Work & Co's Founder and Design Partner Joe Stewart tells us how Work & Co was born from wanting to get his design hands dirty again, and the internal trust that exists with having agency leadership learning and building alongside you. Joe also offers great advice on what it takes to work there, as well as what he looks for in prospective hires and their creative portfolios.
Read MoreTevin Tavares Is a Filmmaker On a Mission
Tevin Tavares knew he wanted to make Nike films. He talks about making moves, starting a collective, & life lessons from filming TX high school football post-hurricane. For Nike.
Read MoreWant to Work at Wieden+Kennedy? Meet Lauren Ranke
We interview Lauren Ranke, the Director of Creative Recruiting at W+K Portland. Lauren tells us how she's seen the agency evolve over her 20+ year tenure and how you can get hired.
Read More
Brock Kirby Writes The Atlantic’s First Campaign in a Decade
Brock Kirby Writes The Atlantic’s First Campaign in a Decade
MIKE O'DONNELL / EDITOR
The only thing better than a Michael K. Williams performance is four Michael K. Williams performances. That is what's on display in "Question Your Answers," The Atlantic's first campaign in over a decade. Williams looks toward the camera and asks, "You think I'm being typecast?" It's not for the viewer to answer, but instead for the multiple personas that Williams has played over the years. The following exchange definitely earns the campaign's slogan, as he navigates and breaks down his truths. While Williams does an incredible job of juggling four distinct versions of himself, much of the credit also goes to WNW Member and lead writer Brock Kirby. Below, Brock tells us how he wound up working on this dream job with Wieden+Kennedy. "A great agency with great CDs calls and says, 'We have one of your favorite actors paired up with an awesome brand. Want to write a script with no time constraints?' Uh, yeah, I can do that."
Brock also gives us some insight into the creative challenges and breakthroughs that came with tackling this script: "I’m not an actor. I’m not Black. I’ve never been typecast in the same sense that he’s been typecast. The challenge for me was to figure out how I could draw parallels in my own life, and empathize with him. Ultimately, his worldview, his quest to seek the truth and be comfortable with not finding concrete answers, was what I connected with."
Tell us a little bit about your creative background. Who is Brock Kirby and how did he get here?
I was a journalism major at the University of Oregon. I wanted to write for Men’s Health. I had a lot more meat in my head at that point. Deborah Morrison (Distinguished Professor of advertising at the U of O) convinced me that advertising might be better fit. Maybe she was right? Or maybe I missed my calling writing articles about shredded abs? We’ll never know.
How would you describe your writing 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 find dogma of any kind to be ridiculous. I also know, for sure, that you have to believe in something or you slip into deep depression. Everything is paradox. With every project I attack the “truth” in a brief, satirizing it and outright refuting it in hopes of finding something I can believe in. Thankfully, for everyone, I got to skip that entire process with this project. I’ve never received a brief/platform that so clearly reflected my own view of the world.
How did “Question Your Answers,” the newest campaign for The Atlantic, come about? What was the brief you were given?
This project had been at WK NYC for awhile before I got a call. The CDs, Jaclyn Crowley and Al Merry, had already cracked the big idea with the main client, Sam Rosen. The idea was to have notable personalities debate hard questions amongst their many selves. Al took a CD job at WK Amsterdam while they were reaching out to talent. So I got the call after they found out they had secured Michael K. Williams. All they needed was the question MKW would ask himself, a script, and some tagline exploration. It’s like a dream call really. A great agency with great CDs calls and says, “We have one of your favorite actors paired up with an awesome brand. Want to write a script with no time constraints?” Uh, yeah, I can do that.
Was there any added pressure, knowing that this was The Atlantic’s first brand campaign in over a decade?
Not for me. I try not to think about stuff like that. Besides, there are so many other people capable of shouldering that anxiety. If the broader team was feeling pressure, it was tough to tell. The creative environment was delightful from client to CDs to ECDS. Even Samantha Wagner, the account lead on the project, showed no hint of stress. And Alison Hill, the producer tasked with pulling off some magic, didn’t break a sweat.
Which typecast role did you first encounter Michael K. Williams in? Omar Little from The Wire? Chalky White from Boardwalk Empire?
Omar. And he was absolutely phenomenal. I think he’s such a transcendent talent he’s able to take any role and add a level of depth that steers it away from a paint-by-numbers stereotype. He also chooses roles that are incredibly well-written.
“The challenge for me was to figure out how I could draw parallels in my own life, and empathize with him. Ultimately, his worldview, his quest to seek the truth and be comfortable with not finding concrete answers, was what I connected with.”
Can you share any creative challenges or breakthroughs you encountered while writing this script?
