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Takeover Tuesday with Liz Galian

An interview with Liz Galian, a freelance designer and illustrator based in Brooklyn.

Read time: 5min

Madison Caprara:

Hi, Liz! Let’s kick off our chat with an introduction to yourself; who are you, what is it that you do, and how did you find yourself where you are today?

Liz Galian:

Hi Madison! I’m a freelance animator and illustrator based in Brooklyn. These days I find myself doing mostly character design and animation, which is a lot of fun for me. As a kid I really loved drawing portraits, so it’s kind of funny that my career meandered me back to that.

Madison Caprara:

What made you want to pursue animation and design as a career? Was there anything specific you saw or experienced, or was it an interest that gradually grew over time?

Liz Galian:

Initially I really just wanted to be an illustrator! My grandfather was an illustrator for a greeting card company and we had his work hanging all over my home growing up. Because of that, I was really privileged to have artistically supportive parents. They encouraged me to go to art school from a very young age, which is so rare. Then, toward the end of my college career I took an animation class on a whim and completely fell in love with it. From there, the more I learned about the motion graphics industry, the more I felt at home there! It’s such an amazing intersection between illustration, design, and animation — and because of that, I get to do the two things I love most without having to choose.

Madison Caprara:

How would you go about describing your signature style or “look”?

Liz Galian:

I’ve always been drawn to really bright, warm colors. These days the style that comes most naturally to me is 2D, graphic, and whimsical. I think a lot of that has to do with how fast projects move in this industry, and the worry that a design will be difficult to animate if it isn’t as simple as possible. I’ve been told that my animating style has a softer flow to it and is usually mistaken as being mostly cel animated (in reality, it’s usually after effects!).

Madison Caprara:

I see that you recently dropped a new reel. It looks great! Are there any particular do's and don't’s that you feel newer creatives and/or students should know before creating and sending a reel out?

Liz Galian:

Thanks so much! The thing I love about reels is that it gets to be a documentation of a few years of your life and your work, where you get to see how much you’ve grown. Every time I post a new reel, it feels like a little celebration. I would say the biggest piece of advice to someone just starting out, is to use their reel as an opportunity to curate what they’re most proud of and experiment with how you can best showcase it. There aren’t any hard and fast rules for what music to use, what aspect ratio it needs to be in, how fast the cuts are, etc. I would say just keep it under a minute and fifteen seconds, and don’t steal other people’s work (obviously) — but beyond that, make it your own and have fun with it!.

Madison Caprara:

What kinds of projects are you currently working on and which has been your favorite so far?

Liz Galian:

My last big project was my reel, so now I’m taking a breather before I dive back into personal projects. This year I want to put more of an emphasis on the illustration side of my art practice, which I think takes a bit of a back seat to the animation side in my day-to-day life. I’ve been working on a deck of Tarot cards in my free time, so I think that might become the first side project I get serious about finishing!

My favorite project I’ve done so far is actually a smaller one I did with Mailchimp in 2020. I had the space to explore a new workflow I hadn’t used before, where I made draft animations in after effects and then traced over them in photoshop. This let me figure out the beats of each animation really quickly, and then invest most of my time in really playing with the line quality I could get out of the really gorgeous photoshop brushes Mailchimp uses. Usually when I cel animate, I do the entire project in one program and had never really given myself permission to mix AE animation with cel animation. That project showed me that every project calls for a new way of execution, and that there’s really no wrong way to get things done.

Madison Caprara:

We’re coming up on two years of living in this pandemic-ruled world–which is crazy to me. Has your life (and work) changed drastically in that period of time?

Liz Galian:

Definitely, but for the better I think! I was already doing a little bit of remote freelancing before the pandemic, mostly when I was art directing with an all-female studio in South Africa called Batch. At the time I remember wishing that more studios were open to working with people remotely, as a lot of studios and artists I really admired and wanted to work with were on the other side of the US. The new work-from-home norm over the past two years has made it possible for me to make new relationships with amazing people I never would have been able to work with, which I’m so thankful for.

The pandemic also made me take a hard look at how little I prioritized my personal life and my health. I started exercising and spending more time with my friends and family, saying no to jobs that asked for too much, and giving myself more grace when I was tired or burnt out. Its caused a big shift in me as a person. Unexpectedly, I think my work has also gotten better because of it.

Madison Caprara:

What practices did you implement to keep your sanity?

Liz Galian:

I’m really into puzzles, so that’s kept me sane! I try to do a little sudoku or a crossword every day, though those have taken a back seat lately to Wordle. I’m also a big book worm, so not having to travel to work every day gives me time to have my coffee and read a chapter or two before I start work in the morning. My favorite thing I’ve read so far during the pandemic is “Understanding Comics” by Scott McCloud. It weirdly helped me learn a lot about pacing in storytelling and all of the visual ways that you can communicate it. I highly recommend it for anyone who animates (or is into comics!)

Madison Caprara:

In your opinion, for someone aspiring to be an animator, how much knowledge outside of animating is required? Can someone who has more of a fine art background make it, or is a higher technical knowledge needed early on?

Liz Galian:

I’m biased because I went into art school not knowing what Adobe was, how to open photoshop, or how animation worked at all. I think like anything, animation is a skill that comes with years of practice, and if you decide to put the hours in, no matter where you start and what background you come from, you’ll get good at it. Nobody is inherently highly skilled at anything on their first try, so the only barrier anyone can face at a skill they want is whether or not they want it badly enough to keep practicing. The internet has endless resources and the animation community is really welcoming and helpful!

Madison Caprara:

On the flip side, what about those more traditional art skills? For someone who wants to be an animator, how important is it for them to have drawing skills?

Liz Galian:

I think it depends on the kind of animation you want to do. If you’re interested in cel animation, drawing is a skill you might want to invest time in. If you’re interesting in more traditional mograph-y styles and after effects heavy animation, I don’t think having drawing skills is necessary.

There are so many animators who aren’t illustrators, and they still make amazing work! A lot of studios have animators and illustrators on separate teams, so the animators are receiving the artwork that’s already been made and animating from there. There are so many pockets in this industry with different needs, so not having drawing skills isn’t a make-or-break for your career. On the flip side though, if you want to start drawing there are so many resources online that can help. School of Motion, Skillshare, and Youtube are full of classes and tutorials that will give you tips and tricks. In pre-pandemic days, most local colleges and community arts centers offered life drawing classes (usually low commitment weekend ones for fun!), so if you have that as an available resource I’d recommend giving that a shot as well!

Madison Caprara:

Where do you go for inspiration when you find yourself in a creative rut?

Liz Galian:

When I’m feeling a little creatively lost or when I’m burnt out, I go for a walk through The Met. It’s so big that I’m convinced that there are corners of it that I haven’t walked through yet, and I can always find a collection in there that I haven’t seen yet that will spark an idea. It’s also just really calming and meditative to spend a quiet afternoon there with no expectations and see what catches your eye naturally.

Madison Caprara:

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

Liz Galian:

I feel like a lot of what we’ve been talking about how and where best to start if you want to be an animator. When I was starting out, I wish that someone had told me to be braver and reach out to people who’s work I admired and ask more questions. People in this industry are so incredibly kind and generous with their advice and with their time, and everyone wants to see everyone else succeed. So I’d encourage students and people just starting their career to ask questions, be open to learning new things, and remember that everything comes in time!

Guest User 1/25/22 Guest User 1/25/22

Takeover Tuesday with Samy Halim

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

Q&A with Samy Halim

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.

Guest User 1/11/22 Guest User 1/11/22

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?

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!

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?

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?

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!

Guest User 1/4/22 Guest User 1/4/22

Takeover Tuesday with Paulynka Hricovini

Q&A with Paulynka Hricovini, a French Art Director, 2D Animator, and Illustrator currently living in Brussels.

Q&A with Paulynka Hricovini
Read time: 5min

TOYBLOÏD • If You Dare • (Official Music Video), 2017. Paulynak Hricovini.

Madison Caprara:

Hi, Paulynka! How are you doing? Let’s kick off this chat with a bit of background on yourself and your work. How did you find yourself in the creative industry?

Paulynka Hricovini:

Hi, Madison! 2021 is over and I'm feeling pretty good. Thanks a lot for having me today! I’m Paula–aka Paulynka from my Slovak origins. I am a French Art Director, 2D Animator, and Illustrator currently living in the lovely waffle-fries-beer city that is Brussels. My current work is deeply imbued with subjects regarding old tales and legends, Paganism and international sacred rituals, humanity, and what is, overall way beyond us. I feel very fortunate to do what excites me every day!

As far back as I can remember, I've always loved drawing, telling stories, creating, building, and spending hours tinkering. Since my childhood, my parents–an art teacher and a scientist, in other words, the best creative duo–often took me out to exhibitions, shows, cinemas, and so on. Those experiences really opened my eyes to the creative world and all the possibilities it offered.

Madison Caprara:

What did your educational experience entail?

Paulynka Hricovini:

After high school, I moved to Belgium to study 2D animation at the ENSAV La Cambre in Brussels. During these five years of schooling, I was lucky to go on an Erasmus exchange to the UK. I spent one year abroad at the University of South Wales in Newport. It was my most exciting school year ever! After graduating, I jumped into the “real world” as a Freelance Animator and Illustrator.

Madison Caprara:

Right into freelance work after graduation! What thoughts went into that decision? Was there ever any push to join a studio?

Paulynka Hricovini:

Going freelance right after school looked like the best–and the only–option I had. One of my main reasons was to keep a healthy balance between professional work and personal creative projects, which is hardly the case when you have a full-time job. I also love having the freedom to organize my days as I see fit. I was already accustomed to working a lot on my own, and Brussels–at least at that time–wasn’t offering many appealing animation or creative studios in my opinion.

Paulynka Hricovini:

I won't lie, it was quite a challenge to build a network of professional contacts from scratch and to prove myself as an independent. Special thanks to my life partner for being a daily great supporter, advisor, and valuable helper from the very beginning. During the early years, I was able to develop my practice and knowledge through diverse creative projects for advertisements and music videos for various labels and agencies across Europe. I've also always enjoyed challenging myself and pushing my limits out of my comfort zone.

Madison Caprara:

How would you describe your work’s aesthetic? Do you find yourself gravitating towards a specific subject matter or “look”? Would you say it’s a reflection of your own personality?

Paulynka Hricovini:

I believe that what surrounds us every day is what goes into building our own unique style, or panel of recognizable styles. Just like everyone's handwriting is subtly different from one another's. Being born in France to Slovak parents, I have always been lulled by this double culture. As a child, we traveled a lot between the two countries–and across Europe as a whole. The time spent in the car, for reference, nearly 20 hours to go from France to Slovakia, allowed me to enjoy solitude; losing myself in the alternate realities a book could offer, spending countless hours doing nothing, doodling, listening to music, watching the amazing landscapes pass by. During that time, I would imagine many surreal stories of wandering giants on a journey to see friends. Meeting on their way other little creatures living in the hidden wilderness.

There are definitely a lot of these elements present in my current work. From the strong nature presence to the characters coming from various tales or legends. The patterns and the overall Slavic/Nordic culture. Today, combining my passion for traveling, photography, and drawing, I try to breathe life into illustrated characters. I try as much as possible to go for visuals and jobs that have meaning to me. Jobs that I share values with. I like to take long periods of experimentation and exploring, acting on my creative impulse. Time to follow my curiosity and intuition, letting my inner flow speak for itself. I strongly believe that the more we explore our inner wilderness, the more we are able to articulate the language and uniqueness of our subconscious.

Madison Caprara:

Your childhood sounds like a fairytale. I love the way you go about describing your inner “wilderness” and its importance to your creative process. One of my 2022 intentions is to romanticize everyday life more, so that really resonates with me.

Now, tell me about Framekit! What was the impetus behind starting your own studio? How did you and Anthony find yourselves making that decision?

Paulynka Hricovini:

Anthony and I met during our early school years at La Cambre. We left on the Erasmus exchange and started working together at that time. We were on the same wavelength, and the idea of building a studio came about quite naturally. After our graduation, we both wanted to individually experience freelance life to gain more skills. In 2015, we officially launched our creative collective, Framekit Studio. We worked together on many exciting projects for almost three years.

Then, life slowly and naturally oriented us on different paths. Anthony launched a studio with Agnes–Agnes&Anthony. Together they create beautiful, poetic paper models. On my side, I was eager to experience a position within a larger company. I wanted to add another string to my bow, discover a new working environment, and further refine my skills.

DAVODKA • Sama • (Official Music Video), 2020. Paulynak Hricovini.

Madison Caprara:

What have been some of the biggest lessons learned while running the studio together? Any suggestions for those who may be thinking about starting their own?

Paulynka Hricovini:

While running a studio, or even freelancing, there’s the constant pressure to do more. Sometimes it can be hard to “switch off” from work. It’s important to not get stuck. Remember there are other aspects of life to be enjoyed. You want to have a good balance between work and rest. This also allows your mind to fly to new inspirations. Of course, not every day is rosy and wonderful, whether you’re working alone or with ten people, but it is well worth it. I would say the most important reminders are to keep a good work-life balance, to define the studio organization (the tasks and income split), and, especially when it comes to creatives with the same skillsets, to put your ego on the back burner.

Collaborating with a friend and being a part of my own creative studio has been a very positive experience from an artistic AND human perspective. We’ve both learned a lot from working together. Do you see me coming with the, “Alone we go faster, together we go further” spiel? Breaking news…it's actually true! Looking at a brief or a problem with two brains–different backgrounds, complementary technical and artistic skills–helps to be more efficient. Creativity-wise, you can get crazier, more surprising, and more imaginative outcomes. The brainstorming moments can sometimes be more effective than a meditation session. Either way, go for it and remember to enjoy yourself!

Madison Caprara:

You eventually continued your career at Volstok, correct? How was the transition process for you?

Paulynka Hricovini:

Correct! As I said earlier, after Framekit I was eager to experience a full-time position in a creative studio. Volstok came at the best time, thus the transition was pretty smooth. Working under the direction of skillful creatives who had an extended background in the industry and more experience working on larger projects taught me a lot about efficiency, self and team discipline, time organization, creative idea development, and so much more. I’ve spent two highly rewarding years, both creatively and professionally, with a pretty talented, badass team.

Madison Caprara:

What was your favorite project you worked on while on the Volstok team?

Paulynka Hricovini:

It's going to be hard to point to only one!

On a larger scale, the AS Adventure project was very exciting to build and achieve. It was a long process that we really combined forces for. Another is the Davodka project–a video clip made for a french rap artist. It took us almost a year to complete while juggling other projects. During our spare time, between two renders as it's said, we would come up with quick and simple creative ideas to be developed as passion projects. It was a nice way to keep our creative minds engaged while working on some more corporate projects.

Madison Caprara:

You’ve dabbled in a lot! Having worked as a freelancer, under the studio umbrella, as well as owning your own, what has been the most rewarding and beneficial for the growth of your career and person? Do you favor any of the three stages over the others?

Paulynka Hricovini:

Well, “a smooth sea never made a skilled sailor,” right? So posh! Borrowed from F.D. Roosevelt.

There is no stage more important than the other. It is precisely the combination of all these experiences that allow me today to do what I do on a daily basis, and in a completely free and independent way. If I had to do it again, I would do everything the same. If I hadn't experienced freelance life in the beginning, and all of the obstacles that come with it, I probably wouldn't have had as much confidence in starting a studio. If I hadn’t had these two combined experiences, I clearly wouldn't have dared to show up to a studio such as Volstok. And without such professional development at Volstok, I wouldn’t have had the chance to work on the projects I lead today.

E.RIOTS.IH, 2016. Paulynak Hricovini.

