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I LAUNCHED MY CAREER THROUGH A PRIZE ON KICKSTARTER

Working Not Working April 7, 2016

I LAUNCHED MY CAREER THROUGH A PRIZE ON KICKSTARTER


By WNW Member #3180 Philip Johnson

I grew up in Indiana with dreams of being an animator—the next Disney, specifically. My brother and I had drawn floorpans for the animation and architecture company we would start. It wasn’t until I was looking at universities that I was told 2D animation was no longer a viable career (so they said.) When someone then mentioned “graphic design” to me, I was a little revolted, thinking it meant designing billboards for a living. Once I actually learned it was essentially what I had been already doing for years- designing gig posters, hacking bands’ MySpace pages and making logos for relatives’ businesses- it was pretty clear that’s what I would do. Meanwhile, I was in a band (together, in some form, for about 9 years). The plan became to support myself with design but give the band the old­ college ­try once we graduated. In school however, I was introduced to Sagmeister Inc and it quickly became the one place that really excited me: the only place I wanted to work. Still, to me it was the moon, unattainable. Which usually just means I want to find a more creative way to go after it (while not holding my breath.) 

My school held its annual talent show. I played the catchiest of the band’s songs and won the category I was in, along with some prize money. Almost immediately after, someone directed my to Stefan Sagmeister's Kickstarter for The Happy Film. For the exact amount I had won, I could donate to the campaign and fly to New York to have dinner with him in his 14th St penthouse. I did. I told him I wanted an internship. I emailed Jessica Walsh, his designer, an updated portfolio when I got home. A few quiet months passed. The Thursday of my senior year Spring Break, I am headed to lunch with my dad and peek at my email. There’s one new message from Jessica Walsh. I lose my mind for a moment and my poor father doesn’t know if I’ve found Wonka’s Golden Ticket or sat on a tack. The email read that a position had opened up and asked if I can be there the following Monday to start. I said “Maybe not Monday but I’m packing my bags.” Monday, I told my professors I was leaving and I was out in New York, working in the studio that next Wednesday.

So, you could say, I Kickstarted my career.  (That’s honestly the first time I’ve said that. Marketing people: Get at me. Sorry Not Sorry.)

Follow Phil on WNW

9 things I've learned in my career (so far):

I’ve found that much of design is about understanding relationships. That in mind, I thought it would be a fun gimmick to try and present some of my newly­ minted values in simile form. You guys are my guinea pigs so enjoy.

 

1. Social Media is like my old messenger bag

Constant use results in hard­ to ­perceive consequences. I used to wear a messenger bag and run cross country. (Not simultaneously.) I developed a pain in my knee that was obviously from  running. Nothing helped. At the end of a seven day trip to London, I was having trouble walking.  My messenger bag was on it’s last leg as well. I came home, discarded the bag and found that  within a few short days my knee had completely returned to normal. The bag had put me slightly off kilter. It was almost imperceivable day­ to ­day but, over time, had created a fairly perplexing problem. The quick and little escapes of social media feel beneficial in the short run but lower my quality of life over time. I wear a backpack, now. 

 

2. A decision is like a cookie jar

The jar, by itself, is not that valuable. You choose the jar. You fill said jar with cookies. That is when the beauty of the cookie jar is truly realized. The cookies, in this scenario, are your actions. I can fret all I want about choosing between full time employment and freelance but, at the end of the day, I’m selecting a vessel. One might be easier to open, more manageable, but I know if I feel strongly enough about one I'm going to do whatever it takes to fill that sucker up. (It also helps that I only have one mouth to feed.) 

 

3. Talking to new people is like a Chinese finger trap

It’s so much easier if you just relax. I’m now discovering this is true of so many things. Meeting new people, presenting work, solving some design problem—it’s all so much easier when I simply get myself to chill. My hyper-­analytical mind makes it difficult most of the time, but the benefits are pretty astounding when I'm able to.

 

4. Passivity is like a band-aid on a splinter

Yes, pulling the thing off might be slightly uncomfortable but 20 bucks says if you cover it up and hope it heals you’ll have yourself a nice little infection. Direct, objective discussion of anything problematic has continually proven beneficial in my relationships (of all kinds). 

 

5. A pursuit is like a quality rollercoaster

If it doesn’t scare the crap out of me, at least a little bit, it’s probably crap. All of the work I’m proudest of, the best life­ choices I’ve made, have scared the crap out of me—at least a little. Let’s say this is a fear of the unknown (not knowing if I’ll be able to support myself as a freelancer, not knowing exactly how this project will come together with x budget and x timeline, etc.) The unknown leaves the most room for surprise and discovery. It’s the trial­ by ­fire projects that leave me the most fulfilled, having acquired some new understanding or skill set. Being comfortable, in this regard, gets me nowhere. 

 

6. Life is like a box of chocolates

(Though sometimes there are little pictures of what chocolates are where on the underside of the lid.) Food for thought. 

 

7. Happiness in work is like that thing where you relax your body as much as possible and are like “Am I that tense all the time? Like, even my eyebrows were tense. Why don’t I do that all the time?" 

Even though I love what I do, I still have to remind myself that I have the capacity to love it from time to time. An exciting project inevitably turns into a list of tasks. Like all great things, they can cease to feel great once I become accustomed to them. I’ve been training myself to recognize these moments, responding and thus thinking “Why don’t I do that all the time?" 

 

8. School is like a buffet

Many people (myself included) go to school expecting a sit-down restaurant where everything is neatly presented to you. In reality, it’s more of a buffet. Everything is there—probably more than you can imagine—but it’s up to you to get up and serve yourself. If you expect to be spoon-fed, you’ll starve. 

 

9. Like what you like

I can’t tell you how much energy I’ve wasted in my life questioning my tastes or wanting to tailor them to fit what seemed cool or respectable. It’s not an overt thing—it’s usually at a gallery with some brilliant friends. I find myself the only one unmoved by a certain piece. My gut reaction is that I am somehow at fault. I’m not cultured or intelligent enough to see what they see. This is an incredible waste of energy. It’s so liberating to be able to say “This is BAD!”—to understand that your liking or disliking something does not need validation (though understanding why is often useful). That painting does nothing for me—I’m still a decently educated person! I got a rolling tear going at the part of that young adult movie where they’re obviously trying to make you cry—I take full ownership of that and know that I still have some discerning taste! I love me some jazz but there’s a notable amount that goes clear over my head—it’s completely unrealistic and unnecessary that I grasp enough music theory to fully appreciate most experimental jazz! Adore or despise that artwork, unfettered. Openly cry at that movie, unashamed. Love that song simply because THAT. GROOVE. IS. SICK.


Phil's work:

Drinking Not Drinking from Philip Johnson on Vimeo.


Are you a WNW Member who wants to share your career story and lessons? Email us!


In INTERVIEWS Tags members, design, Designer, New York, Kickstarter, career, lessons, advice

WNW is Coming to London

Working Not Working June 2, 2015

Team WNW is headed to London. We're preparing a series of events meant to inspire, connect, and intoxicate (!) our UK members and friends. Would love to meet and down a few pints with you. #WNWxLONDON

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In WNW NEWS Tags London, members

ON CALLIGRAPHY AND QUITTING: LYNNE YUN

Working Not Working May 14, 2015

ON CALLIGRAPHY AND QUITTING:
LYNNE YUN


WNW #4995 Member Lynne Yun originally wanted to be a linguist. So perhaps it's not a surprise that her career path led her from graphic designer to letterer. Lynne says she never outgrew the childhood "Why's," always asking herself, "Why do things look the way they do? Who agreed on what they should look like and which letter combinations form a word?" 

Lynne has turned those questions inward, digging deep: what kind of work do I want to create? What is the life I want to lead? That reflection has led Lynne to take the recent leap from full-time to freelance. Much to the confusion of her family and friends, Lynne left a steady income and a prestigious company to give herself the space to work in a self-directed manner, fueled by passion.

Lynne shares her story, taking us through her process of quitting and what she's learned along the way. Her advice for freelancers can work for anyone: "It's so easy to overwork yourself when you're a freelancer — but keeping your rhythm is what will keep you from getting burnt out. Slow and steady is what will win your race, and keep your sanity too."

follow lynne on wnw

How did you get into typography?

Learning has always been a huge part of my life. It’s a passion with a tint of obsession: sometimes I lie awake at night being afraid of the inevitable fact that I’ll never have enough time in my life to attain everything that I want to know. I don’t think I ever grew out of the childhood phase of asking millions of ‘Why?’s. Why things look the way they are, why things function the way they do.

Out of the many useless and useful topics I happened to obsess with (among dinosaurs and outer space), was typography. Why do letters look the way they do? Why do so many people use them? Who agreed on what they should look like and which letter combinations form a word? Fueled with questions no one could answer, I started sketching letters - small and large, thin and wide - often pushing the drawings to the point where the forms would break away from the recognizable to the abstract.

