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.
A self portrait of Nico.
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.
Concept art from FATHEAD.
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!
Takeover Tuesday with Rafael Silveira
An interview with Rafael Silveira: Brazilian artist living in Curitiba, Brazil.
Q&A with Rafael Silveira
Read time: 3min
Mack Garrison:
Thanks for joining us for our Tuesday Takeover, Rafael! Your creations have a very unique flavor and they feel incredibly original. For those unfamiliar with your work, could you tell us a bit about your style in your own words?
Rafael Silveira:
Brazilian Contemporary Art with a RetroPopOpPsychodelicSurreal Twist.
Calor Humano - Oil on canvas
Mack Garrison:
Do you think of yourself as an artist or an illustrator? Is there a difference?
Rafael Silveira:
Artist. I think illustration is something different, it's a kind of art you create by demand to clients (usually brands or editorial companies) working together with other creatives (designers, art directors, writers, marketing people). it's also great art and I love good illustration.
Mack Garrison:
Did you have formal training or were you completely self taught?
Rafael Silveira:
I studied art at university (did not finish) and I have a degree in advertising. I think I learned a lot in these places, but I also learned most of things I do today by doing this things and making a deep research, as a self taught.
Mack Garrison:
How has growing up in Brazil influenced you and your work?
Rafael Silveira:
All my personal experiences have a lot of influence in my work. Brasil are very intense and surreal sometimes...
Circonjecturas - Solo show at Caixa Cultural Brasilia
Mack Garrison:
Your textile work looks phenomenal and I love all the little details. Have you always been interested in textile work or is that a new development?
Rafael Silveira:
All these details come from the talented hands of my wife, textile artist Flavia Itibere (my textile works are made in collaboration with her). She influenced me a lot with her fashion/textile references.
Mack Garrison:
Do you have a favorite type or project or medium to work with?
Rafael Silveira:
I work with several mediums. I love oil on canvas and digital art.
Mack Garrison:
Growing up, who were some of the artists or designers that were a big inspiration to you?
Rafael Silveira:
There are a lot of influences...Arcimboldo, Magritte, Mark Ryden, Audubon...I also love anonymous paper ephemera, an artist from 19th century.
BOOM! - Oil on canvas and carved wood
Mack Garrison:
Are there any upcoming projects you're excited about?
Rafael Silveira:
Yes! My new solo show #EspumaDelirante (in english #DeliriousCream ) at Farol Santander São Paulo
Mack Garrison:
Any final takeaways you would like to share with our audience?
Rafael Silveira:
Please follow my insta page for news and more art @rafael_silveira_art
Wild Life - Oil on canvas and carved wood
Takeover Tuesday with Caibei Cai
An interview with Caibei Cai: designer and animator who lives in Shenzhen, China.
Q&A with Caibei Cai
Read time: 3min
Mack Garrison:
Hi, Caibei! Let's start at the beginning: how did you start your career in animation?
Caibei Cai:
I studied animation during my undergraduate, and after I received MA Animation degree from Royal College of Art, I started working as a freelancer. I have made some advertisements, music videos and visual designs, sometimes I also curate programs for the animation weeks.
No More A-Roving Tour
Mack Garrison:
What's the animation scene like in Shenzhen? Is it a pretty big community?
Caibei Cai:
Shenzhen is a city with many Internet companies, animation is usually used for the APP or games. Normally, they would like to choose conservative artistic styles to cater to the public taste. So it is quite difficult to get a suitable project for me.
Mack Garrison:
Do you mainly work with local clients or do you collaborate internationally?
Caibei Cai:
I often collaborate with some agencies in Shanghai and Beijing. I haven’t worked with foreign agencies before, and I’m willing to try it.
Mack Garrison:
Your style is very unique! The textural and organic approach provides a really tactile feel in a digital space. How did you develop this approach?
Caibei Cai:
Thank you! Seeing can mean touching the texture of a thing as people can see roughness and smoothness. Our eyes can feel the coarse edge of the paper, the smooth silk or the sticky oil bottle. So what I trying to do is invite the audience to touch my film through their eyes. But not passively following the storyline or fully understanding the meaning of the film. For me, the film is like a body, you could feel its’ breath, skin, hair instead of dissecting it’s muscle or organ inside.
Pining
Mack Garrison:
Could you tell us a little bit about your process? How do you come up with ideas for a project?
Caibei Cai:
I am very interested in people’s emotions, especially anxiety. Half Asleep talks about a silent relationship, Pining is the unobtainable feeling and the clocks in my room stops is about the insomnia experience. In the pre-production of Half Asleep, I created a linear story, but I only kept the emotion and removed every specific plot. It is similar to the force triggers tactile, you can’t see the actual force but you could feel the physical changing. As for me, the story plot is similar to the force, which let the audience could feel the changing emotion, so I tried to hide the plot but only left the emotion in the film. Besides, Havelock Ellis mentioned that Touch is the most irrational and emotional in the five senses. So showing the tactile could also enhance the emotional expression in the film.
