Federico Munichor and Joaquin Lynch Garay teamed up over a decade ago, and in that time have traveled from their roots in Buenos Aires to Shanghai on to New York and most recently to Los Angeles. They discuss why collaboration comes easy, which campaigns make them proudest, the ways in which each creative market is distinct, and how their creative approach is shaped by these stops on their creative journey.
Read More
Illustration by Tallulah Fontaine
America’s Got Talent: On The Unique Anxiety of Immigrant Creatives
Maybe by examining the unique experiences shared by creative immigrants, we can begin to grasp the bigger picture of immigration and how it impacts those contributing their talents to arts, culture, and innovation here.
Read More
“Paddy & Liam” Invites You to Reflect on Your Own Upbringing & Indoctrinations
The British-based WNW Member talks about the early days of his career, his interest in the traveling community of Ireland, and his latest photo book Paddy & Liam. “I guess that in some ways I just wanted to look at them as travel kids now settled, but also to reflect on the Ireland they were born into and growing up in.”
Read More
Working Not Working Heads to the Land of Hemsworths
We're touring Australia at the tail end of March to kick back with our members in Perth, Melbourne, & Sydney. WNW Co-founder Justin Gignac will be giving a talk at the Emergence Creative Festival. We'll also host two Drinking Not Drinking happy hours.
Read MoreMaria Louceiro Embraces Discomfort to Develop Her Creative Eye
WNW Member Maria Louceiro is finding ways to be creatively comfortable with the uncomfortable. For one thing, it's how she created her best work as a photographer. "I was working full-time as a designer, so I took the days off, but didn’t prepare beforehand and was totally lost in Gothenburg.
Read MorePhoto by WNW Member Ebru Yildiz
A Devotion To The Road With Photographer Jessica Lehrman
A Devotion To The Road With Photographer Jessica Lehrman
For some, #vanlife is merely an aesthetic, a lifestyle veneer they aspire to. But for WNW Member Jessica Lehrman, it's all she knows. Growing up mostly in an RV, Jessica traveled the country as a kid: living in Seattle, Tucson, Colorado, Los Angeles, Purchase, and currently Brooklyn (clocking in at over 6 years). Through her upbringing, a natural inquisitiveness for people emerged. Jessica has since been able to translate this into a passion: today she is a world-renowned and highly sought after photographer and photojournalist. She documents everything from the underground rap community in New York to political organizing and protests.
In our interview below, Jessica talks about the dynamics of family road trips, the second family she's found in Brooklyn's underground hip hop scene, and where her craft may take her next. "I think it's in my blood to be continually moving and floating around. I kind of just go where the wind takes me and end up in some pretty starkly different realities and lives. I'm attracted to the most intense aspects of devotion: to one's craft, to one's family, to music, to politics, to love or god. I will follow people across the world for any of those things."
Tell us a little bit about your creative background. Who is Jessica Lehrman, and how did she get here?
I grew up with an incredibly supportive family that nurtured the idea that your artistic endeavor should exist at the center of your life. My childhood was spent bouncing around between different states, cities, schools, RV's, and situations based on that guiding principle. Whether I was living unschooled in the mountains of Colorado, or trying to figure it out as a teenager in Venice Beach working for a newspaper, my parents had instilled in my sister and I a sense that life was the biggest art project. And further, that we should set our lives up as creatively and as in support of others as possible.
I wanted to be a lot of things growing up but all of those things involved art and social documentation in some way or another - most I was pretty bad at (although my parents would tell me otherwise.) It wasn't until I discovered photography that I truly felt I had found my instrument with which to tell stories.
I’m not quite sure where “here” is yet, as I feel every day I am changing my mind on where “there” is that I'm trying to get to. But I would say I got to where I'm at by lots of chance meetings with magical people along my path, who have been interested in the stories I want to document and have helped them to be seen. That might involve dropping out of college, going to India, huddling under small umbrellas with strangers at Occupy Wall Street, or getting sent on rap tours or anti-fracking buses.
Do you have a signature style or process that links all of your projects, or are you more interested in approaching each shoot or experience with spontaneity?
I think I have a pretty distinctive style that fortunately or unfortunately I can't seem to change. My work is extremely personal and no matter what I'm photographing I tend to approach it in the same ways. First, by getting completely entrenched in the world I'm documenting and believing in it and rooting for it and loving it as much as I can, probably for the rest of my life. And secondly, if I can't find common ground or understanding or if I am shooting something that is based out of a culture of hate or discrimination, such as a Trump Rally, I try to go into the experience with as much of an open mind as I can and shoot from somewhat of a blank slate.
How did you first get involved in documenting the New York rap scene? And how has this ongoing interest developed?
I’ve pretty much always shot music. In college, I went to the very music-focused SUNY Purchase and would shoot every act that came there. A lot of my friends were in bands and I would shoot their promos and go on mini-tours and go to the city with them when they had shows.
When I left school and moved to Brooklyn, I continued to shoot bands and protests, my two main focuses, both equally electrifying movements. In 2011 I was spending most of my days at Zuccotti Park during Occupy Wall Street, and was very broke and had lost weight from not having money for food AND a metro card. I then got a call to go on a 14-day tour across the South with Jermaine Dupri (whom I didn't know anything about at the time, to be honest) for what at that time was “a small fortune.” I said yes and left the following week and fell in love with touring, and with hip hop. When I came home I fell back into days at Occupy and nights shooting rap shows. Brooklyn is small and so is the music scene, and underground hip-hop in Brooklyn is even smaller. I met the group World's Fair at Fools Gold Day Off and they became my family and some of my best friends for life. They introduced me to Bodega Bamz and The Underachievers; fast forward and the stories of the artists in that group of friends became ones I felt I wanted to help share with the world. Those guys are all family.
“I’m attracted to the most intense aspects of devotion: to one’s craft, to one’s family, to music, to politics, to love or god. I will follow people across the world for any of those things.”
It seems like movement has been a central theme in your life, from childhood to shooting the Beast Coastal tour and the 2016 election. Can you talk about that and how it informs your creative process?
I think it's in my blood to be continually moving and floating around. I kind of just go where the wind takes me and end up in some pretty starkly different realities and lives. I'm attracted to the most intense aspects of devotion: to one's craft, to one's family, to music, to politics, to love or god. I will follow people across the world for any of those things, and all of the stories I've spent some time on share that in common.
Have you considered testing the waters of videography?
Yes, I have done a bit of directing but haven't really found my voice in that medium yet. I would actually like to do more and maybe just need an excuse to do so.
In what unexpected places do you find creative inspiration?
Dance. I love watching people dance. It might go with my obsession with movement and intense emotions but I feel like dance performances encompass so much passion that I want to capture in my work. I’m also very intrigued by and have started to experiment with quilting and textile arts, but I don't want to say too much before I put out some work in that medium.
“Honestly, it makes me want to cry with happiness. I want nothing more in life than to see my friends succeed and get the platform they deserve.”
You’ve seen artists and friends you started with early on go on to flourish with their craft. Joey Badass and Flatbush Zombies, who are now Billboard-charting international stars, come to mind. What has it been like witnessing that growth process firsthand?
Honestly, it makes me want to cry with happiness. I want nothing more in life than to see my friends succeed and get the platform they deserve. I love all those guys dearly and am more than excited for everything they are getting!
Through your work, you’ve traveled extensively. What is it like working from the road? What’s the one or two pieces of equipment you can’t travel without?
I LOVE working from the road. I love touring because it's traveling with your best friends and having slumber parties and getting to experience newness but also familiarity. As for equipment, I seriously never change what I have if I'm on the road or here, and it's very little: I have a 5D and a 24-70L and a flash. I'm little and I don't like to carry more than I need and have found that to be all I need for anything. There are little non-photography things I have been very happy to have on the road, such as a headlamp for in the bunk on a tour bus when you are looking for your socks, a fanny pack for batteries when you don't want to carry your whole backpack, Wellness Formula so you don't get sick, and face wipes because the number of times you are showering is very little.
“Sometimes I feel like being a photographer is just a cheat code for getting to go experience whatever part of life you can imagine, and having an excuse to do so.”
You experienced a pretty unique gypsy summer with your parents and sister a few years back. What advice and lessons learned can you offer to making the most of family road trips?
I think compassion is key with family road trips. It's something that I am forever working on and that my sister and I run into issues with when we are crammed together in a small sedan for days on end. I think learning to be patient and understanding and see things from another's perspective is so important with family in general. Road trips just emphasize whatever issues you have with whomever you are traveling. For me that's my biggest problem I want to work on and my sister helps me with that. Families are great for teaching you lessons about yourself as they know just how to push your buttons. But if you can address those reactions in your family, I feel like they become an issue you don't have to deal with in other relationships.
Do you see yourself settling down in New York or do particular places you visited often call to you?
I would like to live in nature and have a stream nearby and a treehouse and room to make art and travel for work. Not sure NYC is the place for that but I haven't really found it yet so until then I'm here.
What part of being a photographer keeps you most fulfilled?
