Mack Garrison 4/12/22 Mack Garrison 4/12/22

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Before dash, it was just Mack & Cory. Two animators trying to make some cool stuff in an industry built around speed and efficiency. Cory and I clicked immediately. He was a fantastic 3d animator with a warm personality. Self taught and organized, Cory was the ideal creative to receive a project file from. On the other side of that coin, was me - a 2d animator fresh out of design school, full of ideas and apparently way too many pre-comps in my Ae files. We were both empathetic creatives who stayed late, did a solid for a client, or got a project manager out of a bind. We cared. About the work and the people we worked with.

But, after five years of projects at an agency that was more concerned about how much we could create vs how much care we put in the creative, we were feeling burned out.

We needed a change. And the good news for us was that the industry needed a change too. Clients were becoming more accessible just like the applications we were using and the idea of starting a boutique studio didn’t feel as far-fetched once we saw the success of others.

So Cory and I decided to follow suit. No business background. No real training. Just two guys who thought things could be done a little differently. Two creatives who believed in a work-life balance. Who believed that when love and sweat are poured into a project, less clients yielded bigger results. Two creatives who knew those results came from working in teams, sharing ideas, and collaborating. That’s why two creatives quickly turned to four, then eight, and in a blink of an eye, it wasn’t even about numbers anymore, it was just about the people.

The motion design industry has been awkwardly finding its place over the years. Navigating from infancy, into its adolescence, and in my opinion, finally into who it’s supposed to become - the next leader in the creative space. The motion design industry is feeling confident and if anyone wants to hire and retain talent, you have to be a people first organization.

Each year dash has a word or phrase we try to build around, and for 2022 its “purpose and intention.” We’re not growing just to grow. It’s not about hitting a specific number. We want to make better work with great people. A late, great friend of ours once said that he loved dash because in his words “there is the day you’re born and the day you die, what happens in between is the dash.”

Before dash it was Mack and Cory, now it’s a team.

Mack Garrison
Director of Content

Apply to work at dash

Mack Garrison 4/5/22 Mack Garrison 4/5/22

Takeover Tuesday with Rafael Silveira

An interview with Rafael Silveira: Brazilian artist living in Curitiba, Brazil.

Q&A with Rafael Silveira

Read time: 3min

Mack Garrison:

Thanks for joining us for our Tuesday Takeover, Rafael! Your creations have a very unique flavor and they feel incredibly original. For those unfamiliar with your work, could you tell us a bit about your style in your own words?

Rafael Silveira:

Brazilian Contemporary Art with a RetroPopOpPsychodelicSurreal Twist.

Mack Garrison:

Do you think of yourself as an artist or an illustrator? Is there a difference?

Rafael Silveira:

Artist. I think illustration is something different, it's a kind of art you create by demand to clients (usually brands or editorial companies) working together with other creatives (designers, art directors, writers, marketing people). it's also great art and I love good illustration.

Mack Garrison:

Did you have formal training or were you completely self taught?

Rafael Silveira:

I studied art at university (did not finish) and I have a degree in advertising. I think I learned a lot in these places, but I also learned most of things I do today by doing this things and making a deep research, as a self taught.

Mack Garrison:

How has growing up in Brazil influenced you and your work?

Rafael Silveira:

All my personal experiences have a lot of influence in my work. Brasil are very intense and surreal sometimes...

*Circonjecturas - Solo show at Caixa Cultural Brasilia*

Mack Garrison:

Your textile work looks phenomenal and I love all the little details. Have you always been interested in textile work or is that a new development?

Rafael Silveira:

All these details come from the talented hands of my wife, textile artist Flavia Itibere (my textile works are made in collaboration with her). She influenced me a lot with her fashion/textile references.

Mack Garrison:

Do you have a favorite type or project or medium to work with?

Rafael Silveira:

I work with several mediums. I love oil on canvas and digital art.

Mack Garrison:

Growing up, who were some of the artists or designers that were a big inspiration to you?

Rafael Silveira:

There are a lot of influences...Arcimboldo, Magritte, Mark Ryden, Audubon...I also love anonymous paper ephemera, an artist from 19th century.

Mack Garrison:

Are there any upcoming projects you're excited about?

Rafael Silveira:

Yes! My new solo show #EspumaDelirante (in english #DeliriousCream ) at Farol Santander São Paulo

Mack Garrison:

Any final takeaways you would like to share with our audience?

