Sebastian Curi on Wellfed Design Podcast EP: 35

Jon Sorrentino: [00:00:00] Welcome to Wellfed a podcast for hungry creatives. I'm your host, Jon Sorrentino, a designer based out of New York. And on this podcast, I speak to some of my creative heroes to learn from their experiences and discover the ingredients to grow within the creative industry. In this episode, my guest is Sebastian, Curi an illustrator and animator currently residing in Los Angeles.

Prior to that, his work has taken him all over the Western hemisphere. Over the years, Sebastian has been able to work with agencies, such as buck, but also for brands such as apple, Venmo, and recently door dash. However, Sebastian didn't just fall into this portfolio of great clients. He's worked his way up from jobs that maybe weren't so creative, but no matter what he put everything he had into them clearly that has paid off because now you can see Sebastian's work all over billboards and even that little blue app that you use to pay your friends for stuff.

Before we get into the episode. I just want to share a few things with you first. If you want to stay up to date with the podcast, you can head over to wealth ed podcast.com, where I have all the episodes, as well as videos and articles with tips for creatives, just like you. Second for this season, I just launched a slack group that you can join by going to wealth, ed podcast.com/community.

There you can share work and connect with other designers, illustrators, and photographers from all over the world. Last but not least, I'm doing free one-on-one portfolio reviews over zoom for anyone that signs up for the newsletter on the website. Well fed podcasts.com. I've already had a few of these with listeners, and we've talked about things like getting more clients, ways to present your work on your website and a bunch of other topics.

All you have to do is sign up for the newsletter over@wealthedpodcast.com. Now that we got that out of the way, I hope you enjoy this episode. Sebastian. Thank you so much for joining me today on this episode of welfare. Um, I'm very excited to talk to you about your work, where you've been. It seems that you've traveled all over the world so far, uh, and while working remote at the same time, which I'm super excited to get into.

And, um, yeah, before we start off, I'd like to kick it off with these five questions in 50 seconds. And if you're ready, I'll go. 

Sebastian Curi: [00:01:54] Sure, sure. We're ready. Thank you. Ma'am for those kind words. So thank you so much. 

Jon Sorrentino: [00:01:59] Um, Sebastian, if you had to give a bread or cheese, 

Sebastian Curi: [00:02:03] uh, I will give up a breath. For sure. I love cheese.

Uh, and I feel, uh, I come from Argentina, you know, and it it's our students, mainly Italian people. So we have bread on the table for any, any food, you know, it's always bread. And then you have food. I don't know if you know, uh, so in Argentina you usually eat bread a couple of times a week, a couple of times a day.

And, uh, and when I came to United States, uh, you don't have usually bread with food. You know, bread is something that you can buy, but it's not really common. Uh, so I kind of gave up bread and, uh, but for me, you know, I'm, I'm a bit more, uh, senior, uh, for sure. Um, and I love, absolutely love shoes. 

Jon Sorrentino: [00:02:46] I didn't know.

There was a, a good demographic of Italians in Argentina. That's good to know. 

Sebastian Curi: [00:02:51] Oh, it's huge. And we love bread. Yeah. It's kind of crazy. You eat bread with bread. Yeah. 

Jon Sorrentino: [00:02:56] Sebastian, uh, what is your sign? 

Sebastian Curi: [00:02:59] Uh, I love, uh, I am a tourist 

Jon Sorrentino: [00:03:04] awesome cat or dog. 

Sebastian Curi: [00:03:07] Uh, I'm a big fan of dogs. Yeah. I am trying to get a dash. I love dogs.

So, you know, with, uh, I say, look, proportions, you know, it's kind of like why dog corgi will be a, anything, you know, it's kinda like three, two, one, and go to the floor, you know, close to the floor. Three, two, one, 

Jon Sorrentino: [00:03:26] you're a Verde you've already kind of size of the dog, according to a ratio. According to art board ratio.

Yeah. 

Sebastian Curi: [00:03:38] Two 35

Jon Sorrentino: [00:03:43] every day for the rest of your life, what would it be? 

Sebastian Curi: [00:03:46] Oh, uh, I will be, uh, pasta for sure. Yeah. I love pasta. Um, what else? I think, I think that's the clever one. I don't know. I will be, I will be happy eating ravioli's and, um, noodles. And it is,

I 

Jon Sorrentino: [00:04:07] don't know, I'll throw ramen in there only because I'm absolutely a big fan. I love ramen. I would eat. That would be my choice, you know, everyday 

Sebastian Curi: [00:04:14] helping me. Yeah. 

Jon Sorrentino: [00:04:16] And last question. Uh, Spotify or apple music? 

Sebastian Curi: [00:04:20] Uh, I, uh, I used the Spotify. Uh, yeah, I haven't used a lot apple music. Um, Yeah, I shouldn't say that, but yeah.

Jon Sorrentino: [00:04:33] Awesome. Awesome. Thank you, Sebastian. So Sebastian you're currently based in LA. It is beautiful and sunny in your background, which I'm very jealous because today is, uh, in New York, it's rainy and gray and yesterday was beautiful and sunny, but you know, it's it's spring. So what are you going to expect over here?

Um, but Sebastian you've, you've been all over the place. Um, you know, if I can, if I recall correctly, you've been in Canada, you've been Barcelona, uh, now LA, um, where, where did where'd you grow up? 

Sebastian Curi: [00:05:02] Um, I grew up in Argentina. My dad traveled a lot, so we, um, we used to travel a bit much. I always tell with, uh, you know, when you know somebody and they ask you where you grew up, you know where I'm from.

And for me, it's a hard question to ask because, uh, I think, um, when I was, um, I born in Buenos Aires in the capital, but then my, my parents, they live like, um, 600 kilometers to the south. So it's kind of like country, uh, side. And then I, they stayed three years there and then they traveled to north, to a city with, with C, but, uh, it's pretty cool.

So I will see kind of like a, I dunno, like I imagined being, uh, England or something like that, you know, Bristol. Um, and then they live there for a couple years and then they moved again to  and then they move again and, you know, always trying to find a better opportunities, you know, better jobs and that kind of stuff.

So I will change schools and friends every, every three years. And I have two, two brothers and. Uh, I was burning when it started, but then my middle brother was born in, uh,  city by the sea. And then, uh, my, uh, young youngest brother was born in, um, Boulevard, like really styled the countryside 

Jon Sorrentino: [00:06:38] all over the place.

Sebastian Curi: [00:06:40] Yeah. It was all within Buenos Aires, but when it started, it's a big, uh, province state. Uh, so, so yeah, it was very different. 

