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

Takeover Tuesday with André Leite

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

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

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

André:

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

Bella:

How did your career in the motion industry start?

André:

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

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

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

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

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

Bella:

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

André:

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

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

Bella:

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

André:

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

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

Bella:

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

André:

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

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

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

Bella:

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

André:

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

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

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

Bella:

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

André:

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

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

Bella:

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

André:

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

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

Bella:

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

André:

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

Bella:

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

André:

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

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

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

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

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

Takeover Tuesday with Elyse Kelly

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

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

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

Elyse:

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

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

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

Bella:

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

Elyse:

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

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

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

Bella:

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

Elyse:

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

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

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

Bella:

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

Elyse:

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

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

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

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

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

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

Bella:

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

Elyse:

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

Bella:

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

Elyse:

That means a lot. Thanks so much.

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

Bella:

How do you get yourself out of a creative rut?

Elyse:

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

Bella:

What’s your favorite thing about being a director?

Elyse:

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

Bella:

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

Elyse:

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

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

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

Bella:

Any final advice/takeaways?

Elyse:

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

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

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

Takeover Tuesday with Jordan Knight

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

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

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

Jordan:

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

Bella:

How did you get into the motion design world?

Jordan:

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

Bella:

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

Jordan:

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

Bella:

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

Jordan:

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

Bella:

Where do you find inspiration?

Jordan:

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

Bella:

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

Jordan:

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

Bella:

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

Jordan:

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

Bella:

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

Jordan:

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

Bella:

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

Jordan:

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

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

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

Bella:

Any projects that you're excited about?

Jordan:

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

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

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

Takeover Tuesday with Tom Van Deusen

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

Interviewer: Matea Losenegger

Read time: 5min

Matea:

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

Tom:

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

Matea:

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

Tom:

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

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

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

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

It’s Tom!

Matea:

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

Tom:

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

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

Matea:

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

Tom:

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

Matea:

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

Tom:

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

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

Matea:

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

Tom:

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

Matea:

In a similar vein, where do you find inspiration?

Tom:

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

Matea:

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

Tom:

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

Matea:

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

Tom:

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

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

Matea:

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

Tom:

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

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

Takeover Tuesday with Nick Fairbanks

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

Interviewer: Bella Alfonsi

Read time: 5min

Bella:

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

Nick:

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

Bella:

How'd you get into illustration and animation?

Nick:

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

Bella:

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

Nick:

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

Bella:

Where do you find inspiration?

Nick:

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

Bella:

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

Nick:

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

Bella:

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

Nick:

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

Bella:

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

Nick:

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

Bella:

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

Nick:

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

Bella:

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

Nick:

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

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

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

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

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

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

Bella:

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

Nick:

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

Mack Garrison 4/17/23 Mack Garrison 4/17/23

Takeover Tuesday Reece Parker

An interview with Reece Parker: self-taught Animation Director and illustrator.

Q&A with Reece Parker.

Read time: 5min

Matea Losenegger:

Hi Reece! Thank you for contributing your time to our Tuesday Takeover series. Can you tell us a little about yourself and your work?

Reece Parker:

Of course! Thanks for having me. I'm Reece, self-taught Animation Director and illustrator. Subscriber to the famed philosophy "fake it til you make it'. My work leans hand drawn with dark color palettes, but I dive into briefs that range the full spectrum of 2D - and love it all. The more corporate, the more bright and poppy. The more Reece, the more scribbly and dark. 2 sides to one coin really.

Outside of work, I'm a husband and dad to 3 beautiful and intelligent children (Not sure if they actually have my DNA). I also grew up skateboarding religiously, which persists as the foundation of my own personal culture. Fail, start again, fall, get up, on and on. These things influence my work consistently.

Matea Losenegger:

You've been well known in this industry for a while now. How much has motion design changed since you started and what are your thoughts on its future?

Reece Parker:

I discovered and jumped into the industry in early 2016. It was a breeding ground of beautiful and inspired work, from every direction you looked. It was perfect for myself (and young artists like me), with an ambition to join the ranks of those considered great in our field. It was a beautiful time looking back. Empty bank account mind you - but a bursting industry and one that accepted me almost right away.

In 2023, it's still full of beautiful work, but you might have to dig a bit deeper to find it. Industry expanding, client deliverables following suit. But close-knit community might be shrinking a bit. That might be my own small perspective as I become more and more my own island. Or, maybe that's the natural progression of things. This industry is fascinating and beautiful, but maybe less curated and served up on a platter. It has certainly been a shifting landscape for the past several months.

Technology is doing its best to shake up working artists at the current point in time. We will see how that progresses, but I for one stand firmly in the "not worried...yet" camp. It's funny, I was just chatting with a legacy artist in our industry, whose work was among the first of which I was exposed to, about how we might be affected and the validity of our industry moving forward. We all share commonalities but have different perspectives.

To summarize my thoughts on that convo:

Real clients that deserve our protection are the ones that value our input and collaboration. Skillsets might be outsourced, but tastes and ideas are best formulated as a team and in collaboration with clients - relationships. This is something that isn't replaced by technology and is actually the most valuable. For clients that wish for cheaper, easier, faster, and shittier - those clients might flock to AI. Great! Let them. They also have to know exactly what it is they want, how many times have you encountered a client with that certainty..? Taste, ideas, expertise, and collaboration stand as powerful pillars in our industry - despite the tools.

I may eat my words, but Im comfortable with that if it comes in the future. Screens are king, and content is not decreasing in demand.

Matea Losenegger:

As an expert in cel, what makes a compelling animation or character movement?

Reece Parker:

I found myself thinking about this the other day in-depth...by myself.

I think that answer might not be so obvious, animation is diverse - and styles range. Once you have an understanding of timing, you can manipulate it, exaggerate it, work in and out of many softwares, and it be equally beautiful completely realistic, or totally unique.

I think what makes great animation is great design. Strong posing. That's how I see it lately.

For cel or characters specifically, understanding how the body moves and how to position it in your animation. Action is formed first in our brains, and that is limited by our comprehension of how a character might react in reality. Then it can be manipulated or stylized appropriately per the creative, but the foundation is based in reality. Our level of comprehension of that reality "makes or breaks" our shots.

Matea Losenegger:

How did you develop your distinct visual style and how do you keep your ideas fresh?

Reece Parker:

My style is an exercise in evolving over time. I started in this industry with what I thought "motion graphics" was, that being clean vector shapes bopping around. Turns out I had only been exposed to a small (but impressive) corner of motion design at that time. I'm glad I was so short-sided, because the foundation of After Effects forward workflows really balanced my lifetime experience of drawing by hand. When the right time for me to be more artistically driven came along (rather than driven purely by survival) I found my hand-drawn roots ready for me to tap right in. That mixed with a new breadth of knowledge of a whole other form of artistry, more graphic and math driven. The combination of the 2 is really where my style lives. My preference might be to scribble on everything, but that's realistically not the right solution for everything - I understand that. My evolution through this industry has allowed me to deliver on "different" expertise' under the 2D umbrella with confidence and vision indiscriminately.

*Still from* Trifilm’s short for Microsoft.

Matea Losenegger:

In a similar vein, do you have any tips on how to combat burnout?

Reece Parker:

Burnout! The dreaded burnout. There's no one size fits all solution here. I have had small symptoms of burnout that I have powered through and left in the dust. Other times it has been more all-consuming. Depending on its severity, my first course is to identify it and try to trace it back to its inception. Might have been a lost pitch that I loved that has a lasting effect I wasn't considering. Could be anything! If It's correctly identified, it's a more seamless path through the tunnel and out the other side. If it's being ignored or unacknowledged, how can we realistically work through it? For me it's not always as simple as "take some time off", my work lives and breaths in my head - on and off the clock. "Taking time" off is only beneficial if I've overcome what's affecting me first.

Matea Losenegger:

On your site you say that "from time to time, I will join a project as an animator or illustrator- if the shoe fits." What about a project entices you into those roles?

Reece Parker:

Working in multiple capacities with clients allows me to be more particular about what I take on. It might be as simple as an awesome brief, don't get me wrong - I love this stuff. If there's something that seems challenging and interesting, then great. Or, It might be a legacy client that has supported me from the start, maybe they are in a bind, or maybe they only see me fitting the job. Great, let's knock it out. Relationships above my own ego, and I'm not in the business of burning those that have been there for me.

That being said, what I find most compelling in my current project landscape are projects that mix leadership and artistry. If I can take one shot, while directing the rest of the shots with an awesome team - I'm very stoked. Put simply, I've found that mix of responsibilities really suits my skillset, and the more I've done it the more clear that has become.

*Shot from the TIMELORD spot for Battleaxe.*

Matea Losenegger:

When pitching for projects, how do you make sure yours stand out in a sea of other amazing studios and artists?