I’m not an actor. I’m not Black. I’ve never been typecast in the same sense that he’s been typecast. The challenge for me was to figure out how I could draw parallels in my own life, and empathize with him. Ultimately, his worldview, his quest to seek the truth and be comfortable with not finding concrete answers, was what I connected with.
What did you think of Michael K. Williams’s performance, and the manner in which he juggled these four distinctive personas?
He is an absolute master of his craft. I’ve never seen anything like it. Jaclyn and I gave some write-ups for each persona. But Michael took that framework and worked with David Shane to name each character, and really differentiate the parts of himself. He didn’t come in with the mindset that this was some “ad.” It felt like he gave it the same amount of dedication that he gives to all of his work. We were all blown away watching him do his thing on set.
Did Michael K. Williams have any particular feedback or suggestions to incorporate his personal concerns about typecasting that you wouldn’t otherwise know about?
His enthusiasm for the script gave us confidence. There wasn’t a lot of back and forth on it. But he contributed greatly when it came to really distinguishing the characters from one another. From the wardrobe selection, to his delivery, to the smoothie he’s drinking, he added a lot of beautiful nuance to each version of himself.
“He didn’t come in with the mindset that this was some “ad.” It felt like he gave it the same amount of dedication that he gives to all of his work. We were all blown away watching him do his thing on set.”
How much of this was written in your newly built backyard writing shed?
All of it. Besides the usual sparks of genius from David and Michael and Jaclyn on set.
What are a couple lessons you learned working on this that you can share with fellow writers?
I think the crew that I got to work with on this was special. It just reaffirms that in order to make something you love, you need extraordinary agency leadership (Karl Lieberman and Neal Arthur) and extraordinary clients.
Anything else you’d like to add?
Go Ducks.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
GIF by WNW Member Joseph Alessio
What We As Creatives Can Do Now
This is not normal. We are in uncharted territory, and we need to fight.
We can and should march, protest, preach, call our representatives, stand up for what’s right, create meaningful words and images and experiences, hug our loved ones, look out for our non-loved ones, and probably make sure we have plenty of extra water and food and an emergency plan. That goes for everyone. But there are a few things those of us who are part of this particular creative community can do.
Read MorePROFILES OF THE WEEK: JANUARY 3RD
PROFILES OF THE WEEK:
JANUARY 3RD
Albert Trulls, Designer. Barcelona.
Eric Locko, Director. Los Angeles.
Christy Lai, Designer. Portland.
Carmel Gatchalian, Designer. New York.
Elliott Graham, Art Director. New York.
MC Wolfman, Illustrator. Beacon.
Maggy Lynch-Hartley, Producer. Chicago.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: DECEMBER 19TH
PROFILES OF THE WEEK:
DECEMBER 19TH
Zorica Radovic, Art Director. Portland.
Chris Edwards, Designer. Seattle.
Angela Mckay, Illustrator. New York.
Christopher Kahle, Copywriter. Los Angeles.
Shawna X, Designer. New York.
Jason Ferguson, Copywriter. New York.
David Chathas, Designer. Portland.
Jaye Davis, Copywriter. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: DECEMBER 5TH
PROFILES OF THE WEEK:
DECEMBER 5TH
Tony Chen, Editor. Los Angeles.
Michael Sevilla, Art Director. Santa Monica.
Anna Farrell, UX/IA Designer. New York.
Azsa West, Art Director. Tokyo.
Vinesh Gayadin, Designer. Amsterdam.
Jarrod Higgins, Copywriter. Portland.
Jenny Tiffany, Illustrator. Portland.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
THIS COPYWRITER BUILT HIS OWN WRITING SHED
THIS COPYWRITER BUILT HIS
OWN WRITING SHED
It's important for a creative to have a space that's actually conducive with being creative. Sometimes this can just mean a big desktop, some framed inspiration, and an ergonomic chair. But WNW Member and copywriter Brock Kirby decided to go about a thousand steps further, well beyond adding a new bookshelf or some air-purifying plants: he built his own writing shed.
Brock tell us the whole process took about a year. He had been considering going freelance for a while, and the writing shed was a big part of that dream. Now he freelances, from his backyard. In our interview below, Brock admits that he got a big boost from his father-in-law. "He’s a master builder; that’s not just hyperbole, that’s his official title. He’s incredible at what he does and basically built the entire thing. I held the other end of the measuring tape and made runs to the hardware store, but without him I’m sitting in a prefab. He’s a saint."
Obviously, not everyone has the space or energy or father-in-law to construct their own creative shed. But Brock has some priceless advice that should help everyone up their creative levels. "Have a designated drawer for your phone and keep it in there most of the day. Other than that, just have fun and wear sweat suits."
