CREATIVE COUPLE: STEVE + ANNE TRUPPE

Working Not Working May 29, 2015

CREATIVE COUPLE:
STEVE + ANNE TRUPPE

WNW creative couple Steve + Anne Truppe are Tru Studio, a Chicago-based photography and videography team. They've been working together for eleven years and married for five. (Fun fact: Anne actually met Steve's parents before she met him.)

Studying architecture at the same college, they quickly discovered how effortless it was to collaborate...and date. In the interview below, these college sweethearts open up about pursuing a joint passion for photography, and how the collaboration and coupling processes harmonize in exciting ways.

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

We are photographers and directors living in Chicago, both with backgrounds in architectural design. This is year number 11 that we have been together; married for 5 of those this year! Lately, we have been photographing various food, office culture and fashion projects and just recently shot a personal project involving live ducklings which was a blast. London Grammar has been blasting in our studio and at night we absolutely love cracking up to Veep and Jimmy Fallon sketches. Every Friday we make homemade pizza, which we have dubbed Pizza Friday!

Steve

What do you admire about Anne?

She is extremely thoughtful and intelligent. People love her and immediately feel comfortable around her. Also, if she’s passionate about something she will let you know, convince you why you need to try it/experience it, and soon you will be doing it.

Through working together, I have discovered that my partner is...

...way stronger than she lets on. Also, she loves a good snack break.

ANNE

What do you admire about Steve?

His take charge attitude when necessary. He thrives on being inspired in the moment and creates some of his best work when he has to think and work fast.

Through working together, I have discovered that my partner is...

... the funniest person I know. He makes me laugh constantly; his 1 foot height advantage over me is a BFD when photographing; and put a camera in front of his face and he’ll trip over anything–he’s in the zone, you better watch out.

STEVE + ANNE

What came first, romance or work?

Romance! We met the second day of college. Anne met Steve’s parents in the elevator of their dorm while moving in. Anne: “I was very shy and I was chatting with my mom; I was a ball of nerves and the last thing I wanted to do was talk to random strangers. Steve’s dad and mom are very friendly and mentioned they had a son moving in on the floor below who was also studying architecture. They wanted us to meet—I rolled my eyes. The next day in the lounge I met a group of boys, one of which was Steve. There was an immediate bond, we became instant friends and were nearly inseparable. A few weeks later we started dating and have been together since.”

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

Our architectural program required a lot of collaboration in group projects, and we learned early on that we worked extremely well as a team when we’d pair up. Near the end of school neither of us particularly wanted to pursue a career in architecture, and when we graduated in 2008, the Great Recession hit, the building industry tanked, and it was nearly impossible to land an architecture gig. During college we had talked about one day starting a creative business together, but the economy forced us to evaluate that sooner. We have always said that the crash was the best thing that ever happened to our careers: it forced us to figure out and go after our creative passions.

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

It is definitely difficult at times to just be a couple since our business is deeply rooted in our lives, but over the years we have found a pretty good balance. We work out of our home studio which is an added hurdle in turning off “work mode,” but we have found that keeping to a regular schedule and containing all of our materials/equipment to the physical space of the studio has helped us to separate that part of our lives. We are strict about setting aside our evenings for our relationship; eating a meal at the table together, lounging around watching tv, going for a walk around the neighborhood—it’s important!

Ideal Coupling: Not Coupling ratio

Always a couple, but never letting our relationship affect the quality of work.

Do you find that it helps to promote the fact that you’re married? Ever hide it?

We promote that we are a team and photograph side-by-side which most people tend to connect with. Being married doesn’t typically matter—people just like that we are two creative minds, but are almost always utterly mystified that we can work together and aren’t ready to strangle each other at any given moment. We never hide that we are married, but there’s a time and place to be ‘coupley’ and a time to be professional, although it would be really fun to make-out on set sometime just to see the reactions!

Favorite thing about working together. Hardest thing.

We understand completely what the other person is going through, and there is always someone to bounce ideas off of. We feed off each another’s moods so if we are having an off day it can easily pull us both down, which is really hard to get out of. On the upside, when things are good we both are riding high!

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

We both started at the same place with the same amount of experience (read: none.) We had only each used a point-and-shoot camera! It’s been extremely rewarding to learn and grow together—to look back at where we started, where we’ve fumbled, and where we’ve excelled, knowing that we have both put in the same amount of work and gotten to where we are as a team. That journey is a point of pride for each of us. Our relationship has deepened significantly during these years. Owning a creative business reveals a lot of insecurities and vulnerabilities—you really learn a lot about yourself and your partner, who they are at the core. We have learned how to better support one another and better love each other, flaws and all.

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

We are friends with a bunch of other creative couples—it’s the best! People in creative fields probably date each other due to common passions, interests, and lifestyle. It’s always nice to have someone know what you are going through or to get excited with about a new piece/project/idea you created.

Advice for other creative couples?

Create an environment where you can share your passions and ideas without judgement, listen to each other, and set aside time that isn’t revolving around work.

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HOW PLAYING IN A PUNK BAND PREPARED ME FOR A CAREER IN DESIGN

Working Not Working May 28, 2015

HOW PLAYING IN A PUNK BAND PREPARED ME FOR A CAREER IN DESIGN

The word 'rockstar' is often thrown around to describe badass creatives. "Oh, he's a rockstar animator.... She's a rockstar letterer." But WNW Member #4540 Chad Miller is a literal rockstar designer. He never attended a "real design school" because he was busy playing in bands, touring the country. In the post below, straight from Chad's mouth to your ears, it quickly becomes apparent that Chad knows himself: "I was a kid with authority issues that didn’t want to be a cog in some machine selling stuff I didn’t care about. Screen printing all night with my friends, skateboarding trips and playing music is what I knew. Unfortunately none of those things put cash in the bank."

Chad lets us ride shotgun on his journey to making a living, on his terms. We follow him from Cincinnati to Philadelphia to San Francisco where he realizes that achieving the "California Dream" might not actually be what he wants. Read on to find out the road he took, and if you're in search of a new environment, maybe Chad's experience can set you on the right course for you.

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I didn’t go to a "real design school" because playing in bands and touring around the country in a van with my friends was more appealing to me. Unconventional paths never seemed that unconventional to me and I learned to trust my gut early on. The first couple of years out of high school were a bit of a blur and during this blur I managed to acquire my big Associates Degree. Suddenly, I was a designer and had to face real life decisions. The first of which was passing up the opportunity to continue my BFA at the hip design school in town. School gave me the foundation I needed, but I’ve always grown the most when I’m thrown into a situation and forced to figure it out. I was anxious to start working yet surprisingly, after my first agency interview, I felt nothing but apathy towards the whole thing. I was a kid with authority issues that didn’t want to be a cog in some machine selling stuff I didn’t care about. Screen printing all night with my friends, skateboarding trips and playing music is what I knew. Unfortunately none of those things put cash in the bank.

