After 25 years, OFFF Barcelona director Pep Salazar has one answer for why thousands of creatives keep boarding planes to Barcelona every April: “OFFF is a peaceful place to meet. And we need these places, especially now.” In this exclusive conversation, Salazar opens up about the festival’s evolution, the metaverse experiment he’d rather forget, why Motion Design is the full rock band, and what must never be lost when he’s no longer in the room.
Curiosity, passion, and the drive to connect: these are the qualities that give Concept Art its lasting power. In the final installment of Keeping Visual Storytelling Alive, featured artists Eduardo Peña, Léa Pinto, and David Palumbo reflect on what fuels their work and why, no matter how the industry evolves, art made with intention will always have a place in the stories we tell.
Twenty years in, Motionographer is getting a refresh – not just a redesign, but a rethinking. Dark mode, jobs on the homepage, a new Events page, and something big coming in May. Here’s what’s already live.
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.