Tell us a little bit about your background. Who is Brock Kirby and how did he get here?
I’m an Oregon boy. I graduated from the University of Oregon and went out to JWT New York for a couple years, but Portland was calling me back. I landed in a pretty sweet situation at Wieden+Kennedy and learned from the best in that beautiful building. And now, freelance, in my backyard.
What was the impetus behind building a writing shed?
I had been considering freelance for awhile and the shed was part of that dream. I love my 1-year-old and 4-year-old kids very much, but I knew I’d need a quiet space away from the Thunderdome that is my house.
I looked at a ton of pre-fab units, but realized my father-in-law and I could probably do it better and cheaper.
What element of the finished product are you proudest of?
The cedar ceiling. In the process of building it we decided to extend it to the eaves out front. I love that it brings the outside and the inside together.
What was the biggest challenge in making this creative retreat a reality? How long did it take?
The whole process took about a year. We poured concrete summer 2015, started framing in Spring 2016 and finished the whole thing by end of Summer 2016. We did the majority of the work on weekends and evenings, so just finding the time was the biggest hurdle.
Have you considered a career in architecture and carpentry?
I took some college level engineering classes in high school and worked as a general laborer during the summer for my father-in-law. He’s the one with the skills. He’s a master builder; that’s not just hyperbole, that’s his official title. He’s incredible at what he does and basically built the entire thing. I held the other end of the measuring tape and made runs to the hardware store, but without him I’m sitting in a prefab. He’s a saint.
What are the essentials for your personal creative feng shui?
Books and a couple comfortable chairs. I’ve left some space on the shelves and walls to remind myself that I still have lots of time to fill it with cool stuff.
Have you come up with a set of rules that you must abide by while in your creative retreat?
1: Write
2: Read
3. No fantasy football.
Everyone works best under their own set of circumstances. But what are some tips you can offer to creative to make their creative spaces conducive to being just that?
Have a designated drawer for your phone and keep it in there most of the day. Other than that, just have fun and wear sweat suits.
What projects have you been working on in your new digs?
Agency work, short films, the shed itself. Now that I have this big personal project out of the way I can move on to the more cliché ones, novels and pilots and such.
Anything else you’d like to add?
Seriously, get yourself a really comfortable sweat suit or five. At any moment you’re ready to write long copy, do calisthenics or sprint after the godforsaken cat that keeps digging in my fall vegetables.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
How the Artist Visiting Our Startup Office Change My Life
What began with an email and cute Instagram illustrations turned into a collaboration that’s still going strong today. Jason visited our offices at the end of April this year (2016) to create art and work with our team on creative projects. An added bonus was that we had time to really get to know one another. Hearing Jason speak about his life, his career trajectory, and his impressions of Berlin had a profound personal impact on me.
Read MoreSAD ANIMAL FACTS, AN ADORABLE WAY TO RUIN YOUR CHILDHOOD
SAD ANIMAL FACTS, AN ADORABLE WAY TO RUIN YOUR CHILDHOOD
WNW Member Brooke Barker is a writer, illustrator and animal enthusiast living in Portland, Oregon. She’s also the creator of Sad Animal Facts and a former copywriter at Wieden+Kennedy. She has a dog who can never eat chocolate and three guppies who can't take naps because they don't have eyelids.
Sad Animal Facts has gained a massive following as a Tumblr page and Instagram account, but will soon be available in book form on September 6th. Head here to pre-order a copy now. It's "a delightful and quirky compendium of the Animal Kingdom’s more unfortunate truths, with over 150 hand-drawn illustrations." It's great for adults who have grown disillusioned over the years, and for kids to share at their next show-and-tell. In addition to being funny, Sad Animal Facts is pretty informative. And unlike Snapple facts, they're actually true. Did you know that giraffe babies fall six feet to the ground when they're born? Or that chickens can be startled to death? Or that sheep have no upper front teeth? Now go win some mystery shots at bar trivia.
We interviewed Brooke to find out how Sad Animal Facts started, how she's honed her illustration skills on the fly, and whether she has come across any animal facts so sad that she's skipped over them out of pity. The short answer is no.
But first, a message from Brooke Barker...
Tell us about about your creative background. Who is Brooke and how did she get here?
I studied Medieval French History and Visual Arts in college and things have gone really well, considering. For the last four years I’ve been a copywriter at Wieden+Kennedy Portland, and now I’ve switched to freelance copywriting and get to spend even more time working on bizarre side projects like Sad Animal Facts.
