For our 9th episode, WNW co-founder Justin Gignac sits down with Gemma O'Brien, an Australian artist and designer specialising in lettering, illustration, and typography.
Read MoreThis Artist Crafts Drunk History With Letter, Liquor, & Lots of Research
This Artist Crafts Drunk History With Letter, Liquor, & Lots of Research
MIKE O'DONNELL / EDITOR
WNW Member Matthew Wyne's latest ongoing project Letters and Liquor is the epitome of a labor of love. "Three years ago I read an article on how to make a Manhattan, decided to surprise my wife with some date-night mixology, and became obsessed with cocktails. She liked the drink, but even more than that, I could tell that she liked the stories I was able to tell her about the components of the drink." From there, the deep-dive research began and continues. Each drink in the encyclopedic series contains a full history, a detailed explanation of the ingredients, a recipe, and finally the creative considerations behind the custom lettering Matthew used to render the drink’s name.
In our interview below, Matthew tells us how talking about liquor has brought him out of his shell, what cocktails he turns to the most, and how research is a fundamental and driving force in his creative process. "When I research something and begin to learn the details of what came before, I start seeing ways I can build off of that material to create something new that, hopefully, gives others the same excitement." To support Matthew on this front, share this project with your friends and followers and, just as importantly, learn how to make these drinks for your friends and tell their stories.
The depths to which Matthew goes with this ongoing endeavor is nothing short of staggering. After you read the interview and get a sampler of the project below, we strongly encourage you to head to Letters and Liquor. You'll learn more than just fun trivia; you'll get a glimpse into a unique historical perspective that highlights not just human history's alcoholic dependency but also its ingenuity, resourcefulness, and spirit.
Tell us a little bit about your creative background. Who is Matthew Wyne and how did he get here?
Studied design at the Creative Circus. Got a job as an art director at Crispin Porter + Bogusky. Got fired. Got a job as a designer at Venables Bell & Partners. Got fired. Started freelancing with a lot of help from WNW Member Ivan Cash, who emailed his clients on my behalf and got me on Working Not Working. Finally got the guts to study type design at the Cooper Union because my then-fiancé-now-wife believed in me, and that was where I started to find my niche. Once I combined lettering and cocktails, my career path became much more clear.
What were some of the challenges in launching your career as a designer and lettering artist?
After getting fired twice, I realized I might never find a mentor who could help me figure out how to build a career, so I tried to become my own Creative Director: identify my strengths, build on them, put out work that helps me attract more work in that style. In the beginning, a fair amount of that work was unpaid or discount-priced. There was a period when I worked so much (and slept so little) that I started having panic attacks. There was a period when I spent nights and weekends reading books on business, learning how to structure projects and contracts. There was a period when I spent a lot of time designing far beyond the scope of a project because I wanted to make the work great. I put in an extraordinary number of hours, I educated myself constantly, and I built relationships with people because I cared about them and what they were doing. Slowly, that has helped me put together the foundation of a private design practice.
How would you describe your creative style? Do you recognize a signature style that links most of your projects, or do you try to excuse yourself and approach each project as its own entity?
Visually, I think I have executed work in a range of styles. I am much more particular about the style in which a prospective client wants to work. If you care about craft, culture, and getting the details right, I want to work with you. I love diving into new ways of creating things visually, as long as there’s a clear rigor to the way they’re constructed.
You’re currently in the depths of a project called Letters & Liquor. What was the inspiration behind it? Is it the perfect blend of your two greatest passions?
Three years ago I read an article on how to make a Manhattan, decided to surprise my wife with some date-night mixology, and became obsessed with cocktails. She liked the drink, but even more than that, I could tell that she liked the stories I was able to tell her about the components of the drink. I did some quick internet searching before she got home, learned the difference between rye and bourbon, where bitters come from and what vermouth actually is, and the conversation did as much to set the tone of the night as the drinks did. My greatest passions are connecting with people and creating. This project lets me do both.
You seem more than qualified to tend bar. Is that on your resume or are you just an after-hours aficionado?
