If you’re a publishing professional, design and journalism student or graduate, or anyone with a creative curiousity, ModMag is an event that should be on your radar. And we’re not just saying that because we’re excited to be partnering for ModMag New York 2019.
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It’s Nice That Is Celebrating 100 Years of the Bauhaus in Printed Pages AW18
In the latest installment of Printed Pages, It’s Nice That’s biannual publication, the London-based in-house team have made it their mission to celebrate creativity at work all over the world… and in the past 100 years. Front and center is a feature on the Bauhaus school and its century-old legacy, honored and unpacked alongside Pentagram partner Sascha Lobe.
Read MoreMembers to Watch: July
Here are nine ongoing and standalone projects from WNW Members that caught our eye this July.
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It's Nice That Enlists Illustrator Thomas Hedger for New Issue of Printed Pages
In the latest issue of Printed Pages, our friends over at It's Nice That commissioned Thomas Hedger to illustrate a feature interview with design duo Sagmeister & Walsh. Find out how Thomas interpreted such distinguished works as Edvard Munch’s Scream to Réne Magritte’s The Son of Man into his own style.
This Print Magazine Explores Life's Absurdities Through Breakfast
WNW Member Tim Lampe is the mind behind Morgenmete, which explores the absurdities of life through the breakfast setting. Tim tells us what gave him the idea to dedicate himself fully to breakfast, and why you should too.
Read MoreOlimpia Zagnoli Demonstrates How to Eat Spaghetti Like a Lady
Olimpia Zagnoli Demonstrates How to Eat Spaghetti Like a Lady
MIKE O'DONNELL / EDITOR
In 1942, Time Life magazine prescribed a step-by-step process for "how to eat spaghetti like a lady." It seems the times have changed. Milan-based Illustrator and WNW Member Olimpia Zagnoli has now masterfully subverted the original with her own series, also titled How to Eat Spaghetti Like a Lady. The black-and-white originals by Alfred Eisenstaedt (displayed below) suggest composure, conduct, and convention. Olimpia twirls this idea of uniformity into submission and shows off an eclectic array of colorful personalities, creatively enjoying their pasta as they defy the rules of conduct and, while they're at it, even the rules of gravity. Olimpia's show will be open through the end of July at Antonia Colombo Arte Contemporanea in Milan.
Photographs and Instructions from Time Life
Step 1: “Four strands of spaghetti should be segregated from the pile.” Step 2: “With soup spoon as prop, twirl fork and spaghetti gently.” Step 3: “A ladylike mouthful of spaghetti is ready for consumption.” Step 4: “Full forkfuls should be consumed in entirety. Nibbling is out.” Step 5: “Truant strands require patience, lip facility, suck-power.” Step 6: “With end in sight, diner has consumed 160 in. of spaghetti.”
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
HELLO MR. AN INDIE MAGAZINE ABOUT MEN WHO DATE MEN
Hello Mr., An Indie Magazine About
Men Who Date Men
Interview by Emily Gosling
It certainly feels like a golden age for indie magazines. A few weeks back we celebrated just a few of our current favorite titles, which each in their own way do something a little bit special, weird, thoughtful, beautiful, or all of the above. There’s so much inspiring work out there, that it can seem tempting to join the paginated bandwagon and give indie publishing a go. Sure, it can be rewarding, but the process is sadly a little harder than setting up a Kickstarter and commissioning your mates. It’s bloody hard starting a mag, and what makes one feel vital and one seem irrelevant is the difference between a magazine with a clearly defined purpose–one that reaches out to folks outside of the creator’s immediate bubble–and one that’s a self-serving, rushed, or dry vanity project.
Of course, Hello Mr. is very much in the former category. We love it, and so we had a chat with founder Ryan Fitzgibbon about the challenges, high points and design considerations of running his very own magazine.
Why did you decide to start Hello Mr.?
