EVERYBODY'S GOING TO SEE THIS IF YOU F#CK IT UP
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!"
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
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."
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?
Lynne's work:
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HOW TO GET THE MOST OUT OF CLIENT FEEDBACK
HOW TO GET THE MOST OUT OF
CLIENT FEEDBACK
WNW Members #1395 Breanna Radermacher and #5602 Jen Serafini are designers on a mission to pay it forward. 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. The next session begins on June 1st and registration is now open. You can learn more about what the course entails right here. Last week on Free Range, Jen covered the importance of creating successful project proposals. This week, Breanna offers insight into getting the most out of client feedback.
Last week, we chatted about the importance of creating successful project proposals to make sure that expectations are set and understood up front. But when you’re in the thick of the design process, gathering helpful feedback from clients is another pivotal moment that can make or break a project. Think about it this way — you’ve already strategized, conceptualized, designed, refined, and created a killer presentation of what you believe to be the best solution. And although you may be extremely proud of the work shown, everything can fall apart in an instant if you don’t handle the revision process in a professional and educational manner.
So how do you facilitate appropriate feedback? Be a leader. I always like to start off with a strong presentation. Instead of just showing my clients something pretty, I give them some context as well. That way, they are learning about why I made certain design decisions while also being reminded about the original objective. For example, I may present a logo concept and also state the following: “Because we wanted to convey your outgoing personality, I used a bold and modern typeface. It’s solid, strong, and can stand the test of time, just like you. The composition, however, remains simple so that your branding does not detract from your beautiful artwork.” By shedding a little light into the thought behind a design, the client will better understand what they are looking at and be able to provide better feedback.
But educating your client doesn’t stop there. At the end of my initial presentation, I always provide a guide for feedback. I’ve found that more often than not, clients don’t have experience in giving critique, so it’s best to help them out from the get go. If you just say “What do you think?” there’s no telling what you’ll get in response. But if you outline some questions for the client to run through and consider, they instantly have a cheat sheet on what to look for. For example purposes, here are some questions that I ask most clients after they’ve seen their initial designs:
Is your gut consistently drawn towards one direction? Ask yourself this same question over the next few days.
Do you feel the typography represents your brand voice, in wanting to achieve something that is (put descriptive words about their project here)?
Do you feel that the overall tone is inline with your target market and what they’re attracted to? Remember, we wanted to go for something that was (put descriptive words about their target market here).
Do you have any other comments or things you’d like to see changed?
As you can see, most of these questions are structured in a way that helps remind the client about their original objective. It’s easy for clients to begin sharing their stream of consciousness without giving much thought to the strategy behind a design, so it’s important to guide them into it. And these questions do just that! But if you’d like to take things a step further, you can also give them examples of good and bad feedback, just so they have a starting point. For example, plain statements like “I don’t like that blue” aren’t helpful, but explanatory statements like “I don’t like that blue because it feels too childish” are.
If you find yourself receiving bad feedback, or even feeling like a design puppet (which is the worst), take a look at your revision process and evaluate your communication with clients. At the end of the day, feedback is a collaborative process, and if you are leading confidently while listening closely, things tend to go a lot smoother.
Bre Radermacher's Work:
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PROFILES OF THE WEEK: MAY 11TH
PROFILES OF THE WEEK: MAY 11TH
Rachel Yonda, Animator. Santa Monica.
Al Boardman, Motion Designer. Bristol.
Fran O'Connor, Producer. Portland.
Gabriela Díaz, Designer. Sao Paulo.
Ginger Robinson, Copywriter. Portland.
Justin Colt, Designer. New York.
Brian Gossett, Illustrator. Austin.
Aki Rodić, Creative Technologist. San Francisco.
Think your profile should be featured? Email us!
MEET #1204 JAY QUERCIA
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!"
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
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.
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
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
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.
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
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. "
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
Are you a WNW Member with new work, exhibits, products, or news to share? Email us.
