“Motion with Soul”: Iana Leshchenko on Crafting Emotion Through Design

What makes pixels stir emotion in a digital world? For motion designer Iana Leshchenko, that question is not just a theory but a daily practice. Every project she touches moves with rhythm, purpose, and the kind of emotion that feels alive. Her collaborations with Paramount Pictures, Warner Bros., and LEGO reveal a career built on motion that feels carefully made and unmistakably human.

In this conversation, she reflects on her path from gaming to global campaigns, and how curiosity, discipline, and soul continue to guide her in her creative endeavors.

Let’s start at the beginning. How did your path into motion design take shape?

As a child, I thought success meant wearing heels, attending meetings, and having a corner desk. Three years in the energy sector taught me otherwise. I felt a creative energy building that needed a real outlet.

After work, I taught myself design through tutorials and small contests. Curiosity turned into commitment. When my projects began gaining attention, I left my job to freelance full-time. My early work with children’s brands became a playground for color, movement, and joy.

Later, I joined My.Games as a motion designer, creating ad visuals for the gaming world. The pace was fast, teaching me to trust my instincts and refine every frame until it felt right. That chapter shaped how I design today.

Unveil new inspirations

My first global collaboration was with WarnerMedia, where I created social frames for At Home with Amy Sedaris (Season 3). That project showed me how far design can reach when it carries feeling.

Your client list today is impressive. How would you describe your style and focus?

I don’t believe in one fixed style. Every brand has its own unique rhythm, and my job is to find the visual language that suits it. Sometimes that means clean motion graphics. Other times, it’s handcrafted animation that feels raw and human.

I love blending techniques. Flip-book textures, stop-motion touches, digital transitions, whatever helps the story connect. The goal is always connection. When the client and I share that understanding, true creativity happens.

Working with soul means listening closely, not only to the brief but to the brand’s heartbeat. That’s when the best projects come alive.

Which projects are you most proud of?

One project that has stuck with me is a recreation of the Spider-Man: Across the Spider-Verse trailer. I hand-drew more than 300 pages to create a fifteen-second motion piece. Each frame carried its own rhythm and weight, and watching it come together felt alive in a way I can still feel. The project became part of the film’s promotional campaign and received honors at the Shorty Awards (Global Campaign Winner & Audience Honor) and the Clio Entertainment Awards (Silver).

Another project close to my heart was the Allegra (Sanofi) pre-season campaign, which involved more than 120 visuals and short videos. I led the creative process from concept to final animation, shaping every detail to ensure each frame was precise and energetic.

I also worked as a concept artist for LEGO Piece by Piece, designing environments for the film. Seeing my name in the credits was surreal. It reminded me that design connects people across every medium.

Fuel your boldness

And I’m grateful for my ongoing partnership with T-Mobile, a team that truly supports experimentation and creative freedom.

Your time at My.Games sounds pivotal. What did it teach you?

That job became a masterclass in precision. In gaming, you have only seconds to catch someone’s attention. You learn to read movement like a language, where typography, rhythm, and timing all need to land just right.

I became obsessed with micro-transitions, the subtle shifts no one notices but everyone feels. It taught me to design with clarity and intention, never for decoration, and that mindset has stayed with me.

You’ve worked on promo campaigns for major films. Which ones stand out?

I’ve contributed to projects for Top Gun, Sonic the Hedgehog 2, Teenage Mutant Ninja Turtles, Spider-Man, Smile, The Nun II, and more.

My focus is on social promos that build anticipation before a film’s release. They are short, bold, emotionally charged moments meant to stir feelings before the first ticket is sold.

The challenge is balancing visuals that echo the film’s tone while staying original enough to capture attention.

What’s your daily toolkit?

My primary tools are Adobe After Effects, Adobe Photoshop, and Cinema 4D. I use what best suits the project. Tools evolve, but what matters most is reliability and delivering a clean, intentional result.

I’m less interested in chasing every new plug-in or trend. Good design comes from focus, not excess.

And what about awards? Are there any that mean the most to you?

Awards mean the most when they celebrate real collaboration. The Shorty Awards and Clio Entertainment recognitions were highlights, not only for the wins but because they honored work that involved teamwork and trust.

Our collective projects have also earned the Heartland Film Truly Moving Picture Award and Clio Entertainment Bronze distinctions. What stays with me isn’t the trophy, it’s knowing the work resonated with people.

How would you sum up your creative philosophy?

The idea always comes first, and the technique follows the story. I strive to bring a sense of human touch to digital projects. The sense that someone’s hand shaped the process. It’s what makes the motion feel alive.

AI is part of my workflow, but I use it with care. It’s a tool, not a substitute. When used intentionally, it can save time without diminishing the artist’s voice.

And what’s next for you?

I’m exploring how AI can support creative workflows without removing personality. I’m also expanding into brand motion systems and continuing collaborations with global studios and health and lifestyle brands in the US and Europe.

I’m most excited by projects that blend tactile and digital elements, where movement surprises and emotion drive every frame. Those moments remind me why I started creating motion in the first place.

When Motion Feels Human

For Iana, motion design is more than technique. It’s empathy made visible, a balance between control and curiosity. Her work proves that when design carries emotion, it doesn’t just move but also lingers.