After deciding to forgo the full-time gig I was lucky to even be offered, I spent two years working contracts and freelancing before landing at a small studio full-time. This let me ease into being an actual adult… It was important for me to find a place that had values I could align with. I wasn’t interested in being the graphic design equivalent of the guy on an assembly line attaching heads on dolls. I wanted to author the things I was working on and learn in an environment that actually cared about design. I spent an invaluable two years there and it was a crash course in navigating agency politics, selling through my work, handling clients and all the other things they should be teaching in design school. All good things come to an end though. The more I was around my friends, who are mostly designers, the more I realized how stagnant I had become. I had stopped growing, stopped learning, stopped getting excited about what I was working on. It was a shitty feeling but it taught me the lesson of knowing when to move on. You can only stay in the same class for so long before you stop learning.

I started interviewing at other places in town, big branding agencies I had always admired, and the like. This was the goal I had been working towards but quickly discovered it was not what I had built it up to be in my head. Slow paced projects that lasted forever and hardly came to fruition. I was in a rut and this wasn’t going to help. I had absolutely no other marketable skills and there were only so many design gigs in Cincinnati, none of which I felt compelled to chase down anymore. I started looking at agencies in other cities to see what they were about. A branding shop in Philadelphia emailed me and I flew out for an interview. I ended the day with one of the Creative Directors talking about Peter Saville and new wave music. Like the same cliché you always hear, I got into music through record covers and being involved in weird subcultures. As a kid growing up in Ohio, seeing covers from Saville and Factory Records was my introduction to European designers and Modernism and my gateway to a movement that would later influence everything I do.

*Inspiration: A collection of album covers by Peter Saville that blew my young brain*

I didn’t want to leave the Midwest, but this guy worked for Vaughan Oliver, I mean, how rad is that? I moved to Philadelphia a couple weeks later and spent the next two years working there. I grew a ton, met a lot of great people, and was introduced to the world of design outside of the Midwest bubble. I was working with people that were killing it and pushing me to get better; it was on a whole new level. Lots of people from the agency had gone on to do other awesome things which made me realize design could take me to places I wanted to go, much like music had.

After a while my girlfriend and I started talking about moving to a different city. Around the same time, I had recruiters reach out to me from two infamous Silicon Valley behemoths. Total dream job type deals and San Francisco was on our list anyways, so why not? That summer we visited New York, Portland and Seattle. New York is the design mecca of America; it had all the studios I read about and all the designers I admired. If they lived in America, they were in New York. However, I was just a kid from Ohio who liked rain and grunge music. I thought I was bound for the Pacific Northwest, for sure.

At this point I was deep into the recruiting rabbit hole those tech conglomerates take you down. These were the pinnacles of design gigs in my head, so I had to see where it led. We put plans on hold while I flew to the Bay Area a couple times for interviews. Fancy hotels, rental convertibles and amazing burritos, San Francisco was most excellent. But then you drive down to the Valley for the actual interviews and it looks like a retirement community full of office complexes like you would see out by an airport. I had worked towards a goal again only to be lost and confused when I finally got close. These might still be dream gigs but I just don’t think I was ready for the dream yet. Everything seemed surreal and I suddenly realized I was wearing fancy shoes and driving a convertible past some orchard in California and had no idea how the hell I ended up there.

On the flight back to Philly from one of those trips I read an interview with Jessica Walsh where she talks about how she ended up in New York. On Twitter I saw all these designers leaving shops I worshipped in Europe and flocking to New York. Michael Bierut and Joe Marianek were from Ohio and New York seemed to work out alright for them. A lot of their stories resonated with me and everything started to click. After getting asked to jump through another hoop to pursue the California dream, I packed up and moved to Brooklyn to have no job and triple my rent. I’m getting ready to enter month six of the hustle and so far, so good.

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MEET #4695 MATT CHASE

Working Not Working May 22, 2015

MEET #4695 MATT CHASE

Designer • Washington, DC

WNW Member #4695 Matt Chase has collaborated with a range of clients, including Men’s Health, The New York Times, Esquire, Monocle, GQ, The Wall Street Journal, Penguin, Vanity Fair, The Washington Post, Bloomberg, and The Atlantic. His editorial work is always fresh, eclectic and sharp-witted. We asked Matt what his ideal Working: Not Working ratio is: "Erratic. I like to push through a few days with my nose to the grindstone, then take a day off, then obsess over something new for a week, then burn out, then start all over again. Whether this is a consequence of the typical editorial workflow or a severely damaged thalamus is anyone’s guess."

Matt also offers some hilarious advice to fellow freelancers: "Freelancers have finally earned a reputation for having a professional work ethic and a cool, approachable demeanor. Let’s please not fuck that up."

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1. How long have you been freelancing?

Technically I should state that my first freelance commission came in the seventh grade, when a kid paid me ten bucks to make him a set of AIM buddy icons. He slipped me two fives in the corner of the library between classes and to this day it’s probably the most badass I’ve ever felt.

The real answer to your question is a little over a year and a half. Like many (most?) people I know who eventually come to operate their own practice, I’d been overlapping a studio job with an increasing number of independent gigs, and eventually realized that the work I did on my own time was more creatively fulfilling than what I accomplished at the studio.

2. Is there a time or place that you feel most creative/have the best ideas?

Alone + outside seems to be a good inspirational recipe for me. I never start any project without first taking a walk around the block.

3. What's your ideal Working:Not Working ratio?

Erratic. I like to push through a few days with my nose to the grindstone, then take a day off, then obsess over something new for a week, then burn out, then start all over again. Whether this is a consequence of the typical editorial workflow or a severely damaged thalamus is anyone’s guess.

4. Do your parents understand what you do?

They do. It helps that pretty much everything I make can be e-mailed as a 350kb JPEG.

5. What scene from a movie makes you laugh just thinking about it?
The silent majesty of a winter's morn

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

Whatever the top three Google search results are for “how to get off a deserted island.”

7. What do you do when Not Working?

Fresh air, live shows, good food, good times.

8. Do you have a hidden talent?

None whatsoever.

9. Any tips or advice for fellow freelancers?

Freelancers have finally earned a reputation for having a professional work ethic and a cool, approachable demeanor. Let’s please not fuck that up.