Paulynka Hricovini:

Thanks to all of these steps, today I feel comfortable and very very lucky to do what I love. To do what makes me laugh and what makes the most sense for me. The nice part of getting back to freelancing is the freedom of creativity and the ability to choose the projects I want to work on–those which really echo with my values and style. Likewise, the variety of commissions makes an illustrator's and animator’s life very exciting. I often juggle between multiple diverse commissions at once and it is their differences that make them so enjoyable. It's always challenging and you never get bored.

Madison Caprara:

Currently, you are a member of the L’Enroule community in Brussels. I recently had the pleasure of speaking to Fabien Rousseau! How has it been treating you? Was the decision to join at all influenced by the isolation of the pandemic?

Paulynka Hricovini:

Joining l’Enroule was actually not linked to the pandemic, but it makes it cozier to be surrounded by such a community during these past two weird years. Fabien, who launched this group of creative folks, contacted me while I jumped back into freelance life after Volstok. I was first looking to share a common workspace with other creative minds and TA-DA, it's morphin' time! Today we're a nine freelancer workshop; a beautiful bunch of crazy talented artists all coming from different fields, sharing the same studio, laughing at the same rubbish jokes, benefiting from the mutual experience, and sometimes collaborating with each other. I feel so lucky to be a part of this family.

Madison Caprara:

That’s such a wonderful support system to have!

Where do you go for inspiration when you find yourself in a bit of a creative rut?

Paulynka Hricovini:

Going outside, taking a walk in nature, meeting friends and new people, traveling when possible, immersing myself in culture and history, reading, listening to music (a lot, really a lot) going to exhibitions, watching movies, doing nothing, just letting the mind wander or witnessing something different–mainly from other artistic crafts and scientific disciplines. In short, from what's basically happening in the outside world! I also try to stay further away from a screen. It clears the brain.

And, as said previously, my current work is quite inhabited by ancient myths and stories. I find so much inspiration in the beautiful cultures, costumes, and traditions of tribes captured by the great Charles Fréger, Chris Rainier, Jimmy Nelson, and so many more photographers. These costumes appear in rituals and religious festivals all around the world. They have deep ancestral relationships with nature and, in my opinion, have the power to shed light and reconnect us to today's world.

Madison Caprara:

Well, this was such a great conversation, Paulynka! I’m really happy you allowed me the opportunity to learn a bit more about your experience. Before we wrap it up, is there anything else you would like to share or end this interview with?

Paulynka Hricovini:

Let's go for some good reminders. This will probably get cheesy at some points:

Surround yourself with talented, inspiring, and kind people, in both your professional and personal lives.
Be curious about everything and everyone that surrounds you. It’s essential in growing a well-built, open, and critical mind.
Work hard, but don’t blame yourself for procrastinating sometimes. Listen to the inner voice asking for breaks when you need them. It will boost your energy and inspiration.
Be patient, things will come along.

Paulynka Hricovini:

As a creative person, you will have moments in life when you compare your work to others and end up feeling inferior. An important skill is to be able to admire the work of other people work without doubting your own abilities. There are so many great artists out there, it can be daunting to pursue a career in such a competitive market. But hey, we’re humans, after all! We all have insecurities and days when we feel like we don't do good enough. It takes a lifetime to learn and be confident.

Thanks again, Madison, and to the whole dash team, for this nice chat. That's all, folks!

SHOWREEL 2018, 2018. Paulynak Hricovini.

Guest User 12/21/21 Guest User 12/21/21

Takeover Tuesday with Fabien Rousseau

Q&A with Fabien Rousseau, an Illustrator and Animator currently living in Brussels, with a design and code background.

Q&A with Fabien Rousseau
Read time: 8min

MDS Motion Pro Trailer - Shot 5 Final. Fabien Rousseau.

Madison Caprara:

Hi, Fabien! Why don’t you start us off with a little introduction to yourself?

Fabien Rousseau:

Hi, thank you so much for having me! I’m Fabien Rousseau, a French Animator currently living in Brussels, Belgium—you know, the tiny country with two official languages, double-fried fries, and beers twice as strong as normal. I love goofy characters, colorful art, and things I don’t understand. I feel lucky to do what I am doing every day, and I try to be an active player in our community.

Madison Caprara:

Double-fried fries AND freakishly strong beer. Sounds like my type of place.

How did you originally find yourself within the creative field? When did you know this was something you wanted to pursue professionally?

Fabien Rousseau:

I guess the drive for creation came pretty early. I was not drawing that much as a kid, but I remember building giant robots out of paper toilet tubes, cardboard, and glue. I forced my parents to keep my creations in their bedroom as my own personal exhibition. I was so obsessed with tape that they had to hide it from me—I still think it’s one of the best inventions ever.

Later on, I became a bass player and the composer of my 8-members ska teenager band. Being able to express our lefty propaganda through art was a blast, and seeing people shaking their butts to my music was a killer achievement. That was the first time I had felt the effervescence of a team, and what we could achieve with symbiosis and dedication. This career sadly ended when I broke my cello on stage cause I was wearing fins and a diving suit.

Fabien Rousseau:

Eventually, I landed in a Graphic Design study and rapidly understood that illustration was the thing I was most excited about. After school, I was digging interactive design so I started to work as a freelance UX Designer/Web Developer. I loved learning to code and at the same time, I was putting more and more motion into it.

I learned illustration and animation in my free time, with tutorials, practice, and any advice I could get. I always thought of animation as an unreachable job I couldn’t even dream of because my drawing skills weren’t great. But as soon I succeeded in making my first frame loop, I knew I would do everything to make it my daily activity. It has only been three years that I have been working as an animator, it’s a step-by-step journey.

Madison Caprara:

Now, how would you describe your style to those who may be unfamiliar?

Fabien Rousseau:

Dang, already one of the most difficult questions! I’ve always done many different things, and I don't have a proper signature style like many illustrators I admire. Though I can say I have recurring themes as they’re most often character-driven and related to music. I love playing with loops, shapes, bright colors, silly moves, smoothness, and... yeah, bouncy tings (mostly butts)!

The truth is, I get bored way too fast. I enjoy changing my approach on every project, and style is a part of it. I have buddies working on animated featured films and I’m amazed by their ability to stick to the same project or role for months—or even years. I already feel washed out if I have to do the same thing for more than one week.

Madison Caprara:

Fair! I myself find it extremely difficult to focus on the same task for weeks on end. It’s something I’m so impressed by when I see the dash staff working on a project for (what feels like) months at a time.

Madison Caprara:

If you had to narrow down your “specialty,” what would it be?

Fabien Rousseau:

My specialty is...being a generalist. Wait! What I’m trying to say is that with my different skills, I’ve become pretty good at problem-solving—I know it sounds extremely LinkedIn-y, but bear with me.

I often make unexpected connections, find new ways, workarounds, or hacks to achieve a goal. I feel like I’m closing the gap between a developer's and designer’s minds. That’s why I’m not putting up a lot of barriers when I want to create something new. Having an idea that may seem out of hand in the first place, really may just need to be deconstructed into smaller pieces. I embrace the feeling of being lost and go for it; doing loads of research and “trusting the process.” In the end, I try to make discomfort a cozy place.

That being said, I am more specialized than I was a few years ago. It’s hard to stay a decent designer when you spend most of your time animating. My illustrator friends are now way too good so I’m just happy they let me animate their work, but I’m still trying to do solo personal projects. It’s only a matter of balance, I guess.

Madison Caprara:

Moving on to your career, what do you see as being your first “big break” in the industry?

Fabien Rousseau:

I guess it would be that dumb walking pigeon (and I see dumb as a compliment). It might sound silly because it’s such a small loop and just a couple of days of work, but the response was so unexpected. It’s amazing that many people have actually seen it! I even got to teach an online course about it, and I still see hilarious versions popping on my IG feed.

Madison Caprara:

I love that! Other than the pigeon, what is your favorite work you have ever created or been a part of?

Fabien Rousseau:

It would be our Bee Jizz collab with my talented friend Xerxes Heirman. It was the first time I was directing an ambitious video like this. It’s a blend between cel animation, classic AE, expression rigs, and creative technology. I wanted a convincing risograph look, and that led to a lot of cool researches.

It was supposed to be a bigger piece about self-expectation, dopamine, and anxiety, but in the end, we only did the trailer. What a twist! Sometimes you have to let it go and release it, which was actually a good ending considering the thematics.

Bee Jizz (Teaser), 2020. Direction, Animation, Design | Fabien Rousseau, Illustration | Xerxes Heirman.

Madison Caprara:

That’s such a fun piece!

You are currently freelance, correct? What did that journey like for you? Have you ever worked for an overarching company or studio?

Fabien Rousseau:

I’ve always been freelance, straight from school! Boy, it was not an easy ride. I think my work is so bonded to my mental health that I never could work on a “bread-and-butter” job without being completely depressed. That means having only a few paid gigs and tough months for a pretty long time. I’m aware that’s still a big privilege, so I find myself very lucky to spend the majority of my work in fulfilling jobs.

And I’m doing better now! I worked on an awesome 12-month project with my buddy, Renaud Lavency, in 2020 (too bad it’s under NDA). It’s been a year since I started working with studios that I admire; Buck and Oddfellows. A blast so far! I’m closer than ever to trying an in-house experience. I know I will learn a lot doing so.

Madison Caprara:

That’s amazing, congrats on your success!

Is freelancing something you would recommend doing at least once for all creatives?

Fabien Rousseau:

I’m always the first to recommend people quitting their job if they feel unhappy. Elise Leonard who got me this interview (thank you Elise!) can bear witness to this. But I know freelancing can be very stressful for a ton of reasons. You can run a self-employed business with thousands of different approaches. Everyone is different. And let’s not forget it’s not an equal status in every country.

Madison Caprara:

Are there any current trends that are changing the nature of your role? How do you feel about them?

Fabien Rousseau:

I see you coming with the NFT talk! It’s definitely changing how artists embody their personal work, and that’s great for some of us. But the biggest change for me has been the dawn of remote work within the last two years. The workload increased and studios have been more likely to hire freelancers from around the world.

That also leads to new forms of workspaces. I’m part of a freelancer’s workshop—let’s call it “palancing”—which is basically sharing a studio with my buddies. We currently have nine people working in different fields such as commercial animation, illustration, design, print, photo, animated feature films…Even if we don’t work on the same projects, I share so many things with these guys. We live together as a big family, and I spend more time in our workspace than at my own place.

Madison Caprara:

It’s so great to have that professional support system to lean on, doubly so if you all are genuinely friends!

What about tools? They’re constantly evolving within this industry. With these developments, how do you see the role of animator/illustrator subsequently evolving?

Fabien Rousseau:

Yes, tools! I love them for what they are: bridges between mind and craft. You can cross a river with different bridges and have different results, but what matters is that you’re on the other side.

I fancy procedural and computer-generated thingies. Sometimes I prefer trying to automate a task with code rather than doing it by hand, even if that sometimes takes longer. I do this because I hate doing the same thing twice, and I will have learned something in the process. Also, generated art sometimes produces more natural results than the human eye.

On the other end of the spectrum, learning cel animation is teaching me to trust. It doesn’t rely on tools, you need only very basic apps to get started. It’s soothing to “know” things for real, as some rules were described decades or centuries ago and they are still relevant. I love the fact that you can hone a craft and time or technology have a minor effect on it.

Wave IQ - Tookie Tookie Pt. 2 - Visualizer, 2020. Fabien Rousseau.

Madison Caprara:

What would you say is your biggest accomplishment, and on the flip side, your biggest regret?

Fabien Rousseau:

Three years ago I was working at home, and I didn’t have a lot of friends. My weeks were sometimes gloomy and it felt as if it wasn’t going anywhere. I started to reach out to folks that were living in Brussels, from whom I loved their work. We met, and a few weeks later I was organizing meetup nights that were open to a broader audience of creatives. This is how L’Enroule was born! From there, we’ve created an intertwined process of relationships and projects. A big part of my life now has unfolded from this decision.

I only have small regrets, which is nice! The first is that I never really had a mentor. Thankfully, animation is one of the friendliest communities. We’re always keen on helping each other. The second has to do with unreleased, unfinished, or NDA-barred projects, but I’ve learned my lessons.

Madison Caprara:

Where do you go for inspiration when you find yourself in a creative rut?

Fabien Rousseau:

For a long time, I had told myself that my stories weren’t worth telling. Now, I put away my logic and focus on emotion. It feels more natural. Once I get this flow going, ideas seem to come together pretty magically. I have a very (very) long list of pending projects waiting to be tackled.

The downside is that I am more likely to overwork myself. While I’m conscious of it, it’s still a big unhealthy habit I’m trying to cut. When I feel burned out I usually let other senses take over. I enjoy cooking a lot because taste and smell take up different energy. It’s really refreshing. I also love gardening, especially growing stuff to eat, and tinkering in my small woodworking shop.

I’m convinced that I won’t be animating forever. I'm 31 and already feel like an old guy in this job. I like the idea of leaving the "industry" before becoming that grumpy dude in the corner of the room. I’d probably prefer to fill people’s bellies when the time comes. The question is if I become a chef, will I be a specialist or a generalist?

Madison Caprara:

I love that for you! I’ve had my own pipedream of opening a bakery one day.

We’re reaching the end of our time together, Fabien. Before we wrap up, is there anything you would like to end on?

Fabien Rousseau:

The last few years have been rough for a lot of folks, especially on the social side. I’m a fervent advocate of surrounding yourself with friends at work. Remember, butts are fun because they come with two cheeks. We don’t have to be alone in this. Have fun, cherish your community, and let’s build a world of happy palancers!

Showreel Summer, 2020. Fabien Rousseau.

Guest User 12/14/21 Guest User 12/14/21

Takeover Tuesday with Murat Sayginer

Q&A with Murat Sayginer, a Turkish self-taught digital artist who works in motion design, filmmaking, photography, and music composition.

Q&A with Murat Sayginer
Read time: 5min

Zodiac - Evolution, 2014. Murat Sayginer.

Madison Caprara:

Hi, Murat! If you don’t mind, I’d like to start the interview by having you give a little background on yourself and your work for those who may be unfamiliar.

Murat Sayginer:

I am a self-taught digital artist and I work as a motion designer, filmmaker, photographer, and composer.

I got involved with photography and digital art in 2007. As early as 2008, my works started getting recognition. I got selected for the IPA Best of Show exhibition in New York and in 2010, I was awarded Emerging Talent of the Year in The Photography Gala Awards. These awards motivated me even further to pursue my creative calling.

Murat Sayginer:

Later on, I got into 3D and motion design. I wanted to create new realities that break free from the limitations of the physical world and use them in my storytelling. Starting in 2013, I directed and produced several animated short films which were screened in over 200 film festivals including Academy Award Qualifying Festivals, such as Animest and AIFVF.

In 2019, I assembled ten of these short films under the title of The Flying Fish which is one of my seminal works. The Flying Fish went on to receive the Vitriol Award as the Best Experimental Film in The First Hermetic International Film Festival in Venice.

Madison Caprara:

Motion design, filmmaking, photography, music composition...what niche did you being exploring first, and what originally drew you to it?

Murat Sayginer:

I started with photography but couldn’t get enough of it. Now, it’s more about creating no matter the medium.

Madison Caprara:

Do you find yourself prioritizing or favoring one niche over the others?

Murat Sayginer:

I believe that the essence of a piece should define its format before all.

Madison Caprara:

Now, I understand that you are self-taught. How did you go about developing your skills?

Murat Sayginer:

I learned a lot from online tutorials. That’s really it. The rest is the effort you put in.

