Today is a big day. What started as a side project to wrangle a few hundred freelancers in New York, has become a resource for more than 10,000 creatives and some of the most innovative companies in the world.
Years of feature requests, conversations with creative leaders and hirers, as well as feedback from our members have culminated in the single biggest update in Working Not Working's five year history. While our mission remains the same, the site will look a lot different when you next sign in.
The Top Companies WNW Creatives Would Kill to Work for Full-Time 2016
The freelancing movement continues to climb, now making up 35% of the U.S. workforce. That rising desire for freedom and variety only offers a more powerful barometer to see which companies are adapting to the modern climate and offering enough goods to attract the best creatives.
Read MorePROFILES OF THE WEEK: OCTOBER 24TH
PROFILES OF THE WEEK:
OCTOBER 24TH
Jen Dodaro, Designer. Los Angeles.
Mekhi Baldwin, Designer. Oakland.
Samantha Siegel, Art Director. Los Angeles.
Chas Barton, UX/IA Designer. New York.
Jessica McGowan, Designer. Brooklyn.
Matthew Poitras, Copywriter. New York.
Kat Street, Art Director. Boulder.
Bill Spangler, Producer. San Francisco.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Overshare Podcast: Leta Sobierajski + Wade Jeffree
Overshare Podcast: Leta Sobierajski + Wade Jeffree
Overshare is a new WNW event series and podcast that promotes honest conversations about the realities of being an independent creative. To kick things off, more than 50 people came together in a dive bar in New York City in February to hear creative couple Leta Sobierajski & Wade Jeffree open up about everything from getting paid to getting rejected to their ongoing collaborations. There were even some highbrow detours to discuss important topics like squatty potties and choice curse words.
Leta and Wade, both Brooklyn-based multidisciplinary designers, had been married for just three weeks at the time of their conversation with WNW co-founder and heavily bearded host Justin Gignac. When asked if it is tough to be in a relationship with someone in the same line of work, Leta explained, "It’s really relieving actually. When either of us come home we’re able to talk about every minute detail of our days and the projects that we’re doing, and we understand each other completely which is great. I don’t think that I could be in a relationship where our lives are so different and so separate that we don’t understand what the fuck we’re doing."
The whole point of Overshare is to shine a spotlight on the struggles as much as the triumphs. Leta had this to say about the risks involved and impetus for clearing the slate and taking the leap into freelance: "I didn’t like the people I was working with. I didn’t like my boss. The company wasn’t doing so good, and so it just got to a point where I was like 'Fuck this. I know what I want to do. It’s time to start over.' I wiped my portfolio completely from all of the work that I had done for the past three years, and just started loading it up with personal projects. That was really scary."
It's clear that Leta & Wade can't imagine doing anything else. Wade opened up about the feeling of purpose that design affords him and why it drives him to continue to grow as a creative: "There is a power in graphic design and design in general to not only influence culture but empower people. And I think there’s something really beautiful in that."
For those of you who couldn't join us, we have good news: you can listen to the entire conversation below on our new podcast, sponsored by FreshBooks. Subscribe to Overshare on iTunes, Soundcloud, or with any other podcasting app via our RSS feed.
A heartfelt thanks to FreshBooks for sponsoring this episode of Overshare. FreshBooks is a ridiculously easy cloud accounting software for freelancers and small business owners. It makes your accounting tasks easy, fast and secure. You can start sending invoices, tracking time and capturing expenses in minutes.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us.
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WATCHING NOT WATCHING: STRANGER THINGS
WATCHING NOT WATCHING:
STRANGER THINGS
The beauty of Netflix is that an addictive new series will appear seemingly from thin air, ready to be discovered in its entirety. And then the word will spread, slowly but surely. Stranger Things is a perfect example. An unassuming trailer popped up at the start of summer, and now you're telling (or being told by) all of your friends that it's the best thing since [enter 80s reference here]. Fans are obsessing over every aspect of the show, from the 80s allusions to the haunting electronic score to the glorious opening credits, co-designed by WNW Member Arisu Kashiwaga.
Below, we talk to four WNW Members (Ben Stafford, Phillip Van, Ann Shen, & Evan di Leo) who love the show as much as we do, and approach the discussion with a consideration for how the show can inspire their creativity. A few of them love Stranger Things so much they even threw in some awesome fan art. A special thanks to WNW Member Ida Kristina Andersson as well for perfectly rendering the majestic life form that is Winona Ryder.
*Light Spoilers & Nerding Out Ahead
What was it about Stranger Things that hooked you?
BEN STAFFORD: I ended up watching four episodes the day it came out (July 15th) and the remaining four the following day. It felt more like a movie experience rather than your typical episodic TV show. There's a certain beauty to what Stranger Things was able to do in 8 episodes that most shows can't do in 22. They were able to tell a clear story, make the viewer care about the characters and how they developed and changed over time and they managed to keep the pacing just. Here's where I'm giving out some "A+'s": child actors/actresses, theme/score, title sequence, set/prop/costume departments and the many nods to the classics it borrowed from in Season 1.
Am I gushing too much? Likely. But I know what it feels like to care passionately about what you're making and hope other people receive your vision and love it as much as you. I'd say the Duffer brothers can be confident in knowing their vision has been accepted and applauded. So from one artist to another, well done and here's to Season 2!
PHILLIP VAN: The aesthetic! Then the performances. Then the story. In that order. The look and feel of the show is pure nostalgia. For any 80's kid, resistance is futile. Every reference gave me a pleasant, even unnerving sensation, tapping into a weird part of my brain that has been dormant since the 80's. Sorry to my brain, which I just completely sold out. Who didn't love The Goonies, E.T., Explorers, The Lost Boys and Close Encounters growing up? The series also mines darker films like Nightmare on Elm Street and Altered States. Granted, none of this is original, but that's the point. It's the jigsaw construction of references that makes the whole collage so ridiculously enjoyable.
Then the performances got me -- the kids they found are insanely amazing. And they clearly all trained at whatever kid acting school Sean Astin and Corey Feldman graduated from before making The Goonies. Not Eleven though -- she's even better -- she definitely went to whatever school Natalie Portman came out of before making The Professional. Around the end of episode 3, the story really kicked in, the pace picked up, and I found the premise more original than I assumed it would be.
ANN SHEN: I love spooky mysteries that dip a toe into horror but not quite because I can be such a chicken about real horror films (like The Exorcist) or disgusted by the gratuitous torture gore-fests that’s the trend nowadays. But as a child of the 80s and early 90s, these sci-fi mystery/adventure stories were the best! Stranger Things walks that line SO well. From the opening mystery to the variety of characters, there’s so much for anyone to connect to – and the opening titles are so good, the set details are fantastic, and the soundtrack sets the perfect mood. It’s all so familiar yet completely original.
EVAN DI LEO: I had a very vague ‘you have to watch this show’ recommendation from a friend and knew little else about it. It quickly became obvious this was going to be a show I needed to spend the time with. It feels like just a fantastic love letter to a very specific flavor of film and media from our childhood... even in an age where huge chunks of film and media companies are trying desperately to capitalize on that nostalgia. This show just hit all the right notes.
Which of the three storylines (the kids, the teenagers, or the adults) did you like most, and why?
BEN: Without a doubt, it's the kids who stole the show. The boys' chemistry was great, but the most captivating character was Eleven. I loved the way she learned how to be a friend and what it meant to care for others. I think the group's bond grew tighter and gave them more confidence the more time they spent with Eleven.
PHILLIP: The kids, definitely. I mean, other films and shows have conjured the 80's, Like Halt and Catch Fire, Freaks and Geeks, Donnie Darko, House of the Devil, but until now, none have nailed the feel of the KID FILMS of the 80's, which were arguably the most important ones. Tarantino craps on the 80's a lot, but one thing he can't crap on at all (is saying crap twice) is that there was never another era that made kid films the way the 80's did. Don't get me wrong, Spy Kids is great (haven't seen it), I love Harry Potter (totally lost track) and Pixar is Pixar (nothing to add to this, Pixar IS Pixar) but where are the kids riding around on BMX bikes late at night to deal with the secret nature of reality using DIY contraptions they built in their basement???
