If you've ever tried printing on a shirt and were sorely disappointed by how it turned out, you're not alone. But then came Print All Over Me, a creative service that allows people to turn their designs into real world objects. PAOM brings out the wannabe fashion designer in all of us. And with their super high-quality neoprene fabrics, modern silhouettes, and frequent artist collaborations, PAOM makes it really hard to keep your wallet closed.
Read MorePROFILES OF THE WEEK: NOVEMBER 9TH
PROFILES OF THE WEEK: NOVEMBER 9TH
Alex Poole, Producer. New York.
Dawn Yanagihara, Designer. Portland.
Jeanne Pope, Photographer. Detroit.
Ross Cairns, Creative Technologist. London.
Janine Rewell, Illustrator. Helsinki.
Kitkat Pecson, Illustrator. New York.
Mike J. van Heerden, Designer. Durban.
Steve Babcock, Copywriter. Boulder.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
BLOODBATH: THE HALLOWEEN HANGOVER
BLOODBATH: THE HALLOWEEN HANGOVER
WNW Member #3808 Josh McKenna and Ed Tuckwell have planned a week-long exhibition which is being held at the fantastic Church of London’s 71a Gallery starting this Thursday, November 5th. It's not only a great location for an exhibition, but an established and respected agency within the creative industry. TCoL houses a gallery, bar, and shop space in the heart of Shoreditch, the stomping ground for all things creative. Josh and Ed have put together a killer line up of 30 artists, some of which include WNW Members such as Cachete Jack, Jamie Jones, Janne Iivonen, Sara Andreasson, Jordy Van Den Nieuwendijk, Ray Oranges, and Jonathan Calugi.
In Josh's words, "Bloodbath: The Halloween Hangover fuses an eclectic roster of established and emerging artists from all corners of the illustration underworld, in a bid to discect the uncanny, and explore all manner of weird and dark subject matter that keeps us up at night."
Prints and secret items will be up for sale, alongside a vibrant exhibition of poster art. So help nurse your candy hangover with a bit of art!
WHO: Co-organized by WNW Member #3808 Josh McKenna, and featuring 30 artists.
WHAT: Bloodbath: The Halloween Hangover is an exhibit of Halloween-inspired illustrations.
WHEN: November 5th-12th
WHERE: 71 Leonard St, London EC2A, United Kingdom
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
SET THE WORLD ON FIRE: MACIEK JASIK
SET THE WORLD ON FIRE:
MACIEK JASIK
"I don’t always get away with what I want."
WNW Member and Photographer #3769 Maciek Jasik spends much of his days setting off fireworks and smoke bombs, all in the name of art. Maciek came from Poland to the United States at the age of six, sponsored by the Arkansas Catholic Church. He speaks deliberately, fully articulating his words in a way that English-as-a-second language speakers are apt to do. Maciek is equally thoughtful in his work. He is playful in his purpose, experimenting with color and light in novel ways. Just don't call it psychedelic.
Like so many in this community, Maciek's path to freelance photographer was nonlinear. Maciek attended Johns Hopkins for political science and pre-law, though any legal aspirations evaporated upon taking his first law class. He then became a writer and editor and soon found himself teaching English in Japan. While in Japan, Maciek says he became overwhelmed by being in such a visually stimulating environment, which lead in turn to the pursuit of photography.
We spoke to Maciek about some of his favorite work, why he considers painting to be inspirational and devastating, and how he balances commercial work with personal projects. So much of what Maciek does requires his subjects' participation and a willingness to just 'see what happens.' However sometimes when there's smoke, there might be fire: “The second I got the image, the smoke alarm went off. I had to explain to the person I was staying with that there was no fire, that I was just shooting with smoke. Thankfully he was incredibly nice about and he really liked the image.”
Are your parents in the creative world? Do they understand and support your decision to not be a lawyer?
I think my parents as immigrants tend to be practical and as the next generation I'm less practical. They both paint in their spare time but they chose to be much more practical. So when I first started doing photography, they were a bit skeptical. But once I showed how determined I was, and I started getting more commissions, I think they realized how real the situation was.
Is it important for you to be a freelancer rather than going in-house?
It's really important for me to be freelance to have the time between projects to develop my own projects or do research. There's more and more full-time work being done in photography, especially since more and more businesses like fashion houses develop their own in-house studios. But in a sense that's kind of a dead-end because once you decide to do that, you really have no other options. You don't have any other content really that you can provide. But I understand that certain people have economic constraints that force them into that position. There's no judgment made, but for me I don't see any way besides freelance to really be able to do what I want to do effectively.
How would you describe your own work? How have you heard it described?
I've heard it described in ways that kind of unsettle me. People say things like "psychedelic" which I don't see or understand. But I think it's an interesting aspect that when people are presented with vibrant color they react in a series of different ways. I use color because for me, it's very emotional. People have a very strong response to it, so I use color to make landscapes and faces and bodies surreal and different and unexpected. When I meet people, I tell them I work in color, and that seems like a very simple response to them. But as they soon see, it is much more complicated.
How has your photography evolved over time?
It took a really long time to go from being an amateur to I guess a professional. You go two ways: you either imitate somebody, or you try to do something different. Doing something different is far riskier, far more difficult. I think commercially it's much easier to say you're the poor man's David Sims or Steven Meisel but i think it's much more rewarding to do something on your own. So it took several years for me to come into my own. I started shooting my A Thousand Souls project, my color portraits, in 2009, and that was kind of my break into doing my own aesthetic. But it took a few years before that really caught fire and allowed me to do things either commercially or otherwise besides working on my own.
Do you dabble in film as well?
I was actually a double major in political science and film. My first obsession really was film. I'd watch two to three films a day for months. There was a period after school when I lived in New York and I watched I think a film every single day for a year. And then I got completely burnt out. And I don't actually watch that many films anymore.
But I've started making video. I made a skateboarding video in Los Anglees in an abandoned mall. We strapped fireworks to my friend's skateboard and we did all kinds of tricks. I'm starting to work in film, but it's a very different application. The way you approach still image versus moving image is so different. With film you're taking all of these pieces of a puzzle and putting them together, whereas a still image is the entire puzzle. You kind of have to rewire your brain. So I'm in the process of doing that.
What have you gained from your experiences shooting commercial photography?
Commercial photography has really taught me how to perform under pressure, to stay calm, to stay focused, to understand what shots you can get safely, what you can risk, what you can't risk, how to maintain your composure so no one has any idea how disastrous things could possibly be... And that's really taught me a lot and really helped me in my own personal work.
What's your ratio of commercial work to personal work?
I used to have a ratio probably 95% personal, 5% commercial. Recently, I've become a lot busier, so it's probably been 95% commercial really. I've hardly had any time. I was traveling to London for Wired UK, I had a story for Huffington Post in Alabama, Fast Company in Phoenix. An ideal ratio is probably 50/50 but you have to just take what you can get, and when it rains it pours so I'm happy to work.
Some of Maciek's Favorites:
Claire Wasserman is the Director of Marketing at Working Not Working, based in New York and Portland, Maine. You can follow her on WNW and Instagram. Her last article for Free Range was an interview with Kat Gordon, founder of the 3% Conference.
MY BUCKET LIST: ASHLEY HUHE
MY BUCKET LIST: ASHLEY HUHE
Despite the million and a half things WNW Member and Minneapolis-based Designer #7098 Ashley Huhe has already accomplished, her bucket list runs deep. So be it, the life of an ambitious creative. We asked her to share the top things on her list and in true Type-A fashion, Ashley illustrated a whole bunch of them for us.
It got us thinking about our own bucket list, most of which erred more towards Octoberfest than Everest. But hey, if enough WNW Members want to go spelunking, we're down to organize it. You'll have Ashley to thank.
Go Spelunking+Explore a Cave
Hike to Mt. Everest Base Camp
Fly a Plane
Sleep in an Igloo and Watch the Northern Lights
Learn to Do Sewn Book Bindings
Celebrate Oktoberfest in Munich
PERSONAL
Tell us about your background: Who is Ashley Huhe and how did you get here?
I was prophetically professed “Best Artist” in my High School yearbook from a whopping 150 people. Pretty embarrassing these days but my love of making things was always a part of my identity. No vote needed. After a 3-year stint at a public university where I studied abroad in England for a year (aka the best year of my life) I transferred to the Minneapolis College of Art & Design where I spent three years and a semester abroad at the Bauhaus in Weimar, unexpectedly falling in love with the German language in the process. I interned with Printerette Press and had a brief moment of letterpress love. I will always love print, always. I spent a semester interning with the French Alliance of Minneapolis / St Paul and The Thorburn Group after graduation. After graduation I decided to nip one of my bucket list items in the butt and headed to Germany for a year to be an Au Pair and work on my German skills. Upon my return I started to work at The Thorburn Group again. Getting to this point has been a whirlwind of adventure that influences my work in perhaps ways I might never realize.
We love your bucket list! You mentioned accomplishing the bucket list item of living in Germany. Any other bucket list items you've crossed off?
I have a ungodly long bucket list and it grows more than things get checked off. My proudest bucket list “check-offs” include:
1. Living and working abroad to learn another language. After graduating I moved to Germany to be an Au Pair for a year. I met some pretty awesome kids (and adults), experienced the culture pretty in depth, and I am able to carry a pretty decent conversation in German. It’s not fluent but it’s conversational :)
2. I have Norwegian, Czech, English and German roots and I wanted to be able to visit all of these countries. I accomplished this in 2013.
3. I’ve gone out to a nice restaurant for dinner alone.
4. I’ve written a short story.
5. I’ve picked grapes for a vineyard (and no I will never do it again)
6. Win a hula-hooping contest (Ok, I didn’t win but I got 3rd!)
What do you do when you’re not working?
I’m passionate about travelling and so I like to do that as much as possible. I also enjoy hiking and yoga but there are days, however rare, where I stay in, drink coffee, and watch Netflix. I also like to socialize with humans after working on the computer for hours on end.