I used to wonder if I should become a linguist, but eventually ended up going to an art college in New York. After going through a few design jobs and graduating from the School of Visual Arts, I was hired at Apple and moved out to California. Vitalized with meeting such talented people from all over the globe, I started taking calligraphy classes with the little time I had away from work. Through writing letters with the same tools that scribes had used since centuries ago, I finally had some answers to the questions from my younger years. However, more answers inevitably lead to more questions. I wanted to learn more, more than ever.

Logo sketches

Why did you decide to go freelance? 

I realized I had two choices: to stay at my job or to leave in pursuit of learning. Without much hesitation, I chose the latter and drove 3,000 miles back to New York to attend the Type Design program at Cooper Union. By day I worked at an advertising agency and by the night and all through the weekends, I endlessly drew letterforms. After taking on a few freelance gigs and testing the waters, I slowly started doing what everyone always hopes for: making a living out of doing what I enjoy most. I decided to take the leap of quitting my full time job to go freelance and it was one of the scariest, toughest decisions I've ever made.

If chasing the lifestyle you want is a little scary, I think that’s a small price to pay. All big changes start with courage.

What did your friends and family think when you gave up a full-time job at such a prestigious company?

I don't think a lot of them understood why I left. To a certain extent, I still think they don't. It was a good job with a good paycheck, and it was my first job straight out of college. A lot of people around me seemed to think I was making a mistake, that I didn't realize what a great deal I had because I didn't have much experience to compare it to. To be honest, I think it was the opposite! I was able to leave with determination because I knew it was a good job. And if I didn't want to kick myself in the foot down the road, I was going to try really hard to achieve what I'd set out to do.

 

What are some pro's and con's of full-time vs. freelance? 

Being part of a full time staff definitely has its perks - the peace of mind that comes from stability, getting to have a deeper connection with your coworkers, and really getting to know how your company's ecosystem works. Although I did love being part of a full-time staff, ultimately I decided to transition into freelance to have more control over my workflow. I like to plan out my own timeline and choose the projects that I want to work on. I love being able to wake up in the morning and know what my week is going to look like. Being able to take charge of my own schedule enables me to focus more, work efficiently and spend time on the passion projects with the time I save. 

 

What's advice you can give to anyone considering going freelance? 

I'm a firm believer that creativity and productivity is a habit. It's a lifestyle more than anything. For me, freelance is all about knowing your strengths, weaknesses, and keeping yourself happy knowing those things. Also keeping a good routine is one of the best things you can do for yourself. Everyone’s ideal schedule looks different but this is how I usually plan out my day: 

Every morning, I set myself a schedule over coffee. I know I'm most energetic in the morning, and half useless in a food coma after lunch, so I usually get the most important things done in the morning and a monotone task early in the afternoon. I'm fully aware that I lose focus after two hours of concentration, so I usually rotate the projects that I'm working on every hour or two. One of the most important parts of my schedule is that I give myself at least an hour or two of 'study time' for anything I've wanted to try out, read up on, or just to experiment. Creativity isn't something that you can spew out, there has to be an input if you want an output, and this study time is when I plant ideas in my head. Knowing me, my best efforts are usually spent by the time evening rolls around, so I always try to keep to a 9-hour work day. It's so easy to overwork yourself when you're a freelancer — but keeping your rhythm is what will keep you from getting burnt out. Slow and steady is what will win your race, and keep your sanity too.

 

What are some of your inspirations? 

I love collecting printed and typographic ephemera and American antique packaging. Here is an example of items I’ve collected over a recent road trip from San Francisco to New York that radiates inspiration:

Are there other WNW members whose work you admire?

Haruko Hayakawa, Juan Carlos Pagan, Alex Trochut


Lynne's work:

follow lynne on wnw

Are you a WNW Member with a story to share? Email us.


In INTERVIEWS Tags members, typography, freelance, advice, Featured

ON VULNERABILITY: JILLIAN ADEL

Working Not Working May 6, 2015

ON VULNERABILITY: JILLIAN ADEL


WNW Member #1370 Jillian Adel is an illustrator with guts. She traded full-time for freelance and NYC for LA all at once. Part of being a freelancer - or a creative, really- is sharing yourself as a sort of personal brand. And with that comes the question: how much of yourself do you share? How personal should you get?

Given her recent move, top of mind for Jillian has been the discussion of vulnerability and how much we as creatives share with the public. The difference between emotional vulnerability and professional vulnerability. If we admit things are hard, do potential hiring managers see us as weak, not confident, and unable to complete the potential task? Yet when we see someone on stage giving a talk about failure or being incredibly vulnerable, the community is moved and a standing ovation is given.

Jillian is a pass-it-forward kind of lady ready to share her story and sing the praises of others. Some of her favorite WNW members include Kelsey Dake, Jacqui Oakley, Laura Bohill, Teresa Wozniak, Rich Tu, Josh Lafayette, Chris Delorenzo, and last but not least, Matt Chase. (No order of importance, they're all equally talented.) Jillian is pretty talented herself, specializing in branding, illustration, and custom typography. Her clients include The New York Times, Fred Water and POP Network.

When not making art or writing about vulnerability, Jillian enjoys getting bitten by her cat, photographing her homemade breakfasts, training at pole dancing, and binge-watching Buffy the Vampire Slayer.

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A few years ago, I fell in love for the first time. I was living in Brooklyn, NY and he lived in Austin, TX. As is the case with many long distance, star-crossed loves, it was an emotional roller coaster of a grey area relationship that inevitably ended in the most bloody crash and burn disaster of the heart I had ever experienced.

Meanwhile, I was designing at a digital media company and still in the first few years of workshopping my knowledge and craft of drawing letterforms. In the midst of a particularly rocky portion of this love story, I spent my lunch break sketching the lyrics of a song in a small notebook with pale pink pages. It read, “All we have are broken promises.” Deep, dark, broken feelings were penciled onto a tiny page, and I called it art. I designed this lettering into a poster of the ocean and sky at night time, moonlight glittering off the calm water. Every element of this poster had meaning, each piece of the composition twisting another key inside of me that unlocked a part of the story of my heartbreak. I decided that this would be the first piece of art I would release for sale. I couldn’t tell you how many it sold. I don’t remember, and it’s beside the point. I do, however, remember what it felt like to tell the boy who caused such an emotional storm in me that the piece was about him. I remember how empowering it was to not only make something I felt was beautiful out of an experience that was so difficult, but to totally and completely own it to both the boy in question and the general public. I felt strong in this moment, but it wasn’t until years later that I realized why. Why did all of this feel so good? Why was I moved to put the most intimate, sensitive parts of myself on parade? And why was it a verifiable antidote to one of the most trying and personal situations I’ve had to deal with to date? I didn’t know the answers yet, but I did know that, whatever the reason, I always wanted to be that vulnerable with my art and my audience.

The vulnerability researcher, author, TED speaker and goddess incarnate, Brené Brown, talks about confronting shame as the path to being vulnerable with ourselves and others. She points out that shame thrives in secrecy and cannot survive when we tell our story, so when we confront our shame, we experience true vulnerability and reclaim our own worthiness. I could quote Brené (we’re on a first name basis now), her talks, and her book, The Gifts of Imperfection, to the ends of the earth. She addresses the desire many of us have to be authentic in a culture that would prefer we “fit in.” I know this to be especially true as creatives with our work. Our industry’s internet microcosm of Twitter, Dribbble, and Instagram, has us vying for Likes to determine our work’s worthiness. Even the place that was invented for the purpose of showing imperfect process work (Dribbble) and a place that has the ability to be voyeuristic (Instagram) has turned into a curated museum where we make our messy parts look “perfectly messy.” We shudder at the thought of ruffling feathers. And sometimes, our concern about sharing a more serious or controversial topic for fear of anyone in our small and incestuous industry bad-mouthing us to a potential client, is a real one. But we have to remember that the path to authenticity and vulnerability is the hardest path there is, and there is no shortcut.

In the last year, I’ve experienced a huge transition. I left New York (my home of 5 years) and the East Coast (my home since birth) to road trip across the country by myself and start a new chapter of my life in Los Angeles. I left the full time agency world to start my independent freelance studio. And amongst all of the new and different things I’ve found in this new phase, a love for pole dancing performance and nutrition have become key players, right alongside design, illustration, and typography. Through this journey of self, I’ve done my best to share these new and developing components of my life as honestly as I can. There are moments of uncertainty, insecurity, and doubt. I wonder how my design audience feels about videos of me dancing, sometimes scantily clad, on a pole popping up in their social media feeds. I wonder if they tire of photos of my breakfast. I wonder if sharing my moments of weakness about starting and building my own business on another side of the country will have anyone think I am any less capable. But a funny thing happens the moment I give those negative thoughts any bit of real estate in my mind: I come across someone who is going through the same exact struggle. The players may not be design and pole dancing, but brand strategy and candle making, writing and bodybuilding, web design and lifestyle blogging. I engage in conversations with these people, and they all seem to be dealing with the same fears and struggles.