Madison Caprara:

You are pretty involved in the NFT space. When and why did you start?

Murat Sayginer:

I got into NFTs about 10 months ago. “Because it felt so empty, without me.”

Madison Caprara:

There seems to be a lot of debate on the differentiation between “artwork” and “crypto artwork”? Do you notice a difference in the two’s creative processes?

Murat Sayginer:

NFT’s didn’t bring anything new to the table in terms of digital art. It’s just a matter of presentation and circulation.

Extremes, 2015. Murat Sayginer.

Madison Caprara:

How do you decide if you are going to create a “normal” or a“crypto” piece?

Murat Sayginer:

It really doesn’t make a difference to me. I create a piece and it becomes part of the blockchain when minted.

Madison Caprara:

From your experience, what is the most important thing new artists and collectors need to be aware of before delving into the metaverse?

Murat Sayginer:

Security, research, communication, and your network.

Madison Caprara:

What is your opinion on the current NFT scene? Where do you see it going in the future?

Murat Sayginer:

My latest project refractions.xyz puts a finger on the map. Let’s include the intro in this interview!

“We’ve lost track of The Flying Fish. This is a new, yet familiar, territory. A dimension where physics is ruled by metaphors, and fiction builds reality. Those CryptoFish seem to be leading the way, looks like we’re gonna be sailing for a while…

Morphing Dreamscapes from a Cosmic Exhibition

The migration is happening. Feeding on all sorts of creations. The metaverse has become a digital playground with an ever-expanding gravitational mass. The transition won’t be simple as we’re building a home made of light in the pivotal phase of our evolution. Not that any of this requires conscious effort.”

*Say That You Love Me*, 2020. Murat Sayginer.

Madison Caprara:

Pivoting over to your filmmaking experience, your short film, The Flying Fish, gained quite the notoriety. You briefly mentioned it, but can you tell us more about the film?

Murat Sayginer:

Collaborative efforts were made for the music, but the rest took about seven years to complete. As for the inspiration, I wouldn’t know where to start. Astrology had a great influence on the story.

Madison Caprara:

Though the film lacks the traditional sense of a narrative, it still conveys an important message: the human condition and our progress as a whole. Why was this theme so important to you?

Murat Sayginer:

I had to be practical in terms of length and quality. The traditional rules and narratives weren’t as sharp. The theme wasn’t especially important for me, I just had the right amount of experience to talk about it.

Madison Caprara:

What initially surprised you when entering the filmmaking industry that you had been previously unaware of as a motion designer?

Murat Sayginer:

My life has turned into a cartoon. What else can surprise an animator?

Madison Caprara:

You compose the music in your films, correct? What importance does music hold in your life as an artist?

Murat Sayginer:

I like how undeniable can music be. Harmony and beauty lift every piece higher.

Madison Caprara:

And finally, is there anything particularly exciting we should be looking forward to from you in the near future?

Murat Sayginer:

Cryptofish.io will be my main focus for now!

The Flying Fish, 2019. Murat Sayginer.

Guest User 12/7/21 Guest User 12/7/21

Takeover Tuesday with Rokas Aleliūnas

Q&A with Rokas Aleliūnas, aka Casual Polar Bear, a freelance Illustrator and Graphic Designer from Vilnius, Lithuania

Q&A with Rokas Aleliūnas
Read time: 5min

Madison Caprara:

Hey, Rokas! Why don’t you kick us off with a little background on yourself and your work?

Rokas Aleliūnas:

I am a simple man creating simple things.

My work is a reflection of my life; thoughts, insights, emotions, humor. I like to say that my work is playful because when I am creating, I feel like I am playing. It’s simple, but at the same time, possesses an unmeasurable depth. Sometimes my emotions and thoughts are so deep it feels as if I am drowning. My wish is that everyone looking at my work without context sees their wants or feelings.

I would love to hear that three different people looking at the same piece would see three different things. All would be right and wrong at the same time. Lastly, I wish for my work to be timeless because when playing, years turn into minutes, and when you are drowning--minutes turn into years.

Madison Caprara:

That’s a beautiful way to go about seeing your work.

How did your relationship with art begin? What originally made you want to become a graphic designer?

Rokas Aleliūnas:

For the past 1200 days and counting, I have been creating a poster a day and have been calling myself an illustrator. Before I started this challenge, however, I worked as a freelance brand strategist--but if we are talking in terms of the "way-way" back, my background is in industrial design.

Rokas Aleliūnas:

During my studies, I got a part-time job at a design agency. At the time, I was really passionate about graphic design and tried to learn and discover something new with every project. I did everything from cold calling to producing and was doing great, but at one point everything got a bit "wobbly". Out of pure stress and anxiety, I decided to dedicate a little bit of my time to doing things I truly loved. In the past, I had enjoyed making posters and decided to start creating those again. The posters morphed into illustrations day by day and I slowly rediscovered the thing I loved.

Madison Caprara:

You briefly mentioned your studies, what route did you take in regards to your design education? How has this knowledge helped you as a working artist?

Rokas Aleliūnas:

It helped, and continues to help me, a lot. My education has really expanded my view. I’ve learned critical thinking, problem-solving, expanded my knowledge of art history, and improved my mastery in the fine arts over the years. Additionally, I learned proper research techniques, how speculative designing works, as well as how to apply these thought processes in other fields.

Generally, I think learning something new, reading, or just experimenting helps. There are a lot of ways you can approach creativity; research and speculation, or, on the flip side, by just throwing everything aside and expressing yourself. That being said, all of those experiences, all of that reading puts a really nice spice on works, even if the topic is opposite or the context is totally different.

Madison Caprara:

You expressed your love for poster design, but what about it made you pivot towards that area as opposed to some of the other niches?

Rokas Aleliūnas:

I think I can work in different media and different niches, but I just really love the formatting and tools used, because I am fast with them!

Madison Caprara:

Now, a majority of your posters include type. What is the relationship between the type and the image’s overall meaning?

Rokas Aleliūnas:

It's nibs of context that may help to better understand a piece and a way for me to track my visual diary. Every piece has a number and a date.

Madison Caprara:

Are there any other mediums or forms of art that you enjoy working with?

Rokas Aleliūnas:

My work is really graphical, so from time to time, I work on paintings, but there I only work with impressionism.

Madison Caprara:

How would you describe your overall approach to design?

Rokas Aleliūnas:

More than less and less than more; not listening to my inner critic and doing things a little bit more as they are.

Madison Caprara:

Do you consciously try to avoid colors, motifs, or trends that seem to be popular in a given moment, or do you embrace them?

Rokas Aleliūnas:

I'm doing whatever I want to do, I really do not care if it's popular or unpopular. I make one piece and am immediately working on the next one and the next one. The most frustrating thing for me is a state of boredom because then I begin to think of my work as a whole as boring.

I see everything and I read everything and hear everything. At this particular moment, it is hard for me to create, because everything is plain and it takes an enormous amount of willpower, work, and time to break the loop.

Madison Caprara:

Being based in Vilnius, Lithuania, is there anything about the city that inspires you?

Rokas Aleliūnas:

It's more about the country itself than the city. To be Lithuanian is to carry the flag of all Lithuanian artists, as they carry mine. There is a certain way of thinking that comes from the past; timeless motifs, ideas, interpretations, even stories that transpire through time. All of these interpretations come from our country's beautiful nature.

Madison Caprara:

Going a bit further, who (or what) has been the single biggest influence on your way of thinking and creating?

Rokas Aleliūnas:

Sisyphus

Madison Caprara:

What has been the most triumphant moment for you in the seven years that you have been a freelance graphic designer?

Rokas Aleliūnas:

I do not have one. Truly, I believe they all come and pass.

Madison Caprara:

In this age of the internet, how do you think online design resources, and the digital space, have influenced the graphics being produced today?

Rokas Aleliūnas:

I learned the tools from online classes and tutorials, so for me, it was great. Just learning a tool or finding a good tutorial are two of the most important steps in the beginning. You need a basic understanding of what you can do with these tools.

Speaking on the creative industry as a whole, I feel online courses are lacking. There is a lot of abstract thinking that needs to be done which demands more time, one-on-one conversations, and exposure. Generally speaking, online courses are good and you can learn a lot, but sooner or later you will find yourself approaching some large hindrance that may be impossible to surpass because nobody talked about the basics of thinking within these courses.

Madison Caprara:

GREAT insight!

You hear all about the wonders of accessibility when it comes to these online resources, but to hear the counterargument of some of the basic skills lacking is a really interesting perspective.

Unfortunately, we’re nearing the end of our time together Rokas. Before we go, what does the rest of your 2021 look like? Is there anything, in particular, we can look forward to seeing from you?

Rokas Aleliūnas:

Daily cool work!

Guest User 11/30/21 Guest User 11/30/21

Takeover Tuesday with Inma Hortas

Q&A with Inma Hortas, a sensitive vibrant Spanish illustrator and graphic designer based in Madrid, Spain.

Q&A with Inma Hortas
Read time: 10min

Instagram: @inlohographics | *Fat-phobia,* 2021. Inma Hortas.

Madison Caprara:

Hi, Inma! How are you? Let’s start off our chat with an introduction. Tell us who you are and how you found yourself becoming an illustrator!

Inma Hortas:

Hi Madison! First of all, thank you very much for having me and for appreciating my illustration work. My name is Inma Hortas. I am a passionate Digital Illustrator based in Spain--born and raised in Galicia which is in the top northwest part of the country. I love creating engaging, communicative illustrations that are equal parts vibrant, sensitive, bold, cute, diverse, and evergreen. My greatest wish is for viewers of my work to identify with and/or understand the overall message of my illustrations.

I matured my graphic style and voice during the pandemic. After a few years of working as both an in-house and freelance graphic designer, I eventually made the leap to becoming a freelance illustrator. It’s a dream come true. I feel truly privileged.

Madison Caprara:

Now you briefly got into what emotions you would like to evoke with your illustrations. After taking the past 1+ years to mature your style and voice, how would you go about describing them?

Inma Hortas:

My style is graphic, vibrant, resounding, and meticulous. I primarily use voluptuous shapes, whimsical elements, and strong but delicate characters with quite a bit of surrealism and symbolism throughout. I would say that my hallmarks are powerful volumes, maximum attention to detail, the forceful use of color, and overall, a very careful composition.

Madison Caprara:

If you had to pick one inspiration behind your works, what would it be? What do you find yourself drawing most often?

Inma Hortas:

I make a strong commitment to diversity and body positivity, female and non-binary empowerment, the struggles of the LGBTQI+ collective, and diverse daily life issues. I consider myself an illustrator with a deep sense of social responsibility. Everything that moves me and provokes emotion deeply inspires me.

Madison Caprara:

I see that you worked in editorial and corporate design for a while. What did that entail?

Inma Hortas:

They were years of hard work; many hours in-house with tight deadlines, but I picked up some great skills: 1.) Tools and work processes, 2.) Understanding clients and their different needs, 3.) Understanding the structures of large corporations, and 4.) Time and project management. That all being said, without a doubt, the best thing was the team I worked with. They’re friends for life. There is no replicating that good harmony and feeling of teamwork.

Madison Caprara:

What prompted you to pivot away from that niche?

Inma Hortas:

The pandemic unequivocally taught me that the time we have is uncertain. It pushed me to follow my true passion: communicating through my illustrations in a humble and intimate way. I am now deeply in love with my drawings. I feel this emotional connection that was lacking when I worked as a generalist designer or illustrator. I lost a lot of interest.

Madison Caprara:

You are now operating as your brand, INLOHO. What led you to create INLOHO, as opposed to working under your given name?

Inma Hortas:

I can easily be found online by Inma Hortas, but I created INLOHO thinking about a medium-term future. A future where not only myself and my illustrations live, but also other projects and disciplines. Hopefully, in 2022 I can specify more for you but for now, that is all I can say about that.

Madison Caprara:

No worries! Definitely a bit of an anticipation builder!

What do you believe some of the advantages (and disadvantages) are of working full time for a studio, as opposed to freelancing, as an illustrator?

Inma Hortas:

Whenever you work for an in-house studio or agency, you have financial stability, and depending on the company, you have the opportunity to advance to management positions. As an illustrator, they tend to prefer graphic versatility, solvency, and perhaps availability to work long hours. You have to stay at the office and get along with your colleagues and regular clients.

As a freelancer, you do not have that financial security but you manage your own time and efforts. YOU choose your clients and chart your own path.

Madison Caprara:

Do you think it’s important for artists who want to work with clients to first hold a position within an established company before going out on their own?

Inma Hortas:

It’s not essential, but it is very useful in helping to achieve professionalism, security, and self-rigor. You also more quickly understand the overall concept of illustration (or any graphic profession, really) as a "communication service" for which a client pays. I would recommend it.

Madison Caprara:

You are currently represented by Anna Goodson Illustration Agency. What are some of the advantages of having an agent? Would you recommend it to all freelance creatives?

Inma Hortas:

For me, having an agent is like having a team. They do the administrative and commercial work and I have more time and energy to illustrate what I really want to focus on. Anna is wonderful! She has a lot of experience and natural intuition. I am very lucky. You can see my portfolio here.

Having an agent is a very personal decision that depends on many factors. Overall I think they are very supportive and make the work process much easier. So yes, I would recommend it.

Madison Caprara:

You are based in Madrid, correct? What is the creative industry like in Spain? How has it affected your work?

Inma Hortas:

Yes! I'm based in Madrid, although I have recently spent longer periods of time in my homeland, Galicia. There are many creatives and illustrators in Spain. All of enormous quality who work and export their talents all over the world. The industry itself is small compared to other countries, we have only forty million people, so fewer books and magazines are produced. The advertising, animation, and video game industries, however, are very strong and require many illustrators.

This means that, on many occasions, I prefer to work with clients from larger markets where projects and opportunities are greater. Creatively, cultural referents do not understand borders today. Spain is very rich in all kinds of rituals, talents, colors, and flavors. The country is a constant source of inspiration. Although the northern area is more austere and humid, the quality of life here is one of the best!

Madison Caprara:

What has been your all time favorite project or client?

Inma Hortas:

I'd say The Girlfriend from AARP, with the wonderful art director Dian Holton. You can see it here. Their style is colorful, modern, and they think outside of the box. They also respect all kinds of sensibilities and have a sense of humor. The Girlfriend truly aligned with my values of diversity, body positivity, and graphic boldness.

Madison Caprara:

When you find yourself in a creative rut, where do you most often go for inspiration?

Inma Hortas:

In my opinion, the further away from a screen the better, because the brain clears itself; going outside, taking a walk in nature, meeting friends, traveling if possible, reading, or witnessing something different--mainly from other artistic crafts and scientific disciplines. And I personally love sculptural and generative art.

Madison Caprara:

What advice would you give to other aspiring illustrators?

Inma Hortas:

1.) Don't stop drawing and don't think too much when you are. Trust the process and yourself. 2.) Tell your story and express yourself to keep the passion for illustrating alive. 3.) Get enough rest while taking the time to have fun and socialize. There is a meaningful life outside of the profession.

Madison Caprara:

Are there any upcoming projects we should be keeping an eye out for?

Inma Hortas:

I’m working on a few editorial assignments related to the objectification of the female body. I will also be releasing an illustrated book in 2022 focusing on the theme of fear. There will also be some newly exclusive goodies posted on my online INLOHO shop this December. I need 48 hours in a day to do everything.

Madison Caprara:

It’s been a pleasure, Inma. Before we wrap up, is there anything, in particular, you would like to end on?

Inma Hortas:
I would just like to personally thank you, Madison, and the dash team for this interview and the opportunity to show my work.