Reece Parker:

I've been pitching like mad! Sometimes we snatch it, sometimes it blows away. It's the nature of the beast. Luckily I'm not completely reliant on pitching, so it's less depressing to be kicked aside. I don't consider myself wholly unique, I just try to be proud of what I present to clients. If I'm not proud of it, I know that there was more I could have poured into it. If I'm proud of it but it goes another way, then I wasn't the artist for the creative. It's really that simple. Stiff competition at the top of the mountain, really really stiff. But Im proud to be considered in those conversations so frequently now. Learning and absorbing all I can.

Matea Losenegger:

What's it like working for a studio like Hornet? What does it mean to be repped by a studio vs working for them as a staff member or freelancer?

Reece Parker:

They are great collaborators, and supportive. We are more intimately collaborative now, more open, and more frequent communication on and off jobs. I'm really excited to be partnered with them and excited about what the future brings.

Outside of that, I work as I always have. My independence is unshakably important to me, so I made sure that was clear in our negotiations. They were and have been supportive through and through.

Being "repped" means that Hornet (in my case, there are many reps) packages up my work and sells it through to their contacts and clients. If there are jobs that come in that feel like they fit my capabilities, they will poke me to see If I'm free and interested. If so, they pair me up with them in their communication and presentation to clients. From there, I champion the vision and creative treatment of the project. Client presentations, team building and expectations, project style and execution, etc. They help me resource the job, schedule it, budget it, communicate with clients, all the things that can be not so-fun solo.

Hornet's reach is as wide as it gets. They also serve a tier of client that Reece Parker as a solo act doesn't reach. They act as my team if we win the project together.

If I win a project solo, and want to bring them in, I also have that ability. Take some of the load off of my plate. But I also have the freedom to tackle it myself, as I have been doing comfortably for many years. Depends on the context rather than one size fits all.

Staff - Im not sure! I've never been staff anywhere but Taco Bell and Costco. Staff artists are there to support jobs that are being directed, and are assigned and scheduled according to their skillset. Hornet also has strong staff artists, that are super super helpful when building out teams in tandem with freelancers or if we can't resource freelance talent for whatever reason.

Freelance - freelancing has a bit more commonality with being repped, and with being staff. You are poked to join a project that is being directed, to fill a need on that production line. That project ends and you join the next team and next project. Instead of jumping to other people's creatives, I find myself more often owning the creative, and trying to source great talent to join me.

Matea Losenegger:

As someone who is revered for their work, is there anything you would like people to know about you outside of your art?

Reece Parker:

The work may be revered, but I don't think Im special. I think the path I've carved may be at least partially unique but also serves as proof of concept for those willing to do the same. LOVE what you do, and keep working at it as a consequence.

Outside of work, I love life. I love my family to death. Wife, kids, parents, siblings, and friends alike. I've been really fortunate, I try to be considerate of that. I love overthinking, analyzing things with Kiara, building things with my dad, and teasing and dancing with my kids. I try to be carefree when it's beneficial to be, and take things seriously that ask for it. It's served me well in life.

I'm a product of independence, my path throughout my life is proof of that. Skateboarding is an individual activity, it's no coincidence that I have remained solo in my eventual career. But I'm not here without the influence and help of so many others. Indirectly or directly from those close to me. Shout out those folks! Much love.

Matea Losenegger:

What does the rest of 2023 look like for you? Are there any projects you're excited about?

Reece Parker:

Some interesting things! I am nearing the end of building out a new warehouse studio. Sort of a dream come true, but so is my current studio honestly. The new endeavor is symbolic of where the business is going, and I wouldn't have invested in it if the business hadn't earned it.

That's something I've really been contemplating. When I was commissioning my shipping container conversion in late 2019, I remember really carefully considering the financial implications of the commitment - mostly just full of anxiety and fear. But I did it because that was what the business deserved at the time. I had those same feelings and reservations about buying my first iMac, as a replacement workstation for my original MacBook that my wife secretly saved for and bought for me to start my career.

It seems so small now in comparison, but those memories serve as a strong example of my commitment to investing back into myself and the business when the time is right. You can feel it, and it's always scary. But the clear lesson is to invest in yourself.

Projects and new things are hush-hush for now, but yes I am excited, and will share more soon! Thanks, Dashers!

Mack Garrison 1/9/23 Mack Garrison 1/9/23

Takeover Tuesday Diogo Rosa

An interview with Diogo Rosa: Portuguese graphic designer and creative director.

Q&A with Diogo Rosa.

Read time: 5min

Mack Garrison:

Thanks for participating in our Tuesday Takeover, Diogo. For those that are unfamiliar with you and your work, can you tell us a bit about yourself?

Diogo Rosa:

I am a Portuguese graphic designer and creative director who collects a vast and varied amount of ambitions and passions. I love cinema, design, art, food and I recently discovered that I like to travel more than I thought I would.

The idea of being able to experience other cultures and other realities beyond my own is something that fascinates me.

I have been working as a freelancer for the past 7 years now, which allows me to travel while I work. I started my career while I was still in the second year of my design degree at the University of Aveiro. Since then I have worked with numerous brands, studios, and companies. I have had the privilege of working on significant projects that effectively and actively want to create a positive impact on people and society.

*Snapshot from Diogo’s “Spice Trade” project.*

Mack Garrison:

You have a wonderful blend of whimsical characters to more graphic looks. How did you develop such a wide range of styles?

Diogo Rosa:

I'm not fascinated by the idea of doing the same thing over and over again, some people say that sometimes my head can be a little chaotic and complex, but in my opinion, it's just a wide range of ideas coming at the same time, and a huge desire to put them all into practice. I get bored easily, so I find tools to ensure that doesn't happen. That ended up defining a little bit of what I do professionally. I'm always pushing my limits to learn and do new and different things, and when that happens I want to see that reflected in my work.

*Character from Diogo’s “O Rosa” project..*

Mack Garrison:

What are your favorite types of projects to work on?

Diogo Rosa:

Those that allow me to tell stories. Since I was a kid I always loved the idea of storytelling. These stories can be found in many different forms: in movies, visual identities, logos, posters, illustrations... the list is endless.

Mack Garrison:

It's always hard to choose one piece, but is there a project that you're especially proud of?

Diogo Rosa:

By the time I finish a project, it is not difficult to choose, however, this decision is ephemeral. Since progress is my central goal, I strive to make the next piece better than the last. They all tell different stories and represent different contexts. By this I mean, that right now my piece could be one, but tomorrow it could be another. But, if I had to choose only one, it would be the one I did not do in a professional context, but as an escape from everyday routine, almost like an illustrated diary of my ambitions, anxieties, and desires. This project would be "O Rosa".

Mack Garrison:

How did you initially get into design and illustration? Who were the folks that inspired you?

Diogo Rosa:

I remember my parents saying that I wanted to be a chef when I was a kid, yet every time they looked at me, I was drawing, painting, or building something. I don't see it so much as a premeditated choice, but something that happened naturally and organically. Ignoring the cliche, I assume that everything that surrounds me is a reason for inspiration. However, my most recent passion for traveling around the world has acted as a base for many of my new projects.

Mack Garrison:

Could you tell us a bit about your process? How do you try to tackle creative problems?

Diogo Rosa:

There isn't usually a consistent and uniform line of creation for me. I like to adapt to the clients and the project itself. Everyone and every project require different ways of thinking, and it doesn't help me to have something very rigidly structured. Don get me wrong, the structure is always there, however, for the initial phase, where the creative part is a huge portion of the equation, I like to have a more flexible and fluid process.

But there is something I always do before I start designing. I open my notebook or a blank artboard in adobe illustrator and start putting all my ideas there, from the craziest to the most basic and simple. And in the middle of all these experiments, there is always something that can work as a base or structure for the project.

About the creative problem, well... we all procrastinate, we all have moments where we feel uncreative, and in those moments the only thing that helps (at least for me) is to just keep pushing.

Mack Garrison:

What are some of the tools you use to create your work?

Diogo Rosa:

Throughout my career, I have lost count of the number of tools I have used to create projects, and the number keeps growing, every day we have new tools to respond to new needs, and I make the effort to learn them. Whether these tools are digital or analog. Right now I use Adobe Creative Suite, however, I believe we just need to be creative and stop thinking we need to use X & Y tools to create something magical.

Mack Garrison:

As a successful freelancer, any advice you'd like to give to the next generation of artists?

Diogo Rosa

Thanks for calling me successful, but I still have so much to learn and to grow, and maybe that's what I can share. To not stop growing and learning. No one knows everything, even when we think we do.

It is so easy nowadays to create, share and learn. This easiness brings with it a higher level of competition. With more people doing it, the more saturated the market becomes. Nevertheless, there are audiences for everyone.

My advice is not to waste time with doubts. It was something that I struggled with for a very long time, with so many ideas running through my head, plus all the doubts about which one I should do... It's not worth wasting time on second thoughts, but rather gaining time on doing what is on your mind.

Mack Garrison:

Anything else you'd like to share with our readers?

Diogo Rosa:

Work on your dreams and yourselves. Keep trying to keep yourself fulfilled and happy. And above all, if we help others to achieve their goals, others will help us to achieve ours. We don't have to drag other people down to feel empowered. Be ambitious and humble at the same time.