That having been said, the teenagers' story exceeded my expectations. Charlie Heaton reminded me so much of River Phoenix that he actually feels like he time traveled to the present to shoot this show. (What kind of day rate would he get for that?) I love how his story basically turned into a class struggle -- blue collar misanthrope vs. white collar preppy kid and his terrible wealthy friends. It was also a classic test of faith. In the 80's, if you believed in weird stuff, the rich conservative kids would beat the hell out of you. The Duffer Brothers totally channeled 80's writers, addressing the worst of Reaganism, specifically the intolerance Reagan supporters had for anyone who thought or acted differently. Thank God we live in a better era now, where the idea of a megalomaniacal Republican out to poison our minds and spread fear and hate is an unimaginable nightmare, relegated to the distant past.
ANN: The kids! Their story was so reminiscent of those 80s childhood stories about coming of age, being full of hope, and doing the right thing. Eleven is such a great character -- she’s so strong and powerful, expresses the hell out of the show, and barely says 10 words total in the series. Kids have such rich internal lives, and it was so great that some of it started spilling into the adults’ reality in Stranger Things, most exemplified by when the adults start using the kids’ fantasy vernacular to describe what was happening.
EVAN: I think probably the Mom's story, or the Adults is the most interesting. The show does a fantastic job showing you three distinct perspectives, or really four if you count Eleven as a separate line. Watching the show now as adults we can relate to those nerdy kids because we were those kids. We were those angsty teenagers. And there's piles and piles of great (and not so great) films about these stages of growing up. But Stranger Things has a very relatable and real take on parenthood as well. On adulthood. That’s something thats largely missing from these other coming-of-age films. And to use sci-fi/paranormal devices to explore real loss and relationships. "People think I’m crazy, I know I sound crazy… but I can FEEL him." It's very compelling.
Is Stranger Things, and television in general, a source of creative inspiration or escape for you?
BEN: I believe it's both. I love tv shows with stories that engage and make me think. It helps spark new ideas and causes me to approach my work differently.
PHILLIP: A creative inspiration, definitely. An escape, not so much. I always get a little worried when people tell me they watched something because they "needed to escape." Not to get pedantic, but all good stories involve conflict. Most involve extreme conflict. Saying I watched Stranger Things to escape feels like saying I played Call of Duty to go to my zen place. If dying on a battlefield in Frankfurt is my form of meditation, something's wrong.
But seeing such insane love for the 80's on full display is inspiring, to say the least. I've read articles about how the 80's are a fully exhausted era in film and TV, but if anyone gave a sh*t about what those cynical writers looking for a clickbaity headline had to say, Stranger Things wouldn't exist. Sorry, just venting. Stop attacking the 80's!
ANN: Oh definitely a source of creative inspiration. Even though I love nothing more than something brand new to marathon as my preferred method of chill, I always inevitably get inspired by what I’m watching. It helps that I tend to be drawn to things with great stories, strong characters, and obsessively addictive qualities (inspiring me to think of why, and then hopefully adapting it for my own work).
EVAN: It definitely is. There's so many amazing things happening with television right now. Literally too many. I can’t keep up. And theres a lot of lessons on storytelling and writing and aesthetics there as well. There are lessons in studying painting or literature or music or photography… but television and film combine so many disciplines. And of course to let yourself get carried away in a good story, it's a great source of escape.
Complete this sentence: If you like ________, you’ll love Stranger Things.
BEN: I'm being redundant with what most are saying but I have to say E.T. The Extra Terrestrial. I watched it soon after finishing the show to help fill that Stranger Things-sized gap in my life.
PHILLIP: The Goonies / The 80's / Trapper Keepers / BMX bikes / Dark Crystal / Golden Era Spielberg / Joy Division / David Bowie / The Lost Boys / Television.
ANN: E.T. / Goonies / Winona Ryder / The 80's / sci-fi mysteries / Are You Afraid of the Dark
EVAN: John Carpenter / Stephen King / The Goonies / Synthwave. Yes Yes Yes Yes.
What other shows, new or old, do you recommend to fellow WNW Members?
BEN: My favorite drama shows are Lost and Breaking Bad. Hard to beat those. If we're talking comedy, you can't go wrong with Parks & Rec, The Office, Community or Arrested Development. And I'll always have a special place in my heart for Survivor. I haven't missed a season since it first started when I was 14.
PHILLIP: Halt and Catch Fire -- the only other super amazing 80's thing I've seen recently. I'm also just getting into Documentary Now! and it's criminally funny.
ANN: So my old reliables aka shows I put on all the time when working (which is a lot) include: Bob’s Burgers, Buffy the Vampire Slayer, Parks & Rec, 30 Rock, and Gilmore Girls. Shows that are currently on that I’d recommend: Scandal, How To Get Away with Murder, Unreal, Master of None, Fresh Off the Boat, The Mindy Project, Sherlock, and Game of Thrones (I held out for a long time on this one, but I am now in deep). As you can probably tell from this list, “Shows featuring a strong female lead” rank high on my Netflix recommendations.
EVAN: I'm a HUGE fan of Peaky Blinders. I'm a sucker for Crime Family stories and this one is tremendous. The dialogue is cutting and brilliant. There are so many strong and compelling characters. The period setting is beautifully realized. The music and art direction are top notch. Oh and the cinematography. The costuming. The lighting. Pretty much everything they do, they do well.
Stranger Things does a great job of functioning as an homage to so many great shows and films before it, while also establishing its own original personality. How do you achieve a similar balance in your own work when drawing inspiration from other subjects and artists?
BEN: That's a great question. I think they stole the best part of the greats and were able to create something fresh yet familiar. It's very much like how J.J. Abrams' The Force Awakens was widely accepted. I think both of these camps knew what struck a cord with people when it came to the originals and were able to capture that for their own benefit and story.
I look at masters and study their work in hopes that I can take the best parts of their work and convey similar feelings in my own. The more I study, the more I'm able to think like the masters instead of straight up lifting their work or ideas. I think that's the balance everyone hopes for. I'm no master, but if I can pay homage or if people can notice similar tendencies, I'll be satisfied.
PHILLIP: If I'm making anything that's an homage to anything else, I wear my references on my sleeve. I don't claim something is mine when it isn't. I try to write a love letter to the thing I'm referencing in a way that I hope flatters rather than mortifies the original makers of that thing. A dedication is worlds apart from a theft. One is the upside-down version of the other. Sorry. Half-baked Stranger Things reference.
ANN: First, I make sure to draw from a large and diverse pool of inspiration – from Rococo paintings to John Singer Sargent to fashion illustrations of Rene Gruau to mid-century children’s book illustrators and designers to Parisian building signage, the list goes on. I study what works and what’s appealing to me about their work -- the design, the light, the color, the lines. Then I put the inspiration away and try to find ways to apply it to my own work. And it always starts with that -- design, value, color, lines.
EVAN: This is a tricky one I think. Finding your own voice is so important as a creative person. But I also think that it's good to study the artists and work that you are moved by. You can't create in a vacuum. It’s good to know and hold up work that you really love so you have something to aim at. I think especially for those starting out, you can let go of trying to be unique or have a voice and just study work that you love. Do the work. Learn your craft. And in time your voice will emerge.
What are you working on these days?
BEN: I do a fair mix of editorial illustrations and logo/branding work. I've only been professionally illustrating for the past couple of years but it's been fun to test the waters find what I'm truly passionate about. I've got some big goals so as they say, "I've only just begun."
PHILLIP: A pilot! And that's all I can say about that. Also, commercials. I'd love to do an 80's inspired one. I wish brands just made straight up 80's commercials for their products again. Can't we all collectively agree to deny that the present exists? If we did, maybe it would disappear forever. Alright, I am a bit of an escapist. I'll admit it. Talk to me after the election.
ANN: Lately I’m doing a lot of publicity for my upcoming book, Bad Girls Throughout History, coming out with Chronicle Books on September 6! I’m also in development of a couple big illustration projects that will be coming out next year, so there’s a lot of juggling happening right now.
EVAN: I’ve been spending time really trying to sharpen up my traditional drawing chops as well as get deeper into digital painting. I do a lot of sketching, drawing people I are memorable walking around New York. And a lot of time painting in photoshop. I’m also developing a short film with my good friend and partner Ashley Becerra that will be a sort of surreal character study. Exploring the complications of expectations in personal relationships. It’s been very fun to explore a idea without a brief or client to tend to.
Want to nerd out about the shows and films you're watching? Email us.