I am not a bartender. I have a lot of respect for bartenders. The job they do is, in my experience, underappreciated. Standing all day, working for tips, juggling an enormous list of things in your head, managing the stress of a room full of people wanting your attention, some of whom might become unpleasant or abusive, is a demanding job. I have worked hard to develop my skill in composing drinks and I love talking to people about cocktails, but the gigs I do are small, private events with a limited menu and a focus on storytelling.
Each drink in this series contains a full history, a detailed explanation of the ingredients, a recipe, and finally the creative considerations behind the custom lettering you used to renders the drink’s name. Did you always intend for Letters & Liquor to be this extensive?
I’ve had to scale back from my original vision because it would have taken me so much time to produce. It’s a race every week to finish each post and I often feel the panic of being behind, but the creative part of me doesn’t think about time constraints; it just leaps ahead as fast as it can and I try like hell to keep up without sacrificing the rest of my life. This blog is a 52-week project. I already have a pretty clear idea of the next iteration.
What are the classic cocktails that you return to the most?
I love this question, because when I’m trying to create a new drink, I start with patterns in classic drinks. A Negroni is equal parts base spirit (gin) amaro (Campari) and fortified wine (sweet vermouth). If you substitute rye whiskey for gin and dry vermouth for sweet, you get one of my favorites, the Old Pal. I’ve tweaked that formula by combining, for example, peaty scotch, Cardamaro, and Oloroso sherry to get a rich, nutty drink that’s perfectly customized to my palette. These formulae abound in mixology: the Martini/Manhattan, the Daiquiri/Margarita, the Sazerac/Old Fashioned. A lot of the “custom” drinks you see on menus are based on old patterns. The real challenge as a drink maker is in discovering new models that can be remixed like this.
How do preliminary explorations and deep-dive research fit into your design process?
I don’t feel comfortable starting a project until I’ve done the research. Design is always done within a cultural context, and it’s very important to me to understand the subtle nuances of the culture with which I’m communicating. I think this is where my love for design and my love for cocktails really intersects. My motivation with both is to let people know that I’ve taken the time to really understand them.
When you feel a little creatively burnt out, do you often turn to research to get the juices flowing again?
If I’m having trouble getting started on something, research always helps. As soon as my mind has that input to chew on it’s going to start digesting, and pretty soon, if you’ll pardon the expression, I start shitting out new ideas. The excitement of trying to bring something new to life is what gets me out of feeling stuck.
What advice can you offer to creatives on utilizing the power of research to heighten their output?
This is a tricky question because I’m guessing what works for me might not work for others. However, for the sake of argument, let’s use hip hop as a metaphor. While rappers, like designers, are expected to be original, quotes and references are a part of both cultures. In the words of Jay Z, “I say a Big verse I’m only bigging up my brother.” That cross pollination is one of the things I love most about hip hop. I still remember the moment* I realized that the vocal sample from Kanye’s “Good Morning” was Elton John from “Goodbye Yellow Brick Road,” I got fired up. That kind of excitement is what gets my creative mind working. When I research something, and begin to learn the details of what came before, I start seeing ways I can build off of that material to create something new that, hopefully, gives others the same excitement.
*My friend Cooper Smith (WNW) was pulling his truck out of the Creative Circus parking lot and I chased him down on foot. How supreme, Coop?
What moment or project in your career so far has made you the proudest?
When the “Looking For” mural* got featured on the Atlantic. I hand-lettered personal messages from a woman seeking a boyfriend on an 8’ x 20’ wall. That project was a race against time, so getting it finished without taggers destroying it (which later happened) was a relief; then seeing it shared on such a prestigious and storied platform gave me a lot of pride.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
I need a fair amount of alone time every day to feel centered and focused. But, I love the creative dynamic of working with someone who is really passionate, intelligent, and open. My favorite projects have been the ones where my client is my creative partner and I feel really lucky that I’ve had so many of those.
Who are some of your biggest creative idols and influences?