When did you first come up with the idea for Sad Animal Facts? Were you surprised by the overwhelming response on Instagram?
I’ve been an animal enthusiast ever since I was the age when all of us were animal enthusiasts. And it’s more fun to tell people about the sad facts, because we’re bombarded with the happy facts when we’re growing up. We all know cats have nine lives, but that’s not even true, so it’s a lot more interesting that adult cats can’t recognize their mothers, and that their tongues can’t taste sweet things, and that they can get zits. Those are the things I’m interested in drawing.
Sad Animal Facts started on Instagram and Tumblr, and people were so supportive and friendly! It’s exciting to look at my phone and see all these sweet messages, instead of people saying “All right Brooke, you’ve told us enough about snow monkeys” the way they do in real life.
What are 3-5 of your favorite sad animal facts?
I’m really interested in facts that came out of bizarre studies: like the fact that lab rats enjoy mating more when wearing vests, and that sheep can only recognize 50 faces, and cow’s produce the most milk while listening to R.E.M.’s “Everybody Hurts.”
One fact that came out of a bizarre study is the fact that rats are worse at solving mazes if humans nearby expect them to do a bad job. I take that fact very seriously. It’s the fact that I sometimes end up thinking about at night. Am I a rat, and which sort of rat do people expect me to be, and how long are these mazes, how complicated are we talking?
Have you come across any animal facts so sad that you’ve skipped over them out of pity?
I’m pretty ruthless at this point - the darker a fact is, the more excited I get. I’m more likely to skip over a fact because it’s way too confusing.
Sometimes I feel a bit too much empathy for female animals. It can be sort of a bummer to be a female predator, and there are a lot of sad facts about female lions, female baboons, and other female predators that I’ve skipped over.
How have you seen your illustration skills evolve with this project? What animals have been hardest for you to draw?
I’m probably not going to be my generation’s great artistic savant, but illustration is really fun because it’s another way to express ideas besides writing, vandalism, or shouting.
I still have the worst time with reptiles, birds with an obnoxious number of colors, and manatees. I can tell you what animals would have looked like if I had been the one to design animals - they would all be sort of bag-shaped, with lots of fur, an easy-to-draw tail, a pretty basic pattern, and interesting ears. There would have been several dozen versions of the raccoon, basically.
What are you working on now?
My husband WNW Member Boaz Frankel and I make a daily desk calendar called the It’s Different Every Day calendar. Instead of a year-long theme (sudoku, waterfalls, jokes about dogs) every single day has a different theme. We’re working on the fourth edition of it right now.
Who are some other WNW Members whose work you admire, and why?
I love everything Tuesday Bassen does. Her work makes being a girl feel like being a fan of a sports team that always wins.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Overshare Podcast: Kate Bingaman-Burt, Adam R. Garcia & Rich Tu
Overshare Podcast: Kate Bingaman-Burt, Adam R. Garcia & Rich Tu
Overshare is a new Working Not Working event series and podcast that features honest conversations with our favorite creatives about the tough stuff we don't talk about in public often enough. In the third episode, WNW co-founder Justin Gignac travels to Portland during Design Week to talk to three WNW all-stars: Kate Bingaman-Burt, Rich Tu, and Adam R. Garcia.
Housed in Outpost, a 13,000 square foot industrial building, the trio give Justin the rundown on the creative scene in Portland. "One thing about teaching here is that the community is just so generous and their doors are so open," says Kate. "It’s kind of ridiculous to not tap into the community, especially when you’re a design student and you’re teaching at a design program... Even though I’ve been here for 8 years, I’m still so in awe at how generous the community is. It’s a game-changer." Adam adds, "This place really does exemplify the idea of openness both creatively and collaboratively...there’s a cutthroatness that doesn’t need to exist here because of the creative infrastructure of this city."
Rich, the newest Portlander, shares the challenge of retooling some of his New York City tendencies. "I’m struggling with shedding a bit of the New Yorker out of me. I remember when I first got here, I was riding the train and I was like hoodie, sunglasses, don’t fuckin talk to me. Thinking 'have to be in the zone, on the way to work.' But then of course, going to work at the Swoosh, every one takes the same fuckin train. Inevitably, you’re seeing everyone at work and then you start opening up, you start becoming a human being…my next hurdle is really to become an outdoorsy guy."
Kate, Rich & Adam also open up about about their personal definitions of success and failure, and how they try to build on success and embrace and rebound from fears and failure. Rich reflects on the idea of not letting his parents down, and carrying the torch of success. "Being the child of an immigrant is a really meaningful thing. They came to the United States from the Philippines when they were twenty years old [supporting their families back in the Philippines]...and I think, 'Shit, I've got to live up to that. My mom ended up being a doctor, my dad ended up being an architect, doing amazing things off of pennies in the Philippines. I look at that, I'm like 'I can't not fail that legacy. I've got to at least do something with my life.' Having them see my success is the anti-failure for me."
