Takeover Tuesday with David Holm
An interview with David Holm: a 2D animation & illustration specialist from Detroit, Michigan.
Interviewer: Bella Alfonsi
Read time: 5min
Bella:
Thanks for joining us for Takeover Tuesday, Dave! Please give the people a lil' introduction!
Dave:
My Name is David Holm and I am an animator/designer at Boxfort, in Detroit Michigan.
Bella:
How did you get into motion design?
Dave:
I went to school for graphic design originally but always wanted to make cartoons and make short films.
The community college at the time didn't have any classes for 2d animation.
But towards my last semester I won a scholarship contest. Which gave me the funds to take a full year of extra classes. So I took Intro to After Effects and Advanced After Effects(taught by Steve Savalle at the time)
And those two classes really helped me use my graphic design and illustration skills in a new way.
Then a year after graduating college in 2012 I landed my first in house studio job as a motion designer!
A frame David’s reel.
Bella:
What's the workflow like when mixing 2D and 3D styles together?
Dave:
When I work with mixing 2D and 3D I usually like the 3d elements to ground the 2D animations. So the characters will be all 2D animated but the environment is all made in 3D.
I just think mixing the 2d/3d can give you a really unique look and results. I also really like using glass and reflections to get cool random light leaks.
Bella:
I love me a character made from an inanimate object- big fan of yours. How do you give personality to something that isn't a human?
Dave:
Thank you! I really have a wild imagination that lets me give random objects backstories and wonder how this character/object behaves in an animated world.
Every object in my house has been drawn with a face lol
Dave worked with his pals Gunner to create some animated stickers for a unique mint company called Flintt Mints
Bella:
Do you have a favorite project that you've worked on?
Dave:
My favorite project I've worked on is probably Recess or Half Rez, because we collaborated together to mix a bunch of styles together and made something that felt fresh and unique.
Bella:
Where do you find inspiration?
Dave:
I find inspiration in everyday life. I really benefit from going outside and just watching the plants sway in the wind. And see the wild life thrive and just live around us.
Also bringing a mini sketch book around and using it to do quick idea sketches on the spot.
Bella:
What are you most proud of in your career thus far?
Dave:
What I am most proud of in my career would be probably being able to successfully work as an animator/designer and pursue other hobbies on the side.
Recently I joined my friends band and being freelance lets me be flexible to do both. Also, contributing on the Dash Bash titles this year was a highlight too!
It was a dream project to work with Dash and have it be seen by so many creatives.
Frame from Recess, a Boxfort short film.
Bella:
What's it like working at Boxfort? Do you collaborate often with fellow freelancers?
Dave:
Working at Boxfort has been incredible, we have grown a lot in the last year and we have a lot of new creative energy. We do collaborate a lot by giving each other advice or suggestions. And we are also in the process of creating a handful
of new animated short films. We actually just released an animated short for the new Gunner School. You can check that out here.
Bella:
Do you have any advice for being stuck in a creative rut/how to get out of it?
Dave:
If I get stuck in a creative rut, I usually need to take a break from the screen and all technology. Taking a walk in the woods or a park helps me so much to give myself some clarity and motivation.
Music playlists that are made to get me motivated and stay creative help me a lot too. Also exercise a little will give your brain a boost. We like to play hacky Sack to break up the screen time. It gets your body moving and it's fun!
Bella:
Any final words of wisdom?
Dave:
Final words of wisdom would be to write down your projects/to do lists daily. Sketch ideas out instead of doom scrolling social media. Also, you should set aside a day to not be on the computer at least once a week.
Takeover Tuesday with Liz Klein DiBello
An interview with Liz Klein DiBello: a Brooklyn based designer, animator and creative director.
Interviewer: Bella Alfonsi
Read time: 5min
Bella:
Thanks for joining us for Takeover Tuesday, Liz! Can you please give us a lil' introduction?
Liz:
Thanks so much for having me in! I’m so happy to be a part of this!
I’m Liz Klein DiBello, and I’m a Brooklyn based designer, animator and creative director.
I come to motion design with a graphic design background, and it’s a part of everything I do. My work has focused on design-based motion projects like network rebrands and broadcast design, commercials and online videos, but has also included projects that focus more on a collage and texture-based approach which lends itself to projects like explainer videos, PSA’s and more.
Also, I just recently joined the incredibly talented team at Mighty Oak full time as Associate Creative Director!
Bella:
How did your career in motion design begin?
Liz:
From a young age I was always interested in anything related to drawing, painting and crafting, so I guess you could say it started there. There was a chest of drawers in my house filled with all sorts of crafting materials: different types of papers, scissors, pastels, crayons, markers and more (this is probably what started my interest in collage). When I got older and my family got their first computer, I got super into Photoshop and discovered graphic design. Later I found out that I could do this as my career, and that’s what made me pursue a design education.
