was 15 years ago?

Elyse:

This is a big one. It reminds me of the classic, "Where do you want to be in five years?" interview question that was always so stressful to answer.

We're definitely at a crossroads in a lot of respects across the entire animation and media industry--insane technology advancements, unionizations, the further commercialization of art, the continued fight to bring more diversity to the table, etc. It can feel like a lot, so instead of a prediction, what I would say is that we need to keep pushing. Pushing for spaces like this that champion unique voices and honest conversations, pushing to give anyone and everyone the opportunity to tell their stories, pushing this artform forward because of the love we have for it. It's been a weird few years, and as cheesy as it sounds we need to continue investing in ourselves and our community because no one else is going to do it for us.

Either that, or we all just escape to one of those Italian villages they've been giving away for free. Who's with me?!

Bella:

Any final advice/takeaways?

Elyse:

I've already talked too much! Thanks for listening.

("Applications" for Italy will be opening soon.)

Mack Garrison 10/3/23 Mack Garrison 10/3/23

Takeover Tuesday with Jordan Knight

An interview with Jordan Knight: a multi-media designer, animator, illustrator who has worked with clients all over the commercial, social media, and entertainment world.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Thanks for joining us for Takeover Tuesday, Jordan! Can you please introduce yourself?

Jordan:

Hi! I’m Jordan Knight, I’m a motion designer based out of Brooklyn but originally from upstate New York and I’ve worked as a freelancer for the majority of my career. I am also queer, I like to bike (as a commuter mostly), love a painting exhibit (late 19th century is my favorite), and I also have a pet snake.

Bella:

How did you get into the motion design world?

Jordan:

In school I had much more patience for art and drawing than any other subject, and I loved movies. So animation felt like a convenient way to mix both of my interests. I went to SCAD for an animation degree and when I was 90% of the way through I took an intro class for After Effects and only learned then about motion design. I thought there was so much more room to grow as an experimental designer in that industry, which I eventually realized was such a huge priority for me in my own creative process. So I made the choice to switch gears after graduation. It took a few transitional years of working as a graphic designer for bodegas and bars, as a studio manager for a small agency, and then slowly working on my after effects confidence on the side to get to a point where I felt I was ready to try taking on a freelance job. I made a lot of mistakes, but I learned a lot in that process and I think I grew the most in my skills as an artist, as a professional, and as a person, by taking that leap into freelance.

Bella:

Do you have any advice for other artists who are trying to go full-time freelance?

Jordan:

This is sort of advice for anyone, not just freelancers, but don’t have any shame about sounding stupid when it comes to asking questions. Books and blogs are great resources, but building real life connections to talk about rates, contracts, new technologies, is going to be your most valuable resource throughout your career. I’ve learned so much about technique and insider tips by asking other artists out for coffee, going to workshops, and community events. As a freelancer staying organized is also extremely important. Keep track of your invoices, your contacts, emails, projects, backups of those projects. Life is so much less of a headache when you know where to find everything. This advice comes from some of my biggest mistakes throughout my early career, so set up goals and learn early, and keep learning to stay relevant and engaged with the industry. Oh, and taxes are just so much easier with an accountant, it’s worth it and a write-off.

Bella:

As a multi-media designer, you have mad skills in multiple different areas. Is there a certain area you prefer to work in? Like animation over design or directing, vice versa?

Jordan:

I’m very much a conceptual thinker so I do typically prefer to spend the most thought and care in the design department. Unfortunately, advertising hasn’t always allowed for that kind of time and money so I often use a lot of my down time to explore design techniques and style.

Bella:

Where do you find inspiration?

Jordan:

This is where living in NYC really has its perks. We really have some of the most amazing museums in the world. A couple of my most frequented include Poster House, and of course the MET. Walking down most New York streets is an absolute advertising vortex of posters, video installations, stickers, murals, made by incredibly talented artists. I’m also really big on Sci-fi and horror films so older special effects really have a soft spot in my heart. A couple years ago I bought a bunch of Heavy Metal magazines from the 70s-90s and I absolutely love the variety of illustration work in there and always look back to find cool drawing inspiration. Lately just a shadow hitting the sidewalk in a strange way will spark my interest and I’ll wonder if I could distort it, stack it, cut it up and collage it, and find use for it in a design.

Bella:

How does your creative process for client work differ from the process for a personal project?