I would also like to emphasize that I believe that making a living with illustration is won by those who do not give up and continue without prejudice or fear. It takes talent but the effort comes first.

Furthermore, the illustration community is very supportive, even though we spend a lot of time alone. Illustration has given me much, with more to come! I owe this passion a lot, it saves me every time life gets difficult and allows me to travel to fantastic worlds. I am deeply in love with this profession.

Instagram: @inlohographics | *Hope, science will win,* 2021. Inma Hortas.

Guest User 11/23/21 Guest User 11/23/21

Takeover Tuesday with Sazan Pasori

Q&A with Sazan Pasori, an Animator, Designer, and Art Director based in Los Angeles.

Q&A with Sazan Pasori
Read time: 5min

Madison Caprara:

Hi, Sazan! Why don’t you give us a little introduction to yourself to start us off?

Sazan Pasori:

My name is Sazan (pronounced SUH-zan). I’m an Art Director and Motion Designer based in Los Angeles. I’m a lover of color and art that doesn’t take itself too seriously. I feel lucky to get to make fun little animations for a job, but I think even if I didn’t work in this industry, I would be pulled to create things. It really feels like a compulsion!

Madison Caprara:

What education route did you end up going down, and how do you feel that experience has helped you develop as a creative?

Sazan Pasori:

I went to college at the University of San Francisco, where I studied creative writing and graphic design. I didn’t really know what I wanted out of a career, but I would lose track of time writing and designing, and figured if I could combine the two somehow down the line, that would be a pretty cool career. I eventually landed on motion design/animation/art direction after moonlighting in visual merchandising, copywriting, and creative strategy. Some motion designers I had met also encouraged me to try it out. It felt like an “a-ha” moment. I quickly dove into YouTube tutorials and animation boot camps and got totally hooked. The rest is herstory!

Madison Caprara:

Now, a lot of art directors have pretty diverse backgrounds--such as yourself! What do you think are some key qualities or experiences that good AD’s have in common?

Sazan Pasori:

In my opinion, the best art directors have a combination of instinct and discipline. Generally, they’re creative people with “an eye,” but the best ones spend lots of time researching references, developing their craft, and continually evolving/improving their output. I aspire to be this kind of art director!

Madison Caprara:

Having to wear so many hats, do you have a favorite niche or role to work within?

Sazan Pasori:

I’m a believer in the oneness of creative pursuits...I guess what I’m trying to say is that I don’t have a favorite!

Lately, I’ve really enjoyed directing and making music! Growing up, my dad spoke a lot of different languages and said the more he acquired, the next language he learned came to him easier. I feel creative pursuits are the same. I love exploring new applications of expression.

Madison Caprara:

What’s it like to work for GIPHY? Give us the lowdown.

Sazan Pasori:

Working at GIPHY is like working at a wacky animated online library. I’m just one of the librarians.

Madison Caprara:

So fun! What is it about GIFs that make them so popular in everyday conversation, in your opinion?

Sazan Pasori:

The English language can sometimes fail to capture subtle moments and feelings. GIFs give you the satisfaction of specificity, physical expression, and relatability.

Madison Caprara:

What has been your favorite, or most memorable, project to date?

Sazan Pasori:

This year I co-directed an animated short with my GIPHY colleague, Tianna Harvey, titled, Blobs in Space. The one-minute animation is a 2D/3D ballad turned disco bop about connection in the time of COVID-19. Check it out! It’s a hilarious and tragic little journey.

Madison Caprara:

Pivoting back to your role, what are some of the most unexpected challenges or frustrations you have had to deal with?

Sazan Pasori:

I think artists of all kinds feel an immense amount of pressure to constantly produce new work (I know I struggle with this). I’ve definitely suffered from burnout and am working towards a life where rest and recovery are critical parts of my creative process.

Madison Caprara:

Who are some of your biggest artistic influences?

Sazan Pasori:

Everybody who knows me knows I’m a supa dupa mega Missy Elliott stan. She is my idol! Her multi-hyphenate background and out-of-the-box approach still feel like the future.

Madison Caprara:

What are some of your top career goals? Are there any you have already achieved?

Sazan Pasori:

In my opinion “career goals,” are better framed as “creative pursuits,” as I mentioned previously. A career is so tied up in your livelihood—how can my job pay my bills, you know? When you try to tie your livelihood and identity to a career...and your goals! WHEW! Now you’re simply asking too much from your career.

As far as my “career goals” go though, I’ve made it! I get to make things and get paid enough to live my life. In the future, I’d love to make longer-form content and experiment more with analog techniques.

Madison Caprara:

That’s a really healthy way to look at your career. We do have a tendency to make our job titles and identities synonymous.

Do you have any advice for aspiring art directors?

Sazan Pasori:

My advice would be to just start making things! When I first started out as a designer, I was terrified to even put pen to paper. Sure, a lot of the stuff I made at first sucked, but you have to push through that initial stage until you start making things that look cool.

Madison Caprara:

Great advice!

Now, as we start to wrap it up, is there anything in particular that you would like to end this interview on?

Sazan Pasori:

A quote that has brought me immense comfort as a creative and as a person is: “Whatever it is you’re seeking, won’t come in the form you’re expecting.”

The quote is by fiction author, Haruki Murakami, and reminds me to ease up a little and let things play out. White knuckling a project, your career, or life won’t change it’s outcome.

Guest User 11/16/21 Guest User 11/16/21

Takeover Tuesday with Sofie Birkin

Q&A with Sofie Birkin, a queer British artist currently living in Denver.

Q&A with Sofie Birkin
Read time: 5min

*Playboy Magazine* | US Summer 2019 Gender & Sexuality Issue

Madison Caprara:

Hey, Sofie! Why don’t we start the Q&A with you introducing yourself?

Sofie Birkin:

I’m a queer British Illustrator living in Denver with my dog, Arthur! I mostly do digital illustration and murals locally.

Madison Caprara:

And how would you go about describing the look and feel of your illustrations and murals for those who may not be familiar?

Sofie Birkin:

I make vibrant, playful, and contemporary illustrations informed by graphic design and fashion photography. My work features an inclusive cast of bold and empowered characters who might not often be represented in mainstream media or illustration.

Madison Caprara:

From the UK to Denver, CO. Quite a difference, how are you liking the States?

Sofie Birkin:

I love it here! I’ve been in Denver for about seven years now and don’t see myself moving any time soon--I got my citizenship last year. I definitely miss free healthcare, but Denver is such a charming city. I live in a 19th-century mansion converted into apartments. All my neighbors are friends, we share homegrown vegetables and have a pottery studio in the garden. It’s pretty dreamy!

Madison Caprara:

A communal garden AND pottery studio? Sounds like the ideal living situation. I’m a bit jealous, to be honest.

Now I see you started off your career studying footwear design in London. What originally drew you to that specialty?

Sofie Birkin:

I took a millinery course when I was 17 to learn how to make hats and was hooked on it. I was struggling to pick a degree and my millinery teacher told me about the footwear course. She said something along the lines of, “a shoe is just a hat for your foot.” As it transpires, that was not quite true as a shoe also has to safely and comfortably bear the weight of a human being.

Madison Caprara:

Other than the dissimilarity between footwear and headwear, what ultimately turned you off of it?

Sofie Birkin:

After spending a year in the industry I realized that none of the career options available to me were super appealing. On top of that, my favorite thing about it was creating illustrated surface designs. When I moved to Denver I realized there wasn’t really a robust fashion industry here anyway, which gave me a good excuse to start looking at other options.

Madison Caprara:

What did the interim between your fashion design and illustration career entail?

Sofie Birkin:

Serving popcorn at an indie movie theatre, doing CAD work for a sports footwear production company, gluing rhinestones and bows to hideous shoes for brides-to-be, printing cutesy slogans onto baby clothes…At one point I had five jobs--clearly, I like to stay busy!

Madison Caprara:

Did you find that your support system encouraged you throughout the process of your career change?

Sofie Birkin:

For sure, some with tougher love than others! Honestly, the most encouraging person was probably my old boss who hired me as an in-house illustrator at his design agency. My portfolio was dreadful. I don’t think they used a single thing I made for the first year, but for some reason, he had a lot of faith in me. It gave me the opportunity to practice for hours every day and still pay my rent, which was a huge privilege.

Madison Caprara:

Was illustration a conscious choice or something you found yourself falling into?

Sofie Birkin:

I definitely fell into it. I’ve drawn my whole life, but I felt alienated by what I understood to be “fine art” and didn’t recognize what I enjoyed creating as illustration. In retrospect, I can see all the things that led me to it, but it took me a long time to actually see myself as an illustrator.

Madison Caprara:

You briefly mentioned it, but tell me a bit more about your first position within illustration.

Sofie Birkin:

My first position was the in-house job I just mentioned (the agency is called Grit), but my first major freelance gig was creating queer and trans-inclusive sex position illustrations for Cosmopolitan magazine.

Madison Caprara:

That’s such a fun first project!

What had you making the international move to Denver? That first in-house gig?

Sofie Birkin:

I moved here pretty spontaneously. I had a long-distance partner and we ended up getting married here--we’re separated now.

Madison Caprara:

Now, are you freelance? What prompted you to make that decision? How has the experience been?

Sofie Birkin:

I’ve been freelancing since 2017 but I went full-time with it last year. It was a nerve-wracking decision, but I was so busy and couldn’t juggle it with my day job anymore. Thankfully it’s been a positive experience. This has been my busiest year yet, and I’ve gotten a lot better at managing stress and having a good work-life balance.

Madison Caprara:

A common thread I’m seeing among many in the industry, particularly coming off of this period of isolation.

What has been your favorite project you have been involved with?

Sofie Birkin:

It’s a toss-up between the Sex Ed book I brought out with Ruby Rare last year, and the erotic tarot deck that was just released through Laurence King a couple of weeks ago. They were both great experiences! Everyone on the projects was just an absolute delight to work with, and I’m really proud of the outcomes. Of course, I mostly work digitally, so it’s a lot of fun to get to hold something that’s only existed on your iPad for months as a physical object.

Madison Caprara:

I’m pretty sure I could make an accurate guess, but do you find yourself gravitating towards a specific subject matter or look?

Sofie Birkin:

Obviously, queer representation is a huge part of my work, but it would be regardless of the content matter. In my personal work I’m interested in women’s experiences, and particularly within historical themes like mid-century Americana and Ancient Greek mythology.

Madison Caprara:

Speaking of, what are your thoughts on the industry’s diversity and queer visibility? Something to work on?

Sofie Birkin:

It can always improve, of course, but I do think it’s improving. I would say the majority of my clients this year have overtly requested me because of the inclusivity of my illustrations. It gets complicated when the line between what’s in good faith and what’s a marketing ploy becomes blurred, but I try to be discerning and work with companies that seem authentic in their mission. Most of the art directors who hire me are queer themselves.

Madison Caprara:

That’s pretty inspiring to hear!

When you find yourself in a creative rut, where do you find yourself going?

Sofie Birkin:

I like looking to fashion photography and graphic design for inspiration, as well as historical content that’s entered the public domain.

Madison Caprara:

Well, I’ve really loved this conversation, Sofie. Unfortunately, we’ll have to start wrapping it up. Do you have any closing advice you would like to end on?

Sofie Birkin:

Honestly, I feel strongly about artists being paid fairly for their work, so I would say if anyone is getting into commercial illustration, reach out to folks for pricing advice. We’re a super friendly community! There’s not enough transparency in the industry, and I spent too long being underpaid because I was uncomfortable with asking for advice.

Guest User 11/9/21 Guest User 11/9/21

Takeover Tuesday with dina Amin

Q&A with dina Amin, a Stop Motion Artist and Maker from Cairo, Egypt.

Q&A with dina Amin
Read time: 5min

*Adult Swim Stop Motion ID* | Client: Adult Swim, Animation: dina Amin

Madison Caprara:

Hey, dina! How’re you doing? Could you give us a little insight into you and your work?

dina Amin:

I am doing great thanks!

My name is dina Amin, I am a Stop Motion Artist and Maker from Cairo, Egypt.

Madison Caprara:

Now, I see that your BA is actually in industrial design, what prompted you to pivot away from that?

dina Amin:

It was a very unintended shift. After studying industrial design in Malaysia and coming back to Egypt, it was difficult to find opportunities. For a few years, I took on many different jobs, after a while, however, I began to feel lost. I loved industrial design, but hated a big part of the industry; most of the things we design end up being thrown away. So one day I decided to do the thing I loved the most.

There were many worries: “Is it a ‘real’ job?” “Where would it lead professionally?” “Will I be able to make money from it?” At the time, I didn’t have the answers, but I convinced myself that my true calling was to take products apart. I started doing so every weekend, until one day I decided to animate these parts using something I had learned about: stop motion. I was immediately hooked. For a year and a half, I would take apart a broken product and animate it coming together in new ways. This is how I taught myself animation.

Madison Caprara:

Wow, that takes an insane amount of self-discipline.

So what exactly is stop motion? How does it differ from other forms of animation?

dina Amin:

Stop motion is a form of handmade animation. Every component is real and is physically moved by the animator. You take a series of photos of an object and in each photo, you move the object slightly. When all these photos are played back-to-back, it appears as if the object is moving on its own.

What makes stop motion very different from other types of animation, is that it is a merging of two practices: animation and photography.

Madison Caprara:

What initially drew you to stop motion as opposed to other animating techniques?

dina Amin:

Stop motion is magical. I basically am constructing an illusion. We trick you into seeing something that isn’t real but looks as if it is. With stop motion, I can make any wild imagination into a fascinating reality.

Madison Caprara:

Do you see any intersection between the two: industrial design and stop motion?

dina Amin:

YES! I have learned that many industrial designers actually make the switch to stop motion. A large part of stop motion involves fabrication—whether it’s making the sets or fabricating the inner skeletons of a puppet. There is a lot of product design and engineering knowledge utilized. Knowing a lot about different materials is helpful as well. We are constantly problem-solving.

Madison Caprara:

And what steps did you take in pursuing it professionally? You mentioned that initially, you were self-taught.

dina Amin:

I am self-taught and mainly learned with consistent practice. Eventually, I started learning more skills like animation principles, cinematography, how to use lighting, video editing, and fabrication. Stop motion really is under the umbrella of many different fields, but with time and discipline, anyone can teach themselves.

Madison Caprara:

Do you have any resource or tutorial recommendations for those who may be interested in learning?

dina Amin:

Of course:

The Animator’s Survival Kit, by Richard Williams
My Skillshare course, Stop Motion for Beginners
My free printable and tutorial on how to make a certain character using stop motion
Kevin Parry’s intermediate course on stop motion
Edu Puertas’ Youtube
Guldies’ Patreon
My Patreon
AdeenaGrub’s Patreon
Terry Ibele’s, Animation Industry Podcast.

Madison Caprara:

Now having experienced both sides of the coin—formal education and self-teaching—where do you stand on the debate for/against pursuing a college degree? Is it essential for success in your opinion?

dina Amin:

There isn’t one option that’s better than the other. Even if you do pursue a degree, you’ll still be teaching yourself a lot of the skills. There is a lot of information out there, you can’t expect to get it from a single source or person. I see the term “self-teaching” as you WANTING to teach yourself, but not necessarily the same as you being your sole teacher. There is a difference.

When you are “self-taught” you are still learning from others who have put the information out there. Whether they know it or not, they were your teachers. So, the drive has to be there, even in college. Is a college degree essential to success? Absolutely not. It’s the desire-to-learn attitude that is essential. But one thing that college makes easier, if the student makes use of it, is the early network building and ease of establishing connections.

Madison Caprara:

Couldn’t agree with you more on that one.