Rafael Silveira:

Please follow my insta page for news and more art @rafael_silveira_art

*Wild Life - Oil on canvas and carved wood*

Mack Garrison 3/28/22 Mack Garrison 3/28/22

Takeover Tuesday with Caibei Cai

An interview with Caibei Cai: designer and animator who lives in Shenzhen, China.

Q&A with Caibei Cai

Read time: 3min

Mack Garrison:

Hi, Caibei! Let's start at the beginning: how did you start your career in animation?

Caibei Cai:

I studied animation during my undergraduate, and after I received MA Animation degree from Royal College of Art, I started working as a freelancer. I have made some advertisements, music videos and visual designs, sometimes I also curate programs for the animation weeks.

Mack Garrison:

What's the animation scene like in Shenzhen? Is it a pretty big community?

Caibei Cai:

Shenzhen is a city with many Internet companies, animation is usually used for the APP or games. Normally, they would like to choose conservative artistic styles to cater to the public taste. So it is quite difficult to get a suitable project for me.

Mack Garrison:

Do you mainly work with local clients or do you collaborate internationally?

Caibei Cai:

I often collaborate with some agencies in Shanghai and Beijing. I haven’t worked with foreign agencies before, and I’m willing to try it.

Mack Garrison:

Your style is very unique! The textural and organic approach provides a really tactile feel in a digital space. How did you develop this approach?

Caibei Cai:

Thank you! Seeing can mean touching the texture of a thing as people can see roughness and smoothness. Our eyes can feel the coarse edge of the paper, the smooth silk or the sticky oil bottle. So what I trying to do is invite the audience to touch my film through their eyes. But not passively following the storyline or fully understanding the meaning of the film. For me, the film is like a body, you could feel its’ breath, skin, hair instead of dissecting it’s muscle or organ inside.

Mack Garrison:

Could you tell us a little bit about your process? How do you come up with ideas for a project?

Caibei Cai:

I am very interested in people’s emotions, especially anxiety. Half Asleep talks about a silent relationship, Pining is the unobtainable feeling and the clocks in my room stops is about the insomnia experience. In the pre-production of Half Asleep, I created a linear story, but I only kept the emotion and removed every specific plot. It is similar to the force triggers tactile, you can’t see the actual force but you could feel the physical changing. As for me, the story plot is similar to the force, which let the audience could feel the changing emotion, so I tried to hide the plot but only left the emotion in the film. Besides, Havelock Ellis mentioned that Touch is the most irrational and emotional in the five senses. So showing the tactile could also enhance the emotional expression in the film.

Mack Garrison:

I noticed you've received Vimeo Staff Picks for Half Asleep, Pining, and The Clock in my Room Stops; congrats! Do you have a favorite of those three? Why or why not?

Caibei Cai:

I don’t have the favourite one, because I always looking forward to my next film, and I’ve just finished an animation short film called Silver Cave, which is about the hunt, domestication and desire.

Mack Garrison:

How long does it typically take to make this style of animation? Is coming up with the idea the hardest part of bringing your vision to life?

Caibei Cai:

Most of my animation is drawn frame by frame, drawing on paper allows me to touch every frame in the film. But it is really time-consuming. I would like to share the working process of Half Asleep. First, I drew all the movement on the paper with charcoal or soft pastel...

*I projected the animation on fabric and recorded it.*

*Finally, I printed the frames out and re-coloured them.*

*And when I made the logo intro for the BlackFin Production, I drew the frame by colour pencils, and then scan the frames, finally printed it on the waterslide transparent paper.*

Mack Garrison:

What's your proudest professional moment so far?

Caibei Cai:

Probably is the moment I got a tattoo of 1920 X 1080 on my arm.

Mack Garrison:

Any advice you'd like to give the next generation of animators?

Caibei Cai:

Eat well, sleep well, play well, and draw well!

Mack Garrison 3/22/22 Mack Garrison 3/22/22

Takeover Tuesday with Nol Honig

An interview with Nol Honig: director, designer and animator who lives in New York City.

Q&A with Nol Honig

Read time: 5min

Mack Garrison:

Hey, Nol! Thanks so much for taking the time to hop on a Tuesday Takeover; I've been a big fan of yours for a while. For those who are not familiar with you or your work, could you tell us about yourself?

Nol Honig:

Hi Mack - thanks for the kind words, and for inviting me to participate in this excellent series! Really glad to be here and in the company of so many others I admire.