But for motion design specifically, that part of my story started in school. I was going to the School of Visual Arts in New York for Graphic Design, and took Ori Kleiner’s intro to motion class Junior year. Motion design and After Effects was still relatively new at the time, and I loved the idea of bringing design to life and pairing it with music. Ori would show the class so many examples of great titles sequences and introduced us to the process of making motion graphics. I was super inspired by seeing how others were using this new tool. Senior year there was an option to specialize in motion design and I knew it was the right move for me. I decided to do a portfolio class with Ryan Moore.
During school I had always kind of been working, I was always very practical and really wanted to dive right into real life projects. I was interning at Nickelodeon, but I also started taking on a few freelance jobs here and there. One of my first motion design jobs was a book trailer that was all kinetic type, which was trending at the time.
After I graduated, I found my first full time job at The String Theory, a small studio in Manhattan that introduced me to so many different types of projects– anything from broadway commercials, to billboards in Times Square, explainer videos, lyric videos and so much more.
A frame from Liz’s DogTV project.
Bella:
With expertise in multiple areas, from illustration to art direction, is there a part of the creative process that you enjoy doing the most?
Liz:
The beginning of the creative process is always my favorite. I like to spend time upfront researching, learning, looking for inspiration, and exploring the different directions a project could go. What I find during this phase can help inform design decisions, and the look and feel of what I’m working on. There’s so much potential during this step.
Bella:
Do you have any advice for other artists trying to go full-time freelance?
Liz:
I have SO many freelance words of wisdom! One big one is that community is super important for many reasons- it will not only keep the jobs flowing, but there’s also an element of support that is there. There’s moments where you might feel isolated because you are flying solo. You’re going to have questions about rates, or the hold system, or maybe you just want to bounce an idea off of someone, but you don’t have co-workers anymore to do that with. Panimation NYC is one of those communities, and Dorca Musseb asked me last year to become an admin. It’s such a great space to provide all of those resources, plus just being a way to meet some genuinely cool people, and I’m happy to be a part of that.
Another piece of advice is boundaries during bookings- define them before you start looking for jobs, and stick to them. For example, how many hours does your rate include, 8, 10? What is your overtime rate, and when does that kick in?
Bella:
Where do you find inspiration? How do you combat creative burnout?
Liz:
Of course I’m constantly inspired by the many talented artists and studios in our community, but I try to look outside of the industry as well so I can get a fresh perspective. Some of the best inspiration can come from a trip I just took, an exhibition that I recently saw at a museum or gallery, or just walking around the streets of New York. Music has also always been a huge inspiration of mine– when I go to a concert, I always look forward to seeing what kinds of graphics are on the screen behind the band and what the merch looks like. Music can have such an impact on how something moves and looks.
Inspiration is also one way to fight burnout. Burnout is so real and so important to acknowledge. It’s important to get ahead of it and realize when it’s starting to happen and what your key signs are. For how to recharge, it’s kind of a balance between just stopping to relax fully physically and mentally, but creatively. For the physical/mental part, doing something away from the computer and devices is pretty key- like a hike in nature, or yoga.
Bella:
Your style is super fun and colorful. What would you tell someone who is trying to "find their own style"?
Liz:
Thank you! I would say to take note of what you enjoy working on the most, and try to do more of that. Your style will naturally evolve from there.
I’d also say my own style is still evolving, it’s a long road! So don’t get discouraged if you don’t have a “style” right away. Sometimes you can only see the pattern in your work by looking back at your past work and seeing the common threads.
Frame from Liz’s reel.
Bella:
Do any of the projects you've worked on stand out as a favorite?
Liz:
I don’t know if it gets much better than DOGTV. I had always wanted to work on a network rebrand, and Andrea Pabalan and Darci Manely at thelab nyc approached me to art direct a rebrand for the streaming service.
I should explain that DOGTV is a streaming service for dogs– it keeps them occupied while their pet parents are out of the house, and is actually based on scientific research around reducing stress in dogs. The channel content is actually broadcast in colors that dog’s eyes can see. So it’s a fun project but also serves a helpful purpose.
Our team worked on an entirely new set of assets for the brand that could live on the streaming service, but also in print and digital too. We started with a new logo, typefaces, colors, tone of voice, custom patterns, illustrations, and a brand new photo and footage library. Then we took those elements, and created a new look and feel for the streaming service itself and its content– so everything from bumpers, to transitions and lower thirds, to a sample promo for one of the shows.
We wanted the look and feel to reflect the energetic and unique personalities of dogs, so we went super bold, colorful and poppy. Knowing this was a rebrand for a channel based around dogs, motion was always a huge part of this rebrand and would be something we kept gut checking ourselves against throughout the process. We knew everything we created had to feel like it had the right energy and a playfulness to it.
One of the most fun parts of the project was getting to have a two day photo and live action shoot with over 30 dogs. I made a lot of new furry friends!
Bella:
How do you make yourself stand out among other artists when pitching to a new client?