WELCOME THE TOP VCU GRADS TO WNW
WELCOME THE TOP VCU GRADS
TO WNW
VCU Brandcenter is one of the world's best graduate programs for advertising and design. In honor of this year's graduating class, we'll be hosting a special happy hour in Richmond this Wednesday. We hope you'll join us in raising a glass.
We went through all of the grads and invited the best of the best to the community. Here are our picks of the top creatives from the VCU Class of 2015.
Copywriters
Art Directors
Experience Design
Creative Technologist
DRINKING NOT DRINKING: CHICAGO
DRINKING NOT DRINKING:
CHICAGO
The Drinking Not Drinking tour continues! The next stop was Chi-Town where WNW Members #3868 Amy Schwartz, #1210 Jenelle Huddleston, #5602 Jennifer Serafini helped organize and host. Big thank you to WNW Member #597 Lucy Hewett for being our photographer for the evening.
Open to both members and friends, DND x CHI had a strong showing with the consensus that networking is best done in a relaxed way, over beers. Networking not networking, anyone?
The ladies gave us a recap of how it went, getting us even more excited for future events to come.
Drinking Not Drinking Chicago went really well!
It was great to meet people in person that I only really knew from the Internet. I always feel slightly awkward about things like that, but once you get talking you remember how cool and welcoming creative communities are. I'm used to admiring work from afar, so this was an awesome chance to learn about the person behind it.
We had a great mix of skills and backgrounds. Copywriting, photography, Illustration, all forms of design, people who felt strongly about the Wu-Tang Clan, people who apparently don't know enough about the Wu-Tang Clan...everything was represented. I'm so glad we got the chance to pull everyone together though, I definitely came out with a few more friends, and I'm excited to see them around town!
Plus, The Rocking Horse was a fantastic location – I had never been there before but I will definitely be back now. Partially for the back patio, mostly for the tater tots.
Jen Serafini adds, So many people came up to me and said how much fun it was and how'd love to do more of that. Networking can be so overwhelming and expensive, that just getting together for beers is ultimately the best way to do it. :)
WHY I KEEP MOVING
WHY I KEEP MOVING
After over four months in Thailand, WNW Member #5670 Steven Skoczen has moved on to Mexico, the next stop on his country-hopping adventure. His last piece was about making the life that fits you, and redefining how to see success. Now Steven brings us deeper into his world of constantly being on the road, and how moving impacts you emotionally, physically, and creatively.
When people hear I’m constantly on the road, switching cities every month, changing cultures, learning new languages, constantly trying to comprehend how even basic things like crossing the street or getting on the bus are done, they often say the same thing: “That must be exhausting.”
The truth is, it’s not. In fact, personally - and especially creatively, keep moving has been the best decision I’ve ever made. It recharges me in fundamental, powerful ways.
As creatives, none of our work lives in a vacuum. If you’re a writer, think of how reading another writer’s work echoes out in yours the weeks after. As a photographer or designer, how your visual style is impacted by the work you see on a regular basis.
Now imagine that every single piece of stimulus in your life is changed, all of it entirely new. Imagine that you’re suddenly living in a world where people have found entirely new solutions to problems you thought were solved. A world where the standards for what’s appropriate in public are radically different, where the balance of what you share and what you hide are shifted.
And imagine that none of that is explained to you - you have to figure it out, day after day, mistake after mistake. That’s the world I get to live in. The effects are profound.
It’s so much easier to take creative risks, and make creative mistakes.
Would I have ever published an open-hearted piece about depression or the deep philosophical insights you can get from traveller’s diarrhea when I was living in the states? No way. It might impact my klout score or my brand or any of the bullshit I’ve made up in my head as a rationalization for not putting genuine work out there.
But when you’re out in the world, failing at communicating, buying groceries, and even basic navigation, failure just becomes a normal part of what you do. It ceases to be scary, and you don’t need try-harder mottos to help you put things out there. You just live with your work how you live with your life. You know some of it will be an abject failure, and you learn how to recover and still get to where you want to go.