My name is Nol and I’m a director, designer and animator who lives in New York City. I’ve been freelancing as a motion designer since the late 1990s, which makes me OG. At this point I’d say that I’m best-known for photo-driven, mixed-media “collage” animation, as well as for teaching After Effects Kickstart at School of Motion. Hello everyone!

Mack Garrison:

How did your career begin? Did you always know you wanted to be in the motion world or did it take a little more luck than that?.

Nol Honig:

It took a lot of luck!

My parents were both very artistic, and encouraged me to be creative from early on. So right there, that’s extremely lucky. I was really into drawing and painting and all the usual stuff, but when I was seven years old Star Wars came out and after that I became fascinated with visual effects, stop motion, photography, and optical trickery. For me, that’s pretty much where it all started. I was also pretty lucky to have an older brother who got seriously into ‘home computing’ in the early 80s, and so I grew up feeling comfortable around computers ahead of a lot of other kids of my generation.

As a teenager I really wanted to be an indie filmmaker like Jim Jarmusch, Spike Lee, or the Coen Brothers, so after making a lot of 16mm films in college I applied to NYU for an MFA like all of those guys. And I was lucky to get in. When I was there I was really drawn to editing and post production, and volunteered to cut my thesis film on the film department’s first ‘non-linear’ (aka, computer) editing system — an AVID, which the department had just gotten that semester. Spending a few months working on a film project on a computer, and having to learn new software, was a big turning point for me.

I graduated in 1996 and while working in film production, I found myself much more interested in learning the newest software from Adobe called After Effects that had come out in the last year or so. I know it sounds obvious now, but at the time After Effects was the missing piece of the puzzle that allowed me to combine my love of filmmaking, design, animation, storytelling, staying indoors, and technology together in a way that just clicked for me. Still, there was no coherent motion design community at that time, and I worked in various production and post-production roles for many years — including directing a number of music videos for indie bands like Guided By Voices and Apples In Stereo.

My entryway into full time motion freelancing also happened as a result of luck. Somehow I had talked my way into working as an editor for a company that was producing commercials for then Senator John Kerry, who was running for President at the time. And after a few days I convinced them that I should be making commercials for them in After Effects, and not AVID. I made a ton of spots for the campaign that way, and even though John Kerry lost, I became a one-man freelance graphics department for this company. Fast forward many years, and that’s how I wound up as a lead animator for President Obama’s team in 2012.

*Fireside History with Michael Beschloss*

Mack Garrison:

You've got a really impressive resume of clients: Golden Wolf, Elastic, Buck, Pentagram, Hornet, Block & Tackle, PepRally, Ranger & Fox, Gretel, and let's not forget winning a Martin Scorsese Post Production Award! Tell us a little about that.

Nol Honig:

Well, the Martin Scorsese Post Production Award was something I won for my thesis film at NYU — specifically for the editing. I didn’t get to meet the great man, but as part of the award I was required to write him a letter of thanks. Not much of a story there. I believe the award was $300.

But yeah, in terms of studios … I’m super lucky to have worked with so many excellent teams over the years. As a senior freelancer, I appreciate great producers so much. They work tirelessly to make everything run smoothly, and often don’t get much credit or attention. For people entering the industry, remember: Creative Directors inspire, but Producers hire. Be nice to them, be honest about your calendar and the way you estimate your time, and always make sure to credit everyone on the team if you post about your work — including the producers.

Mack Garrison:

You're a creator and a teacher. What led you to the education side of motion design. Do you prefer one more than the other?

Nol Honig:

I wouldn’t say I prefer teaching over animating, but I will say that being a good teacher is much harder than being a good animator. At least for me. People are more complex than keyframes.

Honestly, I got into it by accident. In 2000 a friend recommended me for a job teaching a class called “Broadcast Design” at Parsons School of Design. I got hired on the spot because I knew After Effects, even though I had no prior teaching experience. But in the end I taught at Parsons for 18 years and in 2017 I won a Distinguished Teaching Award for my contributions to the school. And I’m still in touch with a number of very talented people who I first met as students and are now working in all corners of the industry.

Even better, I had the great luck to team up with School of Motion in 2017 to create their foundation class After Effects Kickstart. I am so proud of that class, and couldn’t be happier that I partnered with such great people.

Mack Garrison:

I see you also do some writing as well. How important is it for creative to be able to write in your opinion? Any tips or tricks to being a better writer?

Nol Honig:

Being a good writer is very important, in my opinion. It helps me make good first impressions over email with people who want to hire me. It helps me win pitches for new work. And it helps me promote that work.