Mack Garrison:

Thanks so much for the great chat, Diogo! And for the folks reading this, make sure to check out Diogo’s Behance linked here.

Guest User 2/15/22 Guest User 2/15/22

Takeover Tuesday with Linda Miletich

An interview with Linda Miletich, an illustrator and digital marketing manager based in Oberpullendorf, Austria.

Q&A with Linda Miletich

Read time: 5min

Madison Caprara:

Hi, Linda! Why don’t we start with a bit of insight into who you are and what it is you do.

Linda Miletich:

Hey there, I’m Linda! Currently I’m enjoying my rather traditional life in the Austrian countryside. That’s also where I found my ideal work-life-balance. Or maybe “work-work-life-balance“ is more accurate: I recently started as a Digital Marketing Manager but I am also an Illustrator and I love the combination. I realized that when your talents and skills are in the creative spectrum there’s so many fields you can bring them into. And I’ve always wanted to cultivate all my interests. Since I’m a very analytical person and super interested in psychology I started to get into conception, brand strategy and marketing. Focusing entirely on illustration wasn’t an option for me since I don’t really like working from home and building mainly virtual contacts (you have to do that if you want to be an illustrator in the middle of nowhere with no real creative community around). I wanted to dive into the real world and spend less time on instagram and my phone. So in my illustration time I focus on a few commissions that really fascinate and inspire me and of course I work on my own projects too.

Madison Caprara:

I see that you studied communication design in school. Could you break that down for us, what exactly is communication design?

Linda Miletich:

Communication design sounds a little cryptic but I think it’s the perfect term for what you learn in design school. There is always a message that has to be conveyed, something you want to show, tell or explain to your audience. Or there might be a way you want to make your audience feel. In communication design you get into the space between the sender (client) and a receiver (target audience) of information and you do all the work so that the receiver takes away the right message. For that you have to dig into a topic, understand it, take it apart and put it together in a way the receiver would understand. You have to develop a concept and your approach to the challenge. That’s what you learn in the course – and of course the many tools that help you visualize and send your message: photography, illustration, text, film, graphic design, sound and interactive media.

Madison Caprara:

How did you pivot into illustration and how have you utilized the skills you learned with your education to further your creative career?

Linda Miletich:

Love that question! I wouldn’t say “pivot“, I’d say I “boomerang-ed“ back to illustration. Drawing is how it all started. As a kid I loved watching anime and every time I played Super Mario I was so fascinated by the fact that you can create a whole new world from your imagination: the stories you can tell, the things you can invent. In design school I focused on brand strategy and design because at the time I thought that illustration was just not foreseeable or reliable enough as a career path for me.

But I also learned that your own happiness and your success is not about choosing what the majority of people does or what is perceived as “safe“. Your safest option is recognizing your own talents and building on them. You owe that to yourself. So I returned to illustration and art, it’s really where I feel most at home and alive at the same time. I think my education in strategy and conception helps me to double check if what I plan and what I draw communicates the right message. But I do get carried away too and find myself in a creative free flow sometimes – that’s often when the best ideas happen. I definitely believe in intuition!

Madison Caprara:

What are the range of projects you’ve worked on? Do you have a favorite?

Linda Miletich:

So far I’ve illustrated wine labels, icons and illustrations for websites, tattoos, cover art for musicians and I am currently working on my own book project. My favorite project is probably my new series “Lenny’s Adventures“. The main character is a little boy. He symbolizes the vulnerable inner child within each and every one of us and I like visualizing the struggles of life with him.

Madison Caprara:

I see that you’ve done a bit of cover art for different musicians and playlists. Tell us more about that!

Linda Miletich:

Sure! I was asked if I wanted to participate in building up the playlist brand Chill Better Daily. The musical focus is instrumental chill vibes and my two partners already had the idea of animal characters as a base for the branding. I developed the five characters and the imaginary world they live in as a base and location for the sceneries and covers along with the overall corporate design, typography and color scheme for the brand. Chill Better Daily releases EPs and singles with different musicians from all over the world. My time at Chill Better Daily has come to an end since I had to re-evaluate my creative capacities but I am super excited where the journey will go for the music and the cover art in the future!

Madison Caprara:

How has living in Austria affected your work?

Linda Miletich:

Well, I don’t think that living in Austria has any particular influence on my work but I create art from a perspective of a young woman living in Central Europe. I think that defines my experiences and therefore my art.

Madison Caprara:

Now, along with the title of “Illustrator” and “designer,” you also are skilled in brand strategy. How do you define the role(s) of a brand strategist? What personal skills does a strategist need to be successful?

Linda Miletich:

Brand strategy is really where every design discipline comes together. As a strategist you have to supervise every little aspect of communication and make sure that the overall result fits the goals of the brand. You are responsible for the brand positioning, the corporate design, brand tonality and everything that builds the identity of a brand. For that you have to like thinking, diving deeper into customer’s brains, understanding them, analyzing their behavior. When building a brand it’s really about bringing together the following things: What do people want? What is economically and ecologically responsible? What is viable for the company? What is feasible? So you have to be ready for complex challenges!

Madison Caprara:

How does it tie in with the work in which you are physically creating?

Linda Miletich:

Apart from a conceptual approach there is not much connection for me and that is wonderful. I love creating with my hands and switching off my brain for a while when I draw. That’s also where ideas find me and I don’t go out there searching for them.

Madison Caprara:

Do you think of yourself as a “brand?” If so, how would you say you’re positioning yourself for success?

Linda Miletich:

I would say: not yet. But I am definitely taking the steps to find and develop my own style. I couldn’t lose my own creative identity for of a commission. In fact, I want to be consulted because of my style. And I am planning a “Lenny’s Adventures“ book in the future – I want to bring my own art into the world too because my own ideas define my most authentic creative self. My ideas come from daily struggles and thoughts. I like to look behind the surroundings, routines and behaviors we view as "normal". So when I have to describe my positioning or my motivation to create art I’d say that I like exploring the mysteries of the obvious.

Madison Caprara:

What do you think will be the most exciting design-related trends of 2022?

Linda Miletich:

I hope that we will see a lot of yellow this year again and recently I am noticing more and more retro Disney illustration vibes. I think and hope that we will continue the revival of past decades and complete the aesthetic with „modern“ elements.

Madison Caprara:

What are you passionate about outside of work?

Linda Miletich:

That’s a good one. My biggest passion is building a life that I am genuinely happy with. Work is a part of this but also building meaningful connections with people is extremely important to me. I love spending quality time with my friends and also I focus on growing as a person and becoming my truest self. Soon I will also move into a new home so at the time you mostly find me putting together interior moodboards.

Madison Caprara:

Is there anything, in particular, you would like to end the interview with?

Liz Galian:

I want to say thanks for the opportunity, this was a lot of fun. And to anyone who reads this: You’re awesome and you’re talented. Keep searching for where you belong. And be nice to each other. :) Much love, Linda.

Guest User 2/7/22 Guest User 2/7/22

Takeover Tuesday with Liz Galian

An interview with Liz Galian, a freelance designer and illustrator based in Brooklyn.

Q&A with Liz Galian

Read time: 5min

Madison Caprara:

Hi, Liz! Let’s kick off our chat with an introduction to yourself; who are you, what is it that you do, and how did you find yourself where you are today?

Liz Galian:

Hi Madison! I’m a freelance animator and illustrator based in Brooklyn. These days I find myself doing mostly character design and animation, which is a lot of fun for me. As a kid I really loved drawing portraits, so it’s kind of funny that my career meandered me back to that.

Madison Caprara:

What made you want to pursue animation and design as a career? Was there anything specific you saw or experienced, or was it an interest that gradually grew over time?

Liz Galian:

Initially I really just wanted to be an illustrator! My grandfather was an illustrator for a greeting card company and we had his work hanging all over my home growing up. Because of that, I was really privileged to have artistically supportive parents. They encouraged me to go to art school from a very young age, which is so rare. Then, toward the end of my college career I took an animation class on a whim and completely fell in love with it. From there, the more I learned about the motion graphics industry, the more I felt at home there! It’s such an amazing intersection between illustration, design, and animation — and because of that, I get to do the two things I love most without having to choose.

Madison Caprara:

How would you go about describing your signature style or “look”?

Liz Galian:

I’ve always been drawn to really bright, warm colors. These days the style that comes most naturally to me is 2D, graphic, and whimsical. I think a lot of that has to do with how fast projects move in this industry, and the worry that a design will be difficult to animate if it isn’t as simple as possible. I’ve been told that my animating style has a softer flow to it and is usually mistaken as being mostly cel animated (in reality, it’s usually after effects!).

Madison Caprara:

I see that you recently dropped a new reel. It looks great! Are there any particular do's and don't’s that you feel newer creatives and/or students should know before creating and sending a reel out?