MEET FRANZISKA & HANNA BARCZYK, THE ILLUSTRATING SISTER ACT
MEET FRANZISKA & HANNA BARCZYK, THE ILLUSTRATING
SISTER ACT
We're always interested in learning how creatives are inspired by those around them. That's why we started interviewing Creative Couples last year. Now, we're excited to talk to two WNW Members who have known each other their entire lives: Franziska Barczyk and Hanna Barczyk. In our interview below, the Toronto and New York-based sisters tell us about their creative evolutions as illustrators, how they inspire one another, and where their styles bridge and divide: "The approach to subject matter is similar as we both have a strong focus on women, movement and the figurative but the approach differs as Franziska’s work is narrative and Hanna’s conceptual." While they have their own practices, they'll be joining forces for their first show together in Toronto on December 8 at Coldstream Fine Arts Gallery.
Tell us about your creative backgrounds. Who are Hanna & Franziska and how did they get here? How did you both end up becoming illustrators?
Franziska: Growing up I’ve always had an interest in drawing as well as the arts in general, such as performance and dance. I went to the University of Toronto for two years where I took art history and visual culture. I also had the chance to take painting and printmaking classes. My sister at this time was enrolled in the illustration program at OCAD U. This is when I saw that art/image making can be applied. I switched over to OCAD U and then graduated two years after my sister. I have since been going back and forth between graphic design and illustration. And even though I’ve worked in the agency environment and also as an in-house graphic designer, I kept drawing in my free time and was involved in gallery shows. Finally, I decided to focus on illustration full time. I’ve also worked as a studio assistant for Edel Rodriguez (2010) and Christoph Niemann (2014-2015), both who I look up to as mentors. It’s the continued interest to want to create stories through drawing that make me continue to do illustration.
Hanna: I’ve always known I wanted to be an artist. When we first moved to Canada from Germany in 1996, we walked past the Ontario College of Art and Design (now OCAD U) as part of getting to know Toronto. I knew that I wanted to study there in the future, and I ended up getting accepted into OCAD's drawing and painting department. In my first year walking through the halls, I noticed illustrations exhibited on the wall and reached out to my teacher. I then switched my major to Illustration. I graduated in 2006 and have since been involved in many creative industries from mural painting, film, graphic design and dance. Since 2013 I solely work as a freelance illustrator in between NYC and Toronto for major publications.
What do your parents do?
Our mother is a social worker and our father is a historian.
How would you describe each of your creative styles? What similarities and differences do you see in your work?
Hanna’s style is more rooted in the hand-drawn traditional medias with a minimal colour palette. Franziska’s work is mainly digital with a wider colour palette, using gifs and incorporating collage. The approach to subject matter is similar as we both have a strong focus on women, movement and the figurative but the approach differs as Franziska’s work is narrative and Hanna’s conceptual.
What are your three favorite pieces in your sister’s portfolio and why?
Franziska: My favourite pieces by Hanna are: ‘Blue couple’, ‘The Iraqi Friends We Abandoned’ for The New York Times and ‘Perfectly Imperfect’ for The Los Angeles Times. To me they are strong, smart and sensual visual solutions.
Hanna: My favourite pieces by Franziska are: ‘Shape Woman’, it’s visually fun, confident, and has a a great mood. ‘Portrait of Jon Stewart’, captured his personality well, and ‘Skype Kiss’ which I feel captures a full story in a short gif animation.
In what ways do you inspire each other? Do you ever get competitive?
We inspire each other by sending each other links to other artists, magazines, fashion, and interesting blogs. When we are in the same city we spend more time talking and inspiring each other through stories and ideas. We might have a sense of an unspoken competitiveness.
What are you each working on now?
We will be having our first duo show together in Toronto on December 8 at Coldstream Fine Arts Gallery so we are working on paintings for that as well as numerous editorial projects.
What cultural and creative venues do you frequent (arthouse theaters, galleries, museums, bookstores, record stores etc)?
In NYC: Whitney, MoMA, MET, Guggenheim, Printed Matter, David Zwirner gallery, and other galleries in Chelsea, the Strand bookstore and cafes
In Toronto: AGO, Swipe Design book shop
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
We both prefer working independently. It’s important to find out for yourself when you are most happy with your work. It’s important to get feedback when you are first starting out, not necessarily from a community but from a mentor. Once the work is finished it’s great to showcase it to the creative community.
Who are some of your biggest creative idols and influences?
Picasso, Matisse, Frida Kahlo and Hockney
If you weren’t an illustrator, what do you think you’d be doing instead?
A film director or dancer
What do you do when Not Working?
Dance.
What are some things you would tell your high school or early twenties self?
Not to wait for approval but make choices independently.
Any album, film, television or book recommendations for your fellow WNW members?
Film: Victoria
Book: Italo Calvino's Invisible Cities
Art books: Soy Cuba, The Push Pin Graphic, Mexico Illustrated and any Blexbolex books.
Albums: Erik Satie, FKA twigs, Astor Piazzolla, Frederico Aubele, Orchestra Baobab, Ismael Rivera, Willie Colon, Hector Lavoe.
Who are some other WNW members whose work you admire, and why?
Emiliano Ponzi: amazing sense of depth, perspective and sensibility towards subject matter and mood.
Jordy van den Nieuwendijk: treatment of colour, the simple compositions, fun
Olimpia Zagnoli: the way shapes are used to create compositions, simple, confident
Lynnie Zulu: stylistic, simple, emotional, sense of confidence and openness
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
MEET THE TOP SVA, PRATT, & CALARTS GRADS
MEET THE TOP SVA, PRATT, & CALARTS GRADS
Part two of our 2016 Top Grads feature is here, celebrating the best of the best from the School of Visual Arts, Pratt Institute, and CalArts. You can check out part one here, featuring grads from VCU and RIT.
At Working Not Working, we pride ourselves on bringing together the world's best creatives. With thousands of creatives trying to join the community, we end up giving the green light to only about ten percent. But as you can imagine, evaluating the portfolio of a Creative Director with tons of years of experience is a bit different than reviewing a student who has yet to graduate. We're excited to find the best up and coming talent and watch them grow into those leaders. WNW's Director of Talent, Ashley Nowicki, discussed the process for selecting schools to scout and what goes into evaluating recent grads in part one.
You can further explore the portfolios of 2016 SVA grads using the newly launched SVA app. It highlights the work of students majoring in Advertising, Design, Interaction, Motion Graphics, New Product Development and Design, and 3D with the ability to favorite the students you want to potentially collaborate with now or down the road.
School of Visual Arts
SVA Art Directors
SVA Designers
SVA Motion Designers
SVA UX/IA Designers
Pratt Institute
Pratt Art Directors
Pratt Copywriters
Pratt Designers
Pratt Illustrators
CalArts
CalArts Designers
Global CCO Talks VML’s Success, Kansas City & Women in Advertising
Earlier this week, we spoke to Kim Easley, VML's Managing Director of Talent Acquisition, who shared some indispensable insights into VML's cultural evolution, and what she looks for in a creative hire. Now we're catching up with Debbi Vandeven, VML's Global Chief Creative Officer, who continues the discussion. Like VML itself, Debbi is rooted in Kansas City, but now works with VMLers and clients across the agency's twenty-eight offices on six continents. Below, Debbi discusses how you can find success in advertising, where to get creative in Kansas City, and why she champions women in advertising: "I’ve been well-supported in my career and I owe the same encouragement and help to the women I work with each and every day, plus the generations of talented women yet to start their careers."
Tell us a little bit about your creative background. How did your path lead you to CCO at VML?
I’m an avid KU Jayhawk fan, so you should know my love for creative was brought to life at the University of Kansas where I studied design. That continued with my master’s in marketing and advertising.
I have worked for smaller creative shops, agencies and even client side until I opened my own small design shop and gained invaluable experience managing the business as well as the creative. In 2000, I had an opportunity to work at VML, creatively leading key accounts such as Colgate-Palmolive, which I couldn’t pass up — the client list was growing quickly and it gave me the ability to work with many top-tier brands. With hard work, perseverance and a focus on building great client relationships I moved into executive management and ultimately the global CCO role. The rest, as they say, is history.
As global CCO at VML, I now have the opportunity to work with VMLers and clients across our 28 offices on six continents.
We just launched an event series called Overshare, where we interview successful creatives about their career challenges. What were a few definitive moments or turning points that had an impact on who you are today?
There have been two main challenges (and opportunities) for me — strengthening VML’s creative reputation and expanding our operation globally.
VML was focused as a digital agency leading technology-based project work for many years. We worked hard to strengthen our creative product and open the doors for new engagements. This led to more agency of record relationships — first digital, but over the last few years as lead agency partner. I’m proud of what we have accomplished and the work that is improving our clients’ businesses.
