Bruno Lopez-Vargas
Senior Motion Designer / Art Director for Motion / Illustrator
Portland, OR
Q What do you do?
“I’m a Senior Motion Designer, 2D Animator, Illustrator, and Video Editor!”
Q What steps did you take to get to where you are now?
When I look back at my path, illustration was really the foundation. I started with traditional animation over at Academy of Art University in San Francisco - learning composition, anatomy, and the core principles of movement. From there, I transitioned into illustration at Pacific Northwest College of Art, where I refined color theory, composition, and visual design. Those fundamentals taught me how to see form, rhythm, and storytelling in every frame, and they still shape how I approach motion design today.
After school, I was taking on all kinds of odd jobs - social media work, small design gigs, anything that let me stay close to the creative world. I eventually landed a graphic design internship at Vacasa here in Portland, which was a turning point. My mentor there, David DaCosta, took a huge chance on me, and that experience really grounded me in graphic design.
Not long after, I joined Sparkloft, a social media agency with a small but talented design team. I was originally hired to do video editing, but I quickly found myself expanding what motion design could look like for the agency. That’s really where my passion for motion took off - creating and pitching concepts, storyboarding, illustrating style frames, and helping elevate how the agency approached animation across client work.
From there, things grew quickly. I joined Thesis, where I collaborated with teams on campaigns for Nike, Spotify, and Adobe. Later, at Jellyfish, I led motion for global clients like Uber and Android - balancing high-volume localization with conceptual design and original animation. Those experiences taught me how to scale creativity within complex systems and how to blend visual narratives with technical precision.
After Jellyfish, I decided to return to freelance - partnering with clients like Slack, AWS, TikTok, and Boston Dynamics on everything from sizzle reels and product explainers to large-format digital displays. I’ve been fortunate to work with a wide range of teams and styles, and that variety keeps me adaptable and always learning.
At this point, my career has been about connecting all those experiences - from design to animation to creative direction - and building a multidisciplinary practice to every project I take on.
Q How do you stand out in your field?
I think what sets me apart is that I genuinely love to have fun with the work. That might sound simple, but it really comes through in both my process and how I show up in a team environment. I believe motion design should feel alive - it should have energy, rhythm, and personality.
I try to infuse that spirit into everything I create, whether it’s through vibrant color, tactile textures, or subtle nods to traditional animation. Those small human touches help the work feel more organic and emotionally grounded. And beyond the craft itself, I bring that same sense of curiosity and enthusiasm into collaboration - keeping things light, positive, and creative. At the end of the day, we’re all people trying to make something meaningful, and that sense of play is what keeps the work inspiring.
Q What are you working on right now?
Right now, I’m working on a few campaigns for Zoom and just wrapped up a really fun project for the olive oil brand Graza, where I got to incorporate some hand-drawn animation! I’m also keeping my books open for upcoming collaborations and new projects on the horizon - always excited to see what’s next!
Q What’s your style?
I love, love, LOVE texture and traditional animation! There’s just something about the tactile, imperfect quality of it that makes everything feel more human and alive. A lot of modern illustration styles have started to blend together visually, so I really enjoy exploring ways to break out of that - pushing proportions, playing with form, and finding that sweet spot between illustration and motion that feels hand-crafted.
My background in traditional animation definitely shapes that approach. I’m always looking for ways to weave those fundamentals - weight, timing, exaggeration - into more modern motion work. Two projects that really capture my taste are the Portugal. The Man music video I contributed to, and a personal piece I created for my band, To Bloom. Both let me lean into expressive, textured animation and that balance of precision and imperfection that I’m always chasing.
Q Out of all your slashies, which one do you wish you could do more often?
Lately I’ve been diving into sound design and music production - Logic has become my newest creative playground. Much like After Effects, there are so many possibilities to explore, and that’s just with the stock plugins! It’s been really fun experimenting with how sound and motion can work together to elevate a story.
Beyond that, I’ve been wanting to dig deeper into graphic design and 3D. I feel like those are the last big pieces in my creative toolkit. Stronger design foundations and a better grasp of 3D would open up so many new ways to approach motion.
Q What is frustrating you right now?
Honestly, building a consistent schedule. Freelancing can be unpredictable - I often find myself working odd hours or staying up late to hit tight deadlines. It’s part of the job, but it definitely makes it harder to maintain a regular rhythm or healthy sleep routine. When projects start to overlap, things can get chaotic pretty fast. I’m constantly trying to find that balance between flexibility and structure - it’s an ongoing work in progress.
Q If you could hire someone for $20/hour, what would you have them do to make your day easier?
Outreach and marketing. It’s the most time consuming part of my job. That and probably file organization. Once I get into the thick of it, project files start accumulating pretty quickly and more often than not I spend an extra day organizing all of my project files to make sure the client can actually use it to make edits if necessary.
Q What do you wish you could have told yourself, when, and why?
I would probably go back to 2017 and tell myself to have my employer pay for more classes. They’re expensive. And I also had a lot more time back then. Woulda made things a lot easier this time around but ya live and ya learn.
Q If you could talk to an expert to gain more insight on something, what would it be about?
I would probably ask about cold emails. How to get new clients. Also their journey through the industry. It’s always interesting to hear people’s stories and their trajectories leading up to where they’re at now.
Q What kind of opportunities/projects are you looking for?
I’m really drawn to projects that let me blend design, illustration, and animation - anything where motion plays a key role in shaping how an audience feels or understands a message. I love working on brand campaigns, sizzle reels, large scale digital displays, and editorial illustration pieces that have a strong visual identity and room for creative experimentation.
I’m especially excited about opportunities that push style or craft - projects that involve expressive animation, texture, or illustration-driven motion. Collaborating with teams that value exploration and thoughtful design is where I do my best work.
Q Describe your ideal job/client/collaboration.
My ideal client is someone who comes in with a clear vision and respects the creative process. The best projects I’ve worked on have been true collaborations - where feedback is thoughtful, expectations are aligned, and everyone’s working toward the same goal instead of getting lost in endless rounds of revisions.
I also really appreciate when a team is open to following a structured pipeline. I’ve developed a process over the years that keeps things organized and efficient, and when it’s actually implemented, everything runs seamlessly. One of my favorite experiences was working with Lithia Motors - they trusted the process completely, and the result was some of the smoothest, most enjoyable collaboration I’ve had to date.
Q: What is your rate?
For most motion design projects, my rates typically start around $700/day or $90 - $120/hour, depending on the project’s scope and turnaround.
Smaller projects - like social cutdowns, short-form animations, or quick edits - usually start around $2,500–$4,000, while larger campaigns, sizzle reels, or branded motion systems often range from $8,000–$20,000+, depending on complexity, deliverables, and timeline.
I’m also open to working with smaller teams, startups, and non-profits at adjusted rates when the project feels like a creative or community fit. Every project is a little different, so I’m always happy to discuss scope and find a structure that works for both sides.
Q How should someone approach you about working together?
The best way to reach me is through my website brunolv.com or by email at brunolopezmedia@gmail.com.
When reaching out, it’s super helpful to include a few details up front - things like project scope, timeline, and an estimated budget (or even just a range). That helps me get a quick sense of how to best support your team and whether it’s a good fit schedule-wise.
And hey, if you want to throw in a funny GIF or meme, I’m all for it - I love working with people who keep the process fun and collaborative.
Q Who is a creative you admire?
Maria Rodriguez @sparkykneecap
Victor Gomes @bizar_gomez
Priya Kakati @gingerpk
Q Oh! and… how do you stay creative?
Stay curious, stay playful, stay moving.
This member profile was originally published in December 2024, Updated November 2025.