Takeover Tuesday with Pablo Lozano
Q&A with Pablo Lozano, a former Animator and Designer at Golden Wolf, currently freelancing in Toronto, Canada.
Q&A with Pablo Lozano
Read time: 10min
Madison Caprara:
What’s up, Pablo? Let’s start with an introduction! What did your path to becoming an animator look like, and what about it initially attracted you?
Pablo Lozano:
Hey there! Thank you for having me here. I started my career as a Motion Designer in TV (news broadcasting, sports broadcasting, etc.), but then realized that that side of the motion world was too fast-paced for me; having to create content in days, if not hours, and most of the “cool” projects, like openers or rebrands, ended up being outsourced to outside studios. That's when I decided to change directions towards the studio side of things. I moved to Sweden to study at Hyper Island, improved my skills, and from there, moved to London to join the Golden Wolf team. Now I am freelancing!
In regards to my original attraction to the medium, I've always known I wanted to work in the creative field, but it wasn't until my early 20s that I narrowed it down to 2D animation and motion design. I love bringing still graphics and illustrations to life. I love how we can create new worlds in 30 seconds, and mostly, I love deciding how movement informs the tone, message, and emotion of a piece.
Madison Caprara:
And how would you go about describing your “signature style”?
Pablo Lozano:
I'm not sure I have a signature style, to be honest! I enjoy working in different styles but if I had to narrow it down, I am really drawn to dynamicity and energy. Those are the projects I enjoy working on the most; having fluid motion that ties scenes together, changing rhythms, and high energy.
Madison Caprara:
What type of education did it take to get you where you are today? Formal, self-appointed,..?
Pablo Lozano:
Most of my motion and animation education has been self-taught or through work experience. However, my time at Hyper Island in Stockholm gave me the space, tools, and time to hone my skills surrounded by incredible people.
Madison Caprara:
Speaking of Stockholm, you’ve moved around quite a bit. Sweden, the UK, Canada. How has your experience been in each place, professionally and personally?
Pablo Lozano:
Each is very different, and I think each experience reflects on where I was in my life at the moment. In Sweden as a student, broke but was very interested in learning, spent a lot of time at school working on projects, figuring out exactly what my next move was. London was a time of professional growth, very long working hours, and most everything in life revolved around work. Now in Toronto, I'm trying to find a bit more of a balance between work and life outside of work.
Additionally, each city is very different industry-wise. While London is a huge animation hub, with studios just a block apart from each other and a big network of animators and designers, Stockholm and Toronto have a smaller animation/motion community. Fewer studios and the community is a bit more fractured and difficult to keep in contact with.
Madison Caprara:
Interesting! With all being more well-known cities, I had assumed that they would all have a pretty booming animation/motion scene.
So, you’ve created projects for everything from TV to apps to magazines and have used a pretty large variety of mediums to animate. Do you have a preference?
Pablo Lozano:
Not really! I do specialize in 2D animation, both After Effects and hand-drawn, so that’s my preferred medium paired with Photoshop for design. But regarding the output, I find joy in working for different types of clients, different formats that bring different challenges to the table. Lately, I’ve had a streak of projects where my 2D work has been mixed with 3D content, and that has been very interesting, both in the workflow and style.
Madison Caprara:
Pivoting back to your London days, how did you find yourself joining the Golden Wolf team? How was your experience?
Pablo Lozano:
I joined the team as an intern after my studies and stayed for around three years. My experience there was great! I grew a lot in those years, being surrounded by incredible talent, working with high-end clients and on super interesting projects. There were a lot of long hours and late nights at the time, but I loved the camaraderie and energy there was at the studio. I haven’t found anything quite the same since. I miss the wolves!
Madison Caprara:
Looking back, did you have any particular career goals during your studio days that may (or may not) have changed now that you’ve transitioned to freelance work?
Pablo Lozano:
Just to be a better animator and designer, really. To polish my skills as much as I could. When I got to Golden Wolf, I would see other artists next to me, either full-time or freelance, creating these beautiful animations. I only wanted to get to their level and learn from them. That’s why I would advise anyone trying to get into the industry to gain some studio experience. The knowledge and motivation you get working alongside great talent are invaluable.
Madison Caprara:
And what prompted you to make that switch?
Pablo Lozano:
I wanted a change of pace. To explore how other studios and artists work. Golden Wolf was my first studio experience in the motion industry, so I wanted to see how things worked in other companies. Another reason was the freedom that comes along with freelancing. You can decide the amount of work you want to take on, when to sprint and take on more, and when to slow down to take care of yourself or focus on other things. When you are full-time, somebody else decides that for you.
Madison Caprara:
Having experienced both sides of the coin, do you have a preference between the two?