The second challenge was managing global expansion. Not only was VML a Midwest-based agency growing within the United States, but it was also growing around the world. Finding the time to bridge cultural as well as time zone differences still proves challenging, but is worthwhile. I’m proud of the connectivity we have as creative leadership and how engaged all our teams are in working together to grow our client footprint, as well as how active everyone is in collaborating on work together.
I believe the top three qualities for success are an equal mix of talent, good social skills and fearlessness when you enter the field. As a leader I would add empathy as a skill that needs to be mastered to build great teams.
For someone entering the field of advertising today, what do they need to succeed? How has that changed from when you started the career?
I believe the top three qualities for success are an equal mix of talent, good social skills and fearlessness when you enter the field. As a leader I would add empathy as a skill that needs to be mastered to build great teams.
To me, these qualities for success haven’t changed since I started my career. But as our channel options to engage with consumers continue to grow, creatives need to be more and more curious. Looking for inventive ways to tell a brand story is a necessary ingredient for success.
What separates VML from other agencies? How have you seen the identity of VML evolve over the years?
VML has a unique balance between creativity and technology — there are really no boundaries to what we can do for a client partner. Whether our work manifests itself in communications or experiences, it is about driving a human connection between brands and their consumers.
We have gone through many evolutions — from ad agency to digital agency to contemporary marketing agency today. The industry has siloed agencies for too long and we’re seeing the walls break down for VML, and our clients are taking notice.
I am very proud of VML’s involvement in celebrating Olympic values and what we can all learn by coming together.
Which campaign are you most proud of?
I have many favorites so it is difficult to pick just one, but I love the work we just completed with the International Olympic Committee (IOC). The IOC selected VML to lead the creation of its public service announcement in preparation for the Olympic Games Rio 2016. The PSA, meant to inspire, evoke emotion, and engage people around the world, is a beautiful piece of creativity that celebrates the theme, “Together We Can Change the World.” It showcases the Olympic Games as a force of good that aims to build a better world through sport. We enlisted Questlove as executive producer to create the soundtrack for the PSA by rerecording the song “The Fire,” originally by Questlove and The Roots, with top recording artists from across the world, including Yuna, Lenny Kravitz, Nneka and Corinne Bailey Rae. In addition, as a part of the PSA programme, on Olympic Day, June 23, we will launch a global social movement to support Olympic peace. I am very proud of VML’s involvement in celebrating Olympic values and what we can all learn by coming together.
My second piece would be the work we did this year with Gatorade and Snapchat surrounding the Super Bowl. The Gatorade dunk is a Super Bowl tradition, and we took it to a new level by utilizing a sponsored lens on Snapchat to bring it to life. Using object-recognition technology, the lens allowed consumers to virtually participate in a Gatorade dunk. It was a perfect mix of taking something iconic and giving it a modern twist.
I’ve been well-supported in my career and I owe the same encouragement and help to the women I work with each and every day, plus the generations of talented women yet to start their careers.
You’re a well-known champion of women in advertising. Why is supporting women in the industry an important cause for you? (Other than the fact that you’re a woman.)
It’s important to have women in advertising. According to Nielsen, market estimates about their total purchasing prowess varies, but it is as high as $15 trillion annually. It’s a disservice to our clients and the brands we represent to not have that point of view of women in the work we create.
Our industry doesn’t have the best reputation for being a champion of women, and we need to change that in our agency cultures and our work. It’s our responsibility in leadership to drive this transformation. To be role models. To be mentors. To be a sounding board.
I’ve been well-supported in my career and I owe the same encouragement and help to the women I work with each and every day, plus the generations of talented women yet to start their careers.
What’s the creative scene like in Kansas City?
Kansas City has a growing creative scene — here are some of my favorites for when I am out and about:
Nelson-Atkins Museum of Art — check out the collection of Chinese paintings; Yelp ranked the Nelson-Atkins as the No. 1 museum in the U.S., above New York’s Metropolitan Museum of Art
Kauffman Center for the Performing Arts — a wide array of performance options including Kansas City Ballet, Kansas City Symphony and the second-largest TEDx event in the U.S.
Arts District — a great place to land on the first Friday of the month as art galleries open their doors to the public, music can be heard on the streets and beverages are welcome
Music Venues — Kansas City is known for its music heritage, specifically jazz and blues, and it is thriving today — the choices are endless for live music
What’s the best advice you’ve received?
This is simple. Follow the Golden Rule. Treat others as you would like to be treated.
What’s your favorite advice to give?
This may sound crass, but don’t hire assholes. Build teams that focus on making the work better, putting the collective “we” before themselves.
Work that excites me is the work I wish I would have completed. Work that has never been done before. Work that is solving a problem in the world. Ideas that are so brilliantly obvious that you wish you would have thought of them yourself.
You’ve served on a lot of award juries like Cannes and The One Show. What kind of work excites you?
Work that excites me is the work I wish I would have completed. Work that has never been done before. Work that is solving a problem in the world. Ideas that are so brilliantly obvious that you wish you would have thought of them yourself.
What do you do when not working?
Spending time with my family is my top priority, and we like to see movies and go out to dinner. My other past times are running and reading (Game of Thrones and The Walking Dead are guilty pleasures). If it’s a nice day you can find me either out on a jog in my neighborhood or on my patio in my comfy chair with my Kindle.
GET TRUMP'S TAXES AND SELL GUNS TO GOOD GUYS AT THE GOP ARCADE
GET TRUMP'S TAXES AND SELL GUNS TO GOOD GUYS AT THE GOP ARCADE
Deemed too offensive for the app store, the GOP Arcade lives on here, and the silver lining is it's more free than freedom. WNW Members and frequent collaborators #20 Brian Moore, #22 Chris Baker, #2444 Mike Lacher, and William Herring are the minds behind these satirical slants on classic arcade games. You can now "Get Trump's Taxes", "Bomb the Right Place", and if you're feeling especially adventurous, why not try your hand at "Science Fighter", "Good Guy with a Gun" and "Trump Toss"?
We spoke to the guys about how their collaborative efforts bring out the best in each of them, as well as the balancing act of satire with this particular joint effort: "We tried to make all the games come from the same point of view, that of the GOP. Keeping that consistent let us be pretty silly while rooting it in satire. We also hope to include more than a few games that are underhandedly educational. Like 'Bomb the Right Place,' which can actually sharpen your Middle Eastern geography."
They even offer their predictions for the 2016 election: "Trump! We can’t wait to be the target of his sweeping new libel laws!'
How was the idea for the GOP Arcade born? Have you ever shied away from bringing politics or mainstreamed beliefs into your work?
We tend to make a lot of dumb internet jokes together, and we’d been thinking about making more games. We figured the election would be fun topic to make a bunch of really short, topical games about. Some of our stuff is more political than others. A couple years ago, Baker and Lacher made this simple page joking about the NSA and it quickly spiralled out of control (millions of views in a day and hackers actually using the hashtag we made to rally together and bring down The NSA’s website [no joke]).
What was your reaction when the App Store rejected the GOP Arcade, which now lives here? Do you carry that rejection like a badge of honor?
At first, sadness, pain, anger, regret. Late night phone calls filled with tears. Angry screeds cut from magazines and mailed to Tim Cook. Chris made a crude voodoo doll that resembled Jony Ive which he ran through the microwave a few times. But then we figured we could put the games on the web and reach more people that way.
How do you balance going so over the top that it’s clearly satire, without just going over the top? What are some of the challenges that come with a project like this?
We tried to make all the games come from the same point of view, that of the GOP. Keeping that consistent let us be pretty silly while rooting it in satire. We also hope to include more than a few games that are underhandedly educational. Like Bomb the Right Place, which can actually sharpen your middle eastern geography.
Were there any arcade games that you were toying with that remained in the ideation stage?
We’ve got a pretty long list and we’re hoping to build as many as possible, so we haven’t written anything off yet. Some of the games we’re excited about are Restroom Defender, Mavis Beacon Teaches Trumping, and maybe a tower defense game where you try to stop minorities from voting.
Who do you think will be the 45th president?
Trump! We can’t wait to be the target of his sweeping new libel laws!
How long have you all been collaborating on projects? How do you enable your partners to reach their creative potential? Are your partnerships built on having similar styles, or is it more a chemistry of differences?
