Today we’d like to introduce you to Christian Alvarez.
Hi Christian, we’d love for you to start by introducing yourself.
Oh gosh, I mean, I just did another interview a few weeks ago where I went over how I got to where I am, so I guess I’ll do part 2 and talk about the journey I’ve been on in animation. So, I got my first “gig” at Disney TV as an intern on the Big Hero 6 TV show, and I had my heart set on being a Character Designer, but the show had just started, and they were still hiring artists, so I spent a lot of time with the Production team and they took me under their wing. I was very grateful to them cause they opened up so many more avenues that I had no idea about in animation. I learned about so many jobs, and I think it was extremely important that I learned the Animation Production pipeline. Not just as a production person but as an artist. It really made me appreciate everything that production does on a day-to-day basis. AND, it opened up a deep love for production and how important and vital it is to everything.
So, I was there for about three months until they didn’t have a position for me to stay at Disney TV, so I rolled off and did some freelance for a while for a movie called “Beast of Burden.” Designed some characters, and did some turnarounds, it was a fun time, but I did that for another three months. And, finally I was able to go back to a studio, and that place was Cartoon Network. I joined the workforce as a Production Assistant on Mighty Magiswords, and briefly on Apple and Onion. I was technically PA of the “Flash Unit” there so it was fun to see a show in post-production and pre-production at the same time. But, after three years that job ended as well, and I moved over to a PA gig on the Ugly Dolls Movie at Reel FX; this job didn’t last very long, I wanna say about six months. But it was interesting to work with such a remote studio since the main hub was in Texas and all of the animation was being done in Montreal. So my job was overseeing the artists in this tiny loft in the Viacom building off Sunset, and communicating with the rest of the production over chats. BUT, this is when one of the funniest freelance gigs came in, after work and during lunch I’d do Character Cleanup and Character Designs for Wacky Races. And let me tell you, those designs were so cool! I had a lot of creative freedom. The showrunner loved everything I did, and the crew was incredible. It was honestly one of those shows that you beg goes on forever. But, sadly it got canceled after a merger with, I believe, AT&T? After those gigs, I moved over to Stoopid Buddy Stoodios as a PA again, and I loved working on Robot Chicken. Stop motion is so freaking cool, seeing all of the tangible puppets, the stages, running around with a walkie-talkie. I was always on my feet and I was in incredible shape! Hah!
But, honestly if I could work in stop motion again I would die! I was there for about a year, and during this time another amazing Character freelance gig came up and it was for the We Bare Bears movie, and again, such a fun job to work on. That world is such a charming sandbox to play in, and I’m so grateful I had a chance to be a part of it. I would love to get my hands on the We Bare Bears world again, cause it was such an incredible opportunity! But as with all things in this industry, all things go on hiatus or get canceled, or just finish. So I moved again, and this time I went to Bento Box as a Production Coordinator. I was there for about two years. Then, the pandemic hit and that was a change of pace. I believe a few months after we were all told to work from home, I saw a friend was looking for a Production Coordinator on a Spongebob show. So I immediately reached out, and the rest is history. I’ve been in Kamp Koral for about three years now and it’s been a wild ride. I’ve had an incredible time and I’m excited to see where else I end up. I have been lucky enough to work on such an assortment of animated projects, that all have their highs and lows. I’ve learned so much in the last seven years! I’m so grateful to have been employed for as long as I have. But here’s to the future!
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Oh boy, I feel like I have been lucky enough to have a pretty smooth road. Smoother than others, that’s for sure. But I think that’s only because I take the initiative when shows are ending. I tend to start looking for jobs within the last month or 2 and don’t really wait until my end date and I think that’s what’s helped me out the most to be consistently employed. I do feel bad leaving a month before the show is over but I feel like by that point, there isn’t much to do except ingesting animation shipments and reviewing them. I will say there was definitely a month or two at the beginning when I didn’t know if I’d make rent, or have money for food. It was just after Disney, I had that freelance gig but it was scary wondering what would happen after those three months. And then, after Cartoon Network, I was out of a job for about a month and a half, and being a PA I wasn’t getting paid a lot so I really had to be frugal with my money. But besides that… not really? I mean if we’re talking design gigs, then yes, I have tested for multiple shows. I’ve had my heart set on certain projects, expressed interest, and tried to talk to the right people just to not get the position. But, I don’t take it personally and I just keep trucking on, trying to get better, and learn from those experiences. I’m very grateful I’ve worked on what I have and I hope that in the future I can jump onto a show as a full-time or heck even a freelance character designer or even as a Production Coordinator. I love production, and I have such a deep appreciation for it!
Thanks – so what else should our readers know about your work and what you’re currently focused on?
So, I’m a Production Coordinator as well as a Character Designer in animation. Honestly, I don’t know what I specialize in. I guess that would be I’m not afraid of changing up styles. But my friends would tell you otherwise. I’ve been told I have a style when I draw, but I honestly don’t see it. I try to pride myself that I can adapt to most styles if given the chance. But, I think that’s a given on most shows, you must fit within the parameters set by the show. But, for my own personal work, I like experimenting. I just like to have fun with my drawings and don’t want to necessarily follow any trends or anything but just try new things.
Are there any books, apps, podcasts or blogs that help you do your best?
Oh gosh, I use Instagram on a daily, almost hourly, basis hah it’s bad, it’s really really bad. I should put more limits on it, but I’m addicted to the thing. I’m always looking at artists on there and of course, I have my go-to artists that I look up to and constantly reference their work: Chris Sasaki, Willie Real, Jesse Aclin, Justin Rodrigues, Jeff Turley, Nikolas Ilic, the list goes on and on. But! I’m always on the lookout for new artists and when I’m scrolling I’m always saving things to reference later.
Contact Info:
- Website: https://linktr.ee/Christianalvarezart
- Instagram: https://www.instagram.com/ghostlyre/
- Twitter: https://twitter.com/ghostlyre