I hope to get to Malcolm Gladwell’s level one day. His podcast, Revisionist history, uses his skill as an investigator and his platform as a writer to make powerful arguments for social justice. Before I was a designer, I thought I was going to be a musician. I couldn’t handle touring so I changed direction, but when we got pregnant I started writing music again. I hope I can record something for our daughter that stands up next to “Morning Phase” by Beck or “Tamer Animals” by Other Lives.
What do you do when Not Working?
I sing with my daughter. I dance with my daughter. I (try to) do yoga so my back doesn’t hurt so much from sitting at a laptop. And I have long, intense, passionate conversations with my wife.
Who are some WNW Members whose work you admire and why?
Ivan Cash inspires me with his belief in his creative vision. His ability to create projects that connect people mystifies me. Jessica Hische, in addition to being an incredibly talented lettering artist, is also incredibly generous in sharing what she has learned with other designers. I have her book, “In Progress,” and I’ve spent a lot of time reading the essays on her site trying to figure out one aspect or another of being an independent designer. Indhira Rojas just launched Anxy, a magazine focused on personal narratives around mental health. I think these stories are so important, and the caliber of writing and design in the first issue blew me away. The common denominator here is a high level of craft combined with work that genuinely serves people.
Anything else you’d like to add?
My Dad, Monty Wyne, is a copywriter. He worked for JWT for 27 years. Each time he got transferred, we moved. Freelancing wasn’t really a thing you could do back then. I feel really grateful for the freedom I have to be an independent designer and it comes, in large part, from people and platforms like Working Not Working. Remembering that helps me keep things in perspective when freelance gets a little sticky.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Annica Lydenberg & Co. Present the 10 Commandments for Clients
Annica Lydenberg & Co. Present the 10 Commandments for Clients
MIKE O'DONNELL / EDITOR
Tell us a bit about your creative background. Who is Annica Lydenberg and how did she get here?
I have been freelancing for 15 years - it wasn’t by choice at first but I certainly made the most of it. I designed a lot of Flash websites in the early 00s that was a thing, but eventually I got sick of websites and wanted to learn hand lettering. I enrolled in the Type @ Cooper program in order to get a proper typographic education and I did a great deal of personal projects to get more relevant pieces in my portfolio. Personal projects both when I was getting started, and still today, have always driven the kind of client work I get.
What was the impetus behind building “The 10 Commandments for Clients”?
One of the big things I’ve been focusing on is bringing more honesty into my work, making personal work that is relatable and will hopefully make someone feel less alone. Of course, I relate to the plight of the freelance designer; we’ve all been there through those terrible client moments. So after having written these maybe 7 or 8 years ago I finally moved forward by inviting 10 other badass lettering artists to execute their favorite one. This made it even more of an act of solidarity with others.
Throughout your career, have nearly all of these commandments been broken by your clients at one point or another?
Yes, absolutely. And none of them only once… I literally had a client who tried to tell me she showed a packaging concept to a focus group. Upon asking questions about the demographics of the focus group, she finally admitted she had just shown her mother.
Do you think it’s ever wise for creatives, either young or well-established, to do work for free? And if so, is that strictly something that the creative should offer, as opposed to the client?
A friend told me recently something that I thought was fascinating; they said the world was made up of ‘askers’ and ‘guessers’. ‘Askers’ just ask for whatever it is that they want with no concern given and ‘guessers’ only ask when they are nearly certain the answer will be yes. As a result ‘guessers’ have a hard time saying no because they fear it was presumed they would, in fact, say yes; ‘askers’ are well aware that no is an acceptable answer. I am a ‘guesser’ and it pains me to say no to people and I have often resented being put in a position where I need to do so. But you practice it and it gets MUCH easier.
All you can do is educate yourself, know your worth, realize your actions impact your peers and don’t be scared to say no. But ultimately only you can make the call. There are other ways a job can have value.
Do you have any advice for creatives to make it even easier for clients to follow these rules?
