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.
INTI • SUN GOD, 2017. Paulynka Hricovini.
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?
Hermès Party Animals, 2021. Paulynka Hricovini.
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?
Rone, 2016. Paulynka Hricovini.
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.
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.
My Fairy Unicorny. Fabien Rousseau.
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.
Wobbly Pigeon. Fabien Rousseau.
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.
Château l’Enroule workshop photo
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?
Nepal Hike, 2018. Fabien Rousseau.
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.
Takeover Tuesday with Elise Leonard
Q&A with Elise Leonard, a Freelance Illustrator, Storyboard Artist, and Art Director
based in Brussels.
Q&A with Elise Leonard.
Read time: 5min
Madison Caprara:
How are you doing, Elise? Could you give us a little insight into yourself and how you originally got into the illustration game?
Elise Leonard:
Hi Madison. I’m pretty good, and happy to be participating in dash’s social media feature! I’m a French/Belgian Illustrator from Brussels, though I grew up in France mostly and spent a few years in Brazil. I moved to Belgium when I was 20 for Design School.
I’m a very curious person when it comes to various topics. I spend a lot of my time learning new things. When I’m not drawing, I love listening to scientific podcasts (I thought for a very long time that I wanted to be a Biologist), reading books, watching tv-series and movies, and making projects on societal topics such as feminism, human rights, gender equality, diversity, and inclusivity. Like a lot of illustrators, I have drawn since I was a child, but I gravitated more to a scientific path in the beginning. It only clicked into my head when I had to make a choice for college. I’m still not sure what made me switch from science to art, but that was a very exciting decision. I first started to work in advertising, then moved to illustration and art direction in a video production agency. I have been a Freelance Illustrator and Art Director for almost one year now.
Madison Caprara:
You spoke about originally wanting to be a biologist. Before the switch, was there any part of you that wanted to turn your passion for drawing into your profession?
Elise Leonard:
Actually, not at all. My dad shared with me his passion for drawing when I was little. He was first an Industrial Designer, but when he lost his job, he found it difficult to live with what he was earning as an Illustrator at that time. He completely switched careers, so I grew up with the idea that drawing wasn’t possible to make a profitable career from. But I’m so happy that I went about forming my own opinion. I discovered that I COULD turn my passion into my profession.
Madison Caprara:
Now that you’re living in Brussels again, how does the city affect your work? Do you draw much from the cultural climate?
Elise Leonard:
Brussels is a multicultural environment. You can meet so many different people with different backgrounds and styles. That’s very inspiring for me. I’m always trying to work with that in my mind, to be as inclusive as possible when I’m drawing characters. We also have a very robust cultural offering: museums, theaters, concerts, exhibitions. The alternative scene is very present and accessible. All allow me to easily feed my inspiration!
Madison Caprara:
And, do you have a favorite subject matter or genre of work to pull from?
Elise Leonard:
I mostly work for the animation industry. I love to create characters, storyboards, and gesture drawings, though I’m still learning how to find the right balance between accuracy (being anatomically correct) and stylization. I find it fascinating to understand how the human body works and try to implement it into my art.
My favorite subjects to pull from are societal and environmental topics. Working on these kinds of projects made me learn so much about the topics themselves. I like to dig deep when learning about a topic; listening to podcasts, reading articles, talking with people. Drawing is my way of taking notes. I believe that you always learn something new when you draw.
Madison Caprara:
It’s always so interesting to hear about the different tactics people use to ingest information!
Moving on, you began your career with a full-time gig, correct? Tell us about your experience as Head of Design for the ad agency.
Elise Leonard:
That’s correct! Just after school, my first full-time job was in the advertising industry. Starting as a Graphic Designer, then graduating to Head of Design, I grew a lot. You have to learn so many real-world things that you don’t at school. For example, how to solve clients' problems and finding the best solution, how to fit into a new style or a strategic/marketing direction, how to deal with stress and planning, how to work in a team and lead a project, how to argue to defend your design choices…I left my first job stronger than I was before.
Madison Caprara:
Is full-time work a path you would initially recommend for others hoping to break into the creative industry?
Elise Leonard:
From my experience, yes. I believe that working at least one year surrounded by talented people who can share their daily experiences with you is very valuable. Working in an agency makes you discover all of the other jobs and responsibilities that are essential to the realization of a project. I’ve learned a lot from project and account managers that I may not have if not associated with an agency.
