Animate! Finding Inspiration in Unexpected Places with Isabela Littger

Isabela ('Isa') Littger is a Brazilian director who graduated from Ringling College of Art and Design in 2015 and Gobelins l'école de l'image in 2019. Her Ringling thesis project, the award-winning short film 'None of That,' was a finalist for the BAFTA in 2016. After graduating, she worked as a concept artist and story boarder at Vetor Zero, where her passion for storytelling intensified. This enthusiasm led her to enrol in the Master's program in Character Animation and Animated Film at the prestigious French school Gobelins, where she directed her second film 'Blind Eye' which has been participating and winning awards at various festivals since 2019. Since then, Isa has worked as a freelance art director and creative director until the following year, when she joined the permanent team of directors at LOBO.

LBB> How did you fall in love with animation?

Isabela> Like most artists, I also started drawing early on in elementary school and was highly inspired by Manga art, which was my safe harbour. I eventually started loving theatre and music as well and realised animation was the perfect mix of all these passions.

My aunt has also been a big influence on my artistic journey. She is a psychologist, but she loves to paint in her spare time, so I grew up surrounded by canvases and the smell of oil paint. And my dad is a very big cinema aficionado so I also grew up watching an endless variety of films and animated films. 

LBB> Tell us about the animation project that kick-started your career.

Isabela> I would say my graduation film ‘None of That’ was the start of it all. When it came out it went instantly viral, unexpectedly receiving more than four million views on YouTube and 10 million on Facebook. It had also been selected for several festivals, which really helped expand my network.

LBB> How would you describe your art style and what are your biggest inspirations that developed it?

Isabela> I think my personal art style can be described as darker and more sombre, yet whimsical, and it always seeks to convey meaning beyond just aesthetic beauty. I do work with a variety of genres and styles when it comes to professional work.

As for my inspiration, I draw inspiration from a variety of sources. Some of my favourite artists include Brian Froud, Remi Salmon, Scott Drake, Hiroyuki Takei, and Ai Yazawa. In terms of directors, I admire the work of Wes Anderson, Guillermo del Toro, Hayao Miasaki, Henry Selick, Jean-Pierre Jeunet, and Jim Hanson, among others. And when it comes to films/series, some of my favourites are The Triplets of Belleville, Castelo Ra-Tim-Bum, Coraline, Delicatessen, Spirited Away, Dark Crystal, The Book Thief, and Harry Potter.

LBB> From your perspective, what’s the key to animation that really lives?

Isabela> In my perspective, the key to animation that truly lives is how we translate our experiences to screen. The more genuine the acting, the storytelling, the design, etc. the more alive it feels to me. Animation is a highly versatile art form that combines drawing, painting, movement, acting, music, storytelling, and so much more. In my opinion, it is one of the most complete forms of art. It has the power to explore the depths of our minds and showcase our infinite creativity. Through animation, we can express our thoughts, emotions, and experiences in ways that can deeply resonate with audiences. Ultimately, it's the human element that gives animation its life and vitality.

LBB> Show us your favourite or most impactful project that you’ve worked on - tell us, what is it that makes it special and what were the memorable moments or challenges?

Isabela> One of my favourite projects that I've worked on is 'Blind Eye', my student film from Gobelins. What makes it special to me is the wonderful work dynamic that we created as a team. Our group consisted of eight people from seven different nationalities, and we had the chance to create a story from scratch. I had the pleasure of working alongside brilliant artists who were just as passionate about animation as I am.

Blind Eye is a film that carries a message that I really resonate with. It's about obscurantism, how we as humans must be careful with blindly following something without questioning it. We built the story in a humorous way that makes it accessible to people. Working on a film with eight authors was quite challenging, and we had to really work hard on group dynamics. However, we trusted each other's skills, and we had a similar sense of humour, which made the experience extremely fun.

There were many challenging moments throughout the project, but seeing the film come to life and the positive response it received from audiences made it all worth it. Definitely a project that I will always cherish.

LBB> How do you approach character design? What is your creative process like? Show us some of your favourite characters and their journey from notepad to screen.

Isabela> When approaching character design, I typically begin by sketching the first ideas that come to mind. From there, I note down any references I might need and gather them before trying a few more designs. Once I've settled on a design, I put on some inspiring music and begin exploring different poses, colours, and possible situations I can place the character in to add depth to the character.