Be clear from the beginning. Always make sure your expectations are communicated early on and also be sure your client is doing the same for you. I ask a LOT of questions at the beginning of a job and always state what is typical in terms of work process, payment process, and where the job begins and ends. Also, don’t ignore red flags. Sometimes it’s best to walk away.
Aside from creating “The 10 Commandments for Clients,” what can creatives do to look out for one another and make sure their peers are being treated fairly?
The best thing we can do is listen to one another and help each other see what we are allowing in our lives. In figuring out how to treat ourselves fairly as individuals it makes it so much easier to demand the same of our clients. I find great value in these conversations.
The 10 Commandments for Clients
by Annica Lydenberg
I’ve been a freelance designer for well over a decade and have worked with many clients. These relationships have been varied: some phenomenal, some functional, and a few… failures. In thinking about what makes some more successful than others it is clear to me that, just as with any relationship, the rules you establish at the beginning can be very hard to change later. As a freelance designer, you are your only advocate. Be clear about your rules, communicate well, and communicate often.
The 10 Commandments below, adapted for Clients, will provide the much-needed guidelines which, if followed, will make all of you the exceptional Clients we know you can be. The ultimate goal is always to have a relationship of mutual respect for one another’s time, skills and knowledge.
These struggles are not unique to my path as a designer so I reached out to ten of the most talented freelance designers and lettering artists I know to each select and illustrate one commandment. These are people that I believe work carefully, deliberately and deliver the best work a Client could ask for.
– 1 – Thou Shalt Have No Other Designer But Me
Dear Clients, When we work hard and give you lovely design files, please do not change them without us. Do not pass them off to your cousin’s roommate for future updates or hire a different illustrator to emulate the style we developed for you.
– 2 – Thou Shall Not Covet Design Done On Spec
Dear Clients, We would never ask you to do work for free. All work, including treatments, sketches, mockups, and concepts have value. No one goes to a bakery, asks for a custom made cake, and then says they’d like to eat it before they decide if they want to pay for it.
– 3 – Thou Shall Not Use the Word ‘Exposure’ In Vain
Dear Clients, As it turns out, “exposure” does not pay our rent and we cannot use “increased followers” to buy coffee or to cover health insurance. This is not an acceptable form of compensation and we both know it.
– 4 – Respect the Weekend and Keep It Holy
Dear Clients, No Monday deadlines. As freelancers, it is often expected that we
never stop working, but please respect that we, too, would like to be off the clock on
the weekend.
– 5 – Thou Shalt Not Use Opposing Adjectives to Describe thy Project
Dear Clients, Do not set us up for failure. Please be clear about your values, your mission, and who your audience is. Do not ask us to make something for you that is both “whimsical” and “edgy” at the same time. This isn’t a thing.
– 6 – Honor thy Designer’s Expertise So thy Project May Be Pure and Wise
Dear Clients, When giving feedback, avoid giving design direction. This is why you hired us; it is what we do, and we are good at it. Instead try to speak to ways in which the design isn’t fulfilling its ultimate aim and we will fix it.
– 7– Thou Shall Not Request Work Be Completed “Yesterday, hahaha!”
Dear Clients, Unless you can send us the project request “Last month, hahaha!” then this is not helpful. And it isn’t funny. If you want to be funny please send a good dog meme, and then give a timeline that reflects reality.
– 8 – Provide Final Content That Is Final
Dear Clients, Whenever possible please do not change the name of your company after we finish your logo, please do not rewrite your copy after we’ve done your lettering. These are not changes they are a redesign. When a redesign is unavoidable, please expect to compensate accordingly.
– 9 – Hold Sacred All Invoices to 30 Days
Dear Clients, Surely if we can get your project done on time, you can write a check in 30 days. Just saying.
– 10 – Thou Shall Not Consult With thy Neighbor’s Wife for Design Feedback
Dear Clients, Random opinions and personal preferences alone are not useful. Unless your neighbor’s wife is a designer who sat in on our meetings and read the brief then we don’t want to hear it. If you feel a focus group is necessary then let’s do that together. But your mom is not a focus group.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Illustration by WNW Member Zoe Kessler
Notorious B.I.G. Lyrics That Offer Sage Advice for Freelancers
Get a professional to manage the finances. A good accountant will explain how to register an S Corp or choose between a 1099 and W2. Even better, he or she will find ways to save you money. Had Biggie used his cell to talk about a record deal, that $2,000 phone bill coulda been a tax deduction.