Pablo Lozano:
I think each has different advantages. I miss incredibly the feeling of being part of a studio; the connection to people, the energy and creativity that flows being in the same space. I don’t think you can recreate that feeling remotely. But on the other side, I am happy freelancing. It allows me to take time off when I need to, to either explore North America (I don’t know how long I’ll be around here) or go back to Spain to see family if needed. At the moment, it better fits my lifestyle.
Madison Caprara:
To speak a little more on your work, is there anything you are particularly trying to address or explore through your pieces?
Pablo Lozano:
Not at the moment, no. Each project is unique and the message is tailored to the client. I have several ideas for personal projects with topics and styles I want to explore, but as always, it’s quite difficult to fit personal work in between client projects while keeping a balanced life outside of the work.
Madison Caprara:
Where do you see the future of animation heading?
Pablo Lozano:
I can only speak on the commercial animation/motion side of things. I see a growing need for animated elements (either 2D, 3D, hand-drawn, or computer-generated) as more and more digital content and platforms need it. On the other hand, I also see a commoditization of much of that content. Faster turnarounds, a longer list of deliveries to fit all possible platforms…a wider pyramid base, and more work across the board but probably as competitive when you move up.
We have seen how animation is doable in a remote environment and during a crazy event such as a pandemic, so in my opinion, that has only increased the number of clients that now feel comfortable creating animated content. It will also be very interesting to see how new mediums we didn’t even think were possible months ago, like the NFT space, will change our industry and the client/artist relationship.
Madison Caprara:
When you find yourself in a creative rut, where do you go for inspiration?
Pablo Lozano:
It’s going to sound cliché, but I try to step away from the computer. Going for walks, people watching…Sometimes inspiration comes from real-world shapes and architecture, sometimes a book or an article, sometimes other artist's work makes me want to try something new...it really varies.
Madison Caprara:
I personally enjoy a good cliché!
Well, it’s been really great getting to learn more about you, Pablo. Unfortunately, we’re reaching the end of our time. That being said, do you have any closing points or advice you’d like to share?
Pablo Lozano:
We need to remember that our career is a marathon, not a sprint. It takes time and effort to get to the skill level you want to be, even if social media these days makes you believe otherwise. Be patient. Work hard, there are times to push, and there are times to rest. Be nice, create genuine connections. And focus on the things you enjoy creating because those are the only ones you’ll be able to pour hours and hours into.
Takeover Tuesday with Daniel Moreno Cordero
Q&A with Daniel Moreno Cordero, a designer and animator from Cadiz, Spain who now lives and works in Toronto.
Q&A with Daniel Moreno Cordero
Read time: 10min
Madison Caprara:
Hi, Daniel! To begin, could you give us a brief bio of who you are and how you got into the industry, please?
Daniel Moreno Cordero:
My full name is Daniel Moreno Cordero. As you may know, Spaniards have two last names that are sometimes pretty long, although mine’s not that bad! Forty years ago, I was born in the south of Spain in a city called Cadiz. I’m old, I know. It’s a very interesting place. Cadiz is surrounded by white sand beaches and it’s one of the oldest cities in Western Europe (it was founded 3000 years ago). You can find Phoenician, Greek, Roman, and Moorish ruins and art everywhere because of that.
Being surrounded by history, I started paying attention to art very early on. I believe I was around eight years old. I would be constantly drawing everywhere, it’s all I would do in high school. My teachers were a bit sick of it as a matter of fact! I hoped to become a comic book author. Motion Design wasn’t a thing yet, but I was very interested in digital painting and Photoshop. So, I would draw on the computer from very early on, in fact, I even got a digital pen in the late 90s (they weren’t as advanced as a Wacom today, unfortunately). I was also very interested in movies and would make short films with friends. In the beginning, I would edit directly on tape which was rather hard and not very precise.
Two years before University, I joined a famous local painter’s studio. He tutored me in classic art and oil painting. It was great and I learned a lot about the technique. Despite all my efforts and hard work, I failed my exam to access art school. It was a practical exam where we had to draw a greek classical statue live, with hundreds of other applicants. I had been training for a couple of years and was pretty confident. However, I later learned that there was this kind of “mafia” in the University at the time where the only alumni getting in were people attending private tutoring from the same teachers in the University. So anyway, I went on to study History of Art at the University of Granada. I loved the degree and even considered becoming a history of art investigator or professor. But then a design school opened its doors in Granada and I decided to attend after completing my program.
Daniel Moreno Cordero:
So there I went and pursued a three-year degree in Design and Multimedia Production. It was an amazing experience and I learned all the basics of design, color, techniques, etc. In my last year there I discovered the world of Motion Design and it was love at first sight. It had everything I cherished: illustration, animation, film, design, art...it was just perfect for me. So I decided to become a Motion Designer.
Madison Caprara:
Wow! That’s quite a journey to get to where you are today.
For readers who may not be familiar, how would you describe your current style?