As the conversation winded down, Kate was asked what advice she would give to her younger self: "It's okay to be loud. I think about the way that I was just spending a lot of worry about what people are thinking of me, trying not to have people notice me, trying not to have people listen to me. It was a lot of time that I wasted being up against the wall. It's really important to me, especially to my female students too, that it's okay to be loud. So be loud."
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.
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THE KING OF CONCERT POSTERS' NEW BOOK OFFERS AN EXPANSIVE TOUR
THE KING OF CONCERT POSTERS' NEW BOOK OFFERS AN
EXPANSIVE TOUR
If you're a fan of music, or have ever been to a concert, chances are you've come across the work of WNW Member #10521 Mike King. He has designed well over five thousand concert posters since the late 70s for band and venues all over the country, getting his start making posters for the punk/noise bands he played in. Luckily, the greatest hits spanning his entire career will soon be available. Mike is currently crowdfunding Maximum Plunder: The Poster Art of Mike King, a book that brings together over one thousand of his concert posters. Below, we caught up with Mike to discuss how his style and process have evolved over the years, and how he developed the discipline and commitment to master his craft: "Discipline and commitment implies that there was some planning involved to get to where I am now. The truth is I just did them and kept on doing them and the next thing I knew I was a designer with a career."
There are only two weeks left to help fund this book that celebrates the alliance of music and design. Head here to help support this project.
Tell us about your creative background. Who is Mike King and how did he get here?
I was one of those guys in high school who drew instead of studying. I wanted to draw comics, but was crap at it. I always loved music, but didn't feel like I was allowed to play it. When I discovered punk rock a whole new world opened up to me. I played in some bands, made posters for those bands and then started making posters for other bands and it snowballed from there. I no longer play music.
You’re currently crowdfunding a book that contains over a thousand of your concert posters. You’ve designed well over five thousand since the late 70s. How did you develop that discipline and commitment to your craft?
Discipline and commitment implies that there was some planning involved to get to where I am now. The truth is I just did them and kept on doing them and the next thing I knew I was a designer with a career.
What goes into the process of creating a concert poster? Is it easier if you’re a fan of the music? Do you consider the venue in your design or is it strictly about the band?
The process varies from project to project, often dependent on input from the client. But I am lucky enough to work with some folks who just let me be me. Sometimes it’s easier if I’m not a fan of the band. If I really like something I have a tendency to overthink it.
I take everything into consideration: band, venue, date. If a concert is on October 31 it seems like that would affect the poster. If the band is The Misfits you would want the poster to look like it was on October 31 even if the show is in April.
Do you listen to the artist’s music while designing the poster for their show?
I don’t usually listen to the band while working on the poster. If I haven’t heard the band before, I don’t. As a professional I don’t want my musical taste to get in the way. If I want to know what a band is about, I usually look at their merch: the T-shirts they sell are way more insightful graphically than the music
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 poster as its own entity?
I would describe my “style” as varied. I like to think I have more of aesthetic than a style, but maybe I am kidding myself. I like a lot of different styles and I try make my work as varied as possible. I approach each project on it’s own terms.
What are some ways that your skill-set and style have evolved over the years? Have you introduced new methods?
I started out drawing, then I moved to a xerox machine which led to photoshop. Lately it seems like I am drawing more. All of my new methods are top secret.
You’ve also designed album artwork for some pretty big names. Does your approach differ from the process of designing a concert poster?
Certainly, with album art there tends to be many more people involved and much more revision. The design skills required are the same as posters; it’s the skill involved in dealing with people that can be the challenge.
Posters for events have to be done right away. Album art (in theory) isn't designed in as much of a rush.
How do the Pacific Northwest and New York city respectively influence your work?
I feel like even when I was in the Northwest, New York always had an influence.
Who are some of your biggest creative idols and influences?
Paul Rand, Wally Wood, Jeff Kleinsmith, Ben Shahn, Saul Bass, John Heartfeld, Rodchenko, Dadaism, Constructivism, Hot Rod magazines, Victorian advertising, Punk zines…..
What five posters have made you the proudest?
It’s hard to pick posters I am proudest of, because I can find flaws in every one.
A few of the posters I dislike the least are:
Vampire Weekend - Crystal Ballroom / LCD Soundsystem - Sasquatch Music Festival / Flaming Lips - Edgefield / Bad Religion - RCKNDY / The Decemberists - Royal Festival Hall
If you weren’t a designer, what do you think you’d be doing instead?