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

This. Now just imagine if it had sound.

11. Who are some other WNW members whose work you admire, and why?

Jean Jullien, for his artfully brilliant commentary on life as we know it. Tomi Um, for her playful worlds and the quirky characters who inhabit them. Casey Martin, for minding the details and creating branding work that always, always feels right for the client. And Elana Schlenker, for giving us the typographic porno mag we didn’t even know we wanted.

12. Anything else you'd like to add that we haven't asked?

Can I get the Wi-Fi password for this island?

More of Matt's Work

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THE LIGHT PHONE: JOE HOLLIER

Working Not Working May 21, 2015

THE LIGHT PHONE: JOE HOLLIER

WNW Member #3358 Joe Hollier joined the Google "30 Weeks” Incubator in September, and quickly realized the last thing the world needs is another app. He's been working with a team of engineers and designers, and is excited to share the Light Phone, which was unveiled on Kickstarter last week. (Congrats are in order, as Joe and co-founder Kaiwei Tang already surpassed their goal!) It's interesting that Joe and Kaiwei promote the Light Phone as a phone "designed to be used as little as possible." Talk about an undersell. So we asked Joe to share his thoughts on the importance of products like The Light Phone, which serve both a technological and anti-technological function. In response, Joe summed up the very essence of the Light Phone in an honest and insightful way: "It’s not about disconnecting forever and stepping back to the past, it’s just a break, a balance. It’s about disconnecting almost as completely as possible (knowing you have a phone still in an emergency) and being able to live in the moment for a little while." After reading the interview below, head over to the Light Phone Tumblr and Kickstarter. They both offer wonder-filled details and images that capture the inspiration and design process of this exciting new product.

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Tell us a bit about your process of coming up with this concept.

The first catalyst was joining the 30 Weeks incubator, which in its nature meant stopping all of our jobs and trying to start something new. The program immersed me for the first time in the tech world. We were seeing all these things people were building like apps and smart watches and they were all claiming to try to “give you your time back, give you your life back” but they just were so off! We kept thinking, "what about our train of thought or focus?" We realized that the last thing the world needed was another app and we set off to build products that helped people live in the moment. That’s when we started building the Light Phone. We think there needs to be a balance our connectedness.

The beauty of the Light Phone is its simplicity. Did you have an idea of how it would look and feel from the start or did you go through several designs and sizes?

At first we began looking at a lot of calculators for inspiration, but the final design came about through a happy accident. We pretty quickly came to the form factor of a credit card/ I.D. because we wanted it to fit as invisibly as possible into people's lives and these things were what everyone always had on them, so that made sense to us. We started taping credit cards together and playing with the form. One day shortly after I stumbled by Canal Plastics and was like oh, I should go see if they can cut me a credit card out of a piece of plastic, and we got a few white plastic “prototypes”. It was funny, we totally fell in love with these blank pieces of plastic and that became the basis for the design, a blank piece of plastic. I shot a photo of it and photoshopped a sketch for an interface, added some outer glow and was completely surprised with how real it looked. It also made sense conceptually because the phone is supposed to be used as little as possible, so it made sense that it would be blank when it’s off. There was no menu, and it felt special, which was one of our goals, to make using this over a smart phone as special as possible.

What have been the biggest challenges so far in making this a reality?

I was fortunate that I met Kaiwei, because that would have been my biggest challenge. Kaiwei my co-founder comes from a super impressive background and has been building phones for 10 years. However as a team we’ve struggled with our limited resources (money, money, money) to build the proper prototypes. Ultimately we realized we needed to launch a Kickstarter to actually bring the phone to life. I think more generally, the biggest challenge for the phone will be getting people to try it. We are convinced (and have done testing that backs our hypothesis) that people will seriously enjoy these breaks, but it is such a strange idea that I hope people are willing to try it. There are going to be lots of manufacturing challenges especially considering we are such a small team compared to corporate beasts that make all other phones. Although we are making a simple phone, there are still some design hurdles to get over too, which is exciting and scary.

You describe the Light Phone as a phone "designed to be used as little as possible." What are your thoughts on the importance of products like The Light Phone, which serves both a technological and anti-technological function?

We think balance is essential in everything, especially technology and connectedness. Something interesting that happens when we’ve been testing these “light” trips with users is that when you come back to your smart phone after having spent the day away from it, you really appreciate the notifications that you come back to. It’s different than if you are just metabolizing them the second they arrive throughout the day. I think that says a lot about Light: it’s not about disconnecting forever and stepping back to the past, it’s just a break, a balance. It’s about disconnecting almost as completely as possible (knowing you have a phone still in an emergency) and being able to live in the moment for a little while. Whether that is as simple as a lunch break without email or a full-on camping trip excursion, we want to encourage the idea that balance is healthy and living in the moment will make us happier.

Any general advice for freelancers?

One of the hypotheses of the 30 Weeks program we were both apart of, is that designers should really be at the creation table for products and companies of the future. I think when freelancing, it is easy to get stuck in the sort of service side of design, executing on problems for a client without having as much say in the bigger picture as we should. Design is everything, and as designers we should be thinking of how we can solve the biggest problems in a better way and not just always looking for the next client to give us a problem to solve. I think there is an insane amount of tools out there (Kickstarter in our case) that allow nobodies like Kaiwei and I to launch something like a cell phone. So I guess the advice is to stay open minded and even entrepreneurial; there has never been a better time. Dream bigger, the world has so many problems and needs designers to be actively solving them more than ever.

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

It’s really fun to break out of your comfort zone. The Light Phone project has been one of the most engaging and satisfying projects I have ever worked on. Whether or not it comes to fruition, I’ve learned so much. Feel free to follow up. You can email me at joe@thelightphone.com .

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EVERYBODY'S GOING TO SEE THIS IF YOU F#CK IT UP

Working Not Working May 15, 2015

EVERYBODY'S GOING TO SEE THIS IF YOU F#CK IT UP

WNW Member #3261 Ben Voldman designed the brand new homepage header for Working Not Working. We recently spoke to Ben, so he could share some of this process with our readers, as well as open up about his experiences as a freelancer in general. We asked Ben if he felt any pressure to be on our homepage: "Yes totally! If I shit the bed on an editorial illustration I can at least think 'Well, nobody I know reads this magazine anyway' and just never mention it. But the front page of WNW is like singing your solo in the high school play. Everybody’s gonna see this if you f#ck it up."