Sometimes I feel like being a photographer is just a cheat code for getting to go experience whatever part of life you can imagine and having an excuse to do so. I don't know that the act of taking photos is very fulfilling to me, but getting to know new people constantly and hear new stories and fall in love over and over again with humanity is more what keeps me fulfilled.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Marina and Kiki redesigned the iconic Batabasta bathroom wallpaper in Casa Bonay, drawing each other as pinups.
Two Artists Walk Into a Bar: Marina Esmeraldo & Kiki Ljung
When we interviewed WNW Member Marina Esmeraldo about cofounding an online magazine that celebrates short fiction and illustration, she mentioned how big of a fan she was of the work of fellow WNW Member Kiki Ljung. So we decided to coordinate a meetup between the two illustrators at a bar in Barcelona. They met up at Casa Bonay, where they not only discussed their creative backgrounds and evolutions but also immortalized the rendezvous by drawing each other in an awesome recreation of the venue's iconic bathroom wallpaper.
Read MoreLos Angeles
What Creative Communities Can Learn From Pickup Basketball
The worlds of arts and sports are in constant conversation. Many artists in our community have a foot in both, often producing sports-inspired projects. And a simple glance at the lines, materials, and equipment that define each and every sport displays the sheer force that design holds over the sports world. WNW Member Kasper Nyman's ongoing project Cities of Basketball directs a seemingly straightforward conversation between public basketball courts and design, but there's much more at work underneath the surface. We talk to the Copenhagen-based creative about his passion for pickup basketball, how design informs the sport and setting, and what creative communities like Working Not Working can learn from the inherent community aspect of pickup basketball culture.
Read MoreLUIS MENDO ILLUSTRATES A TOKYO RARELY SEEN BY VISITORS
LUIS MENDO ILLUSTRATES A TOKYO RARELY SEEN BY VISITORS
In our interview below, Illustrator and WNW Member Luis Mendo discusses his move from Amsterdam to Tokyo, the difference between the two creative scenes, and how he developed a fascination with his latest subject: Tokyo interiors. "In Tokyo, people use their houses merely as a place to sleep. Most of us eat and meet friends outside, in cafes or restaurants. The apartments are tiny and don’t allow much of inviting others in. That’s why the interiors are often very personal, full of things, and reflect very well the true personalities of the people living in them."
Tell us a little bit about your creative background. Who is Luis and how did he get here?
I was born in a small city in Spain and after studying graphic design in Madrid and Holland, I worked in Barcelona for a while designing magazines and newspapers. Then moved to Amsterdam where I became known as an editorial designer and art director, relaunching titles and creating new ones on a lead role. After 18 years of that, it became all too much and I needed a big change so I moved to Tokyo where I decided to draw for a living.
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?
My Spanish background and visual references (from Picasso to Goya) are probably visible in what I do, I try to keep my line loose and fresh, that’s why I rarely do pencils before making a drawing and start inking straightaway. People say they recognize a style although I do different things, some tight and some really loose. As a former art director I know each client needs a different approach to convey the message so I adapt easily. Also I like to keep changing styles so I don’t end up boring myself.
You recently created a series of 7 animations of Tokyo interiors for Electric Objects. What were you hoping to capture with this project?
Years before moving to Tokyo, I found the Kyoichi Tsuzuki book "Tokyo: A Certain Style” which showed the insides of small Tokyo apartments, tiny spaces packed with stuff from floor to ceiling. I found those photos mesmerizing and loved to look at them. Now that I’ve lived here for a while, I made these drawings being a mix of my own apartment, the one I would like to live in and those of friends, including some city constants like the red lights on tall buildings, the crows, and the carefully “hairdressed” trees.
Can you share some of the creative challenges and breakthroughs that came with the undertaking?
Since I was working from mental references directly in my sketchbook, it was a pretty straightforward process. I enjoyed making all the mistakes which I partly left in there. Only used photoshop to color them. The most difficult part was the animation (which is not my strong suit) but luckily my friend Fons Schiedon helped with that and made beautiful animations out of my drawings.
Do you see the interior world of Tokyo as an escape from the city’s bustle, or just a natural display of a Japanese way of living?
In Tokyo, people use their houses merely as a place to sleep. Most of us eat and meet friends outside, in cafes or restaurants. The apartments are tiny and don’t allow much of inviting others in. That’s why the interiors are often very personal, full of things, and reflect very well the true personalities of the people living in them. That’s what interests me so much and I always try to visit people’s homes to see who they really are.
What’s the creative scene like in Tokyo? How does it differ from that of Amsterdam?
I think it’s very different to other cities I know mainly because of how well people treat each other. There’s no conflict, envy or rivalry. We are all pretty good friends of each other and the disciplines are very mixed, so I will go to UI/UX meet-ups and you see architects at illustrators' parties. We all get along really well and everybody is nice and friendly. Something very different with my experience in Amsterdam.
In what ways has living in Tokyo surprised you?
There’s always something to discover. So many neighborhoods all full of different things. You can walk endlessly and there’s always something interesting around each corner. I always avoid the big streets as the charm is really in the back alleys.
Who and what are your biggest creative influences?
So many… Comic book artists like Loustal, Joann Sfar and Christophe Blain, modern illustrators like Quentin Blake, Javier Olivares and Lauren Tamaki, but also timeless heroes like Robert Weaver, Miroslav Sasek and Ronald Searle. Picasso and Luis Buñuel have always been a constant in my world of references and as of late I have discovered people so different in approaches like Chris Sasaki, Damien Cuypers and Georges Beuville.
What advice can you offer to creatives for drawing inspiration from their immediate surroundings?
Don’t look so much to other people’s work and concentrate on yourself more, draw all the time, carry a sketchbook with you at all times and annotate what you see. A face, a building, a detail… As Paul Smith said, “there’s inspiration in everything, and if you don’t see it, look again”.
What’s next for you? What are you working on now?
Now working on a T-shirt line for a sustainable fashion brand, doing monthly covers for Wako department store in Ginza, weekly travel sections for Volkskrant Magazine in Amsterdam, some animation backgrounds for a huge Japanese train company, and planning a show in Shanghai. It’s all very mixed in theme and kind of work, but that’s how I like things to be.
What do you do when Not Working?
I am always working. In the sense that I do not really see the difference between drawing someone in the train or a small spot illustration for a magazine. I do enjoy both and they fill my head all the time. Even when I am eating or walking I will think about how to draw things.
Who are some WNW Members whose work you admire?
Jessica Hische and Amélie Tourangeau.
Anything else you’d like to add?
I consider myself a total amateur, having been drawing professionally for just the last 4 years. I think I know nothing and learn a lot every day. My extra asset is that after 20 years as an art director, I easily think as such and help art directors to make the best of a job. I also understand what moves them and their needs.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
THIS COUPLE'S TRAVEL PHOTOS MEET IN THE MIDDLE WHEN THEY CAN'T
THIS COUPLE'S TRAVEL PHOTOS MEET IN THE MIDDLE WHEN
THEY CAN'T
Creative couple Becca Siegel and WNW Member Dan Gold have been partaking in ongoing adventures all over the world since meeting in New York in late 2015. The only hitch is that they're mostly traveling separately. Aware that long-distance relationships are tough, regardless of whether you're one country or continent away, Becca and Dan decided to embrace the fluctuating distance in a positive light and started Half Half Travel. It's an Instagram project that bridges their travel photos side by side so their photos can meet in the middle, even when Becca & Dan can't.
"Our initial goal was a project to stay in touch and show our adventures away from each other." The project is a really cool approach to comparing each of the places that they've been and the experiences they’ve had on their own. And Instagram users agree. Since starting the project 6 months ago, Half Half Travel has grown to top more than 20,000 followers at the time of posting this.
We interview the traveling duo below to find out how Half Half Travel has evolved, and what they've learned on their respective journeys that they're most looking forward to bringing back into the fold. "A few qualities we have both been able to work on individually while apart have been independence, communicating, patience and trust, bringing out our adventurous sides and lastly…. We have become very good at taking halves of photos."
Tell us a little bit about your backgrounds. Who are Becca & Dan and how did they get here (or wherever you currently are)?
Dan was previously living in New York City when he and Becca met in winter 2015. Soon after their first few opportunities of getting to know each other, Dan was given the opportunity to travel for 12 months around the world with Remote Year. He left for Europe in May 2016. After 11 months of travel, he is living in Argentina from April through May of 2017.
Becca, has been living in New York City for 4 years. After returning home to the NY area by way of East Asia, there was something missing. She immediately filled the void by traveling to places like India, Africa and South America. She is currently in New York City, and visited 5 continents in 2016 alone.
When Dan told Becca that he found this program that lets someone travel for a year, she was happier than Dan was (Dan: and I think she still is). She understands the learning experiences and friendships that can form while being away for so long. They decided to embrace the decision in a positive light. Halfhalftravel was born as a way to stay connected by sharing photos from each other’s independent travels.
What was the impetus behind your respective adventures?