Half Asleep
Mack Garrison:
I noticed you've received Vimeo Staff Picks for Half Asleep, Pining, and The Clock in my Room Stops; congrats! Do you have a favorite of those three? Why or why not?
Caibei Cai:
I don’t have the favourite one, because I always looking forward to my next film, and I’ve just finished an animation short film called Silver Cave, which is about the hunt, domestication and desire.
Mack Garrison:
How long does it typically take to make this style of animation? Is coming up with the idea the hardest part of bringing your vision to life?
Caibei Cai:
Most of my animation is drawn frame by frame, drawing on paper allows me to touch every frame in the film. But it is really time-consuming. I would like to share the working process of Half Asleep. First, I drew all the movement on the paper with charcoal or soft pastel...
I projected the animation on fabric and recorded it.
Finally, I printed the frames out and re-coloured them.
And when I made the logo intro for the BlackFin Production, I drew the frame by colour pencils, and then scan the frames, finally printed it on the waterslide transparent paper.
Mack Garrison:
What's your proudest professional moment so far?
Caibei Cai:
Probably is the moment I got a tattoo of 1920 X 1080 on my arm.
Mack Garrison:
Any advice you'd like to give the next generation of animators?
Caibei Cai:
Eat well, sleep well, play well, and draw well!
Takeover Tuesday with Nol Honig
An interview with Nol Honig: director, designer and animator who lives in New York City.
Q&A with Nol Honig
Read time: 5min
Mack Garrison:
Hey, Nol! Thanks so much for taking the time to hop on a Tuesday Takeover; I've been a big fan of yours for a while. For those who are not familiar with you or your work, could you tell us about yourself?
Nol Honig:
Hi Mack - thanks for the kind words, and for inviting me to participate in this excellent series! Really glad to be here and in the company of so many others I admire.
My name is Nol and I’m a director, designer and animator who lives in New York City. I’ve been freelancing as a motion designer since the late 1990s, which makes me OG. At this point I’d say that I’m best-known for photo-driven, mixed-media “collage” animation, as well as for teaching After Effects Kickstart at School of Motion. Hello everyone!
The Andy Warhol Diaries
Mack Garrison:
How did your career begin? Did you always know you wanted to be in the motion world or did it take a little more luck than that?.
Nol Honig:
It took a lot of luck!
My parents were both very artistic, and encouraged me to be creative from early on. So right there, that’s extremely lucky. I was really into drawing and painting and all the usual stuff, but when I was seven years old Star Wars came out and after that I became fascinated with visual effects, stop motion, photography, and optical trickery. For me, that’s pretty much where it all started. I was also pretty lucky to have an older brother who got seriously into ‘home computing’ in the early 80s, and so I grew up feeling comfortable around computers ahead of a lot of other kids of my generation.
As a teenager I really wanted to be an indie filmmaker like Jim Jarmusch, Spike Lee, or the Coen Brothers, so after making a lot of 16mm films in college I applied to NYU for an MFA like all of those guys. And I was lucky to get in. When I was there I was really drawn to editing and post production, and volunteered to cut my thesis film on the film department’s first ‘non-linear’ (aka, computer) editing system — an AVID, which the department had just gotten that semester. Spending a few months working on a film project on a computer, and having to learn new software, was a big turning point for me.
I graduated in 1996 and while working in film production, I found myself much more interested in learning the newest software from Adobe called After Effects that had come out in the last year or so. I know it sounds obvious now, but at the time After Effects was the missing piece of the puzzle that allowed me to combine my love of filmmaking, design, animation, storytelling, staying indoors, and technology together in a way that just clicked for me. Still, there was no coherent motion design community at that time, and I worked in various production and post-production roles for many years — including directing a number of music videos for indie bands like Guided By Voices and Apples In Stereo.
My entryway into full time motion freelancing also happened as a result of luck. Somehow I had talked my way into working as an editor for a company that was producing commercials for then Senator John Kerry, who was running for President at the time. And after a few days I convinced them that I should be making commercials for them in After Effects, and not AVID. I made a ton of spots for the campaign that way, and even though John Kerry lost, I became a one-man freelance graphics department for this company. Fast forward many years, and that’s how I wound up as a lead animator for President Obama’s team in 2012.
Fireside History with Michael Beschloss
Mack Garrison:
You've got a really impressive resume of clients: Golden Wolf, Elastic, Buck, Pentagram, Hornet, Block & Tackle, PepRally, Ranger & Fox, Gretel, and let's not forget winning a Martin Scorsese Post Production Award! Tell us a little about that.
Nol Honig:
Well, the Martin Scorsese Post Production Award was something I won for my thesis film at NYU — specifically for the editing. I didn’t get to meet the great man, but as part of the award I was required to write him a letter of thanks. Not much of a story there. I believe the award was $300.
