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Takeover Tuesday with Samy Halim

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

Read time: 5min

Madison Caprara:

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

Samy Halim:

Hi, my pleasure!

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

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

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

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

Very interesting question!

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

Madison Caprara:

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

Samy Halim:

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

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

Madison Caprara:

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

Samy Halim:

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

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

Takeover Tuesday with Leo Franchi

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

Q&A with Leo Franchi

Read time: 5min

Madison Caprara:

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

Leo Franchi:

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

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

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

Madison Caprara:

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

Leo Franchi:

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

Madison Caprara:

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

Leo Franchi:

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

Madison Caprara:

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

Leo Franchi:

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

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

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

Madison Caprara:

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

Leo Franchi:

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

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

Madison Caprara:

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

Leo Franchi:

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

Madison Caprara:

How do you initially choose a direction?

Leo Franchi:

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

Madison Caprara:

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

Leo Franchi:

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

Madison Caprara:

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

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

Leo Franchi:

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

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

Madison Caprara:

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

Leo Franchi:

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

Supervielle, 2018. Leo Franchi.

Madison Caprara:

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

Leo Franchi:

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

Madison Caprara:

Should’ve guessed that!

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

Leo Franchi:

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

Takeover Tuesday with Samy Halim

Takeover Tuesday with Leo Franchi

The Dash Bash venue