WELCOME TO DISMALAND
WELCOME TO DISMALAND
Dismaland has been all anyone can talk about lately. We reached out to #78 Jason Headley, #1729 Brock Davis, and #3904 Kirsten Lepore, all WNW members whose original and provocative creations are now attractions at the dystopian amusement park. We learned their side of the story, from how they were contacted, to the importance of Dismaland, and the fact that they never met the bemusement park's elusive creator Banksy. And if they did, would they even know?
Kirsten Lepore's inclusion in Dismaland came as somewhat of a surprise to her: "I basically just got an email from Christopher Jobson at Colossal asking if he could screen my film "Bottle" at an art event and that the details were confidential at the moment. I said sure, and then a few weeks later it turns out it was Dismaland. That's all, haha. Pretty anticlimactic."
"Bottle" by Kirsten Lepore
Jason Headley almost didn't participate in Dismaland; he initially turned down the offer, "Christopher Jobson reached out to me from Colossal. Told me he was putting together some films for an outdoor film festival event and wanted to screen "F*ck That." I was deep in the throes of rewriting a script for the second round of consideration for the Sundance Labs. I had to submit it in a few short days, so I told him no thank you.
He emailed back and said, 'I think you're going to want to be in this.' I ignored that email. He emailed again. I finally relented. A week later, he told me what it was. The day before Dismaland opened. So I'll be offering a seminar soon: 'Succeeding Through Near-Failure: The Jason Headley Story.'"
"F*CK THAT: a guided mediation" by Jason Headley
Brock Davis was slightly more involved in the process, since he was contacted to create original pieces for Dismaland, as well as bring in some of his finished pieces. Apparently those pieces had a secret admirer: "It came out of the blue, I received an email from Pest Control in February who forwarded a message to me from Banksy, saying that he liked my work and wondered if I would be interested in taking part in a group exhibition he is curating.
"He said the theme of the exhibition is Abandoned Amusement Park, largely because the event will take place in an abandoned amusement park. Because he is curating the work, I sent him about 40 ideas and we narrowed it down to about 30. Two installations, two sculptures, current non-theme related photographs, new photographs and a photograph series. For the final event, I ended up exhibiting 18 pieces. My work is in the main gallery, along the wall next to a large Damien Hirst sculpture... I had a great time flying to the UK, installing the work, meeting the other artists, attending the opening and after parties. And I love the quirky, seaside town of Weston-Super-Mare. "
Contributions of Brock Davis, created for Dismaland
They also talked about what they feel is the power of Dismaland, and what they hope it does for both the artistic community and the public at large. Jason, while not planning to fly over to the UK to take the tour of Dismaland, thinks it's a pretty powerful display of art. "I would love to walk through the space and see everything in person. The photos are intense. I love the refugee boats. And the Cinderella paparazzi piece. (Although, this may be the place to start my movement to stop using that word. They're not 'paparazzi.' They're 'photo thugs.') I'm either not intelligent enough or aspirational enough to have any grand thoughts and aspirations for what Dismaland might accomplish. I'm just happy it exists."
Brock adds, "The messaging and tonality is very consistent with the social commentary prevalent in Banksy’s work, it’s just on a larger scale. I really love the originality of combining a contemporary art exhibition with the energy of an amusement park. It’s a very interesting way to view the work and I think very memorable."
Brock was also quite impressed with Banksy's Cinderella installation: "There is some phenomenal work in the show, covering a wide range of artists and mediums, yet the works are all very cohesive to the theme. My favorited piece is Banksy’s Cinderella installation. It’s a large sculpture of Cinderella’s coach, having wrecked with her body laying over the wreckage. Paparazzi flash bulbs are firing around the scene. Viewers become part of the scene as soon as they start taking their own photos with their phones. This with the chatter of the audience adds realistic elements to the work. It’s a very strong piece."
Banksy's Cinderella Installation
We had to ask if any of them met Banksy. Jason summed it up best: "I don't know if I met Banksy. For all I know, you're Banksy."
UK Members: Tickets for a Dismaland tour from September 8th-15th will go on sale at 10am on Wednesday September 2nd.
Banksy's Selections of Brock's Work
These are images that I had shot over the last 2-5 years that Banksy hand-picked for inclusion in the exhibit.
A photographic series in which I drove a 170lb turnstile all over the place photographing it in front of various landscapes. The actual turnstile is at the event as well, positioned close to the images that show where it has been. Banksy picked 10 of my original 15 images and then narrowed it down to his 6 favorites.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ON VANCOUVER: CARSON TING
ON VANCOUVER: CARSON TING
After working at agencies for over 15 years, WNW Member and Vancouver-based creative #6643 Carson Ting has ventured out on his own, navigating the freelance world in a city where the freelance community is still getting its footing. While the creative scene may be laid back, there is still a vibrant mix of creative award shows, art shows, creative crawls, and more if you know where to look. Luckily, Carson's here to help.
For those on a budget, this pricey city is fortunately surrounded by gorgeous scenery. Carson tells us that doing something outdoors is valued over the typical post-work cocktail: "It's important to break away from shop talk and actually live a life. As creative people it's important to stay in touch with the outside world. Otherwise, we'd be creating work that only speaks to ourselves."
Carson gives us an inside look into the creative scene and outside world of Vancouver. He also created the series of original illustrations, below.
Tell us a little bit about yourself and your creative background.
I was born and raised in Toronto (some consider it to be centre of the universe - ha!) and moved out to Vancouver over 8 years ago to work for my then dream ad agency, Rethink. Now I'm a father of a 15-month-old daughter named Audrey - the funniest person I know to date. My wife Denise, whom I met back in Toronto, helps me run our illustration company, Chairman Ting Industries. We've done work for adidas Originals, Microsoft, Kidrobot, Infiniti and more.
After busting my butt for over 13 years as a full-time advertising art director I decided to go freelance so I could mix up the type of work I get. I now do illustration work, murals, photography work, app design and of course, advertising art direction. I love the variety of work I get as an independent and I also feel so much more creative being able to work in so many different mediums and roles.
What are you currently working on?
I'm currently working on an illustration project for TEDx West Vancouver, an illustration project for a Mercedes Benz print campaign with the guys at 123w, a mural for the Vancouver Economic Commission, a mural for a coffee chain in Calgary called Phil & Sebastien, and am also freelancing at DDB Vancouver.
Any dream projects?
My dream project right now is to produce a collection of personal paintings and finish up a mini documentary film I've been working on since 2013. Commissioned projects are great, but I really want to spend more time on personal work so I can stay fresh creatively. I've always believed in the importance of side projects.
What are you into these days? What are you reading, watching, etc.?
I'm not entirely sure. I've been working around the clock for a very long time and the only thing I want to do with my spare time is chill with my family. I wish I could say I'm into some obscure indie drama show from Japan or something cool like that. But I don't watch much TV. I always feel left out in conversations when people talk about shows like Breaking Bad or Game of Thrones.
When I'm deep into my illustration work, I usually listen to Radio Lab. It's a podcast series from NPR. It's absolutely fascinating stuff and I can't get enough of it. I'll even listen to reruns when there aren't any new ones.
What's your favorite thing about living in Vancouver?
It's cliche to say this, but my most favourite thing about living here is being surrounded with such gorgeous natural scenery like the mountains and the ocean. The city is also very small, so it's very walkable and convenient. In terms of challenges, I think the advertising and design community is really small, so there isn't a lot of room for creatives to move around - compared to the Toronto market. People tend to stay longer at agencies here, which isn't necessarily a bad thing, but as a freelancer I would definitely like to see the agency pool expand.