But yeah, in terms of studios … I’m super lucky to have worked with so many excellent teams over the years. As a senior freelancer, I appreciate great producers so much. They work tirelessly to make everything run smoothly, and often don’t get much credit or attention. For people entering the industry, remember: Creative Directors inspire, but Producers hire. Be nice to them, be honest about your calendar and the way you estimate your time, and always make sure to credit everyone on the team if you post about your work — including the producers.
Munn, After Losing
Mack Garrison:
You're a creator and a teacher. What led you to the education side of motion design. Do you prefer one more than the other?
Nol Honig:
I wouldn’t say I prefer teaching over animating, but I will say that being a good teacher is much harder than being a good animator. At least for me. People are more complex than keyframes.
Honestly, I got into it by accident. In 2000 a friend recommended me for a job teaching a class called “Broadcast Design” at Parsons School of Design. I got hired on the spot because I knew After Effects, even though I had no prior teaching experience. But in the end I taught at Parsons for 18 years and in 2017 I won a Distinguished Teaching Award for my contributions to the school. And I’m still in touch with a number of very talented people who I first met as students and are now working in all corners of the industry.
Even better, I had the great luck to team up with School of Motion in 2017 to create their foundation class After Effects Kickstart. I am so proud of that class, and couldn’t be happier that I partnered with such great people.
Mack Garrison:
I see you also do some writing as well. How important is it for creative to be able to write in your opinion? Any tips or tricks to being a better writer?
Nol Honig:
Being a good writer is very important, in my opinion. It helps me make good first impressions over email with people who want to hire me. It helps me win pitches for new work. And it helps me promote that work.
My advice is to remember that writing and editing are separate tasks. Both are necessary, but write first and then edit second if you can help it. And don’t skip the editing part.
The Endless Scare
Mack Garrison:
Tell us a bit about "The Drawing Room." Where does the name come from and why not just go by Nol Honig?
Nol Honig:
Traditionally, a drawing room is where the owner of a house, perhaps with a guest, could ‘withdraw’ for more privacy. For me, that’s where I want to work. In that private, relaxed space, maybe with a friend.
But the reason I don’t work under my own name is just mostly for tax reasons, as boring as that sounds.
Mack Garrison:
Looking ahead, what do you think the future of Motion Design looks like?
Nol Honig:
Laser-guided keyframes.
Mack Garrison:
Any final takeaways?
Nol Honig:
Generally — figure out what works best for you, and then work in that direction. If you want to be a better designer, find sources of visual inspiration outside of motion design. If you want to be a better animator, observe the world intentionally.
Also ... if everyone is doing X, do Y. But that’s just me.
Takeover Tuesday with Allen Laseter
An interview with Allen Laseter: an animator, designer, and director making stuff for brands and studios around the world.
Q&A with Allen Laseter
Read time: 5min
Mack Garrison:
Allen! Thanks so much for taking the time to chat with us for this week's Tuesday Takeover. For those who are not familiar with you or your work, could you give us a little intro and creative background?
Allen Laseter:
Thanks for having me. I am an animator/illustrator type, now working as Creative Director along with my wife and business partner Lindsey Laseter for our very newly formed studio, Lasso.
My background is really more in the live action world. I went to a small art school in Nashville where I still live and work and studied film, concentrating mostly on directing and cinematography, but the school was small and scrappy enough that you really were able to learn how to do everything, which in retrospect was a massive bonus.
Lasso Studio
My dream at that time was to make narrative films as a director, but when I graduated, reality set in and I started my career freelancing around town working on sets, editing, occasionally “directing” tiny commercials for local businesses, and trying my best to make non-commercial short films and other weird projects with friends.
I was doing this for a couple years until my friend who was really into After Effects and an all around technical wizard passed on a motion graphics type of job to me that he was not able to take on. The school I’d gone to didn’t have any sort of motion or even VFX program, but I’d picked up some After Effects tips from him and had made some stuff for fun just poking around on my own time. I decided to take on the project with my incredibly limited knowledge, and realized quickly how little ill-equipped I was. However, I was forced to learn a lot on the project very quickly, and by the end, I realized that I really liked working this way and wanted to seek out more of this kind of work.
This was still in the first half of the 2010’s when Vimeo had what felt like a really thriving and active motion community, and I was lucky enough to, over time, fall into a network and gradually improve my skills and find work until I had worked out a pretty nice freelance groove, working with various studios around the country as a remote animator, and occasional designer. I kept working on my chops until I began to pursue directing, and eventually got the crazy idea to form a studio!
Mack Garrison:
You've worked on a lot of fun projects over the years, but I'd love to know which have been some of your personal favorites.
Allen Laseter:
The first one that comes to mind is the first project I did for Ted-Ed on the topic of the Hedonic Treadmill framed around the scenario of Winning the Lottery and how it affects your happiness long term. I think this was the first time I had the opportunity to create a project from scratch, aside from the script which was supplied to me, and really approach a client project with a director’s mindset, in terms of really shaping how the overall piece would feel to an audience. It was also by far the longest thing I’d made, being over 4 minutes long. I think this project in particular gave me a big boost in my freelance career.
