Aradhana Bejarano Interview
In this conversation, Mack Garrison interviews Aradhana Baharano, co-founder of Little Labs, an animation studio based in California. They discuss Aradhana's journey into animation, her education at SCAD, the transition from a creative role to a business owner, and the challenges of starting a studio. Aradhana shares insights on networking, mentorship, and navigating client relationships, as well as her excitement for the upcoming Dash Bash conference where she will be speaking about her experiences and the rebellious spirit of artists.
Takeaways
Aradhana's early inspiration came from a book on animation she found in middle school.
Her education at SCAD exceeded her expectations and helped her grow as an artist.
Transitioning from a creative role to a business owner requires delegation and embracing new responsibilities.
Starting Little Labs was a leap of faith, but they managed to keep Disney as a client.
Networking and mentorship are crucial for success in the creative industry.
Contracts are essential to protect against misunderstandings with clients.
Approaching client relationships as collaborations can ease tensions and misunderstandings.
Aradhana finds inspiration in various artists and believes in the power of community.
The Dash Bash conference is an opportunity for networking and inspiration.
Aradhana's talk at the Dash Bash will focus on her journey and the rebellious nature of artists.
Chapters
00:00 Introduction to Aradhana Baharano and Little Labs
03:00 Early Inspirations and Journey into Animation
06:00 Education at SCAD and Its Impact
09:00 Transitioning from Creative to Business Owner
12:05 Starting Little Labs: The Leap of Faith
15:01 Networking and Finding Mentorship
18:02 Navigating Client Relationships and Challenges
20:59 Preparing for the Dash Bash Conference
Transcript:
Mack Garrison (00:00)
All right, what's up all you Dash Bashers? Thanks for tuning into another episode of our speaker series where we're getting to know the speakers that are coming to the Dash Bash. And I'm so excited to have one of those speakers with us today. Aradhana Bejarano with Little Labs, the amazing animation studio based out of California. They got over a decade of experience working on animated content and interactive experiences. She's collaborated with brands such as Disney, Netflix, Google, Snapchat.
Meta and Khan Academy for Kids. mean, these are all just amazing brands to work with. Aradhana thanks so much for hanging out with me and chatting with me today.
Aradhana Bejarano (00:34)
I'm excited to be here. Thanks for having me.
Mack Garrison (00:36)
You know, I
think one good place to start is always kind of at the beginning because it's fascinating to me how everyone kind of gets into motion design. It's such an amalgamation of different backgrounds and experiences. Maybe you take me back to some of those like early animation memories you had where you were like, this is interesting. Maybe, maybe this is a career I might want to pursue.
Aradhana Bejarano (00:53)
Mm-hmm.
Yeah, so I grew up in India and...
my introduction to animation was sort of in middle school. I was very, I love cartoons, I love watching animated films, I was really a nerd and geek about it, but it was one day in my high school, my middle school, in the school library, I came across this book, animation book, and it was like the only animation book in the library, and it was like the one, it was just the one, yeah, it was just the one I stumbled on.
Mack Garrison (01:22)
It was just the one, you just read it over and over again.
Aradhana Bejarano (01:27)
the one I would read every day from that fourth on, it was perfectly placed for me. And I read it and I was like, like a light bulb went off in my head. was like, I can actually do this. I love drawing. And it was like the aha moment. And I wasn't necessarily surrounded by people who knew about this. And that book sort of sparked my imagination. And so then I started looking for more information and going to bookstores. And I found the Animation Survival Kit by Richard Williams.
Mack Garrison (01:52)
yeah, that's a classic.
got a copy in here with the office with me.
Aradhana Bejarano (01:53)
That's a classic idea. Yeah,
exactly. And it was overpriced in India, so I couldn't afford it at the time with my pocket money. And I didn't want to share it. I wasn't ready to share it with my family because they, again, so I would just visit the store every week and like read politely as much as I could without purchasing it. I own it now. I have a copy and everything. so that was just my earliest memory of like, this is something I can do.
Mack Garrison (02:00)
no.
Nice, nice.
Aradhana Bejarano (02:20)
It like, it's like almost perfectly like it was meant to happen. I had to stumble upon that book to like learn about it and like, yeah, and get into it.
Mack Garrison (02:25)
How fun.
Absolutely, serendipitous
that you found at the moment that you did. So it sounds like, know, there's not a, at least at the time, wasn't a ton of folks around you in your space and your network knew much about animation. So you're growing up, you're learning about this stuff. You have this passion for it. And I believe you went to SCAD, if I'm not mistaken, right? So was that a big reason that you were like, I need to go check out the US to kind of try to find a path into animation. That's what led you to SCAD?
Aradhana Bejarano (02:36)
Mm-hmm. Mm-mm.
No.
Yes, I might just get...
it
Exactly, yeah, there wasn't a ton of schools or colleges around me. There was sort of like media studies, but not really animation specifically. There was a lot of schools to teach you software. So I did all of that while I was in high school. I also learned Photoshop and all the tools, but not necessarily the foundation to anime. And then it sort of became my goal. I started looking at the US and other colleges just outside of India in general.
Mack Garrison (02:59)
Mmm.
Mmm.
Aradhana Bejarano (03:23)
and SCAD ended up being the one I was the most, like it felt like the right place for me and also needed to be able to afford it and they offered scholarships so yeah, yeah, yeah and they do. it's gorgeous, the campus is amazing, I love that.
Mack Garrison (03:31)
Sure. Hey, there you go. Good scholarship is also really helpful. I love scat. It's so pretty down there. mean, I've gone down a few times for commotion. I think they do a great event. Yeah. Have you have you been to Savannah
before before learning of scat? Did you have any idea about Savannah?
Aradhana Bejarano (03:47)
I've never been to the US before
I came here so yeah it was it was I was just all in mm-hmm yeah I just I remember I painted on my wall I'm gonna get scared that's how I told my parents like this is how I'm gonna get scared you know of course I mean it was it was hard like having your child move across like thousands of miles and they had never been to the US before and
Mack Garrison (03:51)
So you were all in, you were like, I'm going to school here, I'm immersing myself, amazing, amazing.
that's so fun.
Aradhana Bejarano (04:11)
all of that. It took a little bit of convincing, but they eventually agreed to me. And I got a scholarship as well, partial, not full, but that helped as well. yeah, just like, I'm going to do this. This is my dream. I'm going to work.
Mack Garrison (04:15)
I love it.
I love it. Do you feel like
did SCAD sort of live up to those expectations? did what you were expecting in school for animation, was that what you got? Did you get more than you expected? What was that college experience like, especially being sort of an international student coming to the US?
Aradhana Bejarano (04:34)
Mm-hmm.
For me, mean, anything was more than I expected, I mean, you know, it's almost, I mean, coming from a different country, like I didn't have those opportunities. So me coming in on my mindset was, this is amazing. I'm getting to learn what I need to learn. And I had the best experience there. really, it really did help me spread my wings and learn about myself as an artist, but also as a human being and being just such an international college. You know, you meet people from all over the world. It just, it just expands your horizons in all different ways.