I created Hello Mr. as a reaction to what I was seeing in 2010-2011 in mainstream gay media. As a designer and brand strategist, I made it my mission to rebrand LGBTQ media – a chance to move away from the stereotypes. A number of our readers (men and women, gay and straight) told us that they had never purchased a gay magazine before Hello Mr., describing us as “a breath of fresh air.” It’s a community built around a shared set of values and designed to live on coffee tables and nightstands around the world.
What did you want to say that you felt no one else was saying?
A lot of what has already been said revolves around the political, the celebrity, the nightlife. These leave little room to be vulnerable and celebrate the mundaneness in everyday life – the falls and the triumphs.
Who does the mag speak to?
Hello Mr. speaks to readers who pride themselves on emotional intuition and individuality. He is a free-thinking, innovative, man-about-the-globe looking for more. The community that has formed around this mission of Hello Mr. is a loyal and diverse group of men who date men who have largely felt disenfranchised by the media that is meant to represent them.
What are the design considerations?
The visual language of Hello Mr. is minimal, clean, and elevated. It was important to me that we weren’t “glossy” in all senses of the word, which many existing LGBT titles on the newsstand lean toward. Published twice a year, each issue reflects the everyday experiences of our misters and their companions, in a neatly-curated museum carefully built to exhibit a universal story of gay men today.
What are the hardest things about running an independent magazine?
Finding and staying within that perfect balance of “small but global.” People resonate with indie titles because they make them feel understood. The larger you get, the harder it is to keep that relationship and trust.
And the best things?
Seeing your work in the hands of readers is the most rewarding experience. There’s nothing like the feeling of seeing your impact in physical form, spread around the world.
What advice would you give to people who want to start their own magazine?
Your mission statement is everything. Indie magazines are a dime a dozen – almost every niche has been explored. Anyone can create a beautiful object, but if you can build community first around the values and beliefs that make up their identity, then you’ll be set up for success.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ANXY: A BEAUTIFULLY-DESIGNED MAGAZINE ABOUT OUR INNER WORLDS
ANXY: A BEAUTIFULLY-DESIGNED MAGAZINE ABOUT OUR
INNER WORLDS
Embracing your individuality and creativity and sharing it with the world requires a lot of courage, regardless of whether it comes easily to you or not. It means you're putting time into discovering yourself. We at WNW are always thrilled to see our members address not just the highs but especially the lows that come with the territory of self-discovery. Anxy Magazine is a prime example. Anxy's founder and Creative Director, WNW Member Indhira Rojas, tells us, "Anxy is intended to be a creative and artful exploration of mental health combined with powerful personal narratives. We are looking to create a publication that allows us to dive into our inner experiences and share what’s *really* going on in our lives. Our mission is to reduce the stigma around mental health conversations and make them an integral part of our daily lives."
Anxy aims to show that there's no longer a need to expend all of your energy on internalizing your struggle. And that the curtain we use to hide anxiety is really just a thin veil that distorts the realities of it: "We want to normalize these bad feelings and share how others have navigated or are still navigating those negative and dark moments... Each issue of Anxy uses a central theme—“loneliness” or “boundaries”—to build an original, insightful, and creative perspective through interviews, personal essays, reported features, visual stories, and recommendations for what to read, watch and download to round out the conversation." In our interview below, Indhira opens up about her own experiences with anxiety, expresses why a tactile magazine is the right medium to guide this conversation, and offers some insightful and generous tips on embracing your own anxiety.
Yesterday, Anxy was featured as the Project of the Day on Kickstarter. Head over to Kickstarter to back this mission. And if you are interested in the project and want to collaborate with the Anxy team, email them here: hello@anxymag.com. They'll be looking for writers, illustrators, photographers, you name it.
Tell us a little bit about your background. Who is Indhira and how did she get here?
I’m the founder and creative director of Anxy Magazine, and principal at Redindhi Studio, a design practice focused on branding, editorial and interaction design. As a designer, I’m curious how the stories we tell each other shape our lives, influence our behavior and evoke our emotions. Most of my career I’ve been in the intersection of publishing and technology, developing visual strategies and identities that enable compelling narratives.