Liz:
For me it’s not about looking at it as a competition. It’s all about recognizing what you bring to the table and pointing out what makes you and your skills unique, and why and how those things would make the client’s project great. For me, it’s that I can wear many hats- I can design, animate, edit, illustrate, and direct. And I enjoy hopping into all of those roles!
Bella:
What's your proudest moment in your career thus far?
Liz:
I’m really proud of the projects that I work on that give back in some way and use design and animation to serve a greater purpose. I’ve now worked on a few projects that are centered around the importance of elections and voting, a cause that I deeply believe in. I was lucky enough to work on FiveThirtyEight’s The New Bellwethers series, which came out at the time of the 2016 election. Even though the election didn’t pan out as I had wanted, it felt good to be able to contribute to the conversation at that time. Another election based project I’ve gotten to work on recently with Mighty Oak is a spot for NYC Votes. We’re breaking down the process of how to vote to help get more people out there on election day.
And one more bonus proud moment- someone once got a tattoo of a logo that I made. I can’t believe someone liked my design so much that they wanted it with them forever! So that’s definitely up there with my top moments.
Frame from FiveThirtyEight’s The Bellwethers series.
Bella:
Are there any projects coming up that you're excited about?
Liz:
Right now I’m working on a series of collage-based videos for IBM, which I’m pretty excited about.
Thank you so much for the invitation again, it means so much to me. I really enjoy reading these interviews and it’s great to be a part of this series!
Takeover Tuesday with Alejandro Grima
An interview with Alejandro Grima: a freelance art director, motion designer and animator based in Madrid, working for start-ups, companies and agencies around the globe on projects big and small.
Interviewer: Matea Losenegger
Read time: 5min
Matea:
Hello! Thank you for taking time to participate in our series. Can you please introduce yourself and your work?
Alejandro:
Hi there! My name is Alejandro and I’m a Madrid-based motion designer and animator. I was once a jack-of-all-trades graphic designer that worked on digital design, packaging, branding and animation, but 7 years ago I specialized in motion graphics and I’ve been freelancing since.
I’ve been able to work with clients and studios around the globe, and not being restricted geographically and being able to meet people from different backgrounds are some of the things I enjoy the most about freelancing.
When I’m not playing around with keyframes in After Effects, I’m probably discovering new fancy coffee shops, running or taking photos.
Matea:
You have a lot of fun and striking vector work in your portfolio. How did you develop your design style?
Alejandro:
I didn’t really develop a style in a conscious way, I think it has more to do with the evolution of my career: I started out as a branding/digital graphic designer without a proper interest in illustration and maybe that’s how I was initially attached to using simple vectors (also due to the lack of more complex illustration skills). It was later on that I gained interest in more illustrative styles after meeting and working with illustrations, animating their work, and then trying to replicate what they were marvelously doing.
Having said this, I’m really happy that I come from a pure graphic design background, because it allows me to approach each project from a functional point of view and then go for the style that I think should work best. Versatility is key!
A frame from Alejandro’s Lucidity Tech project.
Matea:
On a similar note, I really love your logo and 36 days of type animations. Is there a secret sauce in creating precise and effective visuals?
Alejandro:
I would say trusting the process. I usually get to a result animation I’m happy with after following these three steps:
First, planning everything, doing quick sketches or a storyboard to visualize how everything is going to move.
Secondly, work on the movements, nailing the key poses and how every element interact with each other.
And last but not least, spending time working on the timings of every move, because many times a movement lasting ore or a few more/less frames can really make a difference in the end result.
Matea:
You've obviously honed your craft in Adobe Illustrator and After Effects. Are there any plugins or additional software you like to use in your work?
Alejandro:
Way to many, perhaps! But mainly Overlord (which I find crucial to effortlessly bridge between Illustrator and After Effects), and Duik, Key Cloner and Nudge for quicker and precise keyframe tweaking.
Some of Alejandro’s 36 days of Type explorations.
Matea:
Where do you find inspiration- in and out of the art world?
Alejandro:
In regards to art related stuff, I enjoy going to exhibitions and having a look at anything that has to do with product design and architecture. I even have a dedicated architecture-focused Instagram account because I also love photography and these two subjects collide frequently.
Outside of the arts world, I think what inspires me the most is probably meeting people. I’m a shy person, so it isn’t always easy, but I actively try to push myself out of the comfort zone because I find discovering about other people’s lives, jobs and ways of thinking absolutely enriching.
Matea:
What was your favorite project you've worked on and why does it stand out to you?
Alejandro:
Probably the work I did for Lucidity. I got to learn a lot of really interesting stuff from their team, and they were all a delight to work with. They really know their product and are were able to contribute with interesting ideas while giving me absolute freedom to visualise the information at the same time and could work on some interesting animations and transitions.
Alejandro’s project for Centro Nacional de Golf.
Matea:
You've worked with an interesting variety of clients. What's your favorite type of client to work with?
