We Are Virtual Mammals

Filmmaker, illustrator, and art director Rocío Álvarez talks about the creative process behind the poster and animated intro for Animac 2025, her collaboration with artist Zaponiak, and the use of AI exclusively based on her own drawings—without prompts—exploring new possibilities and stepping out of her comfort zone.

 

How does your work connect with this year’s theme, We, Animals?

The theme of our animality as humans interests me. I already explored it, for example, in my animated short film Simbiosis Carnal, which traces the history of human sexuality from our cellular past to the present day.

Even though we are merging with technology and heading toward a somewhat cyborg future—with our implants and dependence on devices—deep down, we are still mammals. Virtual mammals.

The poster has a slightly catastrophic tone in the sense that we may be the only animal on the planet actively destroying its own habitat, and unfortunately, that process is accelerating. Despite this, I also added touches of humor and irony to the poster—elements that relax, entertain, or are simply beautiful or interesting.

 

The poster and the animated intro combine illustration, collage, and artificial intelligence. What was this process like?

Everything generated with artificial intelligence stems from my own drawings. I didn’t use prompts. First, I drew, and then we added volume, textures, and depth using AI through the img2img module of Stable Diffusion, which is also open-source.

The metallic rocket, the gummy fish… But working with AI isn’t always fast; in fact, it has been quite labor-intensive. For example, to animate the mushrooms, I hand-drew each one three times to give them a vibrating effect. Then, we processed them through AI to add a jelly-like texture, and finally, I animated them in After Effects. It has been both a technical and creative challenge, but I’m happy with the result.

 

Why did you decide to incorporate artificial intelligence into the project?

It all started when Carolina, the director of Animac, suggested that I explore 3D. I don’t work in 3D and didn’t have time to develop it with someone else, so I thought of Saponiak, a Valencian artist who creates 3D through AI in a very manual way—almost like stop-motion.

For this particular poster, I wanted to try a retro-futuristic-vintage style, something different from my previous work. Since I mixed gouache, collage, and 3D elements, it wasn’t easy to find a balance of textures and colors that would elegantly bring together all this baroque complexity. I stepped out of my comfort zone, and I’m pleased with the outcome.

At the end of the day, I think it’s not so different from my other projects because I always try to mix techniques and experiment with different processes. I enjoy what both analog and digital methods can bring to the work.

 

How was the collaboration with Saponiak?

Very smooth. It felt like a creative ping-pong. I would draw, he would apply AI to transform some of the images, give me several options, and I would choose. For the animation in the poster, too—some elements, like the fish, were animated using AI.

 

The poster is full of little details. Do you have a favorite?

Yes, I love the tourist cockroach with its suitcases. It speaks to how tourism can be a plague, but also how we are all cockroaches when we travel. I also really like the little dog with the rocket. I think each image has something special and could work as a standalone piece. In fact, it would have been great to make a sticker album with all of them.

 

This was your first time working with artificial intelligence. Would you use it again?

Yes, but only in this way; working from my own drawings and not using databases of other people’s images, respecting copyright. That said, I will never abandon traditional techniques. In the end, I think the most interesting thing is to experiment.

 

What other projects are you working on now?

Last year, I worked on the teaser for Sinnerman, an animated feature film by Spanish director Carmen Córdoba. I was the art director and was responsible for the backgrounds and character colors. We presented the teaser at the Weird Market in Valencia, and I hope we can develop it further in the coming years.