I’ve worked on a wide array of projects, from leading interaction and art direction at The Bold Italic, to launching the Once Magazine app and the Modern Farmer website, working on the re-branding of Atlas Obscura and designing Eric Ries' latest book The Leader’s Guide. Another transformative milestone in my career was working at Medium, where I lead the branding and creative art direction of some of our first publications such as Matter, Gone, Re:form and Backchannel.
Now, how I got here, here: I’m originally from the Dominican Republic—a Caribeña. I was fortunate to receive a scholarship that brought me to the US to complete a degree in Communication Design at Parsons School of Design in New York City. I later moved to San Francisco, CA to pursue a Masters in Design at California College of the Arts, which allowed me to transition into tech.
What is Anxy, and what led you to start it?
Anxy is intended to be a creative and artful exploration of mental health combined with powerful personal narratives. We are looking to create a publication that allows us to dive into our inner experiences and share what’s *really* going on in our lives. Our mission is to reduce the stigma around mental health conversations and make them an integral part of our daily lives.
I decided to start the magazine because I found myself in the middle of a rough time, dealing with a lot of grief and anger from doing my own therapy work and just feeling like — wait, I can’t be the only one. Why is it so hard to reach out to someone and say: “I’m feeling this huge void in my chest right now, and I know it’s sadness, and I don’t know what to do with it. Have you ever felt that way?” It’s like, unless there’s a death in the family, where there’s permission to grieve, we don’t allow ourselves to have those raw conversations and talk about some really dark feelings and experiences. We are all working so hard to make each other believe we have our shit together. Um. We don’t. Let’s get real.
I wanted to hear about other people’s experiences and how they have navigated them —what they do with the things that arise, how it has influenced their work, their everyday lives. I also wanted to bring together the psychology concepts that can bring language to what sometimes is so hard to describe and pinpoint.
Unless there’s a death in the family, where there’s permission to grieve, we don’t allow ourselves to have those raw conversations and talk about some really dark feelings and experiences. We are all working so hard to make each other believe we have our shit together. Um. We don’t. Let’s get real.
How did you decide on the format of Anxy? How does a serial publication better enable a conversation into anxiety?
For Anxy, we decided on a bi-annual publication, in which each issue is based on a theme, such as “loneliness” or “boundaries,” because we wanted to create a tactile collection of conversations. That way we can dive deep into a specific topic and create a complete volume of original, insightful, and creative perspectives. So much online content gets lost in the vortex. If you don’t click on the link from that email or feed—wooosshh—the story disappears forever (or until your Google it, if you ever do). And even when you do read it, even if you ‘save it’ … it still gets lost in some kind of digital archive.
We are looking to share these themes and stories through interviews with folks we admire, personal essays, reported features, and visual stories. We hope it will be content people can come back to for months to come, the way you do with a good book—you read it in stages and sometimes more than once.
The advantage of a serial publication, as opposed to a podcast or blog, is getting to experience content on a printed (tactile) page. It enables the juxtaposition of words and images in a way that connects to your senses differently. If done artfully and with an appreciation for beautiful design, Anxy can hopefully go beyond what’s currently in the market covering these topics.
The advantage of a serial publication, as opposed to a podcast or blog, is getting to experience content on a printed (tactile) page. It enables the juxtaposition of words and images in a way that connects to your senses differently.
In what ways are you applying your experience as a UX and visual designer to the magazine?
I’m applying my experience in some ways that are a bit more obvious, mainly understanding our audience and the need we are looking to fill, and creating the conceptual framework and visual direction of the magazine — from the branding of the publication to the tone of our video, website, and all the promotional materials.
Other aspects that have really come in handy, which are less visible, are putting into practice the strategy and project management skills that I’ve learned through ‘shipping’ things. This is the first time I’ve created a Kickstarter campaign. There are a lot of pieces that have to come together—it’s been quite the journey.
Anxy Mag has the potential to combat the misconception that you’re alone in facing anxiety. Do you see that feeling of loneliness in feeling alone as the most dangerous effect of anxiety and depression?