The main questions I hear from creative freelancers are: How can I share more of myself and my personal interests without sharing every intimate detail? Where is the line? And how can I be authentic with my community and audience but make sure to not offend, isolate or otherwise turn off anyone from my work in doing so? This could be in regards to a blog, social media, or general correspondence. If you have any of these questions, you are in luck because there is a very simple answer: Man up. Goddess Brené writes that it’s not so much the “act of authenticity” that challenges the status quo but rather the “audacity of authenticity” that can make some people uncomfortable. Sharing personal parts of yourself will never be a) easy or b) accepted by everyone. And there will be growing pains.

There should be a process app for Realness, because it’s not a single point in time and space. There will never be a time where you say, “I made it! I am now fully authentic now!” It’s something that happens with each decision to post about your interests, your philosophies, your ethics or taste and how they inform your work. It’s a way to connect with people in a deeper and more genuine capacity. Luckily, this app actually exists. It’s called all social media, and it’s ours to show ourselves off however we see fit. The decision to be open and honest with the tools at our fingers is ours and ours alone.

But the fear of judgement is real. The fear that we will be considered weak or not able to handle a project by a potential employer if we share that we battle with a disease or disorder, if we show our wounds from hard, emotional experiences, or talk about our insecurities. But what about those who share your same passions or hardships that you have the potential to connect with in mutual support? What about landing that dream project based on that very niche, personal subject you share? Or about the fact that most of us get considered for a job because of our work, but hired because of our persona? What about the fact that we are ALL going through the same struggle, whether or not it shows on a social media feed, and as independent creatives, I’d like to think that most of us are working towards the most solid, authentic versions of ourselves.  How do we bring our full selves to each new project as we navigate a diverse range of job environments and personalities?

Although there is no cut and dry scientific equation of when and how to be vulnerable in relation to professional life, I can tell you from experience that as you start to open up and connect, your conversations and work will become so much more lush than you ever thought possible, and the satisfaction from that alone should have you riding so high, that the fear of dissent will become a faint memory. Vulnerability is a trial and error process, and the only way we begin is by beginning. Start small but steadfast, and see what works for you. Surround yourself with supportive people ONLY, both on and offline. Fill up your social media feeds with people who inspire you to be bold, and then be bold. Because practicing vulnerability is the scariest, hardest battle you will ever fight with the largest rewards, but it’s all a little less daunting if we decide to be in it together.


Jillian's Work

follow jillian on wnw

Are you a WNW Member with new work, exhibits, products, or news to share? Email us.


In INTERVIEWS Tags members, advice, self-promotion, vulnerability
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MANAGER PROFILE: CROSSBEAT

Working Not Working May 5, 2015

MANAGER PROFILE: CROSSBEAT


David Justus and Becky Wang are the epitome of left and right brainers. As Droga5 alums where they served as the Executive Director of Technology and Head of Data Strategy, respectively, they've since joined forces to create Crossbeat, a creative marketing consultancy and digital product firm. Their professional repertoire has quite a range, working with everyone from Sundance to startups, the Dalai Lama to Pepsi.

The duo were kind enough to open up about themselves, the beginnings of Crossbeat and its ideals, and the qualities they look for in prospective hires. When asked to give a piece of advice to creatives, David has a simple request: "Please no Times Roman. Damned serif fonts." 

Duly noted.


Hey David and Becky! Tell us a bit about yourself and your background. And the question we always ask our creatives: do your parents understand what you do for a living? 

David: My Background is in Nerdery . Actually its in Computer Science, Mathematics and Cognitive Science, but nerdery sounds cooler. I've worked in the advertising space for the past 8 years, most recently as the co-founder of Crossbeat New York. Before that I was at Droga5 as the head of interactive technology and before that, at R/GA as a technical director on Verizon Telecom. Basically bringing cool tech and user experiences to advertising - crazy, I know.

I think my parents know what I do - as much as one could ever expect. 

Becky: I started on the media side of the business. I created information and news products for traders and investors, first as a product manager and then as the head of product and engineering.  We spoke directly to the clients to understand their experience and what problem we were trying to help them solve.  What I found though, was what we were selling wasn't what we were advertising, so I decided I wanted to focus on marketing and the expression of how products work and can make a customer's life better.  It was also a really tumultuous time for the financial tech industry. One day I walked into the Department of Defense with my Blackberry in my pocket.  Usually, you’re asked to check your phone at the front locker (to keep people from taking pictures) and when I walked out, my handset was fried. I was told that there was an electromagnetic signal in the building that could block certain cell frequencies and from time to time it could impact the phone itself.  Not sure how true that was but it had me worrying about subjecting my body to an environment that had to be so protective and realized, maybe this isn't the best place for me to be. I decided then to go do what I wanted.  

So I went to make movies instead.  I spent a few years in Hollywood in the film industry (as an assistant and then creative exec for Laura Ziskin Productions at Sony/Columbia Pictures), and almost always found myself on the “idea” and “marketing” side of the business.  I ended up in social media and finally advertising, going from a global Saatchi role in their Digital Group to a “change agent” position at Droga5 as the Head of Data Strategy to co-founding Crossbeat New York.  

My parents think I am Emory from the movie Crazy People (that really dates my parents, doesn’t it?). They don’t know if I’m insane or a genius they don’t recognize.  I always say, ‘I’d be ok with Emory’s life because he gets the girl in the end.”

 

Tell us about your decision to leave Droga5 to start your own company.

David: It was a hard decision, but inevitably the right one. Droga5 was a great place, and I built a team there that is amazing and is still kicking ass to this day. That being said, I wanted to try something new. I believe the market is changing and the old agency model is being disrupted; I want to try and be a disrupter and more importantly just work on stuff I cared about. Becky came along with the idea to do something (the idea was basically "let's do something"), and since Becky is amazing and f-off smart, it seemed logical to give it a spin. Fast forward a year and here we are.

What’s your creative outlet? What drives you? 

David: I have a lot of creative outlets. Code, music, strange doodles - I think everything is creative in some way, and that is what moves me - everything from a beautifully crafted line of code to a crossbeat in jazz song to a chalk drawing on the sidewalk. I like things that are unique, stand out and make you pay attention, and that is very much what we founded Crossbeat NY on: creating those things that stand out.

Becky: I am driven by my curiosity.  I once asked a shaman what the meaning of life was, and he said, “To enjoy life and help other people along the way.” It took me a long time to figure out what both statements meant and working in art, copy, advertising, design, film, stories, interaction (i.e. whatever it is that we do), it is using the many types of media channels and protocols and interfaces to explore both the question and the response.  My curiosity drives me through life to ask and answer questions.  

My creative outlet is conversation and copy. I’ve also been known to dance on a bike and parkour (when I was stronger and faster.)  I think we need physical creative outlets too.

 

If you had a different job than what you do now, what might it be?

David: A janitor that teaches complex philosophy as a night class at a university - yeah that would be baller. A wise janitor, like Scruffy.

Becky: I get to be many things now - journalist, editor, writer, publisher, lawyer, linguist, philosopher, artist, producer, filmmaker. I would have been a doctor but then I would be sleep deprived and that works for no one.  

 

What scene from a movie makes you laugh just thinking about it?

David: That list is long. Lets just say the entire movie Spaceballs and move on with our lives.

Becky: Wanderlust - when Paul Rudd talks to himself in the mirror.  Best piece of improv I’ve seen in a long long time.  

 

What's your favorite thing on the internet this week?

David: I dont know if favorite is the right word - but definitely the thing I am most perplexed by - and that's what the internet is for - perplexing things.

Becky: This is my favorite thing on the internet this week. Morrissey and Robert Smith WERE my punk heroes.  

 

If you were stranded on a desert island, with your computer, what 3 websites would you take with you?

David: Just one: the Wayback Machine. That way I’d actually have slightly outdated versions of the entire internet - and lets be honest, I am on a desert island - real time news isn't that important.

Becky: Amazon Prime Air so anything can be delivered and some how-to site like “ehow” and ask how to make friends with volleyballs. I could probably entertain myself for hours on something like Match.com - creating profiles with people to help focus me

Describe Crossbeat in 3 words.

David: Cool, Creatives, Creating

Becky: Blacksheep, badass, builders

 

What qualities are most important in a prospective hire?

David: Culture fit. Rock stars are great but teams are better.

Becky: The ability to look at themselves and the world clearly and with a spirit of discovery.  

 

What is it about the culture of Crossbeat that makes it an ideal place to work?

David: We care about people and ideas, and don't really care about titles or roles. Basically equal opportunity creators. Also everything we do is user driven - we never do something because “we need an integrated pitch”. We do it because it makes sense for the user and I think people like that. No one likes putting square pegs into round holes.