PROFESSIONAL
What did you want to be when you grew up?
I actually wanted to be a Zookeeper primarily so I could bring baby animals that were abandoned home with me in the evenings.
Proudest career moment?
Being offered work right after graduation.
Biggest career challenge-failure-mistake?
I won’t get into the gory details but I learned not to internalise mean-spirited clients. And sometimes regardless of the client's decisions and wants ALWAYS get a physical mock-up from their printer.
BONUS ROUND!
Last three things you Googled:
1. Where the 2018 Winter Olympics will be held (it’s South Korea)
2. Kittens meowing and talking
3. Macy’s Thanksgiving Day Parade tips
Most significant creative influence, inspiration, or creative hero:
I think this is a melting pot of a couple things. First off travel is my most creative influence but with that comes many things like being outdoors and the textures, colors and shapes of nature. Also, being immersed in another culture and other human lives invigorates the mind and presents some of the most subtle changes in thought patterns that can make all the difference to a creative thought.
Current songs on repeat:
"Christine (Tilted)" - Christine & The Queens
Favorite quote:
Of course it is happening inside your head, Harry, but why on earth should that mean that it is not real?”
-Dumbledore / J.K. Rowling
Advice you’d give your high school self:
Work hard but don’t stress out so much -- it’s going to work out.
Also please don’t try Snus and definitely don’t do it twice -- it’s not going to be less potent in another country and you WILL throw up.
Two truths and a lie:
1. I’m allergic to horses
2. I’ve rode camels and slept in a tent in the Moroccan desert
3. Astronomy was the least useful class I took in College - Lie, it’s been one of the most useful as far as spewing random information out at people.
WNW Member whose work you admire and why:
Annie Ulku - Minnesota girl with some mad illustrative style and type skills
Got a bucket list you'd like to share? Email us!
WE RODE, WE TOURED, WE DRANK: EVENT RECAP
WE RODE, WE TOURED, WE DRANK:
EVENT RECAP
When tokyobike offered to lend us a bunch of bikes, we immediately said yes. Our first thought was to organize a pub crawl but quickly realized that might not be the best idea. So instead, WNW Member #7139 Ken Kirton (of studio and publishing house Hato), helped put together a bike tour of some of East London's most creative shops. A handful of members enjoyed a Friday afternoon of leisurely biking with an exclusive behind-the-scenes look into Kit Neale, Hato, Studio Manifold, It's Nice That, and Michael Marriott. There was also the obligatory bakery stop for some mid-ride refreshments. But no WNW event is complete without a celebratory drink so the day ended at Strongroom Bar where everyone raised a glass to zero bike injuries. We spoke to Ken to hear how it went.
A big thank you to all of our riders, everyone who opened their doors, the weather gods for not raining, and of course to tokyobike, for strengthening our members' leg muscles.
What did you see at each place you visited?
Kit Neale: Saw their newest fashion collection from in their pop-up shop in Shoreditch.
Hato: The shop, workshop area, printing press and design studio. Demonstration on Riso printing. Stop off at Fabrique, a Swedish baker for cardoman buns.
Manifold: Matt took us through everyone's practice of their collective. Very hands on and refined ceramicist and makers.
It's Nice That: Lights off for their presentation and beers.
Michael Marriott: His workplace and discussions on the importance of a workshop and how a studio space can effect one's practice.
Any mishaps along the way? Did anyone fall of their bike or get separated from the group?
Sadly. Or thankfully no!
How would you characterize East London's creative scene?
Extremely vibrant and varied. Not only facilitates agencies of all sizes from 500 to 1, it's also a host for artists and craftsmen / makers.
It was great to work with you, Ken. What do you have planned next for Hato?
It's always great to collaborate with other energetic and driven organisations, WNW certainly being one of them. With WNW we hope to begin to connect with more marketing and advertising agencies on a global level to deliver bespoke learning experiences and workshops for their clients. In doing so we'll also need to expand and condense our team and view WNW as a fantastic resource of talented individuals that will be able to help Hato grow.
Aww thanks! You're making us blush.
Interested in hosting an event for the WNW community? Email us!
HOW NOT TO BECOME A MORTICIAN: KYLE TEZAK
HOW NOT TO BECOME A MORTICIAN:
KYLE TEZAK
When we learned that WNW Member #3829 Kyle Tezak comes from a family of morticians, we had to interview him. Despite their 100 years in business, Kyle broke with tradition and decided to become - gasp! - a graphic designer. Growing up around death had a unique influence on Kyle's creativity; he tells us that it helped him develop into a "well-rounded person." However it's not all morbid; it turns out morticians have a (dark) sense of humor, "As a mortician, you're always wearing a suit. So it's not unusual for someone to come up to my Dad and ask him to help tie their tie. He always responds with 'Sure, can you lay down?'"
Tell us about your background: Who is Kyle Tezak and where did he come from?
I’m a freelance graphic designer living in Minneapolis but I’m originally from Joliet, IL. An old steel mill town about an hour south of Chicago. My family has operated a funeral home there since 1908.
What was it like growing up in a family of morticians?
As a kid, I didn’t know it was unusual. My siblings and cousins and I would be running around the funeral home playing tag while my dad was embalming someone in the next room. I started working there when I was 14, cutting grass, picking up the deceased from the morgue, answering the phone, just about anything you didn’t need a funeral director’s license to do. It wasn’t something we were sheltered from. I actually think being around death a lot as a kid has helped me develop into a well-rounded person.
Was there pressure to go into the family business?
There was indirect pressure. Like “you can do anything you want but I sure hope this business that’s been here for 100 years won’t have to close its doors” sort of thing.
How did you become a designer and what did your parents think when you didn’t go into the family business?
In college I jumped from business (terrible) to architecture (hard) to design (awesome). The school didn’t have the greatest design program but with a lot of hustle and a little luck I was able to land my first design job at a little firm in Chicago.
At the core of it, my parents were always supportive. Especially when I actually started making a living as a designer. Thankfully my little brother and cousin became morticians a few years ago so the business will be around for at least one more generation and now I’m off the hook.
We noticed Tezak Funeral Home has a Facebook Page. What's the marketing/branding strategy of a funeral service? Did they ask you to design their website?
I don’t actually know much about their approach to digital marketing. I’ve done a few little design projects with them in the past but in my case, I like to keep family and work separate. Also, the funeral business is completely dependent on personal, local relationships so they try to support other Joliet businesses as much as they can. Being a presence in the community is their most effective marketing strategy.
Mezzo 200 (Identity, Event)
What drew you to it/why did you say yes?
I’m always looking for opportunities to work with my friend and industrial designer, Noah Lambert. When he came to me with the idea I was sold from the beginning.
What inspirations helped inform your work?
The event was modeled after classic road races like the Mille Miglia and the Targa Florio. Back when driving was called motoring.
Hardest part?
The design was easy because I basically had complete control. Actually organizing the event and coordinating with the city was the hard part. Luckily none of that was my job.
Thing you're most proud of?
I really love how the posters turned out and being a local event, they were actually pretty effective in getting people signed up.
Kitchensurfing (Identity)
What drew you to it/why did you say yes?
I love food.
What inspirations helped inform your work?
The aesthetics of a clean kitchen. Hokusai’s “The Great Wave”.
Hardest part?
The logo the client chose wasn’t originally my favorite but I actually think they made the right choice. It just took me a little while to come around.
Thing you're most proud of?
I think Kitchensurfing’s Director of Design, Ron Goldin, did a great job managing his team’s feedback and distilling it into something actionable that I could use.
Brand Deck (UI/UX, Packaging, Identity)
What drew you to it/why did you say yes?
It was an internal project at Simple Honest Work and was my first opportunity to participate in a Kickstarter campaign.
What inspirations helped inform your work?
We were inspired by our evolving process when branding companies. The deck was developed as a way to help clients articulate who they wanted to be.
Hardest part?
This mostly fell on Scott Thomas, my boss at the time, but sorting out all the logistics of producing and shipping all these decks was tough.
Thing you're most proud of?
This was truly a team effort and everyone at SHW worked their butts off on it.
Yo-Yo Ma (UI/UX, Identity)
(DISCLAIMER: This project was a concept only. I left my old firm halfway through and they ended up going in another direction. That sort of struggle might be familiar to a lot of designers.)
What drew you to it/why did you say yes?
Yo-Yo Ma is such a positive force in the world of music, art education, and culture. It’s great to work with someone like that.
What inspirations helped inform your work?
Yo-Yo’s music.
Hardest part?
I ended up leaving the Simple Honest Work in the middle of this project. This work is just a concept and was sadly, never produced.
Thing you're most proud of?
Getting to hang out with Yo-Yo Ma!
BONUS ROUND
Proudest career moment:
Honestly, just being able to make a living doing creative, fulfilling work. There are so many jobs that leave you empty at the end of the day and I’ve been able to escape that.
Biggest career failure:
I did an ad for this pesticide spray used on lawns that was known to kill honeybees. I’m an avid gardener and my wife is an ecologist so it really ran contrary to our beliefs. I was working at an ad agency at the time and didn’t have the guts to say I wanted off the project.
What do you do when you’re not working?
I like to read science fiction novels, dig around in my garden, and cook. My wife and I are trying not to eat meat anymore so we’ve had to learn how to get creative in the kitchen.
Last 3 things you Googled:
Mille Miglia, Peeponics, Free Business Card PSD Mockup
Significant creative influence or inspiration:
I love the work of Ladislav Sutnar. His design holds up as well today as it did 80 years ago.
Current song on repeat:
I’ve been listening to Bo Hansson’s 1970 album, Music Inspired by Lord of the Rings. Stay with me! It’s not as bad as it sounds. It’s this weird, funky, Swedish instrumental prog rock thing and I just can’t get enough of it.
