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
Evening Play. Rokas Aleliūnas.
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 What originally made you want to become a graphic designer?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?
Out of brilliant, 2021. Rokas Aleliūnas.
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.
Alone. Rokas Aleliūnas.
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:
Willpower. Rokas Aleliūnas.
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!
The real psycho. Rokas Aleliūnas.
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.
Instagram: @inlohographics | My Stone, 2021. Inma Hortas.
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?
Instagram: @inlohographics | A lot on my plate, 2021. Inma Hortas
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?
Instagram: @inlohographics | Wounded world, 2021. Inma Hortas
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.
Takeover Tuesday with Dennis Quiñones
Q&A with Dennis Quiñones, an Illustrator and Graphic Designer based in Bogotá, Colombia.
Q&A with Dennis Quiñones
Read time: 10min
Madison Caprara:
Hi, Dennis! Could you start us off with a little introduction to yourself and your work? How did you find yourself in this industry?
Dennis Quiñones:
Hi everyone! I’m Dennis Quiñones, a Colombian Freelance Illustrator. I’m the girl behind Dess Artist, the nickname or character by which I identify my work. Since I was a child I enjoyed art. Drawing was a great hobby in school, although I did not consider that I did it well. Still, I enjoyed it very much.
I thought I would study something related to fashion but decided to go with graphic design. This experience showed me a broader picture after which, I was more inclined to focus on animation. I still get excited when I see my characters in motion, however, my heart always leans towards illustration. When combined that with the knowledge of design and animation, these skills have opened doors within the industry. I worked as a Designer and Art Director for a few companies in my country, however, I felt that there was something more waiting for me. Without a definite plan, I decided to quit, and that is how Dess Artist was born.
Dennis Quiñones:
Starting out as an independent is a somewhat uncertain path, but I knew that if I did my part and gave my best I only had to trust that it was possible to make my way. It’s amazing how my hobby became my job and how this industry keeps opening doors for me. I have had the opportunity to work in many different sectors; illustrating for brands in advertising formats, in musical projects for renowned artists like Pink (great experience), for editorial magazines, and blogs. Something I am currently working on that makes me excited is my personal project, with a focus on empowerment.
Madison Caprara:
From fashion to graphic design, direction to illustration...how did you go about finding and shaping your artistic style? Do you have any specific creative influences?
Dennis Quiñones:
It’s funny that you ask this question, I believe that I am constantly shaping my style. There is no limit. I feel that it will continue to mutate, and as I change, my experiences, opinions, my way of seeing the world, my art will as well. Being open to that change and exploration has been a key factor in my process. That being said, I feel I have a vibrant, colorful style. Something that defines me as a communicator is versatility. Being willing to explore has made me discover different skills, mixed techniques, and styles that enrich my work and my experiences. I believe this makes me more attractive to clients that are looking to approach different projects and styles. Of course, it also enriches my work and life.
I think I have many influences. At a creative and technical level: the environment, culture, relationships, travels. We all influence each other, sometimes without even realizing it. Everything is an inspiration. Everything is material to create. Colleagues and friends with whom I share and with whom I work, of course, influence me, and vice versa. The time we are in, the internet, everything has an inherent influence, even the art from thousands of years ago. Today, after almost ten years of learning Egyptian art from my art history class, I am still so fascinated with it. There is a detail that I include in many of my characters, I use the position of the frontal eyes even if the characters are in profile. I recognize that this decision comes from those historical influences.
Dennis Quiñones:
I currently have the desire to work from different places. My work allows me to do so. When looking at the history of art, I find myself gravitating towards Impressionism. These artists took part in the development of landscape oil paintings, representing their environment. It is curious how nowadays, with the boom in travel, these phenomena are happening again. Though they are, of course, presented differently, but are ultimately similar in essence.
Madison Caprara:
You had briefly mentioned how culture influences your work. Can you go a bit into how exactly your specific cultural background does so?
Dennis Quiñones:
My work, my opinion, and my person are a reflection of the society in which I live and the decisions that I make. What I feel, the situations I am familiar with, the beliefs I carry, and the culture in which I develop as a person, give me context. They give me an opinion that I intrinsically reflect in my work. I have a particular interest in illustrating women in my personal work. I enjoy putting them in the attitude of a businesswoman; powerful and capable. Why? When I look inside of myself, I find that I come from a matriarchal family; strong women who have worked hard to get ahead.