Dan likes a change after something gets easy or stale. After learning New York City and coasting through a daily commute on the 2-train to Chambers street, he wanted to try something different. He believes that just because you were born in a specific city doesn’t mean you need to live there. Traveling and being in a different city each month is a great way to live like a local and always learn more.
Becca has always had a huge crush on Asia, previously having lived abroad in Hong Kong, where she studied as an exchange student, and in Shanghai, China, where she taught English at a primary school for two years. When she is not traveling, she is now based in New York City. She likes to travel as often as possible. Now she gets to visit Dan in lots of great places.
Dan and Becca have been to a combined 5 continents and 43 countries.
Tell us about Half Half Travel. What was the initial goal and how has it evolved since its inception?
Half Half Travel has evolved from 1 follower to more than 11k and growing, in less than 6 months. Our initial goal was a project to stay in touch and show our adventures away from each other.
We wanted to share our story through photos on Instagram, and the project has evolved to a following that is giving strength to LD couples and travelers all over the world.
Can you give a little insight into the process of bringing the two photos together? Which ones are your favorites?
Some of the photos are planned; for example, Dan and I will both plan to take a photo of money, or our hand, or our feet. For others, we have sifted through our best shots on our trips over the past nearly-18 months since we met, and put them together when they work.
Our favorites are the ones of us together and with our backs; also the hand - even the wrinkles line up.
What have been some of the creative challenges of bringing Half Half Travel to life?
Some of the challenges of bringing Half Half Travel to life have been developing ideas for photos that are original and aesthetically interesting at the same time; the second challenge is blending the photos together so that they flow. We want people to have to ‘look twice’ in order to get the full effect and also appreciate the two halves on their own, as photos with stories.
When was the last time you were in the same city?
Living - NYC, May 16, 2016
Traveling - Medellín, Colombia, February 12, 2017
Any lessons learned or skills developed on your respective journeys that you’re excited to bring back to the relationship when you reunite?
A few qualities we have both been able to work on individually while apart have been independence, communicating, patience and trust, bringing out our adventurous sides and lastly…. We have become very good at taking halvess of photos.
What advice can you offer to long distance couples? Any tips to help bridge the physical gap, besides stealing Half Half Travel?
The key to making a long distance relationship work is understanding and communication. Equally important are planning visits/trips and looking forward to having new adventures together, counting the days til you next see the other person, knowing that you're both thinking about each other and of course, sending postcards and surprises in the mail!
What do you do when Not Working, besides globetrotting?
Dan, in his free time, runs marathons, plays drums, codes websites and hosts photography meetups all over the world.
Becca runs a bar crawl for backpackers visiting New York, does photography for fashion blogs and engagements, enjoys biking outside, learning tons of languages (including emoji) and yoga.
What’s next for you?
Dan and Becca love the momentum that Half Half Travel has attracted since October when they launched the account and their website.
Future plans include creating a photo book of the images for friends and family, or whomever from their fan base is interested in their photography. Dan and Becca are both freelance photographers (find their work at www.danielcgold.com and www.beccasiegel.com) and both want to continue to travel the world when Dan’s year is over, but together!
Anything else you’d like to add?
We don’t always post from the cities in which we are presently, but if you’d like to see where we are currently, please visit our Instagram profile! We love to meet up.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY TOKYO TRIP
ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY
TOKYO TRIP
WNW Member James Curran is spending the month of April in Tokyo. And what better way for him to share his experiences than by employing his creative chops with an animated diary. He's documenting his daily whimsy and wonderment in the form of a Tokyo Gifathon, and animated James Curran looks like he's having the time of his life. Taking in so much of what Tokyo has to offer within the first 3 weeks, from arcades to the Bonsai Museum to Yoyogi Rockabillies to cat cafés, we can only imagine what activities Curran has planned for the home stretch.
This isn't James's first foray into Gifathons. Here are his recaps of his time in Los Angeles and his time in New York.
Day 2 - Eating flying sushi.
Day 3 - Street fighting in arcades forever.
Day 4 - Crossing Shibuya Crossing.
Day 5 - Running through cherry blossoms.
Day 6 - Ramen noodle refills.
Day 7 - Always losing to claw machines.
Day 12 - My first Tokyo earthquake.
Day 13 - Bonsai museum.
Day 14 - Cat café.
Day 15 - Sake tasting.
Day 16 - Yoyogi Rockabillies.
Day 21 - Origami.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
THE HOW TO MOVE TO NYC E-BOOK FROM TOBIAS VAN SCHNEIDER
THE "HOW TO MOVE TO NYC" E-BOOK FROM TOBIAS VAN SCHNEIDER
WNW Member Tobias van Schneider is a German award-winning Designer currently living in New York City. We highly recommend spending some time to learn from Tobias's work for the likes of Red Bull, BMW, Google, and Sony. He's also made his mark as the former Lead Product Designer and Art Director at Spotify, and the founder of Semplice, a fully responsive portfolio system based on WordPress and built for designers. Also, just take a look at that legendary beard, which clearly suggests great wisdom.
And now, you can not only learn from his creations but also from his journeys. If you're a creative looking to make the move to NYC, make sure to check out Tobias's "How To Move To NYC" e-book.
As Tobias explains, "I moved to New York seven years ago. The process was painful and difficult. I learned most things the hard way: finding a job, getting a visa, calculating my cost of living, choosing an apartment. That's why I wrote this e-book, to tell you how I did it. No bullshit, no stress." Buy your copy here.
"You can find some information on the internet but it's either scattered, outdated, or written in complicated and confusing language. This e-book puts it all in one place in simple, no-nonsense terms. All lessons are based on personal experience or collected from NYC friends and legal experts. Each chapter is designed to be one step in your journey. You'll receive a 110-page PDF you can print or read on your computer, your iPad, smartphone or Kindle. Easy."
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Artist Gemma O'Brien Shows Us How To Travel To Cuba
Artist Gemma O'Brien Shows Us
How To Travel To Cuba
WORKING NOT WORKING
We like to feature members' adventures since the freedom to travel is one of the many luxuries for freelancers in the WNW community. WNW Member Gemma O'Brien was the first we've come across who has traveled to Cuba. So we reached out to learn about the logistics of traveling to Cuba, to find out what the creative scene is like, and to get a preview of what's to come now that Gemma's packing new inspiration: "I have a folder of reference photos I took on the trip that I am waiting to integrate into a piece; there's a wealth of inspiration in the textures, colour and signage from Cuba. As someone who is always drawn back to the boldness of working in black and white, Cuba reinvigorated the power of colour for me and I think that will be the biggest influence on the work I make over the next year."
Tell us a little bit about your creative background. Who is Gemma and how did she get here?
Sure! My name is Gemma, I’m 29 going on 30, I’m a Gemini, and I work as a designer/artist in Sydney, Australia. My specialty is lettering, illustration and typographic murals. My creative path began when I dropped out of Law School at age 19 and made the switch to Design. After I graduated from art school I worked in a couple of post-production studios before taking the leap and going out on my own to focus on typography and illustration in 2012. Now, my time is split between working in my studio in Redfern and travelling the world to speak at design conferences, teach lettering workshops and generally have a good time
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 differently?
I like to think the common thread in my work is text, words, and language. Beyond the constraints of working with the alphabet, I like to explore a wide variety of visual forms – from detailed drawing to loose calligraphic brush work. I tend to get bored easily so I need to keep my style fluid to stay interested.
The freedom to travel both for business and pleasure is one of the many luxuries of freelancing. How did you end up setting your sights on Cuba?
Cuba came about because I had some free time between two international conferences – the AIGA conference in Vegas and Brief Festival in Madrid. It would have been crazy to fly all the way back to Australia, so my fellow jet-setting friend, Frankie Ratford (Founder of The Design Kids), suggested we go to Cuba!
A lot of artists have an interest in visiting Cuba. Can you share a little insight into the process and logistics of traveling there?
I think there are a number of ways to get there now; however, there are still limitations if you’re American or traveling through America solely for tourism. I didn’t encounter any trouble, but take my travel advice with a grain of salt! I booked through a travel agent which involved a bit of paperwork, but it included the visa and documents. Frankie traveled via the Cayman Islands which bypasses America. I think she bought her visa on the plane for 25 bucks? My only other advice would be to get cash at the airport when you arrive in Havana, you’ll need it straight away to pay for your taxi. Internet access is very limited. It’s kind of like going on a holiday in the nineties - be prepared to live without the internet and plan what you’re doing each day the old-school way because you won’t be able to rely on Google.
Did you have any expectations of what Cuba would be like ahead of your trip? In what ways were you surprised?
Prior to my visit, I had seen images from photographer Danny Clinch and photos of murals painted by Rone in Cuba in 2016. Other than that I had no idea to what to expect. It really was unique and quite amazing when I arrived. I was surprised by just how prevalent the classic cars were - I had imagined there would only be a few set up for rides for tourists, but they were everywhere. It really felt like going back in time.
How long were you in Cuba? Did you just stay in Havana or explore elsewhere?