*Moulid Doll* | Client: Zest, Animation: dina Amin

Madison Caprara:

Speaking on establishing connections, how did you go about cultivating and creating a community in an industry that was completely new to you?

dina Amin:

Completely new and almost nonexistent in Egypt! The short answer is...the internet. I met a lot of interesting people through my Instagram and made sure to spread my work on online blogs and editorials. Consequently, I started getting opportunities to speak at conferences and began meeting up with so many incredible creatives. My community kept growing and growing from there!

Madison Caprara:

On the flip side, what about creating client relationships?

dina Amin:

Very important! Client relations are the key to sustaining your work as a freelancer, or even if you are running your own studio. I prefer to work with clients I relate to. The work is “easy” and more fun if I love what they do or what they are creating. Everyone is working towards the same goal, that goal being to make the best deliverable for their product/service rather than “finishing another job.” Two completely different mentalities. These types of clients are easy to grow a relationship with, everyone is happy with the process and outcome, and they usually remember you for their next project.

Madison Caprara:

For curiosity’s sake, who was your first client or project?

dina Amin:

My first project was for BBC Arabic. They had interviewed me for a tv report and thought that I could make an intro for the show being that I knew both Arabic and English!

Madison Caprara:

Do you have a favorite stop motion work or artist?

dina Amin:

There are too many good ones, Guldies is my favorite, he has the best timing in his animations. The movements are so smooth and I like his imagination.

Madison Caprara:

Well, it’s been really great speaking with you, dina! I’ll admit, I didn’t know much about the stop motion side before this conversation.

Before we wrap it up, is there anything would like to end on?

dina Amin:

I’d advise anyone who would like to start learning stop motion to just go for it! Just do it. Don’t wait for the “right” tools or the “right” course. Take out your phone, download any stop motion app, and start moving things.

Guest User 11/2/21 Guest User 11/2/21

Takeover Tuesday with AppleButter Animated

Q&A with Megan Jedrysiak and Jackson Ammenheuser, Co-Founders of AppleButter Animated.

Q&A with AppleButter Animated
Read time: 10min

*Sprite Way Series* | Studio: Protokulture, Animation: Jackson Ammenheuser and Megan Jedrysiak

Madison Caprara:

Hey, you two!

Why don’t you both give me a little intro to who you are? How did you find yourselves in this industry? What initially attracted you to the field?

AppleButter Animated:

We are Megan Jedrysiak and Jackson Ammenheuser, Co-Founders of AppleButter Animated, based out of Chicago. We love to skate, play soccer, sing karaoke, and eat food. When we aren’t doing those things, we like to experiment with animation production practices! Lately, we’ve been expanding our efforts in the motion process by taking elements of digital animation (graphics, motion, sound, automation) and presenting them in both physical and streaming spaces with our own machines and graphics.

We both studied Animation at DePaul University and jumped into freelance work right out of school. I wouldn’t suggest going straight to freelance to anyone today, but it luckily worked out for us. We were both initially attracted to the independence and energy of experimental animation, and loved that you didn’t need to wait for an art show, or a budget, or a crew. You don’t need to ask permission to do anything, just go animate!

Madison Caprara:

I’m assuming you both met in one of your Animation courses, or..?

AppleButter Animated:

We actually met in a computer lab at DePaul.

We would work on 3D animation homework together. It involved a lot of sugary snack consumption and Megan playing cool music videos. Eventually, we started dating, made a few projects together, and chose to continue doing so after graduation, mostly so that we could continue to eat snacks and watch cool music videos together while we worked.

Madison Caprara:

A pretty enviable meet-cute!

So, how did AppleButter Animated come to be? Was there a particular influence or circumstance that prompted you to start the studio?

AppleButter Animated:

AppleButter started right when we graduated university, seven years ago. We wanted to keep making our own work and gave it a shot! We figured that we could always jump ship and go to a 9-5 if there was a disaster. It was a struggle for the first few years, including a couple of side hustles, but we got there! We were hugely inspired by our friends Nick and Nadine, who run a two-person graphic art studio in Chicago, Sonnenzimmer. They seemed to have it all as a couple with a small creative business and art practice. We thought we would try the same thing!

*GFXi* | Client: GFXi, Animation: Jackson Ammenheuser, Design: Megan Jedrysiak

Madison Caprara:

A pretty courageous endeavor being new graduates!

How would you describe the studio’s style?

AppleButter Animated:

We like to make things fast, at least in animator terms. I hope that comes across in our style. There’s this idea that animation has to take forever to be good, and we just don’t believe that. Our work ranges in style, but almost every one of our projects takes less than a week to make.

We strive to make hybrid-style energetic work that leaves an impression and might make you double-take. We like to wait for ideas that make you laugh even if they’re not funny. Some of our best ideas emulate jokes in that way, or at least point to a punchline.

Madison Caprara:

I see that you specialize in short-form animation and interactive art. What draws you to the two?

AppleButter Animated:

We get excited about all things motion. Deep down, robotics and animation are extremely similar on a structural level: build a thing and make it move. Even Megan’s painting work breaks down a 2D image informed by motion in our animation practice. We are really attracted to that energy that you can give an object, space, or video when you make it move. There is a lot of power there, we hope to push what animation means way outside of motion graphics and the moving image ballpark.

Madison Caprara:

How does the studio work in terms of project selection, work process, etc.? How do you go about delineating tasks between the two of you?

AppleButter Animated:

We like to say that Megan is great at starting things and Jackson is good at finishing them.

That pretty much describes our pipeline most of the time. Megan has a much stronger art and drawing background, while Jackson studied the more 3D and technical side of creative. Megan will typically kick ideas off with research, drawings, boards, and styleframes, then we’ll meet in the middle to do design, motion tests, and development. Typically Jackson will do the final motion, VFX, and polish. There is a lot of collaboration and discussion at all points but that vaguely fits most of the time.

Madison Caprara:

That being said, what do you both look for when taking on a project? What has you giving an automatic, “yes”?

Sad Boy Music Video | Client: Deltree, G-Eazy, Animation: Megan Jedrysiak and Jackson Ammenheuser, Illustration: Joonbug

AppleButter Animated:

For commercial work, an automatic “yes” is a good producer! Having the budget, timeline, scope, mood, brand guidelines, all laid out before we even speak is the dream! When it comes to ad work, we care more about working with good folks and being treated with respect than working on the “sickest” projects.

For our artwork, we love to collaborate and interact with friends. Our animation work was so siloed for a long time, and we’re really over that style of making. We live for that back and forth of ideas between collaborators, even when it all goes wrong. Sharing the highs and lows and taking a leap together is what it’s all about.

Madison Caprara:

Speaking on collaboration, do you ever outsource talent for larger projects?

AppleButter Animated:

We try to do 100% of the work ourselves. We’re just not that type of studio that hires out other animation freelancers. If we can’t do a project for whatever reason, we try to pass along the work to friends! We enjoy working with musicians, directors, and writers of course, but for the animation work, we plan on keeping it between the two of us.

Madison Caprara:

And what has been your favorite project to date?

AppleButter Animated:

Our favorite project was a duo gallery show at Public Works Gallery. We pulled it off right before the pandemic. The show allowed us to try so many new ideas that would be exhibited in a physical space. World-building is inherent in animated films, but films are typically viewed in a 2D space. We were able to produce a more immersive world with our animation, paintings, and painting robot living together all in one space. That process and engagement from all the folks who showed up inspired us. We're hoping to push further into that space over the next couple of years.

Madison Caprara:

Well, the exhibition looked incredible! Readers can find it here.

Madison Caprara:

When needed, where do you go for inspiration?

AppleButter Animated:

We try to look beyond film for inspiration. Engaging with stories and visual languages as much as possible, and seeking out new experiences informs our vision. If we’re stuck or looking for something new, we go for a walk, develop recipes, eat a good snack, look at paintings, read books or comics, garden, and talk with friends. Looking at a problem from a wider view usually helps us understand what we’re really trying to get at.

Also, this isn't traditional inspiration, but whenever we need some energy in the moment, say a project is going poorly, or we lost the thread of an idea, we always pull up an old friend’s class film. He made it in a late-night daze for an experimental animation class. The assignment was misunderstood by most of the class and the professor was not happy during the screening, but this project was the cherry on top. It just went really wrong, including some major sound goofs, and somehow it went wrong just enough times to turn into one of our all-time favorite films. It brings back the wild energy we love every time.

*Away From Keyboard* Residency | WNDR Museum, Chicago

Madison Caprara:

What were some of the best decisions you’ve made vs ones you wish you could redo? As a studio or even individual artists?

AppleButter Animated:

Collaborating with friends and being a part of our larger animation and art community has been our most positive experience as artists and animators. We’ve learned so much working with great folks on personal projects and commercial ones. It opens up a field of possibilities from collaborating with one friend, to working with a group at a studio, to inviting a general internet audience to work with us on a robotic painting.

Our biggest mistake is the other side of that coin, which is initially believing that animation and art need to be this silo-ed sport. I think many could attest to the running joke of the lone animation martyr stuck in their cave. And maybe that’s how you like to work, but it doesn’t have to be that way!

Madison Caprara:

I’m sure some folks out there can definitely relate.

What advice would you give to someone thinking of starting a studio?

AppleButter Animated:

For people who generally want to step away from full-time employment and do their own thing, I would suggest doing your research, understanding your safety net, and talking to people who are where you want to be! For us, that meant talking to our studio idols about all sorts of things from clients to art galleries to day-to-day expectations. Jackson talked to his parents about helping us if we got into a bind, luckily we’ve avoided needing help. But it is important to know it’s there and recognize that we couldn’t have done this without that privilege. We also read everything we could about freelance, from books like The Freelance Manifesto, to online forums, and going to local mo-graph meetups and animation festivals.

Madison Caprara:

Are there any big upcoming projects in development we should be looking out for from AppleButter?

AppleButter Animated:

As spaces are starting to open again, we have a few space-based ideas we are pitching around that we love! One involves a DIY Smart CRT TV that would serve as an ongoing local animation festival with a vintage edge, think flipping through channels and classic commercials. We're working on adding a comparative graphic vision system to our painting machine, this process would compare the live painting to a graphic or photo, and update accordingly. And we’re excited about this new 3D smear style that we’ve been having a lot of fun with on Instagram.

Madison Caprara:

That sounds really exciting! After a year+ of social isolation, an interactive exhibit is particularly enticing.

Unfortunately, we’re reaching the end of our time together. It’s been really great getting to know a bit more about the two of you and your studio. Is there any closing point or piece of advice you would like to end our chat with?

AppleButter Animated:

Have fun! Speak from what you know, be open to learning and making mistakes, and be the kind of nerd that only you can be!

Guest User 10/26/21 Guest User 10/26/21

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!

Guest User 10/19/21 Guest User 10/19/21

Takeover Tuesday with Her Afternoon

Q&A with Her Afternoon, a Hong Kong based Illustrator with a love for both minimalism and surrealism.

Q&A with Her Afternoon
Read time: 5min

Madison Caprara:

Hi there! I really appreciate you taking the time to chat with me. Could you give us a little background on yourself and your work?

Her Afternoon:

Hello. I operate under the pseudonym, Her Afternoon. I am both from and based in Hong Kong. I consider myself a multi-faceted person who vacillates between rationality and emotionality. Though I hate conflict, I am fond of contrast; shadow/light, love/hatred, lost/found, holding on/letting go, so on and so forth. I hope my artwork can reflect the simplicity of nature and, at the same time, show the complexity of humanity.

Madison Caprara:

Wonderful, and how did “Her Afternoon” come to be?

Her Afternoon:

It was a random thought, born on an ordinary afternoon.

Madison Caprara:

Now, I’m looking at your portfolio right now, it’s almost dreamlike; very soft, painterly, absolutely beautiful. I’m reminded of watercolors. Tell us a bit about your aesthetic. How did you go about identifying and perfecting your style?

Her Afternoon:

My work falls into the realms of minimalism and surrealism. To me, art transcends where boundaries do not exist. You might often find naked persons in my work, sometimes it’s a girl, sometimes a boy, sometimes a unisex baby. It can be difficult to see the faces of the persons, but their emotions are there. You can feel them if you allow yourself to do so. My aesthetic is about sensing and exploring. I perfect my style via continuous experimentation.

Madison Caprara:

In regards to these experimentations, do you find yourself drawing inspiration from any particular source?

Her Afternoon:

The work of Haruki Murakami inspires me a lot, especially his books about solitude and relationship. Another source of my inspiration comes from modern poems.

Madison Caprara:

Haruki Murakami...I see where you get your love for surrealism!

Now, thinking about your process, what is your favorite medium and why?

Her Afternoon:

I like pencil sketching. It’s raw and straightforward. I also like its softness and lightness.

Madison Caprara:

Do you allow your art to play a role in your life outside of work? How has it changed your relationship with people and the world as a whole? Particularly within the last year?

Her Afternoon:

I believe art and life cannot be completely separated. They are interlocked, two sides of the same coin. My life influences my art as much as my art affects my life. Last year was a difficult but special time for me. You may easily find sadness, anxiety, and grief in my work. While acknowledging and depicting the pains and sorrows of life, I also wanted to convey the future hopes and dreams implied. If my work happens to change anything in this world, I wish it to create a room for people. A room where you can find peace and hope no matter how chaotic the world is. I wish to create a relaxing afternoon for people who enjoy my art.

Madison Caprara:

We do a good job at harping on all of the lows of last year. The things that we lost, without really crediting what we’ve gained: stronger relationships, better self-advocacy in the workplace, maybe even a new skill.

Madison Caprara:

As I said before, your work lends this sense of serenity. However, your subjects look to be struggling with some inner battle. Is there some underlying theme or emotion you’re trying to convey with your works?

Her Afternoon:

One of the main themes surrounding my work is the ultimate dilemma of solitude vs. human connectedness. We are alone and together, in different levels and contexts. It is that constant struggle and search for mankind that my work attempts to explore and reflect.

Madison Caprara:

And have you always leaned towards minimalism?

Her Afternoon:

So far, yes.

Madison Caprara:

Despite their visual simplicity, your pieces convey so much, humanity’s solitude vs connectedness as you said. How have you managed to do this?

Her Afternoon:

I observe and pay attention to every little detail in daily life, like the faces in a crowd, the passage of the moon, or the summer breeze. I try to make sense of all these experiences and translate them into drawings or words.

Madison Caprara:

The little things.

Looking into the future, what would be your dream project or collaboration?

Her Afternoon:

I would be really excited if I could collaborate with my favorite writer Haruki Murakami.

Madison Caprara:

How do you think the industry will change over the next decade?

Her Afternoon:

It’s a really difficult question. The future is always in flux, but I think collectivity is always in the air. We as people belong to a whole, and one of the interesting things about the art world is that it allows you to pose questions about the nature of that belonging over and over again.

Madison Caprara:

This has been such a great conversation. I really appreciate you taking the time. Before we wrap it up, is there any point you would like to close with?

Her Afternoon:

Be true to yourself and embrace your inner conflicts. They imply your individuality and complexity.

Guest User 10/12/21 Guest User 10/12/21

Takeover Tuesday with Luddo

Q&A with Luddo, a Freelance Illustrator and Designer based in Buenos Aires, Argentina.

Luddo's work illustrates the contemporary world of fashion and products, combining playful abstractions and relaxed characters with bold and pastel color compositions. The majority of her work is in fashion illustration and surface design for packaging and branding. She defines herself as a lover of interior design, fashion, and product trends.

Q&A with Luddo
Read time: 5min

Madison Caprara:

Hey, Luddo! Thanks for taking the time to chat with me! Why don’t you give us a little introduction to yourself and your work?