My advice is to remember that writing and editing are separate tasks. Both are necessary, but write first and then edit second if you can help it. And don’t skip the editing part.

Mack Garrison:

Tell us a bit about "The Drawing Room." Where does the name come from and why not just go by Nol Honig?

Nol Honig:

Traditionally, a drawing room is where the owner of a house, perhaps with a guest, could ‘withdraw’ for more privacy. For me, that’s where I want to work. In that private, relaxed space, maybe with a friend.

But the reason I don’t work under my own name is just mostly for tax reasons, as boring as that sounds.

Mack Garrison:

Looking ahead, what do you think the future of Motion Design looks like?

Nol Honig:

Laser-guided keyframes.

Mack Garrison:

Any final takeaways?

Nol Honig:

Generally — figure out what works best for you, and then work in that direction. If you want to be a better designer, find sources of visual inspiration outside of motion design. If you want to be a better animator, observe the world intentionally.

Also ... if everyone is doing X, do Y. But that’s just me.

Guest User 3/8/22 Guest User 3/8/22

Takeover Tuesday with Allen Laseter

An interview with Allen Laseter: an animator, designer, and director making stuff for brands and studios around the world.

Q&A with Allen Laseter

Read time: 5min

Mack Garrison:

Allen! Thanks so much for taking the time to chat with us for this week's Tuesday Takeover. For those who are not familiar with you or your work, could you give us a little intro and creative background?

Allen Laseter:

Thanks for having me. I am an animator/illustrator type, now working as Creative Director along with my wife and business partner Lindsey Laseter for our very newly formed studio, Lasso.

My background is really more in the live action world. I went to a small art school in Nashville where I still live and work and studied film, concentrating mostly on directing and cinematography, but the school was small and scrappy enough that you really were able to learn how to do everything, which in retrospect was a massive bonus.

My dream at that time was to make narrative films as a director, but when I graduated, reality set in and I started my career freelancing around town working on sets, editing, occasionally “directing” tiny commercials for local businesses, and trying my best to make non-commercial short films and other weird projects with friends.

I was doing this for a couple years until my friend who was really into After Effects and an all around technical wizard passed on a motion graphics type of job to me that he was not able to take on. The school I’d gone to didn’t have any sort of motion or even VFX program, but I’d picked up some After Effects tips from him and had made some stuff for fun just poking around on my own time. I decided to take on the project with my incredibly limited knowledge, and realized quickly how little ill-equipped I was. However, I was forced to learn a lot on the project very quickly, and by the end, I realized that I really liked working this way and wanted to seek out more of this kind of work.

This was still in the first half of the 2010’s when Vimeo had what felt like a really thriving and active motion community, and I was lucky enough to, over time, fall into a network and gradually improve my skills and find work until I had worked out a pretty nice freelance groove, working with various studios around the country as a remote animator, and occasional designer. I kept working on my chops until I began to pursue directing, and eventually got the crazy idea to form a studio!

Mack Garrison:

You've worked on a lot of fun projects over the years, but I'd love to know which have been some of your personal favorites.

Allen Laseter:

The first one that comes to mind is the first project I did for Ted-Ed on the topic of the Hedonic Treadmill framed around the scenario of Winning the Lottery and how it affects your happiness long term. I think this was the first time I had the opportunity to create a project from scratch, aside from the script which was supplied to me, and really approach a client project with a director’s mindset, in terms of really shaping how the overall piece would feel to an audience. It was also by far the longest thing I’d made, being over 4 minutes long. I think this project in particular gave me a big boost in my freelance career.

*TED-Ed: Will winning the lottery make you happier?*

Another memorable one for me was a short spot I did for Lagunitas as part of their “Mumblephone” series. The task was to take a voice mail that had been left on the company's customer feedback phone line and create an animation to it. That was basically the entire brief and I was allowed to do just about anything I wanted, which is rare and one of my favorite things. It was one of the early times where I got to really be adventurous and imaginative as well as really focus on a narrative for a client project.

Mack Garrison:

A lot of folks look up to you as a creative leader so I'd love to know who you look up to?

Allen Laseter:

That’s a really nice thought! This may sound like a cop out, but I look up to tons of people, from people who I know well to some I’ve never even met, and I hate to leave anyone out, so I will purposefully keep this short and limit it to our niche of the industry and name Zac Dixon and Sam Cowden who founded IV Studio here in Nashville. I look up to them for their rare mix of creativity and business ambition. They manage to seemingly keep their studio insanely busy with both client and self initiated projects alike and are extremely successful in both areas which is a huge inspiration to me.