For me, the most dangerous effects of anxiety, depression, and numerous other mental illnesses, is not wanting to be alive anymore. It can start with a devastating feeling of loneliness and grow to feeling totally invisible and misunderstood. Feeling that no one could ever understand how we feel, because how could they? They are not the ones in this body, with these experiences, dealing with these thoughts.
The misconception we want to tackle is not just that you are not alone, it’s also that trauma is so much more common than we care to admit to each other. We dare claim that it’s a rite of passage in life. At some point, we will experience something difficult in some form or another. Big or small, individual or collective, it’s probably going to happen. And it’s understandable that you may feel buried by it. We want to normalize these bad feelings and share how others have navigated or are still navigating those negative and dark moments.
There seems to be a general consensus that anxiety and depression are particularly prevalent in creative individuals. Why do you think this is?
I’m one of those folks who believes all humans are creative, not just us labelled ‘creative people’. But, putting that aside, us “creatives” generally tend to feel more comfortable in the realm of expression and making. It becomes the way we channel our inner experiences. When making is the channel, our emotions related to our anxiety and depression comes through and becomes more visible (both in the work and how we carry ourselves), especially if what we make is publicly consumed. For others, non-labelled creatives, anxiety and depression are probably just as prevalent, it’s just channelled in ways we are not as aware of.
At times it can feel very rewarding to feel connected and make. Other times, you realize that a busy mind, not being able to think about other things but the problem at hand, is really a mind that cannot think about negative or dark thoughts. Creativity can be that double-edged sword.
How has your creativity helped keep anxiety at bay? And how has your creativity perhaps opened the door to anxiety or depression?
The way my creativity has kept anxiety and depression at bay (which has been a sad revelation, even in its comfort) is that it’s a great tool for distraction, sometimes dissociation. I’ve noticed for me, I get into problem-solving mode or into a flow and then everything else disappears. At times it can feel very rewarding to feel connected and make. Other times, you realize that a busy mind, not being able to think about other things but the problem at hand, is really a mind that cannot think about negative or dark thoughts. Creativity can be that double-edged sword.
The aspect of creativity that can open the door for anxiety and depression is when we lose track of what we are making and start judging ourselves. We can sometimes be very harsh. Whether it’s ‘this is not good enough,’ which can turn into ‘I’m not good enough,’ or ‘why can’t I be this or that?’ It just opens the door for that inner critic and puts you in a real rut.
'Mathographics' poster. Design contribution to Anxy Kickstarter campaign by design visionary & WNW Member GMUNK.
What are some top tips you can give to fellow WNW members who struggle with anxiety, or are close to someone who struggles with anxiety?
Huge question. I will talk about things that have worked for me. But I don’t think it works for everyone. As we all manage things differently.
If you have become aware enough about your current state to realize something is off and you are tired of being tired, look for support: a professional therapist, a group, a friend who can really hold your experience. Talking to a professional therapist saved my life.
Meditation has been really helpful for me, mainly because it has helped me become an observer of my inner dialog and realize that thoughts are not reality, they are just thoughts—we just tend to believe everything we think. That can be un-learned.
For those who are close to someone who struggles with anxiety (and they are not in a state of self-harm), I would say, just be present for them when you are with them. Be a steady presence in their lives so that they can feel safe and supported when they are with you. Listen to them. Pay attention without judgement, and most importantly without trying to solve their problem (this is really really hard!).
Anxy Magazine Assistant Editor Katie MacBride (far left) with Founder Indhira Rojas in the studio with Editor-in-Chief Jennifer Maerz, and Editor-at-Large Bobbie Johnson (right). Photo by Michelle Le.
The team you’ve assembled is stacked with so many talented individuals. How did you pitch Anxy as an endeavor worth joining?
Anxy has been a labor of love for everyone involved. I feel so lucky to count on such an awesome team of talented folks. To be honest, pitching Anxy didn’t require heavy lifting. Everyone involved has dabbled with therapy in some way, and feels the same need I feel—a desire to connect with others around our issues and stop with all this pretending. We can see people are craving open discussions about coping with anxiety, depression, fear, anger, trauma, shame, and all those things can change the direction of our work and our lives.