Becky: We’re honest with each other about our strengths and weaknesses, our genius and incompetence.  I’d say that we’re in the business of growth.

What are some projects you’ve worked on, are working on, and want to work on?

David: I’ve worked on a metric crap ton of stuff, double so when I was at Droga5. (Moto 360 launch, Prudential, Chobani.) Currently working on a project for Tone It Up and the Dalai Lama and just released a side project to support breast cancer awareness.  I want to work on stuff that is interesting and matters, brands like NASA. Yep. Space ships.

Becky: We’ve worked on everything from cars and CPG to TV shows.  Not much we haven’t covered. We're working on:  A Force For Good (Dalai Lama), stealth start-ups we love, Sundance and Participant Media, Pepsi.  And we want to work on: Communications (and Products) for Tesla, Motorcycle brands, Code.org, Humanitarian Projects, Virtual Reality

 

When you're reviewing a prospective hire, how much time do you spend on each portfolio? What do you judge first?

David: About five minutes, depending on what I am looking for. I have a hidden background in design so I tend to look at visual aesthetic first - composition, colors, interactions - things like that. For developers I look at code quality, ingenuity, etc. We are looking for curiosity. People who challenge form or explore new ideas but have the basics. We want people that try and push things and are a bit restless.

Becky: 15-20 min.  The gut feel generally takes one minute.  I judge based on what I feel, what I intuit, what I think someone is trying to say about themselves and the world in their portfolio.  We're looking for a point of view.

 

Which social network do you prefer for stalking people, creative or otherwise?

David: Facebook. I'm OG like that.

Becky: Behance, LinkedIn.  I Google them - how’s that for OG?

 

What 's the best advice can you give to our creatives about how they can best present themselves?

David: Please no Times Roman. Damned serif fonts.

Becky: Don’t be apologetic or oversell.  Be polite and kind though - yes, even your fonts can be courteous.  

 

Anything we didn't ask that you'd like to add? 

David: Creativity is not a skill. Its a mindset - everyone has the capacity for it (from producers, to janitors to visual designs to copywriters, strategists and coders), just don't give up.

Becky: Be in it for the long-game.  I don’t mean advertising, I mean making things that matter.


In INTERVIEWS Tags members, portfolios, technology, startups

HOW TO CREATE A SUCCESSFUL PROJECT PROPOSAL

Working Not Working May 4, 2015

HOW TO CREATE A SUCCESSFUL PROJECT PROPOSAL


WNW Members #5602 Jennifer Serafini and #1395 Breanna Radermacher realized their personal experience as freelance designers could be turned into something educational for other aspiring entrepreneurs. They've joined forces as co-founders of Be Free, Lance, an online course for designers who want to build a successful business from the ground up. Their three week course covers all the logistical stuff that can make a creative's toes curl: everything from defining deliverables, setting up legal entities, knowing how much to charge, to managing client communication. 

In this week's post, Jen gives us some best practices on how to craft a killer proposal that gets you started on the right foot with any client. Be sure to check out the course's details and sign up before June 1st as registration is now open.

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Project proposals are one of the most crucial first steps in forming a successful client relationship. Not only do they set the stage for what’s to come, but they also outline client expectations and make sure that both parties are on the same page from the very beginning.

Now, not all projects require you to write a proposal. Let’s say you’re going to work on a contract at a major advertising agency. In this instance, they will most likely give you all of the necessary paperwork leading up to your start date. But if you’re dealing with your own clients and projects, proposals are such an important part of starting things off on the right foot. As creatives, we want to do everything in our power to protect ourselves and our creative process, and that’s exactly what this does! Not to mention, it makes you look like a slick professional, which makes clients take you that much more seriously.

Here are a few key items to include in a successful project proposal that will make you look like you know what’s UP!

 

SCOPE OF WORK

This may sound pretty obvious, but I can’t tell you how many designers I’ve come across who forget to include key details in this section. The scope of work is quite simply, writing down EXACTLY what you’ll be doing for your client and what’s included in the proposed cost. 

This is where you should be explaining what you will be doing, how many rounds of revisions (seriously, this one is the most important!), what kind of files you’ll be delivering, etc. Make sure you account for every small detail of the project. For example, it’s really easy to say “business cards”, but just saying that alone is way too vague. Are you going to help your client source a printer or does the cost include printing? How many options will they get? How many revisions? Don’t forget to include these details as they usually account for the most frustration down the line. We’ve all had the client who've asked for “one more revision!” or “can you just fix this one little thing?”. Always refer back to your scope of work. If you’ve reached your maximum number of revisions, you can feel confident in making the decision to charge more and account for your extra time.

The way I like to structure this section is simple:

Project Description: what’s the assignment and how can you help them? 

What’s Included: what services are you providing them? I break this up into phases like “Strategy, Design, and Production,” so they can see how my creative process is structured

Rounds of Revisions: how many does the client get?

Deliverables: what are they physically receiving?

 

TIMELINE

Next up is the project timeline. This is where you can give the client an idea of how long your creative process is going to take. Some people like to break this up into phases, which can be helpful to track things with a bit more detail (concepts & strategy, design, production, etc.) This section helps the client understand a little bit more about your creative process and when they can expect to receive their work. I also like to factor in a few days for client feedback, so they can see that I’m holding them accountable to stay on schedule as well. I always have a clause that if I don’t receive feedback in a timely manner, the project timeline will be adjusted appropriately. This way, you don’t get a client that disappears for 2 weeks and then all of a sudden needs the work done tomorrow! Not happening.

The timeline is also where I’ll include the project cost. I like to wait until we get to this part of the proposal, so they don’t see the price first and run the other way. I’d rather have them look through all of the awesome things they’re going to get, THEN see the price afterwards. Seduce them, then sell them!

The way I like to structure this section is simply:

Phase: Each part of the project in chronological order

Time: How long each phase will take

Cost: How much each phase will cost*

*I prefer to break down the cost of the project by phases, so the client can see where their money is going. But you can also just have one total project price or an hourly rate, too. Whichever works best for you!

And there you have it! Not too hard, right? 

Some other things that you can include in your proposal are your creative process, the actual contract to sign (I prefer to send mine after the client has approved the proposal), and anything else you feel is relevant to the project. There is no one right way to do this! We all have different creative disciplines that might lend themselves really well to another format, but the points above are a great starting point of things to keep in mind as you’re creating your own template.

Lastly, when you send your potential client the proposal, make sure to ask if they have any questions! The last thing you want is for a client to miss an important part of your proposal, which can cause issues down the line. Communicate to them that it’s important for them to review the whole thing in detail and get back to you with any questions or concerns they might have. A project proposal is the key to starting a successful client relationship, and communication is everything. If you spend the time to create this document, you want to make sure it’s read and understood by all parties!


Jennifer Serafini's work:

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In INTERVIEWS Tags members, clients, freelance, writing proposals, education, advice

WELCOME THE TOP VCU GRADS TO WNW

Working Not Working April 26, 2015

WELCOME THE TOP VCU GRADS
TO WNW


VCU Brandcenter is one of the world's best graduate programs for advertising and design. In honor of this year's graduating class, we'll be hosting a special happy hour in Richmond this Wednesday. We hope you'll join us in raising a glass.

We went through all of the grads and invited the best of the best to the community. Here are our picks of the top creatives from the VCU Class of 2015.


Copywriters

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Art Directors

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Experience Design

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Creative Technologist

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In LISTS Tags members, students, VCU Brandcenter, education
Chickpea1-BaconCheddarRanch.jpg

Eating Not Eating: Chickpea & Olive

Working Not Working April 20, 2015

EATING NOT EATING:
CHICKPEA & OLIVE


Vegans rejoice! From her last installment about Souvlaki, WNW Member #2245 Lauren Hom shares her most recent chalkboard creation and culinary review, this time for Chickpea & Olive. A pop up restaurant that travels all over New York, Chickpea & Olive holds it down every weekend in Williamsburg at Smoragsburg where Lauren caught them. With food this good, we're almost convinced that we don't need beef in our burger. 

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Chickpea & Olive is a pop-up vegan restaurant located at Smorgasburg every Saturday and Sunday in Brooklyn. Founded by Danielle Riccardi and Daniel Strong, Chickpea & Olive aims to recreate soul-comforting food with a healthy twist. They source organic and local ingredients and work with amazing New York City bakeries, artisans, and growers. Serving up hearty homemade beet burgers and vegan sandwiches slathered in homemade sauces and melted cheese, Chickpea & Olive could amaze even your most carnivorous friend.

Last Saturday I stopped by Smorgasburg in Williamsburg to lunch at Chickpea & Olive. I was happy to find Dan and Danielle blasting hip hop while grilling up sandwiches for a long line of hungry Smorgasburg-ers. I treated myself to not one, but TWO (calories don't count on the weekend, okay?) of their homemade beet burgers and a coconut Arnold Palmer (half tangy, fresh-squeezed lemonade and half roasted, buttery coconut black tea, as recommended by Danielle herself). I'm not exaggerating when I say this is the best thing you'll drink all summer.