How did you find your way to Vancouver?
Through a recruiter. An opportunity came up to work for Rethink. I wanted to work there for the longest time and had tried to get into that agency for years and when the recruiter called about the opportunity, I jumped on it. I've been living here ever since.
Have you lived elsewhere? Tempted to move and if so, where?
Toronto. I've only lived in two different cities in my entire life. I've always been tempted to live in Amsterdam or Berlin because I hear there's a lot going for both cities in the arts and design scene. I still think about it from time to time, but it's hard to leave Vancouver. Both my wife and I love it here.
Vancouver is...
...a magical place with a big price tag.
What’s something we'd be surprised to learn about Vancouver?
Adbusters is based in Vancouver!
Favorite neighborhood spots?
My favourite spot has to be Stanley Park and the sea wall. It's just minutes away from my place and it's got one of the best running trails I know to date. I always start running from my neighbourhood in Coal Harbour and go around the sea wall which is almost a perfect 10k distance and swing out of English Bay for a coffee. My wife and I love walking around the west end and chilling out in English Bay.
We're hungry! Where should we go?
My absolute favourite cafe is in the west end called Green Horn Cafe. It's fairly hidden inside a quiet residential area so it's less busy and they also make a killer cortado. The owner is a fellow named Walter. He's super friendly and always loves to chat about his collection of motorcycles. Vancouver has such an amazing culinary scene so naturally, I have a lot of favourite spots. My top three places are Blue Water Cafe in Yaletown (hands down, the best sable fish dish I've ever had), Les Faux Bourgeois, a causal French restaurant in the Fraser area (killer scallop dish!), and lastly, I'd say Don't Argue!, a pizzeria in Mount Pleasant. It's not fancy but I get really excited every time I go there.
Give us the inside scoop: any hidden secrets about the city?
There is this hidden pathway in east Vancouver near my studio. The path goes right through these old train tracks and underneath the Sky Train overpass. The path is hidden because it's a very industrious area and no one ever goes through the area by foot. I love that spot because you'll always find interesting graffiti work on the walls of these two abandoned buildings. It's also a great spot for a photoshoot because you have the train tracks and the Sky Train above you. It's a great mixture of the old and new in one spot.
There's also a back alley by my studio at 1000 Parker where you'll find a collection of the most densely graffiti'ed walls in the city. It's a little creepy at night because there's a mannequin tucked in a corner and another one hung from above.
What is the creative scene like?
The creative scene in general is fairly laid back. There isn't a lot of after-hour get-togethers among the advertising community where ad guys go to hang out for drinks. Everyone here just goes out to do outdoorsy stuff like biking, running, kayaking and etc. I personally much prefer it this way. It's important to break away from shop talk and actually live a life. As creative people it's important to stay in touch with the outside world. Otherwise, we'd be creating work that only speaks to ourselves.
Although the creative scene is fairly laid back, one can still find a pretty active and exciting creative scene if you dig deeper. We have our monthly Creative Mornings talk, Lotus Awards (which came back after a one year hiatus), the annual Eastside Culture Crawl, Pecha Kucha and at one time we had the Cheaper Show (a fun collective art show featuring 200 artists around the world) and of course, there's the popular indie art blog, Booooooom.com that my friend Jeff Hamada runs out of Vancouver.
Any organizations there helping foster the creative community?
My friend Jeff Hamada, who runs Booooooom.com, is always actively fostering the creative community here, whether it's getting a bunch of people together to build tiny boats out of twigs and setting them free on a lake or getting people to submit drawings of stories from their past. Jeff is always thinking of new ways to engage with the creative community. We also have fantastic art colleges like Langara, IDEA School of design from Capiliano University and Emily Carr that hosts portfolio reviews for their arts and design programs.
Any WNW members whose work you admire? Why?
Lara Palmer. I've admired her work for a long time. I remember seeing her work in award annuals since I was in art school and have continued to see her work evolve over the years. I finally got to meet her when she freelanced at Rethink and she's equally as nice as she is talented.
Carson's Work
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HOW TO RUN 1003 MILES IN 37 DAYS AND NOT DIE
HOW TO RUN 1003 MILES IN 37 DAYS AND NOT DIE
WNW Member #1303 Jonny Santos is batshit crazy. One day he got it into his head that he was going to run from Le Puy, France, through the pyrenees all the way to Galicia, Spain. For those in need of a geography refresh, this is a lot of miles. 1003 to be exact. And he was going to do it in 40 days.
To be noted: Jonny wasn’t going through a midlife crisis, responding to a breakup or being set up by Vice. He simply opened his mouth one day and declared: I’m going to do it. So he had to.
Running his mouth led to running shoes and somehow Jonny found himself singing Gregorian chants to the monks, to the snails and whatever fellow masochist that would come his way. Foraging for food and shelter, nursing injuries along the way, Jonny kept going. And going. As he says: "Jonny SANTOS, not Jonny CANTOS." We spoke to Jonny about how he made this modern pilgrimage (with little training!) and what it did to him physically, emotionally, and spiritually.
Oh, and he did it in 37 days.
When did you realize you were crazy?
Yeah I know this whole thing sounds crazy from the beginning but you live in New York long enough and you start to think you can do all sorts of stuff. This just kinda made sense to me.
Is this how you approach work/life?
Ha! Usually I try to solve my problems, improve my life and clear my head with a lot less mileage. Things just started to build up and this popped up as an idea and I kind of just ran with it. I did try and plan this like a producer at first and get as much info as I could but I soon realized that every person's journey is different and there was no real way to plan for it. I just put myself in a position where I didn't have much of a choice but to succeed.
What was your training regiment? Had you run marathons before?
I’ve never run a marathon though I did run in high school and in college so I knew what I needed to do to get into shape. That being said, I started this very much out of shape and did very little running. I did try to get in super awesome shape at first but the DJ and freelance gigs got in the way. A few of my friends saw what was going on and started to worry that I wouldn't be able to do this at all. From the time I decided to do this which was around November until January, I barely ran at all. From January to February I ran a bit more, about once or twice a week and that final month I don't think I ran a step. I figured I'd start from zero or as close as I could to zero and make it a science experiment. Don't do what I did, FYI.
I now run almost every day because I learned my lesson.
What food did you eat along the trip? What was the first thing you ate once it was over?
I lived on a steady diet of Sardines, tangerines, tubes of condensed milk, beer and a pilgrim menu which would usually be pasta, soup, and some sort of protein. This was not a gourmet experience but you haven't lived till you're squirting pure sugar into your mouth on top of a hill. I had a couple of dope meals in France and really enjoyed the snails when I got the chance.
First thing I ate when I got done was Octopus. I'm in love with the Pulpo.
Highest high on the trip? Lowest low?
In a journey of a 1003 miles you end up with a ton of highs and lows. It really does become a metaphor for life - you have good days and bad days but you have to keep going. I had a couple of scary moments where I ran out of water and was low on food/money. I also lost a bunch of weight really quickly (from 165 lbs to 152 lbs in a little over a week,) and I was running/trekking injured the first 10 days. I stopped at this monastery in Conques - probably one of the most beautiful places I've ever seen - and the monks taught us this song called "Ultreia" which means "go further" in Latin. I had a really tough day with two twisted ankles and a knee that wanted to quit and found myself chanting "Ultreïa ! Ultreïa ! E suseia Deus adjuva nos" which means “Go further go further with God's help go further.” The last five grueling miles of the day of course were mostly uphill. It was kinda crazy, you get into a really weird zone but I managed to get through the miles and found a place to eat and sleep that night.