Jordan:

I think professionally as an animator I’m very outcome oriented. I have a deadline, a structure, and a good sense for how I am expected to execute in a timely manner. My own projects are much more chaotic and I often don’t know what I’m making until I’m surrounded by scraps of doodled on papers, made three new pinterest boards, and bought a new stupid thing on ebay that I’ve convinced myself is the answer to all my creative blocks. But it works for me!

Bella:

I love the collage style that you've used in several projects. What's the best way to approach animation for this style?

Jordan:

My biggest focus is making something digital look tactile and handmade. I have TONS of stockpiled textures that come in handy for this and I often make many of my own. I’ve got probably ten different saved expressions for giving a gritty stop motion feel that I use interchangeably. I also think starting the design process by hand and then finding a way to adapt digitally second allows me to be more expressive in the initial stages and leaves me more room to explore what sort of motion would work best with a specific style.

Bella:

What would you say to someone who is trying to "find their style?"

Jordan:

Frankly I can’t even confidently say I’ve found my own, and I may never commit to just one. I think I feel very comfortable with that. Some people really find a style that works for them and that's great. I don’t think finding a style is always necessary. It certainly has benefits as a freelancer to brand yourself to a type of work but I’m definitely a person who loves exploring different mediums. Although I’ve sort of been known for my collage work I am definitely constantly evolving that style into something different. So my advice is just make what you want to make, whether you want to stick to one style or not, that decision will come later and it will come organically.

Bella:

I'm sure it's difficult to choose, but do you have a favorite project you've been a part of?

Jordan:

I had a lot of fun working on Paris Hilton’s documentary. While I was animating on that I shared a coworking space with Miguel Hernandez, the illustrator on the project, and we had such a blast working together. He had me help out with illustration tasks, which isn’t a skill I often get to flex as primarily an animator, but I had so much fun with it. Every week he’d lend me a ton of art books and graphic novels from his collection that I’d spend every night absolutely devouring, so I got to learn a lot in that time on and off the project. Even when deadlines were tight and overwhelming, Miguel made the process fun and easy.

I also found out later that I had indirectly worked alongside my current partner, an assistant editor on the project, who I hadn’t officially met until two years after the release. So shout out to Paris Hilton for the matchmaking.

*One of the scene’s from the Paris Hilton Documentary Jordan worked on.*

Bella:

Any projects that you're excited about?

Jordan:

I just finished up a really fun project with the absolutely wonderful team at Mighty Oak: NYC Votes!

Also keep an eye out on my instagram @jjknightart for more work!

Mack Garrison 9/12/23 Mack Garrison 9/12/23

Takeover Tuesday with Tom Van Deusen

An interview with Tom Van Deusen an animator and visual designer living in New York City.

Interviewer: Matea Losenegger

Read time: 5min

Matea:

Hey Tom! Thanks for lending your time. Can you please tell us a little about yourself?

Tom:

Thank you! I'm a visual designer and animator based out of New York City. I like to write and draw comics too. I have a cat named Spooky. I'm currently a Senior Motion Designer at a large media company. My favorite color is #CD9704..

Matea:

What is your background and how did you wind up in the motion design world?

Tom:

I grew up loving to write and draw, glued to the television during the golden age of deranged, socially irresponsible cartoons of the mid-90s. My mom was an art teacher and was fully encouraging of all my creative pursuits. I'll never forgive her. I earned a BFA in 2008 and entered the workforce fabulously ill-suited for a global recession.

Over the subsequent 11 years I worked a lot of interesting jobs, from Network Control Center Technician to Financial Operations Analyst. Very interesting. At night I did freelance illustration and wrote hundreds of pages of comics. I have some books that got published that are really screwing up my SEO.

Anyhoo, at the age of 33 I went back to school for graphic design at the advice of several designer friends who sensed how thoroughly miserable I was. There's a great program they had attended called the Seattle Creative Academy. I learned visual design, UX/UI, packaging and a bit of motion.

I had enough motion footage by graduation to put together a reel. I applied to oodles of jobs and got an offer for a visual design job and a motion design job the same week. It was then that I made the difficult decision to take the one that paid a lot better.

It’s Tom!

Matea:

Do you still use traditional mediums, and do you think it's important for digital artists to flex those more 'tactile' muscles?

Tom:

I was a bit of a luddite in my art-making before going back to school. I drew my comics with a dip pen and Rapidograph. I poo-pooed those who drew on digital tablets, knowing that I was making something physical that will be celebrated by future generations.