Liz Galian:

Thanks so much! The thing I love about reels is that it gets to be a documentation of a few years of your life and your work, where you get to see how much you’ve grown. Every time I post a new reel, it feels like a little celebration. I would say the biggest piece of advice to someone just starting out, is to use their reel as an opportunity to curate what they’re most proud of and experiment with how you can best showcase it. There aren’t any hard and fast rules for what music to use, what aspect ratio it needs to be in, how fast the cuts are, etc. I would say just keep it under a minute and fifteen seconds, and don’t steal other people’s work (obviously) — but beyond that, make it your own and have fun with it!.

Madison Caprara:

What kinds of projects are you currently working on and which has been your favorite so far?

Liz Galian:

My last big project was my reel, so now I’m taking a breather before I dive back into personal projects. This year I want to put more of an emphasis on the illustration side of my art practice, which I think takes a bit of a back seat to the animation side in my day-to-day life. I’ve been working on a deck of Tarot cards in my free time, so I think that might become the first side project I get serious about finishing!

My favorite project I’ve done so far is actually a smaller one I did with Mailchimp in 2020. I had the space to explore a new workflow I hadn’t used before, where I made draft animations in after effects and then traced over them in photoshop. This let me figure out the beats of each animation really quickly, and then invest most of my time in really playing with the line quality I could get out of the really gorgeous photoshop brushes Mailchimp uses. Usually when I cel animate, I do the entire project in one program and had never really given myself permission to mix AE animation with cel animation. That project showed me that every project calls for a new way of execution, and that there’s really no wrong way to get things done.

Madison Caprara:

We’re coming up on two years of living in this pandemic-ruled world–which is crazy to me. Has your life (and work) changed drastically in that period of time?

Liz Galian:

Definitely, but for the better I think! I was already doing a little bit of remote freelancing before the pandemic, mostly when I was art directing with an all-female studio in South Africa called Batch. At the time I remember wishing that more studios were open to working with people remotely, as a lot of studios and artists I really admired and wanted to work with were on the other side of the US. The new work-from-home norm over the past two years has made it possible for me to make new relationships with amazing people I never would have been able to work with, which I’m so thankful for.

The pandemic also made me take a hard look at how little I prioritized my personal life and my health. I started exercising and spending more time with my friends and family, saying no to jobs that asked for too much, and giving myself more grace when I was tired or burnt out. Its caused a big shift in me as a person. Unexpectedly, I think my work has also gotten better because of it.

Madison Caprara:

What practices did you implement to keep your sanity?

Liz Galian:

I’m really into puzzles, so that’s kept me sane! I try to do a little sudoku or a crossword every day, though those have taken a back seat lately to Wordle. I’m also a big book worm, so not having to travel to work every day gives me time to have my coffee and read a chapter or two before I start work in the morning. My favorite thing I’ve read so far during the pandemic is “Understanding Comics” by Scott McCloud. It weirdly helped me learn a lot about pacing in storytelling and all of the visual ways that you can communicate it. I highly recommend it for anyone who animates (or is into comics!)

Madison Caprara:

In your opinion, for someone aspiring to be an animator, how much knowledge outside of animating is required? Can someone who has more of a fine art background make it, or is a higher technical knowledge needed early on?

Liz Galian:

I’m biased because I went into art school not knowing what Adobe was, how to open photoshop, or how animation worked at all. I think like anything, animation is a skill that comes with years of practice, and if you decide to put the hours in, no matter where you start and what background you come from, you’ll get good at it. Nobody is inherently highly skilled at anything on their first try, so the only barrier anyone can face at a skill they want is whether or not they want it badly enough to keep practicing. The internet has endless resources and the animation community is really welcoming and helpful!

Madison Caprara:

On the flip side, what about those more traditional art skills? For someone who wants to be an animator, how important is it for them to have drawing skills?

Liz Galian:

I think it depends on the kind of animation you want to do. If you’re interested in cel animation, drawing is a skill you might want to invest time in. If you’re interesting in more traditional mograph-y styles and after effects heavy animation, I don’t think having drawing skills is necessary.

There are so many animators who aren’t illustrators, and they still make amazing work! A lot of studios have animators and illustrators on separate teams, so the animators are receiving the artwork that’s already been made and animating from there. There are so many pockets in this industry with different needs, so not having drawing skills isn’t a make-or-break for your career. On the flip side though, if you want to start drawing there are so many resources online that can help. School of Motion, Skillshare, and Youtube are full of classes and tutorials that will give you tips and tricks. In pre-pandemic days, most local colleges and community arts centers offered life drawing classes (usually low commitment weekend ones for fun!), so if you have that as an available resource I’d recommend giving that a shot as well!

Madison Caprara:

Where do you go for inspiration when you find yourself in a creative rut?

Liz Galian:

When I’m feeling a little creatively lost or when I’m burnt out, I go for a walk through The Met. It’s so big that I’m convinced that there are corners of it that I haven’t walked through yet, and I can always find a collection in there that I haven’t seen yet that will spark an idea. It’s also just really calming and meditative to spend a quiet afternoon there with no expectations and see what catches your eye naturally.

Madison Caprara:

Is there anything, in particular, you would like to end the interview with?

Liz Galian:

I feel like a lot of what we’ve been talking about how and where best to start if you want to be an animator. When I was starting out, I wish that someone had told me to be braver and reach out to people who’s work I admired and ask more questions. People in this industry are so incredibly kind and generous with their advice and with their time, and everyone wants to see everyone else succeed. So I’d encourage students and people just starting their career to ask questions, be open to learning new things, and remember that everything comes in time!

Guest User 1/25/22 Guest User 1/25/22

Takeover Tuesday with Samy Halim

An interview with Samy Halim, an illustrator and graphic artist from Bordeaux, France.

Q&A with Samy Halim

Read time: 5min

Madison Caprara:

Hi, Samy! I really appreciate you taking the time for this interview. Why don’t we kick it off with an introduction to yourself? Who are you and what is it that you do? How did you find yourself in the creative industry?

Samy Halim:

Hi, my pleasure!

I’m Samy Halim, an artist creating vibrant pop portraits and some animals, mainly on iPad and in the Procreate app. I’m based near Bordeaux in the south-west of France, born in Algeria from an Algerian father and French mother, studied at the Art school of Algiers, then we moved to France in 1994.

During my 10 months of military service I was supervising the Graphics office of the International Cooperative Technical Service of the Police in 1995-1996 where I started getting a little familiar with digital tools like Photoshop. I remember at that time there was just one layer and one undo level, so I had to be really sure of what I was doing :D. I learned Corel Suite also with a goal of replicating what I did organically in a digital format.

After my service I started working in Parisian studios and agencies. My first job was in a small studio near Bercy in Paris that had about 4 people including the CEO and two secretaries. My last job as an art director in graphic design was in an agency called Pixelis, where were approximately 80 or so. I left it in 2011 to create my own studio, specializing in illustration and packaging design and then in 2017 I won a packaging Pentaward for the design of three liqueur bottles.

I worked and currently work with different international agencies and companies like Dior, Lancôme, Hilton hotels, Harper Collins, Washington Post, Hennessy, Clément Rhum, Tanqueray gin, FFF (French Football Federation), Savage Interactive (Procreate developers), Wizards of the Coast, Ubisoft, BBDO Dublin, Landor,to name a few…

Madison Caprara:

For those who may be unfamiliar, how would you go about describing your work (look/feel, thematics, etc.)? Do you find yourself gravitating to a specific subject matter or topic?

Samy Halim:

My work is mainly about people and I like to show the beauty and personality in every single person. I like to show the diversity, equity, equality, in a colorful and vibrant style, using expressions and postures that create some connection with the onlooker. This is very important for my work. Having a hook and a unique look is key to successful artwork. I’m mostly inspired from the Art Déco era in the 20s-30s and the Memphis design of the 80s-90s, from fashion, music, and other artists like Andy Warhol, Jean-Paul Goude, Peter Sato, Tamara de Lempicka, Ichiro Tsuruta, Ludwig Holhwein, Tom Purvis, J.C. Leyendecker, Alfons Mucha, and Coles Phillip.

Madison Caprara:

I see that you underwent training at the Fine Arts School of Algiers. Tell us a bit about that experience. How integral was it to your current success?

Samy Halim:

Unfortunately, I only trained for a year with the Fine Arts School of Algiers and had to leave Algeria because of the civil war. I was in the Graphic Design program where I learned academic drawing, sketching, how to use different tools and media like acrylic paint, felt pens, pencils, and technical pens.

But the biggest part of work was in my room. I was improving my skills all day and all night by creating imaginary logos and brands, making a lot of portraits as well with different approaches like colored pencils, stippling technique, felt pens, and more. I had to try and master different tools and techniques to end up with my pop style, but the journey was very long, it took me about 20 years. I was always seeking something special. Something unique and recognizable at first sight, and I think what makes it special is the balance between flat and edgy shapes and the shadings on the skin between cold and warm colors which are inspired from sunsets to provoke a certain mood.

Madison Caprara:

Are you currently freelancing? What did your professional path look like up until this point?