We’ve been working together for about four years now, and have done quite a few projects. Everything from apps to videos to bots. At this point we’re pretty familiar with everyone’s strong suits and we just let people do what they do. Conceptually, we’re all on even ground, but Mike and Brian lead on the development side of things, while Baker, a copywriter by trade and thus fairly useless in the normal development cycle, plays more of a producer role, like when he wrangles outsiders to step in and help out where needed.
Who are some of your creative idols and inspirations?
Our Slack channel mostly consists of this video and screenshots from LinkedIn. Maybe those are our muses?
What’s next?
We’ll be making more games as the election approaches. Brian just spent the money from his last six jobs on a VR-capable computer with seventeen GPUs and neon underlighting, so maybe we’ll do some of that.
Anything else you’d like to add?
Chris would like to add that he will undercut any other freelancer’s rate by 30%, with a delivery of 60% better ideas. Recruiters, please contact him at once. And don’t ghost him!
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
What It Takes to Get Hired at FOUR32C
What It Takes to Get Hired at FOUR32C
Mark Jarecke moved to New York City in the early 90s to pursue a career in modern dance choreography. Now he's the Founder and Creative Director of digital design studio Four32C. Mark discusses this transition, what makes Four32C a unique studio, and why the work you do when not clocked in is so important: "We’ve nurtured a culture of curiosity. It’s important to us that we don’t rest on pretty or settle for the easy road. Whenever I’m talking to potential hires, I’m much more interested in the ideas and experiences they bring that aren’t related directly to their professional work."
Mark also goes into what keeps him creatively inspired, from teaching and studying yoga, to the searching mind of John Cage. "[He] taught us to really see the world around us, everything is already present if we just listen and pay attention. We don’t have to try as hard as we think we do. As designers and creatives, possessing strong observational skills and understanding that power is very inspirational to me."
Tell us about your background and your career journey.
I studied dance and philosophy at the University of Nebraska (Go Huskers!), then moved to New York City in the early 1990s to pursue a career in modern dance choreography. While I was taking classes at Merce Cunningham Studio and showing my choreographic work at downtown venues, I worked part-time at the Laban/Bartenieff Institute of Movement Studies (LIMS), helping them with tech support. Back then, tech support meant connecting Mac desktops through LANs or setting up printers, but the experience gave me a good foundation for what would become a career in design and digital technologies.
After working at LIMS, I eventually landed design jobs at both small and not-so-small digital agencies in New York, which led to becoming a designer (then creative director) at Condé Nast Digital. These were early days of publishing websites and I had the opportunity to lead the creative teams that designed and built CN websites such as Style.com and Epicurious.com.
How did you end up starting FOUR32C?
After nearly 8 years of leading the creative teams at Condé Nast Digital, I decided to jump ship and start my own design studio in 2009. I met and worked with many talented people at Condé Nast Digital, and I was fortunate to have former CN colleagues Mike Lee, FOUR32C’s Design Director, and Elizabeth Stafford, FOUR32C’s Director of Strategy, join me at FOUR32C.
Describe FOUR32C in 3 words.
Question. Design. Make.
What does the name refer to?
The studio is named after a Pantone color that I like.
What about the culture of FOUR32C makes it an ideal place for potential hires to work?
Mike, Elizabeth, and I pride ourselves on the fact that we’ve nurtured a culture of curiosity. It’s important to us that we don’t rest on pretty or settle for the easy road. Whenever I’m talking to potential hires, I’m much more interested in the ideas and experiences they bring that aren’t related directly to their professional work.
I think many design skills can be taught, but having a point of view and passion are inherent in someone or they’re not. I always say that I like to hire people who’ve worked outside of the industry because they bring new perspectives without the baggage of assuming that there’s one way to do things. I especially like working with people who studied fine arts or have worked as artists or non-commercial researchers. People who are quirky and maybe a little bit bookish are the kinds of people who do well at FOUR32C. Plus, people who like to eat and like champagne.
What qualities are most important in a prospective hire?
A solid, thoughtful portfolio is a given, but creativity that goes beyond the portfolio—whether it’s a freelancer who likes travel or is a trained chef or writer or actor—those are the kinds of qualities that are exciting. Hard-working, curious, has a critical eye—those, too, are admirable qualities.
Which social networks do you prefer for stalking people, creative or otherwise?
Online portfolios are great, but I think Instagram is a terrific way to get a peek into what creative people are really like. Whether it’s a carefully curated presentation of their lives or it’s messier and more organic. The balance of words and images on Instagram offers an interesting peek into a creative person’s life. Plus, I’m always interested to see who they follow and who follows them.
What are you looking for in the portfolio of a potential hire that's unique to FOUR32C?
To start, I’m always interested in a careful consideration of typeface choices, coupled with a strong command of grid that is consciously broken. I appreciate patterns and scale choices, too. But I think what makes FOUR32C different is looking at the content of portfolio projects. What are these candidates thinking about besides type and grid? If they are thoughtful, passionate or have a weird streak, all the better.
How much time do you spend on each portfolio? And how long before you make a gut reaction on the portfolio?
It’s pretty quick. I usually get an immediate sense of who this person is and whether or not I want to know more. Starts with the gut first. Then the eye comes in and analyzes the choices they made. When first looking at a work by a designer, I notice where I look first, second, third to see if the designer understands how to call out hierarchy and guide my eye.
What do you judge first?
Taste. Everyone at FOUR32C needs a good sense of taste. Everything else can be taught.
What kind of talent makes you warm inside?
I’d say talent outside of design. If they’re interested in music, architecture, food—I’m interested in them.
What are some poortfolio trends you wish would go out of style? What drives you nuts, and what do you love seeing?
Over-designed resumes are terrible and I’m not a fan of SquareSpace portfolios. Either code the site yourself and let that be part of your portfolio or put it on WNW.
What's the best piece of advice you can share about portfolios, personal websites and resumes?
Show who you are as a person. Your interests and passions. The projects you choose to do are just as important as how well you did them.
What’s your favorite part of the job?
I really love starting with nothing and finding my way to a solution that ultimately seems obvious. Of course, it isn’t obvious, but when all research ends up pointing to a concept and a design language that holds together completely, that’s exciting.
What’s your creative outlet?
Yoga.
What do you do when you’re not working?
I have a nine-year-old son and a 16-month-old daughter, so when I’m not working, I try to spend as much time with them as possible. More often than not, we end up eating or cooking together. I also teach yoga and specifically the Rajanaka philosophical tradition is something that I’m trying to learn more about.
Who's your most significant creative or entrepreneurial inspiration?
John Cage taught us to really see the world around us, everything is already present if we just listen and pay attention. We don’t have to try as hard as we think we do. As designers and creatives, possessing strong observational skills and understanding that power is very inspirational to me.
Anything we didn't ask that you'd like to add?
Yes, I can do the splits (both ways).
ROBERT WHITMAN RECALLS HIS 1977 PHOTOSHOOT WITH PRINCE
ROBERT WHITMAN RECALLS HIS 1977 PHOTOSHOOT WITH PRINCE
Almost forty years ago, WNW Member #8507 Robert Whitman was just getting started as a photographer in his hometown Minneapolis. His friend was a manager for another up-and-coming creative, Prince, who was only 19 at the time and working on his first album. Robert agreed to photograph Prince for a brochure to help get him a record deal. Below are excerpts from Robert's interview with Billboard. Head over to Billboard for the full interview.
Interview by Billboard's Shannon Adducci
How were you introduced to Prince?
Owen [Husney] came over and said, 'You've got to listen to this.' He had heard this tape, I think it was "Soft and Wet." So we went in the car and drove around, listening to it, and it was just amazing. Owen was managing him and he had a couple of partners, including Gary Levenson. They said, 'We want to make a little brochure on him, to get him a record deal. Would you be willing to shoot him?' I said, 'Sure. I don't know what I'm doing, but I would be happy to.'
How did you conceive the shoot?
It ended up being three different shoots. I had a very small studio in the Kemps Ice Cream building [in Minneapolis]. I had one piece of seamless and a portable flash. We did the first shoot there. And then we did another session in downtown Minneapolis, out of which came one of the most iconic images, of him against a white wall with music notes. The building belonged to the Schmitt Music Company. And then we did another shoot at Owen's home. We shot him with Owen's dog, sitting at a table, playing the piano.
What was he like on set?