Madison Caprara:
That being said, was there anything in particular that led you to freelance work? Was it a difficult transition for you after experiencing that team mentality?
Elise Leonard:
I had met great freelancers working in the industry who inspired me to take the leap. There is one community called, L’Enroule (literally meaning “a scam” in French), here in Brussels created by Fabien Rousseau, a Freelance Animator. The group organizes meetups in hopes of connecting all the creative peeps within the city. I went to one of those meetups and it offered so many new perspectives to doing my illustration job as a freelancer. Now, I’m a part of this community and I’m sharing a studio, Château l’Enroule, with six other freelancers.
I was a bit afraid that freelancing was synonymous with working alone from my home, but it doesn’t have to be. Sharing a studio with other freelancers in the industry is like being roommates. You can work on your own projects while sharing the fun part of being on a team! Also, one of my previous colleagues, Simon Schu, made the same decision as me, and we joined the studio at the same time. We try to work together on some projects when we can. I won’t lie, the decision was a bit stressful and not easy to make, but I don’t regret it. Being surrounded by inspiring people made it smoother.
Madison Caprara:
Working remotely myself, it can get a bit hard to be alone all the time, even with Zoom calls and the occasional in-person hangout. I love that we’ve created these coworking spaces for when people need a little human interaction!
On another note, what is something that most hinders your creative mindset?
Elise Leonard:
Self-doubt. When you are constantly learning, you also are always pushing the finish line away from you. Which is great! It’s stimulating and leaves no room for boredom. But your ability to see what works and what doesn’t grows faster than your ability to actually do it. That can be very frustrating and brings a lot of doubts. Will I ever be good enough? There are so many talented people around me, will I ever be able to reach their level? When I’m in that mood, it helps me to look back on my old work and realize the journey that I’ve already made.
Madison Caprara:
There’s that Imposter Syndrome again. Everyone goes through it.
What are some of the strategies you’ve developed for finding inspiration without getting overwhelmed by the work of artists you admire?
Elise Leonard:
Social media has a bright and a dark side. You can find endless inspiration and discover amazing artists, but you can also easily feel overwhelmed and be trapped within that comparison effect. One of the strategies that work for me is to find other sources of inspiration in creative fields outside of illustration and animation. Watching a film, reading a book, going to the theater…they fill your cup without being tempted to compare your work.
Madison Caprara:
Speaking of, what are some of your go-to’s for inspiration?
Elise Leonard:
Behance is a huge source, I like to look at the featured weekly projects.
I’m a huge fan of the chronicle book series, “The Art Of…” I like to dive into those books to explore the behind-the-scenes of Disney and Pixar movies, to see the exploratory sketches, and to discover the ideas that didn’t make it into the film.
Animation, design, and art festivals are a concentrated source of inspiration taking place over the span of a few days. I didn’t get the chance to go often, but I hope to do it more in the future.
Patreon is also a great platform to discover and support artists' work. They share their workflows, tips, tutorials, and behind-the-scenes. It’s definitely one of my go-to’s for finding inspiration.
Madison Caprara:
What about your own work? Do you have an all-time favorite piece you’ve created?
Elise Leonard:
There are many pieces that I really love, but I can’t call any my “all-time favorite,” as my art is constantly evolving, as are my tastes.
Madison Caprara:
Fair! Is there anything special we can look forward to seeing from you in the near future?
Elise Leonard:
My first year of freelance is almost behind me, and I’m very grateful for how it went. I hope for my second year to have more remote international opportunities. I’d also like to work within the entertainment industry.
There are a few ongoing animation projects with Simon that I hope we will be able to share soon, we hope to collaborate more in the future. Regarding my personal artistic projects, I plan to make a series of drawings to celebrate women's diversity.
Madison Caprara:
Well, we’ll definitely be keeping an eye open for that, Elise!
Do you have any closing advice you’d like to end with?
Elise Leonard:
I think that I’ve used the term “learning” so many times within my replies. It’s going to sound super cheesy, but never stop learning. Being an illustrator is a long run. Be curious, surround yourself with great people, share what you’ve learned, and continue to push your finish line far far away from you.