Mack Garrison (04:46)
Hahaha.
Aradhana Bejarano (05:12)
So that was great and all the professors were like well most of them I wouldn't say all but like I think there were really amazing professors that helped guide me through the process and honestly college really is like what you make up in I feel like Everyone has the experience that they make of it and so it gave Scott really gave you the tools to explore and then you do what you do with that and Take it out in the world
Mack Garrison (05:13)
I love that.
I love that.
Aradhana Bejarano (05:38)
And so.
Mack Garrison (05:38)
You're a great case study for the university. They're gonna see this video and want a copy of it, because all these are amazing things. But you're right though, I think when you find good mentors that can help support you and guide you, I look back at my time at NC State University, and it sounds very similar to how you look back at SCAD. It's like you get out of it what you put in. So if there's any students listening to this interview we're talking about.
Aradhana Bejarano (05:42)
You
Mm-hmm. Mm-hmm.
Mm-hmm.
Mack Garrison (06:02)
You know, it's lean in, talk to your professors, get to know them, ask people around you for that assistance and support because it seems like that sets you up on a great trajectory and of course, eventually in starting your own company with little labs.
Aradhana Bejarano (06:10)
Mm-hmm.
Yeah, well, thank you. Yeah, and also, SCAD
so than a lot of the other colleges that I have noticed and interacting with other folks not having worked in the industry. Just like having those conversations like we do have like did have like classes where you're like working on your portfolio, working on your video, you have those conversations pretty early on. So you can you know you're learning all the foundations and basics. I did my undergrad not my post grad at SCAD and so a lot of it is just foundations but you know at some point teachers like and the professors do start talking to you but but how do
want to apply this in the professional world and those conversations really helped me figure out where I need to be. yeah. Yeah, no worry. Yeah, okay.
Mack Garrison (06:52)
I love it. That's fantastic. Well, I don't want to spoil too much from the actual presentation at the Dash Bash this summer. So I'm going to fast forward a little bit. Little Labs exists. You guys are crushing
it. You make some amazing work. In my opinion, it's some of the best that is out there in our space. What I'm really curious about is something that I've personally struggled with and I want to know if you've navigated that and it's being the business owner and less of the creative. How have you navigated this shift?
Aradhana Bejarano (07:06)
Mm-hmm.
Mm-hmm.
Mm.
Mack Garrison (07:18)
that I'm sure you're navigating from like the person who's making this stuff to doing this stuff to now being the entrepreneur. What's that been like?
Aradhana Bejarano (07:18)
Mm-hmm.
Mm-hmm.
It's been a journey. think when we started off, was, you know, myself and my partner Camila who started the studio. We were doing everything. And it's been a journey like starting to delegate and hand off those things because those are not sustainable eventually. And I've sort of embraced this role of now my role at the studio is different. I'm the creative director and also the business owner. And I delegate everything else. So I am managing people a lot more than I used to. And actually now
embrace it and love it because that's my genius and that's where I'm at in my career at the moment and my my role is more to guide everybody and help them create the best work and so that's that's that's just what I've embraced and I feel like probably you have as well yeah yeah
Mack Garrison (08:11)
yeah, it's interesting because
like I think at a foundational level, once you are a designer and a creative, you were just naturally built around this idea of problem solving. And all you're doing when you're running a company is essentially trying to solve problems in creative ways. And so it's different problems, right? So you got these teams that need this information and you're trying to get them the right direction, say the right things to get them in the right place. Quick question for you with Camilo, your partner.
Aradhana Bejarano (08:20)
Mm-hmm.
Right, it's different problems. Yeah, right, yeah.
Mm-hmm. Yeah. Mm-hmm. Mm-hmm.
Mack Garrison (08:37)
Have you all always
Aradhana Bejarano (08:37)
Mm-hmm.
Mack Garrison (08:37)
been collaborators? Have you always kind of worked together and this was a natural extension in starting the studio or how that all kind of come to fruition?
Aradhana Bejarano (08:42)
Yeah,
so it's kind of cliche like to meet your life partner at work in this industry because you work so much but that's how we actually met. We met at
Mack Garrison (08:48)
Yeah
Aradhana Bejarano (08:53)
Disney while I was working at Disney. And so we were always sort of working together in a sense. And then what sparked the little labs was you would start collaborating outside of work on things just, you we were having fun with because, you know, at work you do the work that you're told to do. And so you go home and explore. And so that just sparked like our collaboration efforts outside of the Disney work environment. And it just spin and grew into what the little labs is today.
Mack Garrison (09:08)
Sure, right, right.
How fun,
Aradhana Bejarano (09:21)
Yeah. Yeah.
Mack Garrison (09:21)
I love that. Well, it is, the natural progression, right? So you're working together all the time and it's like, well, we might as well just be partners then as well too. That's right. Yeah, exactly, exactly. Well, is with the labs part, what's interesting to me is like, you know, have your day-to-day job at Disney, you kind of have this labs piece where you all are collaborating on the side. Is their intentionality and calling little labs, I mean, is that an extension from that, you know?
Aradhana Bejarano (09:28)
Yeah, right? Yeah. And not with everybody. So yeah, yeah, yeah, yeah.
Mm-hmm. Mm-hmm.
Mm-hmm.
it is. Yeah. So the part little came from, know, we were working at large companies and corporations before and this was our space to be little and small.
and we love that, like that's us. And then the labs part was us experimenting outside of our day to day. And that just spin ball into the little labs in that we're, and it is in the sense of what we, who we are now as a team, as we've grown as well, we're always experimenting, always pushing our boundaries as a team and being playful. And that's where the roots of the name come in.
Mack Garrison (10:17)
Mmm.
Oh,
I love it. It's so fun. I'm always curious from folks who are, you know, creatives in house that then end up moving into starting their own agency or studio. Was there like a signature event or a project? I'm always curious. Like what, was it like, oh, this is maybe a little bit more than just a side project. Like maybe this is something we want to do full time.
Aradhana Bejarano (10:28)
Mm-hmm.
With us it was sort of like we took the leap honestly. We yeah, it was was sort of like we we just jumped off not knowing if we have a parachute or not and we're like I mean, yeah, we and we did you know thankful that we ended up having a parachute we were able to keep Disney as a client for us when we when we left the company But we honestly were just just ready to go on figure out our new path We it's sort of like I reached our goal
Mack Garrison (10:44)
Yeah, nice.
I love that analogy, that's great.
Aradhana Bejarano (11:09)
know, a dream, like we worked at Disney and it was like, what's next? What is the next challenge? And we were young enough, I guess, and naive enough to like take that, like, we can do it, yeah. That's right, yeah, exactly. Yeah.
Mack Garrison (11:18)
Yeah, we can do it, right? You know, not thinking about all the other pieces to it. That's so fun.