Mack Garrison:

Our industry has been growing like crazy and we have more freelancers than we've ever had before. Any words of wisdom you could share with the next generation of creators? Things you wished you knew as a freelancer?

Allen Laseter:

When you get stuck or run into a problem that you can’t figure out on your own, tell someone quickly instead of burning time trying in vain to figure it out yourself for the sake of your ego. This was a big temptation early in my career and it never worked out well.

Be nice to people, even if they annoy you. It’s still a pretty small field. This will help from a business perspective and from a human perspective.

Hire a cpa.

Mack Garrison:

You and your wife Lindsey recently started a new studio called Lasso which is so exciting! What was the reason for the transition from freelancer to studio owner?

Allen Laseter:

Before Lindsey and I officially decided to start building our studio, I had personally been at a point for a while where I felt like I was ready to move on to something new, but wasn’t sure what. I had been freelancing for a while and enjoyed it but the thing I always craved was more influence over the entire process. I tried going the director route for a little bit and worked with a few different reps, but ultimately nothing ever really worked out all that well.

I was already feeling this in early 2020 and the biggest push in this direction came in March when the pandemic took over everything and we locked down and began to figure out how to work in the same space while raising our daughter and learning how to balance all the new things that stemmed from that. We also just happened to be beginning to collaborate on a project together for the first time ever, even though we were still independent freelancers. These experiences made us realize that, while we had to learn a new way of communicating (and are still learning it) we actually worked pretty well together and that our skill sets overlap very nicely and allow us to do work that we think is unique from a lot that is out there.

*Some thumbnails from Allen’s portfolio*

Mack Garrison:

What are you hoping to accomplish in the studio space that you weren't able to do as a freelancer?

Allen Laseter:

The main things for me are having more control over what work I take on, more influence over the end result of the work, higher quality/bigger scope projects that become possible when leading teams (as opposed to just working by myself which I’ve often done in the past) and finally, focusing more on actual directing skills, which was kind of my original goal back in film school, just in a different environment.

Mack Garrison:

What do you think the future holds for our industry? Anything in particular you're excited about or things that worry you?

Allen Laseter:

As things become more and more digital, I think that will create more and more opportunity for our kind of work. In particular, I’m excited about what this means for brand identities as this is the main focus for our studio, Lasso. In an increasingly digital space, it’s less and less necessary for a brand’s visual identity to be thought of as static first. It’s interesting to think of a brand in terms of its potential to be a changing and dynamic thing, which is what we are trying to do at Lasso.

On the other hand, and from a more zoomed out perspective, I worry about the increasing percentage of our lives that are spent in the digital realm and I think we should all go outside way more!.

Mack Garrison:

Last but not least, any new projects or creative endeavors we should be on the lookout for?

Allen Laseter:

Lasso will finally be launching a portfolio in mid-March, so keep an eye out for that!

Guest User 2/21/22 Guest User 2/21/22

Takeover Tuesday with Kai Kundler

An interview with Kai Kundler, a Berlin born, Frankfurt based Motion Designer and Art Director.

Q&A with Kai Kundler

Read time: 5min

Madison Caprara:

Hi, Kai! Why don’t you start us off with an introduction to yourself? What originally drew you to the creative industry and how did you find yourself where you are today?

Kai Kundler:

Hey! My name is Kai and I am a Motion Designer and Art Director currently based in Frankfurt, Germany. I also love drawing, and I try to bring it into my work as much as possible, whether in personal projects or in my creative daily life. Right now I work a lot for the automotive and motorsport sector.

My creative career began quite conventionally: as a child, I loved to draw and return continually after breaks. The love of drawing evolved into a general lust for art, which led to graffiti and, eventually, design..

Madison Caprara:

I’m not sure I’ve asked this question in previous Takeover Tuesday interviews, but I’m curious. What is it about motion design that you love? Can you remember what the original draw of it was for you personally?

Kai Kundler:

My intention was never to become a motion designer, but like many others, I grew into it. Since I was a kid, I have been a big fan of cartoons and Disney Classics. From a young age, this moved and influenced me. My four-year-old heart was broken by the Mufasa Scene in The Lion King. However, my passion for motion design has grown over the years. I wanted to be an illustrator at first, but then I switched to a more traditional digital designer focus until I discovered my passion for motion design. I was hooked after trying more 2d and 3d animation and knew this is what I wanted to do. I still enjoy creating and watching anything that moves on the screen. I've always been curious about new things and love experimenting with them.