Now I'm drawing mostly digitally, and there will be less stuff for my grandchildren to throw into a landfill. I still draw on paper sometimes, but usually just sketches or life drawing. I feel very good about myself when I tap the paper with two fingers to undo before I realize I actually need to use my eraser. My goal is to have my life's work be inaccessible when I stop paying for Creative Cloud.

Matea:

Congratulations on cooking up a spicy new reel! It's a process many of us dread, but yours turned out great. What would you say goes into creating a compelling one?

Tom:

Thank you very much! I've made a lot of stuff over the past years and it was difficult to pare it down and objectively look at it. To make a good reel I'd say takes watching YouTube videos on how to make a good reel. It was also extremely helpful to get feedback from a lot of other, talented motion designers such as yourself. It's hard to tell what's garbage when everything is your precious baby. Sometimes your precious baby is garbage.

Matea:

It was a really cool idea to incorporate footage of NYC in the opening and close. Has living in the city affected your work at all?

Tom:

Thanks! I moved here from Seattle about a year ago to be closer to family and because my job is in Manhattan. I wanted to incorporate some real-life video footage in addition to my animation, and filmed some stuff on my phone. Because I'm in NYC, those shots are footage of NYC.

As far as influence, I love drawing dense urban areas, and there's a lot of that here. I'd love to find a screen printing co-op in the city to print some of those drawings, so if anyone knows of one in the city please let me know!

Matea:

You have such a playful yet striking illustration style. How would you describe your creative voice and what was the process in developing it?

Tom:

That's very kind. I'm definitely a product of alternative comics. That was the "scene" I was in for a very long time. Over the years I simplified my drawings, replacing fussy cross-hatching with flat colors. I also love children's book illustration. Over the years I've been lucky enough to know a lot of talented artists and illustrators, and I'm sure I'm cribbing some of their styles. Or let's just call it osmosis, for legal reasons.

Matea:

In a similar vein, where do you find inspiration?

Tom:

I hate to say the internet, but nowadays there's such easy access to amazing artwork on the internet that I have to say the internet. I hated saying that. I've also gone to a lot of incredible museums and gallery shows in the city, and it's impossible to not be inspired by those. And usually some crazy idea will pop into my head that's funny to me, and it will make me laugh aloud in public. Not sure how or why that happens, but I wish it would stop.

Matea:

If budget and time weren't constraints, what would be your dream project to work on?

Tom:

I'd love to make an animated short based on the comic that I'm working on. It's currently about a duck and an alligator, but will soon include a snake, a mouse and a giraffe. I have a lot written for it but can barely find the time to draw it into a comic. I'm currently drip-feeding it onto my Instagram. The good news is that it's zero budget and nobody cares how long it takes me.

Matea:

Do you have any wisdom for aspiring creatives and what do you wish you had known when you first started out?

Tom:

You have to live a life to do anything creative. Don't fret if you think everyone else has their nose down at their Cintiq while you're drinking White Claws on the beach. You can't make art in a vacuum, and life's short. Enjoy it.

*One of the scene’s from Tom’s recent comic.*

Matea:

Do you have any upcoming projects you're excited to share with the world?

Tom:

I'm actually very excited by that comic I'm working on, even though my productivity doesn't always match that excitement. I'm having fun drawing it, and since it's a personal project that's the important part.

Mack Garrison 8/29/23 Mack Garrison 8/29/23

Takeover Tuesday with Nick Fairbanks

An interview with Nick Fairbanks a freelance illustrator and animator living in Atlanta, Georgia.

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

Nick! Thanks again for joining us for Takeover Tuesday. Can you please give us a lil' intro to let the people know who you are and what you do?

Nick:

Hi! The name’s Nick. I’m a freelance illustrator and animator living in Atlanta, Georgia. I mostly work in the startup and tech world but I’m trying to break into editorial work and children’s books.

Bella:

How'd you get into illustration and animation?

Nick:

I got my degree in documentary filmmaking at Florida State University. I had to learn After Effects and really loved it. I had some intricately animated sequences in a documentary I was working on and it impressed a classmate who had a startup company. He hired me to create an animated explainer for their product and was willing to pay $800 which was a lot for me at the time. I had always drawn things, but as I worked on the animated explainer, I learned about Dribbble and Pinterest and became exposed to the world of tech art. By the time I graduated, I was working for the startup company and had pivoted my career goals towards tech illustration.