I feel like, you know, I would echo that same sentiment. You know, when we started Dash, we were both young and in our 20s and probably we're not thinking about all the other pieces that come with it. But let's say for someone who is, let's say there's a listener out there who has been working somewhere, they've been freelancing, and the idea of a studio or starting this collective sounds really, really good to them.
Aradhana Bejarano (11:34)
Right. Yeah.
Mm-hmm.
Mm-hmm.
Mm-hmm.
Mack Garrison (11:46)
What's
a piece of advice that you might give them, either based on something you've learned now, you wish you could have done, or something you're really proud of? What would you share for someone thinking about starting their own shop?
Aradhana Bejarano (11:50)
Yeah.
I think making sure that you have the resources to delegate, I think that was like a biggest learning for us on our site that we started to burn out pretty quickly trying to tackle everything ourselves. So whether it's financial resources or just people you can lean into and ask questions, we didn't think that through when we started off. ended up, it was almost like we have a fire. We need to find somebody to talk to you about this. And so perhaps if you have like a network of people
Mack Garrison (12:21)
You
Aradhana Bejarano (12:25)
you can lean into to kind of help you troubleshoot, or whether it's consultants or things like that. And then of course like a client base, like knowing that you you have some sort of confidence in a client base, like you have maybe had conversations with before you jumped in, that could that could be helpful as well.
Mack Garrison (12:40)
Mm.
Yeah, I think you're
right. I mean, I look back and you know, there was definitely the jump in and commitment similar to you all and how we started, but we did have some work that we brought into it. Like we were kind of moonlighting on the side. We had something similar to like the little labs where we were doing some stuff from the work on the side. So it wasn't jumping into nothing. So I think that's important. You also hit on something else that I just, you know, profoundly believe in is mentorship. It's close friends in the space who have navigated it.
Aradhana Bejarano (12:54)
Mm-hmm. Mm-hmm.
Mm. Mm-hmm.
Mm-hmm.
Mack Garrison (13:11)
think there's always a bit of a question mark on, you how do I find a mentor? How do I meet some of these other people? Did you go to a bunch of events? Like, how did you start to network and get to know folks who you had some of these tougher questions to ask?
Aradhana Bejarano (13:11)
Mm-hmm.
Right.
I wish I had a good answer. would have gone to that. I wish Dash Bash was there and I could have gone to that, right? Yeah, yeah. For us, it was slightly different because we were actually leaving a different industry and coming into motion design with this sort of like move. We were in the animation and interactive space. And so we really did just jump off the cliff hoping we'll land into a parachute. We were like sort of freelancing a little bit with studios in the LA area. So we had some of a network and that sort of
Mack Garrison (13:42)
Ha ha.
Cool, okay.
Aradhana Bejarano (13:50)
were able to build off of that but definitely I would recommend like networking and events and going to some of those either in your local community or area or conferences like Dash attending those.
Mack Garrison (14:02)
I think, you know, it's interesting
because I remember when I was getting out of school and I would imagine maybe, you you felt the same way. We were kind of intimidated. It's a big industry. Like, where do I even begin with this? And what I have learned in talking to folks like you and other creatives is just how welcoming everyone really is. And I think a lot of artists just don't recognize right away, just if you reach out, you know, there's a good chance that someone could respond to you.
Aradhana Bejarano (14:10)
Mm-hmm.
Mm-hmm.
Mm-hmm.
Oh, 100%. Mm-hmm. Yeah. Mm-hmm.
Mack Garrison (14:28)
So in that lens, know, I'm always curious just, you know, who are some of the various artists that inspire you? Who has inspired Little Labs over the years? Who are folks that you still are enamored by their work on day in, day out?
Aradhana Bejarano (14:36)
Mm-hmm.
Oh, such a hard question because I feel like, you know, we're all inspiring each other all the time. so there were definitely Ye House was a studio back, you know, I mean, Michigan. Yeah. And they were also husband and wife too. And so they always inspired us to take the leap. And we actually reached out to them and Camila was more connected to Michelle at the time as well. And we kind of were able to ask them questions and help out.
Mack Garrison (14:46)
Mm, sure.
yeah, up in Michigan, right? Yeah, yeah.
Aradhana Bejarano (15:11)
help us out and they were super inspiring to us over time. I mean, almost like everybody in the, even the work I see now, you know, inspires me a lot. On just an all time base, like any artist, like, you know, who's like following their path, being truthful to who they are always inspires me. looking back historically, like Frida Kahlo, Mary Blair, like those, those artists are always very empowering and inspiring for me. Yeah.
Mack Garrison (15:18)
yeah.
Mmm.
You know what's funny is I think
I actually reached out to Michelle at yet house at 1.2 I was randomly up in Romeo just which is a small town just north of Detroit and they're they're close by to it I forget the exact name of where they are, but they're up near there and I was like hey Michelle I'm in town I'd love to come see your studio and I don't know if they've ever had someone like properly come visit their studio So we tried to make it happen Didn't quite work out but they make some amazing work and enter just the nicest people in the world, too
Aradhana Bejarano (15:40)
Mm-hmm.
yeah.
Oh wow. They do. They are
so nice and we've just had a friendship. We've actually never met in person to this day and just we haven't had the opportunity. We either like missed each other or didn't couldn't couldn't make it work but one day. Yeah.
Mack Garrison (16:04)
really? that's so funny.
One day,
I know it's funny for anyone that's like not in our industry when they're like, oh, you're to go hang out with your internet friends. It's like, look, I promise they're really cool. I may not have met them in person, but they're the best. 100%, 100%. You know, I think one thing that you've definitely recognized probably is being a studio owner and I have as well is just our industry is kind of a wild uncertain place. You know, the longer you're in it, the more you can kind of see the volatile swings, the ups and downs.
Aradhana Bejarano (16:20)
They are, and they always are. I mean, it hasn't like disappointed me. So yeah,
Mack Garrison (16:41)
I would imagine that you've got some pretty good stories from over the years. I'm always curious on a good industry story, whether it was like a crazy project you finished, you didn't know you were gonna be able to get done or stuff that went totally off the rails. Do you have a good industry story you could share with folks today?
Aradhana Bejarano (16:45)
Yeah.
Mm-hmm. Mm-hmm. Yeah.
Yeah, plenty, but I'll stick to this one without naming names. We had this one client several years ago, right, when we were just starting out and they wanted like all this stuff from us. built, you know, they were launching this new brand. So we did a bunch of branding work, character work, even like toy design.
Mack Garrison (16:58)
Okay, six to one. Perfect, that sounds good.
Aradhana Bejarano (17:15)
We were just starting off as a studio and contracts were not, we weren't like masters of contracts, but because a colleague had recommended us, we sort of slipped on kind of getting the contracts really signed off because they were kind of skirting the issue. were like, oh, we'll get it done. they were like, know, business is always done with a handshake, you know, and which it is, but it was one of those moments which looking back, I'm like, why did we go through with this? But because they were highly recommended.
Mack Garrison (17:26)
Mmm.
boy.
Sure.