Jon Sorrentino: [00:06:51] What was it, I guess, like, what was your introduction to, I guess, you know, the world of being creative or like at what point was it when you were young, did you find out that you were kind of drawn to, you know, making things.

You know, 

Sebastian Curi: [00:07:05] I, I really don't know. Uh, I, I don't feel as creative, you know, as people say, uh, I am very curious for sure. You know, so I, I'm always kind of looking stuff and, uh, I'm a bit shy, so I, I will be, uh, just watching people or like behavior, things, options, you know, whatever reading I read a lot. Um, 

Jon Sorrentino: [00:07:31] I find a lot of creatives are great people Watchers right there.

They're very keen in on the details and things like that. I think 

Sebastian Curi: [00:07:39] there is something about contemplation for sure that we, I don't know, I feel safe, you know, happy, interested, I don't know, attracted. Um, and also, uh, kind of like the war, you know, that we do drawing is pretty lonely. So we, we just stay a bunch of hours every day, um, on our studio.

Drawing, just letting our mind wander thinking. Yeah. So when I was little, I dunno, I, um, I didn't really draw a lot just like any kid that, you know, I will draw, but then, um, uh, in middle school, I, I re I was very lost. So I, I chose, uh, arts, um, uh, kind of like, uh, paths to follow. Um, but, uh, but I thought, uh, I was going to be a journalist.

That was what I saw. I don't know,

but I liked to read. And at that moment I like to read a lot and I like music a lot. I was playing guitar and I had a couple of bands. So I was maybe, you know, journalism and music in some way. Maybe. I don't know. I don't know what really was on my mind. So the thing that I spoke, um, But when I ended that I went to college and I studied for a year dad and, and he didn't work at all.

It didn't work at all, but, uh, but, uh, but at that time I was throwing a bunch of stuff on one of the stuff that I was trying, um, was, uh, doing flyer through Photoshop or for my band and bands of friends and stuff like that. And, and then I think that's just kind of like grew into just thinking, uh, like graphic design or.

Or entertainment, video, stuff like that. Anything related to music could be interesting for me to follow. And, uh, and I had a friend, uh, um, my bass player in one of the bands that I was playing. Uh, he was, uh, studying post-production, you know, kind of like films and video. Um, so I, I drop out from my college, uh, doing journalism and I changed it to a different college or post-production and I started doing animation and I didn't go to closer to, to graphic design, 

Jon Sorrentino: [00:10:04] um, band fliers are usually, I find that a lot of people that I've talked to usually start in a band and then they're like, well, someone needs to do the flyers.

Looks like I'm going to have to teach myself how to do these. And it just kind of grows from there.

Sebastian Curi: [00:10:19] Yeah, a lot of the stuff that I do now, I think it was still stopped because also when I started, it was very hard to find, um, just places that they will teach you how to use, uh, software, you know, or animation. These, these kinds of things are kind of new. So it was very hard to find something like that.

And also, you know, for me, it was, I had to make a living, you know, I had to get some money, um, to, to provide for my family or just to be independent and stuff like that. I was very worried about that and music, uh, it's super risky everywhere, you know, but he left Germany is I feel, it's kind of like a miracle.

If you, you do any kind of money. Uh, and I used to play hardcore. So it was like, okay, out of the table, you know, I'm not going to 

Jon Sorrentino: [00:11:05] make, I was going to ask what, what kind of band, what music does your band play? But so you were in hardcore, like rock and punk. 

Sebastian Curi: [00:11:13] Yeah, kind of like, I love at that time I was, uh, really into the driving, you know?

Um, I dunno, it's just like, uh, email, post Hartford, uh, trash metal, uh, I dunno, a lot of, uh, just very high volume things. Um, pretty fast and stuff like that. Um, do you 

Jon Sorrentino: [00:11:34] still play today? Do you still 

Sebastian Curi: [00:11:35] play guitar? Yeah, I still play today. I have until 2016, I think I had, I had the same band. I used to play in a bunch of times, and then I used to play just one, but then, uh, the single one that I, that I started, um, he kept going for, for a lot of years until I move abroad.

And then he was like, okay, yeah, harder 

Jon Sorrentino: [00:12:00] distance. Yeah. 

Sebastian Curi: [00:12:02] Yeah, but, uh, but I, yeah, I still play love 

Jon Sorrentino: [00:12:04] music. You, um, decided that you're gonna drop out of journalism school, take up animation at the time. 

Sebastian Curi: [00:12:11] Yeah. So I studied it. It was hard because in my mind, I didn't have a clear, um, image of how the industry, uh, and me, you know, we'll work together.

I didn't have the, you know, like a position or a job in mind. And I didn't know at that time, I didn't know anybody who will be a graphic designer or an animator or, um, you know, straight or any kind of like that. You know, like my dad is a taxi driver at that point and my mom is a teacher and then all my friends, they will be studying like me.

I didn't know any professionals. Um, so 

Jon Sorrentino: [00:12:49] it was hard to kind of like get an image or get a clear idea of what you could achieve. 

Sebastian Curi: [00:12:53] Yeah, it wasn't, it was a very abstract thing for me. Um, I really didn't know, but I know that it was, I knew that it was a good idea to study and I'm very curious. So I was, I was trying to pursue something, you know, like, okay, if he's not journalism is going to be post-production and then it wasn't post production and all that.

He was a very thing you call, um, career. And, and I, I know about technical stuff now, but I really don't engage with that. Um, so I started working on the third year of that career as a assistant video editor for a TV channel and. From that job. I started to, to think that, um, I could do some kind of animation, you know, some kind of after effects thing, um, or three, the small project, uh, just for the day, you know, some, some, uh, frames or.

I don't remember why we'd really do there. 

Jon Sorrentino: [00:13:55] You were coming into contact with like, you know, cause I've, I've worked for a TV channel before, so you get like the graphic assets for certain shows and things. Yeah. The buffers and the bugs and things like that stuff. 

Sebastian Curi: [00:14:05] Yeah. Uh, yeah. So yeah, I will be, I will agree.

Uh, like my main job, you know, it will be, or my main responsibility will be, um, just creating these creeps or just putting together some files or, uh, just whatever, you know, I was the younger, more cheapest guy on the, on the company, so I will do whatever. But then if I had some bumper to do, uh, I will be putting all my time there, you know, it was pretty exciting.

Yeah. Just to create something, it felt like, um, when I was doing flyers for my band or stuff like that, Yeah, it felt fun. So I started, uh, I started dropping jobs being, um, in change of, uh, jobs that will be more creative in a sense. Um, so from that place, I went to another one that I was doing, uh, interviews for a company, just, just weird jobs, you know, interviews for a company, but I will do also the graphic package that will be for that kind of interview.