Luddo:

Hey! Thanks for having me. I’m Luddo, a Designer and Illustrator based in Buenos Aires, Argentina. My work illustrates the contemporary world of fashion and products, combining playful abstractions and relaxed characters with funky color compositions. I am always looking for new ways in which I can play around with color!

I identify as a lover of interior design, fashion, and new product trends. I love bringing these passions into my characters and environments while creating a world that I can feel personally related to.

Madison Caprara:

How did you originally find yourself in the creative industry?

Luddo:

I always knew that I wanted to be in a creative field, but it took me some time to define which path I naturally wanted to be a part of. I have a degree in Industrial Design, so that first lead me to working as an Art Director at a stationery brand. With that work, I came to understand that I really loved the graphic side of the products. That understanding lead me to branding, and finally, illustration, which is what I specialize in nowadays. Looking back, I just allowed myself to move forward in what I was most interested in. At the end of the day, it is amazingly satisfying to be working in what I loved doing most as a child--we should acknowledge those early signs more often.

Madison Caprara:

I agree! Too often, I think, adults brush off children’s interests as fleeting hobbies.

Your work is really interesting! I get the sense that you primarily work within the fashion realm, both for clothes and product branding. Was this decision intentional? After recognizing your love for illustration, did you go in realizing that the fashion industry was the sector you were most interested in, or was it something realized with time?

Luddo:

I always loved fashion, and at the same time, I try to illustrate my world of interests. That being said, it's something that came naturally to me. If I’m obsessed with any outfits or trends, you’ll definitely see it in my work! I remember when I was around 10 years old, I had a sketchbook in which I created outfits for characters. So happily, that hasn’t changed much.

Madison Caprara:

Speaking of product branding, you have your shop where folks can purchase home decor with your designs. How did you find yourself getting into product sales?

Luddo:

As I come from the product field, I find it amazing when you can create personalized products with your illustrations. Seeing your art come to life is really satisfying. Apart from my actual shop, I also love to work on projects that involve materializing my illustrations in other mediums. As a fashion lover, it would be amazing to work with clothing someday.

Madison Caprara:

Is there a distinct difference between creating for your own products and clients? Do you have a preference?

Luddo:

Yes! Working with your own personal products is more open. You can be involved in every decision and detail. But when it comes to client products, it’s more common to be given a single area in which the graphics will be applied. Usually, the canvas of the product is already designed and involves really small costs that were analyzed internally to be able to mass-produce it.

Madison Caprara:

Do you have any advice for other creatives who may be interested in applying their works to personal product sales?

Luddo:

I would say that creativity is all about practice and trying new things, so move forward!

Also, I think that personal projects are an amazing tool to showcase yourself as the best creative version of what you want to be. No one is involved there so you can truly show 100% of yourself. Use that chance to show the kind of work you want to be hired for.

Madison Caprara:

When working on your own personal projects, do you have a favorite subject matter you like to work with? Any particular passions?

Luddo:

The subject always changes, so I can focus on a new thing that I want to showcase or current obsessions that I need to express. I love doing personal projects, though! They are really important for my growth.

Madison Caprara:

Now, are you currently working as a freelancer?

Luddo:

Yes! I'm full-time freelancing right now, however, this change is pretty recent. I'm really enjoying my first year on my own. I'm happy to have taken this big step, my work has grown so much this year and I am excited to soon show the new projects I've been working on!

Madison Caprara:

Congratulations on taking the plunge! What sparked the change?

Luddo:

I've worked within a company for five years and I felt it was time to follow another direction. I needed to make my side job my full-time. It was the only way to grow with what I wanted to do, so for my birthday, I said, “ok, let's do this!”

Madison Caprara:

I’m sure that felt crazy liberating!

Looking at some of your freelance work, who has been your favorite client or project?

Luddo:

I've worked with Badoo dating on a new project that I'm excited to share soon.

Madison Caprara:

We’ll definitely be keeping an eye out for that one.

Now you said you are currently based in Buenos Aires, yes? What is the creative industry like there?

Luddo:

The creative industry in Argentina in general has amazing artists! There is so much talent! Our industry is beginning to open up to working more on worldwide and international projects, so I'm really happy that we are showing our voices and perspectives to the world.

Madison Caprara:

Where do you find yourself seeking inspiration when in a creative rut?

Luddo:

I would say that I use Pinterest and Instagram to see images that inspire me. But when I need clarity, I'm more about just going to walk my dog, or in general, leaving the screens. That usually brings me better ideas.

Madison Caprara:

I really appreciate you taking the time for a chat, Luddo. We’re reaching the tail end of this Q&A. Before we sign off, do you have any closing statements or advice you’d like to share?

Luddo:

Keep moving forward! Everything will find its place along the way.

Guest User 10/5/21 Guest User 10/5/21

Takeover Tuesday with Sawako Kabuki

Q&A with Sawako Kabuki, a freelance Illustrator and Animator based in Tokyo who started off her career working for a popular Japanese porn video company.

Sawako graduated with a bachelor’s in graphic design from Tama Art University and later completed her master's. Her films have been awarded at more than 20 international festivals such as Zagreb, Rotterdam, Annecy, Ottawa, and SXSW.

Q&A with Sawako Kabuki
Read time: 3min

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Madison Caprara:

Hi Sawako! Thank you for taking the time to speak with me! Why don’t you tell us a little bit about yourself?

Sawako Kabuki:

Hello! I am a freelance Animator and Illustrator. Though I mainly work on animations, which can be hard and tiring, I try to do some illustrative work once in a while. It’s a good change and sort of an escape from reality.

Madison Caprara:

You are based in Tokyo, correct? What is the creative industry like there?

Sawako Kabuki:

I don't think it's that different from the U.S. Though when I usually tell people that I work in animation, they immediately think of Japanese "anime". Therefore, in moments when I don't want to have a conversation taking the time to explain, because it can be too much trouble, for example, at a hair salon, I’ll lie and say I'm a web designer or something similar.

Madison Caprara:

That’s funny! I imagine it can get a bit exhausting having to constantly explain what you do for a living.

Madison Caprara:

I see on your website that you originally started out working for a porn video company. That’s a really unique segway into the industry. I was wondering if you could tell us a little about that?

Sawako Kabuki:

When I was looking for a job in my fourth year of university, I saw a posting on a job-search website. The largest adult video company in Japan was hiring. I thought it was cool! So, I applied and was accepted after three interviews and an internship. I quit after about six months.

Madison Caprara:

You have a very distinct style. I’m a big fan! What went into figuring out your unique look?

Sawako Kabuki:

Thank you so much! I don't know to be honest, but I draw butts a lot because I find them calming to look at and draw.

Madison Caprara:

Speaking of butts, you utilize a lot of nudity and sexual references within your work. Do you believe your time within the porn industry played an influence or is that all you?

Sawako Kabuki:

I don’t think it acted as an influence at all because I had many works with these themes, even before I entered the porn industry.

Madison Caprara:

And is there any overlying message you continuously try to portray within your works? Anything specific you feel passionate about - other than butts?

Sawako Kabuki:

Honestly, I want kids to be fascinated and influenced by my work.

Madison Caprara:

Now you’ve had a crazy variety when it comes to projects, from animated music videos to illustrated narratives. Are there any particularly crazy client stories you can share?

Sawako Kabuki:

When I made a music video for a rock band, the animation was a little too extreme for them. It had to be released on a limited basis, meaning, only the people who bought the CD could see it. I don’t think that was very punk rock of them.

Madison Caprara:

Not very punk rock at all. Looking forward, are there any new projects we should be watching out for from you?

Sawako Kabuki:

I’ve been working on an original short film with MIYU productions in France, and it’s almost finished. The title is, I'm late. It’s an animated documentary that focuses on the experiences of people missing their period or being “late.”

Madison Caprara:

Something I’m sure a lot of women can level with. I’ll definitely be keeping an eye out for that one!

Madison Caprara:

Having both partnered with studies and gone solo, how do you prefer to work? Individually or on a team?

Sawako Kabuki:

I definitely prefer to work individually.

Madison Caprara:

And has the pandemic affected that at all? Whether it be with your access to work/clients or your creativity levels?

Sawako Kabuki:

I have an installation work that I spent a lot of time on, but because of the pandemic, I couldn't show it to the public. The project team was disbanded. I’m still sad about it.

Madison Caprara:

Damn, I’m really sorry to hear that. I’m sure it was really disappointing to put in all the work, just for it to fall through. Hopefully, with numbers dropping and the world beginning to slowly open up, it’s something you can circle back to.

I know a lot of creatives were dealing with that inspiration rut during the lockdown, when you find yourself going through something similar, where do you go for inspiration?

Sawako Kabuki:

I have a stair climber in my room, and I get a lot of inspiration when I'm on it.

Madison Caprara:

That’s a first! Well, you’ve been a delight, Sawako. To wrap it up for the good readers, do you have any closing points you’d like to end on?

Sawako Kabuki:

I hope for happy sex for all humanity!

Guest User 9/28/21 Guest User 9/28/21

Takeover Tuesday with Dennis Quiñones

Q&A with Dennis Quiñones, an Illustrator and Graphic Designer based in Bogotá, Colombia.

Q&A with Dennis Quiñones
Read time: 10min

Madison Caprara:

Hi, Dennis! Could you start us off with a little introduction to yourself and your work? How did you find yourself in this industry?

Dennis Quiñones:

Hi everyone! I’m Dennis Quiñones, a Colombian Freelance Illustrator. I’m the girl behind Dess Artist, the nickname or character by which I identify my work. Since I was a child I enjoyed art. Drawing was a great hobby in school, although I did not consider that I did it well. Still, I enjoyed it very much.

I thought I would study something related to fashion but decided to go with graphic design. This experience showed me a broader picture after which, I was more inclined to focus on animation. I still get excited when I see my characters in motion, however, my heart always leans towards illustration. When combined that with the knowledge of design and animation, these skills have opened doors within the industry. I worked as a Designer and Art Director for a few companies in my country, however, I felt that there was something more waiting for me. Without a definite plan, I decided to quit, and that is how Dess Artist was born.

Dennis Quiñones:

Starting out as an independent is a somewhat uncertain path, but I knew that if I did my part and gave my best I only had to trust that it was possible to make my way. It’s amazing how my hobby became my job and how this industry keeps opening doors for me. I have had the opportunity to work in many different sectors; illustrating for brands in advertising formats, in musical projects for renowned artists like Pink (great experience), for editorial magazines, and blogs. Something I am currently working on that makes me excited is my personal project, with a focus on empowerment.

Madison Caprara:

From fashion to graphic design, direction to illustration...how did you go about finding and shaping your artistic style? Do you have any specific creative influences?

Dennis Quiñones:

It’s funny that you ask this question, I believe that I am constantly shaping my style. There is no limit. I feel that it will continue to mutate, and as I change, my experiences, opinions, my way of seeing the world, my art will as well. Being open to that change and exploration has been a key factor in my process. That being said, I feel I have a vibrant, colorful style. Something that defines me as a communicator is versatility. Being willing to explore has made me discover different skills, mixed techniques, and styles that enrich my work and my experiences. I believe this makes me more attractive to clients that are looking to approach different projects and styles. Of course, it also enriches my work and life.

I think I have many influences. At a creative and technical level: the environment, culture, relationships, travels. We all influence each other, sometimes without even realizing it. Everything is an inspiration. Everything is material to create. Colleagues and friends with whom I share and with whom I work, of course, influence me, and vice versa. The time we are in, the internet, everything has an inherent influence, even the art from thousands of years ago. Today, after almost ten years of learning Egyptian art from my art history class, I am still so fascinated with it. There is a detail that I include in many of my characters, I use the position of the frontal eyes even if the characters are in profile. I recognize that this decision comes from those historical influences.

Dennis Quiñones:

I currently have the desire to work from different places. My work allows me to do so. When looking at the history of art, I find myself gravitating towards Impressionism. These artists took part in the development of landscape oil paintings, representing their environment. It is curious how nowadays, with the boom in travel, these phenomena are happening again. Though they are, of course, presented differently, but are ultimately similar in essence.

Madison Caprara:

You had briefly mentioned how culture influences your work. Can you go a bit into how exactly your specific cultural background does so?

Dennis Quiñones:

My work, my opinion, and my person are a reflection of the society in which I live and the decisions that I make. What I feel, the situations I am familiar with, the beliefs I carry, and the culture in which I develop as a person, give me context. They give me an opinion that I intrinsically reflect in my work. I have a particular interest in illustrating women in my personal work. I enjoy putting them in the attitude of a businesswoman; powerful and capable. Why? When I look inside of myself, I find that I come from a matriarchal family; strong women who have worked hard to get ahead.

With that, I understand why I want to display these messages. I use my work to tell myself how valuable and capable I am, and of course also to all those who identify with it. In the field of illustration, I find welcome refuge. I believe it is everything that is right in the world, it is my safe place. I constantly hear that as creatives we should think outside the box, however, it is complex to do so when the action of creating is born from our experiences and what we know. So if I can lend any advice, it would be to live new experiences and interact in new cultures, travel, and expand that box.

Madison Caprara:

Speaking of travel, where are you currently based? What’s the creative industry like there?

Dennis Quiñones:

I live in Bogota! Being the capital of Colombia, it is a city where most of the companies in the creative sector are concentrated, followed by Medellin and Cali. Bogota has a lot of experience in this sector, which is why large international audiovisual production companies such as Dynamo, Jaguar Bite, Sony Pictures, Fox Telecolombia, among others, have chosen it as the headquarters of their operations. I recently read that 80% of the audiovisual industry exports originate here in Bogota.

When I had the opportunity to work with Pink, most of the creative team was Colombian. Thanks to the work of the project’s director, Colombia was being recognized! I remember the excitement I felt when I read the news headlines that said, “Colombians working with Pink.” After that, I have seen artists like Rihanna, Dua Lipa, and Zia, who have opted for the Colombian market. It’s incredible and has brought with it reflections on the matter. I know that the industry is segmented. Many of us struggle a lot for those opportunities. Here in Colombia, we have a lot of talented, highly qualified people, but from my personal experience, it looks as if we have better remuneration than what we actually do. This makes us reflect.

Madison Caprara:

Now, we’ve spoken about the industry in Bogotá. Can you speak a bit about how you found yourself where you are today? I see you were self-taught for the most part, how did you go about educating yourself?

Dennis Quiñones:

It is true that I have spent a lot of time studying on my own. One thing that was made clear to me is that if you want to improve your skills, you must study and practice. However, studying graphic design gave me a foundation and broadened my outlook, and there is where I met animation. I loved the idea that illustrations could have more movement. But yes, to specialize in illustration I spent a lot of time behind the screen exploring techniques, relying on online courses, and asking colleagues with experience in the sector. People who give you real feedback are valuable. You begin to understand how to accept constructive criticism and take advantage of it.

I also remember buying an annual subscription to Schoolism, where I had access to courses with Disney and Pixar artists. For the most part, I utilized many online tutorials, some bought while other times, friends who noticed my interest granted me access to their courses. While this happened, I was working in an agency, and I have to emphasize that the greatest learning tool has been working on real projects. The experience given while “doing” is indispensable. It is a profession of constantly learning, there are always new tools and new ways to go about solving a problem. Now when I approach a project, I know that I will learn something new.

Madison Caprara:

Now, for other creatives going down the self-taught route, do you have any advice on advocating for or marketing themselves in an industry that is overly saturated with talented artists?