You get access to entirely new ways of seeing the world.
All of our work is rooted in the world in which we live. So when how-the-world-works shifts, the effect on our work is tectonic. Imagine the sort of work you’d create in a world where you never said sorry, or one where you never said best. How would things shift if instead of meat or bread, vegetables were the foundations of food? How would your work change in a world where child sex trafficking was something you had to look in the eye, understanding first-hand what it says about all of us.
There are huge overlays on the cultures we live in that are only visible when we’re able to step out of them into something genuinely different. The effect of Christianity in the United States is powerful and forms the bedrock of every natural-born American’s world view, even if they’re not Christian. Spend a few months in a country that, for all of its recorded history, has been Buddhist, and those differences become obvious and palpable. They open up a new way of seeing, of expressing, and of course, of creating.
You have a built-in deadline.
One of the most lovely bonuses is that once you’ve settled in and started making, you immediately feel the clock start ticking. I’m in Mexico now, but I won’t be forever. How much can I soak in here? How fully can I express the things I find?
There’s a real power to a deadline, even a gentle one, that prompts you to keep creating, keep making today and every day - because soon, this muse will be gone.
It’s like one of those short-term flings. It’s wonderful, and you want to squeeze every second in before it’s gone. Which reminds me - it’s time to close this laptop and head off. There’s more to Chiapas to experience, and more to write.
Steven Skoczen is currently living in San Cristóbal de las Casas, Mexico, and writes over at Ink and Feet. He writes a hand-crafted letter every week that a lot of people really love.
Do you have travel stories you want to share? Email us!
CREATIVE COUPLE: MASATO & KAREN TO NAKADA
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."
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.
Are you a creative couple and want to share your story? Email us.
MEET #1491 KELSEY DAKE
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."
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
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.
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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WATCHING NOT WATCHING: MAD MEN
WATCHING NOT WATCHING: MAD MEN
To celebrate the final season of the cultural phenomenon that is Mad Men, we spoke to WNW Member #1218 David Saracino, a huge fan who has illustrated all of our favorite stylish characters. David fondly looks back on Mad Men with us: "Honestly, because of how well the show is made and written, they could all be greedy, womanizing alcoholics and I'd still watch it---oh wait." We also asked David to release his inner soothsayer and offer bold predictions for how the era will end: "I don't want to read too much into the ghosts Don's been seeing, but..."
How'd you get started as an illustrator? And how have you seen your work change over the years?
I've drawn all my life, so when college rolled around I majored in illustration, and landed my first paid editorial gig junior year. Ever since then I've worked with editorial and advertising clients on both coasts doing a variety of work, ranging from conceptual illustration to product development. My work has changed (and continues to change) quite a bit over the years. I started-off working strictly traditionally, watercolor and colored pencil / ink, but as I started getting more and more work, learning to work digitally proved much less time-consuming. Initially I was scanning in my final drawings, color-correcting them, editing them, then finally coloring them, which also became a pretty big time-suck. I eventually invested in a 21" Wacom Cintiq, so now I work digitally start-to-finish. It's been the saving grace to working with tight deadlines and round after round of last minute edits.
Do you tune in and watch Mad Men weekly or do you binge all at once? And other shows?
I do watch it live! Before I had access to cable tv at my apartment, it was so important that I watch it live that I used to watch it at a bar with cable. To be perfectly honest, I don't totally hate commercials. I've enjoyed commercials ever since I was young, always loving the funny ones, clever ones, etc. It's also pretty fitting to watch the commercials during a show about advertising, right? Also, I kind of love the annoyance of having to wait another week to see what happens next---I feel it really adds to my watching experience. To be fair though, when a new season of a show I like is uploaded all at once onto Netflix or wherever, I'm definitely guilty of binge-watching the hell out of it. Guess it depends on the show.