And then I drove that one and it went to another one that I will be doing. Um, just, uh, just graphic packages and any mation stuff, three of these things, um, for, uh, discovery Keats, I think. And then I dropped that one for another one and I will be doing that kind of stuff. You know, I just keep changing one after the other one.

Yeah. Because I had to create a portfolio and, um, it was just very hard to get a portfolio without any knowledge, you know, I wasn't a graphic designer. I wasn't on any mater. I wasn't anything really, you know, I didn't have, I just had the knowledge, you know, I, I will just talk about, uh, I dunno, film and video and, you know, the thing you got aspects of that, uh post-production and stuff.

I go, I go learn software very fast because I will know kind of the rules. So after effects and cinema for DB, Ray, all that kind of stuff, us, um, I dunno, just, uh, approachable. I would say 

Jon Sorrentino: [00:16:09] interviewing for like, no, like, I don't want to say normal positions, but were you interviewing for positions that. You know, we're specific to a certain role or responsibility, but then also you were like, Hey, I can also do all these animations and I can do all these things if those ever come up.

Sebastian Curi: [00:16:23] Yeah. I am I'm photo shorted, the guy that, that he's very passionate about what he does, you know, I'm, I will be in the interview saying, Hey, you know, I really love these kinds of stuff. I'm going to work my ass here. I don't need a better salary. Uh, uh, she just gave me this amount of money that I can leave and I will be trying to push these stuff as far as like cool.

Uh, and yeah, all my employers will say, uh, after, you know, uh, you didn't have a good portfolio about, but the attitude was there. You know, like he was, he was nice. So what would you, because it will be something we will feel that. What we were doing was important. You know, even if it's just a small piece, you know, or a small production companies, more, uh, show or whatever, uh, would you always feel like a big thing?

Uh, so yeah, I dunno, like I changed a couple of times, you know, until I realized that I, I like more the animation part, the creative side, the graphic design, uh, I started having friends closer to graphic design, you know, our directors and designers, animators, uh, three of these Italy. Um, I know it's just like, kind of getting into that world.

Jon Sorrentino: [00:17:43] How long did it go on for these sort of like smaller jobs for you decided, or before you landed at, at one that was more focused on being creative animating and things like that. I 

Sebastian Curi: [00:17:53] mean, yeah, for me it took a lot. It took years. It took years. Yeah. Now I can say that. Yeah, it didn't happen quickly. Uh, I think maybe.

Maybe four years, something like that between the first job, really, uh, just a asleep then video editor, you know, something that I was in Intuit, uh, to, I think the first job that I really like was, um, I go to animation kind of speciation trainee, you know, that, those kinds of stuff, um, for, um, graphic design studio called Plenti.

Uh, and at that point, um, you put on a Saturday, as you will find a lot of, uh, graphic designing studios, uh, focused on animation, you know, branding for TV channels, um, uh, or whatever project that it would involve, roughly the center installation, uh, I don't know, commercials, um, whatever, whatever moves and needs like graphic design perspective, uh, they will do it and they were into 3d.

I love USAA. It was kind of like this strong, um, part of the studio. Um, and they were great. Uh, they are, uh, they have, uh, an amazing art director and I learned, I worked there for four years and I, I kinda like learned all my skills, you know, my professional skills there. Um, so I started there, um, and he made her shooting in any major, I would say.

And then at the end I was the director. He was, he was really nice. 

Jon Sorrentino: [00:19:29] Not only like putting four years in which I know, like we can look at now and some of us. Can say like, wow, four years is a lot, especially in like the career of creative where yeah. You know, like, I mean, I think you can, you can also at the same time be like, yeah, that's, that's usually like the years where you're developing your skills.

You're really kind of like honing in on what you want to do. And that's, I think there's, there's both sides to that, but then to hear, you know, getting to a position where you're starting off as just a designer and then by the end of it, you're a director also kind of speaks to that passion. And not only that, but also the four years that you put in already to kind of work your way up.

Sebastian Curi: [00:20:04] Uh, yes. Yeah. I know it was amazing. I think, you know, on all the jobs that I took, um, at that level, it was great for me. You know, when I w I don't know, I didn't have any portfolio. I was really bad at it, so I, I will be really grateful, you know, to get any kind of job. And then when I got better and I had a better portfolio, um, and also more into the ward, you know, I would realize what was available in when a fire is too.

To work, you know, the places that you have, the people that is working there, um, you have very talented people, but, but also you have little companies, you know, like, like everywhere and in animation, I think at that point we have Motionographer that it was like this portal you will check every day, you know, and, and see who was trapping, uh, commercial.

Yeah. Uh, so these are studio, uh, 20, uh, was usually there, you know, it was very hard because from, from Latino America, just to, to put something online and to get some exposure, it was hard just to get, you know, uh, between the, I, it was, I think, creep cream of the faults or something. They have like a list of better studios or something.

And they were usually, uh, really close to that. Or they were there. And I just, uh, it was like a dream job, you know, for me it was amazing. So I dunno, I just, there, I made like my biggest friends. Uh, I, I really learned how to work in 3d, how to create, um, how to read a client. Um, how to, just how kind of like the war, um, works 

Jon Sorrentino: [00:21:49] process and the back and 

Sebastian Curi: [00:21:50] forth.

It was amazing there. I realized that I wasn't a good graphic designer. So I started, I went to, to the university to study graphic design, uh, because he was also weird just to direct thesis, but not to know, uh, any, any graphic design skill, you know, it was very hard for me just to, just to let it go. It's just to let it go.

It was hard. So, so I started studying that and, uh, and I felt more, um, I feel more in love with the art direction, you know, like the creative process, uh, the default that you pulled in a piece, you know, when, when you start it's very different than, you know. Yeah. Um, and, and the production side of, of animation it's, um, it's, uh, it's it's time consuming.

Yeah. It requires a lot, you know, 3d requires a lot of view. Um, and I will have to do a bunch of stuff. You know, we have so many stations, uh, so you could be modeling something and then you have the rendering of the stuff, and then you both produce that stuff. And I will be doing a lot of these stations because I, I don't know, like in the smaller studios, you usually do a bunch of stuff on my hands, basically.

Yeah. Yeah. So a is, you know, it's very important. Uh, and I have this background in video and then I was studying graphic design. So I kinda like had these, um, skills, um, and it took me so long, you know, also to be able to, to be in an acquisition of a, of a designer, you know, of, uh, an art director that I will be doing before.