Favorite quote:
“Fools make feasts and wise men eat them.” – Benjamin Franklin
Advice you’d give your high school self:
Wearing flip flops, cargo shorts, and a key lanyard is not a cool way to dress.
Two truths and a lie:
My sister is a great photographer.
My Great Grandmother was the first licensed female mortician in Illinois.
I’m really good at math.
WNW members whose work you admire and why:
Shoutout to my design buddies Darrin Higgins, Eileen Tjan, and Alex Griendling who all do incredible work and are nice people.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: OCTOBER 19TH
PROFILES OF THE WEEK: OCTOBER 19TH
Natalia Stuyk, Animator. London.
Christian Carlsson, Designer. London.
Tim Boelaars, Designer. Amsterdam.
Vero Escalante, Illustrator. Buenos Aires.
Gautam Dutta, Illustrator. Los Angeles.
Robert Whitman, Photographer. New York.
Robert Wallace, Director. London.
Jula Boehm, Art Director. London.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
DREAMS RECLAIMED: JEFF SCARDINO
Every creative has that one dream project that may take years to come to life. And what a feeling when that moment finally arrives. For WNW Member #4183 Jeff Scardino, that moment is now. "Dreams Reclaimed", a new ad for Aetna, stems from an idea that has been Jeff's baby for years. It began to take shape when Jeff researched his dad's newly diagnosed sleep apnea. He learned that with certain sleeping conditions, "You’re never able to hit REM because you are constantly waking up even though you don’t realize it. This stuck with me. What would it be like not to dream? Does it even matter?" By recreating the first vivid dreams that three individuals have had in years, after finally receiving treatment, Jeff documents their dreams reclaimed, as well as his own.
Tell us a little bit about yourself, and your background as a copywriter.
I’ve worked in NYC for my whole career at such places as R/GA, DDB, and Ogilvy. Currently I’m freelancing. I’ve had the pleasure to work on some interesting brands like Tropicana, NY Lottery, Amnesty International, and IKEA. I also teach at Miami Ad School, and I’m an FWA Mobile judge.
This new Aetna ad is trippy. What was your role, and how did it come together?
So this idea was my baby. I had been trying to get it made for years. I first came up with it when my dad was diagnosed with sleep apnea. At the time, I didn’t know much about the disorder. I just knew his snoring echoed throughout the whole house. For treatment, he received a CPAP machine that he wore only one time before refusing to use it ever again. So I decided to do research in hopes of convincing him that he needed it. In my search, I found a study that showed sleep apnea can cause you to have low dream recall and even cause you not to remember your dreams at all. This is due to the fact that you’re never able to hit REM because you are constantly waking up even though you don’t realize it. This stuck with me. What would it be like not to dream? Does it even matter?
When I dug deeper, I found that dreams have a healing power. Our subconscious uses dreams to solve problems and allows you to visualize memories that are buried.
Dreams are something we take for granted. My dad didn’t think twice about the fact that he couldn’t remember his dreams for years. There are a lot of health risks associated with not getting healthy sleep, but this was more of an emotional angle. One that could truly make people think differently.
So I thought what if I took people who suffered from a sleeping disorder and had them record their first dream after treatment. This being the first vivid dream they’ve had in years. And then took those dreams and recreated them in a film. It would be a powerful piece that would start conversation and make people think, “When was the last time I dreamt?”
I created and oversaw every aspect of this project working hand in hand with my CCO.
How do you go about writing someone else's dreams?
We started with hundreds of people who suffered from a sleeping disorder that caused them not to remember their dreams. The pool was whittled down based on a series of interviews. The final ones were selected based on their first dream. We wanted to tell three distinct stories that evoked three different emotions.
Each person was only able to record a nugget of their respective dream. So we had to learn as much as we could about them and their lives in order to piece together why they dreamt what they dreamt. This was fun. We had complete freedom in recreating these dream worlds. But we wanted to ground each decision in reason.
Do you dream a lot? What's your weirdest dream?
I do dream a lot. And ever since I started this project I have been writing down my dreams. I’d say the weirdest one I’ve had lately involved me trying to keep my family alive in a zombie apocalypse. And the zombies were all people I’ve met throughout my life. Probably a deeper meaning for me trying to move forward. Or I just watch The Walking Dead too much.
Which project throughout all of your career highlights are you proudest of?
I think every project you’re able to produce brings pride of some kind. Probably because it’s so hard to make good work. There are so many hurdles that get in the way. But I would have to say finally making this film is one of my prouder moments. Every creative has that one idea they carry with them from agency to agency, brand to brand, trying to get it made. And this was mine. Also being able to make something so conceptual for a brand like Aetna is a huge win.
What advice would you pass on to your high school self?
Don’t eat so much Taco Bell. It will permanently damage your digestive system.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Image by Jessie Farris
WHO'S IN YOUR TRIBE? DESIGNER VACA 2015
WHO'S IN YOUR TRIBE? DESIGNER VACA 2015
Last week, we checked out Designer Vaca, an anti-conference where Designers from all over the globe meet at the Ace Hotel in Palm Springs to relax and share experiences, knowledge and inspiration sans the screens. The getaway’s agenda is intentionally loose to allow for adventures in the desert and a lot of conversation (and cranberry margaritas) by the pool.
It was rad to have WNW members like Lia Napolitano, Kelsey Dake and Timoni West in attendance. WNW Member Jessica Hische had a playful but honest Q&A session about being a badass lady creative and the power of saying no to work that doesn’t push you forward.
At a time when there still seems to be a lot of emphasis on “Women in Tech” or “Women in Advertising”, it was nice to spend a few days surrounded by creatives who wanted to get to know and learn from each other as artists and entrepreneurs. They also just so happened to all be women. And yes, stories about balancing career with motherhood were exchanged but so were stories about multiple revenue streams, attracting your dream clients and how much to charge for your work.
Maybe the most successful conferences are the anti-conferences. Maybe the best way to resolve the hardships that women face in this business is to bring together a group of industry leaders in the desert with a few blank sketch pads and a few cocktails, and let the work speak for itself.
A big welcome to all of the new WNW members that we met at Designer Vaca. We are happy to have you!
- Ashley Nowicki, Director of Talent at Working Not Working
Photos by Michelle Kim
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ART OPENING: SOLD OUT, PORTLAND
ART OPENING: SOLD OUT, PORTLAND
Don't let the title fool you, tickets are not sold out.
WNW Members #1995 Mark Richard Miller and #2024 Dave Franzese, also known as the creative team Dark Igloo, have an exhibit titled Sold Out opening at FISK in Portland this Friday at 8PM. If you're in the area, make sure to swing by and check out Dark Igloo's signature nostalgic absurdity.
WHO: Dark Igloo (Dave Franzese & Mark Richard Miller) are a creative team based in Brooklyn, NY. Best friends and collaborators for nearly a decade, their studio’s output is characterized by a dedication to personal initiatives. A shared vision, complementary skills, and evolving interests have lead to a portfolio that spans illustration, photography, animation, video games, sculpture, and fart jokes.
WHAT: SOLD OUT is a portal to the nostalgic and absurd. Where upgraded ephemera, original works, and interactive installations hang out side by side. Details are exaggerated, the lowbrow is put on a pedestal, and the surreal is made real, framed, and sold.
WHEN: Opening is October 16th at 8pm / Open from October 16 to November 15
WHERE: FISK Gallery - 3636B N MISSISSIPPI AVE — PORTLAND, OREGON 97227
HOW: No RSVP necessary, just show up fashionably on time
WHY: Dark Igloo ... isn't that enough?
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: OCTOBER 12TH
PROFILES OF THE WEEK: OCTOBER 12TH
Joshua Reis, Director. Los Angeles.
David Urbinati, Motion Designer. West Palm Beach.
Melissa Deckert, Designer. Brooklyn.
Veronica Corzo-Duchardt, Designer. Chicago.
Thomas Slater, Illustrator. London.
Leigh Masters, Art Director. New York.
Mea Cole Tefka, Producer. New York.
Yann Corlay, Copywriter. Amsterdam.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
BOOK LAUNCH: OCTOBER 7TH, BROOKLYN.
BOOK LAUNCH: OCTOBER 7TH, BROOKLYN.
WNW Member #5360 Adam Turnbull is an Australian-born, Brooklyn-based artist and graphic designer. He has a new book launching tomorrow, called Noted: A Journal to Explore How We Shape, Create, and Develop Ideas. Noted opens up the creative process to jump-start your ideas. So to all you New Yorkers, head over to Dumbo tomorrow night at 7 at the Powerhouse Arena to celebrate Adam's book launch.
WHO: WNW Member #5360 Adam Turnbull
WHAT: Book launch for Noted: A Journal to Explore How We Shape, Create, and Develop Ideas
WHEN: Wednesday, October 7th @ 7-9pm.
WHERE: Powerhouse Arena, 34 Main Street. Brooklyn, NY.
RSVP@powerHouseArena.com
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: OCTOBER 5TH
PROFILES OF THE WEEK: OCTOBER 5TH
Eugenia Mello, Illustrator. New York.
Beatrice Thompson, Art Director. Portland.
Kate Baynham, Copywriter. San Francisco.
Johan Gren, Designer. Gothenburg.
Elvis Benicio, Designer. Sao Paulo.
Marley Stellman, Art Director. Brooklyn.
Ngaio Parr, Illustrator. Sydney.
Adam Larson, Designer. London.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
LIVING THE DREAM: THE LOGISTICS
LIVING THE DREAM: THE LOGISTICS
In his previous contributions to Free Range, WNW Member #5670 Steven Skoczen took us beyond the tangibles of his travels into the emotional highs and lows, and what it means to live the dream and live the nightmare. Now, Steven's pulling back the curtain and offering some insight into the logistics of living the dream. "One common question I hear is, how do you do it? The question isn't psychological or metaphorical, but practical." As a seasoned traveler, Steven answers many of the questions we didn't even realize we were supposed to ask.
One common question I hear is, how do you do it?