Daniel Moreno Cordero:
That’s a good question! I think I would describe my style as inspired by Pablo Picasso’s ideas while applied to Motion. Picasso is my favorite artist. I try to pursue a child-like aesthetic; spontaneous and fun. I enjoy playing with the abstract to some degree and thinking about the symbolism of the varying shapes and forms, even if that symbolism is not apparent all the time. I focus a lot on color and how it affects the human psyche. I like being bold with the tones, so the pieces end up being cheerful and hopeful. I love classic art, but also African and Pre-Hispanic periods. Early 20th-century vanguard (Dadaism, Cubism, Expressionists, Abstracts, Concept Art, Pop-Art, etc.), and 60’s illustrations and designs as well. I would say my style is a mix of all of that in some way.
Madison Caprara:
That’s probably one of the most intensive descriptions I’ve gotten to date! Gustav Klimt is one of my favorite artists, so we share that affinity for figurative painters.
So you spoke a bit about your hometown of Cadiz, Spain. I see that you are currently living in Toronto, though! What was that relocation like for you? Did work play any sort of role in the move?
Daniel Moreno Cordero:
In the late 2000s, the Motion Design scene in Southern Spain was minuscule. Not a lot of people were working in it and there was not a lot of interest from clients either. After some time working as a design teacher and hustling on the side with some clients making Motion pieces here and there, I decided it was time to go somewhere else, somewhere bigger where I could work in a studio. My wife and I packed our bags with our two daughters and we moved to Bogota, Colombia in 2012. There, I joined a very nice studio called LaPost. It was such a great experience. I met wonderful people there and learned so much!
After a year working in-house, I decided to go freelance full-time in the last months of 2013. At that time, it was a bit harder to work with people overseas. Luckily, I got quite a lot of clients from the U.S., so I was able to be constantly working on projects I liked from home. From there, it grew, I even got two Vimeo Staff Picks with two animations I did for Dreambear studio in NYC. In 2015, Polyester Studio in Toronto contacted me for a couple of projects. The projects were crazy in regard to the amount of work and time they gave me, but they were also super interesting and I enjoyed working with them a lot. Because it went so well, they offered me full-time employment. In the beginning, I worked from Colombia. Eventually, they were kind enough to aid with all of the paperwork so that I was able to go to Toronto to work in-house. I first came in April 2016 to check out the city and stayed for a month. I fell in love with the place instantly. In October 2016 my family and I packed our bags again. We left everything behind for a second time and moved over to Canada. It has been a great experience so far and we love the country. In 2020 I decided to go full-time freelance again, and here I am!
Madison Caprara:
You have quite the roster, what has been your most memorable piece or experience thus far?
Daniel Moreno Cordero:
My favorite animation is my personal project Art is Theft. It’s a very dear piece to me. Some others I really enjoyed were Line Meets Shape, an abstract piece I co-directed for Polyester Studio, visuals I did for reggaeton singer Bad Bunny, an animation I directed for Yoplait, another mixed media project I did talking about the American Dollar, and a very beautiful explainer I designed and helped animate for Polyester Studio.
However, I have to say my absolute favorites are two pieces I’m working on right now that will come out later in the year. One is for Google, talking about a trans actress called Michaella Jay. Another one is my new personal project called Everybody Loves Salsa. That last one may be my all-time favorite project piece. It’s my most personal and the one I’ve had the most fun with!
Madison Caprara:
Speaking of, your film, Art is Theft, won the Toronto Independent Film Festival award for best animated short in 2017. Congratulations! What can you tell us about your creative process for it? How did you come up with the concept and where did it go from that initial conception?
Daniel Moreno Cordero:
Thank you! That was such a rewarding experience! I was able to go to the festival with my family and see the animation on the big screen. It felt great! The idea for this project came from a presentation I did in 2011 when I was still a design teacher in Granada. I gave an hour-long presentation titled Art Is Theft that spoke about how Pablo Picasso took from so many sources to create his Magnus Opus, Les Demoiselles d’Avignon, in 1907. This was the first art piece in the style of Cubism ever and the process behind it is just fascinating and super intense. Loving this concept so much, I always considered how important the use of references in projects was. I wanted to talk about the difference between simply copying something and stealing the soul of a style, which has to do more with understanding what that style is about and applying it in your own way. Since I had spent five years studying History of Art at the university, I thought it was an important part of my life and wanted to speak about something related to it.
So, being a history of art nerd, I looked for several quotes from different artists throughout history about art and creation. I put all of them together and edited them so it would make sense as a script. After that, I experimented with the visuals and I came out with the style you can see now on that piece. I talk a lot about the development of the visual style here. The sound part was also super interesting. I really wanted the narrator to sound old and experienced, as if Picasso himself was the one speaking, so I looked for a voice talent that would be older than you would usually find in a Motion Design piece. I think it sounds wonderful. The cherry on top was the amazing sound designer. Ambrose Yu was so kind.