Uh, I dunno, plus production in nuke or, uh, uh, animation in C four D or renders on octane, or we re, um, 

Jon Sorrentino: [00:23:47] few I've worked with a few animators and I can, I've, I've seen that process where, you know, the, you really kind of get your head down into key framing and moving, you know, moving the pixels, ease and getting all the eases.

Correct. And all the motion, correct. All that stuff after, after plenty. Um, cause you, you, you left there as a director. Are you still animating? Are you still looking to do more animation work and like, what is sort of your next step after after that? Cause I, you know, I've looked through your experience and I've seen a couple of big companies on there that I want to touch on that 

Sebastian Curi: [00:24:16] as well.

No, for sure. Uh, yeah. I had a lot of jobs. Sorry man. Yeah, freelance. Uh, I went freelance because I fully will be, you will be nice just to try out different things. You know, I was studying graphic design and I wanted to finish the career. Um, and I, and it wasn't learning a lot, you know, at the time I was a director and because you are a director, uh, you know, your vision, it's, what's important and maybe you are the senior guy, you know, the player.

So I need to fill, even though the money was good, you know, but for me it felt like I was still learning a lot. Um, Or I needed to learn and I wasn't learning. So I was like, okay, you know, maybe, maybe it's time to change this. And, and I didn't have any studio that was eager than, than that one. And when I started, so I just went freelance, uh, for, for a time.

And after I think one year or something like that, um, I started working for, for companies outside, you know, like abroad United States and Europe, uh, sometimes Canada and, and I go to, I could, um, offer letter from, from bark. Uh, I used to do a lot of freelance stuff and I send them an email to do freelance, uh, uh, any kind of freelance job.

And they were like, well, why are we not doing freelance right now with, with people in, uh, In other countries, you know, in other time zones, but maybe, you know, you call come to LA, you know, and work for us here, uh, as an animator. And I kind of freak out, you know, because even now, you know, it's a huge company in the industry.

They are, um, 

Jon Sorrentino: [00:26:00] grown so much over the last, like I think three years I've, I've started working with, within the company that works with buck and to see their growth and how they're expanding and how they sort of maintain client relationships is really impressive. It is 

Sebastian Curi: [00:26:14] impressive. It is impressive. And, and we are all impressed, you know, for me at that point, it was like, It was like working for the number one company or something like that.

You know, if you are on any Mader, if you work in motion graphics, Barclay's kind of like, you know, achievable, you know, it's like huge place. Um, so we took, we, my wife, uh, I was still studying graphic design, you know, I wanted to finish that. Uh, um, and, and moving abroad. I dunno, it was, uh, it was a big decision to take.

So it was a mix of, uh, uh, excitement, but also a lot of controversy, you know, around like what we should do. I don't know. It's not an internal 

Jon Sorrentino: [00:26:58] conflict. It sounds like 

Sebastian Curi: [00:27:00] just like it is a dream job, you know, I was like super happy, but I didn't know what to do. So we, I think we took a week or something like that to talk about it.

And at the end we were like, yeah, I think it will be nice. You know, we fund the trial. Uh, it's going to be a good experience. Um, I. I didn't, uh, I didn't speak English a lot. I am still, you know, struggling with the language. Uh, but at that point it was very hard and, um, I don't know, you know, w we should, we should, uh, yeah, I was jumping into it.

Yeah, for sure. So we have a call with, um, the CEO of LA, um, and he was super kind, you know, he was like, I think you are at the level of, and then you made her come here and work for us and we can see what happens, you know? So we, we moved, we moved to LA in 2016, I think, or 2017. And I worked a block for almost two years and it was amazing.

It was, it is impressive how, um, a company can have. 60 or 70 persons that are really, really talented at the top of their level. The talent is 

Jon Sorrentino: [00:28:14] there. Like every everywhere you look, every corner, they're just making amazing, they're working on not only big client projects, but the things that they're producing just seems like they have total not total control, but they have so much input in the end product, which seems like amazing.

Sebastian Curi: [00:28:32] It's an amazing place. You know, I, I, wasn't learning in Argentina really. And when I got to Bach, I thought that I was good, you know, and I'm good. Uh, but uh, competing at that level, it was very different, you know, you feel, I am very competitive and I just felt excited, just competing, you know, because people are just really good.

You create a, I don't know, you create a style frame and you have five or 10 proposals, different proposals, uh, or. Old Bali proposals, all like really good, you know, uh, views of, of how we equal create a process of designing for a company or whatever, and on the grinds where we, uh, you know, apple and Google and 

Jon Sorrentino: [00:29:16] yeah, I was going to say, w what were some of the projects that you ended up, uh, working on there because, uh, or what, what were, who you just mentioned, some of the clients you've worked with, what was some of the projects that stood out to you that maybe were your favorite that you worked on while you were there?

Sebastian Curi: [00:29:32] Well, that was kind of like a bummer, uh, because, um, yeah, so I come from Latin America, you know, so it's a very different industry. Uh, every project that you put out there, it has to be public because you promote yourself with the projects that you do. And there is not, there is no money that you have, you know, to invest in other pieces.

So every project that you do is going to be outside. And I will say that 90% or at least 70% of what you do ends up being public. And, uh, um, that is great for a person that is great in a portfolio. You know, like the boys that you have, he was also cool because you see your project outside and it's kind of like, uh, like the end goal.

You know, you, you work a lot, you put it out there. Um, I don't know. You just see it, you know, you're watching a bunch of time. Uh, your friends can come, Bouche played, you know, you, you will improve. I feel that the process of creating stuff. It doesn't stop when you create a staff, it just stops when you put it out there, you know?

And, and it keeps going because it reflects some people, you know, you're, I dunno, there's a conversation around, uh, at Bach, uh, or on your unit on the, oh, sorry. In the us. Uh, I think it is different. Uh, maybe you, you have a huge volume of, uh, of work that you have to create. So I will say bog boots out there, maybe 5% of the stuff that you do.

So I will say that from all the projects that I work, maybe. Maybe 20% of them. So the lag, you know, like, so like public stuff. Uh, but even with that, um, NDAs are a thing, you know, in the United States where, where you kind of share the work that you do, because, uh, there are four, uh, they're confidential, you know, therefore big brands, sometimes you are creating, uh, an emissions for a new product for, for one of these brands or, or you're creating, uh, I dunno, like what is going to happen on this stores of these companies or, and they may just never 

Jon Sorrentino: [00:31:36] see the 

Sebastian Curi: [00:31:37] light of day.