Madison Caprara:

You’re based in Frankfurt, correct? How’s the creative industry? Do you find yourself working more with home-based or international clients? Has the pandemic affected workflow much?

Kai Kundler:

In general, I believe that the creative community is a very open and straightforward one. You run into each other at festivals, talks, and award ceremonies. You usually know each other from a variety of settings or share friends, acquaintances, or coworkers. When you don't know each other, then you will surely meet at a later point in time. It makes little difference whether you live in Frankfurt, Berlin, London, or New York. I have also had the honor of working only with open-minded and easy-going people in this business.

The creative industry has always been a fast-paced one. This was also obvious during the pandemic: it was one of the first industries to be severely impacted, and it was also one of the first to recover and pick up again. Frankfurt has always had a strong international connection as a result of its proximity to financial clients and trade fair events. In general, I work with both international and national clients. Due to the fact that big network agencies are also based here, there is always a strong exchange with other international hotspots.

Of course, the pandemic has changed a lot of our lives. Working from home requires agencies and studios to become even more digital and adaptable. People are used to collaborating in a single location. You sit across from each other or are in meeting rooms. You have offered your support when you have noticed that colleagues need help. We have all worked with teams, slack, dropbox or whatever before. However, in the office, we had many more opportunities to communicate spontaneously or keep up. Now you have to be more active to know what your colleagues are doing, to exchange thoughts, or to see how they are doing.

Madison Caprara:

How do you think the German design industry compares to that of the U.S.?

Kai Kundler:

In general, I believe the design industries in Germany and the United States are similar, but there are differences in influences. Shared influences enable an exchange in Europe, whether it's the German Bauhaus, the rich art history, or the nearby influence of Swiss Design, De Stijl from the Netherlands, Russian constructivism, or even the strong cultural and art history from France or the UK.

It is always dependent on the project or the client. In other words, Germany can appear formal and impersonal at times. This is already present in the German language, as we have a polite and a more personal form of address. This is less prominent in English, making it appear much more relaxed and simple. Until now, it has frequently been the case in Germany that the safer, formal option was chosen over trying something new. But you can also sense a shift here; this is becoming softer, and there is a lot more experimentation going on, both in national and international projects.

The US market appears to be considerably faster-paced and more zeitgeisty. Furthermore, one must not overlook the sheer magnitude of power, technology, and money emanating from Silicon Valley. The global impact is still incredible, and it is still unique in the world.

Madison Caprara:

Where do you go to for inspiration when you find it lacking and how do you maintain your creative edge?

Kai Kundler:

It's important to get inspiration from art, music, photography, architecture and other art forms as well as the motion design scene. When confronted with a blocking barrier, however, the most effective response is to do nothing. Devoting one's time and energy to other activities may be beneficial if circumstances and time allow. Another project, or simply sleeping on it for the night, sports, a walk, or other forms of distraction are always helpful. After that, you can return to the topic with a clearer head.

A walk through the city works best for me. I love to walk through the city and streets and like the vibes of the city. It is very inspiring for me to be connected to the streets. I'm also looking forward to traveling more, and I'm also a big fan of creative challenges like Inktober. Forcing yourself to be a little creative every day exercises your creative muscles and often leads to surprisingly good results.

Madison Caprara:

Do you have an all-time favorite client or project you’ve worked on?

Kai Kundler:

It's tough for me to claim that one particular client was exceptional, because it would imply that other customers weren't as excellent. It is always very dependent on the project and the briefing. But I had a lot of joy working on projects for technological firms like DJI and, as previously mentioned, the automobile sector. In Germany, you just can't get around it. Just as important for me are personal projects or commissions.

Madison Caprara:

What are some up-and-coming media that you’re really interested in diving into in the future?

Kai Kundler:

There is a lot going on right now, such as the Metaverse, NFTs, and AI-based tools. New technological devices, such as Apple's maybe mixed reality device, can also give the entire industry a boost and change entire work processes. I always try to stay curious and try new things, but this has the side effect of increasing my pile of shame with plugins, software or learning new things. To my disadvantage, I like to be an early adopter, so I always have a lot of things I want to try out. However, this also means that I am rarely bored.

Madison Caprara:

I see that you studied at The RheinMain University. How valuable was your time and education to your career? And is there anything that you felt that you experienced or learned at university that you wouldn’t have been able to learn from anywhere else?