Working in a bookstore, janitor, Titan of industry
What do you do when Not Working?
When I am not working, I am thinking of working.
What are some things you would tell your high school or early twenties self?
“Smoking all that weed isn’t so good for you.”
What cultural and creative venues do you frequent in New York & the Northwest (arthouse theaters, galleries, concert venues, museums, bookstores, record stores etc)?
I go to free nights at museums most months (there are way more museums here)
Unlike the Northwest, I have to pay to see concerts, so I haven’t seen as much music as I'd like.
I like sketch night at the Illustrators Club. There are several record and book stores I like in the lower east side. Mostly I just wander around.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
I am a lone wolf, but not by choice. I would certainly thrive as part of a creative community... but I barely know anyone here.
Any music recommendations for your fellow WNW members?
I love the new Savages album, lately I am into oldish metal (Anthrax, Slayer, Iron Maiden), OG New York Punk and No Wave (Television, Suicide, Heartbreakers, Lydia Lunch) and the Bad Brains.
Anything else you’d like to add?
Please check out the book, and even if my WNW page says I am working, hit me up anyway… my schedule is way flexible.
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!
PROFILES OF THE WEEK: APRIL 11TH
PROFILES OF THE WEEK: APRIL 11TH
Luke & Omid, Copywriter + Art Director. San Francisco.
Nate Luetkehans, Designer. San Francisco.
Sarah Bruns, Art Director. New York.
Bob Pullum, Art Director. San Francisco.
Caroline Lee, Copywriter. Venice Beach.
Lisa Kaplan, Producer. New York.
Casey Harper, Designer. Portland.
Fuzzy Wobble, Creative Technologist. Brooklyn.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: MARCH 7TH
PROFILES OF THE WEEK: MARCH 7TH
Franck Blaess, Director. Austin.
Nancy McCabe, Designer. Chicago.
Jacob Kaempf, Art Director. Portland.
Natalie Lam, Art Director. NYC.
James Heredia, Motion Designer. Portland.
Willyum Beck, Art Director. Portland.
Cori Donohoe, Copywriter. Chicago.
Nancy Ward, Producer. Santa Monica.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Photo: WNW Member #3790 Jim Golden
ON PORTLAND: BERNADETTE SPEAR
ON PORTLAND: BERNADETTE SPEAR
Portlandia characters included, we've been hearing amazing things about Portland for years. Besides Wieden+Kennedy ruling the town, there are pockets of creative action - and craftsmen of all kinds - throughout the city. As a producer, WNW Member #3283 Bernadette Spear makes it her job to find all those creative hubs. With work-life balance a priority, Bernadette tells us that networking is done a bit differently in Portland, "There are no agents, reps, or go-betweens; you get to the creative people just by talking to them at a bar or floating down the river with them."
Tell us a bit about yourself, what you're currently loving...
I grew up in Juneau, Alaska and spent 15 years living in Portland. I am currently in NYC and working in Chicago/NY for Havas Worldwide. There is a terrific group of creatives in Chicago, it has been a great start to a new year.
As for what I'm currently loving, there's a podcast called Adjust Your Tracking that's my favorite! It's two film savvy guys reviewing films and interviewing notable filmmakers. Be forewarned, there is a fair amount of colorful language. And on the internet, I’m obsessed with Instagram as usual.
Why did you move to Portland?
I moved to Portland to finish college. It was 1/4 of the price tag of the school in Boston and some of my friends from high school rented a house in the woods for us. I figured I would finish school and end up back on the East Coast, but Portland turned out to be a terrific place to establish a career in filmmaking so I stayed, and stayed and 15 years went by and I bought a house….
Photo: WNW Member #3790 Jim Golden
How does the city inspire you?
Pretty much anything you can imagine can be achieved in Portland. It is a reasonably inexpensive place to live well and there are pockets of talented people all around willing and eager to collaborate.
You wouldn't know it at first glance that the guy at the end of the bar who looks like a regular guy wrote the screenplay to your favorite film.... In Portland, people who do cool things are just your buddies and neighbors, not people that are idolized and hidden away.
Describe Portland's creative scene.
I find Portland's creative scene to be unlike any other city's. There are all these hidden creative people and gems of talent: craftsmen, people with a weird, random skill that is very Portlandia-esque. Portland is a really cool place because its affordable to live in, which is necessary as a creative to have resources at your disposal. People don’t have to work 80 hours a week to get by or spend that on their car like in LA. In Portland, they’re either at work or playing. There's more time to meet and interact. If I need someone who can build a structure, a motorcycle, robot, you can find those people and you don’t have to dig that deep. There are no agents, reps, or go-betweens; you get to the creative people just by talking to them at a bar or floating down the river with them.