So you work a lot sometimes in things that there are not going to be public or are not going to be used, you know, you, you work on, on, uh, content development. Yeah. So I will do a lot of that. I will do a lot of that. Um, I don't have any, any really cool projects, you know, on that, that was kind of like this stuff.

Yeah. It is a bummer. I will say that all, most of the projects will look really nice. Um, and, and the, the people that I will work with, they will be amazed. You know, I will be like, I can't believe that I'm working with, uh, I don't know, like, uh, Sean at Rita, that is the person that, uh, design, uh, allegory for Facebook.

Uh, so all, you know, like the branding style of, of Facebook was this tiny person. I wouldn't, I would be like, wow. Or, um, uh, she was working there also with her husband and it has when, like an amazing animator. And I was like, I can't believe that I'm working. We know where to Stevan. He's, he's a really, really good to the animator.

Uh, and then like that by a hundred, you know, like Joe Mulan and Jennie Cole. And I don't know, like all the names that if you Google, they have. 50 commercials or 50 piece pieces that are top notch awards internationally, you know, they're amazing. 

Jon Sorrentino: [00:33:01] So it turned out to be like a better opportunity to kind of network and connect with these people that, you know 

Sebastian Curi: [00:33:08] yeah.

Yeah. The things that we will do, maybe, you know, they will be, um, they will be confidential, you know, or they will be a small stuff. Uh, maybe, you know, our skews will be really high, but then the project, it will be really simple. So we w we will have to, maybe the idea was to, and I learn a lot, you know, maybe the business side, it is also important and I let them down maybe to put, uh, top, uh, notch professionals, you know, uh, towards a project, maybe involves more thinking about feedback and thinking about potential, but not really the end product, you know, the end product.

Maybe it's going to be like a proper. 

Jon Sorrentino: [00:33:51] I think that's a good point though, because you know, you, you do a great job of summarizing it, where it is not necessarily achieving the highest bar of creative output, but it is sort of the facilitation, all the other pieces that go into it. And that's why they bring on so many different talents.

So many experiences to kind of facilitate 

Sebastian Curi: [00:34:10] that. That's key. That's key for bog. You know, I saw clients really happy and, and, and people, um, just the process, you know, Goldsberry is mostly because instead of working with a couple of designers, you know, maybe two or three, uh, five, and there are not any designer, they are amazing designers, you know?

And then on top of that, you have an amazing, um, art director or a couple of larger. And on top of that, you have one creative director. That's an amazing creative director. So, um, the, the Tavern that they could put together.

Jon Sorrentino: [00:34:49] It makes, it makes a lot of sense. Um, now knowing that inner is and how that works, you eventually leave buck and you then move again to Vancouver, to Vancouver, correct? 

Sebastian Curi: [00:35:00] Yeah. So, yeah, so I think, uh, a couple of things, um, we, with my wife, we, we love LA. We, we followed, okay. You know, these, these random thing, you know, traveling, moving abroad, you know, and all that stuff really work for us.

Uh, we'd really like to, to just to be safe places, you know, and to just to go buy, um, bread, you know, and a different city that you don't know, it's kind of like an experience. You know, people are just very different around you, your language. It's also a thing that, that you. Um, just start using, you know, and, and it's fun.

Uh, so we said, can you do equal travel, you know, a bit, uh, and, and also worldwide, we were trying to find ourselves, you know, on and buck. It's amazing, but also it's very corporate. And I know every, every person is very corporate and I'm not a person that can work in a corporate environment. And really, uh, I don't know, like I like to talk a lot.

I am the guy that, you know, goes to your desk and is like, Hey, what are you doing? What are your plans for the weekend? That kind of stuff. Um, I like to be very social and I don't know. There's, there's something weird when, um, the place that you work, uh, has like a hundred or 200 employees, you know, like a lot of employees 

Jon Sorrentino: [00:36:29] a lot.

And 

Sebastian Curi: [00:36:33] yeah, I feel like the companies, uh, Instead of you having like a thousand friends, you don't have enough, you know, you don't know anybody and it's just like the whole dynamic. It's just too much for me, you know, I'm a shy guy, so I could be talkative, talkative, just would you, we got a couple of friends on the table, you know, like 10, 20 tops, but then having, I don't know, like 80 persons.

Yeah. I lose touch. Yeah. So, and I feel like a number and all that stuff, you know, related to big companies. So I was like, okay, maybe, you know, I need some Amna too. I need to win some, um, ownership on the stuff that I do. Uh, I wanted to, to have, uh, just creative control of this stuff that I will, I will be doing.

And, uh, and to put out there, you know, the, the work that I will be doing, I worked two years in a beautiful company. Um, but, uh, I couldn't show anything, you know, A big problem also for my visa, because I was having, you know, like an artist visa, you have to show your work, you have to win awards, suddenly know the stashes pile up.

So we were like, okay, let's move to, let's move to someplace. And we went to Portland, um, because there were a beautiful studio there that maybe I will be working with. And then, uh, I went to Vancouver for a festival called, uh, Berlin. That is a festival for motion graphics people. And, uh, I already knew about Jina, uh, but, um, but I knew.

Um, but I didn't knew them. So when I went to the festival, they, they, they were a part of the festival and they seem, uh, amazing people, small company, kind of like family owned. Um, they were like 15, I think, at that time. And, and they have, I don't remember if they had a talk or something, but all this stuff, uh, uh, Jay, the owner will say, he will be like golden for me, you know, like stuff that I will had in Latin America.

But then I could be doing in Canada with, uh, I feel about our industry. You know, the clients that you're getting in in Canada are very different from the clients that you're getting in Latin America. So we took a bit, um, and it wasn't ready to, uh, I have already decided to leave book, but I didn't, I didn't know where I was like, okay, I know that I'm leaving, you know, but I want to see if I can work for a studio or maybe, you know, I'm going to go freelance or something.

Um, and they, they didn't, you know, I suppose studios it's, it's also a matter of timing. It doesn't matter how good you are. Maybe, you know, they don't need anyone. So at that point they didn't need anyone. And it was like, okay, maybe we have to, uh, we had to leave, um, LA and maybe travel abroad, then just go freelance or something like that.

But then, uh, I think a couple months after that talk that we had, um, one of their animator, three visionarily, uh, left the company and I'm, I have a background in animation and TV. They were like, we need you, you know, we'll feed the staff, you know? Um, we had to sort it out all the paperwork because Canadian visa, both USB says, you know, I have the oldest stuff.