Kai Kundler:

The most significant benefit of this time was the opportunity to experiment. At first, I was given a lot of flexibility and was able to devote myself to a wide range of disciplines. This was the only way for me to discover and strengthen my inner love for motion design, 2d, 3d, and everything that moves on the screen.

That, I believe, is the most important thing a university can give you in a creative field. It is critical to be taught how to sit down and learn on your own. Motion design can be a very technical profession, and new tools are constantly being developed to help you achieve an even better result faster and more efficiently than before.

Madison Caprara:

Now, I’ve heard time and time again how personal projects outside of client work are important for mental health upkeep and furthering your skills as a creative. What is your stance on passion projects? Have you had the time recently?

Kai Kundler:

Personal projects are extremely important. Only here can you completely loosen up and experiment with new things. You can devote yourself to skills and things that are pushed aside in your day-to-day job here as well. You can learn and practice new skills. And once you're comfortable with what you've learned, you can apply it to your job or to your clients. You lay your own foundation here. I try to work on personal projects on a regular basis, and right now I'm focusing on typography and analog drawing.

Madison Caprara:

Aside from creating them for enjoyment, what are some things that you feel you gain from taking the initiative to do your own work?

Kai Kundler:

You begin to fine tune your skills, try new things, but you also strengthen what you already have. This boosts your self-esteem and allows you to recognize your own worth. What you quickly forget is that personal projects are the only way to get started in the creative industry. I can't tell you how many hours I spent as a kid drawing on my paper and having a good time. That is exactly what you should maintain and continue to do later on.

Madison Caprara:

Are you working on anything exciting we should be keeping our eyes open for in the near future?

Kai Kundler:

I'm currently working on a number of projects that I'm not allowed to share or that are still in their early stages. But I make an effort to be active and to create new and exciting things. As a result, it is always exciting.

Madison Caprara:

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

Kai Kundler:

I am sure we will come out of the pandemic stronger than before, having learned a lot about ourselves and appreciating life much more day to day. So keep moving, educate yourself, and stay creative. Also never watch Disney Classics with me because I will cry my eyes out.

Thanks for having me!

Guest User 2/15/22 Guest User 2/15/22

Takeover Tuesday with Linda Miletich

An interview with Linda Miletich, an illustrator and digital marketing manager based in Oberpullendorf, Austria.

Q&A with Linda Miletich

Read time: 5min

Madison Caprara:

Hi, Linda! Why don’t we start with a bit of insight into who you are and what it is you do.

Linda Miletich:

Hey there, I’m Linda! Currently I’m enjoying my rather traditional life in the Austrian countryside. That’s also where I found my ideal work-life-balance. Or maybe “work-work-life-balance“ is more accurate: I recently started as a Digital Marketing Manager but I am also an Illustrator and I love the combination. I realized that when your talents and skills are in the creative spectrum there’s so many fields you can bring them into. And I’ve always wanted to cultivate all my interests. Since I’m a very analytical person and super interested in psychology I started to get into conception, brand strategy and marketing. Focusing entirely on illustration wasn’t an option for me since I don’t really like working from home and building mainly virtual contacts (you have to do that if you want to be an illustrator in the middle of nowhere with no real creative community around). I wanted to dive into the real world and spend less time on instagram and my phone. So in my illustration time I focus on a few commissions that really fascinate and inspire me and of course I work on my own projects too.

Madison Caprara:

I see that you studied communication design in school. Could you break that down for us, what exactly is communication design?

Linda Miletich:

Communication design sounds a little cryptic but I think it’s the perfect term for what you learn in design school. There is always a message that has to be conveyed, something you want to show, tell or explain to your audience. Or there might be a way you want to make your audience feel. In communication design you get into the space between the sender (client) and a receiver (target audience) of information and you do all the work so that the receiver takes away the right message. For that you have to dig into a topic, understand it, take it apart and put it together in a way the receiver would understand. You have to develop a concept and your approach to the challenge. That’s what you learn in the course – and of course the many tools that help you visualize and send your message: photography, illustration, text, film, graphic design, sound and interactive media.

Madison Caprara:

How did you pivot into illustration and how have you utilized the skills you learned with your education to further your creative career?

Linda Miletich:

Love that question! I wouldn’t say “pivot“, I’d say I “boomerang-ed“ back to illustration. Drawing is how it all started. As a kid I loved watching anime and every time I played Super Mario I was so fascinated by the fact that you can create a whole new world from your imagination: the stories you can tell, the things you can invent. In design school I focused on brand strategy and design because at the time I thought that illustration was just not foreseeable or reliable enough as a career path for me.

