Interview with Modather Zaki — a Cairo-based Motion Designer and Illustrator

Interview with Elmodather Zaki — a Cairo-based Motion Designer and Illustrator

Modather Zaki is a Cairo-based motion designer and illustrator known for his colorful, dynamic style. Starting as a comic artist, he later discovered his love for animation.

Drawing was fun, but seeing my drawings move? That was magic!

He began using Linearity Curve for illustrations and now combines it with Linearity Move for motion work.

The integration between the two is super smooth.

His favorite tools? Vector animation, 3D layers, and auto keyframes — especially helpful when working on tight deadlines or client revisions.

Modather’s advice for newcomers:

We sat down with Modather to talk about his creative journey - from comics to motion graphics and how Linearity’s tools fit into his workflow.

In this conversation with Sam, our Head of Product, Modather shares practical insights, favorite features, and ideas for what could make the animation experience even better.

Sam: How did you first discover Move? What was your first touchpoint?

Modather: My first introduction to Linearity apps was when I bought an iPad. I was searching for a graphic design app, and back then, there weren’t many good free options available. The only one that stood out with a free subscription was Vectornator. I downloaded it and was really impressed—especially compared to bigger competitors like Illustrator. Since then, I’ve been using both Linearity Move and Curve.

Sam: What was your experience like when you started using Move?

Modather: When Move was released, I gave it a try. What made it work for me was how user-friendly it was. I was a complete beginner in motion graphics, but I was able to learn it in just a day.

Sam: How do you typically go about creating your animations? Do you start from scratch in Move or use artboards from somewhere else?

Modather: It depends on the project. I always begin by aligning my work with the brand guidelines. For example, I made an animation for a company called ByWay. Their branding was very minimal—just black and white—and they wanted a simple animation to explain their services.

Sam: And for another project?

Modather: I also created an animation for Triple R, an Egyptian electronic recycling company. Their process involves three stages, and the animation had to reflect that. I first study the brand, then build a storyboard, and finally tell the story visually.

Sam: Do you create your illustrations directly in Move or start elsewhere?

Modather: I usually start in Linearity Curve. I create static illustrations there—like different robot variations—and then show them to my client or boss. After selecting one, I bring that version into Move.

Sam: How do you bring those assets into Move? Do you use multiple artboards or just copy them over?

Modather: Mostly, I use just one large artboard. For example, in one animation, I had all the background elements in a single artboard and animated it throughout the entire scene. I don’t use Auto Animate much, although I did use some automation for transitions in that three-minute project.

Sam: That’s helpful to know. We’re currently considering changing how people import their files. For instance, imagine being able to open a Curve file directly in Move and access assets like your robots from an asset tab. Would that be useful?

Modather: Absolutely. That would really help streamline things.

Sam: And when you create assets like your robot, do you reuse them across different projects?

Modather: Yes. For example, I animated the robot using a rigging style similar to what you see in tools like Toon Boom. I had to adjust the anchor points to give it a robotic or smooth movement, depending on the scene.

Sam: Are there any challenges or things you’d like to see improved in Move?

Modather: One issue I had was the lack of curved motion paths. If I want to move an object from point A to B along a curve, I currently have to use a workaround—grouping the object and using vertical keyframes to simulate a curved path.

Sam: That’s something we’re already planning. Good workaround though!

Modather: Thanks! I also use anchor points to make animations smoother. It helps, but having native curve motion would be great.

Sam: You can already change anchor points in Move, right?

Modather: Yes, but again, it’s more about controlling the actual movement path. I got the idea for this workaround from another app called Tounesquid, which I use on Mac and iPad. They have a nice approach, though I think even they could improve it further.

As the conversation wrapped up, one thing was clear — Modather brings the same curiosity and playfulness to his tools as he does to his art.

Whether it’s exploring new animation styles or finding creative workarounds, his approach is a reminder that great motion design is equal parts skill and experimentation.