Dennis Quiñones:

Of course! I can think of three indispensable pieces of advice:

1.) Be brave and share your work, processes, and concerns with other artists who have more experience. Relating with people in the industry is important, something that expanded my work is to understand that other artists and illustrators are a team and not competition. You have to understand that your path is unique, you should not compare yourself. There is room for everyone within this industry, it is amazing how this change of mentality makes you go from having two hands to having four or six for a project because those colleagues are who you team up with. They are also the ones who recommend you for other projects or vice versa.

2.) Be present on social networks. Show people that you exist. Show both your personal and commercial projects, your processes, your changes, and your evolution. That creates community. You are not only showing a piece, you are exposing yourself as a human being in each work.

3.)Attend and participate in creative sector events, exhibitions, contests, etc. This way you can cultivate more relationships with people. More support. More feedback.

Madison Caprara:

So what I take from that is to really get yourself out there, both in the physical and digital worlds.

Now, what is the range of projects you have worked on? Do you have a favorite medium or subject?

Dennis Quiñones:

Thinking about this question makes me smile. I do a mental recap and feel very fortunate to have had the opportunity to work on so many different projects. My favorites are definitely those that have carried a message of empowerment while allowing me to explore in color. I have a particular taste for those that highlight the role of women.

In my experience, I have been able to work in different media; in advertising for national and international brands, in publishing, participating in children’s education books, blogs, magazines with articles for creatives, also in the audiovisual medium, with corporate videos, experimental music videos, all while selling my personal art to independent figures for textile media.

Madison Caprara:

Quite the roster, Dess!

Going back to your love for character design. Is there a certain methodology or process you revert to when designing characters? Do you have a preferred look or style?

Dennis Quiñones:

When I design characters, it is important for me to know in which media the character is going to interact; if it is for animation or for print because that will determine how I go about the “how”. However, beyond the technique, my starting point will always be the “what”; understanding the personality, what he/she/it does, behavior, hobbies, are they being used to tell a story? Regardless of whether it is for a client or for a personal project, I like to have a brief. They help me in understanding the clear path to success. The more questions or potential problems I solve beforehand, the better.

For example, say that the requirement is to create a woman who lives on the beach. She has a cabin with surfboards. Surely our mind starts to generate questions, so we begin to create her story. Is she an old woman who no longer practices and keeps her boards from her exploits? Maybe she exudes nostalgia? Is she young and still practices and has many boards because she constantly participates in competitions? Is she older with a young soul, so she continues practicing and has a school where she teaches others? When you define what story you want to tell, you have a guide, where to start.

Dennis Quiñones:

From there it is easier. You know who the character is talking to. You establish if they are a main or secondary character, what they want to convey, how they present their personality, looks, how they dress. Personally, I love creating characters for animation frame by frame; all the views and expressions. But creating them for prints where you have a single frame to convey that story is also fascinating. I love the challenge, therefore I couldn’t choose one methodology. I love them both.

Madison Caprara:

How has your work shifted due to the pandemic? By work, that can mean access to it, your creative drive, anything really!

Dennis Quiñones:

It has changed, but not drastically. I had been working from home for four years with different clients. When the pandemic began, I was working predominantly on visuals for concerts that were canceled, as gatherings would not be allowed for a while. However, they were not my only source of work, so I was able to continue with other projects and clients. I felt very lucky. My colleagues and I are very fortunate to have been able to continue working while this was all going on and to be able to support our families. In fact, the work was enhanced. I worked with artists whose videos would be animated versions of themselves due to the estrangement. This instilled in me the concept that there are always opportunities and helped me to take the first step in starting my own t-shirt brand. It’s still a baby.

Madison Caprara:

Well, that’s exciting! Looking forward to seeing the merch!

Pandemic-related obstacles aside, what do you feel is the most challenging aspect of illustrative work? What’s the most rewarding?

Dennis Quiñones:

Perhaps one of the most difficult things is finding your own voice. When you start off in the industry, you have references to follow. Naturally, you want to follow in their footsteps. While it is part of the exploration process, you will never be the same person who creates the same art. It is nice to see what works for you and what does not from the processes of others and thus discovering your own path. Though it can be frustrating at times, the only thing to do is to continue on with what you are and what you have. It is enough to start your own path.

I had to understand that frustrations are a normal part of the process. The most gratifying thing in my story is that in illustration I found refuge. I found a way to express myself. A place where I could come back and find myself whenever I felt lost. An industry that values my abilities and does not stop giving me opportunities to grow and learn. A place where my hobby became my job and has allowed me to materialize other dreams. That is beautiful!

Madison Caprara:

You have such an incredibly optimistic way of looking at the world. It’s really inspiring.

Where do you find yourself consistently going for inspiration?

Dennis Quiñones:

I have physical places and metaphorical places. Living in the mountains near a forest, I have had an incredible place to think. However, in search of contrasts, I like to visit the beach. I love the sea. Whenever I have the opportunity to go, I take advantage of it.

I also have a notebook filled with my ideas; words, concepts, sometimes phrases, random marks. It is a place where I always find inspiration. They are most often ideas that are a result of places I go, people I meet, flavors I taste, songs I listen to, existential doubts, the market list, something I want to learn, etc. They appear at any time, so I write them down. Sometimes they make no sense, and other times they give rise to very significant pieces. If at some point, I don’t know what to draw I start reading this notebook looking for options.

Madison Caprara:

Unfortunately, we have to wrap up this chat, Dess. Do you have any closing points you’d like to touch on?

Dennis Quiñones:

I recently read a quote in one of my favorite books, La Voz de Tu Alma, which translates to, The Voice of Your Soul. The quote captivated me, and I would love to share it: “Never let the things you want make you forget the things you already have.” It is about giving the deserved importance to the process, be clear about where you are going but value the point where you are. Be grateful, and enjoy each stage. It is a beautiful metaphor for life and for illustration. Gratitude is capable of creating magic. Thank you very much for the invitation, it was amazing to look back on memories.

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Guest User 9/21/21 Guest User 9/21/21

Takeover Tuesday with Lo Harris

Q&A with Lauren (Lo) Harris, an NYC-based Digital Artist who specializes in illustration and motion design.

Q&A with Lo Harris
Read time: 5min

Madison Caprara:

How’re you doing, Lo? Why don’t you give us a little introduction to yourself and your work?

Lo Harris:

I’m Lo Harris, a Brooklyn-based Digital Artist who specializes in illustration and motion design. I’ve created graphics and illustrations for a variety of brands within the intersections of lifestyle, fashion, technology, and social justice. I utilize bright palettes, strong figures, and relational compositions to create work that champions vibrance, confidence, humanity, and joy.

Madison Caprara:

How did you find yourself where you are today?

Lo Harris:

I always drew as a kid, but I created my art account on Instagram at the end of 2019 in an attempt to finally define and explore my artistic style. When I made the account I used my childhood nickname, “Lo,” because I didn’t want my acquaintances to stumble upon my practice while I was still trying to figure my style out. But by the summer of 2020, my work picked up some traction and I began freelancing until I eventually felt comfortable taking the leap! To this day I’m still figuring my style out!

Madison Caprara:

You specialize in both illustration and animation, which do you find yourself gravitating more towards?

Lo Harris:

At the moment I gravitate more towards illustration. My animation background is deeply rooted in graphics for journalism (breaking news, infographics, etc.) While I still love animation, I think my past experience of needing to rush projects to meet daily news deadlines is something I’m still bouncing back from. One of my biggest professional goals is to start rethinking how I’d like to apply animation to my personal work. I’d like to challenge myself with doing more interesting things animation-wise, even if it’s harder or riskier. It’s time to capitalize on the newfound flexibility I have as a freelancer!

Madison Caprara:

Let’s talk a bit about your background in journalism. It’s where you began your career, correct? At what point did you pivot towards the creative industry? Why?

Lo Harris:

I graduated from Northwestern’s Medill School of Journalism in 2018. Throughout my time there, I taught myself After Effects. In those days I was deeply inspired by Vox explainer videos and wanted to learn how they brought complex ideas to life through motion design. While there wasn't much institutional guidance from my school when it came to motion design, I was lucky enough to get internships at publications like The New York Times where I could fill in the blanks and learn from fabulous animators and art directors on the job. It was from that point that I was officially teetering on the intersection of news and creative. I continued to take motion design jobs in the news industry from then on out.

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Madison Caprara:

And when did you go from working full time to freelance? Was there anything in particular that prompted you to make that decision?

Lo Harris:

I officially left NBC News in January 2021 to focus on my freelance career. It was a very scary decision, I was 24 and had never quit a job before. To be honest, I probably wouldn’t have even thought to take the leap if my illustration work had not been gaining traction online and in the news. Beyond that, the summer of 2020 and all of the protests definitely had me questioning my presence in the newsroom as a black woman.

I had to start asking myself some serious questions: “Was my voice and experience being respected? Could I be making a difference in a way that didn’t jeopardize my mental health? How did I know that people would still like my work, even after the protests?” I’ve met some amazing people in the newsroom and I will forever celebrate my colleagues who were in the trenches with me tossing keyframes. But the conditions were practically perfect for me to take a big risk and actually invest in myself. I’m so glad I didn’t play it safe.

Madison Caprara:

What’s that quote? “The cost of playing it safe could far exceed the cost of daring to change?” Something like that. Definitely something that is easier said than done, so mad props to you for taking that leap.

Now, let’s take a look at your creative process. When a client initially commissions a project from you, what’s the first thing that you do?

Lo Harris:

Typically in early correspondence, I’ll ask the client for the administrative logistics: A brief of deliverables, licensing details, timeline, dimensions, brand-specific references if applicable, and budget. Clients aren't often forthcoming with their budget expectations, but I like to ask anyway. If this information is given to me through a call, I’ll take notes but still ask them for an email with the details in writing. I also don't start working until a contract is signed. After that, I’ll follow up with sketches, color palettes, and up to two revisions.

Madison Caprara:

Who has been your favorite client or project to date?

Lo Harris:

I had a lot of fun with Bombay Sapphire and the Other Art Fair. It was a very comprehensive collaboration that featured many moving parts including a virtual exhibition. It was also my first time drawing stills and passing them on to another animator, her name is Sam Corey. It was great seeing her interpretation of the style frames I drew because I feel like every animator would intuit a style frame differently.

Madison Caprara:

I love your gif work. You’re pretty much a Giphy rockstar, tell us more about that!

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Lo Harris:

An accidental* Giphy rockstar! The team at Giphy Arts is awesome and they are one of my favorite clients because of the variety and freedom their projects afford. My first gifs were commissioned by Giphy for the presidential election. I find that they’re a great platform for dishing out simple, poppy animations and messages.

Madison Caprara:

You seem to be very passionate about fostering artistic opportunities and professional advancement for other artists, that’s amazing! Tell us a bit about that.

Lo Harris:

One thing about me is that I will share! I’m very passionate about speaking and sharing with other artists, especially as it pertains to the business side of things and advocating for your worth.

So many amazing creatives get taken advantage of because they are so focused on the art. It’s important for artists, even if they have agents, to watch their money, read their contracts, watch their practice, and stand up for their own best interest. Even if it means you have to confront an agent, manager, or even a client. I have a YouTube channel and a TikTok (@loharris_art) pretty much dedicated to sharing information and uplifting artists.

Madison Caprara:

Where did that passion originate?

Lo Harris:

I got tired of feeling like I always had to prove myself to people or “pay my dues.” Don’t get me wrong, if you're inexperienced and want to break into an industry, the best thing you can do is approach a job with a can-do attitude and acquaint yourself with even the most mundane parts of the job. But after a while, you have to really take inventory and give yourself permission to have boundaries. Hold yourself, your skills, and your time with esteem.

Earlier in my career, I developed a say-yes-to-everything mentality that sometimes shuttled me into situations that were crazy stories for a dinner party, at best, or utterly dehumanizing and possibly a labor lawsuit, at worst. I feel lucky that I’ve learned how to balance working hard and doing good work with respecting myself and my work. I’m excited to continue empowering other creatives to do the same!

Madison Caprara:

If you could lend one piece of advice to someone just starting out within the creative field, what would it be?

Lo Harris:

Please keep creating, even when you feel like your work looks bad. It’s a part of the process. Just keep going and I promise, it will all make sense!

Madison Caprara:

Where do you find yourself consistently going for inspiration?

Lo Harris:

I used to have pinboards and whatnot. Nowadays, I may be walking around town and see a crazy color or a tree that makes me happy and I’ll draw from that essence. Alternatively, I’m very self-reflective and sensitive. I often like to illustrate inspirational sentiments I’m working through in order to make myself feel better.

Madison Caprara:

Well, unfortunately, we’re reaching the end, Lo. It was really great getting to know more about you. Do you have any closing points, advice, or statements you’d like to share?

Lo Harris:

Be the first to bet on yourself, always!

Guest User 9/19/21 Guest User 9/19/21

Q&A with Dash Bash Speaker, Joy Tien

Our producer, Meryn Hayes, sat down for a chat with dash bash speaker, Joy Tien. Joy is a Senior CG Artist at BUCK. She works closely with the Creative Technology team to help bridge the gap between CG and tech.

Q&A with Joy Tien
Read time: 5 min

Meryn Hayes:

So I will go ahead and jump into it. I have Joy Tien here with me today. She is a Senior CG Generalist at BUCK who specializes in look development, lighting, and animated commercials. Joy’s style is expressive through playful characters, sophisticated materials, and colorful lighting. She also works closely with the creative technology team at BUCK to help bridge the gap between CG and Tech. She's worked with clients such as Apple, MailChimp, Sherwin-Williams, Nike, and Coca-Cola. Welcome, Joy!

Joy Tien:

Hello. Thank you for having me!

Meryn Hayes:

So that was a little bit of an introduction into who you are, but how about you tell me how you first got into motion design.

Joy Tien:

I initially studied fine art back in Taiwan and wanted to do more computer graphic animation when I graduated from school. There were no jobs as a fine artist unless you had rich parents. So, I felt I needed to apply somewhere within the industry where I could find both money while still doing what I love to do. I talked to my parents and figured out I could give it a shot by coming to the States to study. I went to the School of Visual Arts in New York as a computer arts major for my master’s.

After two years, I was looking around and applying for internships. I tried a few times at BUCK and didn't get in. I didn't know anyone so I gave up and flew to San Francisco where I started my first freelance job for Zoosk, the old dating app that no one uses now. So, that was my first project which actually led me to working at BUCK as an intern after a year. Then I flew back again from San Francisco to New York, it's kind of funny.

Joy Tien:

My biggest regret is that I threw away my mom's rice cooker when I was in New York. I wish I had carried it with me, but anyway, that’s how it started.

Meryn Hayes:

That's great. And I think it is validating for a lot of people listening or reading this that you applied to BUCK many times. Was that discouraging, or were you just really determined? What led you to keep applying over and over again?

Joy Tien:

It was quite difficult. I think of it as fishing. The more times you throw the net, the more opportunities to get a fish.

When I was a student, it was hard being international because I needed a sponsor. It's difficult to get a studio to even say yes in the beginning. I had a Google Sheet. I’d write down all the studios I applied to and then I would write out all the information, for example, what date I applied. Every couple of months I would give them an update, “hey, I finished this commercial or this project and I'm free again to freelance or intern and am open to any opportunities.”

Joy Tien:

At BUCK, they keep everyone's information on a roster. It's like a freelance list of potential talent so when there’s an open opportunity, they contact someone on the list. It's all about timing. You have to be determined to keep applying, but not in a crazy way.

Meryn Hayes:

That's so true and I feel like it's something that can be hard for people, like students who are just getting into the field or people that make the leap to freelance for the first time. They wonder how to find clients and how to get consistent work, but it does come down to the right opportunity at the right time. To your point, being determined and not letting people's silence get to you. You just need to keep applying yourself, and not to the point where you're driving people crazy, but you're showing your commitment to it, which is like a full-time job. I feel like if you're freelancing, you're essentially your own producer. You're trying to make contacts with people and work on projects. Is that something that you struggled with or did it come naturally to you?