With that, I understand why I want to display these messages. I use my work to tell myself how valuable and capable I am, and of course also to all those who identify with it. In the field of illustration, I find welcome refuge. I believe it is everything that is right in the world, it is my safe place. I constantly hear that as creatives we should think outside the box, however, it is complex to do so when the action of creating is born from our experiences and what we know. So if I can lend any advice, it would be to live new experiences and interact in new cultures, travel, and expand that box.
Madison Caprara:
Speaking of travel, where are you currently based? What’s the creative industry like there?
Dennis Quiñones:
I live in Bogota! Being the capital of Colombia, it is a city where most of the companies in the creative sector are concentrated, followed by Medellin and Cali. Bogota has a lot of experience in this sector, which is why large international audiovisual production companies such as Dynamo, Jaguar Bite, Sony Pictures, Fox Telecolombia, among others, have chosen it as the headquarters of their operations. I recently read that 80% of the audiovisual industry exports originate here in Bogota.
When I had the opportunity to work with Pink, most of the creative team was Colombian. Thanks to the work of the project’s director, Colombia was being recognized! I remember the excitement I felt when I read the news headlines that said, “Colombians working with Pink.” After that, I have seen artists like Rihanna, Dua Lipa, and Zia, who have opted for the Colombian market. It’s incredible and has brought with it reflections on the matter. I know that the industry is segmented. Many of us struggle a lot for those opportunities. Here in Colombia, we have a lot of talented, highly qualified people, but from my personal experience, it looks as if we have better remuneration than what we actually do. This makes us reflect.
Madison Caprara:
Now, we’ve spoken about the industry in Bogotá. Can you speak a bit about how you found yourself where you are today? I see you were self-taught for the most part, how did you go about educating yourself?
Dennis Quiñones:
It is true that I have spent a lot of time studying on my own. One thing that was made clear to me is that if you want to improve your skills, you must study and practice. However, studying graphic design gave me a foundation and broadened my outlook, and there is where I met animation. I loved the idea that illustrations could have more movement. But yes, to specialize in illustration I spent a lot of time behind the screen exploring techniques, relying on online courses, and asking colleagues with experience in the sector. People who give you real feedback are valuable. You begin to understand how to accept constructive criticism and take advantage of it.
I also remember buying an annual subscription to Schoolism, where I had access to courses with Disney and Pixar artists. For the most part, I utilized many online tutorials, some bought while other times, friends who noticed my interest granted me access to their courses. While this happened, I was working in an agency, and I have to emphasize that the greatest learning tool has been working on real projects. The experience given while “doing” is indispensable. It is a profession of constantly learning, there are always new tools and new ways to go about solving a problem. Now when I approach a project, I know that I will learn something new.
Madison Caprara:
Now, for other creatives going down the self-taught route, do you have any advice on advocating for or marketing themselves in an industry that is overly saturated with talented artists?
Dennis Quiñones:
Of course! I can think of three indispensable pieces of advice:
1.) Be brave and share your work, processes, and concerns with other artists who have more experience. Relating with people in the industry is important, something that expanded my work is to understand that other artists and illustrators are a team and not competition. You have to understand that your path is unique, you should not compare yourself. There is room for everyone within this industry, it is amazing how this change of mentality makes you go from having two hands to having four or six for a project because those colleagues are who you team up with. They are also the ones who recommend you for other projects or vice versa.
2.) Be present on social networks. Show people that you exist. Show both your personal and commercial projects, your processes, your changes, and your evolution. That creates community. You are not only showing a piece, you are exposing yourself as a human being in each work.
3.)Attend and participate in creative sector events, exhibitions, contests, etc. This way you can cultivate more relationships with people. More support. More feedback.
Madison Caprara:
So what I take from that is to really get yourself out there, both in the physical and digital worlds.
Now, what is the range of projects you have worked on? Do you have a favorite medium or subject?
Dennis Quiñones:
Thinking about this question makes me smile. I do a mental recap and feel very fortunate to have had the opportunity to work on so many different projects. My favorites are definitely those that have carried a message of empowerment while allowing me to explore in color. I have a particular taste for those that highlight the role of women.
In my experience, I have been able to work in different media; in advertising for national and international brands, in publishing, participating in children’s education books, blogs, magazines with articles for creatives, also in the audiovisual medium, with corporate videos, experimental music videos, all while selling my personal art to independent figures for textile media.
Madison Caprara:
Quite the roster, Dess!
