Ep.165: How two brothers from a small town built illustration studio (Brosmind)

By Iva Mikles •  Updated: Jul 30, 2018 •  Interviews

Hey, guys! In this episode, I am chatting with Migarro Brothers, founders of Brosmind illustration studio. They worked with clients such as Nike, Microsoft, and their illustrations have been awarded international awards like Cannes Lions, Clio, Eurobest.

Get in touch with Alejandro and Juan

Key Takeaways

“Always continue producing and improving! Don’t stop, even when you get paid a lot, because people may forget you!”

Resources mentioned

💡 Please note: We are supported by our readers. When you purchase through links on our site, we may earn a commission at no extra cost to you. Thank you! For more info, please read our disclosure.

Special thanks to Alejandro and Juan for joining me today. See you next time!

All artworks by Brosmind, used with permission

Episode Transcript

Announcer  

Creative, artistic, happy! That’s you. There are endless possibilities for living a creative life. So let’s inspire each other. Art Side of Life interviews with Iva.

Iva Mikles  

Hello everyone, Iva here and welcome to the next episode of Art Side of Life where I chat with inspiring artists and create variety or related videos. Before we introduce our guest and go to the interview, let’s thank our sponsors. If you’re looking for a top quality print shop and online store to sell your art prints then you should definitely check out imprint has been helping artists print and sell gallery quality prints of their work all over the world for over a decade. Go to artsideoflife.com/imprint and use promo code artside to get 10% discount. Have you heard of arts next art exists subscription box of unique high quality art supplies. Every month you discover new art products, limited edition tools exculsive supplies and useful techniques. Go to artsideoflife.com/art snakes and use promo code artside10 to get 10% discount. If you are a digital artist, you will love our stupid app which turns your iPad Pro into a virus graphics tablet for your Mac. So you can use all the programs like Photoshop right on your iPad, go to artsideoflife.com/astropad and use promo code artside to get 10% discount. And now let’s go back to the interview. My guest today is Alejandro and Juan Gatto also known online as bros mind, and in this episode, we will also talk about how they move from a small town to build their illustration studio and learn by doing Alejandro and Juan are brothers and illustrators who in 2006 founded the studio called bros mind in Barcelona. Their style is fresh, optimistic and always combines fantasy and humor. They work with clients such as Nike, Microsoft, Gillette, Honda, Volkswagen, and their illustrations have been awarded international awards like can lions, Cleo, Europace, and many others. Their body of work is enriched with their many personal projects, ranging from toys to animations, videos, and fun projects. And now please welcome Alejandro and Juan. And let’s go to the interview. So welcome everyone to the next episode of Art Side of Life. And I’m super happy to have

Alejandro Mingarro  

Hello, there,

Iva Mikles  

oh, I’m so happy that you joined us here. And let’s start with your background that we usually like start maybe how you go to art and maybe what were your kind of design, you know, outlines when you were a child like drawing? Or were you guys drawing on the walls or running of the meadows?

Juan Mingarro  

Yeah, and not exactly right, that but we’ve been creative duo signs for kids. So we were all the creating things together, like comics, or customizing or toys or creating bicycles for them. And also making movies with our home camera, or parents camera. So yeah, we were all day doing that.

Alejandro Mingarro  

Everything was a time that there was no Internet, or we don’t even have access to that stuff that is nowadays, you know, so you kind of have to build your own time. And I mean, this is something that we’re talking about a lot lately, you know, when you go to the TV now you can actually choose what you want to see, you know, back then you only have cartoons on TV for a specific time. And you know, so you have a lot of time for yourself. And I mean, we were there at home, we are from a really small town here. So we didn’t really have much to do than playing around. So this kind of environment made us create things.

Juan Mingarro  

Yeah. And also develop our creativity. As we were from that really small town. We couldn’t go to toy stores or comic stores too often. Or so we had to create our own stuff, our own entertaining stuff,

Alejandro Mingarro  

right? Yeah. What we have on the world was where was basically all that stuff, you know, comics, VHS from back then like around drawings and things like that. Yeah.

Iva Mikles  

Do you still have some toys from the childhood now in the office? Like?

Alejandro Mingarro  

Absolutely, yeah, yeah. Yeah, we have our favorite toys back from back then, you know, we actually did an exhibition from our last Where do you in 11 years this year? So we did a retrospective exhibition last year, compiling all the 10 years, and it was nice because we went back to our childhood and we collect and pick all this stuff. We kind of were really important for us. We kind of find out or our favorite toys and stuff. That’s all we were actually doing them those as well, you know, it was really, really interesting process.

Iva Mikles  

So what do you think what influenced you the most like artistically from either the cartoons or toys?

Alejandro Mingarro  

I think what’s kind of a mix of everything? Because back then, I mean, you have comic and probably that probably there was like, an action figure based on that Tommy. And there was probably a TV series based on that. So everything was working together.

Juan Mingarro  

And I must say, I don’t know if we say that we are talking about the late 80s and the beginning of the 90s. And it’s much of the popular culture from the 80s that all those TV shows from Filmation all those action figures now.

Alejandro Mingarro  

Yes, racecars? I mean, Ninja Turtles, you know, it was kind of the beginning in the early 90s. So what’s a big movement? You know, it was an amazing era. I mean, we always say that it was great. We’re not really sorry. If nowadays, kids feel that the same, but back then was really impressed for it was Mason fries, you know, you went to a toy store, you were buying an action figure, that action field was having this beautiful packaging, you know, with all those graphics, and there was a story behind that, you know, like, it was not only a character was something else, you know, what’s in the story and everything. And everything was really connected, and everything was kind of new, you know, you went to watch a movie to the theater, you know, to the movies, and you probably weren’t going to watch the same movie in two years, three years, maybe because you didn’t have access, probably you didn’t go back to the movies or until you get like the, the whole nursery was. I mean, it took like three years until you were able to read that, you know, so you watch movie and you have the poster as crazy inspiration. You know, even if the movie wasn’t that great. You create all this, that those things in your head, you know, so you can have high school like, men, you only possible you know, the thing that like the things that those will be left on your brain, were only the best one. So you weren’t like reading?

Iva Mikles  

The imagination kept going from there, then a combination of other stuff. Yeah,

Alejandro Mingarro  

yeah, that’s why we were creating like comics and stuff trying to continue the series.

Iva Mikles  

So which are kind of the biggest turning points which led you to starting the own studio? And like, choosing what to study? And how did you guys get together to work together?