Aradhana Bejarano (17:45)
by a colleague we trusted we went ahead and did all this work delivered it and when it came time to payment they were like well you didn't really meet our expectations and and and all throughout we got all this good feedback thankfully we had all of the emails and things to kind of prove that there wasn't a miss because there wasn't really a miss or ever communicated to us that
Mack Garrison (17:54)
no.
Aradhana Bejarano (18:06)
that we had not met their expectations. It all ended up sorting out at the end, but it was a huge learning for us to make sure you have your contracts and stuff all in a row. So it was a little bit our fault, but also, you do kind of come into these situations sometimes where clients want to start a project without signing off a contract. And it's like, as a business owner, you have to make those decisions of how do you make that?
Mack Garrison (18:08)
Right, right.
gosh.
Ugh.
Oh, 100%. Like even as you're telling this story right now,
I'm sitting here thinking about one of our early missteps was the same deal. was like, didn't quite have everything outlined in the contract, had a client that really didn't want to pay us at the end. I think the way that we finally got paid, I'm not proud of this, but I basically called this person every day and was leaving messages that I'm going to call you every day until you pay this. And I think we negotiated.
Aradhana Bejarano (18:38)
you
Mm. Mm. Mm.
you
Mack Garrison (18:56)
a 70 % payment or something like that. I was like, look, if you pay 70%, I'll never call you or talk to you ever again. So, you just, yeah. And I think it's also a good reminder though too, is like even in the lens of the story, y'all were doing everything right. You were doing everything by the books for the most part. You glazed over this little piece and there was still kind of a little bit of a friction point. And I think that's a good reminder for creatives out there that if you're ever feeling like, golly, it's what did I do wrong? A lot of times you are doing it right. And sometimes this stuff just bubbles up, right?
Aradhana Bejarano (19:02)
Right, yeah, he's just chasing clients to make payments.
Mm.
Mm-hmm.
Mm-hmm. Mm-hmm.
Mm-hmm. Right.
100%. And a lot of times you're working with clients who are not maybe in the industry and know how things are done. And a lot of it becomes having the confidence to educate or like standing your ground on what are your boundaries and limitations.
Mack Garrison (19:40)
You know,
this opens the door to a good question, I think, is how do you and Camilo react or how do you handle a situation that maybe feels tense? Like if something comes up and the client's like, I don't know, maybe they're unhappy about something or something was miscommunicated, but you can tell there's those moments every now and then where it's like, ooh, this doesn't quite feel right. Do y'all have like a playbook or something that y'all do when those situations arrive? What's kind of like your go-to solve for kind of easing some of that burden?
Aradhana Bejarano (19:52)
Mm-hmm.
Mm-hmm.
Mm-hmm.
Usually it's like taking a breath and just hopping on a call and just leaning things out, leaning into our producer as well and like helping them come in. So we're really coming in as a team to service the client at the end of the day and provide the best solution. So we always start with that and we lay out that, you know, we're here to do great work. We're here to navigate this together. And we always look at our clients as collaborators.
Mack Garrison (20:21)
Hmm.
Aradhana Bejarano (20:31)
So that's really the mindset we go into with every meeting and so as friction comes up or there's misunderstandings we we always approach the conversation with that mindset and So far clients are usually very receptive to that because you're wanting to work together Honestly, yeah
Mack Garrison (20:46)
Yeah, 100%. I love that so much. I mean, it really is.
There's kind of an age old stereotype, think, you know, in creative versus clients. But really, to your point, if you think about folks as collaborators, as partners, then when there is a misunderstanding, it just becomes easier to have those conversations. So yeah, I love that a lot. Go ahead. Yeah.
Aradhana Bejarano (20:53)
Mm-hmm. Mm-hmm.
Mm-hmm. Mm-hmm. Mm-hmm. Yeah. Yeah. And I will say one thing.
There might be a client that maybe is not responsive to that. And in that case, you do have to set your boundaries. And we're like, this is hard. But we honestly, 99.9 % of the times, we haven't had those kind of situations because we come with that mindset. Mm-hmm.
Mack Garrison (21:20)
Which is good. And I think like there's
also to the latter point you said is like, you you got to put your foot down every now and then it's, you know, you should feel confident in decisions you make. You know, I think we all are sometimes a little bit hard on ourselves, you know, wish we should have handled this differently or we could have, you know, in this instance of that particular example, we should have done the contract this way. You know, one of the nice things about making these mistakes that you and I have made is that we learn from them and you never do them again, right? You know, no one's perfect. You figure it out, you kind of move forward, which is good stuff.
Aradhana Bejarano (21:26)
Mm. Mm.
Right.
Mm-hmm. Mm-hmm.
Right, yeah exactly.
Mack Garrison (21:48)
So let me ask you this, you're coming to Raleigh later this summer, what do you think are you most excited about for the conference? Is it getting up on stage? Is it meeting other people? I'm curious to know what gets you excited about the bash.
Aradhana Bejarano (21:59)
I'm just, you know, in the past years I've realized the benefits like of being at a networking event such as Dash and just the connections and relationships you make. So I'm really excited to meet people and hear the other speakers. Of course, I will be speaking as well, which I'm excited for. But more than anything, just every conference that I go to, I leave just feeling so inspired and empowered and looking forward to what I can learn from that experience.
Mack Garrison (22:05)
yeah.
Sure, sure.
I love that. And I echo that same sentiment.
know, I think conferences are one of the few opportunities where we mentioned earlier, we get together with all our internet friends to hang out and talk shop with people who know about it, which is really good. Well, let me let me do this. What do you think if you're giving a pitch to someone who has who is unfamiliar with little labs and you and your work, what would the pitch be on why they should come see you at the bash?
Aradhana Bejarano (22:27)
Mm-hmm.
Mm-hmm that too, right? Yeah
Mm-hmm.
Sure, so my journey has been a lot about rebellion in one way or the other based on my cultural upbringing and coming to the United States and being where I'm at today. So part of my talk will be navigating that through my experience and I'm excited to share that. I think as artists, we're all sort of rebellious in one way or the other. And I talk a little bit about how I...
I transfer that into the work I do today. So I'm excited to share that and yeah.
Mack Garrison (23:17)
I love it. Love a good little rebellion in the art world. It's going to be great. We're super excited to have you. Just want to give a quick shout out and thank you to everyone who tuned in today. Aradhana Bejarano, thank you so much for the little labs and join us at the Dash Bash. If you haven't gotten a ticket yet, folks, and you're listening to this, what are you doing? Dash Bash is from June 11th through 13th, 2025. It's going to be right here in my hometown of Raleigh, North Carolina. It's big enough where there's always something to...
Aradhana Bejarano (23:20)
Yeah.
Mack Garrison (23:42)
and it's small enough where you run to folks around town and you'll definitely run into a lot of animators and motion designers here that weekend. So if you haven't got a ticket, grab it now. Thanks so much for joining us today, Aradhana, and so excited to have you here shortly with Little Labs. It's gonna be great.