The question isn't psychological or metaphorical, but practical. As a professional programmer and writer who dabbles in visual work, how do I live out of a single suitcase?
I'd love to tell you the answer is a magically infinite bag I bartered my soul for in the depths of the Thai jungle, but unfortunately, the answers are simpler and more practical than that.
If you're looking to travel the world and keep working for even a month, here's how to do it.
Gear
You don't need a lot. A wonderful truth about every place that's inhabited on earth - is that people live there. Because of that, you can buy pretty much anything you’re missing, including tech.
That said, here's the things I'd buy and set up while you’re still home.
A laptop
Your personal preference, but make sure it can handle global voltage. I love my macbook pro - it's tough, reasonably life resistant, and just works. It also plays well with my phone, which comes in handy, as you'll see later.
Regardless of what you choose, encrypt it, set a good password, and be smart about where you pull it out. Your laptop is your single most valuable possession, and it’s worth a lot in the wrong hands. That goes double if they have access to your data.
A keyboard
If you spend any significant portion of your day pressing down plastic levers to make the screen light up, you're going to be really happy if you brought a proper keyboard. Ridiculous as it is, I travel the world with a giant Microsoft 4000 ergonomic keyboard.
If you spend your day typing, don't scrimp on your primary interface to your computer. Be good to your wrists.
A tablet
I've got an iPad, and dig it. Tablets are great for the road because they give you a mid-size decent computer when you need it, without having to dig out your laptop.
If you've got the right hardware/software combo, they can also double as a second monitor.
I use my iPad with Air Display, and it serves as a fine second monitor. Especially for people who code or do graphic work, the extra screen real estate is killer.
An external HD
Fill half of it with movies, music, or whatever's going to help you chill out when your internet's down. Use the other half for a regular backup of your entire laptop.
If your laptop is stolen (reasonably possible), you don't want to be waiting five weeks for dropbox to download everything to its replacement over your terrible Costa Rican internet connection. Keep a good local backup.
An iPhone
This is the one specific hardware recommendation I'd give. I love me some Android phones. But for international travel, it pays to get the world's most widely known phone. Everyone, everywhere on earth has heard of an iPhone, and every cell company in existence knows what to do with them. Go with the gold standard.
Something tough that locks
I love my Zarges box. It's aluminum, lightweight, German (which is to say impeccably built), and it locks tight. When I'm traveling, it serves as a nearly indestructible suitcase. Once I'm settled, it works well as solid room safe.
Cloth and hard plastic bags can be cut open with a pocket knife. If you can swing it, go with something significantly more tamper-resistant.
ATM card with a chip and no foreign transaction fee
Especially if you're in it for the long haul, doing a little bit of homework up front is going to save you from pissing 3-5% of your money down the drain.
Get your checking account set up with a bank that doesn't charge foreign transaction fees for ATM withdrawals, provides a card with a chip, and has good customer service.
In many places, this card will be how you pay for rent, food, and transportation. Get a good one.
Two credit cards with chips and no foreign transaction fees
If you'll be in places that accept credit cards, getting a good pair with no foreign fees will save you a ton of cash. Credit cards are also significantly better protected for fraud, and more responsive than banks when issues come up.
Rule of thumb:
- If you need cash, use your ATM card.
- For everything else, use your credit card.
Have a spare card for emergencies, and to handle the times when you’re locked out of your accounts. Because you will get locked out.
Your bank's phone numbers, on a piece of paper
At some point, you'll need to call your bank to assure them that yes, you know there was a charge in Zimbabwe last week, and one in Guatemala this week, and yes, both of those are legit, and pretty please, can they unblock your card because you're standing in a supermarket with a cartful of groceries and no way to pay for them.
On a related note, give all of your card companies a call and tell them your travel plans. It won't prevent them from fraud-locking your cards, but it will mean they fraud-lock less often.
A power strip
This isn't an absolute must have, but if I had to pick one nice-to-have piece of tech, it'd be these little Belkin power strips. They handle 110 and 220, and provide two fast USB charging ports. They mean that at home, in airports, and wherever, I never have to worry about only having one outlet.
A VPN
A VPN program (I recommend TunnelBear) lets your laptop, phone, and tablet securely pretend to be from another country. There are places in the world where this is really critical, and some where it's just nice. Here's the lay of the land.
Getting around filtered internet. If you're going to live somewhere where the government filters or monitors internet usage, a VPN is a must. The last thing you want is to talk to the officials in a place where you may not speak the language on why you were accessing illegal materials.
Don’t let the “but I don’t look at anything sketchy online” mindset lull you to complacency. Depending on where you live, “illegal content” can be much more innocuous than you think. Like Wikipedia.
Safe connection on sketchy Wifi A VPN is like a condom for the sketchy wifis you’ll inevitably find yourself on. Without one, you're at the whims of the person running the corner cafe and everyone else on their network. If you're doing banking or any kind of online purchasing, you're going to want an extra layer of protection.
Netflix! The BBC! The NFL! The final really lovely thing you get with a VPN is that you can pretend to be wherever is most useful to you at the moment.
Want to watch Orange is the New Black? Set your VPN to the USA, and fire up Netflix. Craving the latest Dr. Who? Set your VPN to the UK, and open up the BBC's site. There are even sports leagues (the NFL comes to mind) who offer better, cheaper access to people living particular countries. With your trusty VPN, you can be "from" those places, and have truly global access.
Install before you go Finally, make sure you've got your VPN installed before you leave. As you might suspect, the places who don't want you to see the whole internet also don't want you to download software to get around their filters. Install and test your VPN while you’ve still got unrestricted access.
Internet Access
The sweet nectar of internet is critical for most of us who work remotely. Here's everything you need to know to get yourself set up.
Stay somewhere with good Wifi (if you can).
Airbnbs are typically better about this than most other places, since their owners are relatively high-tech. I'd start there when looking. You can definitely get by without wifi, but if you have large file uploads or downloads, using anything besides a proper wifi connection will get expensive, quick.
Find a spot with good, unlimited wifi, or be prepared to pay.
Learn to tether your phone.
Having a backup source of internet will serve you well when things go sideways, as well as the days where you want to work from the beach.
In short, the best path is to get an iPhone, buy a local sim card, and buy a prepaid monthly data plan.
The exact method for doing this will vary from country to country, but it's a normal thing in every place, and everywhere you go, the employee at the cell phone store will know how to set up your iPhone.
If you've gone all-in on the apple ecosystem, tethering your phone is easy. Go to settings, cell, and turn on tethering. Then, on your laptop, pick your iPhone from the wifi list. Simple, done, and you've got internet that will go with you.
Your Company and Clients
Learning how to work and communicate remotely (especially if you're the first to do it) is unmistakably a challenge. However, there are a few quick tips that can make life much easier.
Know your time difference
Time differences are one of the hardest logistical challenges of remote work. For most collaborative teams, having a window of at least 3 hours of overlap is critical for good communication and shared progress.
Before you head off, know the time zone of your destination, and make a plan with your team on when you'll find that shared window.
This will allow you to have a good frame for your workday when you land, and more critically, help put your company at ease. See, they're nervous.
Set Expectations
Having an employee or contractor wander off to the far reaches of the world is a scary, scary thing. Most companies want their employees to be happy and fulfilled, and the idea of remote work makes a lot of sense - in theory.
But in practice, for a lot of companies, it's a laundry list of unknowns and impossibilities.
I've done this at a number of places, and the biggest key to success is to talk through, plan, and set expectations about how communication and deliverables are going to happen.
If you're the one heading out, your boss and colleagues are likely to have a hundred nervous questions running around in their heads. Set aside some time to get those questions out, and collaboratively figure out answers.
Almost always, they want it to work as much as you do. They just don't want to be stuck if their star employee runs off and never comes back. Establishing baselines for what everyone should expect goes a long way toward easing tension.
Communication Culture
The other big change that comes with the distance and the time shifts is that communication patterns and culture are likely to need some tweaks.
Unless you already work at a fully remote company, it's likely that a decent bit of collaboration happens informally in the office.
When you're remote, your in-office colleagues are going to have to take the extra step of finding a computer, pinging you, and firing up a video chat to keep you looped in.
This is not an insignificant extra effort. Making sure to talk about it beforehand and acknowledge it when it happens greatly helps to build this behavior.
Finally, for many remote teams, an asynchronous communication platform like Slack or Hipchat works wonders. It lets people catch up when they have time, work on their own schedules, and stay looped in.
It takes time to build these patterns as norms for a company culture, but for a long-term remote work setup, you'll need them to succeed.
Accommodations
You've got a few options for where to stay on your travels: hotels, hostels, Airbnb-type places, or renting an apartment. All have their pluses and minuses. Here's the rundown.
Airbnb
To me, this is the best-of-breed solution at the present. It's more expensive than a hostel or renting a local apartment, but you get more. You can find a nice place with good amenities, kitchenware, and good wifi for a decent cost. You can also typically find places with a couple of distinct spaces - great for having a separate space for work and relaxing.
Airbnbs also tend to be in interesting areas of town, and run by people who have travelled a bit and get it. Start here.
One note of caution - you typically get what you pay for. Stick to the mid and upper end of the price range for an area if you're looking to avoid cockroaches and have reliable internet.
A note on VRBO, couchsurfing and similar: Some people love and swear by each of these services. I’m not one of them. Find what works for you.
Hostels
These bring to mind earthy-smelling backpackers and big rooms with shared cots. It's not an unfair assessment. There are private rooms available at many hostels these days, but hostels are also the most likely of your living options for something to be stolen. Unless it's specifically your scene, I'd avoid them.
Hotels
If you can afford them, hotels can have the nicest amenities and having someone take care of the basics like cleaning and laundry can be lovely.
The biggest challenge from a remote-work perspective is finding one where you've got a good working space.
They also never quite feel like home, at least to me. If you want to feel settled in, you're probably better off with a local rental or an Airbnb.