Samy Halim:

Currently I’m freelancing for different companies, agencies, studios, small and international brands, and after receiving lots of encouragement from my community of followers, I started working with some companies on NFTs. This is all new to me, and I have a lot to learn, but it’s so exciting!

Madison Caprara:

How did the way you think about your work and creative processes change as it began to gain more attention?

Samy Halim:

Very interesting question!

My perspective changed when I started putting a hook in the center of the artwork. Like the overall construction combining organic and mechanical shapes and using a good balance of cold and warm colors. Putting details in strategic places makes it more interesting; kind of like Easter eggs.

Madison Caprara:

You are currently based in Bordeaux, correct? What is the industry like in that part of the world? How does it compare to others that you have found yourself in?

Samy Halim:

Most of the designers here in Bordeaux are web and UI-UX designers. Some are illustrators for different industries like books, press, and video games. We have Ubisoft based here, but I have no connection with them. Covid doesn’t help.

I never try to do the same thing as others, instead I try to find success based on my own distinctive work.

Madison Caprara:

You operate under the entity of WAAW STUDIO. What was the impetus to starting the studio? When did it go from Samy Halim to WAAW?

Samy Halim:

Before creating that name it was “Almost Famous Studio”, but it was too hard for non English speakers to spell it. So, I ended up with that palindrome name, and you guessed it, I wanted it symmetrical : ) It looks graphical and is constructed well. I wanted to make a difference between my pop-art style and my Illusive and luxurious style (Illusive Studio). But I am gathering everything under my own name. By trying to separate both styles people get lost. My friends and those who know me and my work advised me to use only my name.

Madison Caprara:

Who has been your favorite client (or project) to with? Tell us a bit about that!

Samy Halim:

There are many! My project with Dior was a sweet collaboration, Wizards of the Coast a really cool one as well, and H-Theoria liqueurs gave me carte blanche on the creative.

Madison Caprara:

Your current work explores popular culture figures using an ipad pro. What led you down this path? How does this medium/method help you to realize your vision in a way that a more hands-on approach cannot?

Samy Halim:

iPad Pro helped me unleash my creativity and to explore different tools and techniques in addition to classical ones. Symmetry feature in Procreate gave me the ability to realize what I always had in mind and the drawing assistant was a great feature too. I’m creating work much faster and to be able to take my device everywhere is fantastic; I can create whenever inspiration comes. I spend 95% of my time working on IPad Pro and it’s getting harder and harder to work on a computer.

Madison Caprara:

I’m curious, how do you determine which celebrities to feature in these portraits? Purely random? Personal appreciation?

Samy Halim:

I choose my celebrities based on if I think they can be integrated into a geometrical composition harmoniously or if they represent a pop-art and hip-hop style. Some of them are for an impactful reason.

Madison Caprara:

What’re some of the strategies you have implemented when looking for inspiration without getting overwhelmed by the work of other artists you admire?

Samy Halim:

No strategy. Inspiration comes more from people in the street or from pictures on social media. The artists I admire are like a background, a base, I don’t necessarily think of a particular style when I create, I think it appears in some details unintentionally.

Madison Caprara:

If you had to choose one key point of advice to share for those wanting to become a successful digital illustrator, what would it be?

Samy Halim:

If I had one piece of advice to give, without hesitation, it would be to be yourself. Don’t be overwhelmed by all the styles you admire. Do your own thing, exactly how you want it, and don’t give up for any reason. Stay the course until you end up with something that reflects your vision.

Madison Caprara:

Is there anything exciting we should be looking out for from you in the near future?

Samy Halim:

Yes, definitely! I’m getting into the NFT universe, and I’d be happy to be an actor in the metaverse, as I am mainly a digital artist. I think I have my place out there, and hopefully doing some exhibitions in the US and the UK.

Madison Caprara:

Is there anything in particular you would like to end the interview on?

Samy Halim:

Dreams have a certain price, patience, and faith and anyone who wants to reach them has to invest the time.

Guest User 1/18/22 Guest User 1/18/22

Takeover Tuesday with Leo Franchi

An interview with Leo Franchi, a Designer and 2D Animator based in Patagonia, Argentina.

Q&A with Leo Franchi

Read time: 5min

Madison Caprara:

Hey, Leo! Let’s start off with an introduction to yourself! What is it that you specialize in? How did you get started in design and animation?

Leo Franchi:

First of all, thank you for having me on this series! I really enjoy reading these interviews every Tuesday!

My name is Leo Franchi and I am a Designer and 2D Animator based in Argentina. I specialize in mixed media using collage, cutouts, and textures. I studied Visual Communication Design at UNLP’s Fine Arts College, one of the most important universities here in Argentina. Possibly many animators started in a similar way, but I began animating as s a kid; giving my drawings small movements frame by frame, making my characters blink or move their hands with two or three drawings.

The third year of my degree was a game-changer. We analyzed a ton of different film title sequences. We also had assistant professors working in the industry showing us amazing animated pieces. I have to say that I didn’t study animation in depth at university, but the processes to resolve any visual communication problem that I learned there are key for me now in producing any motion graphics pieces. There were a few of us who decided to explore this field for our thesis during the fifth year of the degree. The first half of it was dedicated to the theoretical side, and the latter to the practical. Since I always enjoyed branding, I decided to work on a piece for a TV Channel called “Canal (a)”, which specializes in arts and culture. This first animation project was a great experience in which I experimented with animated inks and textures. I remember we had to learn to use After Effects from scratch because it’s not taught at university, you had to learn it by yourself.

Madison Caprara:

For those who may be unfamiliar, how would you describe your work and signature style?

Leo Franchi:

I think my work falls between digital and analog. I like to create cutouts with scissors and other tools, then scan and animate them on my computer. I use Photoshop and After Effects in a way that emphasizes this approach, so the final result is a digital piece with an analog/tangible feel. Also, during this process, I discovered the power of the negative space and counter form. If you cut out a circle from a piece of paper you end up with two shapes, the positive, being the circle itself, and the negative. On the other hand, if you do it on the computer, you end with just the circle.

Madison Caprara:

Now, you spoke a little about your university experience. After graduating, what was your first “official” job or client?

Leo Franchi:

My first job was in a branding studio. As I said before, I really enjoy designing logos and brand systems. Although it wasn’t an animation studio, I was able to introduce the concept of movement in some projects and in all presentations with clients. I believe there is a very close connection between cutting out something from a piece of paper and designing a logo. You have to create something simple and highlight features that immediately identify an element or concept.

Madison Caprara:

When looking back over the span of your entire career, who has been your favorite client to work with?

Leo Franchi:

I think it is better to work with a good team rather than a specific client. Betting on good teamwork has opened all the doors since I started in this field. In my opinion, team spirit is the all-important element. If you're working in a certain studio and someone stays to work a little longer to finish up a project task, if you can, stay with them and share the work.

If I had to name one, I would say the rebranding of the Cooking Channel I teamed up with Elevation for. It’s one of the few projects where I could add brand concepts into the movements. When something moves from A to B, it does it with the action we make when cooking: chopping, slicing, mixing, twisting the pepper mill, etc. I’ll always be grateful to Elevation and Cooking Channel for the freedom they gave me on this project.

*Cooking Channel - Refresh*, 2017. Leo Franchi.

Madison Caprara:

When you are accepting these projects are there any “red flags”, or even, “green flags” you look out for?

Leo Franchi:

I have worked on all kinds of projects, from 3D animation to compositions in Nuke. On my site, however, I only show work I enjoy doing. Clients and studios usually call me for the type of projects I put out there. It’s an important filter.

That being said, for me, a green flag would be the opportunity to work on both design and animation in the same project. I love doing collaborative projects every year, this is definitely a green flag as well. Red flag: 3D animation and projects with a lot of flares and lights interspersed.

Madison Caprara:

Moving on to your creative process, is there anything particularly unique about it? How do you go about kicking off a project? What materials do you use?

Leo Franchi:

If I’m designing the project, I make cutouts with scissors and other tools then scan and animate them on my computer. I use Photoshop and After Effects in a way that emphasizes this approach, so that the final result is a digital piece with an analog/tangible feel. When I’m cutting these paper shapes with the pen tool in Photoshop, I use tons of nodes to keep those irregularities that appear on paper or cardboard when cutting with scissors.

Madison Caprara:

How do you initially choose a direction?

Leo Franchi:

As I said before, it’s easy for me now because I only show on my site what I like doing. So, if a studio is working with a direction similar to my style, they usually call me directly.

Madison Caprara:

You recently participated in a fun collaborative project with Coat of Arms. Tell us a bit about the cookbook! How many people were involved? What was your role?

Leo Franchi:

COA’s cookbook was an amazing collaborative project! It’s full of contributions by artists they have worked with since founding their studio more than 10 years ago. The recipes represent different cultures, countries, and family traditions from all over the world. Each collaborator provided a recipe and an illustration, a high-quality photo, or a collage of their recipe. There were around 33 artists who contributed. I collaborated with the ‘Alfajores de Maicena’ (Cornstarch Alfajor) recipe, a classic in Argentina and a journey back to my childhood.