TED-Ed: Will winning the lottery make you happier?
Another memorable one for me was a short spot I did for Lagunitas as part of their “Mumblephone” series. The task was to take a voice mail that had been left on the company's customer feedback phone line and create an animation to it. That was basically the entire brief and I was allowed to do just about anything I wanted, which is rare and one of my favorite things. It was one of the early times where I got to really be adventurous and imaginative as well as really focus on a narrative for a client project.
Lagunitas: Mumblephone
Mack Garrison:
A lot of folks look up to you as a creative leader so I'd love to know who you look up to?
Allen Laseter:
That’s a really nice thought! This may sound like a cop out, but I look up to tons of people, from people who I know well to some I’ve never even met, and I hate to leave anyone out, so I will purposefully keep this short and limit it to our niche of the industry and name Zac Dixon and Sam Cowden who founded IV Studio here in Nashville. I look up to them for their rare mix of creativity and business ambition. They manage to seemingly keep their studio insanely busy with both client and self initiated projects alike and are extremely successful in both areas which is a huge inspiration to me.
Mack Garrison:
Our industry has been growing like crazy and we have more freelancers than we've ever had before. Any words of wisdom you could share with the next generation of creators? Things you wished you knew as a freelancer?
Allen Laseter:
When you get stuck or run into a problem that you can’t figure out on your own, tell someone quickly instead of burning time trying in vain to figure it out yourself for the sake of your ego. This was a big temptation early in my career and it never worked out well.
Be nice to people, even if they annoy you. It’s still a pretty small field. This will help from a business perspective and from a human perspective.
Hire a cpa.
Mack Garrison:
You and your wife Lindsey recently started a new studio called Lasso which is so exciting! What was the reason for the transition from freelancer to studio owner?
Allen Laseter:
Before Lindsey and I officially decided to start building our studio, I had personally been at a point for a while where I felt like I was ready to move on to something new, but wasn’t sure what. I had been freelancing for a while and enjoyed it but the thing I always craved was more influence over the entire process. I tried going the director route for a little bit and worked with a few different reps, but ultimately nothing ever really worked out all that well.
I was already feeling this in early 2020 and the biggest push in this direction came in March when the pandemic took over everything and we locked down and began to figure out how to work in the same space while raising our daughter and learning how to balance all the new things that stemmed from that. We also just happened to be beginning to collaborate on a project together for the first time ever, even though we were still independent freelancers. These experiences made us realize that, while we had to learn a new way of communicating (and are still learning it) we actually worked pretty well together and that our skill sets overlap very nicely and allow us to do work that we think is unique from a lot that is out there.
Some thumbnails from Allen’s portfolio
Mack Garrison:
What are you hoping to accomplish in the studio space that you weren't able to do as a freelancer?
Allen Laseter:
The main things for me are having more control over what work I take on, more influence over the end result of the work, higher quality/bigger scope projects that become possible when leading teams (as opposed to just working by myself which I’ve often done in the past) and finally, focusing more on actual directing skills, which was kind of my original goal back in film school, just in a different environment.
Mack Garrison:
What do you think the future holds for our industry? Anything in particular you're excited about or things that worry you?
Allen Laseter:
As things become more and more digital, I think that will create more and more opportunity for our kind of work. In particular, I’m excited about what this means for brand identities as this is the main focus for our studio, Lasso. In an increasingly digital space, it’s less and less necessary for a brand’s visual identity to be thought of as static first. It’s interesting to think of a brand in terms of its potential to be a changing and dynamic thing, which is what we are trying to do at Lasso.
On the other hand, and from a more zoomed out perspective, I worry about the increasing percentage of our lives that are spent in the digital realm and I think we should all go outside way more!.
Mack Garrison:
Last but not least, any new projects or creative endeavors we should be on the lookout for?
Allen Laseter:
Lasso will finally be launching a portfolio in mid-March, so keep an eye out for that!
Takeover Tuesday with Kai Kundler
An interview with Kai Kundler, a Berlin born, Frankfurt based Motion Designer and Art Director.
Q&A with Kai Kundler
Read time: 5min
Madison Caprara:
Hi, Kai! Why don’t you start us off with an introduction to yourself? What originally drew you to the creative industry and how did you find yourself where you are today?
Kai Kundler:
Hey! My name is Kai and I am a Motion Designer and Art Director currently based in Frankfurt, Germany. I also love drawing, and I try to bring it into my work as much as possible, whether in personal projects or in my creative daily life. Right now I work a lot for the automotive and motorsport sector.
My creative career began quite conventionally: as a child, I loved to draw and return continually after breaks. The love of drawing evolved into a general lust for art, which led to graffiti and, eventually, design..
Madison Caprara:
I’m not sure I’ve asked this question in previous Takeover Tuesday interviews, but I’m curious. What is it about motion design that you love? Can you remember what the original draw of it was for you personally?
