Guest Spotlight: Motion designer & 3D Artist from Argentina

Manu Cabezas, 39 years old, based in Buenos Aires, Argentina

Job title: Motion designer & 3D Artist

Hobbies: I like to travel, cook, play the guitar, watch soccer, among others :)

Link to portfolio: manucabezas.com

Favorite project: https://manucabezas.com/raw-launch

Personal Journey:

• As a self-taught motion designer and 3D artist, could you share the story of your journey into the world of motion and animation? What sparked your interest, and how did you develop your skills over time?

After spending years studying and working in my hometown, I decided to start travelling. This trip exposed me to new realities and challenges I hadn't encountered before. It was during these experiences that I began to uncover aspects of my personality that had been dormant. Looking back, it became clear that my interests in playing guitar, creating music, analyzing movies, and playing video games were more than just hobbies—they were potential avenues for a career. It was on this journey that I realized I could harness this knowledge and passion to pursue a career in animation.

• You are based in Argentina, could you shed light on what it means to be a designer in this region? Are there distinctive cultural influences or challenges that shaped your creative career?

It might sound cliché, but being born in Argentina gave us a culture of resilience—a knack for making the most out of what we have at hand and still producing remarkable results. Enduring successive economic crises has taught us to face moments of adversity with common sense and resourcefulness. This means that, even when lacking access to top-of-the-line equipment or software (especially in the early stages), I've always strived to find solutions to problems or acquire new skills.

• You've expressed a passion for infusing humour into your creations. How does humour play a role in your design process, and do you find that it adds a unique touch to your animations?

Yeah, absolutely! Humour is a cornerstone of both my work and my daily life. Of course, it's important to gauge the appropriateness of humour for your audience—it's not about making a silly joke at any given moment. However, I firmly believe in the power of humour in animation. There's a saying that comedy is about 'putting something where it doesn't belong,' and I think that can serve as a valuable premise for motion designers. While it's essential to understand and master the rules of animation and design, it's equally crucial to allow yourself to 'play' and think outside the box from time to time.

• Being a digital nomad is a unique aspect of your journey. What inspired your decision to embrace this lifestyle, and how has it impacted your approach to motion design projects? Are there specific challenges or advantages you've encountered while working remotely?

I didn't intentionally set out to become a digital nomad; it just happened as I followed my passion for travel. Initially, I was constantly on the move, but I soon realized that it wasn't sustainable in the long run. That's why I've adopted a more balanced approach, aiming to stay in one place for at least a month at a time. Before I travel, I always make sure to check the internet speed and try to plan my trips during quieter periods of work. If I'm in the middle of a project, I make sure to communicate with my clients and colleagues to manage expectations. This lifestyle forces me to change scenery, experience new things, and step away from the screen, which I find incredibly stimulating for my creativity and essential for avoiding burnout.

Technical Expertise:

• You specialize in 2D vector animation (After Effects) and 3D artistry, with a recent focus on Blender. How do these technical skills complement each other in your projects, and what drew you to explore Blender as part of your creative toolkit?

I consider myself more inclined towards vector animation because of my personal preference: I find it more intuitive to manipulate paths and handles in Illustrator or After Effects than to work with brushes in Photoshop. After working for a while in 2D animation, motion graphics, and video editing, I became intrigued by the world of 3D. I started with Cinema 4D, paired with Redshift for rendering. Although Blender had always intrigued me, I was hesitant to make the switch. However, after taking a course with the guys from Cabeza Patata, I realized the immense potential Blender offered. Nowadays, when I have a project involving 3D elements, I turn to Blender for modelling, lighting, and texturing, and then I finalize and do compositing in After Effects.

• You're involved in providing creative and animation direction, from conceptualization to leading design teams. Could you elaborate on your approach to leading a team and ensuring a cohesive and impactful visual narrative in your projects?

I believe the crucial step is to invest extra time at the project's outset to thoroughly grasp the requirements, develop a strong concept, and create comprehensive mood boards for both design and animation. While it can be tempting to rush into creating impressive visuals, I find that a well-thought-out and planned approach truly sets a project apart. As a leader, it's also vital to strike a balance between being present for the team and allowing them the space to contribute their own ideas and creativity to the project.

Creative Process:

• In your creative process, how do you balance the technical aspects of motion design with the need for a compelling and engaging visual story? Are there specific principles or philosophies that guide your work?

While I adhere to basic design rules and animation principles, I always consider the rhythm, both visually and in terms of sound. It's worth noting that sound design is often overlooked, particularly since much of our audience consumes content without sound on their phones. However, I've noticed that the work of creators and studios I admire consistently features fantastic sound design. Therefore, I try to follow their lead and incorporate sound design into my projects as well.

Training and Sharing Knowledge:

• You've shown an interest in training other motion designers and sharing your knowledge. What motivates you to impart your experiences, and how do you envision contributing to the growth of aspiring motion designers?

After engaging with colleagues, co-workers, and especially after participating in a Motion Hatch course, I came to recognize the importance of community in my work. I realized that perhaps my own insecurities had kept me from seeking out others like myself. Lately, I've come to truly value the opportunity to connect with people who share similar experiences and knowledge. It took me some time to realize that I, too, deserve to be part of this community.?

Last year, I took the lead in developing a training program for a motion team, and I now regularly hold meetings with fellow motion designers who are eager to learn and find their place in the industry. Through these interactions, I find that I’m learning and evolving much more rapidly than when I was working alone.

Memorable projects and aspirations

• What would be your dream project? Is there a specific type of project that you aspire to take on in the future?

While I consider myself a generalist who enjoys exploring various areas, lately I've been particularly drawn to motion design for interactive web and app experiences. I find tools like Spline and Rive incredibly powerful because they not only allow for designing and animating but also facilitate creating user interactions. To borrow from Joey at the School of Motion, I'm gradually working towards becoming a Full Stack Motion Designer.

Looking forward

• As someone with a global perspective on motion design, where do you see the future of the industry heading, especially in terms of remote work and collaborative efforts across borders?

I think the pandemic has really cemented remote work as a standard practice. While I was already accustomed to it, the emergence of new remote collaboration tools has made it even more efficient.?

Looking forward, I see interactive design continuing to grow in importance. Combining traditional design and animation skills with newer concepts like ‘state machine’ and understanding interaction logic will be key for motion designers.?

And of course, the role of AI in our industry is becoming more prominent. While its impact on jobs remains uncertain, I believe that humans will remain essential. As we adapt to new technologies, our creativity and unique problem-solving abilities will continue to be indispensable.