Global Dollar | Daniel Moreno Cordero
Madison Caprara:
Well, it’s a beautiful piece. Before even knowing the background, I could see Picasso’s influence.
Having spent some time in the education world, what’s one piece of advice that you would give to current students?
Daniel Moreno Cordero:
First, don’t be intimidated by all of the great work that is being produced at the moment. I know it can be overwhelming to scroll through Instagram and see masterpiece after masterpiece, but this is actually good! It means the Motion Design industry has come a long way in the last 10 years, there’s an overflow of talent and excitement everywhere. Learn from that, but don’t copy or “steal,” simply get inspired by what you see.
I would advise looking for references outside of the Motion world as well. Sometimes it can be a bit circular, you see the same elements over and over. Go to the classic and modern art influences. There is so much to discover and see and those artists went through the same phases Motion Design is going through now. Get inspiration from your hobbies, the world around you, museums, music...you’ll have more fun and it will be more rewarding and thought-provoking. Also, don’t hesitate to contact your favorite artists and animators. They’re usually pretty cool and will be more than happy to give you advice, wisdom, and kind words. At least, that’s my experience!
Another one. If you go to a studio as a newbie, learn as much as you can from the senior animators there. Don’t try to be a smart ass. The experience they can give is going to be invaluable for you.
Madison Caprara:
In my opinion, self-growth should never end. No matter how talented or successful you are. Do you have any career goals or skills you would still like to achieve?
Daniel Moreno Cordero:
I’m starting to direct more now, and I really enjoy that. Coordinating a large team is challenging but I find it super rewarding and it allows you the opportunity to learn from the team. This is something I’m focusing more on little by little. Also, I am trying to be more selective about the projects I work on. It’s something I struggle with because I fear I might run out of work, even though I haven’t stopped since 2012! I guess it’s the human condition of survival. So that’s something I have to learn to manage better and trust more in myself. I am really looking forward to developing more personal projects, one of them is on the way later on this year (fingers crossed)!
Madison Caprara:
We’ll keep an eye out for it!
How do you believe the industry has changed since you first started your career?
Daniel Moreno Cordero:
Oh boy, it has changed so much! My first Motion Design work with a client began in 2009, so over the last 12 years, things have really evolved. I would say there’s more interest in Animation than there was before. There are more interesting projects and more opportunities. More artists are making incredible work as well, everyone raises the bar so much. Back in the day, speaking as the old man I am now, if you knew how to use After Effects you were pretty much set. Now you have to be a good ARTIST. It’s not only the programs but also the technique and skill behind them.
There are a lot of studios now with top-quality work, so it’s easier to get in with them and make really good pieces with a talented team. Ten years ago, there were only a handful of studios that were genuinely above the rest making the top work. So, more opportunities all around I would say. It’s more demanding though. Now you have to know your design and art essentials better and you have to push yourself a lot. Motion Designers learn more and more programs and techniques now (2d, 3d, vector style, what have you). So definitely more demanding!
Madison Caprara:
Where do you go for inspiration?
Yoplait OUI | Daniel Moreno Cordero
Daniel Moreno Cordero:
Well, Wine After Coffee, Instagram, and Motionographer are big ones for sure. But I try to go to other places that are not related to the motion industry. Museums are a big part of me. I miss them so much with this pandemic! Also, traveling once we can do that again. It’s going to boost your views and inspiration a lot more than simply scrolling Instagram, that’s for sure. I have learned the most from the places, cities, and countries I have visited, and the people I have met there!
Madison Caprara:
Well, awesome, Daniel! This has been a great chat, but we’re going to start wrapping up. Do you have any closing advice or statements you would like to share with our readers?
Daniel Moreno Cordero:
Motion Design is very demanding mentally. I sometimes try to rush and find myself depressed because I’m not doing top-quality work all the time. But we are here for a life-long path (hopefully), so there is time for everything. Keep that in mind. Take things easy. Enjoy the ride and the animations and designs will come out better and in a more rewarding way. Sometimes, you see so many great pieces on social media that you feel as if you are missing out or that you are not working or creating great pieces fast enough. Try to manage that. Keep in mind this is a marathon, not a sprint.
Learn from the history of art. You would be surprised by how similar the stages and shifts in styles we are going through right now are to those the artists from the first half of the 20th century went through. You can learn a lot from it and potentially be ahead of the game. Also, sometimes this industry is too focused on North American and Northern European culture. That’s normal because most of the larger studios are in those areas, but if you go to different cultures, Asian, African, and South American for example, you will find a lot more inspiration and different ways of thinking and approaching your art. Try to look around a bit more. Not everything has to be in the Swiss-style design. There’re more valid ways of creating art and design outside of that mentality.