Alejandro:
Definitely the clients that, because of the nature of the project, make you learn new stuff. For example, I worked on a couple of animation explainer videos not too long ago for a blockchain-based technology and a new pharma product, so in order to being able to translate the information into something visual you have to understand well how this technology works and how that medication affects the body. And, by the end of the day, you go to bed with knowing more interesting stuff than when you woke up.
Matea:
How do you fight burnout and stay motivated to create?
Alejandro:
For me, it’s a balance between routine and the unexpected. While exercising and meditation have become keystones of my mental health, I also try to fit as many activities involving new experiences in my schedule as possible. Be it seeing an exhibition, trying a new sport, getting lost around a part of the city you’ve never been to, or trying that fancy new cocktail bar you discovered last week.
Also, special mention to the occasional chatting with my creative friends Vivian, Lucía and Miguel over a cup of coffee. They’re incredibly inspiring people and their insight has got me out of a creative block more times than I can count (thanks guys!).
Matea:
Is there a type of animation you're interested in exploring?
Alejandro:
I’m always trying to learn new stuff but seeing so many talented people doing so many different things on social networks doesn’t really help with the fact that there are only so many hours in a day (ha!). So one can just set priorities, and my current priority is improving my frame-by frame animation skills. After this, I would love to start playing around with code and interactive animations.
Motion for Wearebold & Somosmejor’s branding of OEI
Matea:
Are there any upcoming projects you're excited to share this year?
Alejandro:
As for commissions, I’m particularly excited about the motion identity explorations I’m developing for a couple of design studios here in Spain. And in regards to personal/side projects, I’m working on my first short film that’s allowing me to explore new techniques. All I can say for now is that it’s about museums and some absurd things happening inside them ;)
Takeover Tuesday Veterans Day Edition with Jeffery Lawson
An interview with Jeffery Lawson: an Art director / Illustrator born and raised in NC who it a bit of a tactile tradesman , lover of all things nature and color.
Interviewer: Bella Alfonsi
Read time: 5min
Bella:
Thanks so much for joining us for Takeover Tuesday, Jeffery! Could you tell us about yourself?
Jeffery:
I am a Veteran, Art Director, Designer, and illustrator born and raised in North Carolina. Most of the work I love making is mixed with fun and a bit of thoughtfulness. I love printmaking and collecting vintage goosebumps books. I am a nature lover and 80’s horror movie aficionado and lover of all things spooky.
Bella:
How did you find your way into motion design? A bit of your background?
Jeffery:
That's a bit of an interesting story! Hold onto your seats, this one's a doozy. My journey into motion design looks like a bit of a treasure map with many points. In the early 2000’s I got started in design learning to be a screen printer and tattoo artist in my local area. Fast forward many moons later I ended up leaving my career in the military and going back to college to be a student.
A frame from Jeff’s Logitech project with Demo Duck.
Bella:
How was the transition from the military to being a student?
Jeffery:
It was by far one of the most challenging periods in my life. I like to call this my transition phase. My most memorable moment, which was the most challenging, was when I separated from the military on a Friday and Monday morning I was sitting inside a college classroom. It was a complete mental shock not only culturally but mentally as well. Having served in two combat zones made it a little harder given the difference between military life and civilian life. For example, there are strict timelines in the military, and transitioning to civilian life you no longer have those in place and must set them for yourself.
Bella:
What did you learn from being in the military that carries over into your career today?
Jeffery:
There are a few military lessons that I still carry with me but the most important comes from an old army leadership manual. For more about this topic, you can google the 4 c’s of army leadership.
Competence - This means being operationally and technically skilled at what the organization does. When one moves up their understanding of the entire process is far more important than technical skills.
Commitment- This means placing heart and soul not only into the organization but most importantly of all its people. For example, A great leader arrives an hour early and leaves an hour after the last team member clocks out. A committed leader takes the time to learn the habits of each team member and then leads them accordingly.
Candor - This means always being able to be candid at all levels regardless of position. Basically, it means being able to be honest about something regardless of how someone might feel.
Courage - This means having not only physical courage but moral courage to say and do what is right even if one must stand up to someone.
One of several concepts chosen for a client pitch for Tango Analytics
Bella:
What do you want to say to those who were in your shoes a few years ago?
Jeffery:
I'd tell them to reference an old proverb that goes like this “Seek and you shall find “. How this relates to your career is as follows.
1- Seek to fill the gap- There's a beautiful video series by Ira Glass that was shared with me called The Gap. In this video, he talks about going through a volume of work to fill the gap between where you are and where you want to be. My interpretation of this is something I always share with my mentees and I want to share it with you. In order to get where you are trying to go you have to fill this imaginary hole with things that are going to make you better. Examples of these things are tutorials, podcasts, lectures, meteors, personal work, feedback, and books.