Ben also shared some advice to his fellow freelancers: "Get a studio with your buddies! I have a shared studio in Bushwick with my wife and 3 other illustrators. It’s nice to have people around to share idea, get feedback, and just have coffee and drinks with. It’s a good life. Also, save those pennies for a rainy day! Totally boring tip but there will come a time when clients are lame at paying or work is slow. Mom, if you’re reading this i have lots of pennies saved up so stop worrying!"

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Blue sky brief vs. one with tight parameters: which one do you prefer?

Absolutely blue sky. It lets me know that the art director trusts me which is important. Also I’m totally that guy that goes to a restaurant and asks the waiter what I should have. I love asking people who are passionate about their profession/craft what they would recommend and love it when I get asked the same. It gives you a greater sense of ownership over the project. That being said it was great to have Adam and Justin there who tweaked a couple things that definitely made the illustration much better.

What was your inspiration?

I volunteer at an animal shelter down the street from where I live in Williamsburg called Barcshelter. I got really attached to one dog there named Steve who was so sweet and a lot of my artwork that summer was about him. He also has a sister named Eve (the tinier dog in the photo), who he is very protective of. He ended up getting adopted and has a nice home in the country now. Currently there is a beagle there named Roscoe that I’m quite fond of.

Did you feel any pressure of being the homepage?

Yes totally! If I shit the bed on an editorial illustration I can at least think “Well, nobody I know reads this magazine anyway” and just never mention it. But the front page of WNW is like singing your solo in the high school play. Everybody’s gonna see this if you f#ck it up.

Did you work through any alternative concepts or did you immediately know this is what you wanted to create?

I did have one other idea of doing an ad agency interior with a closeup of one creative sporting a WNW tattoo. I’d been binging on Mad Men so I was wanting to do an ad agency scene. But it was really my second choice and I was more into my “Steve” sketch and luckily so were Justin and Adam. That abandoned idea ended up morphing into a recent cover I did for the Phoenix New Times.

How long have you been freelancing?

Full-time successfully for the last 7 years. Before that, lots of starts and stops.

Is there a time or place that you feel most creative/have the best ideas?

I like mornings and the caffeine from that first cup of coffee always makes you think you’re a genius for a little bit.

What's your ideal Working:Not Working ratio?

Ideally it would just be Not Working full-time! I got dogs to pet! But as long as I gotta pay the bills I prefer to work like crazy for a couple weeks and then take a couple off as opposed to the usual 5 day work week.

Do your parents understand what you do?

Yes. They always understood I made art but once they could hold a magazine cover I illustrated in their hands they were finally like “Oh, so you won’t be starving on the streets” and were able to relax a bit.

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

It’s not a movie but any scene of Lou and Andy from Little Britain makes me incredibly happy.

What do you do when Not Working?

Walking dogs. Picking up their poop. Tending to the house plants and trying not to kill them. Hanging out with my amazing wife who’s an illustrator (and also a Working Not Working member!) as well as my studio mates. I also love just hopping on the MTA north out of the city and heading to some small town to explore.

Do you have a hidden talent?

Not really.

Any tips or advice for fellow freelancers?

Get a studio with your buddies! I have a shared studio in Bushwick with my wife and 3 other illustrators. It’s nice to have people around to share idea, get feedback, and just have coffee and drinks with. It’s a good life. Also, save those pennies for a rainy day! Totally boring tip but there will come a time when clients are lame at paying or work is slow. Mom, if you’re reading this i have lots of pennies saved up so stop worrying!

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

This is an oldie but I was just rewatching that video of that dog imitating the siren sound.

Also this gif is pretty good.

Anything else you'd like to add that we haven't asked?

Thanks again to Justin and Adam again for the gig! Like many other creatives, I’m always inundated with requests for work with no pay but promise of “exposure." This was a gig that actually did provide good exposure and paid well. Win, win!

Ben's Process:

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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."

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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:

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MEET #1204 JAY QUERCIA

Working Not Working May 7, 2015

MEET #1204 JAY QUERCIA

Illustrator / Animator • Brooklyn, NY

WNW Member #1204 Jay Quercia has collaborated with an eclectic mix of clients that include Adobe, Chobani, Google, GE, MOMA, Nickelodeon, Nike, and Wired UK. He's also received accolades from The Webbys, The One Show, FWA Site of the Day, and the Pixel Awards. We asked Jay if his parents understand what he does for a living: "I started my professional career in 2009 at a shop called Big Spaceship. When I told my Mom where I was working, she couldn’t figure out why I spent 4 years in design school to give it all up to be an astronaut." And tips for fellow freelancers? "Start making time to create work for yourself. Book yourself for a week and commit to it. Personal projects let you define your style more than client work generally does. Plus, there are no notes to address at the end of the day!"

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1. How long have you been freelancing?

I started freelancing October of 2013, so a little over a year now.

2. Is there a time or place that you feel most creative/have the best ideas?

Changing up my surroundings regularly seems to be the best way to jumpstart the old brain. I've been noticing that the limitations of my environment are often more conducive to creativity (especially around tasks that involve ideating or rough sketching). Coffee shops with just a sketchbook, or even confined plane rides without wi-fi seem to do the trick.

3. What's your ideal Working:Not Working ratio?

Although I’d like to believe otherwise, on some level I’m always working, even if I’m not booked. I’m always taking creative cues from my surroundings, or brainstorming ideas with friends. Even travel is a means of gathering experiences which inevitably find their way into my work.

4. Do your parents understand what you do?

I started my professional career in 2009 at a shop called Big Spaceship. When I told my Mom where I was working, she couldn’t figure out why I spent 4 years in design school to give it all up to be an astronaut.

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

This scene from A Mighty Wind is genius. Oh, and pretty much any scene from Fargo with William H Macy in it is just tickling.

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

It’s Nice That, Cartoon Brew, and Working Not Working - brownie points ;)

7. What do you do when Not Working?

I dig going to shows, eating breakfast-y foods, or just staying in and catching up on films I’ve missed. I’ll stop before I get to the long walks on the beach section.

8. Do you have a hidden talent?

I used to play guitar pretty well. I’ve also been crowned a regional Rock, Paper, Scissors champion.

9. Any tips or advice for fellow freelancers?

I’m not sure I’m really qualified to give advice after only a year of freelancing, but I’d say start making time to create work for yourself. Book yourself for a week and commit to it. Personal projects let you define your style more than client work generally does. Plus, there are no notes to address at the end of the day!

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

My favorite thing has to be this ridiculous spot for Sauza featuring Justin Timberlake.