First up was the most decadent sounding item on the menu: the Bacon Cheddar Ranch burger. Served on a pillowy soft bun, this handmade beet patty was topped with cheddar, hickory smoked eggplant bacon, bread and butter pickles, heirloom tomatoes and green leaf lettuce. Oh wait, there's more? You betcha. On top of all that was a generous drizzle of their fresh herb ranch sauce. The star of the sandwich was the eggplant bacon: paper thin slices of eggplant, seasoned, smoked and roasted to perfection. Needless to say, I polished it off in five minutes.

The next sandwich was equally as exciting: the Calexico burger. It had the same tasty beet patty as the previous burger, but this time it was topped with cheddar, avocado, pickled red onions, pickled jalapeños, heirloom tomatoes, green leaf lettuce and chipotle aioli. Talk about a kick! Each bite was delightful: heat from the jalapeños, tanginess from the pickled onions, and richness from the fresh avocado slices. If you're not busy this weekend, head on over to Smorgasburg and bite into one of these delicious burgers. If you are busy this weekend, cancel all of your plans. You're welcome in advance.

Chickpea & Olive: 90 Kent Ave. Brooklyn, NY 11249


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In INTERVIEWS Tags members, eating not eating, illustration, food, restaurants, New York, brooklyn

ON STARTING OVER: ZIPENG ZHU

Working Not Working April 15, 2015

ON STARTING OVER:
ZIPENG ZHU


When you meet WNW Member #2465 Zipeng Zhu, you won't easily forget him. Raised on a diet of Manga and Gossip Girl, Zipeng's style might not be so surprising as he describes himself as exuberant, colorful, and relentless with the desire "to make every day a razzle-dazzle musical."  Before he could live his New York City dream however, Zipeng had to get through the hurdle of visas (or rather a "real life Hunger Games"), and before that, making the big decision to eschew his parent's preferred path of a traditional life in China as a biochemist. 

Zipeng tells us about his first impressions of America, how he became a designer, and what it means to start over. He also created a series of seriously awesome illustrations specifically for this post. 

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What was it like growing up in China? 

Hmm… Where do I start?

I grew up in a very ordinary Chinese middle-class family. Because of the one-child policy in China, I was the only child, or rather, the spoiled brat. Since both my parents had to work, I spent a lot of time at home alone, the only thing keeping me company was my Legos. I was not interested in anything else but legos: boxes and boxes of legos. I was constantly constructing and deconstructing lego pieces all through elementary school.

What was your first exposure to America? 

I always loved Power Rangers. But in Asia there are two versions: one is the original version called Super Sentai and the other is the American version. My memory of the American version was that it was the same as the Super Sentai but with American actors. I also remember that the cinematography was so different (the Japanese one was greener.) I felt the American one was nothing but a rip-off. So my first exposure to America was not great. 

When did you know you wanted to move here? 

In high school, I fell in love with the show Gossip Girl (shame, and this is why my English sounds like Blair!) After seeing all these fabulous fancy bitches on the UES, I decided I had to come and see if it was at all true. (Sex and the City was before my time.) 


The creative community in China vs. America: what are some differences?

In China, due the the popularity of Manga, the illustration industry is very dominant in the creative scene, so lots of the designers are primarily illustrators. More recently, there is starting to be more “design” designers. But the creative scene in China is still almost a blank paper, full of possibilities and opportunities. Meanwhile, America seems to be much more developed. Both however, are super tough industries.  

Do your parents understand what you do for a living? How do they feel about you living so far away? 

My parents are starting to understand what I do after they saw the Jewish Museum identity that I worked on. They finally know what typography is, thank god! They also finally understand that living here is much better for my career. We miss each other very much though; I FaceTime my parents on daily basis!


Tell us about the visa process. As a foreign student, what pressures did you feel?

Getting visa is like a real life Hunger Games. There is just such a slim chance of actually getting the visa and you need to make sure you are super qualified for it. Since I was applying for the O-1 visa which requires industry recognition, instead of working 9-5 like most of the recent graduates, I had to spend extra time to put myself out there and let people know who I am. I had to work really hard on everything since there might be a chance 6 months later that I would get deported. Plus, lawyers are ridiculously expensive. 

What have you learned in the process? 

I learned how nice the industry is.  Honestly, I wouldn't have gotten the visa if I didn't have help from everybody. 

What’s your proudest accomplishment, personal or professional?

Moving to New York! I was a biochemistry major in high school and it took a lot of fighting with my parents to convince that I'm was going after my passion and not necessarily a safe and comfortable life. 

Tell us more about that transition from biochemistry to design.

I was really into manga when I was in middle school and I wanted to be a mangaka (manga illustrator.) After three years of drawing, I finally realized I sucked at it. I spent a lot of time talking about broken dreams, listening to Comptine d'un autre été on repeat and drinking endless cups of bubble tea. All that I was left with was the fact that I knew how to use photoshop (not to mention an endless number of embarrassing illustrations which I'm not sure I'll ever be brave enough to show to the world..) Since I was the only one in my whole school who knew the software, people started asking me to make posters and flyers for all the clubs and events at school. My art teacher mentioned graphic design as a career and I was like, "I can make money from making posters?!" My mind was like BOOOOM. It went from there to me walking on 23rd Street. I mean, who cares about biochemistry any more?

What has been the biggest challenge in coming from another country?

Language, no doubt. It's not just the day-to-day vocabulary, its the slang and cultural references that drove me insane. I basically didn't know anything before 2009 (the year I arrived), so it took me almost a year and a half to finally have an effortless conversation without forming the sentences in my head first. 

 

Any favorite words or expressions?

Word - Uranus

Expression: DUH (with my eye roll of course.)

Best thing about being a foreigner here?

The excuse of "I'm from China" works everywhere and every time. 

Advice for fellow foreigners? Other creatives? 

For foreigners: Make sure your work speaks for you and hopefully you also made some awesome friends that are willing to help you with the visa. 

For everyone: Know your worth. 


The future: what would you like to create? Be known for? Dream projects?

I want to create things that represents me as an individual. 
I hope to be known for my happiness and optimism. 
Dream projects mean an open brief with endless budget.

 

Any other WNW members whose work you admire? 

Karan Singh
Dan Savage
Skip Hursh
David McLeod
Luke Choice

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In INTERVIEWS Tags members, illustration, design, china, manga

EATING NOT EATING: LAUREN HOM

Working Not Working April 1, 2015

EATING NOT EATING: LAUREN HOM


If you weren't hungry before, you will be now. With our members writing reviews of their favorite TV shows, why not add restaurants to the mix? WNW Member #2245 Lauren Hom was, of course, the natural choice to be our resident food critic. Courtesy of her Will Letter for Lunch project, Lauren has become a professional foodie, drawing - and eating - her way through New York City. As an illustrator, Lauren offers her lettering skills to restaurants in exchange for food, producing the stuff of Pinterest dreams. To kick off Eating Not Eating, a series on restaurants that inspire us, Lauren gives us the low-down on a Lower East side Greek spot that has us salivating for spanakopita and souvlaki. 

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Nestled near the Essex Street Market, Souvlaki GR serves everything Greek from buttery, flaky spanakopita (phyllo dough stuffed with feta and spiced spinach) to glasses of fine liquors you can usually only find on the other side of the world. With it’s white walls, blue windows and doors, and authentic Greek food, Souvlaki GR truly is a little taste of Mykonos in the Lower East Side. 

Since I eat mostly vegetarian and decided to pass on the lamb chops I lettered, the kind folks at Souvlaki GR whipped me up a spread of their best Greek veggie options: Kolokithokeftedes (zucchini croquettes with carrots, scallions and mint with a side of tzatziki sauce, a spread of delicious homemade dips: spicy feta, roasted eggplant, and garlic potato), tangy Revidosalata salads with chickpeas, feta, red onions, tomato, and cucumber, and grilled veggie souvlaki pita wraps. Oh, and of course, a glass of white wine. It's not like it was 2pm or anything...

This meal was so tasty and hearty that I almost forgot it didn't have any meat. The zucchini fritters were hot, crispy, and perfect with a dollop of creamy yogurt sauce on top. All of the homemade dips were good, but the standout one was definitely the spicy feta; a tart, rich, and zesty spread that was borderline addicting on top of chewy pita bread. The salad was recommended by the owner herself, and it definitely lived up to my expectations. There had to be at least a cup of chickpeas on top of the salad, making it one of the most satisfying ones I've ever had. And of course, I couldn't leave Souvlaki GR without trying the dish they're named after: souvlaki (anything Greek, grilled, and on a skewer)! I had a mixed vegetable souvlaki inside a pita. Sweet grilled vegetables, crispy french fries, and creamy tzatziki sauce all wrapped up inside of a warm pita? Yes please.