What are your favorite things about living there? What are some challenges?
Some of my favorite things: Having a house, a yard and being surrounded by creative people who work to live..... Oh, then there are the epic summers dedicated to backyard BBQ’s and floating the river.
The biggest challenge with living in Portland from a creative perspective is limited choices if you want to collaborate at a really high level. There are a ton of creative people but a finite number of places to work. There are times when there’s not a lot of work so you have to have your own side projects and be self-motivated and make those things like your other job.
Photo: WNW Member #3090 Neil DaCosta
What are some neighborhood spots that you love?
I love Montavilla. I moved there in 2008 and I wouldn't change that choice for anything. It's a ten minute drive to downtown and a ten minute walk to Mt Tabor where you can get lost for hours in the trees and lovely vistas. One block from my front door is The Portland Garment Factory.
Other recommendations:
Una for shopping, Heart for Coffee and the Red Flag is hands down my favorite neighborhood dive bar. Beech Street Parlor for a civilized night of delicious food/cocktails and a likely impromptu dance party.
Any WNW members whose work you admire?
I'm a big fan of Alexander Barrett. We have worked together a few times over the years and aside from being a stellar copywriter, I mostly stalk his illustrations/ PSA's on Instagram Tuff Stuf. The daily posts of 2015 from Benji Brucker's wannahump.me also put me in a good mood.
Photo: WNW Member #3790 Jim Golden
Photo: WNW Member #3090 Neil DaCosta
Photo: WNW Member #3090 Neil DaCosta
Photo: WNW Member #3090 Neil DaCosta
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Photo by Nicholas Peter Wilson
MEET #2257 KATE BINGAMAN-BURT
MEET #2257 KATE BINGAMAN-BURT
Illustrator • Portland, Oregon
WNW Member #2257 Kate Bingaman-Burt has lots of zingers. Her observational illustrations may have a whimsical style but they belie a strong social commentary. A quick look through her portfolio yields sex facts, how to get creative and...her credit card statements. All draw attention to causes that educate and empower.
Given that Kate is both a full-time professor and full-time freelancer, we wanted to know how she manages her time. Kate tells us that she tries to compartmentalize and divide the week into school mode with weekends for freelance brain. She also reminds us of the great Mike Tyson quote, "Everyone has a plan until they get punched in the face."
1. How long have you been freelancing?
People have been paying me to do stuff for them since 1999, but I feel like things ramped up into FOR REAL territory around 8 or 9 years ago.
2. Is there a time or place that you feel most creative/have the best ideas?
Fantasy answer: In the mornings! I love getting up at 5 am and starting the day off right by exercising, walking the dog, spending quality time with my husband, eating a healthy breakfast and then getting to my studio around 7 am to start attacking the day. Also, I don't check my email until at least noon so I can have some uninterrupted productivity ME time.
Real answer: Who knows anymore? I used to think I was a night person. and then I used to think I was a morning person. Now, I just feel like a person who likes to sleep, but doesn't that much. Sometimes I get up in the middle of the night to work and sometimes I get up super early in the morning or I stay up really late. Some of my best ideas come when I am just terribly frustrated and on the verge of tears and really just need to get shit done and then BOOM. WORKING AWAY. Trust me, this process isn't ideal. I don't really regulate my freelance schedule until my school year is over with. Summer time is when I can actually start creating a routine for my workdays, which is great. During the school year, I compartmentalize a lot and try to reserve Tuesday-Thursday brain time for school and Friday-Monday brain time for freelance. That's the plan, but as the great philosopher Mike Tyson once said "Everyone has a plan until they get punched in the face."
3. What's your ideal Working:Not Working ratio?
I always like to be working, but I hear that this might not always be a good thing. I try to reserve my Sundays to be my Fundays. If I can keep my Sunday free to hang out with friends or to work on just my own projects, then I consider that week a success.
4. Do your parents understand what you do?
Completely. When I was growing up they were self-employed weavers so they understand the weirdo work schedule.
5. What scene from a movie makes you laugh just thinking about it?
I have two: The scene from Dumb and Dumber where Lloyd says "We've got no FOOD, JOBS...our PETS HEADS ARE FALLIN OFF!"
And I can just sit down and play The Jerk in my head and crack myself up. Especially anything to do with Pizza in a Cup or when Navin gets his name in the telephone book. SWEET JESUS.