I only had 5 days in Cuba before I had to get to the next design conference. We stayed in Havana for a couple of nights and then got a car to take us to Varadero which is a beach town about 2 hours away. Varadero was a nice escape from the hustle and bustle of Havana. White sand, turquoise water, chickens roaming the streets and lots of delicious fruit: definitely worth a visit.
During your visit, did you get a sense of what the creative scene is like in Havana? (Murals, museums, music clubs?)
I actually didn’t see a huge number of murals, but I probably needed more time to explore. The bright colours of the buildings, hand-painted signage and interesting tile work throughout Havana all contributed to an overall sense of creativity and eclectic character. Fabrica de Arte Cubano is a big art gallery and club that was recommended to us. There was a huge line up so it's best to arrive as early as possible. I also visited the experimental graphic printmaking studio (Taller Experimental de Gráfica de La Habana) which was incredible. It is a big workshop with an attached art gallery (Galería del Grabado) and many Cuban artists were working on prints in the studio whilst I was there. I believe they also offer lithography and woodblock printing classes which I would love to do if I visit again.
Any particular venues, attractions, or restaurants that you recommend to members planning to visit? What was your greatest experience in Cuba?
I think my favourite experience was just walking through the little streets of Old Havana – it’s a sensory overload, with so much character in the old buildings. Two restaurants I would recommend are 304 O'Reilly on Calle O'Reilly and Cafe Miglis (Cuban and Swedish fusion).
Has this trip influenced any recent projects or your work in general? Any creative lessons learned?
I have a folder of reference photos I took on the trip that I am waiting to integrate into a piece; there's a wealth of inspiration in the textures, colour and signage from Cuba. As someone who is always drawn back to the boldness of working in black and white, Cuba reinvigorated the power of colour for me and I think that will be the biggest influence on the work I make over the next year.
What’s next for you? What are you working on now?
I am working on a few commercial jobs and a new installation for China Heights gallery in April. I have a fair bit of travel coming up too: Costa Rica for FID conference, Bermuda to judge ADC Awards, and Barcelona and Sweden later in the year for Smashing Magazine Conference and a mural festival.
Who are some other WNW members whose work you admire and why?
I love Llew Mejia’s detailed illustrations and Karan Singh’s bold patterns and designs.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
THE BALANCING ACT OF A TRAVELING PHOTOGRAPHER
THE BALANCING ACT OF A TRAVELING PHOTOGRAPHER
"I think you learn the most when things go wrong. Being able to react quickly to adversity makes a good photographer a great photographer." WNW Member #5591 Laura Austin recently walked us through her approach to photography, and the rewards and challenges of life as a traveling photographer. It's clearly a balancing act: "I thrive off traveling and am so thankful that my job allows me to do it, but it also involves a lot of jet lag, hauling gear around, and late nights editing photos in hotel rooms."
Laura also tell us why she redesigned her web portfolio to better cater to her personality and creative style, and why maybe you should too: "It was well worth the investment to create something unique and tailored to me and my work... A creative’s portfolio should let the work speak for itself. The last thing you want is a clunky/overly designed website that distracts the viewer from your work. Keep it simple."
Tell us about your creative background. Who is Laura Austin and how did she get here?
Oh man… that’s a long story, but I will try to give you the abbreviated version. I started as a graphic designer, moving to California when I was 18 to work as a designer at Quiksilver. After 2 years I was tired of sitting behind a desk and took a job at Snowboarder Magazine as their online editor. While there I was able to design, shoot photos, and write… satiating all areas of my creative interests. But I found snowboarding as a subject to be constraining so I quit. I then moved to Los Angeles to try to make it as a full-time freelance photographer since that seemed to be what I was most passionate about. Now, 4 years later, it has seemed to work out pretty well.
How often do you travel for work?
It’s funny, I thought I had to move to Los Angeles to be a photographer, but a majority of my shoots I need to fly to. I’m on a plane at least once a month… but I think at my busiest I spent 8 weeks in a row at airports.
Walk us through what it’s like to be a traveling photographer. What’s the most rewarding part? The most challenging part?
That’s a loaded question you’ve got there. Being a traveling photographer is probably a lot less glamorous than you think it would be. I thrive off traveling and am so thankful that my job allows me to do it, but it also involves a lot of jet lag, hauling gear around, and late nights editing photos in hotel rooms. But at the same time, the opportunity for travel was what originally attracted me to photography. So the most rewarding part is getting paid to experience new places.
The best work trip you’ve been on? Worst work trip?
The best work trip… probably traveling to Scotland to shoot Tiger Woods for Nike. I’m going to avoid the worst work trip question to avoid offending clients, but there have definitely been some unorganized nightmares.
What kind of research do you do ahead of your trip?
To be honest I feel like the less research, the better… for me at least. Sure I’ll do a quick image search to start developing loose ideas beforehand, but I like to let the locations inspire me when I get there. I feel like if you were to plan all your shots in advance, you’d miss out on opportunities that you never knew existed. But I work really well on the fly, so this ideology probably doesn’t work for everyone.
Do you usually pack light or bring suitcases filled with lenses and equipment? What’s the one camera you can’t live without and why?
I normally pack light to make the airport experience easier and lower the risk of damaging equipment in transit. My camera and all of my lenses fit into a backpack I bring as a carry on so that I am never separated from my gear. If I am on a shoot that requires more equipment I will set up a rental to pick up at whatever destination I am traveling to. Camera I can’t live without… Canon 5D MarkIII… I use it on all my shoots.
Argentina
What drew you to this subject?
This was a trip I took to Francis Mallman’s (a famous Argentine chef) island in Patagonia. I was so inspired how he lived life his life so I reached out to him to see if I could come to shoot him and his team. There is so much to be told about this experience… you can go to my site and read about the whole experience.
What inspirations helped inform this series of photographs?
All the photos from this trip were shot in a documentary style, so I drew from my surroundings including the people and landscapes.
Hardest part?
This photo in particular is a shot of one Francis’s staff on a two-hour boat ride on a tiny boat to his island in the middle of nowhere. The challenge here was battling the elements. It was freezing and water was splashing everywhere… so I had to try to keep my fingers warm and my camera dry by hiding everything under the poncho I was wearing.
White Sands
What drew you to this subject?
Every year I try to set out on a solo road trip over New Years to start my year off fresh doing exactly what I want to do.
What inspirations helped inform this series of photographs?
For this series I wanted to go off and create photos that were purely based around personal creating since most of my work is commercial. It was a chance to document myself in my element at my happiest.
Hardest part?
For all the photos of myself on these trips I had to set up my camera on a tripod and create the composition I wanted, then I would run into frame and snap the shutter using a remote in my hand. It was a guessing game, but I was able to capture some amazing moments of just me in the wild. You can see more from these trips here and here.
Rapha
What drew you to this subject?
This was from a shoot I did for my favorite bike apparel company Rapha of their female ambassadors riding in the hill country of Texas. I hop on any opportunity to showcase women in an environment/situation where they aren’t normally showcased.
What inspirations helped inform this series of photographs?
My goal with these photos was to showcase the beautiful landscapes they were riding through, but also showcase the high level of riding they were doing.
Hardest part?
I couldn’t make the ladies stop and ride back through to stage a perfect shot. I had to try to make the best photos I could on the fly. So I had to drive ahead of the pack a ways, stop when I found a good photo opportunity, set up my camera for the shot, and wait for them to ride through… hoping that I would get the photo I wanted on the first try. For this particular photo I had to lay in a bed of flowers on the side of the road and was stung by multiple bees while waiting for them to ride through my frame. More from this series here.
Tiger Woods
What drew you to this subject?
This was during a shoot I did for Nike with Tiger Woods in Scotland during The Open. I was giddy just to shoot one of the premier athletes of their sport.
What inspirations helped inform this series of photographs?
It is few and far between that you get opportunities to shoot such high profile people. So for this shoot I wanted to show Tiger in a way he had never been seen before. I wanted to make him feel human and relatable. This photo may not be the best representation of that, but if you look at this series you can see more of that.
Hardest part?
Once people walking around realize we were shooting Tiger they started to gather around since it was a public course. We had security holding back a crowd of over a hundred people while I was shooting him on course. The hardest part was avoiding getting people in the shot to make the photos seem intimate.
What are you working on now?
I just launched a new portfolio site which includes a blog so I’ve been trying to create interesting content in my downtime between shoots. It’s been really nice to have an outlet like that to do whatever I want and keep the creative juices flowing when I’m not working.
How’d you go about redesigning your web portfolio? When did you realize it was time for a major update?
My site began to feel stale and I decided I didn’t want to create a site through some template with a potential of having the same design as many other creatives. So I planned out exactly how I wanted my site to look and operate and enlisted the web design team East Of Western to build it from scratch. It was well worth the investment to create something unique and tailored to me and my work.
What tips can you offer to creatives who are thinking of retooling the way they present their work and personal brand online?
