RICHARD MUSINGUZI, 34, is a Ugandan animator, painter and architect who rose to lowkey stardom due to his 2D animation, Katoto, which brought to life the flavour of Kigezi culture.
Musinguzi has created other animations, which include Kitami, Opolot and Magujja, Who Killed Captain Alex? The Rushian Masinary, Adventures of Pablo, Cartoons from the Source of the Nile, and Tulambule, Uganda. He has also made television commercials for brands like MTN and Bank of Africa.
Quick Talk finds Musinguzi at his studio in Ntinda, where he and his team were working on new cartoon projects.
[He is wearing a black T-shirt, grey shorts and sandals, and leads Quick Talk to the compound for the interview.]
Could you tell Quick Talk about Richard Musinguzi?
Richard Musinguzi is an animator and architect who hails from Kabale. I graduated with a bachelor’s degree in architecture from Uganda Martyrs University, Nkozi, and I also work as an architect.
I am a self-taught animator who is well-known for the famous 2D Katoto animation, and this led me to get a scholarship from Netflix to go study a master’s degree in animation in France from 2021 to 2023.
Cool! So, what drew you to the world of animation?
From my early childhood I had this capacity to draw anything, but I realized what would make me stand out was my ability to draw cartoons which always entertained my friends and made me stand out.
Naturally I started gravitating towards mastering the art of drawing cartoons which overtime made me unique among my fellow artists [and] gave me a competitive advantage. When I finally discovered that animation was made by this very skill, which I had taken my whole life mastering naturally, I started teaching myself how to animate, which led me to start making animated cartoons based on the world around me.
Katoto really became a cultural sensation! It was the most exciting experience in my life. Katoto brought people joy and laughter, and the reception people gave him made me attain an immeasurable sense of satisfaction.
After the master’s degree in France, you came back and set up Katoto Studios. Many would ask, why? Why not stay in Europe?
I had dreams as a young man to work with big animation companies like Walt Disney Pixar and Warner Bros., but by the time I got a scholarship from Netflix to do my master’s degree in France, I had developed a lot of self-pride and I remember at that time when I went to study, my Ugandan roots were too deep.
I saw it as an opportunity to enhance my skills and come back and create an animation industry that will tell Ugandan stories.
How did the Katoto journey start?
My animation journey started back in 2015 when I was still at Uganda Martyrs University; and when I started the Katoto animation, it became an overnight success. It opened up doors for me and I made animated commercials for brands like MTN, Bank of Africa and Crane bank.
You gave the Katoto series a Rukiga spin. Bold! Considering how many people would go for English or Luganda.
There is this saying that an artist must know how to draw their people best. So, being born and raised a Mukiga, it provided an avenue for me to bring the Katoto animation to life.
But, if you look at our latest cartoons, they are diversified; we have cartoons in Luganda, Luo… But I believe as an artist, you must know how to draw your people best. That applies at the smallest level and at the biggest level.
How did you develop these characters and stories for Katoto?
I had animated over 30 commercials for MTN, Airtel, and they were mainly done in English based on what I had been watching on TV. But I realized they were not catching fire, you know?
I reached a point when I said, as an artist, I want people around me to be happy, to relate to my work. When I look around at my family and friends, I see the Mukiga character as designed to appeal to the world around me.
So, the development of characters has always begun with observation. For example, when I am in Kabale for Christmas, I might see someone funny and interesting whom I note in my mind or in a sketch book.
This enables me to create a storyboard with a series of drawings, like a comic book, which shows how the story is going to flow, which I show to friends. I look for a voice artist to voice the cartoon.
So, what tools do you use?
I use a simple book and paper, a pen, computer, and a digital drawing tablet, and software such as Toon Boom Harmony, TV Paint, Photoshop, Maya, and 3D Blender.
Who inspires you in your day-to-day work?
I am inspired by the artist and painter called Taga Nuwagaba [he is the proprietor of Taga Frame in Bukoto], and I looked up to him at the onset of my career. He is a big hero of mine. [He pauses to greet someone entering his office in Rukiga.]
I have also been inspired by the late Festo Karwemera, who was the greatest Mukiga writer and a real genius; and my teacher in school, Professor Mark Olweny, who is a professional architect, and the business tycoon Omar Mandela who inspires me to create a business empire out of animation and cartoons.
How was it growing up in Kabale?
I was a very stubborn person growing up, but I had a disciplinarian dad who made sure my stubbornness was channeled in the right direction, but when he passed on, I was raised by a single mum who ensured that I was always on the right path despite the tragedy of losing my father at an early age.
I remember back then, at the age of nine years, I had thoughts of being a great artist. Despite my love for art, I preferred mathematics, and I saw art more like a secret affair and something I did to amuse my friends. I was very terrible at love affairs; love wasn’t my talent.
Which schools did you go to?
I studied at Greenhill Academy, Shimoni primary school, and Buganda Road back in the day when my father was trying to establish himself financially, which led me to move from school to school.
For my secondary education, I went to St Mary’s College Kisubi for both my O-level and A-level, and my six years there gave me a foundation in self-discipline and self-control. For University, I originally wanted to pursue my Bachelors in animation from the prestigious California Institute of the Arts (Cal Arts), but the high tuition costs led me to pursue architecture instead at Uganda Martyrs University Nkozi and in 2021 I got a scholarship from Netflix to pursue a master’s in Animation, in France.
Hmm, not entirely Kabale-raised, then! What has been your biggest achievement as an animator?
The biggest achievement is the completion of a boot camp with the support of the French embassy, where we have trained over 20 animators. The other big achievement that I can highlight is the completion of four animated films called Cartoons from the Source of the Nile.
Have you received any awards for your work?
Yes. Katoto studios won Best YouTube Channel at the Social Media Awards, and we also won Best Animated Short Film at the Uganda Film Festival.
So, what has been your biggest challenge as an animator?
So far, my biggest challenge has been securing sufficient capital to use to elevate Ugandan animated film on the global stage, through production of a full-length animated feature for theatre release; it has been impeded by the failure to find partners who share our goals and vision.
What can fans expect from Katoto Studios?
Fans should expect a whole universe of relatable characters who are just exciting. What advice would you give to young Ugandans who look up to you?
I would advise them to stick to mastery and always keep in mind that practice makes perfect. They should always have the end goal of pursuing perfection in anything they do.
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