2- Seek discipline - There's a great book out there that I've read several times called “Discipline Equals Freedom: Field Manual” by Jocko Willink which is essentially the key to filling the gap that I discussed above. The term discipline equals freedom applies to every aspect of your life and if you want more freedom you gotta get more discipline in your life.
3- Seek a village - There's a quote by the motivational speaker Jim Rohan that states that we are the average of the 5 people we spend our time with. My interpretation of this is that during my career so far I've befriended people who share similar values and beliefs as I do but who are also far more talented than me. By seeking a village of people who support you but who can also offer up honest advice it will help you see the chinks in your own armor and make you stronger.
Bella:
What are some of the techniques you use to create the work you do?
Jeffery:
A magician never tells his secrets, am I right? WRONG. To be super transparent I'm all over the place with techniques because I love exploring and experimenting. I will say that I consider myself a tactile tradesman of sorts. I enjoy integrating things that can be done using printed methods or by hand and merging them with digital aesthetics. For example, recently I had the pleasure of creating a title sequence project at Gunner School, and after brainstorming and pitching two directions I settled on one that used scanned-in elements from nature to emphasize the core elements of the movie.
Art Direction Jeff provided for Prisidio vis Demo Duck
Bella:
Do you have a favorite type of project to work on?
Jeffery:
This question is a bit of a hard one! In general, I have a deep appreciation for mixed media art. My interests span from collage to two-dimensional works and even dabble in a small touch of 3D. My preferred project styles can vary, but there's usually a common thread tying them together, and that's the element of enjoyment. Much of this passion is showcased on my website within a category I've named "TIDBITS," where I explore diverse artistic styles.
Bella:
You mentioned schooling and I see you recently attended Gunner School. What was that like?
Jeffery:
Attending Gunner School was a truly transformative experience. I had the privilege of exploring new ways of animation, thanks to the guidance and support of my peers and mentors. This opportunity encouraged my passion for learning and pushed me to unlock my potential. Through collaboration and hard work, I grew into a more confident and knowledgeable individual. This journey left a lasting impact on my life, opening doors to exciting possibilities and shaping my identity and outlook in profound ways.
Bella:
What are your goals for the next couple of years?
Jeffery:
Career:
1- Full-time employment with studio
2- Explore more creative styles of design
3- Publish a book on creative thinking
Personal:
1- Spend more time with family
2- Nurture more creatives
3- Watch more horror movies
Jeffery’s new demo reel.
Bella:
Was there ever a time when you didn't think breaking into Motion Design was even possible?
Jeffery:
Indeed, it's important to remember that every profession has its share of highs and lows, and taking that initial step can be quite challenging when embarking on any career journey. In my own experience, after graduating, I initially had a fantastic internship opportunity lined up, but unexpected circumstances threw a wrench in my plans. After this happened, luckily, I had the awesome support of a mentor whom I met through School of Motion to help me navigate such an event. Fast forward 8 months and with this person's help I had built a portfolio.
Bella:
Who are your personal heroes?
Jeffery:
Please bear with me as I share a touching story about my personal hero, Amanda Russell. Amanda is a Creative Director at CREAM Studio, and she is not only a highly accomplished professional but also an exceptional human being. Her boundless compassion has left an indelible mark on me that I try to emulate to others. Countless times, Amanda's unique blend of creativity and kindness has guided me through challenges in my own career that I couldn't have overcome on my own. In addition to her unwavering empathy, she serves as a deep wellspring of inspiration, embodying the qualities I deeply admire and aspire to cultivate in myself. Her steadfast commitment to creativity and the well-being of those around her should serve as a guiding light for anyone seeking a mentor in their career.
Bella:
Who are your personal heroes?
Jeffery:
Eddie: I was in the desert once, out in the middle of nowhere, absolutely nowhere. Just me, the sand, and silence. But if you know what to listen for, it ain’t silent out there. I heard a music out there I never heard before. In the silence. That’s what I’m after, kid. That’s intense. You dig down deep and touch something like that, people are gonna listen. They’ll listen to you because you got something to say! Not just something to show. You understand?
This quote comes from one of my favorite 80s movies called ‘Eddie and the Cruisers”. Sometimes you have to shut out all the noise of the world so you can hear your own internal voice. We all have an internal compass / creative voice we must listen to and when you add in the many distractions of the modern age it can get quite noisy. Enough to the point where you can't even discern what direction you should point your compass.
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.
A frame from André’s reel.
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.
Style frame from “Lagunitas IPA Day.”
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.
Frame from the Shillington Manifesto - one of André’s favorite projects.
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:
Takeover Tuesday with Kristina Sharabinskaia
An interview with Kristina Sharabinskaia, a Motion Graphics Designer and Concept Illustrator at The Mill.
Q&A with Kristina Sharabinskaia
Read time: 8min
duck Pond, 2021. Kristina Sharabinskaia.
Madison Caprara:
Hi, Kristina! If you don’t mind, let’s start the interview with an introduction to yourself. Who are you, what do you do, and how did you find yourself in the current position that you are?