Whenever I think about quitting or slacking off on anything, even now, that day comes to mind. It was a low point but a high point at the same time because I began to realize how much pain I could handle. So that was cool.
While crossing the Pyrenees a couple weeks into my journey I realized my body was finally getting stronger and my mutant powers were coming back. After a couple of weeks waking up in total pain it was nice to feel like I had a little something extra in the tank. Seeing wild horses on a mountain was cool, getting briefly chased by a boar gets your blood pumping and when you finally see the old End of the World from a distance you can't help but cry a little.
Who was the most interesting person you met along the way?
Since I was doing this at a quick pace I didn't really get to talk to a lot of people but when I did decide to take a break or walk with someone who was having a hard time it was great. The cast of characters included:
Dave from England who was on his 9th Camino and encouraged me via the magic of Instagram throughout the trip.
Kirsten - a lawyer from Denmark who lives in a commune and who I caught up with in Cajarc randomly. We had met in Conques and I didn't think I'd see a familiar face again so it was awesome seeing her.
Pietro - a retired contractor from Italy who rebuilt the Lamborghini and Ferrari manufacturing plants.
Becca and Ben who were traveling the whole world together.
Debbie, who despite being ditched by her traveling companion early in the trip, got through the Camino by foot, by bus and by train. I ran into her 3 times throughout the 1003 miles and it made my day every time. We would sit and chat over some tangerines or octopus and encourage each other.
It seems you experienced a tremendous amount of personal growth on this trip. Besides your ability to actually complete this journey, what surprised you about yourself in this experience?
I was surprised at my ability to not let getting lost or having to go through tough terrain bother me. No matter how much pain I was in, I would just focus on the task at hand and worry about the rest later. I also got really emotionally attached to snails. You go through a roller coaster of emotions while doing this and I'd find myself getting genuinely sad when I saw a squished snail on the path - like - why you gonna step on a snail? It's trying to do its own path and cross the road and people gotta go and step on ‘em. Just didn't seem right. That being said, they are delicious.
Your ability to push yourself is astounding. How did you mentally/physically/emotionally guster the courage to keep going? Did you ever get close to quitting?
I tried to find some quit in me but couldn't. Honestly at this point I had run my mouth so much and had so many people counting on me to finish that whenever the thought of slacking off crossed my mind I would think of my friends. My mother would call me every day and check in on me. She didn't realize what I was doing until I was doing it and was not stoked that her son was trekking through Europe all willy-nilly. When I would complain she would simply tell me that no one asked for me to go do this and to tough it out and finish.
I would also think of my favorite routes and count off the km that way. For example - I have one White Rock Lake and a couple of Williamsburg Bridges to do and I'm at the next town. I would also sing Disney songs - in particular "It's a Jolly Holiday With Mary" from Mary Poppins - out loud - very loud and often. When I'd go up a difficult mountain I'd yell at myself to keep going - to be a Jonny Santos and not a Jonny "Can'tos". Honestly, you come up with every trick in the book from thinking of heartbreaks to imagining yourself running through a wall to the smile on your friends' faces and people you love. It's really neat.
What’s next for you, personally and professionally? What are some dream projects of yours?
I'm about to start working over at Sylvain Labs which I'm stoked about. I basically came back wanting to find a place where I could use my very diverse background to work on some meaningful projects and this looks like a great place to start. As far as dream projects, I'd like to run the length of Cuba soon and document it a bit better by taking someone with me. It's 770 miles and you don't get a lot of chances to trailblaze in this life so that's something I'd like to do. I think if I stay in shape, I can get it down in three weeks. I had the pleasure of working on a Northface campaign a while back and it got me stoked about outdoor companies so maybe there's something there as well.
To see every step of the journey, check out Jonny's Instagram and #caminorun2015.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
The Future of Working Not Working
As most of you know, Working Not Working began as a small, invite-only group of freelancers, mostly in New York, and mostly in advertising. But today, we’re over 5,000 creatives in many disciplines, all over the world. Thousands of innovative companies like Apple, Google, Airbnb, Facebook, Droga5, and Wieden+Kennedy have turned to us to source and manage their creative talent.
Read MorePROFILES OF THE WEEK: AUGUST 24TH
PROFILES OF THE WEEK: AUGUST 24TH
Chelsea Saunders, Full-Stack Developer. Carmarthenshire.
Cathrine Understrup, Art Director. Copenhagen.
Elliott Routledge, Illustrator. Sydney.
Simon Geilfus, Creative Technologist. Brussels.
Kim Nguyen, Director. Los Angeles.
George Widodo, Art Director. New York.
Taylor Marsh, New York. Copywriter.
Victoria Black, Designer. New York.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
HOW TO MAKE A MAGAZINE: JACKIE LINTON
HOW TO MAKE A MAGAZINE: JACKIE LINTON
WNW Member #6216 Jackie Linton is the publisher of the blossoming magazine Bad Day, a biannual arts and culture magazine that focuses on direct dialogues with the international creative community. Bad Day showcases some of the intimate commonalities we all share in our routines, perspectives and working practices. We spoke to Jackie about the origins of Bad Day and how it grew from Toronto-based side project to covering the global creative scene. With a recent feature on Kim Gordon (of Sonic Youth fame), Jackie couldn't be happier: "I'm proud any time I see the magazine on a newsstand. Even more so is when it's a surprise—like an unexpected bodega downtown, or when someone texts me that they saw it at an airport in Sweden. It's at the point now where the magazine has taken on a life of its own, and that’s the most satisfying for me."
What led you to start publishing Bad Day, in addition to working as a copywriter? Give us a little background of how it all got started.
Bad Day was founded in Toronto, and began as a fun side project to try to speak to the global cultural community while building a conversation around Canadian artists, musicians and creatives. Ultimately, I think it was a fun opportunity to work with friends to catalog our tastes, and produce something really distinctive that we love.
Bad Day is focused on the community around creativity. You also combine a variety of disciplines in the same conversation. What's the benefit of cross-pollinating these generally separated topics?
I think the idea of being “creative” goes in a many different directions—and that’s good for a magazine. For us, seeing the ties that bind across a variety of disciplines can be exciting, whether it’s an 80 year-old Italian furniture designer, a mid-career filmmaker in California, or an upcoming fine artist working in Bushwick. For me, working in advertising during the day, I look to different aspects of commerce and culture to help what I do, and I think that’s the same for independent artists, musicians and writers. As I think these categories are becoming increasingly fluid.
What's been your proudest moment during all of this?
The cheesy answer is that I'm proud any time I see the magazine on a newsstand. Even more so is when it's a surprise—like an unexpected bodega downtown, or when someone texts me that they saw it at an airport in Sweden. It's at the point now where the magazine has taken on a life of its own, and that’s the most satisfying for me.
What was it like having Kim Gordon in the most recent issue? (That's amazing!)
Thank you! I think it was a dream come true for us. Kim Gordon was always someone on our ultimate “wish list" for as long as we’ve been making the magazine—and I think the timing couldn't be better. She has really “re-emerged” this year.
How did your collaboration with Levi’s Made & Crafted come together?
It was an awesome experience to work with Levi’s Made & Crafted. We teamed up to make a custom “Bad Day” look book for them to promote their collection for Autumn / Winter 2015. They wanted a loose “punk” theme to coincide with their inspiration for the season, which was fun to play around with. Personally, with the agency work I’ve done, it was cool for us to produce our first print ad campaign, which is an extension of one of the fashion stories in the issue.