Madison Caprara:

I love to see these collaborative projects that bring artists from all over the globe together!

Moving on to some of your personal pieces, your short film, Supervielle, won quite a few awards. Tell us about it! How did the initial idea come to fruition?

Leo Franchi:

I will always be thankful for taking the time to make this abstract experimentation. The truth is that I had nothing planned. It came about while I was working and listening to instrumental music. This song from an Uruguayan musician, Luciano Supervielle, played, and suddenly my mind started to imagine shapes in motion. We have all the tools to make a short film, and that opens up a whole new world for us animators. A world different from our industry…the amazing world of film festivals.

I have to say that it wasn’t easy. For most of the festivals in which I was competing, I was considered to belong in the ‘experimental’ category. Most of the others were character-driven short films. So, for an abstract piece, it was difficult. I hope there will be more festivals dedicated to abstract animation, as when you find and participate in one, everything you have worked for makes sense.

Madison Caprara:

Where do you find yourself going for inspiration when in a creative rut? Is there a particular site, creative, or even a singular piece?

Leo Franchi:

I think I get my inspiration from the outdoors and nature. I live in Patagonia, a beautiful natural environment surrounded by mountains and lakes. Just going out for a short hike turns all of my senses on. You’re looking at things, hearing things, smelling, touching rocks, and plants. Honestly, I have had many opportunities to go and work abroad, but this environment is the reason why I still remain here; who knows what the future holds!

Supervielle, 2018. Leo Franchi.

Madison Caprara:

What are some hobbies or activities you do that aren’t physically animation but help you be a better animator?

Leo Franchi:

Hiking! I always carry a small notebook and many solutions to different problems or new ideas have emerged while I’m out hiking.

Madison Caprara:

Should’ve guessed that!

Well, we’re reaching the tail end of our conversation, Leo. Before we say our goodbyes, is there anything in particular that you would like to end this interview on?

Leo Franchi:

Thank you again for the invitation! I want to end the interview by saying something positive about the pandemic; I was able to find the time to plan and organize my online shop which will see the light of day soon. It's something I've always wanted and have never had time to set up.

Guest User 12/7/21 Guest User 12/7/21

Takeover Tuesday with Rokas Aleliūnas

Q&A with Rokas Aleliūnas, aka Casual Polar Bear, a freelance Illustrator and Graphic Designer from Vilnius, Lithuania

Q&A with Rokas Aleliūnas
Read time: 5min

Madison Caprara:

Hey, Rokas! Why don’t you kick us off with a little background on yourself and your work?

Rokas Aleliūnas:

I am a simple man creating simple things.

My work is a reflection of my life; thoughts, insights, emotions, humor. I like to say that my work is playful because when I am creating, I feel like I am playing. It’s simple, but at the same time, possesses an unmeasurable depth. Sometimes my emotions and thoughts are so deep it feels as if I am drowning. My wish is that everyone looking at my work without context sees their wants or feelings.

I would love to hear that three different people looking at the same piece would see three different things. All would be right and wrong at the same time. Lastly, I wish for my work to be timeless because when playing, years turn into minutes, and when you are drowning--minutes turn into years.

Madison Caprara:

That’s a beautiful way to go about seeing your work.

How did your relationship with art begin? What originally made you want to become a graphic designer?

Rokas Aleliūnas:

For the past 1200 days and counting, I have been creating a poster a day and have been calling myself an illustrator. Before I started this challenge, however, I worked as a freelance brand strategist--but if we are talking in terms of the "way-way" back, my background is in industrial design.

Rokas Aleliūnas:

During my studies, I got a part-time job at a design agency. At the time, I was really passionate about graphic design and tried to learn and discover something new with every project. I did everything from cold calling to producing and was doing great, but at one point everything got a bit "wobbly". Out of pure stress and anxiety, I decided to dedicate a little bit of my time to doing things I truly loved. In the past, I had enjoyed making posters and decided to start creating those again. The posters morphed into illustrations day by day and I slowly rediscovered the thing I loved.

Madison Caprara:

You briefly mentioned your studies, what route did you take in regards to your design education? How has this knowledge helped you as a working artist?

Rokas Aleliūnas:

It helped, and continues to help me, a lot. My education has really expanded my view. I’ve learned critical thinking, problem-solving, expanded my knowledge of art history, and improved my mastery in the fine arts over the years. Additionally, I learned proper research techniques, how speculative designing works, as well as how to apply these thought processes in other fields.

Generally, I think learning something new, reading, or just experimenting helps. There are a lot of ways you can approach creativity; research and speculation, or, on the flip side, by just throwing everything aside and expressing yourself. That being said, all of those experiences, all of that reading puts a really nice spice on works, even if the topic is opposite or the context is totally different.

Madison Caprara:

You expressed your love for poster design, but what about it made you pivot towards that area as opposed to some of the other niches?

Rokas Aleliūnas:

I think I can work in different media and different niches, but I just really love the formatting and tools used, because I am fast with them!

Madison Caprara:

Now, a majority of your posters include type. What is the relationship between the type and the image’s overall meaning?

Rokas Aleliūnas:

It's nibs of context that may help to better understand a piece and a way for me to track my visual diary. Every piece has a number and a date.

Madison Caprara:

Are there any other mediums or forms of art that you enjoy working with?

Rokas Aleliūnas:

My work is really graphical, so from time to time, I work on paintings, but there I only work with impressionism.

Madison Caprara:

How would you describe your overall approach to design?

Rokas Aleliūnas:

More than less and less than more; not listening to my inner critic and doing things a little bit more as they are.

Madison Caprara:

Do you consciously try to avoid colors, motifs, or trends that seem to be popular in a given moment, or do you embrace them?

Rokas Aleliūnas:

I'm doing whatever I want to do, I really do not care if it's popular or unpopular. I make one piece and am immediately working on the next one and the next one. The most frustrating thing for me is a state of boredom because then I begin to think of my work as a whole as boring.

I see everything and I read everything and hear everything. At this particular moment, it is hard for me to create, because everything is plain and it takes an enormous amount of willpower, work, and time to break the loop.

Madison Caprara:

Being based in Vilnius, Lithuania, is there anything about the city that inspires you?

Rokas Aleliūnas:

It's more about the country itself than the city. To be Lithuanian is to carry the flag of all Lithuanian artists, as they carry mine. There is a certain way of thinking that comes from the past; timeless motifs, ideas, interpretations, even stories that transpire through time. All of these interpretations come from our country's beautiful nature.

Madison Caprara:

Going a bit further, who (or what) has been the single biggest influence on your way of thinking and creating?

Rokas Aleliūnas:

Sisyphus

Madison Caprara:

What has been the most triumphant moment for you in the seven years that you have been a freelance graphic designer?

Rokas Aleliūnas:

I do not have one. Truly, I believe they all come and pass.

Madison Caprara:

In this age of the internet, how do you think online design resources, and the digital space, have influenced the graphics being produced today?

Rokas Aleliūnas:

I learned the tools from online classes and tutorials, so for me, it was great. Just learning a tool or finding a good tutorial are two of the most important steps in the beginning. You need a basic understanding of what you can do with these tools.

Speaking on the creative industry as a whole, I feel online courses are lacking. There is a lot of abstract thinking that needs to be done which demands more time, one-on-one conversations, and exposure. Generally speaking, online courses are good and you can learn a lot, but sooner or later you will find yourself approaching some large hindrance that may be impossible to surpass because nobody talked about the basics of thinking within these courses.

Madison Caprara:

GREAT insight!

You hear all about the wonders of accessibility when it comes to these online resources, but to hear the counterargument of some of the basic skills lacking is a really interesting perspective.

Unfortunately, we’re nearing the end of our time together Rokas. Before we go, what does the rest of your 2021 look like? Is there anything, in particular, we can look forward to seeing from you?

Rokas Aleliūnas:

Daily cool work!

Guest User 11/30/21 Guest User 11/30/21

Takeover Tuesday with Inma Hortas

Q&A with Inma Hortas, a sensitive vibrant Spanish illustrator and graphic designer based in Madrid, Spain.

Q&A with Inma Hortas
Read time: 10min

Instagram: @inlohographics | *Fat-phobia,* 2021. Inma Hortas.

Madison Caprara:

Hi, Inma! How are you? Let’s start off our chat with an introduction. Tell us who you are and how you found yourself becoming an illustrator!

Inma Hortas:

Hi Madison! First of all, thank you very much for having me and for appreciating my illustration work. My name is Inma Hortas. I am a passionate Digital Illustrator based in Spain--born and raised in Galicia which is in the top northwest part of the country. I love creating engaging, communicative illustrations that are equal parts vibrant, sensitive, bold, cute, diverse, and evergreen. My greatest wish is for viewers of my work to identify with and/or understand the overall message of my illustrations.

I matured my graphic style and voice during the pandemic. After a few years of working as both an in-house and freelance graphic designer, I eventually made the leap to becoming a freelance illustrator. It’s a dream come true. I feel truly privileged.