Kristina Sharabinskaia:
I’m Kristina Sharabinskaia! I am a Junior Designer at The Mill. My role in the company is to storyboard, design concepts, and illustrate for motion. It's a fun job! I personally am not fond of animating things, this works well so that I don’t need to. I’m originally from St. Petersburg, Russia. I think the biggest reason why I’ve ended up in motion design is that my experiences in international schooling encouraged me to look for an escape through art.
When I was 12, I was sent abroad to England. At the time, I didn’t know English so art was something that allowed me to be busy while not speaking to people. I was that one student who draws during classes instead of paying attention. On the side, I used to go to fine art curriculums which helped me to get the principles of design down. So I took off to high school wanting to “draw cartoons,” and eventually got into college.
At SCAD, my major was Motion Media Design, and because I am an international student, ICE requires me to work in a major-related field. After graduation, I landed a few jobs as a freelancer for Scholar and State Design, however, I needed something more full-time. An HR rep from the Mill Chicago reached out to me and asked if I would be willing to work for the Mill. During the first go-around they found out that my visa was expiring soon, so they retracted the offer. A week later I saw through an old contact, Stephen Winters, an HR rep for the Mill NY, that they were hiring the same position. I DM’d him letting him know that I was interested. When I applied he vouched for me, and after three interviews, I got the job! This second time around, they looked a bit deeper into my visa situation and realized that I could extend it for another two years, so we’re good now.
Madison Caprara:
From eye-catching motion graphics to stylish designs and illustrations, your work is channeled in a variety of ways, yet still holds a pretty distinct style. How would you go about defining it?
Kristina Sharabinskaia:
My personal work explores redefining dimension. I like to play around with different scales of objects to reinforce the effect of a deformed reality. The end result is this surreal, imaginary dimension. I normally go about the process half-intuitively; I have an idea in my head of what I want to create and I vaguely sketch it out. After, I gather a lot of references based on the sketch and start drawing while copying aspects of my mood board. I then choose a style direction and use it as a guide for creating my artwork. In the end, I might apply some patterns, change the initial idea, or even evolve it into something else entirely. I often refer back to the color theory and the rules of composition. These make my decisions not so intuitive, but rather practical to reinforce the most interesting illustration that creates a new realm; bending rules of physics and logic, while still looking pleasing to the eye.
Madison Caprara:
You’re a recent university grad. Congratulations! How was your experience at SCAD?
empathy bro, 2021. Kristina Sharabinskaia.
Kristina Sharabinskaia:
Thanks! Tough question. I don’t know how much I can talk about it, but in a few words, it's a great school to connect, network, and find jobs. After all, the only reason I’m here in the epicenter of the motion graphic industry is because of SCAD's relationship with others within the creative world. They throw a career fair every year specifically for motion graphic students, so you can really network. There are so many cool resources, like a swimming pool, gym with real instructors, and even free late-night cabs from campus to your house. They host festivals where you meet celebrities and student shows exhibiting their works. SCAD definitely appeals to the masses.
There are, however, some downsides that you couldn’t imagine being there until you become a SCAD Bee. SCAD doesn't offer enough support for students. The student body has been asking for an increase in mental health services and altering tuition fees since the pandemic began. Other changes to be had are allowing plus-sized models to be cast in fashion shows, providing funding for student clubs, and softening absence rules. It just felt like the school didn’t necessarily do anything for students that didn’t benefit them cost-wise. Even when suicide rates skyrocketed, there was no change in the way SCAD handled the issue. Most of the university, if not all of it, is a big marketing scheme; a business, a modern-day “nonprofit” corporation. So by entering this academic community, you agree to be a part of the show.
With all of this being said, this money-hungry infrastructure benefits graduates. There are so many job opportunities and perks that come from this agreement after you have graduated from this nightmare. It’s a win that comes at the cost of students’ mental well-being, creative blocks, and countless sleepless nights.
Madison Caprara:
That’s disappointing to hear, and an issue many who have chosen the more “traditional” path of education are being forced to make peace with when the realization strikes that these large entities really don’t care about the individual.
Madison Caprara:
Now, do you have any tidbits of advice for students who may be thinking about entering the motion design world?
Kristina Sharabinskaia:
I feel like you really need to understand what it is about before entering it. Figure out what exactly you want to do as your job. Try to reach out to some people in the industry, invite them for a coffee, or even email them to ask questions. If they’re not busy, they will be happy to get back to you. Most of us professionals are happy to connect, even through email. But don’t frown if a person doesn’t get to you, I’m sure they feel bad for not doing so.
Madison Caprara:
If you had to choose one creative collaborator for an important project, who would you count on?