11. Who are some other WNW members whose work you admire, and why?

Philip Sierzega, Brandon Aviram, Daniel Savage, Ian Sigmon, Matt Delbridge, Evan Anthony, Andrés Rivera, Jorge R. Canedo Estrada, & Lucas Brooking — just to name a few. These guys are all at the top of their game.

12. Anything else you'd like to add that we haven't asked?

I’m pro Cottage Cheese.

Jay's Work

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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

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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.

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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MEET #3113 ANDREW RYAN SHEPHERD

Working Not Working April 30, 2015

MEET #3113 ANDREW RYAN SHEPHERD

Photographer & Director • New York, NY

In his past life, WNW Member #3113 Andrew Ryan Shepherd worked as an art director and graphic designer. But when he started taking photos on the side, he unearthed a creative satisfaction that he couldn't ignore. Andrew is now a full-time freelance photographer, film director and cinematographer. And looking at his recent work, it is clear that Andrew is fully in his element. Andrew took some time to answer a few questions for WNW, offering generous insights into the mind of an artist. When asked what his ideal Working:Not Working ratio is, Andrew responded, "Ideally, 50/50 seems like a good split for me... That 50% not working is extremely valuable for me in the sense that this is the space when and where ideas are generated — this sort of non-chronological freedom. When I’m not looking at the clock, that’s usually when I feel the most proud of what I made."

Andrew was also more than generous with his advice to fellow freelancers: "Continue to seek out the work that’s most valuable to you, and make that work, even if you have a few projects that are bread and butter. This is what you’ll look back on and love, and it’ll make you remember why you started doing this in the first place. Don’t get bogged down by client work, but find ways to learn about customer experiences, challenge your clients, and make them your collaborators. They’ll trust you more, and the more they trust you, the more willing they’ll be to let your vision guide their project. "

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1. How long have you been freelancing? How do you weigh the benefits of freelancing and full-timing?

I’ve been freelancing full-time since 2008, when I left my position as an art director in Dallas. I started off working as a freelance art director and print designer, and during that process I started taking photos, and found that it was personally more satisfying for me creatively.

I eventually made the jump that next year into freelancing fulltime as a photographer. My interest in film has always been there; I was a musician first, a graphic designer second, and a photographer third. Film was the most realistic and satisfying way to synthesize all these interests and technical skills, so when the 5D Mark II came out, I, along with a lot of others during that time, started to try my hand at directing, shooting, and editing video.

2. Is there a time or place that you feel most creative/have the best ideas?

I usually feel most creative when no one’s looking over my shoulder. Personally, for me, this has been between the hours of 5am-8am, because I’ve just gotten a night’s sleep, I feel refreshed, recharged, and know I still have a few hours before clients get into the office to work on my own personal projects, or to fine tune and dream up new solutions for client work.

3. What's your ideal Working:Not Working ratio?

Ideally, 50/50 seems like a good split for me. I love working, as long as the work is the kind I am fulfilled by, so usually the time when I’m not working, there’s probably still something spinning in my head; some new idea I have I want to try on my own time without anyone else’s opinion in the mix.

That 50% not working is extremely valuable for me in the sense that this is the space when and where ideas are generated — this sort of non-chronological freedom. When I’m not looking at the clock, that’s usually when I feel the most proud of what I made.

4. Do your parents understand what you do?

I don’t think they ever will, but that’s not something I fault them for. As descriptive as I can be, what matters more to them is that I’m happy and I feel like I have purpose. I don’t have the expectation that they will understand not only what’s involved in my work life, but also what I create. And generally speaking, the freedom from these types of expectations for everyone, not limited to my parents, allows me to loosen up and make something without the need to always be explaining it. That gets exhausting, and can be a full-time job if you’re not careful.

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

I should probably watch more funny movies — haha. I think most recently, the unfortunate humor of Birdman sticks out to me. The story is so universal and often, for me, the humor in that film manifests itself through my own doubts and lack of self worth. That story is so universal, and it’s the absurdity of that story that makes the humor of it so convicting. The scene where he’s finally flying through Manhattan, through skyscrapers and above all the activity on the street — that’s funny, because I’ve definitely been there myself.

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

If there was a power outlet, I could probably keep that at Vimeo, Nowness, and WNW Member Noah Kalina's portfolio site.

7. What do you do when Not Working?

I write, spend time with my wife, friends, and with my dog. I go out to the city and work on my street photography projects, or shoot timelapses from my personal space. It’s important to me that this time is used to think, mentally explore, and be thankful for existence and how I get to share that with others.

8. Do you have a hidden talent?

I was a serious baseball player for abour 18 years, and for a long time, I thought I was going to pursue a professional career as an athlete.

9. Do you have any tips for freelancers and fellow full-timers?

Continue to seek out the work that’s most valuable to you, and make that work, even if you have a few projects that are bread and butter. This is what you’ll look back on and love, and it’ll make you remember why you started doing this in the first place. Don’t get bogged down by client work, but find ways to learn about customer experiences, challenge your clients, and make them your collaborators. They’ll trust you more, and the more they trust you, the more willing they’ll be to let your vision guide their project.

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

I know it’s pretty outdated, but lately I’ve been reading back through Neil DeGrasse Tyson’s Reddit AMA. His area of study is so fascinating to me, and he’s a great personality who cares deeply about education, which is very near to me.

11. Name one or two creatives on WNW whose work inspires you.

Ryan Booth and Collin Hughes.

More of Andrew's Photography

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WHY I KEEP MOVING

Working Not Working April 23, 2015

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.

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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.

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CREATIVE COUPLE: MASATO & KAREN TO NAKADA

Working Not Working April 22, 2015

CREATIVE COUPLE:
MASATO & KAREN TO NAKADA

WNW Members #2386 Masato Nakada and #2766 Karen To Nakada run a studio together, focused on a range of design, from typography, to branding to motion graphics. They aren't afraid to boast their romantic status, proudly declaring it front and center on their website. Masato and Karen believe that there's "some kind of magical trust" gained with clients when they see how much they enjoy their work (and that they're probably talking about the job over dinner!)

That being said, Karen and Masato concede that independence and time alone is critical for creative success. Their advice for other creative couples that can really apply to anyone, "Don’t forget to hang your own “do not disturb” sign. Masato calls it the “CAVE TIME”! We can’t stress enough about the cave time, or the solo time. Everyone needs a piece of alone time so he/she can just get lost and relax. It helps us maintain our work and relationship to go a long way."