Kai Kundler:
My intention was never to become a motion designer, but like many others, I grew into it. Since I was a kid, I have been a big fan of cartoons and Disney Classics. From a young age, this moved and influenced me. My four-year-old heart was broken by the Mufasa Scene in The Lion King. However, my passion for motion design has grown over the years. I wanted to be an illustrator at first, but then I switched to a more traditional digital designer focus until I discovered my passion for motion design. I was hooked after trying more 2d and 3d animation and knew this is what I wanted to do. I still enjoy creating and watching anything that moves on the screen. I've always been curious about new things and love experimenting with them.
Madison Caprara:
You’re based in Frankfurt, correct? How’s the creative industry? Do you find yourself working more with home-based or international clients? Has the pandemic affected workflow much?
Kai Kundler:
In general, I believe that the creative community is a very open and straightforward one. You run into each other at festivals, talks, and award ceremonies. You usually know each other from a variety of settings or share friends, acquaintances, or coworkers. When you don't know each other, then you will surely meet at a later point in time. It makes little difference whether you live in Frankfurt, Berlin, London, or New York. I have also had the honor of working only with open-minded and easy-going people in this business.
The creative industry has always been a fast-paced one. This was also obvious during the pandemic: it was one of the first industries to be severely impacted, and it was also one of the first to recover and pick up again. Frankfurt has always had a strong international connection as a result of its proximity to financial clients and trade fair events. In general, I work with both international and national clients. Due to the fact that big network agencies are also based here, there is always a strong exchange with other international hotspots.
Of course, the pandemic has changed a lot of our lives. Working from home requires agencies and studios to become even more digital and adaptable. People are used to collaborating in a single location. You sit across from each other or are in meeting rooms. You have offered your support when you have noticed that colleagues need help. We have all worked with teams, slack, dropbox or whatever before. However, in the office, we had many more opportunities to communicate spontaneously or keep up. Now you have to be more active to know what your colleagues are doing, to exchange thoughts, or to see how they are doing.
Madison Caprara:
How do you think the German design industry compares to that of the U.S.?
Kai Kundler:
In general, I believe the design industries in Germany and the United States are similar, but there are differences in influences. Shared influences enable an exchange in Europe, whether it's the German Bauhaus, the rich art history, or the nearby influence of Swiss Design, De Stijl from the Netherlands, Russian constructivism, or even the strong cultural and art history from France or the UK.
It is always dependent on the project or the client. In other words, Germany can appear formal and impersonal at times. This is already present in the German language, as we have a polite and a more personal form of address. This is less prominent in English, making it appear much more relaxed and simple. Until now, it has frequently been the case in Germany that the safer, formal option was chosen over trying something new. But you can also sense a shift here; this is becoming softer, and there is a lot more experimentation going on, both in national and international projects.
The US market appears to be considerably faster-paced and more zeitgeisty. Furthermore, one must not overlook the sheer magnitude of power, technology, and money emanating from Silicon Valley. The global impact is still incredible, and it is still unique in the world.
Madison Caprara:
Where do you go to for inspiration when you find it lacking and how do you maintain your creative edge?
Kai Kundler:
It's important to get inspiration from art, music, photography, architecture and other art forms as well as the motion design scene. When confronted with a blocking barrier, however, the most effective response is to do nothing. Devoting one's time and energy to other activities may be beneficial if circumstances and time allow. Another project, or simply sleeping on it for the night, sports, a walk, or other forms of distraction are always helpful. After that, you can return to the topic with a clearer head.
A walk through the city works best for me. I love to walk through the city and streets and like the vibes of the city. It is very inspiring for me to be connected to the streets. I'm also looking forward to traveling more, and I'm also a big fan of creative challenges like Inktober. Forcing yourself to be a little creative every day exercises your creative muscles and often leads to surprisingly good results.
Hyundai Mocean - Kai Kundler
Madison Caprara:
Do you have an all-time favorite client or project you’ve worked on?
Kai Kundler:
It's tough for me to claim that one particular client was exceptional, because it would imply that other customers weren't as excellent. It is always very dependent on the project and the briefing. But I had a lot of joy working on projects for technological firms like DJI and, as previously mentioned, the automobile sector. In Germany, you just can't get around it. Just as important for me are personal projects or commissions.
Madison Caprara:
What are some up-and-coming media that you’re really interested in diving into in the future?
Kai Kundler:
There is a lot going on right now, such as the Metaverse, NFTs, and AI-based tools. New technological devices, such as Apple's maybe mixed reality device, can also give the entire industry a boost and change entire work processes. I always try to stay curious and try new things, but this has the side effect of increasing my pile of shame with plugins, software or learning new things. To my disadvantage, I like to be an early adopter, so I always have a lot of things I want to try out. However, this also means that I am rarely bored.
Shapes - Kai Kundler
Madison Caprara:
I see that you studied at The RheinMain University. How valuable was your time and education to your career? And is there anything that you felt that you experienced or learned at university that you wouldn’t have been able to learn from anywhere else?