How do you see Bad Day evolving in the future?
Great question. We’ve been so focused on fulfilling our goals with the print magazine. And we’ve really deliberately kept our digital presence to a minimum over the years, just so we can make sure we’re giving the print project the most of our attention. I think if we evolved, we would approach more digitally-based projects from a different point of view—as opposed to just producing written content online. I think video is an area I can see us doing more.
As a publisher of an arts and culture magazine, you must have your finger on the pulse of a lot of cool scenes. What are you most into these days in terms of music, film, television, books, visual arts?
As far as print magazines, I am excited about the latest issues of WAX, as well as the debut issue of Talk Magazine. I’m reading novels by James Salter for the rest of the summer. I just stream whatever is popular on Soundcloud. Some visual artists I’m interested in right now, or actually, most of the time, include: Sara Cwynar, Yto Barrada, Leanne Shapton, Laura Owens, and Linus Bill.
What are the venues, theaters, and museums you most frequent in New York?
My favorite venues in New York City for art and print culture include Printed Matter, Picture Room, and Karma. As far as theaters, probably The Kitchen.
Any helpful tips for freelance creatives?
Be persistent, and as polite as possible. I can be quite shy, and really, the best thing to do as a creative is to curb that tendency as much as possible.
Who are some other WNW members whose work you admire?
I always love the art direction of Elizabeth Dilk and Ashley Jones. I'm blown away by the scope of projects that Mary Dauterman has done. I recently worked with Steve Caputo, whose work I really admire.
Anything else you’d like to add that we haven’t asked?
Thank you for having me!
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
LIVING THE DREAM: WHEN IT'S A NIGHTMARE
LIVING THE DREAM: WHEN IT'S
A NIGHTMARE
In this chapter of Living the Dream, the dream dissolves into a nightmare. WNW Member #5670 Steven Skoczen talks about the struggles that arise as you step further away from your comfort zone. Now months deep into his around-the-world adventure, Steven faces the reality of being rootless, his suitcase as his anchor. With the fantasy long gone and the ultimate travel horrors upon him, Steven is faced with challenges that he will either grow from or crumble under. Steven explores what you do with these challenges, how to take them in stride, and how to keep moving.
On the fourth horrific trip to the bathroom, I started to think about god.
This diety-in-the-restroom business had only happened once before - when I was 21 and I'd drank my first whole bottle of wine with dinner. I spent the evening curled up against the cool porcelain bowl, rotating prayers between religions to make it stop. Whoever makes this stop, I mumbled, gets a new convert.
Time and water, it turns out, were gods.
This time though, it wasn't self-inflicted. I'd been sick for four weeks straight, and then, just when I was on the mend, woke up sharply to an urgent call from my body. If I might be so kind, it noted, it would like to remove everything that was inside it, possibly including vital organs.
I didn't sleep that night, most of the next day, or most of the next night.
When the smoke cleared, I'd spent six weeks in a city I'd barely seen, and had one singular desire: get out.
To be sure, there are adventures, insights, and wonders to living all over the world. But they come with weeks of hell.
In Phuket, there was the overwhelming danger of learning to ride a motorcycle on the world's second-most-deadly roads.
Knowing that every time I went to get groceries or explore the island, that my life was quite literally in the hands of the strangers behind me. Even more frightening - the lives of the strangers in front of me were in mine.
In Bangkok, coming face-to-face with human trafficking, and the darkest parts of who we are as a species. Meeting people whose existence forced me to admit that my belief that people are fundamentally good wasn’t based on facts, but a willful choice.
In San Cristóbal, watching the actions that come from staggeringly different perceptions of the value and pain tolerances of other living things.
They are too stupid to feel pain, one man assured me. But the sounds resonating from the creatures hit my ears as a different story.
Everywhere, feeling the smallness of my life.
Everywhere, feeling the sameness of the human experience.
Everywhere, feeling the tension of light and dark.
Jim Collins writes beautifully about making your life a piece of art - and whether traveling the world or living in Kansas, I think he's on to something.
All art worth its weight has an internal balance. Contrast.
The same then, if we're to make it any good, must be true of our lives.
To embrace our nightmares - to let them have their way with us. But not to let them swallow us up.
To breathe them in, let them carve out a space, and let them out.
To be left with depths.
Steven writes about his journeys, big life questions, and the occasional terribly embarrassing travel story over at Ink and Feet.
Do you have travel stories you want to share? Email us!
THE HARD THING ABOUT HIRING
THE HARD THING ABOUT HIRING
By Ashley Nowicki - Director of Talent, Working Not Working
“Take care of the people, the products, and the profits—in that order” – Ben Horowitz
There are two things that are inherently true about Ben Horowitz. Number one, he has phenomenal taste in hip hop music. Number two, every person who has ever set out to build a team or a business should read his book, “The Hard Thing About Hard Things”.
Horowitz doesn’t give the audience some bullshit guide on becoming successful, claiming that hard work is all it takes or that a little bit of luck goes a long way. He talks about what it’s actually like to be down in the trenches, (practically) naked, and what to prioritize when you’re completely surrounded by failing circumstances.
There is one particular theme that is carried throughout the book, more subtle in some places than in others. Horowitz consistently brings his experiences back to the people around him, to his trusted colleagues and to the hiring process. The book goes on to say that, “taking care of the people is the most difficult of [the people, the products and the profits] by far but if you don’t do it, the other two won’t matter."
Ten years ago, it felt like advertising was in its prime, at least in its digital prime. The internet was ammo for creative ideation across brands, services and platforms with sky-high profits to be made. From a recruiting standpoint, it was like the wild west. A handful of the best ad agencies working on the most daring, innovative and sexy brands kicked their feet up on the table and expected people to do whatever it took to get noticed by the agency. AND IT WORKED. Ad students, junior creatives and even those with years of industry experience slaved away, coming up with bat-shit-crazy ways to get noticed to prove they could come up with more bat-shit-crazy ideas for clients.
But then around 2010, the other two things that Horowitz addresses, the product and the profit, started shifting at ad agencies. Brands recognized that they could talk about themselves and their products just as well or even better than their agencies could. Creatives no longer wanted to sacrifice their lives to push work they didn’t believe in. They were sick of being bait-and-switched, receiving empty promises to work on this client or build that team. To put it simply, creatives grew tired of not being taken care of. They realized they weren’t number one next to product and profit so they opted for a different path.
Some creatives started working in-house for companies that still placed high value on branding and storytelling; they just realized they could do it themselves with a few strong creative partners (and without a lot of external overhead). As the death of AOR continued, other creatives went to production companies where they could stay closer to creation but also to ideation, as more in-house branding teams collaborated directly with production houses to bring ideas to life. Creatives have also started their own studios and some have committed themselves to the freelance lifestyle. These paths all allow creatives to sit on a different side of the table than they're used to. They work with the vendor or have become the vendor. These options also give creatives the freedom to call their own shots as they work on a project-by-project basis, deciding which clients or projects they take on and when.
The professional landscape for the best creatives is bigger and stronger than ever. Ad agencies used to only compete against other ad agencies for the best talent. Now, agencies are up against their own clients and vendors for that same talent. Companies are also up against the entrepreneurial spirit and the freedom of choice: where to work, what to work on and when to take a three month vacation.
Creatives now have their feet up on that same table employers once did, instead watching the companies try to prove they are daring, innovative and sexy enough to be noticed. AND IT’S WORKING. In order for companies to keep the people they fought so hard to get, they have to put their people first. Because if they don’t, another employer will. Even if that employer ends up being the creative themselves.