Soulvaki GR: 116 Stanton St, New York, NY. 10am-11pm. 

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In EVENTS + CULTURE Tags members, food, New York, restaurants, greek, illustration, lettering, will

ON SAO PAULO: PAOLA SALIBY

Working Not Working March 27, 2015

ON SAO PAULO: PAOLA SALIBY


Some of our favorite stories are about those who started down a certain career path only to realize that it's not for them. And then they have the clarity - and the guts - to embrace what they really should be doing. WNW Member #4745 Paola Saliby experienced such a crossroads, starting as a fashion designer before becoming an illustrator. The complicated and beautiful city of São Paulo is her home of choice with the burgeoning artist community integral to her growth as an independent creative. 

Paola previously shared her "creative brain" with us; now she takes us through the streets of São Paulo, making us hungry for pastel and sugar cane juice. And WNW Member #6106 Leonardo Sang brings Brazil (and Paola's writing) to life through his vivid photography.

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Tell us a little bit about yourself and your creative background.

I graduated in fashion design, and it was during my time at college that I fell in love with drawing and illustration. I’d been working as a fashion designer for a major Brazilian brand, but I was unhappy. At the same time, I started taking a drawing course and became more and more involved with it, until one day I decided to drop my career in fashion and pursue illustration. Things were very difficult at first, but I worked hard and now I know this was the best thing I ever did in my life.

 

What are you currently working on? Any dream projects?

I've been illustrating for three years in publishing and advertising. I also work on my personal projects and create custom illustrations and portraits.

I’m currently working on a custom wedding invitation, creating some things for a kid’s room, and I’m also doing illustrations for a digital publication.

In terms of dream projects, my goal is to one day publish my own illustrated book and next year I’ll try to get a master’s degree scholarship in Europe or the US. I really want to expand my work worldwide!

What are you into these days, culturally? What are you reading, watching, etc?

I really enjoy cooking and I like watching cooking programs on the Internet or on a Brazilian TV channel called GNT. I follow the Brazilian chef Rita Lobo but I also love Jamie Oliver recipes very much.

I’m a big fan of TV series and my favorites at the moment are Downton Abbey, Better Call Saul, Orange is the New Black, Game of Thrones and House of Cards (not necessarily in that order.) My husband and I also love watching cartoons like Adventure Time and Gumball.

The last exhibition I visited here in Brazil was Ron Mueck’s at Pinacoteca and I found it amazing. It was great to see the sculptures up close and the video of his working process is very impressive. 

I also loved Lina Bo Bardi’s exhibition I saw at Sesc Pompéia. Lina was Italian but she also embraced Brazil and did incredible architecture projects like MASP. Lina was also a great illustrator and collaborated with many publications.

I’m currently reading (and loving) Haruki Murakami’s book Colorless TskuruTazaki and His Years of Pilgrimage.

Some websites and blogs I like and follow on the internet: It’s Nice That, Wrap Magazine Tumblr, Dazed, Present and Correct Blog, No Culture Icons, 50 Watts, Nowness, Freunde von Freunden, and Follow the Colours. 

Why did you move to São Paulo?

I was born in a country city called Ribeirão Preto and I moved to São Paulo in 2007 to study Fashion Design.

After that, I never really thought about going back to my hometown for real or moving to another city because I believe if you're are a creative professional here in Brazil, things are better if you live in São Paulo. Here we have not only have more jobs opportunities, we also have a stronger design scene and community.

Of course Brazil has other great cities that are more beautiful and peaceful than São Paulo and with good opportunities for other people, but as an illustrator, I believe São Paulo is a better option.

 

What are your favorite things about living there? Biggest challenges?

What’s great about São Paulo is that finally the city is starting to progress in some cultural aspects. New events are popping up, like independent publications and small creative entrepreneur fairs, food parks and big art exhibitions.

Being a creative professional here is such a big challenge and I believe we still have to achieve much more space and respect, but it makes me happy that some things are beginning to work out for us. It’s great to see young, creative people come together in order to bring new things and improve the city culturally. It’s a great step!

The challenge is that São Paulo is a very expensive city, with very high rents and abusive taxes. Besides, it’s still a violent city because of all the social inequality. The truth is: If you’re not rich, life in São Paulo can be very hard.

What are some neighborhood spots you love?

I live in a neighborhood called Vila Pompéia and that’s my favorite here in São Paulo because it’s a very cozy place, with those little old houses inhabited by elderly people. It’s a place where you can find many street markets with fresh fruits and vegetables. You can stop and eat a pastel or drink sugar cane juice.

I really enjoy walking around here, finding myself in a small stationery store to buy something I don’t need or those little places that sell a bit of everything and those magical candy shops with all those candies I used to eat I when I was a kid...

To avoid São Paulo’s traffic, my husband and I usually go out to eat somewhere near our apartment and we really don’t care because here we can always find good options like the traditional restaurant. ‘Degas’, where we go to eat beef parmigiana, and ‘Santa Fé Cervejaria’ that serves this marvelous dish called cupim casqueirado na telha com mandioca (Crispy hump served on a tile with cooked cassava.) 

We are not big fans of Brazilian pizza but we are very fond of this Neapolitan pizza restaurant called ‘Leggera’.

The ‘Água Branca’ Park is a nice place for a walk, read a book or buy organic products in the fair that takes place every Tuesday, Saturday and Sunday.

One of the best things about the neighborhood I live in is ‘Sesc Pompéia’. It’s a very nice place, where you can have a lunch for a fair price and there is always a lot of free activities, courses, big concerts and exhibitions.

What's the creative scene like? 

Unfortunately we don’t have anything organized like Working Not Working here in São Paulo to help freelance illustrators and designers find jobs.

We do however have a thrilling creative scene.  As I already mentioned, independent publications and fanzine events (like Feira Plana and Feira Tijuana) are growing and there are many young and creative people working on amazing projects.

Centro is a project that celebrates the creative scene through architecture. Created by Luiz Romero, Murilo Fonseca, and WNW Members #6106 Leonardo Sang and #4710 Felipe Rocha.  

One of the buildings they feature is ‘Farol'. The building is shared by four enterprises: the journalism studio Fluxo, an educational center focused on public art ‘Instituto Choque Cultural’, a design and art studio ‘Líquen’ and ‘Balsa’, a space for events, workshops, parties, etc. Together, the four enterprises collaborate to stimulate cultural production and the public and night life of downtown São Paulo.

Centro also tracks the action of ‘Voodoohop’, a party that celebrates art and music, playing a large part in the revival of the downtown creative scene.

Any WNW members whose work you admire?

Jean Jullien, Roman Muradov, Monica Ramos, Andrés Lozano, Julianna Brion, Sam Kalda, Danielle Kroll, Marco Goran Romano, Felipe Rocha, Jessica Hische, Bill Rebholz...


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In INTERVIEWS Tags members, Sao Paulo, Paola Saliby, Illustrator, Brazil

CREATIVE COUPLE: LETA & WADE

Working Not Working March 6, 2015

CREATIVE COUPLE: LETA & WADE


Asking the couple behind Complements to draw a line between work and play is a bit moot. WNW Member #2846 Leta Sobierajski and WNW Member #3441 Wade Jeffree may have met through OkCupid but it was their mutual love of Josef Müller-Brockmann that started it all. Leta and Wade admit that because they're such workaholics, it was important for them to find a partner who would equally embrace the blur between personal and professional. How do they make it work? Straightforward advice: "Make side/work projects together, have sex—followed by more sex. Beside that, it's simple and like any other relationship really."

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Hi guys! Tell us a bit about yourself, where you're from and what you're currently loving:

We have been together for about two years now. Leta is a freelance graphic designer & art director who often works from our home studio. Wade works at Mother Design after just getting his new visa. We are obsessed with watching The Office and desperately want a dog but don’t think we are responsible for one just yet. Also this. 

 

LETA

Describe your partner. 

Wade is a handsome Australian with a cute butt. He’s very intelligent, driven, and a total workaholic, just like me. He's a great thinker and an equally great lover.

 

What do you admire about him?

He is the most tolerant, level-headed guy I have ever met. He keeps his cool, and helps me keep mine too.


Through working together, I have discovered...

...he has a mean jump shot.
 

 

WADE 

Describe your partner. 

Structured fringe, Acne-outfitted, strong-willed, badass.

 

What do you admire about her?

Her passion and drive to succeed whilst remaining humble. She's had a strange journey to get to where she is now, one that would not have been so if she didn’t go all or nothing.

 

Through working together, I have discovered...

...she's extremely organized, which I am not. So that helps. :)

 

LETA & WADE

What came first, romance or work?