Um, anything within six months or something, we moved to, we moved to Vancouver, uh, and it was right. We were, uh, I think he had China and I work a year there, but then, you know what it happened for me, it was that I really, we all these box stuff, just move things inside of me, you know? And it, and I had really noticed that I wasn't, uh, into the work that I was doing, you know, it was great because I was working maybe four.

So at that point, I was like, okay, maybe I call, uh, just try something different, you know, like very different. So I started using my Instagram, uh, to prove illustrations. Um, and, uh, I wasn't doing illustration at that point or any, any point? Uh, I don't draw. So I had to kind of like grow with simple shapes and it's just like a very rough primitive stuff.

Uh, but it was fun, you know, it's kinda like a thing that I. Wouldn't have pressure. I dunno, it felt great. Uh, and I kept doing dailies for a year or something and at some point I got some momentum and I got projects like commercial projects first, pretty small. But then at the end, when I was moving to Vancouver, I started having, uh, just like proper professional illustrations, um, projects, you know, like I will be working with some Browns, um, and that started competing with my salary and it was really into my illustration staff because he was excited and new and my animation in 3d the, um, Skills were there, you know, I'm a very professional guy on that.

Uh, but it was not that challenging. So when I go to giant and I was like, Hey, you know, I'm, I'm doing this illustration stuff. Um, and, and in working for apple and I'm working for, for all these Browns, uh, maybe let's, you know, do you want to make some of the stuff here and create a what or without illustration 

Jon Sorrentino: [00:42:00] style, you were doing projects for apple and all the other brands while still working with China's on the side?

Yeah, 

Sebastian Curi: [00:42:09] it was a bit Tracey, but I always been working two jobs. You know, when I, when I had to change all these jobs at the beginning, you know, like the first year. I will be doing my day job as a whatever assistant video editor. And at night I will be doing animation, freelance stuff. And then, you know, when I go that animation thing going on, I will be doing 3d, uh, stuff on the side.

And then when I went having these three of these stops, I will be doing post-production, you know, like I always use my freelance, um, very anxious also, you know, I'm kind of like a work colleague. Yeah. So I will be using that. Uh, so when I was working at the blog, it didn't feel weird at all, just to be doing illustration projects also, you know, working full-time in a studio, I'm working freelance on the side.

It's controlled, controversial, 

Jon Sorrentino: [00:43:00] and it's not healthy. Yeah. It's not the healthiest. 

Sebastian Curi: [00:43:03] It's not healthy. Yeah. It's not healthy at all, but also. I think it boosts. Yeah. For sure. He pushes you. Yeah. He puts a lot of, uh, uh, you have to put a lot of energy, you know, to create things, uh, at night or very early, uh, in the morning.

It's kind of 

Jon Sorrentino: [00:43:22] interesting though, because, um, you know, as your, as you were mentioning, like at buck, a lot of the work that you were working on, didn't ever make it out into the public eye. And, you know, I think it's fair to say. Now you're having a moment where a lot of your work now that you're working freelance is making it out to, you know, billboards making it out on the screens, all this stuff, you know, I saw recently you posted on Instagram, the, I guess, work that you've been doing with door dash is now hitting billboards out in LA and things 

Sebastian Curi: [00:43:51] like that.

Well, it is crazy is amazing. Yeah, yeah, yeah. For sure. All the recognized, uh, high select we're going nice. No, uh, yeah, all the recognition that, that I wanted to have, you know, all the ownership, you know, like I did something, put it out there. Look at it. You know, that, that thing when you learn a little bit, yeah.

Uh, I work my ass. I work a lot and it was gracious to have that feeling, you know? Um, and I didn't have that. Uh, I think at any stage of my life, you know, she was being illustrate or give, gave me that gave me the, the female of being an artist, uh, of being respected, uh, of, of having, you know, um, your own mind, you know, on your ideas and perspectives and, and just put it up.

Put that stuff out there and try it out, you know, he could work, but maybe he couldn't. And, and, and for me, illustration just gave me all that stuff. 

Jon Sorrentino: [00:44:45] So eventually you just decided that animation, wasn't going to continue to you. Weren't going to grow from animation. And so then you made the switch to kind of start messing around and playing around to find that like spark again with illustration and you know, the one reason why I'm so like, obviously I wanted to talk to you because I think your style and how you've developed that, it's just, it's amazing.

A lot of the illustrators and animators I talked to, they have this unique perspective on what their work looks like. And so I'm curious how you came to this place of one half, like wanting to draw hands. I think that's been my favorite series so far, um, but also like people and, and, and how these people take shape.

You know, they're not just like your standard, you know, anatomy. They are sort of exaggerated in certain places. They they're very vibrant in color. They're very hip in some of the clothes that they, you, you dress them in. 

Sebastian Curi: [00:45:35] Yeah, I think illustration, that's his whole thing, you know, like how you find your style and how you just, you portrayed yourself, you know, how, how, how you create a portfolio that looks unique to you.

Um, I really come from a different place, you know, and it's just like a weird thing that I started doing drawing. So a lot of, a lot of my style came from, from that, you know, uh, the poses that I do are dynamic because they, they are key frames, you know, and in animation is the, it's just like the standard, you know, you work with a couple of key frames and then you work in between and you draw all this stuff in the middle, you know, that, that's how it works.

So at the beginning, the weird pulses steady like that, it's just like, okay, what I could do. And I will draw. What I have, you know, close to me that that's animation. And then, um, I think, you know, there's a reduction on, on style. I don't know. I was just trying to say that it, it it's very accidental for me.

And at some point I go like, okay, these accidental thing, it could be pushed towards something that looks unique for me, you know? Uh, I think your taste could push to that. Um, I was very aware of the industry, you know, I've been working, um, for a lot of years now or like 10, 15 years. So you kind of, kind of know, um, what it could be, um, commercially interesting, you know, for, for people or Bronx or, or the public, um, you know, maybe what, who work in animation or an illustration.

Um, so I just try to. Put all that together and, and starting just started to create a portfolio that will look consistent, you know, uh, cohesive. Um, cool. For sure. You know, like something that I will like at the beginning, it was, it was a bit random, you know, I will do a lot of illustrations. I will engage with some of them, all the ones just fell like, uh, I dunno, it's just like a random thing, you know, uh, an exercise of composition or color or whatever.

Uh, but at some point I got, I got, uh, It's just a repetition of it, you know, like I go the style because, uh, you, you recreate the gestures all the time, you know, and the way that your hands move, uh, it creates these strong lines, you know, or, um, the colors that I use, uh, they feel very strong just because, you know, I think it works really well with, with the, the role emotional characteristics, you know, that, that you will find all my characters, uh, I didn't know what to draw.