Aradhana Bejarano (23:56)
Looking forward to it. Again, thank you for having me. Can't wait to see you and everybody else.
Mack Garrison (24:01)
Same, sounds good.
Thanks everyone.
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.
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!
Meet the speakers: Sekani Solomon
An interview with Sekani Solomon: an award-winning Creative Director based in New York City
Q&A hosted by Cory Livengood and Ashley Targonski.
Read time: 15min
Cory:
So, you're kind of a unique case in that we were going to have you speak at the Bash two years ago, and it didn't work out in large part due to Covid. I think our readers would really love to know a little bit about your background.
Sekani:
I guess I was always interested in creativity and just arts in general. And so when I was younger, let's say around 10 or so, I was always drawing Dragon Ball Z, or cartoons, or my favorite anime at the time. And then when I was in high school, I was like, could I really perceive this as a career? It seemed like the answer was no. So I actually dropped art. And then around 18, we were rebuilding our school website, and I was like, well, I used Photoshop several years ago, maybe I could help with this. And then I kind of reentered the space, and saw that they had significantly more resources on the internet, how to learn this stuff. And it was suddenly a lot easier.
And so yeah, I just kind of jumped in and went crazy, just doing a lot of photo manipulations. I think back then that was the hype, and then decided to take that on the next level with learning After Effects. My mind was blown, because again, at that point this was a foreign thing that I'd never seen anyone do. It's always something I wanted to do, animate. So that was mind blowing for me. And then that evolved into Cinema 4D. That's when I started incorporating some 3D elements into the work. At that point, it was time to apply for college. And so growing up on a small island [Tobago], if you really wanted to have a promising career, at least in the arts, you have to leave. And I knew that.
So I started off actually not being convinced that I wanted to do art. I didn't think that could be a viable career option. So I applied to schools for a software engineering degree, and then actually switched to graphic design and then motion media after I discovered SCAD. I ended up getting the scholarship from them, because I had a portfolio of work already because I was just kind of obsessed, and doing it in my spare time. Got a scholarship locally from Tobago. And so I ended up going to SCAD, Savannah College of Art and Design in Georgia. And then during my time there, I had four internships before I graduated. I worked with Loyalkaspar, Gentleman Scholar, The Mill, and Imaginary Forces, and decided that Imaginary Forces worked similarly to how I did, where they wear a lot of hats and jump all around the production process. And then in 2018 I worked at Apple, so it was my first time working in house at a tech company, which was a whole new world. It was eye-opening because I hadn’t worked directly for a brand, and so seeing people at least there work less hours, and could value their time more with a higher day rate.
Sekani is an award-winning Creative Director based in New York City
Cory:
One of the things I wanted to ask you about a little bit was what drew you to move over in-house? It sounds like briefly with Apple, but more specifically I guess recently with CashApp and now Block. And what do you see as the pros and the cons of that approach? And clearly you've stuck with it for a while too, so is it something that you like?
Sekani:
Yeah, no, great question. I think seeing Apple was great, but at the time it didn't feel like someplace I would've stayed full-time, just because they're such an established company, and the checks and balances are so rigorous. Not necessarily ideal for me, but back of my mind, I was looking at what Microsoft was doing in the space. And I was like, wow, it's really cool to see a brand like Microsoft adopting this small New Age 3D motion design approach to showcase their work. It would be cool to begin to try to start something like that at another company if the situation provided itself.
And so later on that year at the end of 2018, I got a message on LinkedIn about this company called CashApp, which ironically I wasn't familiar with at the time, and I was at Buck at the time, and their offices weren't too far from each other. So I did a little interview over at the Square office and then walked over to Buck. And the conversation I had with them was just talking about where this brand could be and how we could interject 3D and motion graphics into it and elevate it. And the idea of being at the ground floor and being able to help shape something was really enticing. Though they had zero 3D pipeline, zero 3D infrastructure, there was nothing.
Snippet of the whacky things Sekani has rendered at Cash App.
Sekani:
So literally starting from the ground level when you're talking about processes, even equipment, pipeline, everything had to be built from scratch. But I think doing that on top of having a brand that was very creative allowed a lot of flexibility.
Cory:
Yeah. A willingness to let you do your own thing to a degree, or at least shape some of the stuff, versus being stuck in the Apple way or whatever company it might be, right?
Sekani:
Yeah, yeah, exactly. Which allowed me to express myself creatively while pushing a brand. And I used to do a ton of short films, or personal projects, just because I didn't feel like I could get my creativity out there. But now it's like I don't even feel the need to, because I put so much of that work into these projects.
Cory:
Can you talk to us a little bit about what is the relationship between Block and CashApp? I know that's sort of a recent development.
Sekani:
That's a great question because my role has actually changed. I no longer work at CashApp specifically, at some point we wanted to create a parent brand per se, just because the company was scaling and we had acquired a few companies, so we already had Square and CashApp, and we had a acquired TIDAL, the music streaming service, and then we had two of our business units called TBD and Spiral. And so we still had the Square name, which we called the seller business unit, so it wasn't really clear. So we figured maybe creating a corporate brand, to help kind of clear that up. Just to return ownership of the brands back to the business units. And so I was pulled into that project, which was a beast to say the least. But yeah, let's just say it was incredible, and I was the only 3D person on it per se, so I worked on the logo launch film, so it was a very intense project.
Coming from that, I was given a new opportunity to co-lead a new team, a foundational team that lives outside the business units, that work with all the business units at the company. And we're calling it Creative Studio . We created a film called Reimagine that encapsulates what the team wants to do with our partners, essentially reimagine what their creative can be.
Cory:
Oh, exciting.
Sekani:
Yeah, our first piece that we created. And I think it's going to be really interesting because obviously we've seen a lot of cool things come from companies, but typically they're outsourced. So this is a piece that was fully created internally, by internal designers, so quite excited about that.
Cory:
Yeah, that's a pretty big shift from walking into their office and having to build their entire infrastructure at CashApp, to now creating teams and overseeing multiple brands worth of content. That's cool..
Sekani:
Yeah, no, we pulled in some really talented folk recently, Chris Phillips from Buck, aka Phibs, used to lead 3D design over there. And Zachary Corzine, an amazing designer. He's decided to join us as well.
Cory:
Oh, cool. In your work with CashApp, and before Block, just knowing that that was a lot of time and a lot of work, were you involved with more than just motion graphics? How involved were you with things that were outside of the animation landscape?
Sekani:
A lot. From our investor letter that went out, doing the covers for those, I've done a lot of different projects, whether it be maybe a visual for an event we were doing, to animating on a campaign, to in-app imagery. There's a lot of diversity in the ways that 3D and design can show up, which was nice.
Cory:
Yeah. I've also seen that you've done a little bit of work with Maxon and C4D, showcasing things, and doing demos and stuff like that. How do you like working with them and how did that relationship form? A lot of people use C4D, but not everybody gets to go hang out with the people who make it.