A creative’s portfolio should let the work speak for itself. The last thing you want is a clunky/overly designed website that distracts the viewer from your work. Keep it simple. There are a lot of great sites that provide templates to build off of like Format or Squarespace. But if you are design savvy and want something unique I highly suggest finding a local web designer to build something for you.
What are some top tips you can offer creatives, based on your experiences as a traveling photographer?
Travel aside, create work that is coming from inside you… don’t try to replicate someone else’s work. You’ll never stand out unless your work is authentic to yourself.
Tell us a story/experience where you learned something, either about yourself or your craft.
Oh man… I’m constantly learning. I think you learn the most when things go wrong. Being able to react quickly to adversity makes a good photographer a great photographer. With that being said I probably learn more about my craft on every shoot I do.
Who are some photographers who have most inspired you and influenced your style?
Hmmmm… as I mentioned before, I try not to pull from other’s work too much. But some of my favorites are William Eggleston, Ryan Mcginley, Noah Kalina, and Nadav Kander.
What would be your dream project?
Anything for National Geographic.
Who are some WNW members you most admire, and why?
Helena Price for her success in personal projects.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
HITTING THE RESET BUTTON: 23 COUNTRIES IN 1 YEAR
HITTING THE RESET BUTTON:
23 COUNTRIES IN 1 YEAR
When our members discuss the pros of freelancing, the freedom to travel between gigs or even on the job is always right at the top of the list. While full-timers may not have the same legroom, the desire to hit the reset button can be just as strong. WNW Member #5915 Mike Giepert, at the time a full-timer at a top agency, hit the reset button hard, traveling to 23 countries in one year. Mike talks about the sacrifices he had made for his job, the plans for his escape, and the payoff.
"I was always the guy who would stick around late or on the weekends to work. More than a few times, I changed really important trips to go on a shoot. It was clear that work was becoming an overwhelming force in my life, and I needed a reset button. My reset button was a little extreme, but honestly it was the best thing that I could have ever done for my career. When you’re sitting on a mountain in Patagonia at four in the morning waiting for the sun to come up, you have lots of time to put your life into perspective. It was really nice to realize that I still loved my job, but I had a lot of clarity about the things I wanted to change moving forward."
All photos by Mike Giepert. More here.
Tell us about your creative background. Who is Mike Giepert and how did he get here?
I started out at the little design program at the University of Utah then got accepted into Wieden+Kennedy 12 right before graduating college. The week after 12 ended, I took a position at W+K Portland as an Art Director. A few years later, I became a Creative Director. Like the most direct path of anyone I ever met at Wieden.
But I began to look back at all those years and realized that I’d never taken more than a week or two off to travel for myself. That thought was like a little grain of sand inside that kept nagging at me.
I was going to leave on my 32nd birthday and return on my 33rd. I needed to turn the idea from a fantasy into something real. I knew that if I didn’t, I’d never leave.
You recently returned from a year-long sabbatical, backpacking around the world. How long were you toying with the idea of hitting the road?
Probably about three years worth of dreaming and planning. But mostly dreaming. Lots of playing out wanderlust fantasies in my head. I finally committed and gave myself a year to prep. I let my boss know that I was leaving for a year. It helped that she had just returned from a month in India and was ridiculously supportive. I started telling my friends and family my departure date, and stocking up on supplies. I was going to leave on my 32nd birthday and return on my 33rd. I needed to turn the idea from a fantasy into something real. I knew that if I didn’t, I’d never leave.
Tell us about your itinerary, and why you chose to visit certain places?
(Deep inhale.) First was a road trip around the western US, hitting 15 national Parks. Then from Sasquatch Music Festival to NYC for a few weeks. Then Iceland to London to Cannes for the advertising festival. From that point I had a three month unlimited Eurail pass for all of Europe. I hit most of the major capitals in Europe at whirlwind pace with no real itinerary other than what I felt like doing. Then Turkey, India, Shanghai, and Tokyo. A month in Indonesia. A month in New Zealand and Australia and finished up with a couple months in Argentina and Chile. 23 countries in all.
What places are you hoping to visit again soon? What places would you skip if you needed another reboot?
I can’t wait to go back to Iceland. It was the most surreal place I encountered. My dad is a few years away from retiring and he’s big into hiking and camping. I’d love to take him to New Zealand for a few weeks to do some of the Great Walks.
It wasn’t so much that I regretted going anywhere, but I learned how to better pace myself over time. 23 countries was way too much in a year. I dabbled in a lot of places that I probably will never go back. But it also made me fall in love with places that I can’t wait to return to and really take my time. Nature trumps all in my mind because all cities start to blend together over time.
Did you travel alone? What are the pros and cons of traveling alone, or with a friend/group?
For the most part I was a loner. I had little stints where I would travel with people or stay with friends which was wonderful. But I also had months at a time where it was me, myself and a backpack. I love traveling by myself because you get to choose whether or not to make other people a part of where you’re going. If you feel like a solo camping adventure, then go solo. But if you meet people along the trail that you’d like to spend more time with, then just tag along. Travelers are the easiest people in the world to strike up a conversation with.
It was clear that work was becoming an overwhelming force in my life, and I needed a reset button. My reset button was a little extreme, but honestly it was the best thing that I could have ever done for my career.
What was the impetus behind your decision to leave your full-time job and make such a radical change?
I was always the guy who would stick around late or on the weekends to work. More than a few times, I changed really important trips to go on a shoot. It was clear that work was becoming an overwhelming force in my life, and I needed a reset button. My reset button was a little extreme, but honestly it was the best thing that I could have ever done for my career. When you’re sitting on a mountain in Patagonia at four in the morning waiting for the sun to come up, you have lots of time to put your life into perspective. It was really nice to realize that I still loved my job, but I had a lot of clarity about the things I wanted to change moving forward.
Since returning, has it been difficult to not fall into the same old habits of overexertion, or are you still carrying that feeling of renewal?
Of course old habits still creep in. When starting out in freelance, you want to bust ass and build a name for yourself so that you always have work coming in. But it took some good friends reminding me to enjoy the time in between jobs. And it feels amazing knowing that at the end of an agreed upon stint of work, you are in control of what you say yes to next.
Are you itching to hit the road again?
I was itching to do more travel before I even got home. Norway is next. Or maybe sailing around the Mediterranean. Or...
Another important thing is controlling the flow of information... Over-communication was giving me serious anxiety. And I realized that I would rather have fewer, more meaningful connections with the people I really cared about. I’ve been pretty good about sticking to this.
What have been some of the specific ways you’ve adjusted your approach to goals both personal and creative? Any lessons learned?
If I recognize that something will make me happier career-wise, I know that I am the only one who can make it happen. So I either create that environment, or I demand it of those I work for.
Another important thing is controlling the flow of information. Before I left on my trip, I disconnected my cell phone, dropped off Facebook, cancelled all mail, got rid of 99% of junk email, and really cut back on personal email. Over-communication was giving me serious anxiety. And I realized that I would rather have fewer, more meaningful connections with the people I really cared about. I’ve been pretty good about sticking to this.
Just ask for the time off. Explain why you think it would be helpful for your work, for your soul. The worst they can say is no. And the best thing you can do is take it anyway. The freelance market is great right now!
What are some top tips you can offer creatives who are in desperate need of a sabbatical? Any tips on balancing a life and a life in advertising, besides finding a new profession?
I’ve never been great at balance. And now I recognize that it’s OK. Some people can juggle friends, family and work beautifully. I’m not one of those people. I would rather go 100% work or 100% life. And I’m cool with that now.
And if you need a sabbatical, be it a month or a year, just ask for the time off. Explain why you think it would be helpful for your work, for your soul. The worst they can say is no. And the best thing you can do is take it anyway. The freelance market is great right now!
What are you working on now?
I just finished working on a bunch of commercials for a big brand that rhymes with Snapple and now I’m freelancing for an awesome start-up in Toronto called Wealthsimple.
Who are some WNW members you most admire, and why?
Andrew Wilcox has helped me relish the times that the phone isn’t ringing and embrace the personal project. Adi Goodrich because she’s always making things that look super fun to work on. And Sheena Brady because she’s a badass who makes really smart stuff.
Anything else you’d like to add?
Commit to it before you know how you’ll do it. The bigger and scarier the commitment, the harder you’ll work to figure it out.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
How Quitting Your Job Can Make You A Better Creative
HOW QUITTING YOUR JOB CAN MAKE YOU A BETTER CREATIVE
“Don’t quit a job unless you have another one lined up.” These are words drilled into us by our parents, society, and probably common sense. But then everywhere we turn, there seems to yet another article from a creative who is blogging from the beach or some remote part of the world (but apparently still has Internet.) It's oh-so tempting to quit.
What if we told you that leaving your job makes you better for your next one?
WNW Members #9966 April Lauderdale & #8953 Burke Lauderdale are two art directors hailing from Texas and South Carolina respectively. They met in 2005, married in 2011, and in June 2015 "piled [their] belongings into a 16 ft. storage container, gorged on queso, said goodbye to creature comforts, packed two bags each and embarked on an around-the-world journey."