Coupling came first! We met on OkCupid in April of 2013. Leta made an account after one too many lousy relationships and no less than five days later, Wade messaged her with his number and asked if she'd be interested in getting together for a drink because we shared similar interests. Leta’s profile said that she didn’t want to talk to anyone who didn’t know who Josef Müller-Brockmann was. We had three dates in the same week and have been together ever since (nearly two years)!

 

Had you dated anyone in the creative field before?

Leta: Yes.
Wade: No.

 

How did you start working together? What was that transition like?

We both believe that work and life are intertwined—they are not two separate entities. We are both very driven and find fulfillment in our work, so we often find ourselves working next to each other until the late hours. It helps to drive us to keep working, as we push each other with everything. We have the ability to bounce ideas of each other and help push each others' workflow. However, we rarely work on client projects together, which was a major catalyst for our Complements project. It allows us to collaborate, yet express our relationship in a manner that is visually compelling and representative of how ridiculous we are. It was a very seamless transition, as we were already so involved in and aware of each others’ projects.

 

Do you have work/personal boundaries? If so, how do you draw that line?

Not at all! No lines to draw. Working together can get pretty interesting, especially when we both aren’t wearing pants.

 

Ideal Coupling: Not Coupling ratio

As much coupling time as possible!

 

Favorite thing about working together. Hardest thing.

The best thing is that we can be completely honest with one another without worrying about saying or doing the wrong thing. Over time, we have developed a respect & confidence in each other’s ideas. The hardest part is that we get lazy with our cooking and exercise. Both of course are important to staying healthy!

 

As a couple: how have you seen your work evolve? As a professional, how has your relationship evolved?

Being honest and providing opinions for each others’ work has helped us both improve our skill set and our portfolios. As we worked on Complements, we have taken on larger challenges and tested our capabilities as designers as well as a couple. Once we accomplish a goal, we create new ones. Since our relationship is made quite public through our project, we can’t say it is evolving any differently professionally than it is personally.

 

Are you friends with other creative couples? Why do you think people date each other in this field?

Inevitably, yes. It’s so difficult to find someone who understands and tolerates our long hours and eclectic behavior. We both wanted to meet people that we could relate to, as our lives are intertwined with our work and it’s difficult to find separation from the two.

 

Do you have advice for other creative couples?

Make side/work projects together, have sex—followed by more sex. Beside that, it's simple and like any other relationship really. 


More of Wade's work: 

More of Leta's work:

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In INTERVIEWS Tags members, Design, Featured, Creative Couple

ON PERSONAL BRANDING: KARAN SINGH

Working Not Working March 5, 2015

ON PERSONAL BRANDING:
KARAN SINGH


The man, the brand. As many freelancers know, you're not just an individual creating work for businesses, you are a business. And business have brands, which means you must too. WNW Member #3041 Karan Singh not only created a personal brand, he even did a rebrand. To combat the inevitable identity crisis, Karan went beyond the avatar, creating an interactive experience on his personal site to reflect the multi-facets of himself (or at least that of his online persona.) Karan admits that reducing himself to an icon or mark made him nervous; however, "It made me a lot more calculated and focused on the kind of work I make and share, which is effectively the work which I'd like to be commissioned to do."

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Hi! Tell us about yourself: who you are, what you're working on and what you are currently loving:

I'm an illustrator/artist from Sydney, Australia, living and mainly eating pizza in New York. I just finished a couple of patterns for an exciting new fashion label,  I recently released a personal screen print and I'm working towards an exhibition in June.

I'm a little late to it but I've just binge watched 'Black Mirror' on Netflix. It's a fascinating social commentary on the role of technology in our lives and how much we depend upon it or rather, are addicted it. It's definitely left me feeling a little self-conscious about how much I rely on my devices, especially my phone.

 

Let's talk about personal branding. Why does an individual need a brand in the first place?

The creative industry is big and competitive which means there's a huge emphasis not only on creating good work but being able to stand out with it. Branding transcends a logo and a regularly used typeface; for me as a one man team, it's also effectively my persona or at the very least, the aspects of my persona I feel comfortable sharing publicly. I believe it's about acknowledging your own interests, strengths and ambitions and ensuring they're reflected in your work. 

 

Does having a brand help you get work? 

l think with the above considered, it's probably made me a lot more calculated and focused on the kind of work I make and share, which is effectively the work which I'd like to be commissioned to do. 

 

When did you start working on a personal brand? 

I don't believe it was ever something I intentionally pursued when I first began. It happened slowly and naturally as I began to focus on what I liked doing. It initially developed in small increments until I slowly became conscious about what was effective and worked but also reflected me. 

 

Why the rebrand?

The creation of the re-brand project came from the desire to have my identity be more of a reflection of me in an illustrated sense, hence the avatar. 

For my personal rebrand, I didn't like the idea of restricting myself to a rigid logo, but instead wanted something that was dynamic and would adapt and change as I do. Whilst I acknowledged the value of being able to reduce oneself to an icon or mark, committing to it made me a little nervous.

Having an avatar as a logo makes sense, so long as you never changed your hair, glasses or any other aspect of your appearance. As a result, I came up with the idea of a static base for the logo: my face, and created a tool kit of assets that could be interchangeable. I worked on an interactive application along with developer Alexander Szekely, and took inspiration from a slot machine, to show the random combinations of all the options.   

 

KaranSingh_Identity_01.jpg
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KaranSingh_Identity_05.jpg
KaranSingh_Identity_03.jpg
KaranSingh_Identity_04.jpg
KaranSingh_Identity_06.jpg

 

Who are others whom you find self-brand well?

Lernert and Sander are a great example of how visual artists can brand themselves well through their distinct aesthetic and presentation style. Dutch artist Parra does this well using a simple and iconic color palette and character style.

 


Any advice on effective networking?

Making great work is satisfying but it's important to share it if you plan to make a career out of it. Connect with other people in the industry. One of the best pieces of advice I've received was that if ever I found a person's work I liked, I should email them and tell them. It's lead to great collaborations and long lasting friendships.

 


Any advice for students and other designers just starting out?

Try new things, experiment lots, make mistakes, be yourself and do what makes you happy. 

 

What's your dream project?  

I'd love to work with Kenzo; their shows, direction and pieces are always on point.

 


Are there other WNW members whose work you admire?

My buddies David McLeod and Luke Choice usually give me something to be jealous about. 

 

Bonus question! What's up with pizza? I mean its good but you're like, really into it. Curious what you love about it and where that started.

What's not to love!? It's a delicious circle which you can put pretty much anything on. It probably started when I lived at home with my folks and takeout was a luxury, a polar opposite to how my life is now, courtesy of Seamless. 


More of Karan's work:

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In INTERVIEWS Tags members, personal branding, illustration

PROFILES OF THE WEEK: MARCH 2ND

Working Not Working March 1, 2015

PROFILES OF THE WEEK: MARCH 2ND


TIFFANY & KIRSTIN, ART DIRECTOR & COPYWRITER. NEW YORK.

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AARON RAYBURN, ART DIRECTOR. PORTLAND. 

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AMY MARTINO, DESIGNER. PHOENIX.

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KEENAN PAYNE, CREATIVE TECHNOLOGIST. SAN FRANCISCO. 

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MARTHA RICH, ILLUSTRATOR. PHILADELPHIA.

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SHAUN PETTIGREW, DIRECTOR. LONDON.

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CAIT OPPERMANN, PHOTOGRAPHER. BROOKLYN.

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FELIPE ROCHA, DESIGNER. SAO PAULO. 

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ZOE LOTUS, ANIMATOR. NEW YORK.

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In LISTS Tags mini-books, profiles, members

WHAT ATHLETES CAN TEACH US: COTY TARR

Working Not Working March 1, 2015

WHAT ATHLETES CAN TEACH US: COTY TARR


Being a top creative isn't too different from being a competitive athlete. Years of training, an immense amount of discipline and perseverance, the drive to be a part of the elite. WNW Member #3262 Coty Tarr recently took a trip to Lake Placid, NY to follow the Team USA bobsled crew as they prepared for the upcoming World Cup competitions. We spoke to Coty about what we as creatives, can learn from athletes. 

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I recently took a trip to Lake Placid, NY to follow the Team USA Bobsled crew as they prepared for the upcoming World Cup competitions taking place all over Europe. In 2014, I photographed Jazmine as a personal project after the Sochi Olympics. We stayed in touch, and I convinced her to let me come to Lake Placid and photograph them training next time they were there. 

I'm usually the portrait photographer tweaking all my lighting set ups, traveling with a crew, and planning out each shot. This project was very different for me - there was simply no room for such a production. They were on a very tight training schedule, and I couldn't interfere. I had to give them space, and make sure I didn't interrupt. By using a fly-on-the-wall approach, I had the opportunity to sit back and witness what a truly blue-collar sport bobsled really is. From loading and trucking their sleds up mountains themselves, to changing the blades - they do it all. Hitting speeds of over 70mph, at 2,400ft elevation and below-zero wind chills, this training session was no walk in the park.