Rent like a local
With a local rental, you just figure out how apartments are listed locally, go find one you like, negotiate rent, and move in. For longer stays, you're going to get the most space for the least cost, and the most authentic connection to a place.
One big gotcha: I'd only recommend local rental if you're at least decently fluent in the language where you're moving. Renting an apartment comes with all sorts of details wherever you are, and they'll be on you to handle. Things like how to pay electricity, water, and utilities. How to get internet installed. Who to call if a pipe breaks, and how to tell them what’s broken.
You'll need good language skills to handle the stuff that comes with a local rental - but if your language skills are solid and you're sticking around a while, there's no better or cheaper way to really settle in.
Health
Health is one of those big, back-of-the-mind scary monsters in international travel. What if I get sick? Should I bring medicine in case my migraines flare up? Or my bunions?
My advice from having lived out here is simple.
If you have an reasonably frequent medical condition that requires medicine and you know what works for you (like allergies, for instance,) bring enough to cover your stay.
Don't worry about anything else. Don't bring a medicine cabinet of what if's.
The reason is simple - if the internet’s good enough for you to work, there’ll be a pharmacy, and things in the pharmacy to help. I promise.
My lone exception: do take a water filter if your travels will take you to somewhere without drinkable tap water. I've lived by my Camelbak UV filter, and love it. Find what works for you - but do bring something to easily supply you with clean water.
The Psychology of International Living
There are two final mental hurdles to living all over the world: learning languages, and finding the social support you need.
Learning Languages
There is an internet full of great resources. Definitely do some digging.
That said, here are my top two tips:
If you're going to have a go at learning a new language, read Fluent in 3 months. It's short, effective, and packed with the best techniques I've seen anywhere for language acquisition.
Buy the best dictionary app you can find for your phone. You want something that works offline, lets you look up phrases, see conjugations, and ideally gives example sentences. For most languages, there's one really exceptional app. It's rarely free. Buy it.
(Here are the best ones for Thai and Spanish.)
Smartphones make learning a language a radically different process, for good and bad. But when you absolutely need to communicate with someone, having a dictionary you can both use is invaluable.
Social Support
Know thyself. Are you an introvert? An extrovert? What do you need to be recharged?
When you hit the road, all the social supports you've slowly and unconsciously built over the years are going to be gone. Instead, you'll need to consciously create new support circles every time you land - and it do it, you need to know what you need.
I'm an introvert - it's a complete pain in the ass for business networking, but mighty convenient for traveling. All I really need to recharge is a quiet space with nobody around. In traveling, that comes by default.
But I also know extroverts who successfully travel all over the world. When they land, they consciously invest time into finding a few new regular social activities, and places where they can go to be surrounded by people.
Social support is something we mostly take for granted in a rooted life - but it's a critical part of the human experience, and drastically affects our sanity.
Especially if you're in for the long haul, take some time and think about what your needs are, and how you'll get them on a random Tuesday in Prague when you don't know anyone. That little bit of planning will make all the difference.
That's What I Know
That's everything I know from my time living here on the road. If you're thinking of giving it a go, feel free to reach out with any questions. I'm happy to help.
I'm also still out here, traveling, learning, and sharing what I find - if you're interested in following along, I have a pretty lovely letter I send out.
Bon Voyage!
Steven writes about his journeys, big life questions, and the occasional terribly embarrassing travel story over at Ink and Feet.
Do you have travel stories you want to share? Email us!
Your Old Shower Cap Is Gross. Hello, SHHHOWERCAP.
Your Old Shower Cap Is Gross. Hello, SHHHOWERCAP.
I bet you haven't put much thought into your shower cap. Why? Because it's plastic, crinkly and probably should've been thrown out months ago. But for WNW Member #420 (yep, best number) Jacquelyn De Jesu, shower caps are all she's been thinking about. Practically untouched since our grandmother's era, shower caps have been given a complete makeover by Jackie. SHHHOWERCAP, with its upscale, turban-inspired design, has a modern silhouette, and is made from nanotechnology fabric that's antibacterial, waterproof, and machine-washable. And being the art director Jackie is, her launch line included four rad designs, making it really hard to buy just one.
Unsurprisingly, SHHHOWERCAP was blowing up the internet with coverage in Fast Company and headlines like "Channel Your Inner Beyonce With This Shower Cap". Jackie gave us the inside details of bringing her business to life (all while juggling a day job), and how she is going to make women look beautiful in showers everywhere. Her advice for wannabe entrepreneurs? "Just start. So many people have an idea and let someone beat them to it. Or delay because they think it’s too expensive, or time-consuming, or scary. Don’t be that story of the guy who almost invented the Post-It. Just start whatever your thing is. Chances are that the excitement of seeing it come to life will propel you through to every next stage of the process."
You can now listen to Jacquelyn on Episode 2 of Season 2 of Overshare, launched June 18, 2018.
PROCESS
How many iterations did you go through? 7000 million?
I’m an art director with a design background. Perfectionist by nature.
How did you manage day job with your night hustle?
Managing sanity: juggling day job and side project: You have to compartmentalize. And of course, lots of after hours and weekend grind on SHHHOWERCAP. When it got really difficult was when there was crazy after hours and weekend work for the day job. #ADVERTISING
THE DESIGNS
Did you get feedback?
Yep. From friends, family, strangers standing at the Marcy JMZ stop who were innocently waiting for the subway. Literally, I talked to everyone about SHHHOWERCAP for over a year. And it was truly eye-opening to hear what people liked, didn’t like, and wanted to see more of. Also, I crowd-sourced our solid color. I posted a quadrant of Pantones to see which one had the most votes: a super easy, cheap, and effective way to get a gut check.
Each pattern is so different, but yet they all work together. Tell us about your selection process.
I wanted to make sure that each “type” of woman would have a favorite print, but that they stood together as a collection. Its really interesting to see in the orders how that’s actually true. For example, LA, Orange County, and Miami LOVE the Laguna.
FUNDING
Did you consider doing a Kickstarter?
Absolutely! Yes. Thought about it quite a bit. But, I was more focused on the product, the lookbook, and manufacturing to get all of the technical details right and manage the moving pieces. Luckily, my background and network enabled me the ability to launch without a lot of the upfront costs that a startup normally faces. Branding, product design, website design, copywriting, photoshoot, etc. All were either me or my friends (or friends of friends) pitching in to make it a reality. Shout out to my peoples (and WNW Members!): Julie Matheny, Kelly Diaz, Alex Center, Daddy-O Productions. However, Kickstarter is an amazing platform and we may be using it in the future!
Taking on investors: why or why not?
It is definitely something I’m exploring at this point. The reaction to pre-sale has been so exciting and in order to scale, it’s going to be necessary. However, it’s not free money and takes a lot of energy away from development and brand building in order to pursue a round. I originally was looking for angels, but got some amazing advice early on in the process that changed my outlook. If you believe in your product and can bootstrap to the point where you’re able to show traction and any sort of market response -- a company’s valuation becomes a lot more realistic.
THE HUSTLE
You've gotten a lot of amazing press. How'd you do it?
I wrote my own press release and sent it to basically anyone and everyone I had a connection to. A “sticky” subject line is super necessary. And, now more than ever I believe that any business should launch with a huge emphasis on design and art direction. All blogs/publishers are just looking for content. The less they have to work for it (strong visuals, high rez product images, fun copy, clear brand story) the easier it to get picked up.
“I wrote my own press release and sent it to basically anyone and everyone I had a connection to. A “sticky” subject line is super necessary. And, now more than ever I believe that any business should launch with a huge emphasis on design and art direction.”
For those of us who want to launch our own business, any resources you recommend?
FACEBOOK! The Garment District Info Center! Ellevate (Ladies Entrepreneur Network)! New York City- the whole city. My first technical designer was found through a girl in my boxing class at the gym. You really never know who knows who unless you ask. So I always ask. And of course, Working Not Working to get me the gigs to feed myself while I pursued this wild idea. (Thanks, Jackie!)
BONUS ROUND!
In starting this business, what has been the:
...toughest thing?
Prioritizing “life stuff” while I’m laser-focused on making my dream a reality. There is literally something that I can be doing for SHHHOWERCAP filling every second of every day. Basically, every day for a year has been pitch mode. But, it’s important to not burn yourself out. Also, it was tough realizing that not everyone in my life wants to talk about shower caps or hair routines every time they see me. Even though I do.
...most rewarding experience?
When I don’t recognize the name of any orders that come in for days at a time. Strangers passing it around the internet really makes me the happiest. Or when a chick tags her friend in one of our Instagram's and says “@____ you NEED this!” or “OBSESSED.” Honestly, if I had to pinpoint one personal moment, it was walking on set for the first time for my first shoot, for my product and my brand, my vision, and feeling totally comfortable because it is what I’ve always done for other people.
...one thing you wish someone had told you before doing this?
Development takes 4x longer and 3x more money than you plan for. There is always a hiccup in manufacturing. Somewhere. And a co-founder can be an amazing thing. But, it can also be a horrible thing. It’s basically a marriage. So choose carefully.
Best advice you received, worst advice, your advice :)
Best advice: “You are the company’s most valuable asset. You have to take care of yourself like you are.” AKA Drink a green juice, get some sleep, and take a spin class, Jackie.
Worst Advice (there’s a couple): “Don’t quit your day job.” and “Patents are worthless.” So not true.
My advice: Just start. So many people have an idea and let someone beat them to it. Or delay because they think it’s too expensive, or time-consuming, or scary. Don’t be that story of the guy who almost invented the Post It. Just start whatever your thing is. Chances are that the excitement of seeing it come to life will propel you through to every next stage of the process.
Biggest surprise you’ve experienced?
Seeing my sketches in Fast Company was something that I had visualized/dreamed/hoped for all throughout development. I got choked up when I read the article for the first time because it was published literally right after the pre-sale launch. I never expected that stamp of approval to happen so soon and it made me feel all the feelings. Also, some random famous people have been ordering caps. I can’t say who.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Discover incredible creative talent like Jacquelyn on Working Not Working.