Ashley Nowicki is WNW’s global Director of Talent based in Los Angeles. If you want to follow the adventures of the biggest, coolest dog ever check her (and Tonka) out on Instagram.
PROFILES OF THE WEEK: AUGUST 17TH
PROFILES OF THE WEEK: AUGUST 17TH
The Top Profiles of this week are from brand new members who just joined us last week. We wanted to throw some love to these additions to our community as their work (not to mention their mini-books!) are taking WNW to the next level. They may be WNW rookies, but they can teach us all a thing or two.
Yulia Ruditskaya, Animator. New York.
Kruella d'Enfer, Illustrator. Lisboa.
Rob Engvall, Designer. New York.
Tomer Lerner, UX/IA Designer. Tel Aviv-Yafo.
Kris Wong, Art Director. Brooklyn.
Emilie Talermo, Producer. Los Angeles.
Scott Kosman, Creative Technologist. Amsterdam.
Danger Bea, Copywriter. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Image by WNW Member #2782 Shane Griffin
MIXTAPE: IN THE MOOD...TO GET CREATIVE
MIXTAPE: IN THE MOOD...
TO GET CREATIVE
WNW members often generate their most stunning work by getting into a creative rhythm, at the most random hours of the day. Naturally, many of them accomplish this through music. WNW HQ has put together a mixtape built by a group of WNW members who each picked a song that fuels their creativity. Give this a spin, wherever you are; it just might help you finish off the week strong, with a cymbal crash, trumpet solo, or even a groovy falsetto. It's all here.
Eventually - Tame Impala (Shane Griffin)
Let's Dance - David Bowie (Pawel Nolbert)
La Chanson De Prévert - Serge Gainsbourg (Etan Nechin)
Where is My Mind - Maxence Cyrin (Caitlin Guendelsberger)
Prelude No 1 in C Major - Bach (Jess Price)
Easy - Son Lux (Amelia Stier)
Satori Pt 2 - Flower Travelin Band (Cun Shi)
Bamboleo - Gipsey Kings (Marta Yarza)
Flamenco Sketches (Alternate Take) - Miles Davis (Thierno Bah)
Divino Maravilhoso - Gal Costa (Felipe Rocha)
Are you a WNW Member who wants to share your creative theme song? Email us.
Design In Unusual Places: The Taxi Fabric Project
Design In Unusual Places: The Taxi Fabric Project
Imagine stepping into a taxi and being transported to another world. WNW Member #5027 Sanket Alvani has done just that. He created an initiative that gives designers a platform to tell the stories of their cities through the unusual medium of... taxis. Because the perception of design as a profession is rather marginalized in India, Sanket was eager to demonstrate the impact it can have. A former engineering student, Sanket took the courageous step to pursue a path undefined, and finding his way as a designer in Mumbai opened his eyes to the opportunity to elevate it.
What started as a simple blog is now a full-fledged platform for designers in Mumbai to showcase their work on a taxi seat cover. Although a lot of attention is given to each taxi by its driver, to make it stand out from competitors, very little thought is given to the fabric used on the seats. The designs that cover the taxi seats are often dull and forgettable.
Sanket told us, “We put two and two together and started connecting designers with taxi drivers - turning seat covers into canvasses for young Indian designers to show off their design talent and storytelling skills. Each taxi is fitted with an identity label which tells anyone who rides in the taxi the designer behind the Taxi Fabric, the story of the design, and also how to get in contact with them for collaborations or commissions." The project was featured as a Kickstarter Staff Pick and exceeded Sanket’s fundraising goal. Excited to see how it grows and where Sanket takes it next!
What's your background?
I studied engineering and happened to learn design on my own. Software and computers were new and almost like a trend at the time so I began to teach myself. While studying engineering, I started freelancing as a designer. Post engineering school, I went to a communications college and switched to advertising. I spent about four years in Mumbai as an Art Director and am now at Wieden + Kennedy in a more design/art direction role.
What did your parents think when you didn’t pursue engineering?
No one has ever asked me that! [Laughs.] They didn’t really understand... not sure if they do now.
It's very Indian to have a safe profession. I’m not sure I was fully aware of what I was doing then, to be honest. They always backed me up in what I wanted to do, and that is the only reason they were okay. They thought I would probably learn from my own mistakes.
I’m still deeply interested in technology, it’s just not what I thought engineering would be. It was a lot to do with information technology. I don’t think I was really interested in the theoretical. Art was always my hobby. It was more of a mistake to take engineering but better late than never.
How did you get the idea for The Taxi Fabric Project?
I started a blog taking pictures of the covers. It was a basic instinct as a designer and then started to evolve and develop over time.
What is most meaningful to you about this project?
The conversations I had early on with these taxi drivers. I realized that nobody is actually having a conversation with them about the seat covers that are being supplied to them. It meant that they weren’t really made for them, it was just passed on. When I engaged the drivers, they suggested what they would like. It was so simple and so ripe for designers to have that conversation. The full dialogue that has now started to happen with the designers and the cab drivers has been really interesting for us. I keep talking to the drivers and find the way they give feedback really interesting.
How is their feedback versus say, a client's?
Way happier! The feedback is plain, it’s simple. It’s just how they feel about it and that’s it. They don’t get into the details. It’s just how they feel.
What's been the most challenging thing about this project?
The durability and functionality of the fabric; keeping it clean, mending it. We have a six month expiration date for the fabrics though we're working to improve that. All of us are working on this as a side project but our producer gives a lot of her time since she’s the one actually in Mumbai.
Any favorite designs?
The beauty is that they are all different and that each designer brings something new and fresh. No favorite but we tend to be surprised every time we collaborate. You don’t expect designs to speak to you in that sort of environment but they do.
What advice can you can give to other members considering crowdfunding?
It’s really hard. The idea that you can simply put it on Kickstarter and it will get funded is absolutely destroyed in my head. That’s really not how it works. You have to push it outside of Kickstarter. When and if people start talking about it, that’s how you get it. One thing I want to mention is about the guidelines from Kickstarter: they give a lot of guidance on how to maintain a clean campaign. If you follow it, it helps a lot. Instead of listening to just anyone’s experience, listen to Kickstarter.
What's next for you?
A lot of people have asked where else I’m bringing this. I have that in my mind - I think it could work anywhere! Though the purpose of doing it in Mumbai would be different, I think it could work in London or New York.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: AUGUST 10TH
PROFILES OF THE WEEK:
AUGUST 10TH
"You know when the Internet just humbles you? That’s the feeling I get when I see her work. It’s seeing an idea you wish you had first. Smart, elegant, engaging and executed like a pro."
Check out this week's Top Profiles of the Week, selected by fellow WNW members.
Claudio Salas, Animator. London.
"Claudio Salas is a talented and prolific artist, animation director, animator, motion designer, and so on. He can do it all and he does it really well. He's always kind, respectful and shares his skills with others. I had the chance to work with him in-house and remotely and he constantly shows commitment and a good attitude." - Thierno Bah
Federico Landini, Designer. Firenze, Italy.
"In designing fonts and making brand identities, he is one of the best in my opinion." - Leonardo Betti
Jennie Hayes, Copywriter. Portland.
"W+K alum killing it as a freelancer for 3+ years strong!" - Kristina Mueller
Hick Duarte, Photographer. Sao Paulo.
"Hick is a photographer originally from Brazil but he's always on the go. It makes me feel so jealous but it's ok 'cause his work is awesome." - Felipe Rocha
Vikram Sharma, Copywriter. Los Angeles.