Sekani:
Yeah. Actually, it's funny, in 2014, one of my college professors, he was supposed to speak at NAB and he couldn't make it, so he let myself and another buddy of mine, Jason Diaz, go, and we were these young kids presenting at NAB, and from there I had a relationship with them, and presented at a few SIGRAPHs after that, I think 2016, 2018, maybe 2015, and a couple NAB conferences as well. They're great guys, so it's always good to just have that platform to walk through the work and showcase things, which is nice. And obviously when you're a freelancer, it's a lot easier. But I haven't done one in a while, just because I think with the work that I do now, there's a lot of legal constraints and approvals I have to get to even talk through things externally.
Star Wars: The Last Stand is a dynamic, gritty, full CGI depiction of battle warn storm troopers facing off against an unknown enemy.
Cory:
One thing I noticed when I was going back over our last interview from 2020, was you and Mack talked a little bit about the NFT space, and I was just personally curious if your feelings on that have changed at all in the last couple years.
And you know, you were, I believe, and not to put you on the spot, but you quoted as saying they're not going anywhere, they're here to stay. And you might be right, but I'm just wondering if between 2020 and now, you've thought any differently about that, in our industry, you've got Golden Wolf getting acquired by Doodle and things like that. I'm just wondering where your mind is at with that sort of space.
Sekani:
Yeah, I do think they're here to stay, but the scale, as you can see, has dramatically changed. I mean, even though it did allow a lot of artists to make a lot of money at the time, a lot of it was just funneled by pump and dump schemes and bros using artists as a way to make money. And if you're fortunate to be used in that way, then good for you.
I think people really got tied up into this feeling that it was all about the art, which in retrospect, at least now to me, it's clear that it had nothing to do with the art, but the value that it could generate, which really just mimics the fine art world under all these Van Goghs and those types of pieces, people pay millions of dollars for them, not just because they're beautiful works of art, it's because they're very valuable pieces, and an easier way to store value then maybe it stocks or something else.
So I mean, I'm sure there are collectors out there that genuinely care about art, but I do think a lot of them are just doing it for monetary gain, which, it's fine, but I think we shouldn't fool ourselves into thinking this is just some liberating thing. And I think a lot of artists probably discovered that when they did their taxes.
Cory:
Yeah, no, that's really well put. I mean, it's no surprise it's the same shift that's kind of happened with cryptocurrency in general, and in some ways even calling it a currency these days, it's more like a stock. It's more like that kind of speculative stuff, which is, again, as you say, totally fine, as long as you know what you're getting into.
Sekani:
Yeah, no, exactly. And I think even Bitcoin per se, I think there is a lot of good utility, but no one looks at it for a utility. It's for the value or the money they could make. And it's like people make a use case for it, oh yeah, NFT has a utility. And I'm like, okay, so this puppy will grow ears and legs. I don't know. Me personally, I'm like, okay, this is just a way for people to make a lot of money.
Cory:
Yeah. I like what you said, if you manage to cash in on that, then good for you.
Sekani:
I've just seen a lot of good artists get looked over, haven't sold anything, and quickly I realized it had nothing to do with the art. But you know what, if you've become notable, it's just the real world art scene. It's nothing new here. People have been doing this for years, so it is what it is. But the thing that I always thought about was, I never saw longevity in it, and we just never knew where the space was going to go. I think 2021 was just a wild year. And even me, I was getting an immense amount of FOMO. I really questioned, what you're doing, it's like okay, you could just sell a JPEG for $300,000. Why am I doing this job? It was pretty wild to see. But who knows? I think for some people, that might be the type of thing that may not happen again. If you were able to cash in, then yeah, I think that's amazing..
Cory:
Well, there did seem like there was this really interesting inflection point where it was, you have all these artists who normally make work for other brands, and for commercials, and for advertising. And there was this period of time where they could just make the weirdest thing they wanted, whatever they wanted, and it could look crazy, and people were really into it.
Sekani:
Yeah. Because then, at that point, you're more so an artist. If you're a motion designer, at least to me, inherent in the world of design is communication and problem solving. This is like, if I'm just making art, that's more like, I don't know, an expression, or you're not necessarily trying to solve something specific. You're creating a story or a narrative, which I think is also fine. But yeah, I guess maybe I've just drunk the Kool-Aid too much. To see the amount of hours that I put into this craft, and at least the job that I do, I like the idea of building towards something. If I could tell the story of this product that could help change the way technology is operated, or better a product, then I like having somewhat of an outcome like that.
I guess maybe at this point in my career, I just like the idea of being able to move, because this is the thing, working at a company, when you work at a studio, you kind of deliver the work, and success is based on the craft and the messaging of the work. But the tech, you could put something out, you see all the metrics and you see how it performs, which I think puts a little bit more pressure, not for it just to be beautiful, but obviously for it to function.
Cory:
Yeah. That's a really, really, really interesting point. And especially when you're at a studio, you put out the work and then you move on to the next one. You never even have to think about that again. Whereas now you're building on top of the last layer, on top of the next layer, that kind of thing.
Sekani:
The craft and the quality is very important, but it needs to also be valuable. And that could depend on a lot of different factors, but it's just something that you have to think about. Whereas if you're a freelancer at a studio, you don't need to really think about it. It's more so a creative director's job, or someone else that's not working on the craft.
Cory:
Do you find your day-to-day these days mostly managing teams of other artists, or are you still getting in the trenches and making stuff yourself too?
Sekani:
I'm doing it all. I'm pretty much still in the trenches, still crafting stuff. I actually have a render going right now.
Cory:
Is that by choice or is that by necessity?
Sekani:
By necessity. This team is really small. The amount of work that we are tasked with is pretty insane. Right now we're working on a series that's minutes long and it's all 3D. But I think the technology that we're expanding on is really interesting. At least for me, it's like I have to be able to work at a macro and micro level. So think big picture about the story in the narrative, and then be able to massage the animation on a specific item or something like that. It's an interesting challenge. You have to wear a lot of different hats.
Cory:
Yeah. That's exciting though. Just to get in the weeds a little bit, out of my own curiosity, because I like Cinema 4D a lot. Do you use cloud render farms? Do you prefer one render engine to another? Or what's your sort of go-to with C4D when it comes to wanting to get the look that you're going for?
Sekani:
Yeah, well, I like Redshift just because I used to use Octane, let's say 2016. It was quite buggy back then, and Redshift came and it was super stable and it had all the tools I wanted. I also used to use V-Ray. So Redshift had a more familiar workflow just because they're both biased renderers, and they kind of have the AOV workflow that I liked.
I typically comp a lot of my stuff, regardless of how good the renderer is, I'll always put it in Nuke. And you can try to do something to push it. And so I usually could achieve the look that I want to, at least close to, between the combination of the render and doing some comp work. But people have been saying really good things about Octane lately, so I'd be curious to jump back into that world and see how it goes.
And in terms of rendering, we are recently just building out some new pipelines. We bought a bunch of computers, and we want to get everything that worked up so we could have just our own personal render farm. It's just easier for us too, because we get to keep all information on our servers and not have to extend notes of third party renderers.