WHERE ARE ALL THE WOMEN? KAT GORDON ON DIVERSITY & WHY WE NEED TO DO BETTER
WHERE ARE ALL THE WOMEN? KAT GORDON ON DIVERSITY & WHY WE NEED TO DO BETTER
By Claire Wasserman - Director of Marketing, Working Not Working
"Advertising is broken due to a failure of imagination” - Kat Gordon
Kat Gordon wants to make one thing clear: we are not out of Mad Men yet. A copywriter by trade, Kat's watershed moment came during her Hal Riney days when they lost a pitch to Saab. Reflecting on the team, Kat realized there was one woman among seventeen men. Given that women were the the main purchasers of cars, Kat recognized that the lack of diversity was a business problem, not just a gender issue. And it was deep seated.
But speaking up can be difficult. So when Kat did- fifteen years later- she did it with a bullhorn. The 3% Conference was born with the mission to champion female creativity and make the case that in order for businesses to innovate, in fact survive, they must have diversity. Now in its third year, The 3% Conference, which sees 800 men and women from the agency and brand side gather for an immersive two-day experience, has expanded to "MiniCons" all over the world. However, awareness is merely the first step on the long journey to seeing tangible change.
We spoke to Kat about her personal story and what it takes to grow a conference into a movement. We also learn from Kat how to effectively communicate a message that can be painful for people to hear. According to Kat, much of the responsibility lies with those that hire. As she says, talent is the heartbeat of an agency and it is the greatest thing it has to distinguish it from another: "I think we can all agree that the highest form of output we have is the creative light and heat of our talent. All the things that I see in the agency world that are broken have to do with a failure of seeing that diverse perspectives are the absolute greatest way to ensure that output."
The 3% Conference is October 26-27, in New York City. WNW members can enjoy a 10% discount code, "WNW". Purchase tickets here.
Claire Wasserman: We’ve been aware for a while that in advertising, there is a serious lack of women in senior positions. I'm feeling kind of impatient, like shouldn’t we be there by now?
Kat: It's weird, I feel like part of 3% that is mystifying to me is that there are moments of incredible enlightenment and progress where I see men really being shoulder to shoulder with women and wanting to make change. Then there are these terrible backlash kind of moments. I remember attending The One Show (which had a wonderful female CEO, by the way), where they had these kind of Barbie doll, low-cut dressed women handing out the awards. I remember watching almost all of the people collecting awards were men. I literally stormed out of Lincoln Center before it was over. It felt like a moment in a movie. I walked for blocks and blocks, just so frustrated that we can be having these important dialogues, making important changes, and then this happens. But then there are other moments that are incredibly optimistic and inspiring.
CW: How do we develop our own standards of knowing when to get mad?
Kat: I don't think women need to be given permission to be angry. I had a moment about four years ago on the tennis courts, where I became so infuriated with another player, another woman. My reaction surprised even me. I confronted her, she got in my face, I literally thought we were about to hit each other. It was so out of the realm of my life experience! I came home crying and told my husband the story. It was so valuable to talk to him about it because basically, what he told me was that he grew up playing competitive sports and he had a lot of experience with his own anger. It didn't always happen on the sports field, but that boys and men have more exposure to situations where there might be physical conflict or words exchanged, unpleasantries, and they're able to kind of move past it without them questioning that they should be mad, without them feeling like they've ruined the whole game or whatever.
Now that I'm trying to get more comfortable with my own anger, my own frustration, I always try to think, how can I express it so I feel heard?
It was a really valuable wake-up call to me. I have sons, but I think people who have daughters, especially young girls...anger is a very valid emotion and expressing it is a form of self-care, and I don't think enough women and girls are given permission, so that when the stakes are higher, like at Cannes, when you felt real valid anger, you don't even know where to start to process it because you've never been given the nod from society that that's acceptable. I would say that for me, now that I'm trying to get more comfortable with my own anger, my own frustration, I always try to think, how can I express it so I feel heard?
CW: There can be serious consequences to speaking up, the danger of hurting one's career. How do you prepare yourself, knowing you're going to piss some people off?
Kat: What I hope for younger women is that they get more exposure to situations where they feel validated to express their anger and they feel they can do so in a way where people can hear them. I think one of the reasons we've had a lot of traction is that I've made it very clear that what's happening is unacceptable, but I've done it in a way that includes everyone to be part of the solving of it, so that I'm not alienating anyone. It's not a witch hunt, I don't point out agencies that are lagging behind. Because truthfully, no one is doing well enough. Nobody has knocked diversity and has bragging rights and can stand on the podium and collect the award.
If people disagree with something that I'm doing with 3% I will absolutely listen. But it doesn't mean it negates who I am or that I have to dilute my message to make them more comfortable.
CW: Do you find you change the way you express yourself, depending on what industry or group you’re speaking to?
Kat: You know, part of the beauty of getting older- I’m going to be turning 50 next year- is you just don't care anymore who you offend or if somebody thinks ill of you. It doesn't matter. As long as you're living your life with integrity and you know what's important to you and you are open to other people's perspectives. That being said, if people disagree with something that I'm doing with 3% I will absolutely listen. But it doesn't mean it negates who I am or that I have to dilute my message to make them more comfortable.
CW: You’ve spoken about how advertising loves to reward "those that burn the midnight oil" and how this puts women (or anyone who wants to spend more time with their family), at a disadvantage. You argue that an around-the-clock work ethic is actually contrary to being productive. I love that you put it in business terms, rather than making it a gender issue, so that it allows everyone to get behind it. Do you find that with the rise of freelancing, there is more of an expectation of work-life balance and so companies must do a better job if they want to retain all employees, not just women? Say for example, an unlimited vacation policy.
Kat: There’s definitely growing awareness for considering policies like that, but I also hear that a lot of agencies have a paternity leave, for example, yet no one takes it because they feel they'll be judged or penalized for being slackers if they do. I think we're in the infancy of agencies truly changing the culture. You know you can change the carpeting but before it really gets into the air we breathe and the water we drink, I think it takes time.
CW: Facebook and Apple recently offered to freeze eggs for female employees as part of their benefits package. Do you think this will help recruit and retain more women on staff?
Kat: You can't look at that policy in a vacuum. You have to say to any company offering a benefit like this, tell me more. Tell me what else you do to support women in your workforce, and get really granular. Ask if they've done a wage equity study like Salesforce is doing. Ask about maternity leave and paternity leave. Because if all they're doing is trying to prolong the "single can-work-anytime" employee and prizing that above everything else, then it is a carpet change. Not every woman is going to have children, so that benefit isn't going to end up benefiting all of the women at Facebook, it will be a small segment of them.
CW: "Advertising is broken due to a failure of imagination” is one of my favorite quotes of yours. What do you mean by that?
Kat: The greatest thing that an agency has that distinguishes it from another is its talent: its people and the ideas that those people can birth together. That's it, that’s the heartbeat of an agency. Talent is what makes certain agencies golden and others sleepy. I think we can all agree that the highest form of output we have is the creative light and heat of our talent. All the things that I see in the agency world that are broken have to do with a failure of seeing that diverse perspectives are the absolute greatest way to ensure that output. Everything you read about creativity and productivity and what conditions yield the best output will tell you that the more diverse perspectives weighing in on a problem or creative challenge, the better the output. There was a quote that I read at our London event that said, "If you have two people working together that think alike, then one of them is redundant."
The thing that makes advertising broken is a failure of imagination for how to staff and what to value and what to prize.
CW: Yet homogeneity at agencies persists. Why?
Kat: What happens in agencies is that people want to work with people that they feel comfortable with and they tend to be those that look and think like them. I think there's a fuzzy line around staffing. People staff like they're inviting people to a cocktail party, when they should be staffing about which combination of different souls is going to create the most inspired, novel, nuanced work that will get our clients great results and will get us the attention of the creative world. It's so sad and pitiful. The thing that makes advertising broken is a failure of imagination for how to staff and what to value and what to prize.
If you start to train people to understand that these unlikely combinations are magic and that they shouldn't look for a “girl team”, “a young team” etc; instead, they should look for a team where they've maximized the points of entry for thought.
CW: What is one way companies can start to address the diversity challenge?
Kat: For companies that come to Working Not Working looking for talent, there needs to be a conversation about diversity. Let's say they have a writer and they need an art director to partner with that person. There's not high awareness of the fact that if you have a young woman, it would be great for her to partner with an older man. If you have a straight person, it would be great for them to potentially partner with a gay person. If you start to train people to understand that these unlikely combinations are magic and that they shouldn't look for a “girl team”, “a young team” etc; instead, they should look for a team where they've maximized the points of entry for thought.
It's amazing to me how I need to get that granular sometimes before the lightbulb goes off.
CW: You run an agency, Maternal Instinct, that markets specifically to women. Is there a certain level of education about this demographic that you need to give to your clients?
Kat: It's less of a struggle at Maternal Instinct because I have a point of view about creativity that my clients embrace at the get-go. But I do feel that within the 3% community, which is vast and now global, I'm still amazed at the naïveté of talent officers and recruiters, creative directors and agency presidents at how they should be staffing and why. I had the most unbelievable conversation in New York with a creative director I used to work for many years go, whom I really like. I hadn't seen him in a long time and we were out to dinner and he was asking about the 3% Conference and how it started and he was genuinely intrigued. He kept getting stuck on "Why does it matter if there's more women?" We're having this “Who's on first?” kind of conversation before I realized that I had to say to him, "Oh, well the woman is going to potentially bring different life perspectives, sense of humor, cultural references, than a man." Then he said, "Oh, I never thought of that." He never thought of that because the default setting is male. It's amazing to me how I need to get that granular sometimes before the lightbulb goes off.
If you are someone who's always been partnered with someone of the same race that you are, you should not want that.