Juan Mingarro  

Yeah, because, you know, we always were creative. We knew that and your parents knew that. But nobody in the family even know, even as a thought that could be a way of earning money. You know, we never thought we could live from that. So I was the older one. So I study pharmacy, because our parents are pharmacists. I felt it was the logical thing to do at that time. And okay, let’s do this. And I can have this work. And when I became older, and creativity is kind of a hobby for us. And that’s it. But we were really lucky because in the college, our teacher told Alejandra about the design career. Yeah, that’s weird, because at that time, we didn’t have that much information as now. So there was no internet or so we didn’t knew it was a design career. For example, we only knew like

Alejandro Mingarro  

archaic architecture or fee free arts, you know, every creative people were like, wondering, though, but I mean, the other stuff was like, too weird, you know, what’s not secure future. So we were really lucky that that teacher told me like, you know, there is this new school, blah, blah, blah, like to draw a picture. So I went again, to Barcelona, where my brother was already. And I came to study graphic design, but it was a weird feeling. Because it’s an expensive school, it’s a private school, so you got to pay a lot of money. We weren’t sure about it. And I was like, What the hell, we’re gonna waste a whole year of my life, you know, but then we realized that it was completely different, you know, you came to Barcelona, it’s kind of a makeup design, or it used to be at least in Europe, you know, and 1000s of studios, you realize that it’s like business there, you know, this, like, like people living from that. So then we kind of like chip or heads, you know, like men, we can actually live from creativity, you know, it’s not just a hobby, it’s something that you can do for a living for as a professional. So I started studying graphic design, and the first year is like, come on, you can choose like me doing product interior graphic, and I ended up doing product design, because we kind of have this fascination about creating objects, objects as well. So whether it was a study that he saw that and he was like, Man, I want to do that, you know, it goes saner mother or mother select, although, you know, only two years so what year to finish pharmacy just finished that.

Juan Mingarro  

Yeah. Because Yeah. Everybody realized that that was the good way to go Alexander the design career but at the same time, he was very risky. He was kind of an experiment in our family. But really soon we realized that he was good at it and he was the good way to go. But just in case I finished pharmacy, and I’m a pharmacist actually, like A newer, I only work in a pharmacy for six months. Then after that I study also design career and I became a graphic designer after that,

Alejandro Mingarro  

Instagram selling my products, and it was pharmacist. And it’s funny because until last year, two years ago, or parents, they own their own pharmacy, so they didn’t go retire it. They got retired two years ago. So until that day, we kind of have like this be planned, you know, just in case. And it’s funny, because we were already like, I mean, we were already doing, we’ve been doing a lien from illustration for a lot of years. But we were still having this thing on the head, you know, because we’re, I think so fashionable, you know, that we still think that these businesses still kind of irregular, you know, so we’ve been living for free flying by ourselves for a year with no plan, you

Juan Mingarro  

know, going back to your question. And finally, after we study design career, one of our dreams was to create something together. And in 2006, we created Bergman studio, and we did everything, what’s our really multidisciplinary studio, because we were trying to live from that. So we say yes to every kind of project, who arrived to us with a Graphic Design Pro, besides interior design, websites, anything. And I think we weren’t that good at doing so many different things. But um, from time to time, we did illustration projects, because the people knew that we liked to draw. And I think that was we really did better. And we were really lucky because during our first year, one four of those small illustration projects, and got an hour a really important one in Cannes, so a lot of people and adjutants, from Spain, and from a lot of different parts in the world, starting to call us asking for illustration. And that’s when we decided to specialize in that and only do illustration frolicking.

Alejandro Mingarro  

But again, you know, even if we wanted to do illustration, because it was kind of our hobby, I mean, we never thought about it as a business because we were studying other stuff, you know, so it’s so like, everything is kind of repeating over and over and over again in our life, those kinds of funny facts.

Iva Mikles  

So what was your first job as a studio? Was it like a website, as you mentioned? Or how did you find this client? And maybe what was the first illustration job?

Alejandro Mingarro  

Now we’ve been always like, really slow and secure people in terms of looping doing everything step by step? You know, I don’t know, we’re always I always joke in that maybe it’s because we’re from a really small country. A really small town, you know, so women always like, step by step. So yeah, I got a scholarship, right? When When I finished my career, so I went outside and was doing some money there, my brother went into an advertising agency. So we didn’t start working together until we cannot have some money back there, you know, so we started working in his house and everything. So everything was like, really, like, all the clients that came to us was because they knew us, or because they kind of knew what we were doing in our spare time, you know, or they knew that we were able to draw on the like, they were just calling us, because hey, I know, you can draw.

Iva Mikles  

Like, you’re freelance, before some of your clients and some of your advertising agency clients. So yeah, as I mentioned, your work.

Alejandro Mingarro  

So we didn’t jump into the pool straightaway, you know, we were like having some background safety, you know, there. We didn’t like that. Because, I mean, we were happy because we were doing some money. And we were kind of starting our own private, but at the same time, we were doing like pure “beep”. You know, it was everything was horrible. But we were the you know, we were enthusiastic about the idea, you know, and every time they call us to do an illustration that was kind of more interesting, for us probably was something that was really bad day, and they were calling us because we weren’t Joan and T but whatever, you know, but we were really high. They’re motivated. So we were doing a lot of stuff for magazines, advertising companies, but you know, really like, how to, like, starter level, you know, like, we were like, and then at the same time, we were like maybe designing a stand for a company for a fire, you know, it was kind of well, why the hell are they calling us to do that? What’s really weird, you know, it’s kind of there was a moment also that there was like, so much of you know, everything was before the crisis, you know, so there was jobs everywhere, not in personnel was created, you were able to live life with no kind of experience, you know, we just have to show up then some positive or like, secure attitude, you know, and if you arrived from time to decline, they will always call you back. I was really interested moment, you know, but we weren’t happy because we were doing kind of “beep”, you know, yes. So that’s

Iva Mikles  

the first illustration job as you might

Juan Mingarro  

think it was for some magazines here in Barcelona and a teacher I had at school. Design School, yes colors because he knew we could route it was a A small illustration for a magazine from Madison Madison,

Alejandro Mingarro  

actually, and that was the first one and the proper first one for an advertising company it was we worked really in a poster, for us a specific season of the, of the model, it was like for a big motion for Remo and we did a poster like they wanted to. If you bought like 100 Euro, some products, they will bind to give you this little gift, you know, so we did the promotional poster for that.

Iva Mikles  

If you if you think about if someone is just starting out, you know, and they would like to do also illustration or maybe start a studio? How would you advise to do the networking maybe for them like either conventions? Or do like oh, people?