Anxy Magazine Senior Editor Madison Kahnin the studio with Editor-at-Large Bobbie Johnson. Photo by Michelle Le.
Anxy Magazine Founder Indhira Rojas (left) at Redindhi Studio in conversation with design team. Photo by Michelle Le.
This is the right time to have this conversation. Other publishers are beginning to broach the topic, and many public figures have come forward with personal revelations about mental health. Actor Kristen Bell wrote about her struggles with depression and anxiety; comedian and podcaster Marc Maron has made a career out of talking about complex emotional issues with his creative peers.
We feel a real revolution taking place around normalizing mental health outside the medical arena. It felt like an opportunity ready for the taking and so they jumped on it with me. :)
Anxy Magazine Founder Indhira Rojas (center) at Redindhi Studio in conversation with design team. Photo by Michelle Le.
How can WNW Members get involved in helping Anxy Mag and its mission?
There are many ways to get involved in helping Anxy — the most urgent is supporting our Kickstarter so we can make this project a reality! The second best way, specially for WNW’s huge community of creative professionals, is to become a contributor. If you are interested in the project and want to collaborate with us, please reach out to us at: hello@anxymag.com. We will be looking for writers, illustrators, photographers, you name it!
Anything else you’d like to add?
Please join our community and help spread the word. We are slowly ramping up our social media, but we would love to have you follow along in your journey!
Instagram, Facebook, Twitter.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
IN SHADES: AN ONLINE MAGAZINE THAT WON'T INTIMIDATE YOUR ATTENTION SPAN
IN SHADES: AN ONLINE MAGAZINE THAT WON'T INTIMIDATE YOUR ATTENTION SPAN
It's no secret that our attention spans have taken a hit in the Information Age. That's part of the reason why WNW Member #8598 Marina Esmeraldo and her husband James Vincent, a writer, created In Shades magazine. Born from their love of short fiction, In Shades is a weekly online magazine that celebrates short form writing and illustration, "The theme and mood of the writing are the first things that inform the visual element – after we decide on a story, I look for an artist whose style will be a great fit for the piece." It's a nice touch, to add a visual that is not only perfectly tailored to the writing, but also helps inform it.
Marina talked to us about her ocean-crossing journey from Brazil to London and Barcelona, and her discipline-crossing journey from architecture to illustration. We discussed the importance of minimalism and reduction in design and art, and Marina's goal in creating In Shades: "When we were kids people used to talk about the corrosive effect of video games and TV on people's attention spans – now that notion seems almost quaint. We all have computers in our pockets. In Shades magazine isn't trying to swim against the tide – we just want to make short form work which gets you thinking."
Check out our interview to find out how you can contribute to In Shades.
Tell us about your creative background. Who is Marina Esmeraldo and how did she get here?
I’m a freelance illustrator and image-maker from a coastal city in the northeast of Brazil called Fortaleza, now based between London and Barcelona. My path here was quite the winding one… I’m actually a fully trained architect and switched industries only a few years ago. I was a shy kid and loved to draw – it was my lifeblood all throughout my teens, until I got into university, and started drawing buildings instead. In my hometown there weren’t a lot of options for studying art or even graphic design and I couldn’t afford to study somewhere else back then. Yet by studying architecture I learned about the world of design and visual design at large, and I even worked for a few years with signage and wayfinding. Still, it took me a while to realize that illustration was actually a career option, and even longer to admit that it’s what I truly wanted for myself. It was only after I’d come to Barcelona and finished my Masters in Architecture that things became clear to me. Long story short, I had a sort of quarter life crisis and dropped everything to focus on illustration… it was hard, but I’ve never looked back.
Your newest project is In Shades magazine, co-founded with your husband, which champions short fiction while offsetting it with visual storytelling. How did this project come about?