Kristina Sharabinskaia:
When I had initially started working at a Scholar, my guide from the start was Madison Ellis. She worked as an Art Director for my first Taco Bell project. Madison was incredibly positive and encouraging. She had also graduated from SCAD two years before I did. We hit it off right from the start. She is a talented director and her feedback helped to improve my work by miles. In the end, she would always ask if you were happy with your result. It really showed how much she would listen when solving creative problems together. I’ve never actually met her in person, but her memes would always crack me up and make my day!
Black Lives Matter, 2021. Kristina Sharabinskaia.
Madison Caprara:
What do you believe are some of the benefits of working with colleagues as opposed to going at it alone?
Kristina Sharabinskaia:
Working with other creatives helps me keep myself accountable for meeting deadlines and the precision of my work. Processes like brainstorming and overcoming creative blocks as a team are easier as opposed to facing the struggle alone. Your capacity of work goes down when with colleagues because you're not made to wear multiple hats. So yeah, I love teamwork! It’s efficient, fun, and your opportunities to come up with ideas are expanded with multiple points of view.
Madison Caprara:
You’ve worked with some top-tier studios: Scholar, State Design, and as you said, you are currently working at The Mill. How have those experiences been for you?
Kristina Sharabinskaia:
Everything I have expected and, at the same time, very different. I had a good understanding that the motion industry had a certain structure of work: the advertising agency sends a script, then you pitch to the agency. If you win, you first would start with mood boards, gathering references, creating style frames, and sharing the overall vision of the project. After the client’s approval, you move to animation. Normally, designers would work almost simultaneously with animators and slowly connect all the pieces of the puzzle together. Art and creative directors oversee the project, share notes with the clients and the team while keeping everyone on schedule. This pretty much sums up the process.
Studios like to keep a similar routine and follow a similar creative process, despite the size of the company. So I found myself fitting into the routine easily. The transition began after I gained more experience with different studios. I found that people had a huge impact on the energy in the company. If there was a micromanaging producer, it would impact the speed of communication. If a creative director is stressed about the project, it would cause the whole team to be nervous too. It’s never really about business and money, but the time you get to know your colleagues as people, not employees. I learned to appreciate a good afternoon of laughter and discussion of new Netflix shows.
Madison Caprara:
That’s a great takeaway. Humans really are at the heart of every company.
Madison Caprara:
With your history of landing work at various reputable studios, what is your opinion on showreels vs. individual clips when landing a gig? In your experience, which should be prioritized?
2021. Kristina Sharabinskaia.
Kristina Sharabinskaia:
I mean, you need both. I’ve gone to college fairs and other opportunities to land gigs with both ready to show, and STILL wouldn't end up nailing an internship. My friends did, though, in some instances. So, I’d say it’s helpful to have them, but they’re not a guarantee to magically find work. Sometimes all that matters is networking and knowing the right people to be the applicant who lands the job.
Madison Caprara:
Do you have an all-time favorite project that you have worked on?
Kristina Sharabinskaia:
I haven’t been in the industry for long enough to fall in love with a specific project, yet. Most of the time the ideas get so diversified and changed throughout, that you can barely take credit for your own input. I guess I have an idea for a perfect project where I would be an art director for the project, and so far those have been social media pieces for Instagram during my free time. If I had to pick a favorite, it would probably be an illustration for a podcast cover I did a year ago called “Empathy Bro”. I really liked it because the host of the podcast was a small business owner, and the process of working with her was more to the ground and personal. We would facetime each other, I’d film myself sketching ideas, and we’d brainstorm together.
Madison Caprara:
In your opinion, what are some of the current visual trends motion designers should be focusing on?
planeta., 2020. Kristina Sharabinskaia.
Kristina Sharabinskaia:
A mix of 2D and 3D has a certain appeal. The combination of the different stylistic approaches uplift art to be more unique, and being unique is always something people look out for when trying to find inspiration.
Madison Caprara:
What is your favorite thing about working in motion design? Are there any misconceptions that come with being a designer?
Kristina Sharabinskaia:
Yes. One thing in particular that I wasn’t necessarily surprised to find out was truthful but confirmed what I’ve heard before from many teachers and designers in motion. When you create something in a group of people, not all of your ideas get heard or even executed. Sometimes I would spend weeks designing characters for an environment, but in the end, the idea just ends up dusting away on a cloud. And sometimes it’s hard not to take it personally, but it’s work, there is always tomorrow.
Madison Caprara:
Where do you get inspiration from when creating this work?
Kristina Sharabinskaia:
Pinterest, mostly. And Netflix’s Arcane: League of Legends. But I intensively follow artists I like and get inspired by their work. A few of the great ones in motion design are Ori Toor, Sarah Beth Morgan, Rune Fisker...Their work is unified by bright colors and the appeal to animation, meaning their work looks like it could move.
My personal art style is just a repetition of other artists’ work. I pick the inspiration, mix, match, and imitate. In the end, it still comes out differently, even though almost none of my ideas are mine in the beginning. References rule!
Madison Caprara:
I love the self-awareness, Kristina! It’s really refreshing!