Alejandro Mingarro  

Yeah, man, and then nowadays is really excellent. Sometimes we write that to people who wants to join us at our on our team, while we’re still in that. Some of them, they may have already like a really strong style. So while we’re still in like, I mean, just consider yourself as an artist, maybe do one, like a part time job to get some extra money, but as yourself to as an artist, there’s not all the social medias that you have nowadays, you know, I don’t really think that it’s necessary to bring your portfolio to all the agencies nowadays, you know, you just gotta put your work there, and Instagram or Facebook, all those socials, you know, maybe just send links to those agencies, you know, but I don’t think it’s not enough. It’s not necessary anymore to bring your portfolio there like, agency. But yes, because nowadays, so many people work in the advertising companies, you know, you can talk to the lower to the person in the lower level, and he’s going to talk to the head boss, if he knows you. So everything’s really connected face to social media, you know,

Juan Mingarro  

it’s really different. Yeah, yeah, we used to send those newsletters and to send emails, hey, we have a new studio. It never work. Nobody ever answers. So it was in the opposite way. Now somebody needs that kind of work. And I don’t know how they, they find find that idea. Now, probably that

Alejandro Mingarro  

working well with like, says I like I mean, try to get money, however you can, but try to at the same time, build your own style, create your own personal pride, you know, make you as a brand, you know, try to create an image, the try to teach them what they will actually afford, you know, that you don’t want them to call you to do stuff that you don’t like. So try to create your own portfolio as good as you can, and then try to use all those new platforms that are and someone’s gonna call you. I mean, do you have to think like, in a global way, you know, you don’t have to think any more in you know, in your town level, you know, you’re not even in your country, you have to think global, you know, things, do things in English, put things in other languages. You know, I think that’s, that’s the thing that you have to do. You know, there are like so many people in the same. So try to be different trying to create your own stuff, and using those platforms. And of course, I mean, if you get the chance to go to the agency next door, let’s go there. You know, you don’t have to change careers because

Juan Mingarro  

at that time, the most difficult thing was to rate a lot of people but that’s changed. That is really easy right now but and bad right now. The problem is you have a lot of competitors.

Iva Mikles  

Like overcrowding

Juan Mingarro  

Yeah, everything must be essential in some way.

Alejandro Mingarro  

Yeah. To be to be loyal to yourself. And I’m trying to I don’t know. It’s it’s hard. But yeah, social media nowadays. I mean, that’s the key, you know.

Iva Mikles  

Before we continue, let’s thank our sponsors again. If you’re looking for a top quality, friendship and online store to sell your art prints, then you should definitely check out in print in print has been helping artists print and sell gallery quality prints of their work all over the world for over a decade, created by artists for artists in print ensures that you as an artist get your artworks printed in a highest quality and you earn the highest percentage compared to the others in the industry. The online gallery@imprint.com is curated by the members, resulting in a beautiful and unique collection of work. So for their favorite artists, discover new ones and start selling through your own gallery today. What is more as an Art Side of Life listener, you will get a special 10% discount with the promo code artside so don’t wait visit artsideoflife.com/imprint and use promo code artside. If you love discovering and trying out new art tools, you should check out art snugs when you subscribe, you will get the box of high quality art supplies every month. I have already discovered so many amazing new products, limited edition tools and exclusive supplies only available to subscribers. I’d say it’s definitely helped me to get more creative and try different art techniques every month. There is also artistic challenge where you can share your artworks using only the tools in the monthly books. You also get to join the art sex mix community where you can talk with other artists like you inspire each other and improve together and because you are part of Art Side of Life community You will get a special 10% discount with the promo code artside then. So don’t wait visit artsideoflife.com/art legs and use a promo code artside. And if you’re a digital artist, you will love Astro pad. Astro pad is an app that turns your iPad Pro into professional viral is graphics tablet for your Mac, I use it to work with Photoshop and Illustrator to create highly rendered artworks for my clients directly on my iPad, I was super excited to discover AstroPad because the painting apps available on iPad don’t have all the functionality like Photoshop with Astro pad, I can use all my favorite and custom made Photoshop brushes, which is super cool. And because you’re part of Art Side of Life community, you will get an exclusive 10% discount on a stupid studio licenses. To get started, go to artsideoflife.com/astrid and enter the promo code artside. And now let’s go back to the interview. And what helped you to develop your skills the most you know something like your aha moment like oh, if I do this in my illustrations, then they are much better or they tell a better story or they’re stronger in design.

Juan Mingarro  

I think it’s really difficult to have these kinds of plans and strategies. And in our case, everything just happened. And things evolve because we realize that maybe doing that they work better and or we like that way or that direction more. So we try to put in theory, so

Alejandro Mingarro  

for the math

Juan Mingarro  

to make make that thing strong. And yeah, so we don’t have those strategical plans in our, in our company now.

Alejandro Mingarro  

more natural, and also, kind of naturally, when you don’t like something that the other one is doing to try to, you know, so I believe is gonna go like, it’s easier with two people by

Juan Mingarro  

now we have talking about the skills we have to learn on the way on the go. Because illustration was a hobby for us. So we were really surprised when a lot of advertising companies were asking for that. So we’re technique was really cheap at the beginning. And we did things very bad. And we were learning how to use better papers or better in tools are on. So we’re learning on the goal. So the technique was getting better during this years, but the ideas were there from the beginning, I think that’s why they still work helenus That’s,

Alejandro Mingarro  

I mean, you don’t have to be worried like, Man, I want to do that, you know, you don’t have to wait until the moment you have the proper tools, you just have to find a way to do with the things you have run, you know, so our beginnings were really rough in that in that thing sense, you know, we were like drawing the same paper we were we were inking and then the process of scanning neat and clean the line was like a painting. And it was like long process of those things, but you weren’t learning the process and the goal, you know, and you don’t really have time to at least I will separate that into action right now in commercial, they just have to keep going you know, and sometimes you don’t you’re dreaming the things that you can do because there are timings are crazy or there’s like Mr. Director, they’re like kind of annoying you and you can be that free as always, you know, but then you have personal price. So we always like encourage people mainly do your own personal price. And that’s going to be your display. Don’t show the brand one so your personal schedule.

Juan Mingarro  

Yeah, and the personal reports are a really good way to learn new techniques and experiment things

Alejandro Mingarro  

and because you have more time to try that and sometimes you learn really important things or interesting things and then you can use in your commercial work. Yes. The answer to your question will be personal projects because for example just remember the key thing Yeah, it’s hard to say what’s the point that changed the things but we have the sprint goal what’s inside and that was an experiment for us it took us like six years to make all the illustrations because we were really busy and blah blah but it’s really we really learned to define our color palette for example you know, we were able to do that or personal because there were no like brands behind making us put some specific colors you know and thanks to that we develop our own color palette and now most of the commercials they want a color palettes you know because you have like a strong style blah blah blah So yeah, probably personal braids is always the the answer I think

Iva Mikles  

Do you have like a specific skill kind of split among you guys like one is stronger with I don’t know the shaves and other one is with the I don’t know colors or do you have it kind of balanced and then you give each other feedback or

Alejandro Mingarro  

like with the buy the price price in three parts. You know, like the creative part is where we think about it, talk about it, and then we do a pencil and that pencil is drawn by the both of us. We can both run the same style. And then we do the ink, he does the ankle do the color. So you kind of have to split to make things faster, you know, of course, there are still some kind of things that he does better than me or I do better than him. So when you do the that original sketch, you know, you kind of pass the paper over and over. So you can draw on top of the other one stuff, you know, so you kind of complete the piece of art, you know, you kind of improve it and improve it every minute. But once we’re at the point that we both like the pencil, they find a lot of the creativity, just a matter of producing it, that’s the end, because he’s been always doing that I kind of solid, if solidifies the style, let’s say like, I don’t know,

Iva Mikles  

like, put it together? Well, let’s say

Alejandro Mingarro  

put it together, and I’ll do the color. It’s kind of like, you know, we kind of specialize in one thing, just to make things

Juan Mingarro  

faster. Yeah, but it’s just, we only split the task. In this one cat here.