Since they've been back, they've had a lot of ad friends ask what they learned from their travels. Below, they takes us on a global tour, listing out 11 different countries they got to know and love, and what each country taught them about being a better creative, "Perspectively speaking, most of the world doesn’t care about your brilliant idea that died in round fifteen. This is not to say you shouldn’t put a ton of care and craft into your work. It’s only to say, don’t hyperventilate and get too precious on a day-to-day basis. Rather, have fun with your work. As an old creative director used to tell us, 'It’s just nerdvertising'."
Stepping away from the monitor and into the unknown opened our minds to a new world of creativity that we had never experienced before, and something we’ll take with us wherever we punch in from here on out.
Lesson #1 - Uganda: Squeeze the lemon dry.
When we stepped off the plane in Uganda, we didn’t know what to expect. We quickly learned that the Ugandan people were some of the most resourceful we’d ever seen. They used what they had ten times over. Children without toys created their own with fallen tree limbs, mothers morphed retired t-shirts into handy mops and delivery men pushed motorbikes to their limits. In Uganda, something can always be working harder or take on a new life entirely.
Are you thinking there couldn’t possibly be another idea for your project? There is. No way your budget can work? It can. No matter how boxed in we may feel as creatives, there’s most likely a little more to be squeezed.
Lesson #2 - Tanzania: Nature is the world’s best inspiration.
Off the northern end of Zanzibar, on a tiny sandbar in the Indian Ocean, we found the most beautiful starfish we’d ever seen. Something we didn’t know existed in this world. And there it was, in all its beauty in the crystal clear water for anyone who bothered to look.
As cheesy as it may sound, when you’re feeling stuck, try nature. Go outside. Look around. Take notice of the stars and the patterns of trees. Before all of the CA’s and One Show annuals, there was nature.
Lesson #3 - Namibia: Don’t sweat the small stuff, because you’re really small.
As we drove the protected Skeleton Coast of Namibia, along the beaches, in and out of deserts, through dried riverbeds and up and down endless sand dunes, one thing became abundantly clear: the world is a ginormous place and we are really, really small. Wonderfully small, even.
Perspectively speaking, most of the world doesn’t care about your brilliant idea that died in round fifteen. This is not to say you shouldn’t put a ton of care and craft into your work. It’s only to say, don’t hyperventilate and get too precious on a day-to-day basis. Rather, have fun with your work. As an old creative director used to tell us, “It’s just nerdvertising”.
Lesson #4 - South Africa: Get outside your comfort zone, regularly.
If quitting your job isn’t far enough outside your comfort zone, we suggest swimming with great white sharks.
It’s terrifying for many reasons. What if the boat sinks? Can a shark fit through the holes in the cage? Are we going to die?
The surprising thing was that it wasn’t nearly as scary as we first thought. Sure, they were still great whites that could rip our faces off if they chose, but they were actually a lot more calm and graceful underwater than we had imagined.
Do presentations make you fearful? Timid to try a new type style outside your wheelhouse? Whatever you are fearful of, whatever is outside your comfort zone, take the risk and jump in headfirst. You just might find it wasn’t as bad as you’d expected, and you might just grow stronger for it.
Lesson #5 - Nepal: In the midst of struggle, stay positive.
We traveled to Nepal just five months after the devastating earthquake. It was the worst natural disaster to hit the country since 1934. Yet the people couldn’t have been more positive and welcoming. They loved their home and were working hard at rebuilding.
When it seems like something you’ve worked on for months is crumbling around you, just remember to stay positive. You will rebuild.
Lesson #6 - Vietnam: Be inclusive.
In Hanoi we invited two women who worked at our hotel, Linh and Phuong, out for coffee. Not only did they accept our invite, but that coffee turned into some of the best friends and memories we made during our trip.
The next night, Linh invited us to her favorite floating restaurant. And Phuong took us to her husband’s juice shop where we met her son, drank smoothies and chatted for hours. They taught us so much and provided better experiences than any guidebook could have ever offered.
Headed out of the office for lunch with a group of people? Why not ask the new strategist to join? You never know who around you, across disciplines, levels or even professions could teach you something new or become an amazing friend. Finding out is an invite away.
Lesson #7 - Laos: Slow down when possible.
Traveling through Laos for us was a bit like floating down a lazy river. The culture was much slower and laid back than anywhere we’d been. Shopkeepers openly napped in their stores, bus drivers pulled over to watch the sunset and night markets were eerily quiet.
At first this was agitating as we just wanted to get somewhere fast, have a quick meal or pass through a market in a hurry.
But as we eased ourselves into this slower pace of life, we came to really appreciate it. And we took more time to just, be.
Though most days can feel like hurricanes, it’s important to step away when possible and let your mind reboot. It might even wander to places it couldn’t have before, leading you to your next award-winning idea.
Lesson #8 - Cambodia: Don’t take shortcuts.
While in Cambodia, we were fortunate enough to visit Angkor Wat, the largest religious monument in the world.
It was constructed in the 12th century, took around 30 years to complete and contains some of the finest architecture and reliefs you’ll ever see. One of the first Western visitors to the temple said that it “is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world” so we won’t even try.
Great craft and hard work can be the difference between something being “meh” and amazing. Be amazing.
Lesson #9 - Indonesia: Say no to TV. Say yes to art.
This was easy to do in Indonesia, particularly Bali, an island oozing with art and culture. We couldn’t make it far without seeing a local artist painting, a woman constructing beautiful offerings made from colorful flower petals, men practicing their music, children learning traditional Balinese dance.
The art of Bali wasn’t something to go and see hanging on a gallery wall, it was a way of life.
So remember to make and take in more. Go to an art show. See the symphony. Make a finger painting. The more we say yes to art, the more inspired we can become.
(Disclaimer: We’re not saying to stop watching TV. That would be terrible.)
Lesson #10 - Singapore: Look for the gems.
To be completely honest, we were a bit skeptical of Singapore upon arrival. Compared to the other gritty, culture-packed countries we had been to, Singapore felt a little sterile and robotic. But as we dug in deeper, and explored further, we found hidden gems throughout the city. Striking street art. Incredible cuisine. Beautiful architecture.
So when you have an assignment you’re skeptical about, or don’t see potential in, try looking a little closer. There might be an opportunity there you didn’t see before. There could be a gem in a seemingly unglamorous project. Look for it.
Lesson #11 - Malaysia: It should be fun.
The small island of Penang, off the northwest coast of peninsular Malaysia, is home to a rich street art scene.
To find the art, you had to get out and look. Some pieces were hidden down long alleys or partially worn away by mother nature, but they’re there if you look hard enough.
You could tell the artists had fun making the pieces. People enjoyed finding them, interacting with them and taking pictures with them.
This is what it should be all about. Let’s have fun making things that our audience can interact with and enjoy.
“Don’t quit a job unless you have another one lined up.”
Unless what you have lined up is a trip around the world.
Thanks for reading.
April & Burke
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
LIVING THE DREAM: THE LOGISTICS
LIVING THE DREAM: THE LOGISTICS
In his previous contributions to Free Range, WNW Member #5670 Steven Skoczen took us beyond the tangibles of his travels into the emotional highs and lows, and what it means to live the dream and live the nightmare. Now, Steven's pulling back the curtain and offering some insight into the logistics of living the dream. "One common question I hear is, how do you do it? The question isn't psychological or metaphorical, but practical." As a seasoned traveler, Steven answers many of the questions we didn't even realize we were supposed to ask.
One common question I hear is, how do you do it?
The question isn't psychological or metaphorical, but practical. As a professional programmer and writer who dabbles in visual work, how do I live out of a single suitcase?
I'd love to tell you the answer is a magically infinite bag I bartered my soul for in the depths of the Thai jungle, but unfortunately, the answers are simpler and more practical than that.
If you're looking to travel the world and keep working for even a month, here's how to do it.
Gear
You don't need a lot. A wonderful truth about every place that's inhabited on earth - is that people live there. Because of that, you can buy pretty much anything you’re missing, including tech.
That said, here's the things I'd buy and set up while you’re still home.
A laptop
Your personal preference, but make sure it can handle global voltage. I love my macbook pro - it's tough, reasonably life resistant, and just works. It also plays well with my phone, which comes in handy, as you'll see later.
Regardless of what you choose, encrypt it, set a good password, and be smart about where you pull it out. Your laptop is your single most valuable possession, and it’s worth a lot in the wrong hands. That goes double if they have access to your data.
A keyboard
If you spend any significant portion of your day pressing down plastic levers to make the screen light up, you're going to be really happy if you brought a proper keyboard. Ridiculous as it is, I travel the world with a giant Microsoft 4000 ergonomic keyboard.
If you spend your day typing, don't scrimp on your primary interface to your computer. Be good to your wrists.
A tablet
I've got an iPad, and dig it. Tablets are great for the road because they give you a mid-size decent computer when you need it, without having to dig out your laptop.
If you've got the right hardware/software combo, they can also double as a second monitor.