Madison Caprara:

Now you briefly got into what emotions you would like to evoke with your illustrations. After taking the past 1+ years to mature your style and voice, how would you go about describing them?

Inma Hortas:

My style is graphic, vibrant, resounding, and meticulous. I primarily use voluptuous shapes, whimsical elements, and strong but delicate characters with quite a bit of surrealism and symbolism throughout. I would say that my hallmarks are powerful volumes, maximum attention to detail, the forceful use of color, and overall, a very careful composition.

Madison Caprara:

If you had to pick one inspiration behind your works, what would it be? What do you find yourself drawing most often?

Inma Hortas:

I make a strong commitment to diversity and body positivity, female and non-binary empowerment, the struggles of the LGBTQI+ collective, and diverse daily life issues. I consider myself an illustrator with a deep sense of social responsibility. Everything that moves me and provokes emotion deeply inspires me.

Madison Caprara:

I see that you worked in editorial and corporate design for a while. What did that entail?

Inma Hortas:

They were years of hard work; many hours in-house with tight deadlines, but I picked up some great skills: 1.) Tools and work processes, 2.) Understanding clients and their different needs, 3.) Understanding the structures of large corporations, and 4.) Time and project management. That all being said, without a doubt, the best thing was the team I worked with. They’re friends for life. There is no replicating that good harmony and feeling of teamwork.

Madison Caprara:

What prompted you to pivot away from that niche?

Inma Hortas:

The pandemic unequivocally taught me that the time we have is uncertain. It pushed me to follow my true passion: communicating through my illustrations in a humble and intimate way. I am now deeply in love with my drawings. I feel this emotional connection that was lacking when I worked as a generalist designer or illustrator. I lost a lot of interest.

Madison Caprara:

You are now operating as your brand, INLOHO. What led you to create INLOHO, as opposed to working under your given name?

Inma Hortas:

I can easily be found online by Inma Hortas, but I created INLOHO thinking about a medium-term future. A future where not only myself and my illustrations live, but also other projects and disciplines. Hopefully, in 2022 I can specify more for you but for now, that is all I can say about that.

Madison Caprara:

No worries! Definitely a bit of an anticipation builder!

What do you believe some of the advantages (and disadvantages) are of working full time for a studio, as opposed to freelancing, as an illustrator?

Inma Hortas:

Whenever you work for an in-house studio or agency, you have financial stability, and depending on the company, you have the opportunity to advance to management positions. As an illustrator, they tend to prefer graphic versatility, solvency, and perhaps availability to work long hours. You have to stay at the office and get along with your colleagues and regular clients.

As a freelancer, you do not have that financial security but you manage your own time and efforts. YOU choose your clients and chart your own path.

Madison Caprara:

Do you think it’s important for artists who want to work with clients to first hold a position within an established company before going out on their own?

Inma Hortas:

It’s not essential, but it is very useful in helping to achieve professionalism, security, and self-rigor. You also more quickly understand the overall concept of illustration (or any graphic profession, really) as a "communication service" for which a client pays. I would recommend it.

Madison Caprara:

You are currently represented by Anna Goodson Illustration Agency. What are some of the advantages of having an agent? Would you recommend it to all freelance creatives?

Inma Hortas:

For me, having an agent is like having a team. They do the administrative and commercial work and I have more time and energy to illustrate what I really want to focus on. Anna is wonderful! She has a lot of experience and natural intuition. I am very lucky. You can see my portfolio here.

Having an agent is a very personal decision that depends on many factors. Overall I think they are very supportive and make the work process much easier. So yes, I would recommend it.

Madison Caprara:

You are based in Madrid, correct? What is the creative industry like in Spain? How has it affected your work?

Inma Hortas:

Yes! I'm based in Madrid, although I have recently spent longer periods of time in my homeland, Galicia. There are many creatives and illustrators in Spain. All of enormous quality who work and export their talents all over the world. The industry itself is small compared to other countries, we have only forty million people, so fewer books and magazines are produced. The advertising, animation, and video game industries, however, are very strong and require many illustrators.

This means that, on many occasions, I prefer to work with clients from larger markets where projects and opportunities are greater. Creatively, cultural referents do not understand borders today. Spain is very rich in all kinds of rituals, talents, colors, and flavors. The country is a constant source of inspiration. Although the northern area is more austere and humid, the quality of life here is one of the best!

Madison Caprara:

What has been your all time favorite project or client?

Inma Hortas:

I'd say The Girlfriend from AARP, with the wonderful art director Dian Holton. You can see it here. Their style is colorful, modern, and they think outside of the box. They also respect all kinds of sensibilities and have a sense of humor. The Girlfriend truly aligned with my values of diversity, body positivity, and graphic boldness.

Madison Caprara:

When you find yourself in a creative rut, where do you most often go for inspiration?

Inma Hortas:

In my opinion, the further away from a screen the better, because the brain clears itself; going outside, taking a walk in nature, meeting friends, traveling if possible, reading, or witnessing something different--mainly from other artistic crafts and scientific disciplines. And I personally love sculptural and generative art.

Madison Caprara:

What advice would you give to other aspiring illustrators?

Inma Hortas:

1.) Don't stop drawing and don't think too much when you are. Trust the process and yourself. 2.) Tell your story and express yourself to keep the passion for illustrating alive. 3.) Get enough rest while taking the time to have fun and socialize. There is a meaningful life outside of the profession.

Madison Caprara:

Are there any upcoming projects we should be keeping an eye out for?

Inma Hortas:

I’m working on a few editorial assignments related to the objectification of the female body. I will also be releasing an illustrated book in 2022 focusing on the theme of fear. There will also be some newly exclusive goodies posted on my online INLOHO shop this December. I need 48 hours in a day to do everything.

Madison Caprara:

It’s been a pleasure, Inma. Before we wrap up, is there anything, in particular, you would like to end on?

Inma Hortas:
I would just like to personally thank you, Madison, and the dash team for this interview and the opportunity to show my work.

I would also like to emphasize that I believe that making a living with illustration is won by those who do not give up and continue without prejudice or fear. It takes talent but the effort comes first.

Furthermore, the illustration community is very supportive, even though we spend a lot of time alone. Illustration has given me much, with more to come! I owe this passion a lot, it saves me every time life gets difficult and allows me to travel to fantastic worlds. I am deeply in love with this profession.

Instagram: @inlohographics | *Hope, science will win,* 2021. Inma Hortas.

Guest User 10/26/21 Guest User 10/26/21

Takeover Tuesday with Arman Alipour

Q&A with Arman Alipour, a Motion Graphic Designer based in Johannesburg, South Africa, and Co-Founder of HappyGoat Studio.

Q&A with Arman Alipour
Read time: 5min

Madison Caprara:

Hey, Arman! Why don’t we start off by having you give an introduction to yourself and your work?

Arman Alipour:

Hello, I'm Arman. I was born in 1987 and have been drawing since I can remember. I was 17 when I developed an interest in animation if I remember correctly.

I started early on doing motion tests, making a few short animated films. Around six years ago, during which I was mainly illustrating, I began creating animations. They were mostly motion graphics in adverts. However, during the gaps between projects, I would create short animation loops all of which you can view on my current socials.

Madison Caprara:

Now, I see that you are one of the Co-Founders of HappyGoat Studio! Before making the leap to opening your own studio, what did your professional journey look like?

Arman Alipour:

HappyGoat was actually not my first studio. I've established two others, the first of which was engaged in film montages. With the second studio, I worked with motion graphics and social marketing. However, Happygoat’s focus has been on getting projects to be closer to the look and feel of my personal work. Before, I had been focused on finding my own style and gaining experience. Just learning the industry ropes really.

Madison Caprara:

And what ultimately prompted you to start HappyGoat after already having established the previous two?

Arman Alipour:

Some of my friends and I were extremely like-minded. We eventually came together to deliver better quality creative works. I believe that teamwork is far more effective and fruitful than working alone.

Madison Caprara:

Where does the studio’s name come from, if you don’t mind me asking?

Ali Alipour:

I found the name very funny. I remember seeing a video on Instagram which depicted this beach. The sunshine on the water made it all so colorful, and there was this extremely happy goat jumping around. The atmosphere was surreal, you could tell the goat was happy. I liked the image a lot and recommended it to my friends. They welcomed it!

Madison Caprara:

So funny! It’s a unique name, so I had to ask.

What were some first steps in the early days? Where did you begin?

Arman Alipour:

As I mentioned, it was not my first studio so it was not that big of a challenge. I had previously worked with this group on other projects. We all knew exactly what to do.

Madison Caprara:

You were pretty much experts at studio openings at that point! How do you feel like HappyGoat has changed from those early days?

Arman Alipour:

You know, since our inception, we have done all kinds of work. We have collaborated with all sorts of artists. And in most of the cases, our clients were perfectly satisfied. This really raised our confidence, while also turning HappyGoat into a studio that almost everyone in the business knows about. Therefore, a higher quantity and more interesting projects are being offered to us now than there was in the beginning.