Read MoreWHY JOSEPH ALESSIO COMMUNICATES WITH A UNIQUELY TACTILE LANGUAGE
JOSEPH ALESSIO'S WORK
STRIVES FOR A COMPLETE
SENSORY EXPERIENCE
Here at WNW HQ, we love seeing new work from WNW Member Joseph Alessio. His tactile designs, defying the constant shift toward digitalization, are both comforting and revitalizing. In our interview below, Joseph tells us about his creative background, the differences in the creatives scenes of his hometown Detroit and his current home San Francisco, and why he's in no rush to fully define his style. "I do consider myself a young designer, though, and I think I'll develop a more defined style as I continue to grow creatively. Hopefully in 40 years I'll be that 60-something designer who's still pushing the kids and coming up with fresh ideas."
Joseph also riffs on the role of tangibility in his work: "Combining language and imagery is absolutely compelling—language, a collection of sounds that carry conceptual meaning, and then distilling those concepts into visuals—and when we craft those visual representations with tactile media, it becomes greater than the sum of its parts. Even if it's just a digital image of the composition, it evokes the experiences associated with those textures, scents, and objects, simultaneous with the verbal message—a complete sensory experience."
Tell us a little bit about your creative background. Who is Joseph Alessio and how did he get here?
Hey there! I'm a lettering artist and designer from the Midwest, recently transplanted to the SF Bay Area via Denver. I stumbled into doing lettering as a teen, as a hack-y way to make calligraphic compositions using a pencil instead of the proper tools; and when I discovered that lettering was actually a design discipline, a few years later while working at a tiny web dev shop in suburban Detroit, I was sold. Since I've had no traditional education, it's been an interesting path, and I'm constantly learning from any source that I can, and I think that's influenced my very eclectic personality and creative direction. I've been working as a lettering artist since 2012, balancing that with musical and other design interests. I'm a very hands-on person, and I love to get my hands dirty; so I do a lot of tactile and dimensional work and short-form stop motion using a broad variety of media, pairing the experiential aspect of familiar, tangible materials with the beauty of language rendered visually.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
I'm not sure I deal in a signature style, at least at this point in my career. I think I have definite tendencies—most of what I do is type- or lettering-based, and I generally try to find a playful or interesting take on the letterforms and materials, usually using tactile media or animation—but I actively avoid being... typecast (sorry not sorry). Some days you want to make things that are fun and playful, and other days you want serious concepts; it depends on the project. I'm not sure if this is damaging from a career standpoint—it seems the most successful careers usually hinge on endless variations of one general design style—but it's definitely more fulfilling from a creative standpoint. I do consider myself a young designer, though, and I think I'll develop a more defined style as I continue to grow creatively. Hopefully in 40 years I'll be that 60-something designer who's still pushing the kids and coming up with fresh ideas.
What does the idea of tangibility mean to you? Is your work a rejection of everything being digitized these days, or do you more just like the idea of combining language and imagery in compelling ways?
The more digitally-driven our world becomes, the more we need to hark back to the tactile and human. The digital is of course an integral part of our lives, even part of the process behind any of my tactile pieces; but it can't replace the tangible. Combining language and imagery is absolutely compelling—language, a collection of sounds that carry conceptual meaning, and then distilling those concepts into visuals—and when we craft those visual representations with tactile media, it becomes greater than the sum of its parts. Even if it's just a digital image of the composition, it evokes the experiences associated with those textures, scents, and objects, simultaneous with the verbal message—a complete sensory experience.
Which of your projects are you proudest of and why?