Iva Mikles  

Walking in the background.

Juan Mingarro  

I’ve never seen this guy before.

Iva Mikles  

Five new animals in the studio.

Juan Mingarro  

So we only split the task, in mechanical stuff on a inking and coloring is kind of mechanical task. And the most important part is doing the pencil. And we do that together. Because the thing is that since we’re the Berkman style is something new, which appear from mixing or Premiere styles. And we can do both of us control that style perfectly. Because we learned at the same time they were

Alejandro Mingarro  

really together, you know, so you have to create something that we were both feeling comfortable. Maybe in that moment, we also were trying to think what was trendy at the time, or what the was the style was a lot of black and white. So we kind of straight away went to black and white. So maybe also that’s another theme to the previous question. So say we’re gonna have to create something in common. And it’s something that it’s been developing through the years. And obviously, the first illustration to the new ones. I mean, it’s kind of similar and said, of course, because the debut behinds from the same people, but the style has been improving from that.

Iva Mikles  

Yeah. And so how does your normal day look like, you know, like, do you split your day among like, business tasks and design tasks? Or how do you plan your week? Even?

Alejandro Mingarro  

Yeah, we try, we try really hard, because the, the worst thing about having your own studio is that you can’t put all the effort on creativity, you know, there’s a business, you have to run a business, you have to do all the paperwork or everything, even as well. I mean, we’re lucky because we have agents everywhere. And we will have the main agencies in the States. And then I have, we have another one in London. But even though that they are kind of running, let’s say the business or looking for clients, or dealing their budgets with the client, you still have to do a lot of stuff, you know, you have even like the basic expenses from your own studio, you know, or the salaries and stuff like that, you know, and that consumes a lot of time or talking to the audience or having a briefing with the client. That’s a lot of talking a lot of writing emails. And that’s the real bad thing about the business, you know. So we always dream about a formula like, Okay, let’s try to spend one hour a day, it didn’t work, let’s try to spend one day a week, it didn’t work, let’s try to pull only invoices once a month. I mean, it’s really hard, because it really depends on the clients on the floor, I will have another problem that we’re like, only two people in the studio, we kind of don’t want to hire anyone, because we kind of have our own thing together, you know. So what we are trying to do like really organized will be mathematically as much as we can like maybe like every invoice or all the emails, Skype thing is going to happen in this computer, or this credit, like dividing the space in different places, you know, we’d have like an area of the studio to do kind of final art. Another part where we do a pencil like here is where we work like kind of daily, where we will do all the pencils on back there. Which collector is where we do like all final action stuff, you know. And from where we’re talking these computers like the the where the

Juan Mingarro  

paper water or coffee chats

Alejandro Mingarro  

for email is here. So we have to stand up to come here. So we tried to come here, once they

Juan Mingarro  

were busy, they will have an excuse to that, you know, that’s a daily fight between the paperwork and organization and creativity or the work in creativity. And there is another fight in a secondary level, which is a fight between the time we dedicate to the commercial stuff and the personal stuff, because we’re always really from the commercial stuff. And that’s our main income. So we do the personal threads in our spare time, which is not a lot is our despite how we could organize this better, we should dedicate one day a week only to personal bread. But that’s really hard because we always have some delay in some deadline. So we at the end, we use that day also for commercial. Or maybe we should use only one hour, every day, which is you do a little personal work every day. So I don’t know, we are still trying to find a better formula

Alejandro Mingarro  

to like a Daily Drama, you know, you always have this, you feel that every time you go getting older, you’re gonna have to try to say, okay, stuck here. But it never really stopped. You know, you always dream about having like, a year doing your own stuff, but then you have to pay mortgage, whatever is just in case, let’s keep the commercial Elizabeth, you know, yeah. So yeah, I was like, trapped there, you know, that’s,

Juan Mingarro  

we also play a lottery to try to became Super Millionaire. So

Alejandro Mingarro  

nothing, like maximum prize was like 10 euros, I think, a couple of years ago with

Iva Mikles  

new lottery tickets.

Juan Mingarro  

Now we can trick them.

Alejandro Mingarro  

We’ll make like a business doing lottery ticket.

Juan Mingarro  

We have different strategies

Alejandro Mingarro  

that you keep thinking about it, you know, like, you feel frustrated about that, you know, it’s like, man, we will be able, we will be doing all the time, free stuff, you know, like, personal price, but because that is what people likes to see, you know, but then you like them? Because they’re really money? When

Iva Mikles  

do you sell also brains from your personal project? Or do you kind of monetize your personal project as

Alejandro Mingarro  

we try it is also a painting. Because then you want to start selling posters. It’s a good business, because you sell the move, you move the money, but at the same time, it’s not worth it. Because you have to bag the poster, you have to hire someone, or you have to package yourself to the post office. And imagine here, it’s like, it doesn’t really work. Well, I don’t know if your country but here is as you go to the post office, you have to stay there for an hour. And we just didn’t have one, but then we just stop it, you know, and then we do like kind of pride for companies that they give you royalties, but it’s again, you know, it’s kind of, it’s great, because you’re there, you’re in a different format. But it’s not, at least, we didn’t read the level that we can live

Juan Mingarro  

from, right. Yeah, I think style, yeah, we don’t sell our prints in a massive way. So we can live from that. So it’s just a way to be in contact with your fans or your followers. So really nice to do that. But you know, it’s just a small part of,

Alejandro Mingarro  

and it’s another drama thing, you know, we always seemed like we were planning now to create a new shop online with more exclusive products, more exclusive products, more interesting, you know, stuff. But again, you know, you have to invest a lot of time on that, you know, you have to close the business for a month and do it properly, you know, but then you don’t have the time, but you want to make a book, and then you make a run of the book. But then in order to get a lot of benefits from that you have to make it huge swan. It’s crazy. It’s like,

Iva Mikles  

and when you were mentioning the client work, usually you work on what type of project if someone doesn’t know, like, what is the usual baby type of project. Or it’s a big variety,

Alejandro Mingarro  

or type of variety. I mean, once in a while wishes that we never work for the same plans, it’s really rarely that will work from the same for the same people or the same company, or if it’s the same brand is the different team from a different country. That just really depends returns. I mean, we work with advertising.