So I started throwing people because they was in LA and it's just, people felt very different from my, my past is, you know, so I will be very attracted to people very differently and I will live in downtown LA and it's very weird. So I was like, this is cool. You know, I'm going to draw people and it is kind of like an accidental thing that you try outside.

And if you see that, um, That it creates, um, uh, exposure, you know, or it goes somewhere, you just repeat it and see, you know, where, where is the match between your interests and public inserts? No action. 

Jon Sorrentino: [00:48:57] I'm looking for a 

Sebastian Curi: [00:48:58] reaction. The reaction. Yeah. Yeah. And he's like, okay, I like these sides, you know, of my work, so I'm going to do this.

And then you put out that you put it out there. If something happens, that's where, you know, you have a match, you keep creating that sometimes, you know, that doesn't happen. And I don't believe have on just keep doing that stuff. You know, I will be like, I've been trying a lot of things on my life and, and I've been happy doing a lot of things.

So I'm like, okay, you know, this doesn't work, you know, I'm going to try a different thing and I'm going to try to push that out. And sometimes, you know, you'll be leaving the work that you do and you could push harder. But, uh, I think something in the intuition, you know, it says that, okay, maybe, you know, it's clever to move to a different path.

Jon Sorrentino: [00:49:42] Don't be afraid to, to move on and don't be so tied to one idea, you know, continue to try and switch things up a bit. 

Sebastian Curi: [00:49:50] Yeah. Know, you know, you have these ideas and just try to, um, like solve, you know, every idea mantras you can, I'm doing the has now. And I really liked that. Thank you. They, they, I don't know all the printing stuff, you know, I, I, I've been learning skin screen a lot, how to bring stuff.

It's very different. I'm a bit of a digital guy, you know, I've come from animation video and all that stuff. And Korean an option, you know, some functional, tangible things, uh, fell for me, really good, you know, to, to have brains on, on friends' houses. Uh, it felt great, you know, like, I dunno, it's just like, I really engaged with that.

And I had some free time. So I started doing

and some people like them and I did two more and now I'm doing one or two hands every couple months. Uh, and it feels great, you know, is it engaged with my side artists? You know, I'm, I'm a very commercial illustrator, but I like to, I like to create a staff that is on the stock, you know, When I 

Jon Sorrentino: [00:50:57] have more wall space, I'll be picking, I'll be picking one up in my small apartment, but right now, right now, I can't.

Um, so you're getting into, you know, not only are you working with big brands like door dash and, and you know, the work for apple that you've done the work for Venmo, you know, you're getting into having more kind of control over the output and, and creating objects now, not just, you know, things that are existing on screens and stuff like that.

Um, what is sort of your plan or like, you know, what are, what are you looking forward to, you know, I think now you're, full-time freelance, you're working with clients, um, is it to explore more of that artist side and continue to maintain client projects? Is it doing one more than the other, you know, what's kind of your goal 

Sebastian Curi: [00:51:37] will the pandemic and everything, you know, it, it, it really change how things work, I think.

But, um, um, I really like to have some things I know, you know, I really like to have a studio. Uh, so I, since I went freelance, Like two years ago, it was something full-time freelance, uh, or, or three, I think. Um, I, I realized that I, that it's nice to have a space to work. You know, it's still, my home is my studio.

Uh, me being kind of like a workaholic is free, you know, it's just splits my life into, I have a better work-life balance. I exercise more. I don't work as much, uh, on, well, today's a Sunday and weekends usually don't work. Um, and this is, this is nice, you know, this doesn't feel like work. Um, but, uh, so having a studio, you would be something that I would really like to have and pursue.

Uh, I shared a studio with my wife. She does frogs and I went freelance. She was working as a chef, uh, before, and then she went like into tea and just like astronomy stuff. And then she changed completely, uh, like need towards, um, like a more creative, uh, Thing and she does carpets, so yeah, it's pretty cool.

Uh, so we shared this, this a studio on any field sprayed, you know, like, uh, just the. I don't know. I feel that sometimes we, we work without thinking really what are we hitting? And I was skating to a creative director position in a studio, you know, and that's, that's right for some people, but I really love to just to share my life with my wife, you know, have my exercise in the morning, uh, cooking, uh, for something, you know, cool at lunch.

And then, uh, working a bit more than that. Um, just, uh, grabbing a coffee, you know, and not having all that freedom that I have. I really use it to work and it's kind of the same, but the spaces that are created for that work are very different. You know, I, I don't have a work environment, really. I just share my life with her and we do stuff and you feel way better, you know?

Uh, so if I keep, can keep, you know, like pushing that stuff, that would be amazing, you know, beautiful. 

Jon Sorrentino: [00:53:56] Actually, I think I like how you put that as you know, you like to, you like to share that life. Yeah. You like to share with your wife as well. 

Sebastian Curi: [00:54:06] You know, what, if I can say something about work, if that sometimes, you know, your family is on a bubble and your work is on another one and sometimes that's great.

Um, but it's kind of weird that the person maybe that you choose for, for a living, you know, for, for life, I don't know, like your wife, your kids, uh, they are not going to see you a lot because you're going to be working, you know, and that's kind of like fucked up for me. I dunno. Like I come from maybe from a different country, you know, and it's very different, but, but I really like to think that if I'm going to be making money, um, that's great, you know, but maybe it's not the priority.

It's something that has to work with all the other things and, and just to have a better, uh, Just way to work. You know, I love to work, you know, don't get me wrong. I really love to work. And I work a lot, but I really love to go to work with my wife. You know, I don't know, like 80 persons on a building, you know, around them or whatever, you know, like I am friendly about it, but I really like to choose, um, the space and how I do it.

Um, I dunno, I think illustration on that end, it's amazing. You know, it gives you, uh, the opportunity to work on big projects and amazing opportunities, you know, collaborations with all these huge brands, uh, at the top of the level, because you're creating really nice and stuff. Um, but are doing it from maybe, you know, like a very comfortable space, uh, without working your ass 12 hours a day.

Uh, I dunno, like all that stuff is really working. So if I can keep doing this. This is perfect. It is a dream job, and I have work on my lap, you know, very I lot of dream jobs, you know, at the beginning of 20, and then after a bug, even Jina and, you know, one of the most recognized studios in the world. Um, but this feels just more true to me.

You know, it's also a part of you find in your, your, your space, you know, maybe you go to a studio and you say, this is what I want for my life. You know, I love it. Uh, but sometimes, you know, like the idea of working in a place or the idea of doing something is not the same that doing that staff or working on that space, you know, it's very different.