But I also learned that your own happiness and your success is not about choosing what the majority of people does or what is perceived as “safe“. Your safest option is recognizing your own talents and building on them. You owe that to yourself. So I returned to illustration and art, it’s really where I feel most at home and alive at the same time. I think my education in strategy and conception helps me to double check if what I plan and what I draw communicates the right message. But I do get carried away too and find myself in a creative free flow sometimes – that’s often when the best ideas happen. I definitely believe in intuition!

Madison Caprara:

What are the range of projects you’ve worked on? Do you have a favorite?

Linda Miletich:

So far I’ve illustrated wine labels, icons and illustrations for websites, tattoos, cover art for musicians and I am currently working on my own book project. My favorite project is probably my new series “Lenny’s Adventures“. The main character is a little boy. He symbolizes the vulnerable inner child within each and every one of us and I like visualizing the struggles of life with him.

Madison Caprara:

I see that you’ve done a bit of cover art for different musicians and playlists. Tell us more about that!

Linda Miletich:

Sure! I was asked if I wanted to participate in building up the playlist brand Chill Better Daily. The musical focus is instrumental chill vibes and my two partners already had the idea of animal characters as a base for the branding. I developed the five characters and the imaginary world they live in as a base and location for the sceneries and covers along with the overall corporate design, typography and color scheme for the brand. Chill Better Daily releases EPs and singles with different musicians from all over the world. My time at Chill Better Daily has come to an end since I had to re-evaluate my creative capacities but I am super excited where the journey will go for the music and the cover art in the future!

Madison Caprara:

How has living in Austria affected your work?

Linda Miletich:

Well, I don’t think that living in Austria has any particular influence on my work but I create art from a perspective of a young woman living in Central Europe. I think that defines my experiences and therefore my art.

Madison Caprara:

Now, along with the title of “Illustrator” and “designer,” you also are skilled in brand strategy. How do you define the role(s) of a brand strategist? What personal skills does a strategist need to be successful?

Linda Miletich:

Brand strategy is really where every design discipline comes together. As a strategist you have to supervise every little aspect of communication and make sure that the overall result fits the goals of the brand. You are responsible for the brand positioning, the corporate design, brand tonality and everything that builds the identity of a brand. For that you have to like thinking, diving deeper into customer’s brains, understanding them, analyzing their behavior. When building a brand it’s really about bringing together the following things: What do people want? What is economically and ecologically responsible? What is viable for the company? What is feasible? So you have to be ready for complex challenges!

Madison Caprara:

How does it tie in with the work in which you are physically creating?

Linda Miletich:

Apart from a conceptual approach there is not much connection for me and that is wonderful. I love creating with my hands and switching off my brain for a while when I draw. That’s also where ideas find me and I don’t go out there searching for them.

Madison Caprara:

Do you think of yourself as a “brand?” If so, how would you say you’re positioning yourself for success?

Linda Miletich:

I would say: not yet. But I am definitely taking the steps to find and develop my own style. I couldn’t lose my own creative identity for of a commission. In fact, I want to be consulted because of my style. And I am planning a “Lenny’s Adventures“ book in the future – I want to bring my own art into the world too because my own ideas define my most authentic creative self. My ideas come from daily struggles and thoughts. I like to look behind the surroundings, routines and behaviors we view as "normal". So when I have to describe my positioning or my motivation to create art I’d say that I like exploring the mysteries of the obvious.

Madison Caprara:

What do you think will be the most exciting design-related trends of 2022?

Linda Miletich:

I hope that we will see a lot of yellow this year again and recently I am noticing more and more retro Disney illustration vibes. I think and hope that we will continue the revival of past decades and complete the aesthetic with „modern“ elements.

Madison Caprara:

What are you passionate about outside of work?

Linda Miletich:

That’s a good one. My biggest passion is building a life that I am genuinely happy with. Work is a part of this but also building meaningful connections with people is extremely important to me. I love spending quality time with my friends and also I focus on growing as a person and becoming my truest self. Soon I will also move into a new home so at the time you mostly find me putting together interior moodboards.

Madison Caprara:

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

Liz Galian:

I want to say thanks for the opportunity, this was a lot of fun. And to anyone who reads this: You’re awesome and you’re talented. Keep searching for where you belong. And be nice to each other. :) Much love, Linda.

Guest User 2/7/22 Guest User 2/7/22

Takeover Tuesday with Liz Galian

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

Q&A with Liz Galian

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!