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

Hello there! This is Karen and Masato from the Happening Studio out in sunny Los Angeles. Our background ranges from typography, branding, motion graphic, web to print design and we don’t like to limit ourselves from gaining new skills. We just wrapped up a couple fun motion projects for NatGeo Wild and Chobani and we currently are tackling two new exciting brand development for a start-up furniture designer and a watchmaker. After a long day of hard work, we are quite the passive Netflix junkies. (Shamelessly) watching Friends with wine or beer is actually a fun and relaxing way to end our day.

MASATO

What do you admire about Karen?

I admire Karen’s criticality and grace. She has a way of assessing a situation and finds multiple ways to progress and make things better. Every time she does this, I am like, “That’s a no-brainer. Why did I not think of that!” And she does all this with a sassy grace. What can I say, my wife is sassy.

Through working together, I have discovered...

...that she loves to learn new things, from tedious technical program scripts to learning new words from TV shows.

KAREN

What do you admire about Masato?

He is hopelessly happy, positive, and relaxed. When I am all stressed, tensed and/or angry, he is still a calm body of water which often help us out in tough situations.

Through working together, I have discovered...

..that he has a hard time saying no to a client (or anyone who is in need of help)!

KAREN & MASATO

What came first, romance or work?

It’s actually neither! Design school came first then followed by coupling then finally working together. We went to CalArts at the same time to study graphic design. Masato was an MFA candidate while Karen was in the BFA program. According to Karen: "Masato was acting helpless with After Effects so he tricked me into helping him out." According to Masato, "Karen was just too charming, she had to talk to me." We never get to settle the truth.

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

After graduating in the same year, we pursued different design fields for the first couple of years, which helped us gain skills and knowledge as a designer and as a business owner. We got to know many great people and shook many hands. As time went by, we started to accumulate projects that required both of our skills. It made perfect sense for us to finally join forces together and create our own studio.

Had you dated anyone in the creative field before?

Sadly no for Karen and yes for Masato.

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

We have very blurry boundaries between work and personal but in a productive way. Sometimes a good idea strikes us during after hours or over a weekend. If you enjoy what you do, your work easily becomes a part of your life without sacrificing your personal time. Each year, we try to take a month off to unplug and travel together. We recharge our energy as a couple and as designers.

Ideal Coupling: Not Coupling ratio

75:25?
When we are both mouse-clicking and racing against time, it’s not that romantic.
Then we are a couple again afterwards. Pretty systemic now.

Do you find that it helps to promote the fact that you’re married? Ever hide it?

We are never shy about telling people that we are married and work together! There’s some kind of magical trust we gain from our clients when they see us enjoying our work and knowing that we are probably talking about their job over our dinner table.

Favorite thing about working together. Hardest thing.

Our favorite thing about working together has to be the honest factor. During our design process, we can say things as it is, instead of spending time to sugarcoat or guess each other’s thoughts. The hardest thing is that everything is doubled. If shit hits the fan, we get double the mess. That’s why we are constantly learning on the go and trying to avoid messy situations.

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

Work wise: we are able to do things that neither of us can do alone, in terms of style, technical executions and on a conceptual level. As a couple, we benefit from growing our relationship and business at the same time, double happiness!

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

Yes, we know many creative couples from work and from school. It’s mostly because design is such an essential part of our lives; it is a big plus to have your special someone understand that language and lifestyle.

Advice for other creative couples?

Don’t forget to hang your own “do not disturb” sign. Masato calls it the “CAVE TIME”! We can’t stress enough about the cave time, or the solo time. Everyone needs a piece of alone time so he/she can just get lost and relax. It helps us maintain our work and relationship to go a long way.

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MEET #1491 KELSEY DAKE

Working Not Working April 21, 2015

MEET #1491 KELSEY DAKE

Illustrator • Phoenix, AZ

WNW Member #1491 Kelsey Dake is a rockstar illustrator. She's an ADC Young Gun and was named one of Print Magazine's Top 20 Under 30 in 2012 . Her work is always exciting, often shining a critical and hilarious spotlight on current affairs and national spectacles. You can see Kelsey's work in the likes of The New York Times, Nike, GQ, Variety, Ad Age, The Atlantic, Converse, and Businessweek. We interviewed Kelsey to find out what she does when Not Working: "Roadtrips! Antiques! Food! Yeah, I’m basically a retiree." Kelsey also sends a blunt reminder to fellow freelancers: "I try to limit my time in the studio between certain weekday hours. I try my hardest to not work weekends. You need to stay balanced otherwise you get burnt out and make shit work."

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1. How long have you been freelancing?

I’ve been a full-time freelancer for basically 5 years now.

2. Is there a time or place that you feel most creative/have the best ideas?

Oh man, yeah, first thing in the morning. I like to turn off everything that makes sound, and sit with a cup of coffee while I think. Or the shower, that’s a solid place for brainstorming. (TMI?)

3. What's your ideal Working:Not Working ratio?

To be a freelancer, especially one who works from home, you need to have healthy work hours. I try to limit my time in the studio between certain weekday hours. I try my hardest to not work weekends. You need to stay balanced otherwise you get burnt out and make shit work.

4. Do your parents understand what you do?

My dad is self-employed, so he has always gotten that side of what I do. My mom came and helped me paint some murals for a Beck/Sonos thing, and on the second night of painting she had a meltdown and asked how I do this all the time; she’s gotten what I do really well ever since.

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

When Walter shakes Donny’s ashes all over The Dude.

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

Twitter, The Superficial, The New York Times.

7. What do you do when Not Working?

Roadtrips! Antiques! Food! Yeah, I’m basically a retiree.

8. Do you have a hidden talent?

This sounds like a dirty question, but I sang onstage with Celine Dion once.

9. Any tips or advice for fellow freelancers?

HAVE A LIFE.

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

Shit, um, I’ve barely been on the internet this week. But my favorite thing on the internet recently was a video with Drake’s “Ain’t No Tellin” reimagined as “Eight Nutella".

11. Who are some other WNW members whose work you admire, and why?

I don’t play favorites. *sideways hand girl emoji*

12. Anything else you'd like to add that we haven't asked?

What’s for dinner?

More of Kelsey's Work

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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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MEET #597 LUCY HEWETT

Working Not Working April 16, 2015

MEET #597: LUCY HEWETT

Photographer • Chicago, IL

In honor of tonight's Drinking Not Drinking Chi-town edition, we're featuring WNW Member #597 Lucy Hewett! Lucy's collaborated with top brands that include Kia, Popular Mechanics, Bon Appetit, Billboard, Monocle, Money Magazine, Ziploc, Entrepreneur, and Cards Against Humanity.