We’re reaching the end of our time together, unfortunately. Is there anything in particular that you would like to touch on before we go?
Kristina Sharabinskaia:
Yes! I’d like to end with a piece of wisdom for fresh talent. There is nothing wrong with promoting your work on social media. For me, my presence on socials has helped me to make a lot of friends in the industry as well as to find work and even be discovered. Marketing my Instagram and Behance, and posting projects on Linkedin played out very well for me. After all, I got my art on a beer can because of social media!
Abstract+Architecture, 2021. Kristina Sharabinskaia.
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!
Takeover Tuesday with Caroline Le
Introducing this week’s Takeover Tuesday guest, Caroline Le. Caroline is a motion designer based in the greater NYC area with a passion for storytelling, problem-solving, and entertainment.
Q&A with Caroline Le
Read time: 5 min
3D illustration by Caroline Le
Why did you choose your profession? How did you go about starting out?
I've wanted to be an animator ever since I was a little girl, I loved to draw growing up. Disney movies and the Sunday comics were always big sources of inspiration. Although, It wasn’t until I saw a visual effects breakdown from one of the Star Wars movies that I really got hooked. It was so cool and I knew from that moment on that I wanted to do something with animation and CGI.
What does Women’s History Month mean to you? Why is it personally significant in 2021, particularly?
Women’s History Month for me is a time for reflecting on how women have contributed to society both directly and indirectly over the years, and how they continue to do so today. Reflecting on the enormous amount that women have contributed encourages the confidence necessary to fuel continued change in our society. That in and of itself is really empowering. We’re witnessing some real change in 2021, and with more people aware, it’s an opportunity to put our strengths on display and to show the world what we’re capable of as women.
What do you love most about what you do? What would you change?
It may sound cliche, but I really do love the storytelling aspect of animation and motion graphics the most because it has the ability to ignite an emotional connection between the audience, the art, and the message itself. When you can make someone really feel something-excitement, nostalgia, happiness, hope–that’s when the true magic happens. Every project that I’ve been given the opportunity to be a part of has allowed me to create, dream, and problem-solve. Because of that, I honestly wouldn’t change a thing about what I do. It’s the perfect mixture of right-brain and left-brain thinking, and I enjoy it a lot.
“reflecting on the enormous amount that women have contributed encourages the confidence necessary to fuel continued change in our society. That in and of itself is really empowering.”
Tell me about a woman you look up to and why.
There are several women that I really admire, but the most inspirational woman in my life is definitely my mom. I’ve always admired her confidence and drive in her career, her compassion and loyalty when it comes to her relationships, and her generosity and optimistic attitude when it comes to her demeanor. She’s taught me to be a good listener, to always be kind, to be patient, and the importance of one’s relationships. I believe these life lessons have shaped who I am today. She’s also been a cheerleader in every endeavor that I’ve ever pursued, including wanting to be an animator, and I am forever grateful for that.
Created by Caroline Le
What’s the best career (or life) advice you have ever received?
The best piece of career advice I ever received was “don’t be afraid to ask questions” and it’s been useful in every aspect of my life.
Do you have any advice for young women first starting out in this industry?
Nurture your professional relationships. Get to know your teammates and managers, really pay attention in meetings with your team or with your clients. Step away from the computer and grab coffee or lunch with a coworker. Help out wherever you can. Hold on to anyone that you consider to be a mentor, and most importantly don’t be afraid to be yourself.
Do you currently prioritize your work-life balance? If so, how?
Absolutely! Especially working from home due to COVID. I do my best to not bring work outside of my office space, stick to solid business hours, and allow my mind to unwind at the end of the workday. This usually includes watching TV with my husband, playing the piano, or reading a book. I don’t typically work on the weekends, but if an emergency arises with a client project or if I have a passion project that has been sitting on the back burner for a while, I’ll put some time in so that everything stays on track. I also plan the week ahead for an hour or two on Sunday mornings so that I am aware of my biggest priorities to tackle Monday through Friday.
“continuing to show up, doing good work, and supporting one another are great ways to advocate for ourselves.”
What barriers are women still facing in the industry? How do you think they can go about breaking them down?
My observation would be that women may still not be taken as seriously as men in the industry, but continuing to show up, doing good work, and supporting one another are great ways to advocate for ourselves.
“I really do love the storytelling aspect of animation and motion graphics the most because it has the ability to ignite an emotional connection between the audience, the art, and the message itself.”
Created by Caroline Le
Where do you go for inspiration?
I typically go to sites like Vimeo, Pinterest, and Behance for inspiration. Lately, however, I’ve been pulling a lot from books that I’m currently reading or have read, and even personal experiences of my own. It’s a nice change of scenery.
Do you have any closing advice, points, or statements you would like to make?
There are so many talented and genuinely wonderful people in the animation and motion graphics industry. It’s been a real pleasure getting to know members of the community over the past few years and I look forward to connecting with and meeting even more amazing people in the months and years to come!