One of my favourite characters that I've designed is ‘Caipora’, an entity from Brazilian indigenous folklore. I wanted to create my own interpretation of this forest guardian, so I incorporated elements like a shaggy hairstyle, elongated nose, and wild demeanour to capture her untamed spirit. After iterating on the design and refining it with digital tools, I was able to bring Caipora to life on the screen.

LBB> Tell us more about observation and movement - what is the process you go through to study the movement of characters?

Isabela> When studying the movement of characters, I believe it's important to begin by recreating the movement ourselves. By physically performing the motion, we can feel which parts of the body activate and gain a better understanding of the mechanics involved. Next, I like to analyse reference material frame by frame to identify what is leading the motion. For example, is the head, torso, or pelvis leading the movement? Are the hands involved? It's important to have a focus when studying references so that we don't get lost in the amount of information. Overall, the key to studying movement is observation and practice. The more we observe and analyse, the better we become at capturing the nuances of movement in our character designs.

LBB> We all know of some ever-green adult animations, but lately, they have definitely been on the rise, from Rick and Morty to Arcane. What sort of opportunities does this open for animators, both within and outside the advertising industry?

Isabela> The rise of adult animation has been incredibly inspiring and empowering for me. I've always seen it as a medium capable of telling all sorts of stories, but for a long time, it felt like those stories were limited to children's entertainment only. 

The success of shows like ‘Rick and Morty’ and ‘Arcane’ has changed all that, and it's so exciting to see animation being taken seriously as a medium for adult storytelling.

These shows are pushing the boundaries of what animation can achieve and showing that it can be just as powerful and effective as live-action or any other medium.  

And in the advertising industry brands and clients can connect with consumers on a deeper level and create more meaningful campaigns by using animation to tell more sophisticated stories.

LBB> How does one figure out what kind of animation style or styles fits a particular story or project?

Isabela> I think it depends a lot on what the project is. If it's a professional project, it's important to research the client's brand and understand what they are looking for in order to create something unique that still fits within their visual identity, and essence. Additionally, it's important to think about their target audience and choose a style that will resonate with them. 

For personal projects, the first thing would be to consider the mood and message you want to convey in order to choose a style that best enhances your story. I would say not to be afraid to experiment and try out different styles until you find one that works best for your project. Have fun with the process and let your creativity guide you!

LBB> What is your favourite piece of technology or software that you use and how does it help your creative process?

Isabela> I absolutely love using Procreate on my iPad for my illustrations and storyboards. It gives me the freedom of working from wherever, my bed, my sofa, my desk, on the road, in the plane, it's amazing! I take it with me wherever I go. And procreate is brilliant, It's really helpful to have access to so many brushes, and the interface is so easy to navigate. 

Another piece of software that I find indispensable is Miro.com. I joke at work that I should be sponsored by Miro for the number of people I converted to Miro lovers. Haha

As a director, I use it to plan out my projects and collaborate with my team in real time. The infinite canvas is a fantastic feature that allows me to gather references and create mood boards in one place. Plus, the templates and tools are easy to use, and I can visualise complex information in a way that makes sense to me.  

LBB> What sort of briefs or projects do you find more personally satisfying to work on?

Isabela> I love working on projects that go beyond just trying to sell a product or service but rather aim to convey a message or emotion through visual storytelling. These types of projects challenge me to think creatively and push my animation skills to new levels. 

One of my favourite parts of working on animation projects is building a team of artists who will help create the project's unique style and aesthetic. Collaborating with other talented artists to bring a project to life is always a rewarding experience for me.

LBB> What recent projects have really stood out for you and why?

Isabela> One recent project that really stood out for me was a project I worked on for Disney. We created an animated film from scratch, which I worked as creative director and was involved in from the scriptwriting stage all the way to the final visual choices. It was an incredible experience to work on a project with such a beloved brand as Disney and to be given the creative freedom to bring our vision to life.  

One of the things I loved most about this project was selecting and working alongside a small but extremely talented team of artists who shared my passion for storytelling through animation. Collaborating with other creatives who are just as invested in the project as I am always brings out the best in me, and the end result was something I am incredibly proud of.  

Unfortunately, the project hasn't been released yet, so I can't share it with the world. But I am excited for when it finally does come out and I can see the reaction from audiences. Overall, this project was a great example of what can be achieved when you have a dedicated team of artists working towards a shared vision, and I am grateful to have been a part of it.

