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A little while ago I reached out to my friends at Impactist to see if they’d answer some questions about their work, their inspirations, life outside of LA or NY and balancing personal and client work. Daniel and Kelly have one of the most well defined voices as directors and designers that I know of. They’ve been a source of inspiration of mine since I first saw their work years ago now. Consistently making beautiful fun work in short films, music and commercials, and all of it feels like it belongs…

Have a look at their Work, download some of their Music, or click through to read the full interview…

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If you’re involved with motion design, or any creative industry for that matter, you’re probably familiar with the work of MK12. They’re responsible for some of the most recognized work in the motion graphics world – from feature film titles to music videos and TV spots. However, outside of their commercial work they consistently raise the bar with their self-initiated short films. Giant Child had the opportunity to speak with Ben Radatz, one of the founding partners of MK12, about the studio, their films, and the process behind last years film Telephoneme.

Giant Child: First thing; Tell us about MK12. I realized that as long as I’ve know about you, I really don’t know anything about you. MK12 has always had a sort of mysterious/secretive thing about it. When did you form? Who started the company? How many people work at MK12?

MK12: We’d love to say that the mystery’s all intentional, but it’s probably due as much to our lack of self-promotion as it is to our late arrival to social media, which we’re only now getting our heads around. At the same time, though, we do like to keep our heads down and just put out work when it’s ready. And, we always credit the studio, not individuals – we’ve always just done it that way.

We got our start in ’99, right after graduating from the Kansas City Art Institute, where we four original partners (myself, Jed Carter, Tim Fisher, Matt Fraction) met while in the Photo/Video department, which at the time was sort of a catch-all major for anyone interested in modern imaging. We were some of the few animators there, and we’d collaborate often on short films and other oddball experiments. We came back together after we graduated to work on a big film project we’d been planning, and that accidentally morphed into MK12.

We got our start designing web sites and other random paraphernalia by day, and at night we’d work on our short films and personal projects. We didn’t think we’d be able to make a living at it, but our films started doing well on the festival circuit and online, and we started getting calls from scouts and producers. It just kind of grew from there.

We are five partners now – swapping out Fraction (who left to pursue comic writing) for Shaun Hamontree and Chad Perry. We’re also privileged to work with some really talented folk: Heather Brantman from KU, Shawn Burns from SCAD, and Teddy Dibble and James Ramirez from KCAI.

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We recently ran across the illustration work of Andrew Kolb while browsing Pixar’s blog “The Pixar Times”. In a section called Pixart, artists are invited to do their take on Pixar films. Rather than using one film as his inspiration, Andrew chose to create an illustration with a reference to every Pixar film up until Toy Story 3. Yes, every film! The piece turned out amazing – and was very unique compared to the other submissions that surrounded it. This sort of dedication and creativity is apparent in all of Andrews work, which ranges from t-shirt graphics to magazines, to art shows and wooden toys. We had the chance to ask Andrew a few questions about his influences, process, and what it’s like working with clients as a freelance illustrator.

Giant Child: Thanks for taking the time to talk with us. Please tell us a bit about yourself – Who are you? Where are you from? What’s your background in art and design?

Andrew Kolb: Well, my name is Andrew Kolb and I hail from Kitchener, Ontario, Canada. I studied graphic design at the Conestoga College for Applied Art and Design and then continued in Australia at Griffith University. I was predominately a designer for quite some time but always preferred to offer an illustrative solution. As I went on I found the work I enjoyed most occurred when illustration was involved and over time I shifted from one to the other. Now I illustrate, design (though now I’m rather focused regarding the clients I collaborate with) and teach illustration back at Conestoga College. It’s the circle of life!

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A new animated music video hit the internet last week that not only caught my attention, but apparently 30,000 other people in the span of 7 days based on it’s Vimeo stats. It’s a colorful, intricate, and psychedelic visual for the song Jeez Louise by the band Secret Skwirl. As I began digging into the credits of the video I found it was created by Maxime Bruneel. I had seen other work from Maxime in the past, and I became curious about how Maxime executes his unique style from start to finish.

Giant Child had the opportunity to ask Maxime some questions about his process on this project, how he works with clients, what tools he uses and more.

Giant Child: First of all, thanks for taking the time for this interview Maxime. Please tell us a bit about yourself – where are you from, what’s your background?

Maxine Bruneel: I am 26, from France, I studied Art Direction at Penninghen, in Paris, and Motion Design at SVA, NYC. After I graduated (2009) from Penninghen, I moved to London for one year working on different projects, mostly music videos, but also few commercials. After that I settled in New York for a while and I now I’m back to Paris!

Continue reading for the rest of the interview.

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