CW: Do you find women speak the same language and there’s some translation that needs to happen for men?
Kat: That's a really good question. I would say it's more likely to come from men but it can come from women too. It's very rare. There've been a couple women that have, very few I will say, but there have been a couple of women that have said they don't believe in our movement because, you know, they've made it. It’s usually older women who feel they played by the man's rules so why should anyone else get a break? They're not understanding that they kind of sold out. That it’s not good for business or creativity. I do think sometimes women need that reminder as well. Quite frankly, I also think that white people need that reminder. I mean when I talk about diversity of thought, we're talking right now about gender but if you are someone who's always been partnered with someone of the same race that you are, you should not want that. You should welcome someone that looks different than you, that maybe grew up somewhere different.
We don't have a recruitment problem, we have a retention problem.
CW: What does go into putting together a conference? Where do you begin when you start thinking about next year's conference?
Kat: I begin with our exit survey from last year's conference where we ask attendees what they liked best and why, and what topics they still want to hear about. I spend a lot of time thinking about what my community is clamoring for and where they need guidance. I think about the topics that are ripe for discussion and for different viewpoints, and then I work backwards from there. I put together a skeleton agenda of what I want to address and then I think about who is best suited to talk about these subjects.
I go to a lot of other conferences to kind of scout for speakers, especially the keynoters, people that will just have you sitting straight in your seat and hanging on every word. One of the men that's going to be keynoting this fall, his name is Michael Kimmel, and he was just amazing at the TEDWomen Conference. I kind of cornered him at the break after and said, "You have to come deliver that speech to The 3% Conference."
CW: I know your focus has traditionally been on advertising agencies, where do brands fit into this?
Kat: The genesis of the 3% Conference always included brands. I didn’t start the conference as an activist movement or because it wasn’t fair that more women weren’t at agencies. I was simply horrified by the way female consumers were being spoken to or ignored. I felt that brands were getting gypped. If they knew that their agencies were so homogeneous and that their consumer marketplace looked nothing like that, they would be outraged. The more brands that have awareness should demand diversity from their agency partners. They're paying the bill.
CW: Tell us about the mini conferences and the future of The 3%.
Kat: My goal with the 3%, and what we’ve actually became, is to call ourselves the 3% Movement rather than the 3% Conference. And we’ve done that with the the Minicons, which basically are these one-day conferences, that we've brought to cities all over the US. My aim is not only to get more people to become foot soldiers in this crusade but as a student of advertising myself, to listen to what I’m hearing. And what I've been hearing is that the agencies are desperate for some kind of benchmarks. They don't really know how to start auditing themselves, how they compare to other agencies. Questions I get very regularly are, “Who’s doing it right, who's doing it better, who do you hold up as the example, the agency that gets it?”
The whole purpose of this research that we're doing right now is to find out the precise ways that women are saying to agencies, "You want to keep me? Here's how.” Because again, we don't have a recruitment problem, we have a retention problem.
CW: So you'll go into agencies and give them a sort of gender audit?
Kat: What I'm doing is taking what I'm seeing, taking what I know, taking what our survey is bearing out and creating a certification program for agencies where we can come in and help agencies audit themselves and help them index themselves. How are they doing on this issue? What are the particular places they're falling down? How could we help to support them so they'll become a better, more diverse employer?
The conferences have been amazing, they've birthed a phenomenal community, and I've been really proud of everything we've done. However, they're very tiring to plan and the amount of work I have to put into a two-day event that touches 800 people is enormous. So this certification will enable me to touch tens of thousands of people in a way that will meaningfully move the needle on this issue.
CW: One of your first jobs was Cosmopolitan Magazine and then at Sports Illustrated. What was it like going from such a female to male brand?
Kat: That was less jarring than going from working at Hearst Magazines to Time Inc. Hearst was, and I don't know if it's changed since then, but when people heard I worked at Cosmopolitan Magazine, they imagined this grand marble lobby and chandeliers and this very kind of girly, ritzy environment, and when I worked there, the place was a dump, quite frankly. There were boxes everywhere, the offices hadn't been updated in forever, they didn't pay very well. Going to Sports Illustrated meant working for Time Inc. which really was a phenomenal company, the way it treated its people, the benefits, and the creature comforts, quite frankly. I was 23 or 24 years old when they hired me and I had a gorgeous office on the 29th floor of this building, with a big window looking out over midtown Manhattan. Those things don't matter to me as trappings, but it's so much nicer when you're a creative person when you work in an environment that is pleasant to be in everyday.
CW: For anyone concerned this topic, what are some resources you can recommend?
Kat: Being a smart user of social media exposes you to a lot of different people regardless of geography. So I would encourage your community to really participate in social media, especially Twitter. The whole point of Twitter is to find like-minded people and I want to submit, people that think very differently than you. It’s always good to question your own thinking and expose yourself to other ways of thinking.
I think women need to really listen to how they feel honest expressing who they are. There are so many different ways to make a contribution in the world and no two ways will look exactly the same.
CW: What's a common misconception about you?
Kat: I met somebody recently who had heard a lot about me (and this was a very powerful woman) and we were talking for a while. Then she interrupted me in the middle of a sentence, like I was just kind of talking and she just blurted out, "You are nothing like I thought you were going to be."
CW: Did she expect you to be like Cindy Gallop?
Kat: Yeah, we love Cindy Gallop. But there's so many different styles of female leadership. So I don't think I change my skin depending on where I am but I have started to understand that I have a much quieter brand of leadership yet it is no less powerful than someone like a Cindy Gallop. I think women need to really listen to how they feel honest expressing who they are. There are so many different ways to make a contribution in the world and no two ways will look exactly the same.
CW: What would you like to see the conference grow into?
Kat: I would like to put myself out of a job.
Claire Wasserman is WNW's Director of Marketing based in New York and Portland, Maine. You can follow her on WNW and Instagram. Her last article for Free Range was on Droga5 CCO Ted Royer.
EVERYBODY LOVES COMMUNITY: BRAD HALL
EVERYBODY LOVES COMMUNITY: BRAD HALL
Soon after Marissa Mayer took the reigns at Yahoo, the purple palace acquired Tumblr and best of all, Community. A show about a misfit study group in college, the resurrection of this canceled show was cheered by fans everywhere, though none as much as WNW Member #7908 Brad Hall. An art director by trade, Brad offered to lead the creative team, soliciting mainstream appeal for a show that is, for lack of a better word, weird. A self-described misfit himself and an original Community fan, who better to review its relaunch than Brad? He gives us the inside scoop.
How did you get involved with the Community relaunch campaign? What was your role?
When Marissa Mayer started her stint at Yahoo, I knew she was going to throw some sparks. So I followed her over, leaving Disney and moving into the purple palace. Soon Yahoo started doing all sorts of crazy things, and acquiring Community was definitely on the top of my ‘cool stuff Marissa bought with a pile of cash’ list. I quickly volunteered to run point on the the creative for the project.
For some, Community is the best comedy on television. For others (ahem, executives at NBC) it’s been a ratings bottom-scraper that never quite cashed in the hype. Personally, I started out hating it. The first few episodes seemed pretty tame. But about the time everyone in the show became an 8bit video game avatar.… well yeah, I was hooked.
Were you a misfit growing up? What do you think is the strength of telling stories about misfits?
It’s a show about a misfit study group in a community college, and a bunch of other stuff that doesn’t have anything to do with communities. Or colleges. Claymation christmas specials, paintball wars, epic pillow forts, alternate timelines, Dungeons and Dragons, the ass crack bandit??
As an often-misfit myself, I got it. Because the thing about not belonging? Most of us don’t. Until we find a bunch of people that also don’t belong, and then suddenly we do. It’s an outcast paradox that Dr. Who would be proud of.
And I wasn’t alone, because the gleeful bastion of creativity that was Community had enough people loving this show—and I mean really, really, loving this show—that it could not be killed. Yes, I’m looking at you Reddit. These guys even started their own self-funded fan conference?! (CommuniCon, look it up). After five seasons and a cancellation, the oft-tweeted prophecy came true. #sixseasonsandamovie had a new lease on life by way of a hail-mary contract with Yahoo, of all places.
Yes, Yahoo. I know. Email. Kim Kardashian stories. And now, a show beloved by millions.
Was bringing back a new season to rabid fans an intimidating task?
Bringing the new season back to that many crazed fans may have been intimidating, but as soon as we started to get a taste of this crowd, it was clear they worshipped the ground Yahoo walked on for extending an olive branch to Their Show. Didn’t hurt that NBC only gave them 5 bucks and a sandwich board to advertise the first five seasons. So really, we could do no wrong. Even so, we set a high bar for ourselves—this was going to be a bloody well-marketed show if it killed us.
What was it like to work on this campaign, as such a big Community fan?
As a Community fan, I knew a few things right away. This show was special. It was special because it was weird. It thrived because, much like the characters, most people will never understand it. The weirder it got, the better it got. The better it got, the more weirdness was demanded by the fans. The writers were happy to comply, and the whole show became a never-ending cycle of meta, self-referencing insanity with an ever-shrinking, ever more rabid fanbase. It was magic.
We started with the hardcore fans. We blitzed Comic-Con with a campaign that reveled in the inside humor, plastering one-liners all over the building. We bought out Subway for the day with themed character sandwiches (also inside humor). We had people in white leotards, giant school IDs for Instagram, clever restroom signage and big OOH panels everywhere. It was a little overwhelming for some of the fans… there were tears. I definitely did not cry though, not at all.
And what about the mainstreamers? By season six, you could pretty much forget about coming into this show as a novice. But that’s exactly what the Yahoo execs, the show creators, and the ad team (that’s me) set out to do next: attract a broad audience, but preserve the Community goodness.
How did you balance attracting new viewers while also staying loyal to the show that its most passionate fans knew, loved, and petitioned for?