Madison Caprara:

What would you say is HappyGoat’s signature style or clientele type?

Arman Alipour:

The mood that we evoke is usually surreal and a bit dark, the clientele approve of our style though. They mostly emphasize that concepts should be conveyed explicitly, which we are not in favor of.

Madison Caprara:

Would you say that your style and preferred projects are the same as the studio’s?

Arman Alipour:

Yes, I work with a group of people who are mentally similar to me, therefore the atmospheres that we create during projects are usually the same.

Madison Caprara:

You freelance as well, correct? How do you balance your freelance work with that of HappyGoat’s?

Arman Alipour:

Yes, that is true. Oftentimes, I try to juggle my personal tasks with those in the studio which, of course, leaves me totally exhausted at times. However, if needed, I'll attend to the business in the studio and then do my own work after hours.

Madison Caprara:

And how do you go about approaching a project? What does your personal creative process look like?

Arman Alipour:

As a rule, my friends and I arrange meetings in which we exchange ideas so that a basic concept is introduced. Next, the writer of the team will write the story. I'll then do the storyboarding. Brainstorming is a completely collective task, as is decision-making.

Madison Caprara:

How do you stay consistently inspired when brainstorming original ideas for projects? I imagine your plate is pretty full with studio and personal work.

Arman Alipour:

You bet! I always try to set aside time for observation. I browse various websites, check the latest works of other studios and artists. It keeps me motivated and gives me new ideas.

Madison Caprara:

Before I forget to ask, what is the creative industry like in Johannesburg? Has it changed much since your beginning?

Arman Alipour:

Working conditions, I think, are the same all over the world. The clients expect the best. This is also the case in Johannesburg. I think we've been able to win the trust of more and more individuals and companies. That in itself is great progress, isn't it?

Madison Caprara:

For sure. What’s a relationship without trust, you know?

Well, it’s been great getting to know you, Arman. Do you have any parting words or advice you’d like to share?

Arman Alipour:

Never stop learning!

Guest User 9/14/21 Guest User 9/14/21

Takeover Tuesday with Pablo Lozano

Q&A with Pablo Lozano, a former Animator and Designer at Golden Wolf, currently freelancing in Toronto, Canada.

Q&A with Pablo Lozano
Read time: 10min

Madison Caprara:

What’s up, Pablo? Let’s start with an introduction! What did your path to becoming an animator look like, and what about it initially attracted you?

Pablo Lozano:

Hey there! Thank you for having me here. I started my career as a Motion Designer in TV (news broadcasting, sports broadcasting, etc.), but then realized that that side of the motion world was too fast-paced for me; having to create content in days, if not hours, and most of the “cool” projects, like openers or rebrands, ended up being outsourced to outside studios. That's when I decided to change directions towards the studio side of things. I moved to Sweden to study at Hyper Island, improved my skills, and from there, moved to London to join the Golden Wolf team. Now I am freelancing!

In regards to my original attraction to the medium, I've always known I wanted to work in the creative field, but it wasn't until my early 20s that I narrowed it down to 2D animation and motion design. I love bringing still graphics and illustrations to life. I love how we can create new worlds in 30 seconds, and mostly, I love deciding how movement informs the tone, message, and emotion of a piece.

Madison Caprara:
And how would you go about describing your “signature style”?

Pablo Lozano:

I'm not sure I have a signature style, to be honest! I enjoy working in different styles but if I had to narrow it down, I am really drawn to dynamicity and energy. Those are the projects I enjoy working on the most; having fluid motion that ties scenes together, changing rhythms, and high energy.

Madison Caprara:

What type of education did it take to get you where you are today? Formal, self-appointed,..?

Pablo Lozano:

Most of my motion and animation education has been self-taught or through work experience. However, my time at Hyper Island in Stockholm gave me the space, tools, and time to hone my skills surrounded by incredible people.

Madison Caprara:

Speaking of Stockholm, you’ve moved around quite a bit. Sweden, the UK, Canada. How has your experience been in each place, professionally and personally?

Pablo Lozano:

Each is very different, and I think each experience reflects on where I was in my life at the moment. In Sweden as a student, broke but was very interested in learning, spent a lot of time at school working on projects, figuring out exactly what my next move was. London was a time of professional growth, very long working hours, and most everything in life revolved around work. Now in Toronto, I'm trying to find a bit more of a balance between work and life outside of work.

Additionally, each city is very different industry-wise. While London is a huge animation hub, with studios just a block apart from each other and a big network of animators and designers, Stockholm and Toronto have a smaller animation/motion community. Fewer studios and the community is a bit more fractured and difficult to keep in contact with.

Madison Caprara:

Interesting! With all being more well-known cities, I had assumed that they would all have a pretty booming animation/motion scene.

So, you’ve created projects for everything from TV to apps to magazines and have used a pretty large variety of mediums to animate. Do you have a preference?

Pablo Lozano:

Not really! I do specialize in 2D animation, both After Effects and hand-drawn, so that’s my preferred medium paired with Photoshop for design. But regarding the output, I find joy in working for different types of clients, different formats that bring different challenges to the table. Lately, I’ve had a streak of projects where my 2D work has been mixed with 3D content, and that has been very interesting, both in the workflow and style.

Madison Caprara:

Pivoting back to your London days, how did you find yourself joining the Golden Wolf team? How was your experience?

Pablo Lozano:

I joined the team as an intern after my studies and stayed for around three years. My experience there was great! I grew a lot in those years, being surrounded by incredible talent, working with high-end clients and on super interesting projects. There were a lot of long hours and late nights at the time, but I loved the camaraderie and energy there was at the studio. I haven’t found anything quite the same since. I miss the wolves!

Madison Caprara:

Looking back, did you have any particular career goals during your studio days that may (or may not) have changed now that you’ve transitioned to freelance work?

Pablo Lozano:

Just to be a better animator and designer, really. To polish my skills as much as I could. When I got to Golden Wolf, I would see other artists next to me, either full-time or freelance, creating these beautiful animations. I only wanted to get to their level and learn from them. That’s why I would advise anyone trying to get into the industry to gain some studio experience. The knowledge and motivation you get working alongside great talent are invaluable.

Madison Caprara:

And what prompted you to make that switch?

Pablo Lozano:

I wanted a change of pace. To explore how other studios and artists work. Golden Wolf was my first studio experience in the motion industry, so I wanted to see how things worked in other companies. Another reason was the freedom that comes along with freelancing. You can decide the amount of work you want to take on, when to sprint and take on more, and when to slow down to take care of yourself or focus on other things. When you are full-time, somebody else decides that for you.

Madison Caprara:

Having experienced both sides of the coin, do you have a preference between the two?

Pablo Lozano:

I think each has different advantages. I miss incredibly the feeling of being part of a studio; the connection to people, the energy and creativity that flows being in the same space. I don’t think you can recreate that feeling remotely. But on the other side, I am happy freelancing. It allows me to take time off when I need to, to either explore North America (I don’t know how long I’ll be around here) or go back to Spain to see family if needed. At the moment, it better fits my lifestyle.

Madison Caprara:
To speak a little more on your work, is there anything you are particularly trying to address or explore through your pieces?

Pablo Lozano:

Not at the moment, no. Each project is unique and the message is tailored to the client. I have several ideas for personal projects with topics and styles I want to explore, but as always, it’s quite difficult to fit personal work in between client projects while keeping a balanced life outside of the work.

Madison Caprara:

Where do you see the future of animation heading?

Pablo Lozano:

I can only speak on the commercial animation/motion side of things. I see a growing need for animated elements (either 2D, 3D, hand-drawn, or computer-generated) as more and more digital content and platforms need it. On the other hand, I also see a commoditization of much of that content. Faster turnarounds, a longer list of deliveries to fit all possible platforms…a wider pyramid base, and more work across the board but probably as competitive when you move up.

We have seen how animation is doable in a remote environment and during a crazy event such as a pandemic, so in my opinion, that has only increased the number of clients that now feel comfortable creating animated content. It will also be very interesting to see how new mediums we didn’t even think were possible months ago, like the NFT space, will change our industry and the client/artist relationship.

Madison Caprara:

When you find yourself in a creative rut, where do you go for inspiration?

Pablo Lozano:

It’s going to sound cliché, but I try to step away from the computer. Going for walks, people watching…Sometimes inspiration comes from real-world shapes and architecture, sometimes a book or an article, sometimes other artist's work makes me want to try something new...it really varies.

Madison Caprara:

I personally enjoy a good cliché!

Well, it’s been really great getting to learn more about you, Pablo. Unfortunately, we’re reaching the end of our time. That being said, do you have any closing points or advice you’d like to share?

Pablo Lozano:

We need to remember that our career is a marathon, not a sprint. It takes time and effort to get to the skill level you want to be, even if social media these days makes you believe otherwise. Be patient. Work hard, there are times to push, and there are times to rest. Be nice, create genuine connections. And focus on the things you enjoy creating because those are the only ones you’ll be able to pour hours and hours into.