 

WHAT ATHLETES CAN TEACH US: 

 

Consistency and dedication.

I think this is exactly what we creatives could learn from athletes. I understand this can be one of many sports cliches, but I think it perfectly crosses over to our world. 

 

If you don’t train…you don’t get better.

Simple as that. And the same should go for us - we should be flexing our creative muscles day in and day out, whether we want to or not. When you have down time, work on personal projects, re-work that old photo you took years ago. Creatives are plagued by confidence issues - I battle this constantly. Bottom line is…I’m confident when I’m creating, I’m not confident when I’m not creating. 

 

Get back up.

If athletes don’t get back up every time they fall, or they didn’t hit that mountain every damn day whether they felt like it or not, they certainly wouldn’t be world class athletes. One thing professional athletes have going for them, is they are insanely consistent and dedicated. Their careers depend on it. We should be the same. 

 

Be the best at what you do. Be world class.

Enough said.


Out of the thousands of shots I took, I think these shots represent the story I was trying to tell. Each with a different yet cohesive style. The docu-style showing the hard work that's done unloading the sleds, the landscape shots show the beautiful yet rugged atmosphere they work in, and the portraits showing the character of each athlete.

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In INTERVIEWS Tags members

HOW TO MAKE A FEATURE FILM AND HAVE A DAY JOB TOO

Working Not Working February 26, 2015

HOW TO MAKE A FEATURE FILM AND HAVE A DAY JOB TOO


Copywriters by day, screenwriters by night. It seems everyone has a screenplay they're working on, but these three WNW members actually made theirs a reality. Members #1136 Branden Kramer, #1142 Thomas Kropp, and #901 Jan Jaworski teamed up with Stefen Haverkamp to make Ratter, a teen thriller that follows Ashley Benson as she's cyberstalked through her webcam, iPhone and iPad. Filmed entirely in the POV of the stalker, Ratter's been called "an ingenious debut feature" and the "best film in Park City." An official selection of Slamdance 2015, Ratter is currently awaiting distribution and will hopefully be released soon. For updates, check out their Facebook page.

Referring to themselves as a filmmaking quartet, the group had practice collaborating having lived together. In the kitchen they put up a white board where anyone could write interesting thoughts or project ideas. Ratter was born and the group credits freelancing as integral to making it possible: "It wasn’t always easy, everyone had to make sacrifices. Branden quit his full-time job to finish the script. And we spent many weekends discussing notes and crafting the final product. Eventually we all looked to freelance as a solution to making ends meet while we turned our focus on producing the feature with our partners. No matter what, making a feature takes time, and sometimes you have to make that your full-time commitment."

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You're all copywriters by day. Had you always wanted to make a film? 

We’ve always had an interest in filmmaking. When we moved to NYC and lived together, we would constantly screen and discuss famous films in our little Lower East Side Apt. We were always looking for opportunities to shoot interesting music videos and short films on the side. 

 

What movies inspire you?

Alien: It’s amazing how Ridley Scott turned a B horror script into a genre masterpiece.

12 Angry Men (1957): Writing doesn't get much better than this. 

The Matrix:  A beautiful blend of philosophy and entertainment. Ambitious, cerebral, and more layered than most people realize - which is the irony of it!

 

How long did it take to write the screenplay? And can you give some advice for those of us who have a screenplay we just can't seem to finish?

It really depends on your individual method and project. Some scripts require a lot of research, and thus require more time. The best way to finish your work is to treat it like a job. You have to have the discipline to work even when you don’t want to. Make a schedule and stick to it. Set a page goal like "I have to write 4 pages every day." Then hold yourself accountable to it. 

Also good advice for people thinking about screenwriting: read a ton of scripts. There’s no better way to learn than that.

What was it like to work with so many people? What are some best practices for collaboration? 

Fortunately for us, we had worked together on projects before the film concept even came up. In fact we all went to ad school together in Miami. So by the time we embarked on the feature we knew how to function as one group to accomplish a goal.

As mentioned before, we used to all share an apartment in the Lower East Side. On the wall in the kitchen we created a kind of white board where anyone could write interesting thoughts, or project ideas. So we got very used to talking about ideas casually in our free time or over meals.

When it came time to execute a project, we always seemed to work out a division of labor that suited the skills of everyone in the group. 

When Branden brought the idea for the short film to us, we loved it and immediately started thinking about how we would execute it. Each of us brought something to the table, and we knew we had something engaging on our hands. For the short, we all shared the responsibilities of production. Branden wrote the script and lead casting, while the rest of us divided up the work for securing locations, logistics, and creating a schedule. We made all of the creative decisions together, and the end product was better for it. Stefan, having an interest in cameras, was our DP from the get-go. We fortunately also had the help of an amazing editor and colorist that we had met during our day jobs in advertising.

With the feature, roles became more defined due to the traditional credit structure of a film, but we all still crossed over in responsibilities behind the scenes. Branden wrote the script while we all discussed drafts and gave notes on story arc, plot points, and character development that directed the screenplay to its final draft. During production, Branden directed and Stefan continued as DP. Jan and Thomas were credited as Executive Producers, which can mean a lot of things, but in this case it meant they were the creative voices behind the set. During every take, we were still discussing the project as a group. It was really great to have that support when undertaking a project of this magnitude.

The process of making Ratter was very collaborative for us because we were all used to thinking as a creative group, and building on each others’ ideas. We created the kind of atmosphere where it was okay to say something stupid, because we knew this often leads to great ideas. And the best ideas floated to the top. 

The reason we are able to function well as a group is because we built a high degree of trust over many projects. We all recognized that everyone had talent, and thus we knew their opinions held value. It can still be challenging when someone wants to fight for a point or an idea, but we know that these debates make the product better.  

Just as in advertising creative partnerships, the best ideas don’t always come from people who think exactly the same way. With our group I think we have a great mix of different personalities and creativity, and this makes for an excellent end result.

The best suggestion for working in a group is to find people whose work you respect, and try to do some interesting projects. It may not work out, but sometimes it does. There is a weird chemistry with groups, and we were just kind of lucky it worked for us. 

 

You decided to make a short film first. Why? What did you learn and how did it affect the feature length film?

We knew we had an interesting topic on our hands, but we didn’t have the resources for a feature. So we made the short for $500, using what we could and shot it over two days. The short gave us a better insight into what a feature would require from a production standpoint, as well as giving us more ideas for a bigger story.

What was the most challenging thing about making this film?

Since the film is shot all POV, it was challenging to keep the story moving, while keeping the authenticity of the protagonist’s mundane life moments. The whole film was shot on the Black Magic Pocket Cinema Camera, GoPro Hero, and the iPhone 5S.

 

What was the most rewarding thing?

Working with the talented Ashley Benson, Matt McGorry, and our amazing crew.

 

Biggest lesson learned?

What is written on the page doesn’t always work on screen. Also we learned how editing plays a massive part in shaping a film. In film, just as in advertising spots, every moment matters. So knowing what the moment needs to be about in order to push the story forward - and keeping this intention throughout the entire process - is the main challenge. 

How did you balance your day job with Ratter?

It wasn’t always easy, everyone had to make sacrifices. Branden quit his full-time job to finish the script. And we spent many weekends discussing notes and crafting the final product. Eventually we all looked to freelance as a solution to making ends meet while we turned our focus on producing the feature with our partners. No matter what, making a feature takes time, and sometimes you have to make that your full-time commitment.

 

Do you want to go full-time into filmmaking? 

So few people even get to make one feature film, so we already feel very grateful for the opportunity. If the possibility exists to continue on this journey, we all feel like it is something to be seized. That being said, there are huge challenges there as well, and nothing is guaranteed.

What are your future plans? 

First thing first is to obtain distribution for Ratter. We are currently in discussions with distribution companies, and the film will be released soon.  

As for the future, we all have new projects and scripts in the works. We also would love to explore commercial work, considering our level of expertise there.

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In INTERVIEWS Tags members, film, copywriter

PROFILES OF THE WEEK: FEBRUARY 23RD

Working Not Working February 23, 2015

PROFILES OF THE WEEK: 
FEBRUARY 23RD 


MATTHIAS HEIDERICH, PHOTOGRAPHER. BERLIN.

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SARA ANDREASSON, ILLUSTRATOR. GOTHENBURG, SWEDEN.

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JOSH ELLINGTON, DEVELOPER. PORTLAND.

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MARY FAGOT, ART DIRECTOR. LOS ANGELES. 

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JOHN RIDDLE, PRODUCER. SAN FRANCISCO.

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ANNY WANG, DESIGNER. MALMO, SWEDEN/COPENHAGEN, DENMARK.

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COLIN DUFFY, CREATIVE TECHNOLOGIST. LOS ANGELES. 

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Think your profile should be featured? Email us! In the meantime, check out last week's. 


In LISTS Tags members, profiles, WNW, Mini-Books

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