To date my favorite project is a self-initiated one, my "Tools of the Trade" series. It was incredibly time-intensive—I'm always drawn to things that take much longer than I have to spend on them, ha! Thankfully it was time well-spent, as the final product was really tight. Most people who create tactile lettering come from a styling or illustrative background, whereas I bring a lot of typographic study to the project; and I think that shows in this project in terms of composition and letterform quality. It's always a struggle to get materials to conform to make great letterforms, and you usually have to accept and embrace the limitations of each material as you work with it, but the tools made for a malleable, if tricky, medium. It's a great show-off series, although I still haven't successfully pitched the concept of tool type for an ad campaign yet!
What’s the creative scene like in your hometown of Detroit? How does it differ from your new base in San Francisco?
Detroit's a fascinating city. There's so much history there, creatively, but mostly remembered for industrial design or music. The industries that have driven the Michigan economy in the past century have created a blue-collar, Rust Belt grittiness in the culture, and I think that's why you see a lot of hard-working, no-nonsense creatives emerge from the region. SF has a few different cultures I think—the historically counter-cultural city, the recent but louder tech culture, the varying cultural personalities seeping in from all the corners of the Bay Area. It creates a fascinating milieu and it's hard to define, but it's a much more laid back, playful and colorful vibe than the more industrial Detroit or the dusty Denver, where I spent a year between my hometown and the west coast.
What do you see as the biggest perks and challenges of the freelance lifestyle?
The benefits and drawbacks differ from person to person, since everyone flourishes in different environments. For me, as an introvert, I work well on my own, and value the flexibility of freelancing. Creativity suffers when there isn't room to think, and I like to feel like I have that space to invest in ideas. On the other hand, all of those ideas have to be funded out-of-pocket, since a freelancer doesn't have the resources and gear afforded by a well-equipped creative department; and the stressors of running a one-person show—managing your own accounts, being your own marketing department, dealing with more complicated taxes, the lack of stability et al, can add up. At the end of the day, though, the flexibility and variety that freelancing can offer win out for me; maybe that will change at some point, but right now I feel like I could freelance long-term and be happy with it. I will say, though, I'm doing a short onsite contract with a major tech company as I write this, and those elaborate meals are way more exciting than whatever I put together when I'm working in my own studio...
Who and what are your biggest creative influences?
That's a hard question to answer! I love film, music, literature, and art as well as design, and I try to draw inspiration from as broad a sampling as possible—as much from Lynch's films and Lennon's songwriting as Lubalin's lettering or Lichtenstein's art. Typographically speaking, I'd say the people I look to most often for inspiration include older lettering artists such as Tom Carnase and Doyald Young; type designers or lettering artists who push limits like Ondrej Jób, Bart Vollebregt or Gareth Hague; designers doing really smart work like Kelli Anderson, Leta Sobieraski; people who do great environmental or tactile work, like SNASK, Craig Ward, Sean Freeman—I could list dozens of people in each of these categories but that's a great sampling to start with.
What advice can you offer to up-and-coming typographers and letterers? What will it take for them to succeed?
First, invest time and effort in learning the foundational knowledge of letter design. Second, don't do what you see everyone else doing. Third, don't give up, and recognize that both developing skills or finding success take time. I think the recent trend of interest in lettering has peaked and we'll be seeing it lose its prominence a bit. It'll be harder to gain visibility as a lettering artist, because it won't be such a popular search topic or an immediately referenced design solution; so you'll need to be persistent. But, it will be great for lettering in general, because it will weed out a lot of the poorly executed work that the design world is currently awash in, it'll create some space for trends to reset, and it'll allow the focus to shift back to making really fresh and original work.
What’s next for you? What are you working on now?
I have a few things in the pipeline that will be a major undertaking, shifting to longer-form animation than I've currently produced and exploring bigger concepts than I've been able to play with so far. I'm also hoping to push larger scale work this year, in the form of dimensional installations and murals, large enough to let me get really creative with materials and textures and even work that will invite and allow public interaction. A lot of concepts in the works and good stuff that, if the stars align, will be a big step forward in terms of production and concept for me.
What do you do when Not Working?
