How did you discover your love of animation and get started in the creative industry? I had a Superbad moment when I drew on the corner of each page of a school textbook while in class. It turned into a flipbook, and I loved it!

After graduating from the Dún Laoghaire Institute Of Art, Design and Technology in Dublin, Ireland, with a BA Honors in animation, I set out for New York and applied for animation jobs. At one job I landed, I quit after six weeks. After that, I started as a Runner at The Mill with the implication that if I worked hard and well, I could get accepted into the 3-D department for modeling or animation.

I drew every Runner’s portrait and stuck it on the fridge for a laugh. Mario Stipinovich, the head of design at the time,  saw the drawing and asked if I had any other work like that. I showed him my college portfolio, and he started putting me on illustration and cel jobs in the design department.

Before going freelance, you worked as an animation director at production company The Mill in New York. What led you to decide to carve your own professional path? I loved The Mill for many reasons: the lovely people, the pixel-perfect high standards, incredible storytelling skills and the hard work ethic the company instilled in us. I also appreciated the behind-the-scenes insights into workflows, budgets and proposed schedules, as well as effective ways to communicate and chat with clients in presentations. However, at the end of the day, it was a huge company that took on many different types of projects, and I felt I couldn't focus on the direction I wanted to move forward with. I began to receive direct outreach from clients to work with me. My style was becoming sought after, and I wanted to transform it into something I could freely decide when and what project to take on and with whom to work.

What personal experiences or circumstances have most influenced your work or style? Humor, connection and the extraordinary in the ordinary are at the heart of my work. People fascinate me—they’re wild, funny, tender and sometimes deeply human in ways they don’t even notice. Animation gives me the freedom to explore those fleeting, unfiltered moments that reveal who we truly are. Whether it’s someone flustered and showing their little endearing quirks, a spark of desire that flickers, or someone completely letting go on the dance floor, I love capturing that tension between vulnerability and confidence. The bliss in freedom. Those raw, joyful and intimate moments remind me how alive and connected we truly are.

One thing that I find absolutely captivating in your animations is the way you play with fluidity and perspective to create almost psychedelic motion from frame to frame. What inspired you to explore this technique and refine it in your work? While reviewing my college work, a teacher once asked me why I hadn’t filmed that action: “Why are you animating? What makes that moment want to be animated?” I no longer entirely agree with that statement—an animation naturally portrays its own perspective on a moment, be it whatever the visual scene. But, this pushed me to want to animate the surreal and absurd. To create morphing transitions, to place with the use of scale in a surreal form. Ultimately, I found it more playful, which meant it was more fun to make.

In terms of fluidity, I loved the Disney Classics such as 101 Dalmatians, Robin Hood and The Jungle Book. Their animations were so fluid yet raw. I’m always trying to improve the fluidity of my animations with those films in mind.

What have been some of your favorite projects you’ve worked on, and how have they changed your perception of what you can accomplish through advertising? YouTube commissioned me to create a ten-second looping animation of a fingerboarder that appeared beside the YouTube logo as a tiny thumbnail for 24 hours. The project revealed how something without a direct message can still resonate emotionally through its energy and vibe. The animation stood out from YouTube’s typical design language, reflecting an effort to connect with a younger audience and keep the brand culturally relevant. It was rewarding to see my work featured on the platform as a standalone piece that added a playful, edgy atmosphere for users.

Also, I recently illustrated a series of gift cards for Etsy’s online shopping experience. This project reaffirmed how evocative imagery can strengthen emotional connection to a brand, transforming a simple click of a button into a personal, heartfelt gesture. Each design acted as a visual love letter that complements the thoughtfulness behind every gift.

Your process involves drawing and animating every frame by hand. What advantages does this style have over working digitally? It’s a timeless, incredible art form. When a character comes to life through manually hand-drawn animation, it can’t help but have individuality, boldness and sincerity. Imperfections are unavoidable and beautiful. Every second you see is twelve drawings made in sequence to create movement. When starting university, we would draw on paper and then photograph each drawing, which would then be incorporated in a video timeline. Now, I draw digitally with a Cintiq pen. But, to me, each drawing is a piece of still-imaged art because it means that each drawing must be carefully considered before being drawn to fit in its sequence. It automatically imbues each character with a unique, rich personality.

As AI and computer programs continue to develop, I’ll try to keep up with them, but it also makes me look out for something more human that I can connect with. Hand-drawn animation and its process will always feel special for that reason.

Outside of animation, do you have any other creative endeavors? Yes! I’m a ceramic figurative sculptor. My latest exhibition was in a group show at EDJI Gallery in Brussels. You can find my work at @quinns_ceramics on Instagram.

Do you have any advice for illustrators just starting their careers today? Follow your own path. Pursue what feels authentically you, not what you think others will love. To grow and reach a high level, you need to feel a bit obsessed. But, it should also bring genuine joy to your everyday life. When your vision and creativity flow naturally, it becomes its own kind of high.

If you’re still finding your style, start by identifying three-to-five creative influences you truly love. Study what draws you to their work; then, blend those elements into something uniquely your own.

For example, I love the Yellow Submarine animation for its ’70s colors, textures, clean outlines and bold character proportions. I love Robert Crumb’s fearless way of drawing desire and fetish without apology. I love Magritte’s surrealism and how he plays with composition and scale. I love Disney’s animation style, which is typically done at twelve frames per second, and how fluid the characters look and act. And, outside of art, I love skateboarding. All of that ends up shaking together into a little creative cocktail that fuels my own visual world.

Share your work when it’s complete or nearly finished. People often struggle to see your vision when it’s halfway there. Early on, it’s easy to lose confidence or be pulled off course by too many opinions. Listen thoughtfully, but trust your instincts.

Take advice from people whose strengths align with what you’re working on. For example, if someone has a great eye for composition, try their suggestion if it’s to do with negative space or if it’s feeling too busy or too spacious—but if you don’t like their color sense, you don’t need to follow that part of their advice, even if they’re more experienced in the industry. Learn selectively: absorb what inspires you, and let the rest go.

Finally, don’t be afraid to reach out. Working as an illustrator can be isolating, and it’s easy to stay tucked away indoors. But, connecting with others in the industry can open doors and keep your energy alive. Send a friendly message, reach out on social media or ask a mutual contact to introduce you to someone at a studio you admire. The worst outcome is no reply; the best is a meaningful connection. Honestly, most illustrators and animators are lovely, generous people who enjoy meeting others wxho share their passion.

Don't give up if you believe in it! Keep at it and the hard work you’ve put in will pay off—you will get there! ca