"This dude. Humble and madly talented master of the written word and overall hella creative." -Emnet Mulugeta
Lotta Nieminen, Illustrator. Brooklyn.
"You know when the Internet just humbles you? That’s the feeling I get when I see her work. It’s seeing an idea you wish you had first. Smart, elegant, engaging and executed like a pro." - Kristin Philbin
Markus Hofko, Art Director. Aukland.
"He is a very talented designer and director… and also a fantastic musician." - Sebastian Onufszak
Think your profile should be featured? Email us!
MEET #7716 VANESSA MCKEOWN
MEET #7716 VANESSA MCKEOWN
Illustrator • London, UK
WNW Member #7716 Vanessa Mckeown is a newborn freelancer, having just left Fallon last week. The London-based art director/photographer divulges some delicious insights into her ongoing series playing with food, and reveals some of her pop culture influences.
Vanessa also shares advice she'd give to her high school self: "If you're moving into the art/design world, grades aren’t important. It’s the work that counts. Do what you love and everything will have a way of working itself out."
Also, sprinkles make her happy.
How long have you been freelancing?
I just started this week! I was working full-time at Fallon last week.
Is there a time or place that you feel most creative or have the best ideas?
It’s always when you least expect it. Like when you’re on the loo or when you're falling asleep. Basically when you can’t write it down!
What's your ideal Working:Not Working ratio?
I take it as it comes so it’s always changing.
Do your parents understand what you do?
I don’t think so, they are very old school.
What scene from a movie makes you laugh just thinking about it?
It’s not a movie but Snuff Box makes me laugh so much. Especially these scenes.
If you were stranded on a desert island, with your computer, what three websites would you take with you?
Youtube - For entertainment
Google - It has all the answers
Tumblr - Keep my blog updated :)
What do you do when Not Working?
I usually work on my own stuff and try new things out. If I’m not doing that I usually go running, or watch repeats of The O.C.
Do you have a hidden talent?
Getting really good cheap holidays. I get really obsessed and search the whole Internet. So I guess I could be a very talented travel agent…
Any tips or advice for fellow freelancers?
Meet lots of people!
What's your favorite thing on the Internet this week?
I love this Instagram - it really makes me laugh
Any WNW members whose work you admire?
I love Aleksandra Kingo's work.
Where did the inspiration to work with food come from?
I think it comes from it being so visually appealing and I guess I tend to go towards what I think looks pleasing. I love strawberries and bananas.
Any favorite pieces of yours?
I liked the Good Gone Bad mushroom where it looks like a sprinkled doughnut. Sprinkles make me very happy.
Jessica Walsh posted one of your pieces on her Instagram recently. Did you know her before?
I’ve always been a fan of Stefan Sagmeister since art school, and I love their work together. I came across it by mistake and when I saw it, I had a celebratory cup of tea and cake at 10pm. Ha!
It made me really happy that someone I admire would like my work. It’s cool how she posts other people’s work. More people need to share the love : )
Bonus round time!
What did you want to be when you grew up?
A lawyer. I thought I was really good at arguing. I’m not any more!
Two truths and a lie:
1. Once I made gingerbread house that was A3 sized.
2. I accidentally used eyelash glue in the shower.
3. I’ve got a cat called Yoghurt.
Last things you Googled:
1. Daily Mail (don’t judge me! )
2. Tumblr
3. Tesco Groceries
What’s in your bag right now?
Moisturizer, two hard drives, a t-shirt, keys, tea bags, USB sticks, and hair grips.
Top pop culture influences growing up:
The Simpsons, Fresh Prince, Friends.
Cities you’ve lived in, summed up in one word:
I’m from Wolverhampton, summed up in one word would be "sketchy."
Dream place you’d like to move:
I would love to move to California! I love San Francisco and Palm Springs.
Current music obsession: what do you have on repeat?
Death Cab for Cutie! Reminding me of being 17 again : )
Best social networking site:
I love Instagram
Favorite quote:
I love Steve Jobs quotes :D
“Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart.” I love this one. It’s a bit extreme but I think it’s important when showing work. It doesn’t matter what anyone thinks because one day we won’t be here so you might as well just go for it.
And this one Alain de Botton wrote: “Anyone who isn’t embarrassed of who they were last year probably isn’t learning enough.” I'm happy to say I'm very embarrassed of who I was last year.
You gotta love quotes.
Advice you would give to your high school self?
If you're moving into the art/design world, grades aren’t important. It’s the work that counts. Do what you love and everything will have a way of working itself out.
Anything else you'd like to add that we haven't asked?
Everyone should read Show Your Work! a book by Austin Kleon. It’s life-changing.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us.
FROM COMMUNE TO COPYWRITER: ETAN NECHIN
FROM COMMUNE TO COPYWRITER: ETAN NECHIN
WNW Member #2960 Etan Nechin grew up in an artist commune in Israel. He started his career as a musician but after getting injured in a surfing accident found himself writing. Less than a year later, Etan packed his bags and headed to London. And thus, a copywriter was born. Etan describes his upbringing as "Fellini-esque" and marvels that his entire village could fit in one subway car. Being the son of an artist, and one who straddles the worlds of art and commerce, Etan has strong words about the source of creativity:
"I think the most important lesson is that creativity is not a gift, it is a skill. My dad raised three kids with his art. It is not about finding that moment when the muse hits. Fuck the muse! She’s a fickle one. Always gone when you need her, always there when you brush your teeth two minutes before you go to bed. Creativity is simply a way of looking at the world from different angles. The more open you are, and the more you work on it, the better creative you’ll be."
Tell us your story! Who is Etan Nechin and how did you get here?
If I could describe where I come from in one word, it would be Fellini-esque. I grew up in an artist village in the northern part of Israel, and when I say a village, I mean that in my regular New York morning commute, there are more people on one subway car than in all of my village. Professionally my first creative gig (music) was with a fringe theater group that years later I also did sound design for. I was 7 and performed on the flute in one of their shows. Even got paid!
I was a professional musician before I started writing. I got injured in a surfing accident and couldn’t play for a year, so I thought to myself, “What the hell else can you do?” So I started writing. My first paid writing gig was for a blog about baby names!
I went to art school in London, concentrating on writing and film. There I wrote for magazines. One of my editors always criticized me because my headlines were too pithy (which I guess was a sign.) When I finished my degree, I met a producer in Berlin who brought me to New York to write a film. That’s how I met fellow WNW member Nathan Avila, who was a Creative Director at a small shop in the city. For some reason, he hired me as a freelance copywriter. That was the first time I was in an office. I was 28.
Advertising was a weird and foreign world to me, but I liked it. After creating a campaign for the movie Ted, they let me go and I started to look for another gig. But I had no real portfolio to speak of. So I found a recruiter at mcgarrybowen online and sent her a postcard I found in a junk shop. I can’t remember what it said, but it was on a cheesy postcard from a Sheraton in Helsinki in the 1970’s. To my surprise I got a call two weeks later. I was at mcgarrybowen for a year and a half, working on campaigns for Verizon, 7up, Droid, and was on the team that won Maserati (yay fast cars!)
So I guess I’m creative by default. It’s like if you come from a family of bankers, or republicans—you just can’t help but becoming one yourself.
How did you start freelancing?
I left mcgarrybowen in December 2014 and have been freelancing ever since. I love freelancing because it allows me to work in amazing shops and do big campaigns, as well as projects that are not advertising-related. I published short stories in literary magazines, which led me to a summer graduate program at the Iowa Writers' Workshop. This year I took some time off advertising to work on a script for a performance-installation piece for the Slovenian Pavilion at the Venice Biennial. It was amazing!