He was very, very shy. But he opened up to me and he was willing to play around, willing to try different outfits. I didn't know what I was doing, so I experimented. I put light behind his hair so his Afro was like a halo. We put sequins on him and then I put a scarf on the lens, but it didn't work. We took his shirt off. We had him blowing bubbles. This is all old analogue stuff. But he really opened up and we had some silly moments. He was young and was just starting and so was I.
What do you think of the photos, looking back on them?
They're so bad they're good. There are really some bad shots in there. I have about 17 to 19 rolls of film from that week, but there are only 20 or 21 photos that I've been showing (at exhibitions). There was some really horrible cropping. But there are some great expressions. I think I have some of the only photos of him where he has a smile on his face.
Did you ever see Prince again?
I had one moment with him many years later, maybe in the early eighties. I was in LaGuardia Airport, on the phone, and all of a sudden Prince walked by and said, 'Whitman, how are you?' I said, 'Fine, great,' and he walked off. And within a second all these kids were asking me if I could get them his autograph. I never saw him again.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: APRIL 18TH
PROFILES OF THE WEEK: APRIL 18TH
Matt Sundstrom, Illustrator. Portland.
Ezequiel Asnaghi, Producer. New York.
Madeline Moore, Art Director. San Francisco.
Scott May, Designer. Portland.
Leah Shea, Designer. Portland.
Veronica Corzo-Duchardt, Designer. Philadelphia.
Robyn Baker, Designer. Los Angeles.
Laust Deleuran, Creative Technologist. Portland.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
BUILDING AN APP THAT STRIKES A CHORD
BUILDING AN APP THAT STRIKES A CHORD
We have to admit: we almost called this post "James & Jamie Make Sweet Music Together." Alternative titles may or may not have included: "Two WNW Members Hit a High Note" & "An App That's Music To the Ears of Kids and Parents." Now that we've gotten our terrible music puns out of the way...
Members #10045 Jamie Kosoy and #10101 James Bartley created a game called Melody Jams, which just launched in the app store today. How do you play? You drag any combination of extra cute monsters up on a stage, where they start playing a tune with the instrument of your choice. You can add lots of monsters on the screen to create and compose your own songs. From there, you can tap to select instruments to play alongside them. It’s easy enough for a baby genius but fun for everyone, even parents.
Though collaborators on this large undertaking, Jamie and James have surprisingly never met. Living on opposite coasts, they figured out how to work together through what was James' first foray into app development, "We’re basically total strangers 3000 miles apart who decided to embark on this prolonged hack day together. Figuring out how to work through that took an immense amount of care and respect of one another, and I think we handled it well."
We spoke to Jamie and James about their experience, inspiration, and the educational opportunities of Melody Jams. They made it clear that this kid (and adult!) friendly game can be enjoyable for even the most tone-deaf among us. Jamie add, "I played saxophone and piano back in the day. I was terrible at both. I love Melody Jams because I can finally play music and sound good."
Tell us a little bit about your creative backgrounds.
James: I’ve been freelancing as a motion graphics animator in New York City for about 7 years now. I originally went to school for interactive but soon after graduating decided to follow my growing interest in animation. I’ve also played music my whole life and still casually play in bands outside of work. I’m super excited to be involved in a project that combines these worlds.
Jamie: I got a BFA in Multimedia before I went to work making movie websites for awhile. I always loved programming and art and motion and interactivity. I still kind of want to be a Disney Imagineer. After close to 10 years working at an awesome agency in New York, my wife and I moved to San Francisco to be closer to family and I struck out on my own.
How’d you come up with the concept of Melody Jams? What were each of your roles?
James: I wanted to create a project with good intentions that brought together a mix of different creatives. When I began developing the idea of a Melody Jams type project, I knew it’d be the perfect project for me to connect with all of the inspiring animators and musicians I'm fortunately surrounded by. In addition, I've always been interested in getting involved in education. We just needed someone that could bring it all together. Jamie and the guys at Arbitrary brought the skills and the know-how to bring Melody Jams to life.
Jamie: James got in touch with me through a mutual friend with a motion test of what he was thinking about for Melody Jams. When I decided to start doing my own thing, I made a promise to myself to keep time open for projects that were inventive and fun and fostered personal growth as a creative person. I put together a small team alongside myself to help build the app out.
How does Melody Jams work? Is there an educational element to it?
Jamie: When you open the app up, tons of extra cute monsters appear on the bottom of your screen. You can drag each of them up to a designated spot to bring them to life. Once they’re up on the main stage, they start playing a tune with their instrument of choice. You can add lots of monsters on the screen to create and compose your own songs. From there, you can tap to select instruments to play alongside them. It’s easy enough for a 2 year old but really fun for everyone, even parents.
James: The animated characters linked to each melody hopefully keep kids engaged visually while recreating the intimacy of creating music with friends. I’m really excited to see how kids and adults like playing along with their own instruments. I believe that exposing young kids to creative improvisation early on can be really beneficial.
"I didn’t see why music apps couldn’t have music that parents could enjoy at the same time."
We can imagine the musicality of this game will be more enjoyable for parents than the beeps, sirens, and honking horns featured in other games. Did other like-minded games inspire you?
James: Yes, absolutely. While working on this project I did come across a handful of similar music apps for kids. They were full of beeps, sirens, and honking which, as a music guy, I couldn’t really enjoy. I didn’t see why music apps couldn’t have music that parents could enjoy at the same time.
Jamie: The landscape for kids is really pretty dire! There are a couple of app makers out there making really beautiful and interesting things (Toca Boca, Tinybop) but most of the rest of it is really bad. I hadn’t really dug into it until we started on Melody Jams, but it feels like there’s so much room for improvement.
Are either of you parents? If so, brag about your kids here :)
Jamie: I’ve got a niece now, but no kids [yet]. My wife is a design-thinking teacher, so I’m inspired by her when it comes to kids and educational technology.
James: I have an awesome nephew who was a big inspiration in the creation of this app.
Do you play any instruments? If so, did that influence your approach to the game?
James: I’ve played a ton of instruments over the years but I’m primarily a bassist. Nathan Mckee, who composed the first music for Melody Jams, and I currently play in a band together in NYC. Throughout my childhood my parents were very supportive and let me have a practice studio in our basement. Over the years I had dozens and dozens of musicians over just to mess around, explore, and “jam”. My favorite thing was always improvising with friends and I hope the app re-creates that experience for others.
Jamie: I played saxophone and piano back in the day. I was terrible at both. I love Melody Jams because I can finally play music and sound good.
"We’ve never collaborated before. We’re basically total strangers 3000 miles apart who decided to embark on this prolonged hack day together. Figuring out how to work through that took an immense amount of care and respect of one another."
What were the biggest lessons you learned during this process? Any unexpected challenges along the way?
Jamie: Oh dear, I could write a dissertation on optimizing assets for iOS here if you wanted. One of the most interesting aspects of the project for me was that James and I were working on this together, but we’ve never collaborated before. We’re basically total strangers 3000 miles apart who decided to embark on this prolonged hack day together. Figuring out how to work through that took an immense amount of care and respect of one another, and I think we handled it well.
James: I can say as I write this that I've still never met Jamie or the guys at Arbitrary in person. We did video chat daily throughout the project while using Slack to stay connected throughout the work day. Through this all I feel we developed a great working relationship. As for the app itself, every phase of the project was a learning experience for me. I’ve never built an app before as I primarily work in motion graphics. In my world it’s animate, render, deliver. The app process requires a ton of planning, testing, and as Jamie mentioned, optimization. You have to constantly be investigating the limitations while trying to find new ways around them. There were a lot of new factors that I had to consider with every design and animation decision. Since we were working without any budget and in our off time, we had to move very strategically and make decisions with respect to what was possible to achieve with everyone's schedule. It was a very challenging experience but I really enjoyed it!
Best advice you’ve received:
James: I received a ton of advice during this project that was extremely helpful. Knowing I was entering an area I knew little about, I made sure to ask anyone I could get in contact with for guidance. Also, collaborating with someone who had the experience I lacked made this all possible and provided for a great learning experience.
Any WNW members whose work you admire?
Jamie: I’m just trying to keep up with Charlie Whitney. Jay Quercia and Phil Sierzega are amazing designers who ceaselessly inspire me.
James: Erica Gorochow, Marcus Eckert, and Lucas Zanotto have been a big inspiration for me. They are all super talented animators who put out awesome apps over the last few years.
What’s next?
Jamie: We’ve got more jams on the way, and I’m planning to make more apps with spirit just like this.