Kai Kundler:
The most significant benefit of this time was the opportunity to experiment. At first, I was given a lot of flexibility and was able to devote myself to a wide range of disciplines. This was the only way for me to discover and strengthen my inner love for motion design, 2d, 3d, and everything that moves on the screen.
That, I believe, is the most important thing a university can give you in a creative field. It is critical to be taught how to sit down and learn on your own. Motion design can be a very technical profession, and new tools are constantly being developed to help you achieve an even better result faster and more efficiently than before.
Madison Caprara:
Now, I’ve heard time and time again how personal projects outside of client work are important for mental health upkeep and furthering your skills as a creative. What is your stance on passion projects? Have you had the time recently?
Kai Kundler:
Personal projects are extremely important. Only here can you completely loosen up and experiment with new things. You can devote yourself to skills and things that are pushed aside in your day-to-day job here as well. You can learn and practice new skills. And once you're comfortable with what you've learned, you can apply it to your job or to your clients. You lay your own foundation here. I try to work on personal projects on a regular basis, and right now I'm focusing on typography and analog drawing.
A visual crush on Japan - Kai Kundler
Madison Caprara:
Aside from creating them for enjoyment, what are some things that you feel you gain from taking the initiative to do your own work?
Kai Kundler:
You begin to fine tune your skills, try new things, but you also strengthen what you already have. This boosts your self-esteem and allows you to recognize your own worth. What you quickly forget is that personal projects are the only way to get started in the creative industry. I can't tell you how many hours I spent as a kid drawing on my paper and having a good time. That is exactly what you should maintain and continue to do later on.
Madison Caprara:
Are you working on anything exciting we should be keeping our eyes open for in the near future?
Kai Kundler:
I'm currently working on a number of projects that I'm not allowed to share or that are still in their early stages. But I make an effort to be active and to create new and exciting things. As a result, it is always exciting.
Madison Caprara:
Is there anything in particular that you would like to end this interview on?
Kai Kundler:
I am sure we will come out of the pandemic stronger than before, having learned a lot about ourselves and appreciating life much more day to day. So keep moving, educate yourself, and stay creative. Also never watch Disney Classics with me because I will cry my eyes out.
Thanks for having me!
Takeover Tuesday with Dennis Quiñones
Q&A with Dennis Quiñones, an Illustrator and Graphic Designer based in Bogotá, Colombia.
Q&A with Dennis Quiñones
Read time: 10min
Madison Caprara:
Hi, Dennis! Could you start us off with a little introduction to yourself and your work? How did you find yourself in this industry?
Dennis Quiñones:
Hi everyone! I’m Dennis Quiñones, a Colombian Freelance Illustrator. I’m the girl behind Dess Artist, the nickname or character by which I identify my work. Since I was a child I enjoyed art. Drawing was a great hobby in school, although I did not consider that I did it well. Still, I enjoyed it very much.
I thought I would study something related to fashion but decided to go with graphic design. This experience showed me a broader picture after which, I was more inclined to focus on animation. I still get excited when I see my characters in motion, however, my heart always leans towards illustration. When combined that with the knowledge of design and animation, these skills have opened doors within the industry. I worked as a Designer and Art Director for a few companies in my country, however, I felt that there was something more waiting for me. Without a definite plan, I decided to quit, and that is how Dess Artist was born.
Dennis Quiñones:
Starting out as an independent is a somewhat uncertain path, but I knew that if I did my part and gave my best I only had to trust that it was possible to make my way. It’s amazing how my hobby became my job and how this industry keeps opening doors for me. I have had the opportunity to work in many different sectors; illustrating for brands in advertising formats, in musical projects for renowned artists like Pink (great experience), for editorial magazines, and blogs. Something I am currently working on that makes me excited is my personal project, with a focus on empowerment.
Madison Caprara:
From fashion to graphic design, direction to illustration...how did you go about finding and shaping your artistic style? Do you have any specific creative influences?
Dennis Quiñones:
It’s funny that you ask this question, I believe that I am constantly shaping my style. There is no limit. I feel that it will continue to mutate, and as I change, my experiences, opinions, my way of seeing the world, my art will as well. Being open to that change and exploration has been a key factor in my process. That being said, I feel I have a vibrant, colorful style. Something that defines me as a communicator is versatility. Being willing to explore has made me discover different skills, mixed techniques, and styles that enrich my work and my experiences. I believe this makes me more attractive to clients that are looking to approach different projects and styles. Of course, it also enriches my work and life.
I think I have many influences. At a creative and technical level: the environment, culture, relationships, travels. We all influence each other, sometimes without even realizing it. Everything is an inspiration. Everything is material to create. Colleagues and friends with whom I share and with whom I work, of course, influence me, and vice versa. The time we are in, the internet, everything has an inherent influence, even the art from thousands of years ago. Today, after almost ten years of learning Egyptian art from my art history class, I am still so fascinated with it. There is a detail that I include in many of my characters, I use the position of the frontal eyes even if the characters are in profile. I recognize that this decision comes from those historical influences.
