How did you get into the industry?
The truth is that I took a reverse path, as I started by doing traditional Editorial Design and Branding, to the point of becoming an Art Director and Creative in different Publishing companies and design studios. But I always loved Motion Design, and I took courses on my own and worked on experimental personal projects.
At that time, the only place where animated graphic design could be developed was in television channels, and I had the opportunity to join a junior position within a sports channel. I've been dedicated to this beautiful and constantly challenging industry for over 15 years now.
Where are you based now and who do you work for?
I’m based in Buenos Aires (Argentina) working worldwide. I’m working for TV channels networks and streaming platforms like Paramount, AMC Networks, Cartoon Network, Alkass Sports Channels, Crunchyroll/Warner Bros and Amazon Studios.
If you weren’t in your current industry, what would you be doing?
I believe I would be involved with movies, possibly in a directing role. Alternatively, another possibility I liked was becoming a professional football coach
Can you explain your creative process? What makes it unique?
I’m very demanding with my conceptual approach; I tend to want to tie up all the loose ends from the concept to every visual decision. In that regard, I am very explorative and experimental, always building upon solid concepts.
I can develop both 3D and 2D, as well as mixed media with live action, as long as it remains consistent and coherent with what is requested in the brief, which I hold in high respect and thoroughly delve into.
How would you describe your style?
3D Graphic Design, highly conceptual and Cinematic.
Which individuals do you gain inspiration from? Do you have any heroes in the industry?
Yes, of course. I care deeply about graphic design and animation, and I have several heroes in the industry. For me, the father of animated graphic design is Saul Bass, with his title sequences for movies.
And my branding heroes have been Wally Olins, first at Wolff Olins and later at Saffron Partners, as well as Michael Bierut and Paula Scher from Pentagram. When it comes to TV channel branding, I admire the work of Simon Dixon and Aporva Baxi from Dixon Baxi
What tips would you give to aspiring creatives looking for work?
What I'd tell someone who's just starting out is to trust what they love, learn everything they can about it, and showcase what they learn.
I wouldn't do things just because "people say you have to do this or study that," especially if it's just because it's trendy. If everyone's diving into Houdini but it doesn't spark your interest, you don't have to jump in just because everyone else is.
Every bit of learning has its value in some way or another, but some unnecessary detours can add avoidable frustrations and can lead you to undesired clients.
What tips would you give to other professionals to get more clients?
I believe that nowadays, to acquire more clients, it is essential to share what they are working on and their results, as well as their personality and approach to projects, and their passion for what they do. Authenticity is invaluable and highly sought after.
What kind of tools/kit/software could you not do without?
I use a lot of tools but couldn’t do without Adobe After Effects and Maxon Cinema 4D
(Redshift Render) with X-Particles.
What’s your secret to staying inspired and motivated?
Having challenges is what keeps me motivated, pushing beyond my limits, exploring new things, and ensuring that each project serves to develop something I haven't done before. Luckily, being in a creative role always leads me to new and exciting adventures.
What’s the work achievement you’re most proud of?
The work I am most proud of is the one for Alkass Sports FIFA World Cup Qatar 2022 animated spot. It posed a challenge in many aspects, especially in terms of responsibility towards the channel, which was a new client for me. There was also an organizational aspect involved, in order to carry out the 3D animation, generate and coordinate a live-action production, and integrate it with robust post-production.
Furthermore, it was for the World Cup, which is my ultimate passion. I was fortunate enough to attend it in person and witness Argentina and Messi's victory on the field. As you can imagine, it was a rollacoaster of emotions. I’m very proud also that is nominated under the animation category for the Annual 2023.
What is the one thing that you would change about the industry?
I would definitely make the industry more collaborative, creating opportunities for specific roles and moving away from relying on competitiveness. Many times, I witnessed projects take an unnecessary detour because the right person wasn't accessible.
That's why I strongly believe in the role of organizations like Creativepool, where professionals can make themselves known and connect, in order to showcase what we do, raise the bar, and keep the conversations going.
Any websites, books or resources you would recommend?
“The Brand Handbook” by Wally Olins and "The Freelance Manifesto: A Field Guide for the Modern Motion Designer" by Joey Korenman were definitely a game changer for me.
Also, I love to work on Title Sequences for TV shows and films, and that's why I recommend two beautiful websites: https://www.artofthetitle.com/ and https://www.watchthetitles.com/