I use my iPad with Air Display, and it serves as a fine second monitor. Especially for people who code or do graphic work, the extra screen real estate is killer.
An external HD
Fill half of it with movies, music, or whatever's going to help you chill out when your internet's down. Use the other half for a regular backup of your entire laptop.
If your laptop is stolen (reasonably possible), you don't want to be waiting five weeks for dropbox to download everything to its replacement over your terrible Costa Rican internet connection. Keep a good local backup.
An iPhone
This is the one specific hardware recommendation I'd give. I love me some Android phones. But for international travel, it pays to get the world's most widely known phone. Everyone, everywhere on earth has heard of an iPhone, and every cell company in existence knows what to do with them. Go with the gold standard.
Something tough that locks
I love my Zarges box. It's aluminum, lightweight, German (which is to say impeccably built), and it locks tight. When I'm traveling, it serves as a nearly indestructible suitcase. Once I'm settled, it works well as solid room safe.
Cloth and hard plastic bags can be cut open with a pocket knife. If you can swing it, go with something significantly more tamper-resistant.
ATM card with a chip and no foreign transaction fee
Especially if you're in it for the long haul, doing a little bit of homework up front is going to save you from pissing 3-5% of your money down the drain.
Get your checking account set up with a bank that doesn't charge foreign transaction fees for ATM withdrawals, provides a card with a chip, and has good customer service.
In many places, this card will be how you pay for rent, food, and transportation. Get a good one.
Two credit cards with chips and no foreign transaction fees
If you'll be in places that accept credit cards, getting a good pair with no foreign fees will save you a ton of cash. Credit cards are also significantly better protected for fraud, and more responsive than banks when issues come up.
Rule of thumb:
- If you need cash, use your ATM card.
- For everything else, use your credit card.
Have a spare card for emergencies, and to handle the times when you’re locked out of your accounts. Because you will get locked out.
Your bank's phone numbers, on a piece of paper
At some point, you'll need to call your bank to assure them that yes, you know there was a charge in Zimbabwe last week, and one in Guatemala this week, and yes, both of those are legit, and pretty please, can they unblock your card because you're standing in a supermarket with a cartful of groceries and no way to pay for them.
On a related note, give all of your card companies a call and tell them your travel plans. It won't prevent them from fraud-locking your cards, but it will mean they fraud-lock less often.
A power strip
This isn't an absolute must have, but if I had to pick one nice-to-have piece of tech, it'd be these little Belkin power strips. They handle 110 and 220, and provide two fast USB charging ports. They mean that at home, in airports, and wherever, I never have to worry about only having one outlet.
A VPN
A VPN program (I recommend TunnelBear) lets your laptop, phone, and tablet securely pretend to be from another country. There are places in the world where this is really critical, and some where it's just nice. Here's the lay of the land.
Getting around filtered internet. If you're going to live somewhere where the government filters or monitors internet usage, a VPN is a must. The last thing you want is to talk to the officials in a place where you may not speak the language on why you were accessing illegal materials.
Don’t let the “but I don’t look at anything sketchy online” mindset lull you to complacency. Depending on where you live, “illegal content” can be much more innocuous than you think. Like Wikipedia.
Safe connection on sketchy Wifi A VPN is like a condom for the sketchy wifis you’ll inevitably find yourself on. Without one, you're at the whims of the person running the corner cafe and everyone else on their network. If you're doing banking or any kind of online purchasing, you're going to want an extra layer of protection.
Netflix! The BBC! The NFL! The final really lovely thing you get with a VPN is that you can pretend to be wherever is most useful to you at the moment.
Want to watch Orange is the New Black? Set your VPN to the USA, and fire up Netflix. Craving the latest Dr. Who? Set your VPN to the UK, and open up the BBC's site. There are even sports leagues (the NFL comes to mind) who offer better, cheaper access to people living particular countries. With your trusty VPN, you can be "from" those places, and have truly global access.
Install before you go Finally, make sure you've got your VPN installed before you leave. As you might suspect, the places who don't want you to see the whole internet also don't want you to download software to get around their filters. Install and test your VPN while you’ve still got unrestricted access.
Internet Access
The sweet nectar of internet is critical for most of us who work remotely. Here's everything you need to know to get yourself set up.
Stay somewhere with good Wifi (if you can).
Airbnbs are typically better about this than most other places, since their owners are relatively high-tech. I'd start there when looking. You can definitely get by without wifi, but if you have large file uploads or downloads, using anything besides a proper wifi connection will get expensive, quick.
Find a spot with good, unlimited wifi, or be prepared to pay.
Learn to tether your phone.
Having a backup source of internet will serve you well when things go sideways, as well as the days where you want to work from the beach.
In short, the best path is to get an iPhone, buy a local sim card, and buy a prepaid monthly data plan.
The exact method for doing this will vary from country to country, but it's a normal thing in every place, and everywhere you go, the employee at the cell phone store will know how to set up your iPhone.
If you've gone all-in on the apple ecosystem, tethering your phone is easy. Go to settings, cell, and turn on tethering. Then, on your laptop, pick your iPhone from the wifi list. Simple, done, and you've got internet that will go with you.
Your Company and Clients
Learning how to work and communicate remotely (especially if you're the first to do it) is unmistakably a challenge. However, there are a few quick tips that can make life much easier.
Know your time difference
Time differences are one of the hardest logistical challenges of remote work. For most collaborative teams, having a window of at least 3 hours of overlap is critical for good communication and shared progress.
Before you head off, know the time zone of your destination, and make a plan with your team on when you'll find that shared window.
This will allow you to have a good frame for your workday when you land, and more critically, help put your company at ease. See, they're nervous.
Set Expectations
Having an employee or contractor wander off to the far reaches of the world is a scary, scary thing. Most companies want their employees to be happy and fulfilled, and the idea of remote work makes a lot of sense - in theory.
But in practice, for a lot of companies, it's a laundry list of unknowns and impossibilities.
I've done this at a number of places, and the biggest key to success is to talk through, plan, and set expectations about how communication and deliverables are going to happen.
If you're the one heading out, your boss and colleagues are likely to have a hundred nervous questions running around in their heads. Set aside some time to get those questions out, and collaboratively figure out answers.
Almost always, they want it to work as much as you do. They just don't want to be stuck if their star employee runs off and never comes back. Establishing baselines for what everyone should expect goes a long way toward easing tension.
Communication Culture
The other big change that comes with the distance and the time shifts is that communication patterns and culture are likely to need some tweaks.
Unless you already work at a fully remote company, it's likely that a decent bit of collaboration happens informally in the office.
When you're remote, your in-office colleagues are going to have to take the extra step of finding a computer, pinging you, and firing up a video chat to keep you looped in.
This is not an insignificant extra effort. Making sure to talk about it beforehand and acknowledge it when it happens greatly helps to build this behavior.
Finally, for many remote teams, an asynchronous communication platform like Slack or Hipchat works wonders. It lets people catch up when they have time, work on their own schedules, and stay looped in.
It takes time to build these patterns as norms for a company culture, but for a long-term remote work setup, you'll need them to succeed.
Accommodations
You've got a few options for where to stay on your travels: hotels, hostels, Airbnb-type places, or renting an apartment. All have their pluses and minuses. Here's the rundown.
Airbnb
To me, this is the best-of-breed solution at the present. It's more expensive than a hostel or renting a local apartment, but you get more. You can find a nice place with good amenities, kitchenware, and good wifi for a decent cost. You can also typically find places with a couple of distinct spaces - great for having a separate space for work and relaxing.
Airbnbs also tend to be in interesting areas of town, and run by people who have travelled a bit and get it. Start here.
One note of caution - you typically get what you pay for. Stick to the mid and upper end of the price range for an area if you're looking to avoid cockroaches and have reliable internet.
A note on VRBO, couchsurfing and similar: Some people love and swear by each of these services. I’m not one of them. Find what works for you.
Hostels
These bring to mind earthy-smelling backpackers and big rooms with shared cots. It's not an unfair assessment. There are private rooms available at many hostels these days, but hostels are also the most likely of your living options for something to be stolen. Unless it's specifically your scene, I'd avoid them.
Hotels
If you can afford them, hotels can have the nicest amenities and having someone take care of the basics like cleaning and laundry can be lovely.
The biggest challenge from a remote-work perspective is finding one where you've got a good working space.
They also never quite feel like home, at least to me. If you want to feel settled in, you're probably better off with a local rental or an Airbnb.
Rent like a local
With a local rental, you just figure out how apartments are listed locally, go find one you like, negotiate rent, and move in. For longer stays, you're going to get the most space for the least cost, and the most authentic connection to a place.
One big gotcha: I'd only recommend local rental if you're at least decently fluent in the language where you're moving. Renting an apartment comes with all sorts of details wherever you are, and they'll be on you to handle. Things like how to pay electricity, water, and utilities. How to get internet installed. Who to call if a pipe breaks, and how to tell them what’s broken.
You'll need good language skills to handle the stuff that comes with a local rental - but if your language skills are solid and you're sticking around a while, there's no better or cheaper way to really settle in.