Dennis Quiñones:
I currently have the desire to work from different places. My work allows me to do so. When looking at the history of art, I find myself gravitating towards Impressionism. These artists took part in the development of landscape oil paintings, representing their environment. It is curious how nowadays, with the boom in travel, these phenomena are happening again. Though they are, of course, presented differently, but are ultimately similar in essence.
Madison Caprara:
You had briefly mentioned how culture influences your work. Can you go a bit into how exactly your specific cultural background does so?
Dennis Quiñones:
My work, my opinion, and my person are a reflection of the society in which I live and the decisions that I make. What I feel, the situations I am familiar with, the beliefs I carry, and the culture in which I develop as a person, give me context. They give me an opinion that I intrinsically reflect in my work. I have a particular interest in illustrating women in my personal work. I enjoy putting them in the attitude of a businesswoman; powerful and capable. Why? When I look inside of myself, I find that I come from a matriarchal family; strong women who have worked hard to get ahead.
With that, I understand why I want to display these messages. I use my work to tell myself how valuable and capable I am, and of course also to all those who identify with it. In the field of illustration, I find welcome refuge. I believe it is everything that is right in the world, it is my safe place. I constantly hear that as creatives we should think outside the box, however, it is complex to do so when the action of creating is born from our experiences and what we know. So if I can lend any advice, it would be to live new experiences and interact in new cultures, travel, and expand that box.
Madison Caprara:
Speaking of travel, where are you currently based? What’s the creative industry like there?
Dennis Quiñones:
I live in Bogota! Being the capital of Colombia, it is a city where most of the companies in the creative sector are concentrated, followed by Medellin and Cali. Bogota has a lot of experience in this sector, which is why large international audiovisual production companies such as Dynamo, Jaguar Bite, Sony Pictures, Fox Telecolombia, among others, have chosen it as the headquarters of their operations. I recently read that 80% of the audiovisual industry exports originate here in Bogota.
When I had the opportunity to work with Pink, most of the creative team was Colombian. Thanks to the work of the project’s director, Colombia was being recognized! I remember the excitement I felt when I read the news headlines that said, “Colombians working with Pink.” After that, I have seen artists like Rihanna, Dua Lipa, and Zia, who have opted for the Colombian market. It’s incredible and has brought with it reflections on the matter. I know that the industry is segmented. Many of us struggle a lot for those opportunities. Here in Colombia, we have a lot of talented, highly qualified people, but from my personal experience, it looks as if we have better remuneration than what we actually do. This makes us reflect.
Madison Caprara:
Now, we’ve spoken about the industry in Bogotá. Can you speak a bit about how you found yourself where you are today? I see you were self-taught for the most part, how did you go about educating yourself?
Dennis Quiñones:
It is true that I have spent a lot of time studying on my own. One thing that was made clear to me is that if you want to improve your skills, you must study and practice. However, studying graphic design gave me a foundation and broadened my outlook, and there is where I met animation. I loved the idea that illustrations could have more movement. But yes, to specialize in illustration I spent a lot of time behind the screen exploring techniques, relying on online courses, and asking colleagues with experience in the sector. People who give you real feedback are valuable. You begin to understand how to accept constructive criticism and take advantage of it.
I also remember buying an annual subscription to Schoolism, where I had access to courses with Disney and Pixar artists. For the most part, I utilized many online tutorials, some bought while other times, friends who noticed my interest granted me access to their courses. While this happened, I was working in an agency, and I have to emphasize that the greatest learning tool has been working on real projects. The experience given while “doing” is indispensable. It is a profession of constantly learning, there are always new tools and new ways to go about solving a problem. Now when I approach a project, I know that I will learn something new.
Madison Caprara:
Now, for other creatives going down the self-taught route, do you have any advice on advocating for or marketing themselves in an industry that is overly saturated with talented artists?
Dennis Quiñones:
Of course! I can think of three indispensable pieces of advice:
1.) Be brave and share your work, processes, and concerns with other artists who have more experience. Relating with people in the industry is important, something that expanded my work is to understand that other artists and illustrators are a team and not competition. You have to understand that your path is unique, you should not compare yourself. There is room for everyone within this industry, it is amazing how this change of mentality makes you go from having two hands to having four or six for a project because those colleagues are who you team up with. They are also the ones who recommend you for other projects or vice versa.
2.) Be present on social networks. Show people that you exist. Show both your personal and commercial projects, your processes, your changes, and your evolution. That creates community. You are not only showing a piece, you are exposing yourself as a human being in each work.
3.)Attend and participate in creative sector events, exhibitions, contests, etc. This way you can cultivate more relationships with people. More support. More feedback.
Madison Caprara:
So what I take from that is to really get yourself out there, both in the physical and digital worlds.
Now, what is the range of projects you have worked on? Do you have a favorite medium or subject?