Juan Mingarro  

But that’s because I think these how advertising works. A client just creates a campaign and worse with this illustrator. And next year, he wants to do something new, because the market needs needs new collaborations always changing. So yeah, it’s really weird. We don’t have this final 3d illustration with the clients to say, we have

Alejandro Mingarro  

a close relationship with friends. And third, like we’re gonna have a larger relationship is really weird. It’s hard. I mean, there are some cases, some scenarios that you really have, like a maximum, they keep calling you, but like, like, not may or brands or things, you know, usually like change. And so our plans are really like, really weird spectrum of priority. You know, it’s usually because someone knows you, they want to say to the client, the client feels interesting. So it’s really it’s a strange, you know, because we feel that maybe our spectrum of our status would not like it does, it doesn’t have a huge range. You know, it doesn’t go from three year old to 18 year old people, but is there on the middle of the night. So it’s interesting, I

Juan Mingarro  

have I have worked very different range of companies, from sports to mobile companies or video games technology, closing company. So I don’t know

Alejandro Mingarro  

you can really define like what we’re going to be doing next. You know, you always dream about working maybe for Tai Chi corporation or for a video game corporation by General. I mean, they’re the ones coming up So

Juan Mingarro  

for cars company, different

Alejandro Mingarro  

prey that we train just released last week in Barcelona, we work for the Mobile World Congress, you know that this big event for mobiles, Baba, and they call it they came to us and say we want to create we want to create or we need to create those characters based on those things, blah, blah blah. And those are the clients that kind of wear out, do you never feel that you’re gonna be working with them because maybe your style is not that futuristic or not that all of them are logical, you can make with an outline and everything you know, so you never feel that these types of big clients are going to show up, you know, unfortunately, these people are really open to keep this relationship in the long term, you know, we created those characters, they’re gonna use them here in Barcelona, and they might use them in the future. So it’s really interesting, you know, to see some things that you feel that you are like, kind of not all fashionable, but you feel that you’re still like really primitive, silent, and still thinking, blah, blah, blah. And it’s really interesting to do. I mean, it’s this freedom that is now in the market, you know, you don’t have to stay close to the one

Iva Mikles  

type. How do you how do you do your networking? Now, when you also mentioned, you know, like, some people like, contact you? Or do you go for different events in Barcelona or everything is through your website? Or how does it work for you?

Juan Mingarro  

Yeah, we have two main ways of showing our work or finding clients is for agents, as I understand it will have different agents in different areas or countries, or main agent is in New York, and because we were mainly for the states. And we also have a big one in London, other barriers, we are working right now in Taiwan. So we’re trying with to move forward with like that. And that really is really helped helpful for us having an agent because he can take care of the budgets and dealing with the clients and we can focus on creativity, and you earn a lot of time.

Alejandro Mingarro  

Because they are like concentrate on advertising. You know, they they know the people they have portfolios from all the artists they represent and they just go around and then sometimes the bill knocks in the door you know, or something they just someone see the portfolio that their agency and they just remember that they know you so I saw them on Instagram, so I’m gonna Oh, cool. Lacey was first time in a print person, you know. So that’s, yeah, it’s mainly focused on advertising.

Juan Mingarro  

And the second the second channel we use is social networks, which will take care of them personally. Mainly my brother he does they always made Lacey was that but he does really well. And yeah, we use Instagram, Facebook and Twitter.

Alejandro Mingarro  

We always forget about this platform is really

Juan Mingarro  

good. I can say if we have a lot of works from that, I think the social network mainly is a way of having this contact with your followers and with people maybe they knew know you and then they talk to other people working in agency but I don’t know if how

Alejandro Mingarro  

it works. I think it’s a combination. And because we didn’t also do a lot of talks in the past so we’re also going to place into a talk there is no straight business there. You know, there’s someone in the audience in the crowd is not gonna saw you with the greatest pride that their life but they remember you and them when they are working in an advertising agency, they remember that they saw you in this place. And then you’re going to your Instagram says Kathleen’s connected,

Iva Mikles  

and they also see that you are active, and then you are always posting something so you’re not like they don’t

Alejandro Mingarro  

Yeah, people know what that is really like to see. I mean, what we weren’t able to see back then when we were students, you know, you can see how is a studio, I mean, they see some people still think that Brosman is a big team of 10 people but then you go to a store and you realize he has like two people you know, or they see how you work your space that you have a cat another good thing is really helps you to connect with people, you know, but everybody in the same level, you know, they were just people doing their own stuff and

Juan Mingarro  

yeah, but there’s one thing at this point of social networks that some clients who rate us right now they are looking a lot how many followers do we have home? How many people can you rate from your social networks? And during the last years, we are having more and more proposals of publishing things in our social network. It’s a brand new we are in this action. Could you do this little post there and put in Italian or company and we can pay you for that or? And if you have many many followers, some companies will reach you yes just for that because you’re interesting person from them for Um, from the,

Alejandro Mingarro  

like, the two sides, you know, I mean, we’re still don’t have that many followers, but do you still feel the need, you know, some people saw about the guy with the spray, there’s not gray, and they started asking you to showcase that on their Instagram account. And it’s kind of, like kind of strange reasons basically to I mean, if you’re gonna be there, I mean, definitely, for example, the case of Mobile World Congress, they came through us through the, because the agency behind that they knew or through Instagram, or all those media, they have a product from us. And thanks to Instagram, you know, it’s like, Man, I see what you do. I love it, we’re going to be personalized, and we just meet you guys. And you never expect to have one of those big companies, so many things to that, you know, but of course, there are like people working there, you know, like the people running those business, even though there are like a team of 500 people, one of them is going to be there like walking around. It’s like normal people like guys, you know? Yeah. So I mean, it’s a great tool, of course, like, the data is there, you know, social media specs, it’s a great tool to be around.

Iva Mikles  

And so and when you mentioned with the like, a Barcelona being like, design area, is it still the case? Or do you have other ideas, you know, for the European, or even in the US? Because a lot of people like having discussions like, oh, where should I move? Or what is the cool design place?

Juan Mingarro  

Yeah, the thing that we have the feeling that it doesn’t matter where you live, for your work, because right now you can be connected? Everywhere. That’s

Iva Mikles  

true. So you have to decide.

Juan Mingarro  

So my answer is that you have, you must live in your favorite city, the city you like the most, without thinking in your work. But especially if you have this kind of work like ours, we only need a laptop and and scanner on some papers to grow. So we could live everywhere. It’s true that we when we traveled to some other cities in Europe, or in the state, where we say, oh, man, the city is beautiful, we should move here and live here for one year. But when we come back to Barcelona, we realize that we’ll have the city because it has a perfect size is beautiful, nice weather, and nice people. So we’re really happy being here. In