It was tough. I’m a fan, so that was my lens. There were all these concepts for the key art that were just way out there—An armageddon scene in front of the school. The cast as zombies (get it?!). Joel McHale as the triumphant resurrected, raising the rest of the cast from a tomb. But in the end, we balanced the message by centralizing it around the most important point: Community is Moving. That had to register immediately, especially since Yahoo is not a place that comes to mind when you think of watching TV. So that’s where the boxes come from. To give a nod to the fans, we hid dozens of references to the best jokes throughout the set. So all the humor and the recurring gags are coming with them as they come over to Yahoo. It was great, I’m not sure if anyone actually ever found them all. From there we made dozens of videos, ran ads in Vanity Fair and a bunch of other print, launched a massive digital campaign, a Youtube takeover, a cool Tumblr with an ID generator, and a bunch of other stuff to get new people to give the show a shot.
How did all these different groups (yahoo execs, show creators, and the ad team) come together - each has a slightly different agenda, no? How do you make sure everyone has their eye on the same prize?
This focus was across the board. Yahoo, Sony, the show creators, the ad team. The campaign was exposed to more of mainstream America than possibly ever before, and it changed the way we approached the creative.
Does the new fan-emphasis show in the actual writing themes of season six? You tell me: A roof collapse caused by a million frisbees. An episode based in 80s VR. A dog gets a degree. A (stunning) Karate Kid reenactment by Ken Jeong. An entire episode deftly sold out to Honda. A giant plaster hand spells disaster. A(nother) paintball war in the school. Incestuous weddings. And a masterful, emotional conclusion to one of the strangest, warmest shows not on television.
Maybe that's a recipe for a more mainstream audience… maybe not. I have no idea. I don’t really care. In Jeff’s words, “how much can you improve Greendale before it stops being Greendale?”
To be honest, it doesn’t matter. I don’t care who you are, the entire season is worth watching just for the absurd buttons at the end (Portuguese Gremlins anyone?).
So go watch it, you’re not doing anything better tonight. It’s free and on Yahoo Screen, which you can find on most internet devices near you.
BONUS ROUND :)
Who from the cast were you most excited to meet? Who exceeded your expectations the most?
I mean… Alison Brie. Do I need a reason? They were all super nice. To be honest though, the one that surprised me was Danny Pudi, that guy is just so naturally hysterical. And chill, and normal, which you wouldn’t expect from Abed’s character at all.
Any fun anecdotes or stories from this campaign / shoot? Any surprises?
Community is notorious for operating at the edge of disaster in terms of timing, schedule, etc, and Dan Harmon would probably be the first to admit that. It’s just the way he works I guess, you can’t schedule genius. The sort of nerve-wracking result of all this was anytime we needed to capture anything, we had like 3 minutes. We shot an entire 2:00 min cinema spot, like 9 pages of script, in just a couple of hours. Almost every shot was like 2 takes, maybe 3 if we were lucky, and we were grabbing 5, 10 minutes at a time with the cast between makeup sessions, and we never knew who was coming or what scene we were shooting next. We’d be scrambling to set up props, inventing locations out of thin air, pushing C-stands and grip carts out of the way. It turned out great though. We were lucky the cast was so talented, they’d look at this massive paragraph of script and have it down almost immediately.
What other cult shows are you planning to resurrect?
Personally? I wish I had the power haha. Firefly! That’d be top of the list, and then maybe Ducktales.
Are you into any newer shows that our members should start watching, the kind of show that you would maybe bring back to life if it was suddenly canceled?
There’s this random show I saw last week on Amazon Video called Sneaky Pete. Weird title, but pretty good, it’s about this conman that gets out of jail and basically steals his cellmates life and family. I think they’ve made like 1 episode. Everyone go watch it so they make more. Oh, and International House Hunters.
Who - or what - inspires you creatively?
Such a big question. For me it’s not necessarily even just amazing artists or designers or filmmakers, but people that are designing their lives through their creative output. I see people doing stuff like Devinsupertramp, who shot some of my student work and now travels the world making the best videos on Youtube. Or Diana Zalucky, who was a rising star photographer while I was at Disney’s Yellow Shoes creative group and then just left to chase her own dream. That’s where it’s at. It’s a freelance economy now. There are a million more example and those are just two from my life. Seeing that helped me make the jump and go solo myself a few months ago, which is of course what brings me here among such talented people on WNW.
Who are some other WNW members you admire, and why?
Too many to name, everyone here is so good. Jamin Duncan, Patrick Maravilla, Nicholas Felton, Croix Gagnon, January Vernon, Justin Gignac :).
Best advice?
“Try everything once.” (thanks mom!)
Favorite quote?
“Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom.” —Viktor Frankl
Anything else you’d like to add that we haven’t asked?
Just how grateful I am to the WNW team for building such a life-changing tool. It’s like a snowball down a hill now, no stopping the freelance economy from taking over the world. Keep up the awesome work.
Want to talk to us about the shows and films you're watching or working on? Email us.
DRINKING NOT DRINKING: MINNEAPOLIS
DRINKING NOT DRINKING: MINNEAPOLIS
So you can get to know a little bit about the host of our upcoming Minneapolis edition of Drinking Not Drinking, WNW #210 Adam Smith agreed to take on some of our extra tough questions. He's a Creative Technologist, and co-founder of digital development agency Interface (formerly known as UDC Interactive).
As Adam puts it, "Minneapolis packs a lot of creative punch into a small population... Most of the market here still seems to skew a bit more traditional, but there is a vast amount of talent here across all mediums." There should be a good sample of that this Thursday, September 24th. If you'll be in the Minneapolis area, you can RSVP here.
Background
Tell us your story! 140 characters, max. Just kidding :) Who is Adam Smith and how did he get here?
Adam Smith was a famous 18th Century economist who wrote The Wealth of Nations, and whose ideas and theories became the basis of modern day capitalism. Two centuries later, he would serve as my namesake and the life-long joke my dad played on me.
When you were a kid, what did you want to be when you grew up?
When I was very young, I wanted to be a pilot. From third grade up until my first semester of college, I wanted to be an architect.
Cities you’ve lived in, summed up in one word.
Waukesha: Hometown
San Francisco: Balmy
Chicago: Food
Minneapolis: Home
Dream place you’d like to move.
Los Angeles/Southern California
How does Minneapolis inspire you? What’s the creative scene like?
Minneapolis packs a lot of creative punch into a small population. While the agency scene has somewhat diminished since the glory days of the early and mid-2000’s, I think there are a lot more city-wide efforts to inspire the arts and creativity. Most of the market here still seems to skew a bit more traditional, but there is a vast amount of talent here across all mediums.
Work
What are you currently working on?
Currently we’re working on our own website rebuild as part of our rebrand, as well as a new website build for our branding agency partner. We also are wrapping up a health-tech web application (HIPAA Compliant) and a few Wordpress websites. We are also in preliminary talks to do a VR and Apple TV project with an internationally known composer.
You seem to apply your creativity to a variety of roles in different fields. What does the role of Creative Technologist mean to you? Does it encompass most of what you do?
I think ultimately, a creative technologist’s job is thought leadership. Production is fairly easy to come by, but bringing in a creative technologist early in the creative process can help with what the product should be in the first place. That thinking is what led us to our core brand statement: Ideas First, Technology Second.
If you weren’t a Creative Technologist, what do you think you’d be doing instead?
It’s hard to say. I probably would have focused on design, or film making.
Running an agency
You co-founded a digital development agency called Interface (formerly UDC Interactive.) When did you start thinking about starting your own agency? What were some of the challenges that you encountered along the way?
I’ve freelanced on the side for years but I’ve always resisted starting an agency, mostly due to the instability and management side of things. Last fall, the right combination of projects and a good business partner fell into place. The biggest challenge has been consistent work, and not being able to get our name out there until our rebrand was finished. We know we do great work, now it’s time to let people know.
What kind of work does Interface do? What led you to rebrand your agency?
We concept and produce digital projects. Our core focus is modern web (front-end) since that’s where most of our business comes from. However, we can also do full stack development and are very experienced integrating various APIs ranging from social to Ecommerce to content. We also make time for experiential work, as I have done some out of home projects in the past.
Inspiration & Advice
What moment or project in your career so far has made you the proudest?
The countdown timer and Twitter application for the Forever 21 store in Times Square back in 2010 is probably the best memory, even though the work was fairly simple. The Porsche Color Theory site I did in 2007 was probably the overall best project, since I got to manage a small team as well as contribute directly in a programming role.
Who most inspires you creatively?
It’s hard to point to individuals, but I think agencies like Firstborn, AKQA, StinkDigital, and B-Reel have been inspiring not only in the caliber of projects, but in the sheer consistency of being on top of their game, year in and year out.
Who are some other WNW members you admire, and why?
The person that immediately comes to mind is my friend Sean O'Brien. We met at EVB years ago and it was the first real collaboration I had with strong digital talent who really understood technology and usability in addition to elegant and smart design.
What’s the best advice for a creative that you’ve ever heard?
I was actually just thinking about this this morning. One of the best pieces of advice I’ve ever gotten was: “Whatever you want to be, act like it.”
Things you would tell your high school or early twenties self.
1. Live deliberately.
2. Buy Apple stock.
3. The Boo’s always come from the cheap seats.
4. You have no reason not to be confident.
Bonus Round :)
What do you do when Not Working?
Depending on the time of year, it’s a mix of cycling, downhill skiing, NFL Football (watching, not playing) and wine.
What song always gets you in the creative zone?
The two disk set of “Perfecto Presents: Another World” by Paul Oakenfold works better than caffeine on most occasions.
Two truths and a lie
1. I used to be a guide for blind skiers.
2. I have not been on any TV shows.
3. It took me 10 minutes to think these up.
Last 3 things you googled (And yes, we will be sharing this ;))
LA Philharmonic VR, Migrating domains in Google apps, Virtual choir
Anything else you’d like to add that we haven’t asked?
Nothing that wouldn’t sound like blatant self-promotion!