Uh, so it it's, it really, it feels great. 

Jon Sorrentino: [00:56:26] I still haven't figured out that, that balance for me yet, or what is that kind of sweet spot. So I'll make sure to, to check back in with you to see if you've found the exact answer. So I can use that for myself as well. 

Sebastian Curi: [00:56:38] It's so personal, you know? Yeah. I feel like we, I love to hear, to listen to podcasts, you know, and stuff like this because.

Everyone just shares a different path, you know, and everyone works differently, has a different place in the industry. We make money from different things. Uh, we have our living different places, uh, and, and, and I feel some of the staff, we, we could repeat, you know, that kind of stuff. You could repeat the path of someone, but, um, in my experience, you know, I repeated kind of like different paths, the path of an animator, for example, uh, and I, and I, and I go to some very nice, very nice places, but, um, but it didn't, it didn't feel for me.

So I got successful. It was like, it was, so it was so fucked up. He was very weird, you know, because I knew that it was a dream job, but not for me. And I didn't realize that until I got older and it was, so it is, so I was just, but at the same time, 

Jon Sorrentino: [00:57:44] you have to walk through that door to figure that out for yourself, you know, 

Sebastian Curi: [00:57:48] is it something that you have to work it out, but in, you know, honestly it is, it is great just to try stuff, you know, and just to see my yourself, if, if that works, you know, just going to Canada and going to Los Angeles, going to Barcelona, um, they, they were all really good experiences, you know, Outside if I really liked them or not, you know, I, I am who I am because I did all that stuff.

So I'm super grateful with those people. And I'm grateful, uh, with me, you know, for giving me the opportunity to say, okay, you know, I have a great salary. I'm working on the biggest company, but I'm going to quit and I'm going to go, you know, to as motor city, motor company, you know, somebody was like, okay, I'm going to quit.

I'm going to try these freelance stuff as an illustrator. And it's just me saying it, you know, it just felt crazy. Uh, but it was like, you know, I think maybe I could do it and I, I can, I have a patient, you know, maybe I could be working with my wife. Um, and in studio, I don't know. I think there are some, some stuff around the advertising industry and the animation industry that that's just doesn't fit with.

With just a healthy way of life. You know, I remember me talking with, with, uh, with a person, you know, on one of these companies. And I was like, I will love to just to have a nap, you know, time to have a nap with my wife and my family, you know, have some time to exercise 

Jon Sorrentino: [00:59:21] and normal thing everywhere else, except the United States, 

Sebastian Curi: [00:59:25] very normal, but Danny's okay.

You have Saturday holidays and Sundays, you know, that's it, that's where you use that time for the rest of the day nine to seven or eight or 10, you are in the studio working for the biggest round, you know, an amazing project. And that's great. And I think at some point you realize that, uh, You also want the other part, you know, and you had to choose.

Uh, yeah. 

Jon Sorrentino: [00:59:50] But before we end the episode, I usually try to ask my guests this one question, you know, if you could send yourself, uh, like a note or a time capsule to, you know, to your future self, um, you know, with any advice or anything like that, what would you sort of, what would you write down or what would you kind of say to yourself?

Sebastian Curi: [01:00:07] Yeah, for sure. Um, yeah, I told her about this one. Um, I will say exercise. Exercise. Yeah. Uh, yeah. I, I don't know if this happens to everyone, you know, but I, I, I think I did like all the stuff that I had to do, you know, like I, I try, I work on the biggest studios. I worked my ass, you know, I'm self stalled, you know, I, I'm a very good after, after effects animation.

Very good. Uh, C4, digital list. I know, I know a lot of stuff. And I, I just followed tutorials, you know, I did all the things, uh, that I had to do. And I would with all the people that I felt that I had to work with, and at some point I will fly, uh, burnout. And, uh, and my, I have like health problems with my neck, you know, like dizziness and all like headaches, all that stuff.

Uh, and nobody told me that you could show that if you don't, if you don't take care of your body. 

Jon Sorrentino: [01:01:08] Yeah. You're based on, we're basically turning into a raisin while being super creative. 

Sebastian Curi: [01:01:12] Yeah. So, yeah. So you will be exercised, take care of yourself because, um, I have 34, uh, I think, I think it's not healthy to work, uh, all these hours and to try to achieve all this stuff, traveling, you know, it's not pretty, uh, it is very stressful.

Uh, if moving are stressful, international moving.

It's just like crazy. It's crazy. It's crazy. And we did it more than three times. Um, so it puts toll all you, you know, and I feel that, uh, you, you have to be clever and just take, take a space for, for, for, uh, exercise, you know, do whatever you want, you know, yoga or soccer or like running or whatever, you know, but, uh, you should be, you should be clever with that.

Your buddy is going to break. If you don't do that, now that I exercise I'm way better. Uh, I think I can work more. Um, but at some point it was, it was horrible. I really, I was super scared. Yeah. 

Jon Sorrentino: [01:02:19] I like that. I, I, you know, your mind is, is, is one piece that you gotta maintain your body is definitely the other that you have to make sure is.

Yeah, yeah. 

Sebastian Curi: [01:02:26] Yeah. I realize that, uh, I dunno, older, you know, I thought 30 years. Yeah. 

Jon Sorrentino: [01:02:33] So it starts to take, you know, you definitely start to feel it a little bit more in the morning. Um, Sebastian, thank you so much for, uh, for joining me on this episode. Uh, where can people find your work? Where can people get in touch with you and see more, more of what you're working on?

Sebastian Curi: [01:02:48] Thank you, man. Thank you. Super grateful for you. I love to talk about this, you know, and love. So thank you so much. Uh, people can find me on Instagram. I usually post there. If you Google Sebastian, Curi, I think I'm going to be the guy, the first illustrations. Yeah, that's the CC. Uh, yeah, just around Twitter.

I'm using Twitter now, um, to just to follow the trends, you know, but, uh, but I, I love it. Awesome. 

Jon Sorrentino: [01:03:18] Thank you so much, Sebastian. Appreciate it. 

Sebastian Curi: [01:03:20] Thank you so much.

Jon Sorrentino: [01:03:21] This podcast is produced by me, Jon Sorrentino out in Jersey city, New Jersey, editing, mixing, and music are all done by my friend, Kevin Bendis out in Greenpoint. Brooklyn. Definitely check him out. You can find out more about Wellfed and where to listen at wellfedpodcast.com or on social media at wellfedpodcast.

Thank you so much for listening and we'll see you soon.