Cory:
Good point. I'm sure there's a lot of privacy concerns with that kind of thing. Plus those cloud renders are great until they're not, and then you're kind of out of luck.
Sekani:
Yeah, yeah, exactly. It's just nice to be able to submit a render to deadline. Just don't have to think about - all right, I got to patch this up, to upload it, and yeah, it could get a little taxing.
I know AWS is developing new tech. You could spin up renders or render nodes directly in deadline, and then there's a render token thing that Octane uses, and it's going to be really helpful in the future where you could render things by blockchain technology, which is interesting. And everything's encrypted, so no one else can see the data, which is pretty cool.
Cory:
Are you mostly remote these days with Block and CashApp, or do you guys have an office presence at all?
Sekani:
Yeah. Well, it's fully remote, so you don't have to come into the office if you don't want to, but I try to go in at least twice or three times a week. We have two offices in Soho, one for CashApp and one for Square. But just after two years of working from home, it is nice to actually be around people, have a conversation with people and discuss things. And just even discussing creative: typing feedback or having conversations via Slack is good but also having to, “Hey, are you available for a call?”
It's just so much easier to walk over to someone's desk and have a conversation, you can point to the screen. So just getting some of that feeling is great to have in person than the rapport you build, and that camaraderie you get, it's pretty nice.
Cory:
I wouldn't mind asking you a little bit about maybe some advice for people who are up and coming in the industry. Do you have any pieces of advice or things that you did, you think, in your youth that you wouldn't do now?
Sekani:
I think it's good to start at a studio. I think if you find a good one, it's good to be staff. You get to learn a lot by working with a lot of people. Also, if you're in college, it's good to do internships, because it provides a more risk averse way to learn. I think when you're a freelancer, there's a lot more pressure for you to perform. And so if you're an intern, the expectations are different, it's like, oh yeah, he's an intern. We're not expecting anything crazy. So it's a good way to learn without the pressure.
Also, if you're a motion designer, I think it's better to narrow down your skillset a little bit. You're a 3D motion designer, which does both animation, or in design, design animation, or you do one or the other, or you're 2D, or maybe you do a little bit of after effects and 3D. It's hard when you say you can do both, unless you can really do both very well, and there's 100% people that can, but from a marketing perspective, it's easier to get yourself in the door with a few things. And when you get in there, you're like, well, by the way, I can actually do this stuff, and the other.
Always seek mentors of people you could ask questions to. And what else? Just make a lot of work, make the work that you want to create. But also, and this is a thing I see when looking at candidates, a lot of portfolios are just built on a lot of random tests, or a lot of abstract stuff, without the thinking or design behind it. And if you're looking purely for craft, then that's great.
Cory:
I do think that's one thing that, at least in the portfolios we've seen that come out of Savannah, that come out of SCAD, they seem to do a pretty good job of having students not only showcase the final product, but also showcase the thought process that got them to the final product. I don't know if that was the case when you were there, but it's something I've been impressed with, their program.
Sekani:
Yeah, no, I think that's really good. They really teach you the process of design, and that's where I learned a lot of my chops from, because I never took a 3D class when I went to SCAD. It was all about design and storytelling, and how to build a narrative, and ways to keep things exciting, and that type of stuff. So yeah, I think if you could have some of that process in your portfolio that could show that, Hey, I can not just make things, but I could think about it conceptually, and this all makes sense, then I think that makes it a lot stronger. In your portfolio, that is.
Cory:
That's interesting, yeah, that you learned the software on your own time, and learned more of that fundamental stuff at school.
Sekani:
Yeah, yeah, exactly. School I think is for learning some of the soft skills, and there's so many resources online to learn the software, but it's really hard to find a course that teaches you about the principles of design, and how they're applied, and storytelling. Those more nuanced things are more difficult to learn. And then there's a matter of taste. How you develop that over time. That just takes time. I mean, I think that's where, when you say this person's talented, I think some people innately have good taste.
Cory:
I'm just curious, out of your whole body of work, is there any project that you're the most proud of, or one of the most proud of, and maybe why?
Sekani:
I think the projects I'm usually most proud of, are the ones that, if I had an idea and a concept and I was able to execute on that successfully. Maybe my film, maybe Hidden, is always up there for me. I think I had an idea for a narrative and I saw it through, and I kind of made the whole thing myself, which was just in my free time. Which was interesting, because back then no one was really using models and cloth [like that]. And now obviously that's the trend. So you look at it now and it feels like what everyone else is doing. But I was fortunate enough to release that before it became a fad. But, I try not to be too precious.
Hidden is a short film about self appreciation.
Cory:
Yeah. Yeah. Well that's so important in the industry, you know? Can't be married to anything, especially if you're dealing with a client.
Because I also came from an in-house studio before working with Dash, and I think one thing I realized is, it's very easy for a brand to get stale or one track, because there's a point where you're focusing more on how much can you release, versus what's the quality, and what's the meaning behind it. So how do you continue to push the brand, and what do you think through when you're thinking about that?
Sekani:
I would say it's just about how the team is organizing the type of people that they're bringing in and just knowing what to keep in house, what to outsource. And at some point, if people just have to be honest, what can really be churned out? And sometimes it's better to put out less and have better quality than to just oversaturate the market.
Cory:
Great. Thank you. Well, this has been really great, thanks for chatting with us.
Sekani:
Yeah. Awesome. Thank you guys for taking the time to chat with me.
Takeover Tuesday with Sofie Lee
Q&A with Sofie Lee: a freelance Motion Designer and Illustrator.
Q&A with Sofie Lee
Read time: 10min
Created by Sofie Lee.
Madison Caprara:
Hey Sofie!
How did you get into the career of motion design and illustration?
Sofie Lee:
I studied motion design at SCAD where I learned both animation in After Effects and 2D vector design. Drawing wasn’t a thing for me and I wasn’t much interested at that time. As I started my career in the industry, however, I saw a variety of design and illustration styles that were incorporated within animation. It was such a mind-blowing experience. They were so fascinating. Being able to share my ideas within drawings is a magical skill when beginning rough concepts, you know? That’s when I started to teach myself drawing and illustration.
Madison Caprara:
So, have you ever worked with a studio/agency, or have you always worked freelance? Do you see any pros and cons for both?
Bom Bom: A story of cats - Created by Sofie Lee
Sofie Lee:
During my senior year at SCAD, I had an opportunity to intern at a design and animation studio, which then luckily transitioned into a staff position. I embarked on my freelance journey last year to be on a new adventure.
But yes, definitely. In my personal experience, I’d say the pros of being in a staff position are that: 1.) It gives a safety cushion in terms of financial security, especially when you are fresh out of college. 2.) You have access to resources provided by the studio and get to learn a lot from other artists as well as the production pipeline. And 3.) You have fewer responsibilities on your shoulders because there will be an art director and creative director to back you up if you make a mistake or have to take time off due to any health issues.