We’d always wanted to collaborate on a project and had been looking for ways to combine our respective creative fortes. James is a writer and a musician, and very passionate about stories, be them movies, songs, books, comics, podcasts… he’d been observing for a while that short fiction has been going through a resurgence, especially in Britain, where the short story can often be seen as the underachieving runt sibling of the novel. It occurred to both of us to be a good fit for the attention-deficit age we live in and a great way to combine both disciplines.
What’s the process of pairing a piece of short fiction with an illustration? What do you look for in that perfect match?
The theme and mood of the writing are the first things that inform the visual element – after we decide on a story, I look for an artist whose style will be a great fit for the piece. But real life issues like time and the availability of contributors also plays a big part.
What has kept short fiction a perpetually underground medium. Why is it important to you that it gets its fair shake?
Perhaps it's because short fiction is less commercial in some ways. The stories are often more like mood pieces or fragments, leaving questions rather than answers. In a way this appeals to us, because much of life remains unresolved.
Who are some of your favorite short fiction writers?
I love the short stories of Brazilian writers Clarice Lispector and Lygia Fagundes Telles, both of whom we dissected during high school in Brazil. In my adult years I’ve fallen in love with Ernest Hemingway and F. Scott Fitzgerald… such luminous and subtle writing. Fitzgerald is also a favourite of James’, along with Don DeLillo, who is more famous for his long and dazzling novels. but also writes very fine short stories. Flannery O’Connor, Jorge Luis Borge’s Labyrinths and James Joyce’s Dubliners are also essential. With In Shades we’re both lucky enough to be discovering some brilliant new talent on a weekly basis.
I believe that good design and good art fundamentally means knowing how to edit.
In Shades doesn’t only celebrate short fiction, but the Hemingway-inspired six-word short story, in the form of your series “Six Words Written on a Napkin”. What do you see as the importance of concepts like concision, minimalism, and reduction in creativity and art?
You wouldn’t know it from glancing at my work, but in Architecture school I was incredibly passionate about minimalism and the form-follows-function philosophy of the modernists, and I also write bi-monthly for one of the biggest minimalist design publications online, Minimalissimo magazine. Yet when I was building a personal illustration portfolio to start seeking out commissions, I was shocked that all of these bright colours, patterns and bold shapes were coming out. But even within those elements, I was still considering what was superfluous and didn’t need to be in the composition. I believe that good design and good art fundamentally means knowing how to edit.
When we were kids people used to talk about the corrosive effect of video games and TV on people's attention spans – now that notion seems almost quaint. We all have computers in our pockets. In Shades magazine isn't trying to swim against the tide – we just want to make short form work which gets you thinking.
Do you think shorter art forms like short fiction, poetry, short films, and music EPs are ready for their shining moment as our attention spans continue to dwindle?
Yes, we do think there is something in that. All art forms are competing for the attention against short form video content like GIFs, which play their 6 second stories on infinite loops. When we were kids people used to talk about the corrosive effect of video games and TV on people's attention spans – now that notion seems almost quaint. We all have computers in our pockets. In Shades Magazine isn't trying to swim against the tide – we just want to make short form work which gets you thinking.
Speaking of music, is the title “In Shades” an ode to Tom Waits?
Glad you picked up on that! James is a big fan of Tom Waits and "In Shades" is the name of an instrumental piece from his album, Heartattack & Vine. The song is like the soundtrack to an imaginary film – the fact that it has no words means that you can project your own story into that space. We also liked the two words, and how “shades” can also relate to colour and composition.
What kind of contributors are you looking for? Where do you look for contributors? And how can WNW members contribute?
Writers and illustrators, yes please! We’re always interested in meeting new collaborators, which is another real aim of the project. We’re lucky to count acclaimed novelists and artists as contributors, but we’re always eager to meet new talent and offer a fresh perspective. Just email us at info@inshadesmag.com – for writers send us your stories, and for illustrators examples of your work, as the illustration side is tailored to each story.
What’s next for In Shades?