6. If you were stranded on a desert island, with your computer, what 3 websites would you take with you?
Instagram because I am sick, Netflix because I am sick and Wikipedia because I am sick. Really, for sanity reasons, I should be STOKED to have zero internet on the desert island. I am about two seconds from going off the grid entirely and just heading out the woods to raise goats and live in a freaking yurt. I swear I am not an angry person, the internet just makes me angry sometimes.
7. What do you do when Not Working?
Besides having fantasies of living in a world with no screens? Umm...I spent the last week trying to figure out Snapchat. Verdict: Still confused. Also, I look at my dog a lot and feel guilty that I don't walk her more.
8. Do you have a hidden talent?
I play the flute and have since I was 11.
9. Any tips or advice for fellow freelancers?
These things take time. I get a lot of questions from people that usually focus around the question of "well, how did you get that client?" It's not an overnight thing for most of us. It's a constant flow of work over a long period of time. It's the steady build up of quality relationships and consistently delivering super work and not being a douchebag to interact with that keeps the work flowing. It's about being a bit crazed and working really hard and repeat. repeat. repeat.
10. What's your favorite thing on the internet this week?
The Fall on Netflix. GILLIAN ANDERSON IS A STONE COLD BABE FOX. Also, Dolly Parton animated gifs, reading all of the excerpts that I can get my hands on from the new Kim Gordon autobiography (Thurston Moore throws a stapler because he is upset that his zine isn't coming together. OMG) and the Anne Friedman Weekly Newsletter. ALWAYS.
Kate's Work
Kate's Workspace
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MEET #1316 MEG HUNT
MEET #1316 MEG HUNT
Illustrator • Portland, Oregon
WNW Member #1316 Meg Hunt creates charming character-based illustrations and lush lettering and patterns for clients that include Dreamworks, Cartoon Network, Adobe Creative Cloud, and Disney, among many others. Meg spoke to WNW about nearing ten years freelancing, and also offered some words of advice to fellow freelancers: "Reach out. Everyone you admire is probably charmingly neurotic too."
1. How long have you been freelancing?
This is actually going to be my tenth year freelancing! Pretty crazy to think about.
2. Is there a time or place that you feel most creative/have the best ideas?
I often feel like I come up with the best ideas when I'm out and about-- whether walking around my neighborhood, travelling long and far, or just riding the bus. My brain makes connections I wouldn't ordinarily come up with. As for time of day: as I get older I seem to have the most momentum if I start early (which means that I still often wind up working late into the night!) -- if I wait til the afternoon, not much gets done. I'm trying to balance by reading and researching more in the evenings, and getting productive work started in the mornings.
3. What's your ideal Working:Not Working ratio?
Ha, this is a little tough to say. The rational part of me would love to not work every other month so I could tackle dedicated personal projects, travel and build new research/inspirations. But I get antsy when I don't have work in the horizon, and I guess personal projects are work too. I like work! If I can get a few moments a week to reflect, learn and relax, I'm happy.
4. Do your parents understand what you do?
Yes, they were always really supportive; I always had a strong work ethic so they felt comfortable with me pursuing art as a career. My mom often shares projects I worked on with her fellow nurses, which is pretty cute.
5. What scene from a movie makes you laugh just thinking about it?
There are a lot, but one movie that consistently gets me is Young Frankenstein-- especially the scene when Igor reveals the brain put in the monster belongs to... "Abby Someone.... Abby Normal.' So good.
6. If you were stranded on a desert island, with your computer, what 3 websites would you take with you?
That seems kind of sad to me to be deserted on a island with only a computer and the internet. At that point I might just become a luddite :) Could I only access the 3 sites and that's it? I would probably say Metafilter (or Ask Metafilter if I couldn't access outside sites), the Library of Congress archives, and maybe Instagram.
7. What do you do when Not Working?
I like to cook, go for hikes, read, cuddle my tiny dog, hang out with friends, listen to music/podcasts/comedy, and learn new things. I also love traveling, but that's something I have sadly not done a ton of (yet!)
8. Do you have a hidden talent?
I can pick up things with my toes pretty well.
9. Any tips or advice for fellow freelancers?
Obvious bits: don't rush. This is not a sprint, it's a marathon. Things are gonna get slow, and work is gonna be frustrating sometimes. But look on the other side of things; maybe learn a new skill, dig a little deeper into what makes you interested in the world. Reach out- everyone you admire is probably charmingly neurotic too, and is pretty nice. Make friends and allies to keep yourself honest. Work hard, stay curious, look away from your screens more, stretch, keep learning and stay humble.
10. What's your favorite thing on the internet this week?
I googled baby rhinos just a bit ago; that was pretty great. Then again this has won the award for being stuck in my head for like a month and a half.