Alejandro Mingarro  

terms of design, I mean, nowadays, I think that’s the only matter, you know, back then I think Barcelona was really strong. And I’m sure that thanks to Barcelona, and that’s coming up here. And so in all these studios, all these people that were back then they were like, I mean, it’s talking about talking about 10 years ago, a lot of exhibitions, they were like a Design Week, every year, despite the year of design every four years, there was a lot of I believe they were promoting a lot of design, you know, it was like, as I said, like the Mecca, at least in Spain, and I’m sure that the Euro was really representative, you know, of course, we have like a Holland. Those countries is like probably another makeup designer, when it comes to Well, I have Dutch people I was super famous here and stuff like that, you know, but I think nowadays, there is like a designer stain or a creative person almost in all the places. Now, if you go to this marketplace, it’s going to be like a design school, you know. So I think nowadays you don’t really have, or at least as we don’t have that niche of becoming a part of as a designer theme or creative partner, because kind of is everywhere. Now. It’s kind of a global thing, you know, so it doesn’t really matter. If it goes I mean, I’m sure if you can, if you came to Barcelona for the same thing, you will be getting disappointed, you know, I’m sure nowadays, because it’s not that great as it was to be 100 days, it doesn’t really matter. So it’s more about like finding the right people in this place. We have a lot of friends, designers credit people from so many different places, you know, when you go to that those places, I mean, some it’s about these people, you know, and thanks to that design operative is kind of a more global thing, you know, you can find really interesting people everywhere. So I mean, which is Barcelona, because we came here to study, it was only two and a half hours from our hometown. And we love it. I mean, it’s a small place. Nice place. I mean, we just stayed here. For this thing more about the place, we will love to rise. Okay, so we will,

Juan Mingarro  

yeah, because at the end, I think we sold this global thing, you have the same offer in all those big cities around the world, probably the same exhibition will travel to your city to Barcelona and to London to Paris. So the important thing is the creative people you meet, and maybe you have creative friends in different countries. Not all of them should be in the same series. That’s really difficult. That’s impossible. So yeah.

Iva Mikles  

And then you can travel around and meet and go for the

Alejandro Mingarro  

ride because he’s just there in the middle of nowhere, you know, kind of throw really silly to the whole Europe, you know, as far as a lot of people are coming up, even if they’re like a regular tree, they’re flying over to Barcelona, so it’s kind of a nice place to meet people. It’s an easy place.

Iva Mikles  

If you think about back to your life Every year and like, Is there something you wish you knew before you started their home studio? Something like advice you would give the young self?

Juan Mingarro  

Yeah, we were talking about that before. And with that, one of the things, it was more difficult for us during the years, it was to say no to some clients. Because we were scared, because if I say no, right now, I’m a beginner, maybe they don’t call me anymore, or this brand is really important. And they are as me asking me for something different from my style, but you know, they are really important. So it will be great for my portfolio. And during the years, you realize that you must believe in yourself, and don’t be afraid to say no to companies or products you don’t like, because at the end, that’s better for your career, okay. But it could be a difficult decision to make

Alejandro Mingarro  

was a really hard move for us, you know, and we were like, stuck into the illustration. So we still have a lot of pressure, even inside of streets. And nowadays, some people call you, I love your style by wanting to do something different. And you don’t really understand why they’re asking you to do that, instead calling the right people. And then you have to say no, and sometimes you feel bad, because you feel that you’re missing an opportunity. But then at the end, it’s like, man, it’s like a million other people, you know, they’re gonna call your mentor or someone they have to call to the right people. So it’s really hard, you know, because you feel you’re gonna get bank rot, or you’re gonna. So if you feel that you’re going against banker, or they’re gonna call you anymore, they’re gonna put you in the dark place, you know, in the black list, and you’re going to be done forever. But then you really realize, you know, well, we still teach students that we rarely work for the same people, you know, so people who are calling us, of course, if you talk to someone who’s Dieker, someone who wants to annoy you, he’s gonna change and work for someone else different. So that company is going to probably call you in the future. So you don’t have to be worried about it, you know? Like, do it right, do deliver on time, and you don’t do if you’re eager that says, if other people see you, I mean, you’re gonna be fine. I mean, don’t worry about saying no, you know, of course, something you say yes, yes, for the money, or just because you I mean, you have this has to be your own decision, you have your own choice, you know, I want to do this, even if it’s free, or even if they are gonna annoy me a lot, because I think I’m going to be able to reach that other level, because I want because I want not because other people are telling you. So at the beginning, you’re a little bit like they’re like men. Sometimes you do pass over a budget, at least the beginning, it happens a lot, you know, okay, we need that sketch for this campaign. Can they do it for free? Now, we usually charge this, okay, let’s do it. And then the next day, but can you make me three more, you know, for the same price, no matter, whatever, then you’re scared, you know, then you want to, you know, but you have to do it, because then the clients gonna see, I’m sure they’re gonna, you’re gonna create a relationship with the client, and it’s going to be better for you, it’s going to be great for you, blah, blah, blah. And at the beginning, you’re either like, Man, I don’t know. And then at the end, you realize the client doesn’t give you or they don’t care, or they don’t really know you, it’s more for them. So they have more options. This is something that you keep learning. So you have to learn to say no.

Iva Mikles  

Good. So that’s the biggest key takeaway is to say no, when he doesn’t fit the project, or just to develop?

Juan Mingarro  

Yes. Perfect. Good reason.

Alejandro Mingarro  

So when you get the video, we’re getting the video, let’s remove

Iva Mikles  

that thing. So would you consider these as the most difficult time when you were starting out? And kind of the biggest learning from the difficult time is to kind of to learn how to work with the different clients? Or was it a different story?

Alejandro Mingarro  

Yeah, I think I think that was an important thing, you know, and then you get more secure of yourself, and I’m gonna keep talking again, it’s really, really good. Because you’re scared. Yeah, and that was a really important thing, but you never miss that thing that you know, you’re always insecure about yourself, even if you’re really secure because you feel that you don’t need to call the clients are calling you or you have like, we are lucky because we kind of have we are able to choose when you have some offers and we are able to choose. So there is still always something there you know, that keeps you afraid or even insecure about your own stuff that you create, you know, every time you create something, you’re always insecure or probably this insecurity is the one that keeps you pushing up and creating other things, you know, but there is always an insecurity you know, and I some people say about your two people, you know, I’m sure that you can find the balance, but it’s even worse because there are three insecure people that

Iva Mikles  

are females

Alejandro Mingarro  

on the drama. Of course it gets in some other parts, but if not, man, and I believe that we’ll never be able to remove that insecurity unless we get there Aramean even Though you know where we stand on.

Iva Mikles  

But as you mentioned, it’s really good in the way that it always keeps you pushing to to learn more, because then if you don’t improve every day, then it’s not like stagnating. It just goes down at some point.

Alejandro Mingarro  

There’s a moment, you know, when you do a pride in the last face, you know, when you are almost like pressing the button to save the last tape, that you’re like, man, we did it, or how cool is that? Right? And then the moment that you save it, it’s already like, man, it’s horrible. You know? They just send it over and forget about it. So it’s kind of funny. It’s interesting.

Iva Mikles  

It’s always like a creative process when you’re like, Oh, it doesn’t look good. Oh, it looks sorry. Well, okay, looks okay. It looks awesome.

Juan Mingarro  

Yeah, another another good thing. Yes. Because you are getting better all the time. So if you see your work, and you don’t like it the previous work instead, I think that’s because you are better now. So we

Alejandro Mingarro  

tried to tell to ourselves,

Juan Mingarro  

our secret test. Our doctor said explainations yesterday.