LBB> Who is your animation hero and what is it about their work that inspires you? What example of their work particularly stands out?

Isabela> When it comes to animation heroes, there are many talented artists and filmmakers to choose from, but for me, my ultimate animation hero is Hayao Miyazaki. I know this is a common answer, but I can't help but be inspired by his work.  

What I love about Miyazaki's work is his dedication to creating heartfelt stories with such attention to detail and craftsmanship. He truly cares about animation as an art form and the importance of the animation process. His ability to create immersive and imaginative worlds is unmatched, and his films always leave a lasting impact on me.  

Another artist that I admire is Hiroyuki Takei, as a storyteller. He's known for his work on ‘Shaman King’ and ‘Butsu Zone,’ and I appreciate how he always strives to tell his own unique stories, even if they're not always the most mainstream. His creativity and commitment to his craft are truly inspiring. Overall, both Miyazaki and Takei's work continues to inspire me as an animator and storyteller, and I am constantly motivated by their dedication to creating meaningful and impactful work.

Remember, art is an everlasting and precious form of communication that has been around for centuries and will continue to be so for many more

LBB> Outside of the field of animation, what really inspires you?

Isabela> People who have dedicated their lives to making a positive impact on the world. Jane Goodall, for example, has been a huge inspiration to me lately. Her dedication to conservation efforts is truly inspiring, and it reminds me of the importance of using my own skills and passions to make a difference. 

On a lighter note, I also find inspiration in some more unexpected places. I have a bit of a soft spot for llamas, cats and monkeys - they just always make me smile! And when it comes to hobbies, I love learning all sorts of musical instruments and playing with friends. I'm also particularly drawn to circus-related activities like aerial silks and trapezing. There's something so thrilling about defying gravity and pushing your body to new heights. I think that having a diverse range of interests and sources of inspiration is really important for staying motivated and creative.

LBB> What do you think are the misconceptions about animation throughout the industry?

Isabela> I think one of the biggest misconceptions about animation is that it's just for kids. Like mentioned in the other question, many people assume that animated films or shows are only meant for children, when in reality, there are many works of animation that are geared towards adults and deal with complex themes and issues. 

Another misconception is that animation is easy or less work compared to live-action. The truth is that animation can take just as much time, effort, and people if not more, to create, from concept design to storyboarding, animation, and post-production.

Lastly, there is a belief that animation is only for entertainment, when in fact, animation can be used as a tool for education, social movements, and even art therapy.

LBB> What are the biggest changes to animation and challenges facing animators at the moment and what are your thoughts on them?

Isabela> There are so many challenges that have surfaced in the last couple of years, it's hard to summarise them all. 

We have the advancements in AI technology, which will definitely make certain tasks in animation more efficient, but it also poses a threat to the jobs of artists. The covid-19 pandemic has created so many new challenges for animators such as remote work, adapting to new software and hardware, and maintaining productivity and collaboration with team members at a distance. 

We are also watching a trend of production companies buying animation projects and then cancelling them mid-production, which makes us creators very insecure about the future. 

The fast-paced nature of the media industry has put a focus on quantity over quality, which can be challenging for animators who want to create meaningful and impactful work. 

As a creator, I believe it is important to adapt to these changes and challenges by staying informed and continuously improving our skills, while also advocating for fair treatment and quality work.

LBB> Any advice you would like to give to aspiring artists?

Isabela> One thing I've learned on my artistic journey is that comparing yourself to others on the internet and social media can be overwhelming and discouraging. Instead, try to focus on comparing your current work to your earlier work, so you can track your progress and see how far you've come. Remember that other artists can be a great source of inspiration, but never compare yourself to them or their achievements. Your artistic journey is unique to you, and that's what makes it special. 

Another piece of advice I would say is to never let the feeling of being 'behind' discourage you from pursuing your passion. It's easy to feel like you're not making enough progress or achieving your goals quickly enough, but remember that everyone has their own pace and journey. Take your time, experiment with different mediums and styles, and find what works best for you. 

Lastly, I would recommend separating some time to work on personal projects that reflect your artistic self, even if you're busy with industry-focused work. This will help you stay connected to your creativity and prevent you from feeling overwhelmed by industry demands. It's important to remember that we can't always work on projects we love, so it's up to us to create time to nourish our artistic selves.

Embrace the journey, enjoy the process, and don't forget to have fun along the way. <3