We have many things in the works, but primarily a launch event for the print edition of the magazine, including an exhibition with our contributors. And also establishing sponsors and partnerships – if you, dear reader, are passionate about our cause and want to explore possibilities unique to your brand, drop us a line!
How did you break into the creative freelance market in the UK and Spain as a South American transplant with no contacts and experience?
By working my ass off and being consumed with this burning desire to succeed. I had already invested so much time and resources in another career, only to realise it wasn’t what I truly wanted – it was like having nothing and everything to lose at the same time, so I just threw myself into it. However I still didn’t know anyone in the industry, so I worked really hard to get a few internships in London. By that point I was also getting my work into international exhibitions, winning some competitions and also attending conferences and just chatting to anyone and everyone – I made lots of valuable contacts and friendships that way. Ironically, while I was trying really hard to break into the UK market, I started getting noticed by some companies in the US, like Refinery29, who became longtime collaborators. Eventually the ball started rolling, and I could finally call myself a freelance illustrator without feeling like an impostor (much).
What advice can you offer to creatives who are new to freelancing in a new environment?
An internet connection and design conferences are you best friends. There really is no substitute for meeting someone face to face – if you only chat with someone for ten seconds it’s still worth it. At the same time, if I hadn’t just started cold-emailing people with my portfolio I would never have gotten my first commission. I could go on and on about it, but the gist of it is that designers are generally a friendly bunch, albeit usually quite busy, so if you don’t act like a dick and are respectful of people’s time – yet persistent enough – you should be fine.
What advice can you offer to creatives working on projects with their significant others?
As for working with your significant other, we definitely strive for balance by having times to NOT talk about work as well as leaving each person to manage their own expertise and tasks. On the other hand, the close & 24/7 availability of a spouse is great for productivity and taking advantage of momentum, and you can definitely achieve more in less time.
Which illustration projects are you proudest of, and why?
That’s hard for me to answer as I’m very restless, self-critical and suffer from the “my best project is my next project” syndrome. That said, I’m very fond of the Grace Jones portrait I made for Irish studio Hen’s Teeth Prints – it definitely took my portraiture to a different level, apart from the sweet perks of winning awards and certain recognition. But I’m very proud of my work for In Shades as well – part of the reason I wanted to do it was to get out of this rut I’d find myself in, and it’s been really stimulating creatively.
Other people have called my work vibrant, tropical, and bursting with experimental shape, pattern and composition – I think I’ll take that! I’m fundamentally influenced by my native Brazil, by the sea and the arid landscape I grew up in.
How would you describe your illustrative style? Who are some of your biggest creative influences?
Other people have called my work vibrant, tropical, and bursting with experimental shape, pattern and composition – I think I’ll take that! I’m fundamentally influenced by my native Brazil, by the sea and the arid landscape I grew up in. I’m also a bit obsessed with modern art (Matisse, the Delaunays, the Arps, the Albers), modernist architects (Roberto Burle Marx, the Eames), early 20th century poster artists, and of course some postmodernism (Ettore Sottsass, Nathalie du Pasquier) too. There is also something to be said for human emotion as being a creative influence – love, fear, failure, competitiveness… I find the greatest evolution in my work has come from those kinds of feelings.
Who are some WNW members whose work you admire, and why?
I recently discovered the work of Gabriella Sanchez through Free Range and am really taken with her colourful, girl power-infused illustrations! Also a big fan of Kiki Ljung, who is now living in Barcelona too – we’ve been trying to get together for a drink! She does bold and graphic like I’ve never seen before. I must also mention Olimpia Zagnoli, who was one of the main influences in me taking the step to embrace illustration as a career. Grazie mille, Olimpia!