Alejandro Mingarro  

Apart from see, you know, another good thing is like learning to, to know when to stop. For lunch, where you can swim at one lamp just for now, we’re fine. Apart from saying now, you got to learn to say to stop, you know, because sometimes you just keep rockin and rollin and rollin. There is a moment where you have to send the invoice, you know, you have to stop.

Iva Mikles  

So do you also restrict the time limit or timelines for your project? Like, okay, I work on this, like, for a few hours or for two days? Or how do you set your time limit?

Juan Mingarro  

The time limit is when the deadline is we always work until the last time and if not, probably we will be working for forever. And yeah, that is more important in personal periods, then then you must say and stop at some point. Okay, it’s not, I could be doing this more perfect. Until the DNS of time. But you know, you have to stop at some time and do a new, new prayer.

Alejandro Mingarro  

You got to do it. What is also actually sometimes it’s hard, you know, to make yourself do things outside the business moment, you know, come on, let’s start today, the personal approach, and then you gotta know when to stop it, you know, because when you start, it’s hard to put a limiter, you know, so we always think that it’s better to create so many different things, but just get a new one for years, you know?

Iva Mikles  

And so what about the future? You know, and what is your dream scenario in like, five to 10 years, maybe projects are, where you’re living or what is happening? Yeah.

Juan Mingarro  

So if we finally don’t win the lottery, and now we will, we will be great if we can dedicate more time to the personal projects. And also we are thinking in doing original paintings, because right now, we’re tired of doing those prints. Of some illustrations we had, where we want to jump into the adventure of doing big canvas. Original painted work. So yeah, we’re, we already have them there. We have the combat. That’s a starting point. So yes, that’s one for

Iva Mikles  

five years, or 10 years, we will have so many of them.

Alejandro Mingarro  

Yeah, well, John was frustrated because even if you know we have a predefined style, so people when they call us they kind of have a very open brief, you know, they can one or style our solution. So that’s good, we feel really comfortable with that, you know, we’re filling are not worried about that, but at the same time, you end up doing kind of not the same but their routine is kind of really similar daily, the Daily Mail you kind of missing the manual stuff, you know, that’s why we kind of create all those sculptures and stuff, you know, we want to see solid physical things, you know, it’s like not something that you send by email that may be printed in a newspaper and that then you know, that’s it, you know, a lot of the effort you put on that piece is only going to be seen by so many people, just very few people you know, so you always feel that building something or making like something that you can actually touch something kind of for our goals, you know, so we’ll have to guess getting paid for showing up in the studio and creates that.

Iva Mikles  

What is your favorite tool you work with is either Photoshop or Illustrator and from the traditional tools like is there something like a favorite one?

Alejandro Mingarro  

Yeah, absolutely.

Juan Mingarro  

Yes. We will first we work with pencils and eraser, like in the traditional way with paper, but the final part of the of the process is digital. So we use Photoshop is our favorite tool. We never vectorize or illustrations so they’re actually they’re even inked with Photoshop using the brass on the way come digital tablet, and we put the colors with Photoshop. So Photoshop is the main domain just

Alejandro Mingarro  

like in commercial. So the ink by cannula different paper. Yeah, let me tell you the income.

Juan Mingarro  

Yeah, my brother’s going to bring some of them. Okay. Look, this is from an exhibition we did last year, this. That’s why it’s frame. So here on the left, you have the original. Okay, yeah, original pencil. And then at the same size is the original ink work. Here we have two original artworks. And that’s because we did this one on a lightbox. So we put this paper and that paper on over it. And I did the ink with using pens and brushes, okay. But right now, especially if we were for advertising. And that process takes a lot of time and until I finish this, and then we scan it it. I need a lot of time to do this. And Alejandro can start putting the color off until I finish this. So it wasn’t really good for the organism, the studio. And right now we do this process digital. So with Photoshop. So we scan the pencil, and we do the inking with full Photoshop. That’s how we work.

Alejandro Mingarro  

Yes, sorry, it’s really big. totals. Yeah. So for pencils, whatever it is, this one is like a summer work that we were a little thing, put in your pocket. And then we put this little thing, we got the eraser, but this is faster. So for faster clicking, and then we’re removed a little thing. So because when to draw your turn a lot of times that the pencil you know, and it used to get a stack, you know, so we just follow it but then we just cut them out. So this is kind of the customization. We did our pencils, I was the same brand that with those little things. Then we usually use those erasers. classic one. And then we also have this one is really good for more precise with x. And then Frankin we use this one father tester older, there are like different sizes, and then for papers or regular paper. And then lately we just got this light box it says super thin. Scope O’Neill

Juan Mingarro  

are many of them. Yeah, a lot

Alejandro Mingarro  

of them. It’s like super famous and USB LED display LED light box. It’s really nice to do like, because we draw so many times the same stuff, you know, like in terms like when do you start like you do a really rough sketch and then you try to end it again. And again.

Juan Mingarro  

So then we use this desktop scanner just to scan the pencil is really, that’s enough,

Alejandro Mingarro  

basically is the same for we arrived to a point that we were we were making those kids ink artworks that were wondering to buy a bigger scanner, but they realize they’re like really expensive. Get them sell off expenses that are really slowly scanning. So it’s faster to scan it by pieces.

Juan Mingarro  

Yeah. And right now to do the ink digital ink. We use this one way comes in tablet. It’s brilliant. It’s not too big. It’s really the first of all

Iva Mikles  

13 One right or is it the

Alejandro Mingarro  

1313 regular? Yeah, we used to have a bit we have a bigger one, but they’re just too big. I use it sometimes for the coloring part. But then at the end, we work a lot from home lately.

Juan Mingarro  

And we also use this tool a lot just to make the circles you can see in our illustrations, they’re done with this. We use it over the Wacom. Yeah, even on the Wacom. That’s where this thing we do. We do circles, we put it here with the Wacom pencil, and we do the circles like this, and it’s super fast. And I know we know it’s super ridiculous to do this. I have never

Iva Mikles  

seen this before the ruler

Juan Mingarro  

really helpful and really fast. And every every circle you see in our work is made using this technique.

Alejandro Mingarro  

The estimates come out this way because we post the video on Instagram. Look for it and send it to you about that you know about that trick that we felt that we were like so smart that we need to send it to the people but it’s funny the reaction of people some people were like wow, man, amazing. Thanks a lot. You know, I mean, that’s really stupid thing, you know, just during a salad. And then some other people were like just taking care of trade telling that we were like to, you know, like, man, what are you doing? You know, use the footage of tracer or illustrator back, what was it man, you gotta find your own way to. I know it’s may look stupid, but for us it’s like super fast you know? So we don’t waste time like copy paste or whatever,

Iva Mikles  

you know. Yeah, cool, I will have to try that. It sounds like

Alejandro Mingarro  

I’ll try to find the video because I was like, really interesting.

Iva Mikles  

So then we can put it in the show notes as well and do you have like a maybe favorite book as well for, you know, either design inspiration or something you would give as a present, you know, to your creative friend.