A freelancer since 2011, Lucy has a grounded approach to staying organized and remaining balanced. She advocates for a well-rounded schedule of side projects, hobbies, and lots of travel. When asked if her parents understand what she does for a living, Lucy's response particularly resonated: "It’s not as obvious to them that networking, marketing and road trips 'just to make personal work' are part of a real, adult job."

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1. How long have you been freelancing?

As a Capricorn, I feel like I’ve been freelancing since birth. There’s always been side projects, one-offs, and jobs on top of the day job that have gotten me by-- financially and spiritually. I officially left full-time corporate life in 2011, while I worked to build relationships with photography clients. The last several years I’ve been able to focus solely on photography and currently work out of a studio space in West Town.

2. Is there a time or place that you feel most creative/have the best ideas?

It’s cliche but I find traveling to be an important source of inspiration. Exploring a new city is a visual treat and meeting new people is a great source of energy for me. It allows me to break away from my routine and be present with new experiences.

3. What's your ideal Working:Not Working ratio?

Ideally I would be able to shoot a week-long job and then have another week in the studio to take care of other business tasks. It rarely (never) happens that way. Luckily living in Chicago, January and February are often quieter. It gives me a chance to catch my breath, travel, and explore creatively, so I’m refreshed and ready to hustle again come spring.

4. Do your parents understand what you do?

Ha! Sort of. They love being able to pick up a magazine and find a photo I shot, but I think they’re confused about how I spend the rest of my time (when I’m not shooting). It’s not as obvious to them that networking, marketing and road trips “just to make personal work” are part of a real, adult job.

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

Kristen Wiig drunk on the airplane in Bridesmaids. Kills me. Everytime.

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

I would send smoke signals through Instagram, and pass the rest of my time re-watching Parks and Rec on Netflix and making playlists on Rdio.

7. What do you do when Not Working?

Usually thinking about my next snack or which new restaurant to try. I tutor at the neighborhood elementary school every week and try to get to a yoga class whenever possible. I love to cook, and I’m trying to step up my baking (almost perfected my peanut butter chocolate chip cookie game). Now that it’s porch weather it’s pretty much potlucks and picnics on the weekend.

8. Do you have a hidden talent?

I’m really good at pulling off a chambray shirt and black jeans every day of the week, 90’s pop sing-alongs, and finishing the entire French press.

9. Any tips or advice for fellow freelancers?

Freelancing is not fun-employment. You still have to show up every day and work really, really hard. Sometimes that includes working long hours. Make it fun by seeking out people you admire and collaborating with them.

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

Hillary 2016!

11. Anything else you'd like to add that we haven't asked?

People say it all the time, but it’s so important to make time for personal work. If you’re not showing people projects that you love and are really proud of, you’re not going to get hired for that kind of work.

12. Any WNW members whose work you admire?

Veronica Corzo-Duchardt, Rob Loukotka, Daniel Seung Lee, Joel Barhamand, Ike Edeani.

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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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MEET #5037 CHRIS CARBONI

Working Not Working April 14, 2015

MEET #5037 CHRIS CARBONI

Director • New York, NY

WNW Member #5037 Chris Carboni has directed work for a wide range of clients including Adult Swim, Coca Cola, Showtime, and many more. He's an elite animator whose vibrant style combines the colors and contrasts of pop art and graphic novels, while infusing his own indelible flair. We asked Chris if his parents understand what he does for a living: "Nowadays, yes they really do. In the past, though, 'working on an Apple commercial' would translate into 'inventing the next iPhone.'" Chris also delivers some tweetable advice to fellow creatives: "Work hard, be nice."

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1. How long have you been freelancing?

I've been freelance for six years.

2. Is there a time or place that you feel most creative/have the best ideas?

I think any place has potential to inspire. For me, a change in environment often sparks a change in perspective - sometimes it simply has to do with the physical act of moving. I tend to get my best ideas when I'm away from my computer, out in the world, focusing on something non-digital.

3. What's your ideal Working:Not Working ratio?

I think this depends on the kind of work I'm doing, but on average I try to keep things 70/30.

4. Do your parents understand what you do?

Nowadays, yes they really do. In the past, though, "working on an Apple commercial" would translate into "inventing the next iPhone."

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

The scene in Wet Hot American Summer where Paul Rudd has to clean up the plate he knocked on the floor.

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

I guess NY Times, G-Mail, and Netflix. Web MD would be helpful, but survival is less appealing if I can't watch the new season of House of Cards.

7. What do you do when Not Working?

I chill. And I travel. And I eat food, lots of it.

8. Do you have a hidden talent?

I can rap.. kinda.. When I was a kid my friends and I would freestyle all the time. It's been a while, but I like to think I could still hold my own in a cypher. Hopefully this is never tested...

9. Any tips or advice for fellow freelancers?

Work hard, be nice.

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

I came across a new Boston Dynamics robot video which is pretty sweet. I love the ones of quadrupeds that walk over precarious terrain while their human overlords kick them in the back. When Judgement Day is upon us, we will only have ourselves to blame..

11. Who are some other WNW members whose work you admire, and why?

So many, hard to whittle it down! Today I've been admiring the work of Alex Trochut and Julia Pott.

More of Chris's Work

Man Seeking Woman - FXX

Circular

Animation for a Cause

Persol

Sprout

Remaark

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ON CHICAGO: AMY SCHWARTZ

Working Not Working April 10, 2015

ON CHICAGO:
AMY SCHWARTZ

WNW Member #3868 Amy Schwartz's profile background pretty much sums her up: bubbly, colorful, with just the right amount of whimsy. A designer by day and professor at night, Amy is hugely involved in the Chicago creative scene, a supporter of AIGA and co-founder of Liminal Space, an open studio for design-focused programming. If you make it to our upcoming Drinking Not Drinking, be sure to give Amy a hug as she's been the force behind organizing it, along with Jen Serafini and Jenelle Huddleston.

A lifelong midwesterner, Amy shares her love of Chicago and almost makes us forget the winters and want to move there. WNW Member #597 Lucy Hewett brings Chicago to life with her photographs.

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Tell us a bit about yourself and what you're currently loving:

I’m a lifelong Midwesterner who is finally settled back in Chicago after a two year stint in Detroit. I am an interaction designer/graphic designer/illustrator by day and a professor at DePaul University by night. I recently received my MFA from the Cranbrook Academy of Art, which I mention because it was the most amazing experience of my life and I highly recommend it to anybody interested in deepening their studio practice. It definitely shaped the the way I work, how I think, and what I value.