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
HOW TO MAKE A MAGAZINE: JACKIE LINTON
HOW TO MAKE A MAGAZINE: JACKIE LINTON
WNW Member #6216 Jackie Linton is the publisher of the blossoming magazine Bad Day, a biannual arts and culture magazine that focuses on direct dialogues with the international creative community. Bad Day showcases some of the intimate commonalities we all share in our routines, perspectives and working practices. We spoke to Jackie about the origins of Bad Day and how it grew from Toronto-based side project to covering the global creative scene. With a recent feature on Kim Gordon (of Sonic Youth fame), Jackie couldn't be happier: "I'm proud any time I see the magazine on a newsstand. Even more so is when it's a surprise—like an unexpected bodega downtown, or when someone texts me that they saw it at an airport in Sweden. It's at the point now where the magazine has taken on a life of its own, and that’s the most satisfying for me."
What led you to start publishing Bad Day, in addition to working as a copywriter? Give us a little background of how it all got started.
Bad Day was founded in Toronto, and began as a fun side project to try to speak to the global cultural community while building a conversation around Canadian artists, musicians and creatives. Ultimately, I think it was a fun opportunity to work with friends to catalog our tastes, and produce something really distinctive that we love.
Bad Day is focused on the community around creativity. You also combine a variety of disciplines in the same conversation. What's the benefit of cross-pollinating these generally separated topics?
I think the idea of being “creative” goes in a many different directions—and that’s good for a magazine. For us, seeing the ties that bind across a variety of disciplines can be exciting, whether it’s an 80 year-old Italian furniture designer, a mid-career filmmaker in California, or an upcoming fine artist working in Bushwick. For me, working in advertising during the day, I look to different aspects of commerce and culture to help what I do, and I think that’s the same for independent artists, musicians and writers. As I think these categories are becoming increasingly fluid.
What's been your proudest moment during all of this?
The cheesy answer is that I'm proud any time I see the magazine on a newsstand. Even more so is when it's a surprise—like an unexpected bodega downtown, or when someone texts me that they saw it at an airport in Sweden. It's at the point now where the magazine has taken on a life of its own, and that’s the most satisfying for me.
What was it like having Kim Gordon in the most recent issue? (That's amazing!)
Thank you! I think it was a dream come true for us. Kim Gordon was always someone on our ultimate “wish list" for as long as we’ve been making the magazine—and I think the timing couldn't be better. She has really “re-emerged” this year.
How did your collaboration with Levi’s Made & Crafted come together?
It was an awesome experience to work with Levi’s Made & Crafted. We teamed up to make a custom “Bad Day” look book for them to promote their collection for Autumn / Winter 2015. They wanted a loose “punk” theme to coincide with their inspiration for the season, which was fun to play around with. Personally, with the agency work I’ve done, it was cool for us to produce our first print ad campaign, which is an extension of one of the fashion stories in the issue.
How do you see Bad Day evolving in the future?
Great question. We’ve been so focused on fulfilling our goals with the print magazine. And we’ve really deliberately kept our digital presence to a minimum over the years, just so we can make sure we’re giving the print project the most of our attention. I think if we evolved, we would approach more digitally-based projects from a different point of view—as opposed to just producing written content online. I think video is an area I can see us doing more.
As a publisher of an arts and culture magazine, you must have your finger on the pulse of a lot of cool scenes. What are you most into these days in terms of music, film, television, books, visual arts?
As far as print magazines, I am excited about the latest issues of WAX, as well as the debut issue of Talk Magazine. I’m reading novels by James Salter for the rest of the summer. I just stream whatever is popular on Soundcloud. Some visual artists I’m interested in right now, or actually, most of the time, include: Sara Cwynar, Yto Barrada, Leanne Shapton, Laura Owens, and Linus Bill.
What are the venues, theaters, and museums you most frequent in New York?
My favorite venues in New York City for art and print culture include Printed Matter, Picture Room, and Karma. As far as theaters, probably The Kitchen.
Any helpful tips for freelance creatives?
Be persistent, and as polite as possible. I can be quite shy, and really, the best thing to do as a creative is to curb that tendency as much as possible.
Who are some other WNW members whose work you admire?
I always love the art direction of Elizabeth Dilk and Ashley Jones. I'm blown away by the scope of projects that Mary Dauterman has done. I recently worked with Steve Caputo, whose work I really admire.
Anything else you’d like to add that we haven’t asked?
Thank you for having me!