Unfortunately many of my hobbies are also work-related—personal projects are always calling my name—but it's super important to enjoy life outside of that as well. I play a few instruments; that's another benefit of freelancing, actually—being able to take a midday break and turn up my amps without upsetting everyone because my neighbors are at work! I make a point to get outdoors every weekend—Muir Woods, Yosemite, Muir Beach, Point Reyes, so many incredible spots to explore around the Bay Area. Museums, reading about type or design (in a recreational way... I think), watching classic films, all that good stuff.
You’re a Working Not Working Super OG, and have been a member almost as long as we’ve existed. What does a community and tool like Working Not Working mean to you, your creativity, and your creative career?
It's been great to be on the platform, another way of getting my name out there; despite the fact that lettering and typographic image creation is pretty niche—fitting the working process of an illustrator more so than designer or art director—and therefore I'm not the most natural fit for the platform, I've still been able to make great connections and start conversations on WNW that I haven't elsewhere, because the talent pool is so high quality and well-curated. It's also been a great community to be a part of, going to to the networking events or parties that you host regularly, especially when in new cities where I don't know many people.
Who are some WNW Members whose work you admire and why?
I really love the work of Leta Sobierajski and Wade Jeffree—they have a huge body of work, very eclectic, and they bring a really punchy, quirky and fresh feel to everything they touch. Carly Ayres is a great one, I've worked with her briefly a couple of times; she's working with HAWRAF now and putting out great experimental, fun work. Nicole Licht has great stuff as well, I love the colors and tactility of her work. Kyle Read brings historical perspective and precision to lettering and type design projects, great work from him as well. Again I could probably list dozens of people here, but I've run out of searches on WNW! There's an immense amount of talent, and very high average level of awesomeness on this site.
Anything else you’d like to add?
Thanks for the great questions! Looking forward to sharing some of the projects I have coming up with you in the future.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Not Working: Will Letter For Lunch
Not Working: Will Letter For Lunch
WNW Member #2245 Lauren Hom is a genius with an unquenchable hunger and thirst. To elaborate, the New York-based illustrator has found a way to use her set of skills to instantly put food on the table. And not just any food, but specials served at restaurants all over New York. Lauren lettered... and Lauren lunched. To find out how Lauren tapped directly into the source with Will Letter For Lunch, read on. If Lauren ever wants to invite us to lunch, we’re great at lettering hyphens and periods.
Restaurant: Empire Mayonnaise Co. / Neighborhood: Prospect Heights, Brooklyn
Lauren Lunched: "I’m not really sure if mayonnaise counts as a meal, but I got to taste every flavor of mayonnaise in the store. I also scored two delicious jars of Ghostly Pepper mayo and Red Chili mayo. I biked home and immediately made an avocado sandwich with one flavor on each piece of bread, and it was phenomenal."
Restaurant: Nourish Kitchen + Table / Neighborhood: West Village, Manhattan
Lauren Lunched: "An egg sandwich with arugula, avocado, and sriracha aioli, roasted pork sandwich, kale salad with local plums, watermelon radish, sesame seeds, scallions and ginger-lime dressing, sesame-soba noodle salad, roasted carrots, truffle oil wheatberry salad, goat cheese and sundried tomato scone, slice of caramelized apple-honey cake, and two Morning Green juices with pineapple, spinach, and jalapeño!"
Restaurant: Docklands / Neighborhood: Crown Heights, Brooklyn
Lauren Lunched: "Bluepoint oysters with cocktail sauce, mignonette, and lemon. Black and white bean soup with kale. Grilled Shishito peppers with olives and garlic. Deep fried lobster macaroni and cheese balls drizzled with Cajun lobster sauce. Grilled whole fish with lemon and kale. Salmon on a bed of polenta topped with jumbo shrimp and shallots. Rosemary cocktails with bourbon, lime, and maple syrup. Too many glasses of white wine. Guinness ice cream not pictured because I have no self control and ate it before I could even snap a photo."
Are you a WNW member with new work to share? Email us.