Dennis Quiñones:
Thinking about this question makes me smile. I do a mental recap and feel very fortunate to have had the opportunity to work on so many different projects. My favorites are definitely those that have carried a message of empowerment while allowing me to explore in color. I have a particular taste for those that highlight the role of women.
In my experience, I have been able to work in different media; in advertising for national and international brands, in publishing, participating in children’s education books, blogs, magazines with articles for creatives, also in the audiovisual medium, with corporate videos, experimental music videos, all while selling my personal art to independent figures for textile media.
Madison Caprara:
Quite the roster, Dess!
Going back to your love for character design. Is there a certain methodology or process you revert to when designing characters? Do you have a preferred look or style?
Dennis Quiñones:
When I design characters, it is important for me to know in which media the character is going to interact; if it is for animation or for print because that will determine how I go about the “how”. However, beyond the technique, my starting point will always be the “what”; understanding the personality, what he/she/it does, behavior, hobbies, are they being used to tell a story? Regardless of whether it is for a client or for a personal project, I like to have a brief. They help me in understanding the clear path to success. The more questions or potential problems I solve beforehand, the better.
For example, say that the requirement is to create a woman who lives on the beach. She has a cabin with surfboards. Surely our mind starts to generate questions, so we begin to create her story. Is she an old woman who no longer practices and keeps her boards from her exploits? Maybe she exudes nostalgia? Is she young and still practices and has many boards because she constantly participates in competitions? Is she older with a young soul, so she continues practicing and has a school where she teaches others? When you define what story you want to tell, you have a guide, where to start.
Dennis Quiñones:
From there it is easier. You know who the character is talking to. You establish if they are a main or secondary character, what they want to convey, how they present their personality, looks, how they dress. Personally, I love creating characters for animation frame by frame; all the views and expressions. But creating them for prints where you have a single frame to convey that story is also fascinating. I love the challenge, therefore I couldn’t choose one methodology. I love them both.
Madison Caprara:
How has your work shifted due to the pandemic? By work, that can mean access to it, your creative drive, anything really!
Dennis Quiñones:
It has changed, but not drastically. I had been working from home for four years with different clients. When the pandemic began, I was working predominantly on visuals for concerts that were canceled, as gatherings would not be allowed for a while. However, they were not my only source of work, so I was able to continue with other projects and clients. I felt very lucky. My colleagues and I are very fortunate to have been able to continue working while this was all going on and to be able to support our families. In fact, the work was enhanced. I worked with artists whose videos would be animated versions of themselves due to the estrangement. This instilled in me the concept that there are always opportunities and helped me to take the first step in starting my own t-shirt brand. It’s still a baby.
Madison Caprara:
Well, that’s exciting! Looking forward to seeing the merch!
Pandemic-related obstacles aside, what do you feel is the most challenging aspect of illustrative work? What’s the most rewarding?
Dennis Quiñones:
Perhaps one of the most difficult things is finding your own voice. When you start off in the industry, you have references to follow. Naturally, you want to follow in their footsteps. While it is part of the exploration process, you will never be the same person who creates the same art. It is nice to see what works for you and what does not from the processes of others and thus discovering your own path. Though it can be frustrating at times, the only thing to do is to continue on with what you are and what you have. It is enough to start your own path.
I had to understand that frustrations are a normal part of the process. The most gratifying thing in my story is that in illustration I found refuge. I found a way to express myself. A place where I could come back and find myself whenever I felt lost. An industry that values my abilities and does not stop giving me opportunities to grow and learn. A place where my hobby became my job and has allowed me to materialize other dreams. That is beautiful!
Madison Caprara:
You have such an incredibly optimistic way of looking at the world. It’s really inspiring.
Where do you find yourself consistently going for inspiration?
Dennis Quiñones:
I have physical places and metaphorical places. Living in the mountains near a forest, I have had an incredible place to think. However, in search of contrasts, I like to visit the beach. I love the sea. Whenever I have the opportunity to go, I take advantage of it.
I also have a notebook filled with my ideas; words, concepts, sometimes phrases, random marks. It is a place where I always find inspiration. They are most often ideas that are a result of places I go, people I meet, flavors I taste, songs I listen to, existential doubts, the market list, something I want to learn, etc. They appear at any time, so I write them down. Sometimes they make no sense, and other times they give rise to very significant pieces. If at some point, I don’t know what to draw I start reading this notebook looking for options.
Madison Caprara:
Unfortunately, we have to wrap up this chat, Dess. Do you have any closing points you’d like to touch on?
Dennis Quiñones:
I recently read a quote in one of my favorite books, La Voz de Tu Alma, which translates to, The Voice of Your Soul. The quote captivated me, and I would love to share it: “Never let the things you want make you forget the things you already have.” It is about giving the deserved importance to the process, be clear about where you are going but value the point where you are. Be grateful, and enjoy each stage. It is a beautiful metaphor for life and for illustration. Gratitude is capable of creating magic. Thank you very much for the invitation, it was amazing to look back on memories.