I guess that's what makes me creative, and that’s why I love freelancing so much. Freelancing is not a job—it is a state of mind. It’s getting excited every time you step into a new unknown office, not really sure what you’ll be working on, not really knowing the culture of the place, not knowing who your partner is. It keeps me on my toes, and lets me challenge myself creatively. That’s how I find inspiration: by meeting new people, discovering new ways of thinking, and finding new ways of communicating to different audiences, from car enthusiasts to upper-middle-class Chinese families (I worked on a pitch for a Sony handheld camera for the Chinese market.) I can’t fathom going full-time ever again.
With your artistic background, how does advertising fit in?
Advertising for me is a great hybrid of creativity and communication. It is a challenge to find that right balance between being insular or too broad. That is what I try to do in my work.
What are some of your favorite things you've worked on?
I am always looking for the next project that will excite me. My two favorite advertising projects couldn’t be more dissimilar. The first is a sound installation I did for Maserati, and the second is a campaign that was a spoof on the Winter Olympics starring Kevin Hart.
Enough of the professional stuff, what do you do when you're not hustling?
When I’m not working I surf, travel, grow tomatoes on my roof, and try to learn new languages. At the moment it’s Spanish. It’s going muy mal.
What lessons can be learned from growing up in an artist village? Any particular stories that shaped you personally and professionally?
I think the most important lesson is that creativity is not a gift, it is a skill. My dad raised three kids with his art. It is not about finding that moment when the muse hits. Fuck the muse! She’s a fickle one. Always gone when you need her, always there when you brush your teeth two minutes before you go to bed. Creativity is simply a way of looking at the world from different angles. The more open you are, and the more you work on it, the better creative you’ll be.
The downside to an artist village is that it's a small-ass place and everyone gets into everyone else’s business. Secondly, artists can be self-absorbed, small-minded egomaniacs. In one gallery opening, I swear I overheard someone saying to their friend, “The art’s shit, but the cheese plate is amazing!” That’s how you spot a real artist. They won’t be admiring the pictures-- they'll be hounding the free wine.
After you got into a surfing accident, what was the impact of not being able to play music?
That was a pretty dark time. When you no longer have the main tool for you to communicate with the world, you shut down. I simply severed my connections to my musical past, worked in bars, and did nothing. After a year of just meandering, I came up to visit my parents. I stayed there for almost a month just reading, swimming in the ocean, and started writing again, this time with the intent of making something out of it. I went back to Tel Aviv, somehow applied to schools in the UK (till this day I don’t know how…), and was accepted into this really great art school. I took out a loan and left Israel four months later. I haven’t played professionally since then but recently I was thinking of kindling that part of my life again.
How did your family react to you leaving for London?
I was living in Tel Aviv at that point and basically I just up and left. I had to get some distance, find my own voice, as a writer, creative, and person.
Which films and filmmakers have most influenced you?
Oh wow, ok. So when I was growing up in Israel, there was only one channel on TV. 100% rating! Every Friday night they showed a movie, usually a classic. Also, we had like ten video cassettes we would watch over and over again. So basically I grew up on The Marx Brothers, Mel Brooks, all the epics (Charleston Heston is the man.) In the past few years I really got into Kusturica, who tells stories like no other.
In your nomadic life, where do you feel most “at home”?
I think I feel most at home wherever I manage to build a small community of friends, when you are past that “let’s get together for drinks” phase, and can just call each other in a moment’s notice, just to hang out. That said, last year while in Iowa, there was a war in Israel. The tranquility of the Midwestern air just strengthened the feeling of being so far away from my family who still live there.
Bonus round time! Two truths and a lie:
1. I dropped a tray of champagne glasses in front of of the Duke of Edinburgh (the Queen’s husband), while working as a bartender in London.
2. I was bitten by a viper, was allergic to the anti-venom and was in an induced coma for almost a month.
3. While shooting with Kevin Hart, I saw he was wearing a really dope sweater. As he was doing one of the scenes, I noticed the sweater just lying there. So I grabbed it (Kevin, if you are reading this, yes, I DO know where your sweater went!)
Last things you Googled:
1. New comment shortcut on Microsoft Word (Microsoft Office, you are the worst!)
2. What Zeppelin album “Kashmir” is from
3. Neckbeards (I did not know so many people walk amongst us sporting that awful awful look)
4. Things to do in Beacon (My parents were in town. They were on vacation which meant that I was on duty.)
Other WNW members you admire and why:
1. Yomar Augsto - motherfucking talented illustrator. I love his energy. He’s always on, positive. I think he sleeps an hour a night.
2. Mark Lowe and Russell Heubach - These cats, along with Mark Koelfgen (Mcgarrybowen CCO), took a chance on me, challenged me to be better, to really think not only about what I thought was cool, but also to listen to the client, and guide them to where you think they should be. Also, they always pick up the tab!
In one word, describe each city you've lived in:
1. Ein Hod, Israel - Feral
2. Tel Aviv - Kaleidoscope
3. Washington, DC - Why?
4. Berlin - History-channel-with-a-techno-soundtrack (I know, I know.)
5. London - Pints
6. New York - Tinnitus
What advice would you give to your high school self?
Take what comes naturally, focus, and fuck what everybody else thinks. Also, that girl who you think looked at you during lunch but you're not really sure because your friend told you that she likes some other guy? Yes, she did. So get a haircut and go talk to her!
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: AUGUST 3RD
PROFILES OF THE WEEK:
AUGUST 3RD
This week's Top Profiles are handpicked by WNW Members who have already been featured and want to pay it forward. Thanks for spreading the love!
Anthony Falvo, Copywriter. New York.
"Dude's a good time. I mean, I'd totally hire / hang out with him. Along with being a great human, his work is great too." - Caitlin Guendelsberger
Aleksandra Kingo, Photographer. London.
"I love her colors! Wish I could work with her." - Felipe Rocha
Mark Lowe, Copywriter. New York.
"Fucking PRO! He's one of those CD's who will hound you because he knows what you can really do when you stop fucking around and dig deep." - Etan Nechin
Yomar Augusto, Designer. New York.
"Yomar is a brazilian living in NYC. I discovered his portfolio when I started at the university and since then his work keeps inspiring me." - Felipe Rocha
"Amazing designer and illustrator. His lettering is sick. Unending energy. Positive vibes. And he's fron Rio!" - Etan Nechin
Kayla Kern, Designer. Brooklyn.
"This girl drops a ray of sunshine to everything. Her attention to detail is divine and she is a great person to collaborate with. Her work is a colorful breath of fresh rainbow and she doesn't disappoint." - Ashley Huhe
Ray Oranges, Illustrator. Firenze, Italy.
"He has a minimal style but with great taste about using colors and creating compositions." - Leonardo Betti
Jess Price, Copywriter. Portland.
"W+K alum killing it as a freelancer for 3+ years strong!" - Kristin Mueller
Tomomi Maezawa, Designer. Treviso, Italy.
"Tomomi describes herself as a graphic designer, futurist and post modernist. I think I agree with her :)" - Felipe Rocha
Think your profile should be featured? Email us!
MEET #6586 GUILLERMO TORRES
MEET #6586 GUILLERMO TORRES
Designer • London, UK
Originally from Valencia, Spain, WNW Member #6586 Guillermo Torres is now a freelance designer operating out of London. Guillermo lets us in on his creative process: "I have to be focused and working to create, so rather than looking for random inspiration I prefer to put my hands on a notebook or do research about the project itself."