The cons of being in a staff position: 1.) I personally felt constrained. Animation requires great teamwork and the majority of the job is client/commercial work where things need to be executed quickly, but beautifully, within the timeline. So, people were hired for a specific skill whereas I was interested in a lot of different things and wanted to grow at my own pace while making trials and errors. 2.) Having a limited income; income is often limited to the agreed salary unless you get a bonus or are promoted. Sometimes as an international employee, you are responsible for those extra attorney fees which are taken out of your salary.
Sofie Lee:
On the flip side, you have freelance work. Some pros are: First and foremost, you are your own boss which is the most exciting thing if you think about it. Because you are a producer of yourself as well, you can plan out your own schedule and grow at your own pace. Secondly, you get to learn the business side of production, which helps a lot to be aware of why smart decisions are important; how to get things done within the time limit with great work, etc. These new perspectives in business have been helping my workflow as well. And lastly, there is less distraction. When working at a studio with people around you, sometimes a random call pops up or your co-worker asks you to get a coffee (I miss this part) but you don’t have much of these since you are working alone. I’m realizing that I tend to focus better and get things done quicker working alone.
Cons of being freelance: You have to manage EVERYTHING and be responsible for them. Secondly, you can feel isolated and disconnected from people because you are working alone. And lastly, your daily routine can easily crumble if you don’t stick with it or remind yourself every day.
School of Motion: Jofie Collaboration - Design by Sofie Lee. Animation by Jon Riedell. Sound Design by Sean Smith.
Madison Caprara:
I feel like you’re either in the ‘love it’ or ‘hate it’ camp when it comes to remote work. There’s no grey area. I personally am a big fan.
Moving on, what has been your most interesting experience to date?
Sofie Lee:
I’d say attending the 2019 Blend Festival in Vancouver. I met a lot of great artists that I had been following. We talked about work, things we were inspired by, and just got to know each other in person. It felt dreamy.
Madison Caprara:
Nice! I haven’t gotten to experience one of these festivals yet, it’s why I’m doubly excited for dash bash this fall!
What is your favorite subject matter to draw inspiration from or pay homage to?
Sofie Lee:
Human anatomy and weird geometric forms and objects that draw on a certain mood. I also love abstract things (both organic and geometric) because they can be interpreted in many different ways. There isn’t a certain answer to be understood.
Created by Sofie Lee
Madison Caprara:
How often do you allow your personal experiences to play a role in your works? Is there a specific piece you can think of for reference?
Sofie Lee:
I like to allow my personal experiences to play a role as much as possible because creating art based on my own experiences is such a therapeutic process to me. However, I also love collaborating with other creatives where the work doesn’t necessarily need my personal experience. It’s sometimes even better to remove myself and treat it as a creative solution. In the evenings, I work on my personal projects and that’s where I revisit my journals which are full of my own stories, feelings, and experiences. It’s almost like I’m hanging out with my past self and paying attention to my inner voice. I think one of the references I can use is probably my film I directed and designed called, Dream, where you can listen to my story and meet me through the work.
Madison Caprara:
I’m not sure if you’ve ever taken on a project that goes against your personal beliefs. How responsible do you feel creatives need to be when it comes to the overall message communicated with their work?
Sofie Lee:
I feel like this is a very subjective question and needs to be considered in a lot of different ways in order for it to be answered. Unfortunately, I don’t think I have a definite answer. I wouldn’t take on a project that’s crazy out of my scope of beliefs, and I’d also feel responsible for every type of project I agreed to work on regardless of my belief system because it’s about professionalism. Any work we create, whether it’s professional or personal, always communicates some sort of message which can be interpreted subjectively.
So my questions are: Should we as creatives feel responsible for every work we’ve created? Does every project we work on determine who we are? Are there any set rules and regulations to go about evaluating? What if you have other responsibilities that are bigger than pursuing your social responsibility as a creative? I definitely think it takes a crucial role to be aware of the power of creatives to influence the world, yet I’m genuinely curious to hear what others’ thoughts might be in regards to this.
Madison Caprara:
It is such a complex, weighted question. I’d be really interested to hear feedback from others as well.
For your personal projects, where do you go for inspiration?
Jesper Ryom Music Video; Nights - Designed by Sofie Lee. Directed and Animated by Mathijs Luijten. Sound Design by Jesper Ryom. Hosted by Delicieuse Records.
Sofie Lee:
I love going to art museums, watching movies, or going on a trip with my camera. On the internet, I check Motionographer pretty often as well as Wine after Coffee on Vimeo. Reading editorial magazines is also one of my go-to’s when it comes to finding some inspiration. Oh, and I can’t forget to say The Metropolitan Museum of Art website is full of amazingness.
Madison Caprara:
What is a skill that you believe is universally beneficial for all of the folks within the industry to perfect?
Sofie Lee:
I believe it is your communication skill; being able to articulate one’s thoughts and ideas is so important. I can’t stress enough to emphasize that. Surprisingly, it often gets underestimated. We all come from different backgrounds and people are now working remotely from all over the world. That being said, we should never assume the way we communicate individually is the right way, as there isn’t such a thing. Try to be a good listener. I also believe this would encourage the creation of an environment where anyone can speak their minds when it comes to collaborative work.
Madison Caprara:
Surprisingly - or not - you are not the first I’ve spoken with within the industry that stressed the importance of good communication skills.
Are there any particularly big challenges right now that you’re trying to overcome?
Girl - Design by Sofie Lee. Animation by Lykke Daylum.
Sofie Lee:
As I’m now running my own business, the first big challenge at the moment is time management. I used to be pretty impulsive and would do things that I just felt like doing. I also have a puppy to take care of now, so my time is limited. Therefore, I’ve been making a schedule first in the morning based on my priorities and try to stick with it.
The second biggest challenge is keeping myself healthy. I was pretty swamped last year in both my personal and professional lives as I began working as a freelancer. I’ve been trying to exercise even just for five minutes a day. It’s tough because I’m not a big fan of moving my body and feeling sore. However, I love so much of what I do and want to keep pursuing this creative career.
Lastly, is to sustain peace of mind and toughening up my inner strength. Freelancing can be a rollercoaster. I didn’t believe it when people said it, but it is true. A precise schedule is needed but it doesn’t mean it always works that way. So I often try to remind myself that today won’t come again once it’s passed, don’t be shaken by temporary circumstances and feelings, cherish every moment I live in.
Madison Caprara:
That’s a great mindset to have.
Do you have any closing points you would like to share?
Sofie Lee:
I recently watched a documentary on Henri Matisse because I was really inspired by one of his works (I mean I always do but this particular one pulled extra interest) that said, “art should be something like a good armchair in which to rest from physical fatigue.” Working for someone is great but this quote reminds me of giving myself some time to be immersed in my own art and feel at peace and relax as we all deserve that.
Dream - Directed and designed by Sofie Lee. Animation by Omid Seraj. Sound Design by The Chicken and Sono Sanctus.