Bella:

Your style is unique and I've always been a big fan because it looks like it belongs in a book or magazine. What advice do you have for people trying to "find" their style?

Nick:

It’s incredibly hard to create a style that is truly your own. You don’t have to scroll that far back in my feed to see that the way I draw has changed a lot over the years as my influences have changed. But the art we make will always be influenced by those we look up to and that has to be okay. For me, it’s people like Oliver Jeffers, Vincent Mahe, Tom Hugonaut, Miroslav Sasek, Robinson, Quentin Blake. It’s important to keep in mind that there are two components to style: 1. the way you create art and 2. the stories you tell. Be conscious of what you’re taking from others and what you’re contributing that is your own. Find a balance that allows you to sleep comfortably at night. As far as actionable advice, the most common theme in art is people. So draw a janitor, a politician, a florist etc. Draw lots of people and then ask yourself, what would a car look like that this person would drive? What would their house look like? Build out the world in your style, starting with people.

Bella:

Where do you find inspiration?

Nick:

The most interesting things have some truth in them so I try to pull inspiration from the places I go and people I meet. I always keep a little notebook I can fit in my back pocket and write down the things I see and the thoughts they prompt as they happen.

Bella:

Can you tell us a bit about your website, aportraitof.info?

Nick:

My Grandmother passed in 2021 and while I had plenty of photos, I had only one video. It prompted me to think how nice it would have been to have a long form video of her, and even better if she was answering deep, thought provoking questions. I created A portrait of as a way to do just that. I’ve filmed about a dozen so far and while it’s emotionally rewarding, it is very time consuming. I don’t advertise it much anymore, but if people reach out and want me to do it for their family, I’m always happy to do it. I may pick it back up more seriously in the future, but it's too far removed from my larger goals to warrant dedicating time to.

Bella:

What's the process like for managing your own Etsy shop?

Nick:

I initially wanted to print, pack, and ship all my own work. I sold out of 40 prints in a few days which was really encouraging, but the process was taxing. As of right now, I just offer digital downloads so that people can print them however they want. I’m thinking a lot about passive income, so I’ll keep the store as is for now, but I will be looking into working with a printing company soon who can handle all that for me.

Bella:

How has your random mug drawing series on Instagram been helping you combat creative block? Is there anything else you like to do when you feel stuck?

Nick:

Yeah, it’s been really helpful! I actually draw the first thing I pull from the list. I was spending way too much time thinking about what people would want and it was stifling my ability to create. If I don't want to draw something from that list, I go on long walks and don’t come home until I have something clear in my head.

Bella:

Some of your advice on the gram is to try to "create something every day that makes you want to call your mom and tell her about it." (amazing advice btw). What's something you've worked on recently that made you want to tell your mom about it?

Nick:

My mom is my biggest supporter so she sees most of my work on IG before I get around to telling her about it. That aside, I was excited to tell her about a side project I spun up, creating animated portraits of creatives I interviewed while traveling around Europe and Asia a few months ago. I only shared a small portion of our conversation on social media but she wanted to hear about the whole thing.

Bella:

You've got a pretty big social media following (100k followers WOO)! Any advice for people trying to get noticed and share their work on social media?

Nick:

For context, I’ve been sharing my art on IG for 9 years. 8 months ago, I had a following of 5,000 or so. The cityscapes went sort of viral and propelled my following to what it is now, and I’ve been hovering around 100 for the last 3 months. So the bulk of followers came in about 4 months. But here’s what I’ve learned:

1. People love to travel. My cityscapes remind people of where they’ve been or where they want to go. People are always sharing it or tagging their friends. Anything that has to do with travel is going to increase your chances of it performing well.

2. People love to love. Create content around relationships or love. If you can strike that chord, reminding people of someone they love, or loved, it will perform well.

3. Elevate your work with animation. It doesn’t have to be anything major. Most of the animation I incorporate is really subtle and simple to execute. But it performs better on average than a static post.

4. It has to be either really strong stylistically, or really strong conceptually.

Look at something you’ve made and ask yourself, “Why would a stranger care about this or want to share it with their friend?”

Bella:

Anything you're looking forward to working on/doing in the future?

Nick:

I’m ALMOST done with a Skillshare course on how to draw my cityscapes [Update it’s live!]. I’ve been talking about it for months and should be publishing it in the next 2-3 weeks. After that, I’ll be working on my website and try to make a real career out of freelancing.