A decade after its founding, The Motion Awards returns with a new website, juror nominations, and two powerful new distinctions, marking not just an anniversary, but a deeper declaration of what Motion Design has always deserved.”
Breanna Lynn’s Drive It Like You Stole It began as a no-budget spec car commercial and became something far bigger, a testament to community, trust, and radical belief. With no client, no agency, and no budget, she rallied more than eighty collaborators to help bring an ambitious vision to life, proving that when the conviction is real enough, people show up. More than a film, the project is a reminder that meaningful work rarely begins with permission, it begins with courage.
As MOUVO returns for its 11th edition, the Prague conference invites the Motion Design community to explore the idea of Space, not just as a physical environment, but as the creative territory where design, technology, and imagination intersect.
Concept Art lives at the intersection of imagination and design, translating creative sparks into production-ready solutions. In Part 3, Ashley Francis explores the pressures shaping the field today, from compressed timelines and evolving skill demands to visibility challenges and the rise of AI.
VERSUS didn’t buy a bigger office. They bought a burner phone. Twelve years later, the Manhattan studio that faked its way through its first client call has sold shows to Paramount Plus, launched a comic book at Comic-Con, and just released a 400-page book that deliberately avoids talking about themselves.
This is the first Studio Stories written entirely from an in-person visit, a thesis about what happens when a creative company decides that the people matter as much as the pixels.
Concept Art doesn’t just decorate a production, it engineers it. In Part 2 of Keeping Visual Storytelling Alive, we move from history into the work itself, showing how concept artists turn research, references, and relentless experimentation into clear visual guides that teams can actually build from.
Through insights from Léa Pinto, David Palumbo, and Eduardo Peña, the piece highlights what makes Concept Art indispensable.
George R.R. Martin is stepping away from the Iron Throne to champion the ‘weird-ass’ imagination of his late friend, Howard Waldrop.
Through a series of short films, including the dodo-bird mystery The Ugly Chickens, the indigenous post-apocalyptic Mary Margaret Road-Grader, and the Martian-invasion western Night of the Cooters, Martin is translating Waldrop’s idiosyncratic prose into a visual language that refuses to compromise.
“So what exactly do you do?”
Concept Art is often difficult to explain, yet it sits at the very foundation of visual storytelling. It is the first visual translation of an idea, shaping worlds, characters, and tone long before a final product exists.
Often unseen and under-acknowledged, Concept Artists quietly define the visual language of film, animation, and games. This article explores why Concept Art matters and why it remains essential to the stories we love.
A leader of the heart: Are you one of them? #4 is a series of compact, heart-charged articles where executive coach Marie Reig Florensa – together with Carlos El Asmar – explore what it means to “lead from the heart.”