James: I look forward to collaborating with new animators and musicians to create more jams. Outside of that, I hope I can continue to work on projects that I’m proud of.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
How Quitting Your Job Can Make You A Better Creative
HOW QUITTING YOUR JOB CAN MAKE YOU A BETTER CREATIVE
“Don’t quit a job unless you have another one lined up.” These are words drilled into us by our parents, society, and probably common sense. But then everywhere we turn, there seems to yet another article from a creative who is blogging from the beach or some remote part of the world (but apparently still has Internet.) It's oh-so tempting to quit.
What if we told you that leaving your job makes you better for your next one?
WNW Members #9966 April Lauderdale & #8953 Burke Lauderdale are two art directors hailing from Texas and South Carolina respectively. They met in 2005, married in 2011, and in June 2015 "piled [their] belongings into a 16 ft. storage container, gorged on queso, said goodbye to creature comforts, packed two bags each and embarked on an around-the-world journey."
Since they've been back, they've had a lot of ad friends ask what they learned from their travels. Below, they takes us on a global tour, listing out 11 different countries they got to know and love, and what each country taught them about being a better creative, "Perspectively speaking, most of the world doesn’t care about your brilliant idea that died in round fifteen. This is not to say you shouldn’t put a ton of care and craft into your work. It’s only to say, don’t hyperventilate and get too precious on a day-to-day basis. Rather, have fun with your work. As an old creative director used to tell us, 'It’s just nerdvertising'."
Stepping away from the monitor and into the unknown opened our minds to a new world of creativity that we had never experienced before, and something we’ll take with us wherever we punch in from here on out.
Lesson #1 - Uganda: Squeeze the lemon dry.
When we stepped off the plane in Uganda, we didn’t know what to expect. We quickly learned that the Ugandan people were some of the most resourceful we’d ever seen. They used what they had ten times over. Children without toys created their own with fallen tree limbs, mothers morphed retired t-shirts into handy mops and delivery men pushed motorbikes to their limits. In Uganda, something can always be working harder or take on a new life entirely.
Are you thinking there couldn’t possibly be another idea for your project? There is. No way your budget can work? It can. No matter how boxed in we may feel as creatives, there’s most likely a little more to be squeezed.
Lesson #2 - Tanzania: Nature is the world’s best inspiration.
Off the northern end of Zanzibar, on a tiny sandbar in the Indian Ocean, we found the most beautiful starfish we’d ever seen. Something we didn’t know existed in this world. And there it was, in all its beauty in the crystal clear water for anyone who bothered to look.
As cheesy as it may sound, when you’re feeling stuck, try nature. Go outside. Look around. Take notice of the stars and the patterns of trees. Before all of the CA’s and One Show annuals, there was nature.
Lesson #3 - Namibia: Don’t sweat the small stuff, because you’re really small.
As we drove the protected Skeleton Coast of Namibia, along the beaches, in and out of deserts, through dried riverbeds and up and down endless sand dunes, one thing became abundantly clear: the world is a ginormous place and we are really, really small. Wonderfully small, even.
Perspectively speaking, most of the world doesn’t care about your brilliant idea that died in round fifteen. This is not to say you shouldn’t put a ton of care and craft into your work. It’s only to say, don’t hyperventilate and get too precious on a day-to-day basis. Rather, have fun with your work. As an old creative director used to tell us, “It’s just nerdvertising”.
Lesson #4 - South Africa: Get outside your comfort zone, regularly.
If quitting your job isn’t far enough outside your comfort zone, we suggest swimming with great white sharks.
It’s terrifying for many reasons. What if the boat sinks? Can a shark fit through the holes in the cage? Are we going to die?
The surprising thing was that it wasn’t nearly as scary as we first thought. Sure, they were still great whites that could rip our faces off if they chose, but they were actually a lot more calm and graceful underwater than we had imagined.
Do presentations make you fearful? Timid to try a new type style outside your wheelhouse? Whatever you are fearful of, whatever is outside your comfort zone, take the risk and jump in headfirst. You just might find it wasn’t as bad as you’d expected, and you might just grow stronger for it.
Lesson #5 - Nepal: In the midst of struggle, stay positive.
We traveled to Nepal just five months after the devastating earthquake. It was the worst natural disaster to hit the country since 1934. Yet the people couldn’t have been more positive and welcoming. They loved their home and were working hard at rebuilding.
When it seems like something you’ve worked on for months is crumbling around you, just remember to stay positive. You will rebuild.
Lesson #6 - Vietnam: Be inclusive.
In Hanoi we invited two women who worked at our hotel, Linh and Phuong, out for coffee. Not only did they accept our invite, but that coffee turned into some of the best friends and memories we made during our trip.
The next night, Linh invited us to her favorite floating restaurant. And Phuong took us to her husband’s juice shop where we met her son, drank smoothies and chatted for hours. They taught us so much and provided better experiences than any guidebook could have ever offered.
Headed out of the office for lunch with a group of people? Why not ask the new strategist to join? You never know who around you, across disciplines, levels or even professions could teach you something new or become an amazing friend. Finding out is an invite away.
Lesson #7 - Laos: Slow down when possible.
Traveling through Laos for us was a bit like floating down a lazy river. The culture was much slower and laid back than anywhere we’d been. Shopkeepers openly napped in their stores, bus drivers pulled over to watch the sunset and night markets were eerily quiet.
At first this was agitating as we just wanted to get somewhere fast, have a quick meal or pass through a market in a hurry.
But as we eased ourselves into this slower pace of life, we came to really appreciate it. And we took more time to just, be.
Though most days can feel like hurricanes, it’s important to step away when possible and let your mind reboot. It might even wander to places it couldn’t have before, leading you to your next award-winning idea.
Lesson #8 - Cambodia: Don’t take shortcuts.
While in Cambodia, we were fortunate enough to visit Angkor Wat, the largest religious monument in the world.
It was constructed in the 12th century, took around 30 years to complete and contains some of the finest architecture and reliefs you’ll ever see. One of the first Western visitors to the temple said that it “is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world” so we won’t even try.
Great craft and hard work can be the difference between something being “meh” and amazing. Be amazing.
Lesson #9 - Indonesia: Say no to TV. Say yes to art.
This was easy to do in Indonesia, particularly Bali, an island oozing with art and culture. We couldn’t make it far without seeing a local artist painting, a woman constructing beautiful offerings made from colorful flower petals, men practicing their music, children learning traditional Balinese dance.
The art of Bali wasn’t something to go and see hanging on a gallery wall, it was a way of life.
So remember to make and take in more. Go to an art show. See the symphony. Make a finger painting. The more we say yes to art, the more inspired we can become.
(Disclaimer: We’re not saying to stop watching TV. That would be terrible.)
Lesson #10 - Singapore: Look for the gems.
To be completely honest, we were a bit skeptical of Singapore upon arrival. Compared to the other gritty, culture-packed countries we had been to, Singapore felt a little sterile and robotic. But as we dug in deeper, and explored further, we found hidden gems throughout the city. Striking street art. Incredible cuisine. Beautiful architecture.
So when you have an assignment you’re skeptical about, or don’t see potential in, try looking a little closer. There might be an opportunity there you didn’t see before. There could be a gem in a seemingly unglamorous project. Look for it.
Lesson #11 - Malaysia: It should be fun.
The small island of Penang, off the northwest coast of peninsular Malaysia, is home to a rich street art scene.
To find the art, you had to get out and look. Some pieces were hidden down long alleys or partially worn away by mother nature, but they’re there if you look hard enough.
You could tell the artists had fun making the pieces. People enjoyed finding them, interacting with them and taking pictures with them.
This is what it should be all about. Let’s have fun making things that our audience can interact with and enjoy.
“Don’t quit a job unless you have another one lined up.”
Unless what you have lined up is a trip around the world.
Thanks for reading.
April & Burke
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WONDER WHAT IT'S LIKE GOING TO THE OSCARS? ASK JULIA POTT
WONDER WHAT IT'S LIKE GOINGTO THE OSCARS? ASK JULIA POTT
When renowned filmmaker Don Hertzfeldt asked fellow animator and WNW Member #2791 Julia Pott to voice the character of Emily in his newest animated short World of Tomorrow, Julia didn't hesitate. "He said he wanted the woman to sound a bit like Mary Poppins and I was immediately on board." And then, on January 14th, World of Tomorrow was nominated for an Oscar. And then, as if things couldn't get better, Don invited Julia as his plus-one.