What is it about Mad Men that draws you in?
Definitely the time period and production value. I'm a huge fan of midcentury design, and the show's attention to detail is outstanding. I know a few people who had a hard time getting into the show and gave up on it because none of the characters were "likeable" enough. Honestly, because of how well the show is made and written, they could all be greedy, womanizing alcoholics and I'd still watch it---oh wait.
Upon seeing Roger's 'stache, did you immediately declare, "I have to draw that"?
Absolutely. I drew Roger and a few others last year, but I wanted another shot at him. I feel like I'm editing and redo-ing a lot of my work recently---not sure why---but his new 'stache definitely gave me an excuse to give him another go with the 'ol tablet. John Slattery's likeness is surprisingly difficult to capture, so adding a mustache to an already difficult-to-recognize portrait made me keep second-guessing his features. I'm pretty content with how he turned out, but who knows what will happen when I look back on it in a week.
What's your take on the start of the final season?
Looks like it's back to business as usual for Don and Roger, not that I'm surprised. I'm glad we're seeing Ken's story focused on a bit too. Not to mention the start to a possible/probable love interest for Peggy. Was a little surprised from the complete absence of Meghan, but I'm guessing we're going to see a little more of her. All in all, I'm pretty interested to see how they're going to fit in everything they need to wrap up in 7 episodes.
Bold predictions for how the era will end?
I don't want to read too much into the ghosts Don's been seeing, but my girlfriend and I agree that we think Don's going to kick the bucket by the end of the season; especially when he witnessed that song and dance number by Robert Morse in the mid-season finale last year. I'm not sure what's going to happen to the firm, it could either be sold off and completely absorbed by McCann, or have lead creative be taken over by Peggy; she's definitely proven herself to Don.
Do you think a new show about advertising will quickly fill the well-shined black Oxfords of Mad Men?
I really hope that there isn't an insurgence of shows that take on advertising. They definitely won't stock up well, especially if they don't devote the time and effort to crafting such a production. The actors deliver such incredible performances, all in a very cinematic environment, and I doubt that can be outdone for now.
Is Mad Men, and television in general, a source of creative inspiration or escape for you?
Most definitely, on both accounts. I'm very right-brained, and really get lost or caught up in cinematic experiences. I've historically gotten heavily invested into dramas, whether they be film or on tv, since they're inherent to beautiful cinematography. They definitely provide me a source of creative inspiration, as I almost always need to draw the main characters of a show or film immediately after watching it. As to them being an escape, I love getting caught-up in a good story and I tend to tune everything else out while I'm watching something I'm really into. I've been really excited about how much better tv has gotten over the last 5 or 10 years; it really seems like I get to watch a mini-movie in every episode.
What other shows or films do you recommend to the WNW community?
I was recently recommended by a friend to watch The Jinx on HBO, and I was not disappointed. I'm also a big fan of documentaries and whodunnits, so this was a shoe-in. I really enjoyed Tina Fey's latest straight-to-Netflix series Unbreakable Kimmy Schmidt (illustration featured in The New Yorker), and I've just recently caught up with all of Louie on FX. I was floored by True Detective S01, and after the teaser trailer for S02 I lost my shit. In terms of recent films I enjoyed, I think the Oscars hosted a bunch of really outstanding films this year. Birdman was incredible, and was shocked it got subbed for Best Picture, and I really enjoyed Nolan's latest Interstellar; although I think that's one that you really had to see as large and as loud as possible in 70mm in Imax.
Anything else you'd like to add?
Nothing else really, other than thanks so much for taking the time to ask me about my work and interests, as well as featuring me on Watching Not Watching! I hope you enjoy my work, and keep in touch to see who I've been drawing.
Want to talk to us about the shows and films you're watching? Email us.
MEET #597 LUCY HEWETT
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."
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.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us.
ON STARTING OVER: ZIPENG ZHU
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.
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.