Things I am currently loving, in no particular order:

1. The soundtrack to It Follows by Disasterpeace

2. Lusting over furniture by Eric Trine

3. Fresh carrot juice

4. Spider Gwen

5. The growing trend of self-initiated, unaffiliated design happenings and exhibitions.

Why did you move to Chicago?

I grew up in the south suburbs of Chicago, so it has always been home to me. When college rolled around, I only applied to schools within Chicago– I knew that if I wanted to make it as a designer, then I had to connect with a vibrant creative community before graduation, not after. I wanted to meet working designers, attend AIGA events, be near all of the city’s amazing museums, and have a shot at great internships. I also loved coming to the city as a kid, because everything felt so lively and authentic. I knew I wanted to experience that every day. I moved back to Chicago after finishing my MFA because my husband is here, but I definitely loved my time in Detroit.

How does the city inspire you?

Chicago is a classic, midwest city full of hardworking, honest people. I’m constantly inspired by the quality–and amount– of killer work that people are producing here. I feel like I need 30 hours in a day to keep up! The people here are genuine and they are so passionate about what they do, whatever field they are in. I’m also inspired by the city itself. Chicago is called a “city of neighborhoods”, and each neighborhood has a very distinct character. Even though I’ve lived here for 6 years, I still feel like there is so much left to explore.

Tell us about Chicago’s creative scene.

Chicago’s creative scene is active, lively, and welcoming. It’s not a small scene by any means, but everyone here knows each other, or at least knows of each other. It’s inspiring, because anyone you admire is just one introduction away. Once you’re introduced to that person, they’re likely going to become one of your friends, mentors, or at the very least an ally in the community.

There’s always some event going on, from designer talks to gallery shows, to city-wide programming like Chicago Ideas Week. There’s programming for everybody– and if you think there is something missing, it’s easy to make it happen yourself. That’s why I began Liminal Space, a series of programming focused on experimental design practice, last year with support from AIGA Chicago. If you put something out there, the community will support you and help it grow.

What other creative organizations do you recommend?

AIGA Chicago is incredibly active and they strive to host a wide range of engaging events, from mentorship groups to studio tours.

The Society of Typographic Arts is Chicago’s oldest professional design association, and they also have some quality events.

Other amazing organizations here include:

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

My favorite things about Chicago:
The summers, the people, the juxtaposition of quiet neighborhoods and active strips of city, the ability to have any cuisine for any meal, the lakefront trail, the comfortable yet exciting pace of life.

My biggest challenges:
The winters, having to rely on a CTA bus, saying goodbye to everyone who moves to San Francisco.

What are some neighborhood spots that you love?

Rocking Horse is one of my favorite places to get dinner and a drink with friends. All of their food is amazing, they have a killer beer list, and they have chimichurri tater tots. What more could you want?

Ground Control is a vegetarian restaurant that I tried recently and fell completely in love with. I had smothered sweet potato tacos, and I want them to be my last meal before death. Highly recommended to all vegans and vegetarians.

Challengers Comics is a fantastic comic shop with a super friendly staff and great events, like artist signings.

Gaslight is a great place to grab a coffee and some beans to bring home.

Boiler Room Pizza is my circle’s default party spot. Amazing pizza by the slice, Jameson on tap, and great beers.

Any WNW members whose work you admire?

Lucy Hewett, Mikey Burton, Leta Sobierajski, Chuck Anderson, Kate Bingaman-Burt and Shawna X.

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Hey WNW Chicago Members + Friends! Make sure to RSVP to Drinking Not Drinking next Thursday, April 16th. First round is on WNW so be sure to come early.

CREATIVE COUPLE:STEVE + ANNE TRUPPE

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

Steve

What do you admire about Anne?

Through working together, I have discovered that my partner is...

ANNE

What do you admire about Steve?

Through working together, I have discovered that my partner is...

STEVE + ANNE

What came first, romance or work?

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

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

Ideal Coupling: Not Coupling ratio

Do you find that it helps to promote the fact that you’re married? Ever hide it?

Favorite thing about working together. Hardest thing.

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

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

Advice for other creative couples?

Are you part of a creative couple and want to share your story? Email us.

HOW PLAYING IN A PUNK BAND PREPARED ME FOR A CAREER IN DESIGN

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

MEET #4695 MATT CHASE

Designer • Washington, DC

1. How long have you been freelancing?

2. Is there a time or place that you feel most creative/have the best ideas?

3. What's your ideal Working:Not Working ratio?

4. Do your parents understand what you do?

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

7. What do you do when Not Working?

8. Do you have a hidden talent?

9. Any tips or advice for fellow freelancers?

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

11. Who are some other WNW members whose work you admire, and why?

12. Anything else you'd like to add that we haven't asked?

More of Matt's Work

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

THE LIGHT PHONE: JOE HOLLIER

Tell us a bit about your process of coming up with this concept.

The beauty of the Light Phone is its simplicity. Did you have an idea of how it would look and feel from the start or did you go through several designs and sizes?

What have been the biggest challenges so far in making this a reality?

You describe the Light Phone as a phone "designed to be used as little as possible." What are your thoughts on the importance of products like The Light Phone, which serves both a technological and anti-technological function?

Any general advice for freelancers?

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

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

EVERYBODY'S GOING TO SEE THIS IF YOU F#CK IT UP

Blue sky brief vs. one with tight parameters: which one do you prefer?

What was your inspiration?

Did you feel any pressure of being the homepage?

Did you work through any alternative concepts or did you immediately know this is what you wanted to create?

How long have you been freelancing?

Is there a time or place that you feel most creative/have the best ideas?

What's your ideal Working:Not Working ratio?

Do your parents understand what you do?

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

What do you do when Not Working?

Do you have a hidden talent?

Any tips or advice for fellow freelancers?

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

Anything else you'd like to add that we haven't asked?

Ben's Process:

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

ON CALLIGRAPHY AND QUITTING:LYNNE YUN

How did you get into typography?

Why did you decide to go freelance?

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

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

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

What are some of your inspirations?

Are there other WNW members whose work you admire?

Lynne's work:

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

MEET #1204 JAY QUERCIA

Illustrator / Animator • Brooklyn, NY

1. How long have you been freelancing?

2. Is there a time or place that you feel most creative/have the best ideas?

3. What's your ideal Working:Not Working ratio?

4. Do your parents understand what you do?

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

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

7. What do you do when Not Working?

CREATIVE COUPLE:
STEVE + ANNE TRUPPE

ON CALLIGRAPHY AND QUITTING:
LYNNE YUN