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Joy Tien:

I managed a few projects at school. We had to make a catalog for classmates going after finance degrees. It was an opportunity for us to show studios or potential sponsors that we were actual artists. I was a little more opinionated and particular, so I thank God people believed in what I wanted to do.

They let me lead the team, and I feel I learned management skills from that project. Also, from my parents, the way they do and manage things. I started living by myself here in the States. Doing that, you really need to stay on top of things. If you needed to get a job, you needed to be on top of your scheduling and find a strategic way to keep your presence within the market. It takes time to learn. And one thing I noticed was the cultural differences. In Asia, I don't think I should speak for other countries, but at least for Taiwan, the culture is more submissive.

Joy Tien:

People don't speak out when it comes to promotions or when it comes to presenting themselves. They are more passive. You’re told to listen to the authorities and leadership, but here you have to speak louder for people to hear you and to show people that, “Hey, I'm also a shooting star and I've been shining. I'm willing to share my glow with you if you want to include me.” So I'm learning how people present themselves here as well and how I fit into that.

Meryn Hayes:

That's interesting. I feel like something that a lot of people, especially coming from different cultures or different countries, trying to assimilate to the way that we do things here can be difficult. You're used to a more passive approach instead of waving your hands like, “look at me, look at my work,” which can be really hard for some people to do. It’s an interesting distinction. Are there other things that you noticed when going to school in Taiwan versus school in New York? Was art school inherently different in either place or were there similarities across both?

Joy Tien:

Yeah, great question. They’re very different, and it's not just the culture. It's very competitive here. I remember at SVA, it's like I was competing with everyone around me to get a job. It’s sad because, in the end, it's the same, small industry. There were a few times when I tried to ask for resources from classmates, but not everyone is willing to share even when you’re working on the same thesis.

I found it hard that people wanted to keep their specific contacts to themselves to get headway into a big studio. It took some time to get used to it, but back in Asia, I noticed that students don't usually ask questions. It depends on the generation, but overall it's quieter. People don't want to show their differences, it wasn’t that competitive. College life, in general, is more chill.

Meryn Hayes:

That's interesting. One thing I was thinking about, I went to school for photography, so similar to art school. It was pretty competitive. The animation and motion design community is, as you said, really small. Something that I've learned in the short time that I've been in it is how willing people are to help each other which is surprising in a really good way. Most art schools are so competitive. You imagine students are all essentially competing with each other, right? Studios and freelancers are all working towards doing the same thing, but there's still this sense of community and engagement with each other that I just don't think I've seen in other industries. It's really special.

Joy Tien:

Pixar has a round table. I think I read this from Creativity, Inc. If I remember correctly, they have a round table where everyone sits and shares ideas for storyboarding. I think that's great. Every industry should do this, good ideas come from everywhere. You're going to bring different cultures and backgrounds into the mix. That's how you make a unique team. You have more people troubleshooting in different ways that you may not have thought of. So, I think it's great that the Dash Bash is willing to do this festival. Sharing knowledge and everyone's passions. It’s awesome.

Meryn Hayes:

One of the reasons why we wanted to put on the Dash Bash was because of the value that dash gained in the early days when we were figuring out how to run a studio. There were so many other studio heads who lent an ear or gave advice to our co-founders, Mack and Cory. Being able to give back to that community is something that we're excited to do.

So, you started at BUCK. You were an intern. What led to you being involved in the creative technology team? Can you talk a little bit about some of the goals? I love the team’s ethos of “bridging the gap between CG and tech, the art and design with the technology.” Can you talk a little more about that?

Joy Tien:

Yeah! Nowadays, not to say anything negative, but my company is predominantly white and male within leadership. Creative tech is something that not many people are willing to explore. It’s very tactical-oriented, not art-oriented. Also, it is pretty low poly a lot of time. Does that make sense?

Sorry if I use nerdy terms. It means that the model’s less polished if you compare it to the high-end gaming like, for example, Rockstar or Blizzard. That's the pinnacle of the gaming industry, but it takes a lot of time for other studios. The cases we get are mostly mobile games and AR, kind of like Pokemon Go. More lower-end because everyone is trying to get on this trend of doing creative tech for AR and VR.

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Joy Tien:

People also are used to seeing high-end commercials from BUCK and the specific look that we create. Creative Tech is something BUCK wants to explore, which is why this opportunity came to me. I had to take a leap of faith and try it out. It turned out that I actually quite liked it. A lot of the time, the animation teams here are so big that you’re really just one little school executing ideas for your creative teams and leadership. But when it comes to creative tech, I get to contribute my creativity. The projects we’ve gotten for creative tech have been pretty experimental. It's exciting and scary but ultimately rewarding when it works out.

Meryn Hayes:

Totally. I think you're going to enjoy talking with one of our other speakers, Kaye Vassey. She works at Epic Games and worked on Fortnite when it was just a tiny project. You two may have a lot in common.

One thing that really struck me was how being on this team was almost like going back to your fine art school days. How funny and full circle is it that that's where you started and some of that past mentality is being put to use.

Joy Tien:

I’m lucky to be trusted by my team and leaders. They entrusted me with the task of bridging CG and CT and I'm trying to fulfill that goal, but I also find it quite fun to be the local pioneer playing out things with my team and clients. That's really rewarding.

I'm a big fan of immersive tech. I don't know if you know this Japanese team called TeamLab? They specialize in immersive tech. Everything is projected in a room for you to immerse yourself in. You go into this environment and immediately feel like you are transported to a different dimension. Maybe not that dramatic, but to me, that’s what it feels like. I always wanted to be part of the trend, so I'm happy that BUCK is starting to figure it out with our creative team.

Meryn Hayes:

Oh, that's great. As you were describing it, I was imagining a traveling exhibit we have here. The Immersive Van Gogh Exhibition...that's what this reminds me of. Being inside of the art.

Meryn Hayes:

So, how big is your team?

Joy Tien:

It varies from project to project, to be honest. The New York CG team has a tech project going on right now that has around seven to ten artists.

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Meryn Hayes:

What advice would you give to someone who has never heard of this Creative Technology team but is interested in pursuing it? Whether it's research to get into or programs to start. Is there any advice you'd give to someone interested in bridging this gap?

Joy Tien:

It's funny you asked as I’m also trying to figure it out. It depends on their skill set. If I'm an artist for CG, the best way is to go to--I forget the name--coders gather together...Hackathon! Doing things like that. Try to find collaborative opportunities or even style your own projects. Find other artists to collaborate with because it's beneficial for both sides; merging tech minds and creative minds together.

On the other hand, there are some who go at it alone, which is amazing too. So, there’s no set stepping stone or determined way to go about it. It's more of figuring it out, which can be difficult. I will say, we are lucky to have production; the producer, coordinators, etc. The whole team is working on bridging this relationship between clients and big tech companies. We were fortunate to pitch and develop ideas with them.

Meryn Hayes:

And how does it feel like pitching them ideas that have never been done before? There's a certain amount of trust. How do you feel you get your clients to take that leap of faith? Especially in the tech space, it can be really expensive and take a long time, so you're asking a lot of your clients to trust that you're going to deliver something never tried before. How do you handle that?

Joy Tien:

I can’t speak from the producer’s viewpoint, but I feel they do a great job of persuading the clients, or showing enough credentials, that we have the ability to do the project. There are some things worked out as we go. Most of the tech projects--I’ve only done two, so humbly speaking--are a lot of ‘build as you go’.

Meryn Hayes:

I’m sure it helps if you already have a relationship at the time. Having worked together before, setting that groundwork for trust. It can be hard for a lot of clients if they can't see something tangibly to know you’ve delivered, which I totally understand.

Joy Tien:

It’s always good to have a mood board and motion tests. Usually, we’ll use them to show what we can potentially accomplish, almost like a prototype. I’ve noticed that--I don't want backslash from agencies--but they will do free pitches with many different studios and only pick one at the end. A lot of the time, the pitch isn't tailored. It could be a bad cycle because every studio is trying to get that project, so they will lowball.

In the end, artists are the ones that suffer. If lowballed, these creatives are going to be working overtime. I want to bring awareness to the fact that good art takes time. There's no other way to make it look good unless you have other creative solutions, which are hard to pitch to clients. The producer is usually the middle person that helps us sell the idea.

Meryn Hayes:

And that's interesting, thinking that if a studio were to lowball a pitch, everybody suffers. That's something that comes with the territory of knowing your worth, especially as a freelancer. People talking about money and salaries, it can be a taboo subject and hard to talk about. However, I think the more that we say, “Hey, your day rate's kind of low, you can be charging more,” that's just going to elevate the whole industry. It's important that people know their value.

Joy Tien:

It's hard. Panimation, I don't know if you're following this group, but when one of the artists took over, it was amazing. She surveyed everyone on the story that you could respond to. She asked different people and artists from different companies what their day rate was, along with other things. This whole industry is tied to a capitalist system. It’s one reason why animation is more popular, or more developed, within the U.S.; commercialism, Hollywood, that industry is all here. So I think people here have more leeway to ask for more, but in Asia, at least where I come from, there's no way you can compare the two. It's a different environment.

Meryn Hayes:

What advice would you give to someone who's coming to the U.S and maybe doesn't know what to charge or some of the business strategies? The business side of animation and motion is hard enough, even if you're originally from here. You're not taught business in art school, right? So it must be even harder for someone who's not from this country who isn't immersed already in the industry.

Joy Tien:

It depends on the circumstances. If you are an established freelancer in your hometown or country and you can speak English, you only have to talk to people. Go to conferences. Establish connections. Don't be shy, try to reach out to people if you can on LinkedIn, Facebook, or Twitter. People enjoy talking about their salaries. There are channels for that. Join conferences like the Dash Bash and have open conversations with people. See how you can collaborate with someone other than yourself.

Meryn Hayes:

That's great. Now, tell us about the diversity, equity, and inclusion committee at BUCK. How did that come to be?

Joy Tien:

I was part of the committee when the pandemic hit, though I took a break to focus on Creative Tech. It was too much to do both. BUCK has been trying to bring this awareness about how we can bring equality to our industry. I think Asians and white creatives outnumber people of color within our industry. I’ve noticed those are the demographics that BUCK mostly consists of as well. So, we're trying to bring more voices from other HBCU and underprivileged schools. That was why we started this committee, along with the Employment Resource Group to help support LGBTQ+ individuals.

Our team is learning as we go, and we’re trying to bring more transparency from the top down. We have begun to schedule monthly occasions where we invite minority individuals to come to speak at BUCK and share their processes. We invited Peter Ramsey who directed Spider-Verse, and recently we had author, Grace Cho, who wrote a book called Tastes Like War. It focused on how Korean meals and memories of the mother country live on within the States. BUCK is focusing on bringing more outside voices to us and learning more about how we can make it a place where there's equality, transparency, and fairness.

Meryn Hayes:

BUCK is such a leader in the industry. So it’s encouraging and sets both tone and standards to show others how important it is. You all are putting so many resources into it, and the rest of the industry should follow suit. One thing that you mentioned is how dependent the industry is on getting an education. Art school is very expensive and cost-prohibitive. This is especially so for historically black colleges. It’s important to get access to sponsored programs or provide equipment to underserved communities so that art and animation can be available to more people. There needs to be a concentrated effort on early education for animation, otherwise, we're not going to have a diverse group of hires.

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Joy Tien:

It's a group effort. Every school has a small hierarchy, a duplication of our actual society continued by those who established it. So, it's difficult. Something I think would be helpful is hiring Paradigm. They’re a company that helps to arrange internal surveys for employees regarding race and thoughts on a company’s inclusivity. You have the data, but it’s not the solution.

Meryn Hayes:

We're stacked against fighting systemic racism over hundreds of years. There's not going to be an easy answer. It involves being vulnerable and admitting that you don't have all the answers, but you're still willing to try and work together, as you said. Commitment to each other is what's going to help get us there.

Joy Tien:

There’s one thing people can do when it comes to hiring people. Acknowledge unconscious bias. Spend a little more energy and look outside of your own circle and comfort zone. Bias training can really help leadership learn more about how and why they make hiring decisions.

Meryn Hayes:

On a similar note, I was watching a panel you did right before the pandemic started for Diversetoons. There was a question someone asked about finding your voice, which is similar to what we were talking about earlier. To get noticed in the industry you have to raise your hand and be loud. For a lot of women or people of color, it's difficult to stand up and be the loudest person in a room. That's something that I struggle with. How do you feel you've been able to find your voice in an environment as large and talented as BUCK’s?

Joy Tien:

I'm still trying to figure that out. I feel I’ve found that now within Creative Tech, but I think women need to be helping other women. I have seen people get unvoiced by the same gender. It's difficult. I don't understand it.

Establishing that first impression is important. When you learn to speak up, people will learn to wait for you to contribute your feedback. I don't want to exclude introverted people, because not everyone is comfortable speaking up. In those cases, if you're a leader, the best thing to do is to open your channel and embrace different voices from different devices. It’s important to create an inclusive environment that everyone feels safe voicing their opinions in.

Meryn Hayes:

I love that. I've talked with people before about something similar; the idea of meeting people where they are. I'm on the introverted extrovert line. I can be both, so my idea of comfortability is way different from somebody who's much more introverted. Doing my part to meet them where they are if they're not super comfortable speaking out is really good advice.

Joy Tien:

Going back to when you were asking about people who want to work with BUCK. I’m not sure if you want to talk about social media, but that's one thing I'm struggling with. I don't know how these talented people get to 10K followers. It's a full-time job.

Meryn Hayes:

That's something that I've heard a lot of people in the industry talk about, especially within freelance work. You are your own producer and your own creative director, but on top of that, being your own social media manager because you're having to market yourself. A lot of people aren’t able to keep up.

Joy Tien:

I have respect for all of the industry’s freelancers. I don't know how they do it.

It’s all about scheduling periodically. I originally had the mindset of only posting final projects, but it’s honestly about frequency. The more you post, the more attention you gain.

Meryn Hayes:

What you said about posting work that's in progress, I think it's good for people's mental health. For people to see in-progress projects from their favorite artists and not just the shiny final project, it allows people to see the process. Everybody makes mistakes. Seeing behind the curtain helps us all acknowledge that we don't have to be perfect on social media all the time.

Joy Tien:

In the end, we’re all human. All trying to spark before we transcend to the universe.

Meryn Hayes:

There’s so much I want to talk about regarding the future of art and technology, your work at BUCK, everything really. As a final question, what is something that you plan on talking about at Dash Bash? Can you give us a sneak peek into your presentation?

Joy Tien:

My working title is ”Hide and Seek with Creativity.” I want to talk about how to reignite and keep the passion for creation as a seasoned artist. Someone who may have been in the industry for a while.

Everyday life is full of inspiration, but you can become jaded with your routine; when you're tired of your responsibilities as a parent, as a partner, as a caretaker, or working professional, how do you take a break and find that passion again?

Meryn Hayes:

That's valuable for a few reasons. Over the last 18 months, people have been feeling the monotony of everyday life. It can be draining. Finding that passion and what makes you tick creatively, that’s really helpful. I also think a lot of people within our industry have the ultimate goal of getting into BUCK, right? It would be reassuring for people to see that even you at BUCK, feel the monotony of the day-to-day. Even though you're at THE dream job, you still have to make the effort to ignite the spark to keep your passions satisfied.

Well, I just wanted to thank you so much for chatting with me. We're really excited to meet you in person!

Joy Tien:

Yeah, thank you so much for having me!