1. How long have you been freelancing?
I have been freelancing for almost 4 years now, with a one year gap working in a London design studio.
2. Is there a time or place that you feel most creative/have the best ideas?
These days, place is not as relevant anymore; apart from having a desk with a good computer, you can work almost anywhere. And about time, as the famous quote says — "One percent inspiration, ninety-nine percent perspiration." I have to be focused and working to create, so rather than looking for random inspiration I prefer to put my hands on a notebook or do research about the project itself.
3. What's your ideal Working:Not Working ratio?
I would say 65/35, trying to keep the balance between work and free time, everybody needs some mental and physical rest in order to be more creative and enjoy the work they are doing.
4. Do your parents understand what you do?
Well, I think they do know, not in all the complexity of what is an Art Director/Designer but after 10 years they are getting there. From time to time I try to show my parents what I've been working on lately to share with them a bit of my professional live.
5. What scene from a movie makes you laugh just thinking about it?
I always loved Little Miss Sunshine, and particularly the beauty contest scene, almost at the end of the movie, when Olive jumps on the stage and starts performing in a "Superfreak" striptease style that she learned from her grumpy grandfather. An amazing societal criticism in a beautiful and satirical scene.
6. If you were stranded on a desert island, with your computer, what 3 websites would you take with you?
Extremely well-curated design blog: http://www.thisiscollate.com/
Reality through a camera: http://time.com/photography/
Some Fun! http://poorlydrawnlines.com/
7. What do you do when Not Working?
It depends on the time of the year and the weather, but mainly discovering new beers with friends, cycling, travelling, reading, enjoying gigs, doing some exercise and watching movies or TV shows.
8. Do you have a hidden talent?
After years practising maybe I can sing any phrase you can say in any existing style. Quite fun at the beginning and so annoying after a few!
9. Any tips or advice for fellow freelancers?
I guess I'm gonna say the most common advice but also the most important, keep the passion for what you do and the hard work, the rest will follow. Sometimes being a freelancer is not the easiest but for sure will be worth the effort.
10. What's your favorite thing on the internet this week?
People of the internet never stop amazing me, and the Greek Bailout Crowdfunding has reached almost 2 million euros.
11. Who are some other WNW members whose work you admire, and why?
Friends and really good designers like David Navarro, for his eye for detail and we are from the same city — Valencia, and Genis Carreras a passionate designer who I've worked with in London.
12. Anything else you'd like to add that we haven't asked?
My favourite meal, my Mum's Arros al Forn (Arroz al Horno — Oven baked rice). Guys, if you happen to be around Spain, please try to have it, of course not my Mum's ;-) but try in a good restaurant, it will blow your minds!!
More of Guillermo's Work
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HOW SHANE GRIFFIN MADE PHARRELL WILLIAMS HAPPY
HOW SHANE GRIFFIN MADE PHARRELL WILLIAMS HAPPY
WNW Member #2782 Shane Griffin teamed up with Pharrell Williams and Penguin and Putnam to create the striking neon cover for Pharrell's upcoming book "Happy". The book, which hits shelves October 6th, brings the beloved song to the youngest of readers across cultures, celebrating what it means to be happy. Shane opens up about the process of designing the cover of "Happy", and Pharrell's main request: "He wanted the image to evoke a ‘feeling’, he wanted it to feel happy, rather than to be a big obvious smiley face." We also aimed to find out what happiness means to Shane, and if "Happy" plays on repeat in his happy place. Happy Wednesday!
Are you a big Pharrell Williams fan? Did you play "Happy" on repeat while you designed this book cover?
Pharrell is an inspirational dude, for sure, I mean the guy has been one of the most influential figures in pop culture for years. I was close to working with him on an Adidas project last year which unfortunately fell through, so it was great to get a second chance to work with him on this. Safe to say I’m a fan. I didn’t bump "Happy" when I was making this, though. Sorry, Pharrell.
How'd you come up with the look and feel? Was Pharrell involved in the process?
He was involved, but he’s a very busy guy, so not overly. His only main comment on the look of this was he wanted the image to evoke a ‘feeling’, he wanted it to feel happy, rather than to be a big obvious smiley face. I had a pretty clear idea from the guys at Penguin as to where they wanted to bring it; they wanted a lowercase childish font, but created in a modern bright space. They also were set on yellow as the key color.
Did you go through a bunch of different looks, or did you know the direction you wanted to go in right away?
Like every project, my first direction was probably miles away from the final piece. Creating a yellow neon on a white wall is no easy task, especially in print form. Nothing glows more than white, so you always fight with the background being a lighter tone than the neon. I went through probably 20 iterations of the cover, different wall textures, different floors, many many different neon looks.
What was the biggest challenge?
The biggest challenge was making the type legible when it’s tiny. It’s nearly impossible. Neons are tricky when they’re small, there’s a lot of detail and light spill crammed into a small space, it can get very busy. Balancing the colors is tricky also, so I had to test it on several screens / color spaces / print formats. We even experimented with fluorescent inks. What looks good on screen doesn’t always look good on paper!
This book is all about celebrating what it means to be happy. What does happiness mean to you?
Just to see people making the most of their life, fulfilling it with whatever they’re passionate about.
Where's your happy place?
On the beach with the dog.
Of all the amazing projects you've worked on, which one makes you the most proud and why?
The Sneakerball Sculpture for Nike was fun, I’m proud of that for a few reasons. Firstly, it was actually a very tight turn around, so I’m proud of what Nike and I accomplished in that short space of time regarding the modeling and design of the sculpture. Everybody went above and beyond to make it happen. Secondly, the social interaction was cool. I was watching the Instagram feed for the event, and it was a great feeling to see people enjoying the sculpture and taking photos with it. The final piece really felt one of a kind.
Besides "Happy", what's another song that gets your spirit up?
I’m really enjoying that new Tame Impala record Currents at the moment.
Anything else you'd like to add?
I’m Drake's ghostwriter.
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PROFILES OF THE WEEK: JULY 27TH
PROFILES OF THE WEEK: JULY 27TH
"The humility is infuriating and the work is titanic."
You can't get a review much better than that. This week's best-in-show profiles come to you courtesy of WNW Members Erica Gorochow and Charlie Whitney. As part of last week's interview about Specimen (their recently launched game collaboration), Erica and Charlie were quick to sing the praises of other members in the WNW community. We were so touched by what they said, we had to share it with you.
Philip Sierzega, Designer. Brooklyn.
"Rad motion and graphic designer who is an amazing collaborator for coders. One of the few who really understands interactive inside and out."
Michelle Higa Fox, Animator. Brooklyn.
"Michelle Higa Fox is a boss. She always gives me the best advice on mixing art and business. I like that she can combine stop motion with interactive. Super wide range of skills and talents."
Daniel Savage, Illustrator. Brooklyn.
"Routinely jealous of Savage’s color combos. I admire that he’s always evolving his career and constantly coming up with side-project schemes."
Adam Plouff, Motion Designer. Atlanta.
"Not afraid to get deep with expressions or do cel animation. Amazing eye for detail and takes a lot of pride in his work."
North + Nomad, Director. New York.
"Directors extraordinaire on the move. Solid gold."
Evan Anthony, Designer. New York.
"The humility is infuriating and the work is titanic."
Carl Burton, Animator. New York.
"Carl once beat the devil in a fiddlin’ contest and all he asked for was to be a dope animator. I feel like he should have asked for more, but hey."