Alejandro Mingarro  

When I designed the same book, we don’t have, like so many artists that we love, you know, but our first design book was the Sagmeister book, you know, the one with the red cover the pillar, I think that was like, oh, man, it was bad, man, super expensive book. But remember,

Juan Mingarro  

when we were students, that was really inspiring. I remember, we were together in his room watching and watching and reading that book. As was really one of the or February’s. And lately, I Well, some some years ago I read is not from related to design directly. But I read this book called masters of Dune, which is from those programmers, John Carmack and John Romero, the guy who created the dome, video, game and Quake, all those video games. And it’s really interesting how they became super famous how they create a company, how they build this team, and after a very exciting story of how they arrived to the top of the industry from being nothing. And they became millionaire really fast. It’s a really nice story, and also how they also if you’re a creative people and how they put so many efforts, developing things, what they call the crush time they will, in those sessions, they were working during three days on a row, developing a video game. And if you’re a creator, and you will feel really familiar with this kind of work and with these feelings they had the frustration or the success is really interesting book and really easy to read really fast. So I recommend that.

Alejandro Mingarro  

Yeah, and it makes it something that is so massive nowadays, or I’ll change the culture of video games and stuff, you know that there were just like a couple of people or at the end, there were like four people like developing all that stuff. So it’s really, really interesting.

Iva Mikles  

Yeah, cool. Cool. So I’ll put it on my list of what I need to read, because that’s what I haven’t read yet. But it’s really cool. I know, one of my last questions would be the far, far future. And I would like to know, what would you like to be remembered for in 100? years?

Alejandro Mingarro  

That’s a really tough question. Because we are always, you know, like talking about what are we doing with our lives in working with advertising companies? Are we doing right? Are we doing wrong? So we just, like, be poor and work around Oren staff trying to solve that myself. Because at the end, what you want to do is like trying to do something. So I mean, at the end is not only for you, you know, you want to do something that is worth something for other people, you know, it doesn’t matter if it’s only one person or 10 million, you know, at least that someone tells you like, man, thanks to seeing your work, it was I realized that I wanted to draw, you know, so that’s how it is. So I believe there is nothing really specific that we want to be remember, you know, I mean, it will love to be remembered as this creative duo or whatever, you know, but at the end, it’s something more like you are like something or like the the like curation for someone. Yeah. And you’re you get really hilarious when a student writes you down, you know, and say, like, Man, I saw your Toggler. So your work and he didn’t know what to do with my life. Now, I want to do creative style, it’s not even illustration, you know, they want a postcard or they need to maybe video editing or whatever, you know, and this is something that you feel like so you don’t really want to feel remember by yourself, but the other people you know, like, oh, man, maybe there is like this New Delhi in 100 years who say like, Man, I read this book, or the brothers have inspired me, so maybe something more like that. Yeah, like that what you do is worth it somehow, because something’s just really superficial. What we do somehow, you know, just illustration, of course, I mean, we’re not going to change the world, you know, we’re not going to make like a burger says the weather or whatever. You know, that’s like something that you make to make people happy or make motivate other people.

Juan Mingarro  

So it’s more about that. It’s not as important because, you know, if you take a look at our story, we were two guys from that little town who liked to do creative things, but they never thought they could live from that. I think that’s one of the most Important thing of our career to show that it’s possible to live from that if you have that dream now, and maybe one some people if reads that book were they explain our story or something like that I am this guy. And he decided to study design career or he starts his creativity career. Thanks to that other way you’re really nice.

Alejandro Mingarro  

But not even, you know, it’s just more like made you get to fight for your dreams. Yeah, I think you’re really worried when you start working on this, like, I mean, I want to be remembered, you know, I want to be, but then you realize me well, nothing, there’s nothing that’s gonna be like, whatever you create, you know, makes people happy independently who who made it, you know, like, try to make them? Keep on going? Yeah.

Iva Mikles  

That’s always like to think about, like, how many people can you inspire to create stuff? So that’s always amazing.

Alejandro Mingarro  

Because it’s not I think there is no value in what you do, you know,

Iva Mikles  

if you like, maybe give us a last piece of advice or key takeaway before we finish, that will be super awesome. And then we will slowly end.

Alejandro Mingarro  

Okay, man.

Juan Mingarro  

Yeah, maybe we say that miss so many bytes. Maybe, never relax. And I always continue producing stuff. If you don’t have a real work or paid work, just create your own during that time. And that will be really helpful to always continue improving your skills. And how do you do that? Creating more stuff all the time. And never relax, even if you have little success, if you win any awards, or if you got really well paid work, never relax, because maybe people forget you. So you have to be always there working all the time. Okay, that’s

Alejandro Mingarro  

a long advice. Give you a shorter one, just do it. You know, you just have to do you have an idea for this in that moment? Don’t worry that you have the resources, you know, do it in the moment you already have it and then you move to the next one.

Iva Mikles  

Yeah, that’s the relaxing, you know, in a sense, like recharging. Right? But never stop improving and just keep doing stuff. Yeah.

Alejandro Mingarro  

Yeah, really important to do it, you know, because if you don’t do it, you know, my, okay, don’t relax, but produce something, even if it’s whatever, but do it you know, don’t don’t think about it. I mean, sometimes you just think about it. So because you don’t really have the time. But when you do it, you know that feeling of relief and excitement is it’s great. You know, it’s doing and then you can move for the next one. You know, even if you didn’t have the proper tools, just make it happen. Maybe someone one day will see the wherever you have more, more time to develop more, but it’s just a matter of do the things you want to do.

Iva Mikles  

Yeah, definitely. So do the things you want to do keeping inspired and hope everyone is inspired today and who joined. And thank you guys so much for joining

Juan Mingarro  

us. My pleasure. Thank you for.

Alejandro Mingarro  

So yeah, thank you for your time on hearing us.

Iva Mikles  

And really, thank you. It was my pleasure that you join and you took some time and give so many tips and everything. And thanks, everyone who joined as well to listen today. And yeah, see you in the next episode. Thank you. Bye, bye. Hey, guys, thank you so much for listening. I really appreciate you being here. You can find all the resources mentioned in this episode at artsideoflife.com. Just type a guest name in the search bar. There is also a couple of free artists resources ready for you on the website as well. So go check it out. If you enjoyed this episode, please subscribe and leave a review on iTunes or Stitcher so I can reach and inspire more artists like you. If you want to watch the interviews, head over to artsideoflife.com/youtube. Continue to inspire each other and I will talk to you guys in the next episode. Bye.

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Hi, I am Iva (rhymes with “viva”). I am an artist, illustrator, founder of Art Side of Life®, and Top Teacher on Skillshare. Since 2009 I've worked as an illustrator, character designer, art director, and branding specialist focusing on illustration, storytelling, concepts, and animation. I believe that we are all creative in infinite numbers of ways, so I've made it my mission to teach you everything I know and help either wake up or develop your creative genius. Learn more about me.

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