We hit the rewind button and make Julia help us live vicariously through her, every step of the way: from recording her best Mary Poppins impression at Don's home in Austin, fueled by sugary cereal and tequila, to waking up to a special Facebook post from Don with the news, to hilarious advice from her mom, to montage-worthy moments trying on dresses for Hollywood's biggest night.
We made sure to ask Julia the most important question of all: Who are you wearing? "In the end I went with a dress from a little known store called ‘Nordstrom’."
Indiewire is predicting an Oscar for World of Tomorrow. Who knows, maybe Don will cast Julia as the voice of his acceptance speech.
How did you come to be the voice of Emily in Don Hertzfeldt’s mind-bending Oscar-nominated short World of Tomorrow?
Don and I met at Sundance in 2012 when both our films were in the Animated Shorts category. I tried to keep it casual and not let on that I:
a). knew his work
b). liked it a lot.
We kept running into each other at film festivals and became real life friends. As I live in LA and he lives in Austin we communicate mainly through funny owl videos on Facebook Chat - but I think that still counts. We ended up at Sundance together again in 2013 when my short film The Event was playing and he was one of the judges (let the record show – I didn’t win). It was there that he said he wanted a British woman for his latest project because his niece, who would play the other role, was Scottish. He said he wanted the woman to sound a bit like Mary Poppins and I was immediately on board.
Had you ever done any voice work before, besides the Golden-Globe winning WNW Microsoft Commercial? Tell us about the experience.
This is my first and only voice-over experience and it was really great. We recorded it in Don’s house in Austin and he has a pool with about 5 - 10 oversized animal floaties in it at any given time. He also has all of the sugary cereals you’ve ever wanted to buy from Trader Joe’s but couldn’t justify, so staying at Don’s is like being 8 years old again. We would get up in the morning, get pumped up on sugar and go into the recording booth for the majority of the day with a mental break around lunch time when we would go get some BBQ or TexMex. If I ever had trouble with the lines I would drink some tequila. Everyone has their methods. Apparently this is mine.
Were you already familiar with Don Hertzfeldt’s work?
I was in college when Rejected was released online so I was one of the many student animators who said “my spoon is too big” way more times than was ok. I went to see him speak in London in 2009 and followed up with a casual/creepy fan email.
Where were you when Don told you he was bringing you to the Oscars? What was the first thing that came to your mind?
I woke up to a facebook post from Don with the news.
My mother rang soon after and we both freaked out. She has since called me up several times with various styling tips. My favourite being that I should walk down the red carpet with helium balloons with my name written on them in sharpie, as an homage to the movie Up because I am in the animation category.
How have you prepared for the Oscars? Most importantly: Who are you wearing?
I am not very good at grooming myself so my friend Eliza Wexelman offered to style me. We had a lot of montage-worthy moments in vintage stores and my living room trying on a variety of dresses she ‘pulled’ for me (I’m learning all the stylist lingo). In the end I went with a dress from a little known store called ‘Nordstrom’.
The other grooming-based preparations started yesterday. The day we found out about the nomination I called up a fancy hairdresser that I’ve been wanting to try for ages. They informed me that they had no appointments on the day of the Oscars so I asked them what their latest appointment was the day before. The woman said 5pm. I asked her if I slept with a hairnet on did she think the style would keep until the next day. There was a long pause and then she said ‘ok’ and I could tell from her tone she doesn’t think this is a good idea. I booked the 5pm appointment.
Has Don cast you as the voice of his acceptance speech if/when World of Tomorrow wins?
Hopefully.
Which actors and actresses are you hoping to bump into on the red carpet or in the buffet line? (Is there a buffet line? We’ve never been to the Oscars…)
I’ve been told the best celebrity spotting is in the bathroom line. My mother has advised me to ‘accidentally’ walk into the men’s bathroom instead, “just to see”.
My ultimate celebrity spots would be Meryl Streep, Tom Hanks and Emma Stone. I want to make Emma Stone my friend.
Are you a big movie buff? What are some of your favorites?
I tend to like movies that fall under the category of strange or romantic. I’m a big fan of Charlie Kaufman and Michel Gondry but my all time forever love is Nora Ephron. More specifically When Harry Met Sally. Everything I do is in an attempt to make my life more like that movie.
What was your favorite feature-length film this year? Any Oscar predictions you care to share? Is it FINALLY Leo’s year?
I loved the movie Spotlight. It made me want to watch every newspaper based movie ever made. There was something about it that was both soothing and compelling – like The West Wing…or Gilmore Girls. I was also completely in love with Room - all the praise and accolades for that bad boy are so well-deserved.
Leo’s been scooping all the awards - he has to win this right? Although I thought he should have won for Romeo + Juliet based purely on his attractiveness.
What’s next for you?
I am currently in development at Cartoon Network in a program that creates projects for potential series consideration. I also just started as a writer on Adventure Time. I’m a huge fan of the show so the whole process is a dream.
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"We present this project to help expose crimes masquerading as commerce." - #63 Andrew Tider & #2120 Jeff Greenspan
CAPTURED: PEOPLE IN PRISON DRAWING PEOPLE WHO SHOULD BE
CAPTURED: PEOPLE IN PRISON DRAWING PEOPLE WHO SHOULD BE
Last time we featured WNW Members #63 Andrew Tider and #2120 Jeff Greenspan, they were watching their Ed Snowden statue get arrested by the NYPD. Now they've got a powerful new book out, titled CAPTURED: People in Prison Drawing People Who Should Be, which pretty much says it all. "For over a year, we asked people in prison to paint or draw people we felt should be in prison–the CEOs of companies destroying our environment, economy, and society." You can pick up a copy here. [At the time we wrote this, book #579 of 1000 total had already been sold, so don't slack!]
Where does your money go? "All profits go towards efforts to elect Bernie Sanders as president. Holding corporations responsible for their crimes and reforming the criminal justice system are pillars of his campaign." Below is Andrew & Jeff's mission statement followed by several sample pages. Head over to the CAPTURED website to get the full picture.
"Corporations frequently commit crimes any average person would be imprisoned for. These corporate crimes devastate our environment, economy and society, yet the companies committing them often get away with only paying a settlement. These payouts do little damage to a corporation's bottom line and are practically baked into their budgets. The cost of doing business.
CAPTURED shines a light on these crimes masquerading as commerce. Through the use of art made by people in prison, this project imagines the highest levels of corporate leadership being personally responsible for their companies’ illegal actions.
Money, power, and political influence allow these companies, and their leaders, to not just break the rules, but make the rules. They are “untouchable.” On the opposite end of society’s spectrum lies another “untouchable”–the incarcerated– who even after paying their debts to society are often treated as unworthy.
The artistry displayed within this project may help viewers see the incarcerated as more than one-dimensional criminals and remind them a prisoner is also a person. They may also remind us a corporation is not a person. A corporation has no conscience. It cannot repent or truly pay for its crimes.
As consumers, we can say there are injustices we are not willing to tolerate. By not supporting companies endangering our health and freedom, and by questioning a system that wields punishment so unevenly, we can stop being mute witnesses."
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PROFILES OF THE WEEK: JANUARY 25TH
PROFILES OF THE WEEK: JANUARY 25TH
Sylvia Boomer Yang, Motion Designer. Brooklyn.
Jared Culp, UX/IA Designer. Austin.
Robin Davey, Illustrator, London.
Jillian Adel, Art Director. Los Angeles.
Karen To Nakada, Designer. Los Angeles.
Camille Chu, Designer. Los Angeles.
Ben Kopp, Illustrator. Philadelphia.
Ryan Lowry, Photographer, Chicago.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: JANUARY 18TH
PROFILES OF THE WEEK: JANUARY 18TH
Jon Zast, Art Director. New York.
River Jordan, Photographer. Los Angeles.
Jessica Svendsen, Designer. New York.
Cristina Black, Copywriter. Los Angeles.
Whitney Weir, Director. Los Angeles.
Bruce Ashley, Editor. New York.
David Mc Elwaine, Motion Designer. New York.
Christine Cruz, UX/IA Designer. San Francisco.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Illustration by WNW Member #2045 Nathan Hinz
The Only Thing You Have to Fear is the Freelance Fear Itself
After years of saying you’d do it, you finally did. You went freelance. You’ve been working at your first gig for a few months now and it seems pretty amazing. You love everything about freelance. If you work extra hours, you get paid more. What a novel concept!
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