Health
Health is one of those big, back-of-the-mind scary monsters in international travel. What if I get sick? Should I bring medicine in case my migraines flare up? Or my bunions?
My advice from having lived out here is simple.
If you have an reasonably frequent medical condition that requires medicine and you know what works for you (like allergies, for instance,) bring enough to cover your stay.
Don't worry about anything else. Don't bring a medicine cabinet of what if's.
The reason is simple - if the internet’s good enough for you to work, there’ll be a pharmacy, and things in the pharmacy to help. I promise.
My lone exception: do take a water filter if your travels will take you to somewhere without drinkable tap water. I've lived by my Camelbak UV filter, and love it. Find what works for you - but do bring something to easily supply you with clean water.
The Psychology of International Living
There are two final mental hurdles to living all over the world: learning languages, and finding the social support you need.
Learning Languages
There is an internet full of great resources. Definitely do some digging.
That said, here are my top two tips:
If you're going to have a go at learning a new language, read Fluent in 3 months. It's short, effective, and packed with the best techniques I've seen anywhere for language acquisition.
Buy the best dictionary app you can find for your phone. You want something that works offline, lets you look up phrases, see conjugations, and ideally gives example sentences. For most languages, there's one really exceptional app. It's rarely free. Buy it.
(Here are the best ones for Thai and Spanish.)
Smartphones make learning a language a radically different process, for good and bad. But when you absolutely need to communicate with someone, having a dictionary you can both use is invaluable.
Social Support
Know thyself. Are you an introvert? An extrovert? What do you need to be recharged?
When you hit the road, all the social supports you've slowly and unconsciously built over the years are going to be gone. Instead, you'll need to consciously create new support circles every time you land - and it do it, you need to know what you need.
I'm an introvert - it's a complete pain in the ass for business networking, but mighty convenient for traveling. All I really need to recharge is a quiet space with nobody around. In traveling, that comes by default.
But I also know extroverts who successfully travel all over the world. When they land, they consciously invest time into finding a few new regular social activities, and places where they can go to be surrounded by people.
Social support is something we mostly take for granted in a rooted life - but it's a critical part of the human experience, and drastically affects our sanity.
Especially if you're in for the long haul, take some time and think about what your needs are, and how you'll get them on a random Tuesday in Prague when you don't know anyone. That little bit of planning will make all the difference.
That's What I Know
That's everything I know from my time living here on the road. If you're thinking of giving it a go, feel free to reach out with any questions. I'm happy to help.
I'm also still out here, traveling, learning, and sharing what I find - if you're interested in following along, I have a pretty lovely letter I send out.
Bon Voyage!
Steven writes about his journeys, big life questions, and the occasional terribly embarrassing travel story over at Ink and Feet.
Do you have travel stories you want to share? Email us!
LIVING THE DREAM: WHEN IT'S A NIGHTMARE
LIVING THE DREAM: WHEN IT'S
A NIGHTMARE
In this chapter of Living the Dream, the dream dissolves into a nightmare. WNW Member #5670 Steven Skoczen talks about the struggles that arise as you step further away from your comfort zone. Now months deep into his around-the-world adventure, Steven faces the reality of being rootless, his suitcase as his anchor. With the fantasy long gone and the ultimate travel horrors upon him, Steven is faced with challenges that he will either grow from or crumble under. Steven explores what you do with these challenges, how to take them in stride, and how to keep moving.
On the fourth horrific trip to the bathroom, I started to think about god.
This diety-in-the-restroom business had only happened once before - when I was 21 and I'd drank my first whole bottle of wine with dinner. I spent the evening curled up against the cool porcelain bowl, rotating prayers between religions to make it stop. Whoever makes this stop, I mumbled, gets a new convert.
Time and water, it turns out, were gods.
This time though, it wasn't self-inflicted. I'd been sick for four weeks straight, and then, just when I was on the mend, woke up sharply to an urgent call from my body. If I might be so kind, it noted, it would like to remove everything that was inside it, possibly including vital organs.
I didn't sleep that night, most of the next day, or most of the next night.
When the smoke cleared, I'd spent six weeks in a city I'd barely seen, and had one singular desire: get out.
To be sure, there are adventures, insights, and wonders to living all over the world. But they come with weeks of hell.
In Phuket, there was the overwhelming danger of learning to ride a motorcycle on the world's second-most-deadly roads.
Knowing that every time I went to get groceries or explore the island, that my life was quite literally in the hands of the strangers behind me. Even more frightening - the lives of the strangers in front of me were in mine.
In Bangkok, coming face-to-face with human trafficking, and the darkest parts of who we are as a species. Meeting people whose existence forced me to admit that my belief that people are fundamentally good wasn’t based on facts, but a willful choice.
In San Cristóbal, watching the actions that come from staggeringly different perceptions of the value and pain tolerances of other living things.
They are too stupid to feel pain, one man assured me. But the sounds resonating from the creatures hit my ears as a different story.
Everywhere, feeling the smallness of my life.
Everywhere, feeling the sameness of the human experience.
Everywhere, feeling the tension of light and dark.
Jim Collins writes beautifully about making your life a piece of art - and whether traveling the world or living in Kansas, I think he's on to something.
All art worth its weight has an internal balance. Contrast.
The same then, if we're to make it any good, must be true of our lives.
To embrace our nightmares - to let them have their way with us. But not to let them swallow us up.
To breathe them in, let them carve out a space, and let them out.
To be left with depths.
Steven writes about his journeys, big life questions, and the occasional terribly embarrassing travel story over at Ink and Feet.
Do you have travel stories you want to share? Email us!
WHY I KEEP MOVING
WHY I KEEP MOVING
After over four months in Thailand, WNW Member #5670 Steven Skoczen has moved on to Mexico, the next stop on his country-hopping adventure. His last piece was about making the life that fits you, and redefining how to see success. Now Steven brings us deeper into his world of constantly being on the road, and how moving impacts you emotionally, physically, and creatively.
When people hear I’m constantly on the road, switching cities every month, changing cultures, learning new languages, constantly trying to comprehend how even basic things like crossing the street or getting on the bus are done, they often say the same thing: “That must be exhausting.”
The truth is, it’s not. In fact, personally - and especially creatively, keep moving has been the best decision I’ve ever made. It recharges me in fundamental, powerful ways.
As creatives, none of our work lives in a vacuum. If you’re a writer, think of how reading another writer’s work echoes out in yours the weeks after. As a photographer or designer, how your visual style is impacted by the work you see on a regular basis.
Now imagine that every single piece of stimulus in your life is changed, all of it entirely new. Imagine that you’re suddenly living in a world where people have found entirely new solutions to problems you thought were solved. A world where the standards for what’s appropriate in public are radically different, where the balance of what you share and what you hide are shifted.
And imagine that none of that is explained to you - you have to figure it out, day after day, mistake after mistake. That’s the world I get to live in. The effects are profound.
It’s so much easier to take creative risks, and make creative mistakes.
Would I have ever published an open-hearted piece about depression or the deep philosophical insights you can get from traveller’s diarrhea when I was living in the states? No way. It might impact my klout score or my brand or any of the bullshit I’ve made up in my head as a rationalization for not putting genuine work out there.
But when you’re out in the world, failing at communicating, buying groceries, and even basic navigation, failure just becomes a normal part of what you do. It ceases to be scary, and you don’t need try-harder mottos to help you put things out there. You just live with your work how you live with your life. You know some of it will be an abject failure, and you learn how to recover and still get to where you want to go.
You get access to entirely new ways of seeing the world.
All of our work is rooted in the world in which we live. So when how-the-world-works shifts, the effect on our work is tectonic. Imagine the sort of work you’d create in a world where you never said sorry, or one where you never said best. How would things shift if instead of meat or bread, vegetables were the foundations of food? How would your work change in a world where child sex trafficking was something you had to look in the eye, understanding first-hand what it says about all of us.
There are huge overlays on the cultures we live in that are only visible when we’re able to step out of them into something genuinely different. The effect of Christianity in the United States is powerful and forms the bedrock of every natural-born American’s world view, even if they’re not Christian. Spend a few months in a country that, for all of its recorded history, has been Buddhist, and those differences become obvious and palpable. They open up a new way of seeing, of expressing, and of course, of creating.
You have a built-in deadline.
One of the most lovely bonuses is that once you’ve settled in and started making, you immediately feel the clock start ticking. I’m in Mexico now, but I won’t be forever. How much can I soak in here? How fully can I express the things I find?
There’s a real power to a deadline, even a gentle one, that prompts you to keep creating, keep making today and every day - because soon, this muse will be gone.
It’s like one of those short-term flings. It’s wonderful, and you want to squeeze every second in before it’s gone. Which reminds me - it’s time to close this laptop and head off. There’s more to Chiapas to experience, and more to write.
Steven Skoczen is currently living in San Cristóbal de las Casas, Mexico, and writes over at Ink and Feet. He writes a hand-crafted letter every week that a lot of people really love.