Going back to your love for character design. Is there a certain methodology or process you revert to when designing characters? Do you have a preferred look or style?
Dennis Quiñones:
When I design characters, it is important for me to know in which media the character is going to interact; if it is for animation or for print because that will determine how I go about the “how”. However, beyond the technique, my starting point will always be the “what”; understanding the personality, what he/she/it does, behavior, hobbies, are they being used to tell a story? Regardless of whether it is for a client or for a personal project, I like to have a brief. They help me in understanding the clear path to success. The more questions or potential problems I solve beforehand, the better.
For example, say that the requirement is to create a woman who lives on the beach. She has a cabin with surfboards. Surely our mind starts to generate questions, so we begin to create her story. Is she an old woman who no longer practices and keeps her boards from her exploits? Maybe she exudes nostalgia? Is she young and still practices and has many boards because she constantly participates in competitions? Is she older with a young soul, so she continues practicing and has a school where she teaches others? When you define what story you want to tell, you have a guide, where to start.
Dennis Quiñones:
From there it is easier. You know who the character is talking to. You establish if they are a main or secondary character, what they want to convey, how they present their personality, looks, how they dress. Personally, I love creating characters for animation frame by frame; all the views and expressions. But creating them for prints where you have a single frame to convey that story is also fascinating. I love the challenge, therefore I couldn’t choose one methodology. I love them both.
Madison Caprara:
How has your work shifted due to the pandemic? By work, that can mean access to it, your creative drive, anything really!
Dennis Quiñones:
It has changed, but not drastically. I had been working from home for four years with different clients. When the pandemic began, I was working predominantly on visuals for concerts that were canceled, as gatherings would not be allowed for a while. However, they were not my only source of work, so I was able to continue with other projects and clients. I felt very lucky. My colleagues and I are very fortunate to have been able to continue working while this was all going on and to be able to support our families. In fact, the work was enhanced. I worked with artists whose videos would be animated versions of themselves due to the estrangement. This instilled in me the concept that there are always opportunities and helped me to take the first step in starting my own t-shirt brand. It’s still a baby.
Madison Caprara:
Well, that’s exciting! Looking forward to seeing the merch!
Pandemic-related obstacles aside, what do you feel is the most challenging aspect of illustrative work? What’s the most rewarding?
Dennis Quiñones:
Perhaps one of the most difficult things is finding your own voice. When you start off in the industry, you have references to follow. Naturally, you want to follow in their footsteps. While it is part of the exploration process, you will never be the same person who creates the same art. It is nice to see what works for you and what does not from the processes of others and thus discovering your own path. Though it can be frustrating at times, the only thing to do is to continue on with what you are and what you have. It is enough to start your own path.
I had to understand that frustrations are a normal part of the process. The most gratifying thing in my story is that in illustration I found refuge. I found a way to express myself. A place where I could come back and find myself whenever I felt lost. An industry that values my abilities and does not stop giving me opportunities to grow and learn. A place where my hobby became my job and has allowed me to materialize other dreams. That is beautiful!
Madison Caprara:
You have such an incredibly optimistic way of looking at the world. It’s really inspiring.
Where do you find yourself consistently going for inspiration?
Dennis Quiñones:
I have physical places and metaphorical places. Living in the mountains near a forest, I have had an incredible place to think. However, in search of contrasts, I like to visit the beach. I love the sea. Whenever I have the opportunity to go, I take advantage of it.
I also have a notebook filled with my ideas; words, concepts, sometimes phrases, random marks. It is a place where I always find inspiration. They are most often ideas that are a result of places I go, people I meet, flavors I taste, songs I listen to, existential doubts, the market list, something I want to learn, etc. They appear at any time, so I write them down. Sometimes they make no sense, and other times they give rise to very significant pieces. If at some point, I don’t know what to draw I start reading this notebook looking for options.
Madison Caprara:
Unfortunately, we have to wrap up this chat, Dess. Do you have any closing points you’d like to touch on?
Dennis Quiñones:
I recently read a quote in one of my favorite books, La Voz de Tu Alma, which translates to, The Voice of Your Soul. The quote captivated me, and I would love to share it: “Never let the things you want make you forget the things you already have.” It is about giving the deserved importance to the process, be clear about where you are going but value the point where you are. Be grateful, and enjoy each stage. It is a beautiful metaphor for life and for illustration. Gratitude is capable of creating magic. Thank you very much for the invitation, it was amazing to look back on memories.
