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.
Frames For Future - United Nations Goal 16, 2020. Leo Franchi.
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.
Alfajores de Maicena: Cornstarch Alfajor, 2021. Leo Franchi in collaboration with Coat of Arms.
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.