WONDER WHAT IT'S LIKE GOING TO THE OSCARS? ASK JULIA POTT

Working Not Working February 28, 2016

WONDER WHAT IT'S LIKE GOINGTO THE OSCARS? ASK JULIA POTT

When renowned filmmaker Don Hertzfeldt asked fellow animator and WNW Member #2791 Julia Pott to voice the character of Emily in his newest animated short World of Tomorrow, Julia didn't hesitate. "He said he wanted the woman to sound a bit like Mary Poppins and I was immediately on board." And then, on January 14th, World of Tomorrow was nominated for an Oscar. And then, as if things couldn't get better, Don invited Julia as his plus-one.

We hit the rewind button and make Julia help us live vicariously through her, every step of the way: from recording her best Mary Poppins impression at Don's home in Austin, fueled by sugary cereal and tequila, to waking up to a special Facebook post from Don with the news, to hilarious advice from her mom, to montage-worthy moments trying on dresses for Hollywood's biggest night.

We made sure to ask Julia the most important question of all: Who are you wearing? "In the end I went with a dress from a little known store called ‘Nordstrom’."

Indiewire is predicting an Oscar for World of Tomorrow. Who knows, maybe Don will cast Julia as the voice of his acceptance speech.

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**How did you come to be the voice of Emily in Don Hertzfeldt’s mind-bending Oscar-nominated short World of Tomorrow?**

Don and I met at Sundance in 2012 when both our films were in the Animated Shorts category. I tried to keep it casual and not let on that I:

a). knew his work

b). liked it a lot.

We kept running into each other at film festivals and became real life friends. As I live in LA and he lives in Austin we communicate mainly through funny owl videos on Facebook Chat - but I think that still counts. We ended up at Sundance together again in 2013 when my short film The Event was playing and he was one of the judges (let the record show – I didn’t win). It was there that he said he wanted a British woman for his latest project because his niece, who would play the other role, was Scottish. He said he wanted the woman to sound a bit like Mary Poppins and I was immediately on board.

Had you ever done any voice work before, besides the Golden-Globe winning WNW Microsoft Commercial? Tell us about the experience.

This is my first and only voice-over experience and it was really great. We recorded it in Don’s house in Austin and he has a pool with about 5 - 10 oversized animal floaties in it at any given time. He also has all of the sugary cereals you’ve ever wanted to buy from Trader Joe’s but couldn’t justify, so staying at Don’s is like being 8 years old again. We would get up in the morning, get pumped up on sugar and go into the recording booth for the majority of the day with a mental break around lunch time when we would go get some BBQ or TexMex. If I ever had trouble with the lines I would drink some tequila. Everyone has their methods. Apparently this is mine.

Were you already familiar with Don Hertzfeldt’s work?

I was in college when Rejected was released online so I was one of the many student animators who said “my spoon is too big” way more times than was ok. I went to see him speak in London in 2009 and followed up with a casual/creepy fan email.

Where were you when Don told you he was bringing you to the Oscars? What was the first thing that came to your mind?

I woke up to a facebook post from Don with the news.

My mother rang soon after and we both freaked out. She has since called me up several times with various styling tips. My favourite being that I should walk down the red carpet with helium balloons with my name written on them in sharpie, as an homage to the movie Up because I am in the animation category.

How have you prepared for the Oscars? Most importantly: Who are you wearing?

I am not very good at grooming myself so my friend Eliza Wexelman offered to style me. We had a lot of montage-worthy moments in vintage stores and my living room trying on a variety of dresses she ‘pulled’ for me (I’m learning all the stylist lingo). In the end I went with a dress from a little known store called ‘Nordstrom’.

The other grooming-based preparations started yesterday. The day we found out about the nomination I called up a fancy hairdresser that I’ve been wanting to try for ages. They informed me that they had no appointments on the day of the Oscars so I asked them what their latest appointment was the day before. The woman said 5pm. I asked her if I slept with a hairnet on did she think the style would keep until the next day. There was a long pause and then she said ‘ok’ and I could tell from her tone she doesn’t think this is a good idea. I booked the 5pm appointment.

**Has Don cast you as the voice of his acceptance speech if/when World of Tomorrow wins?**

Hopefully.

Which actors and actresses are you hoping to bump into on the red carpet or in the buffet line? (Is there a buffet line? We’ve never been to the Oscars…)

I’ve been told the best celebrity spotting is in the bathroom line. My mother has advised me to ‘accidentally’ walk into the men’s bathroom instead, “just to see”.

My ultimate celebrity spots would be Meryl Streep, Tom Hanks and Emma Stone. I want to make Emma Stone my friend.

Are you a big movie buff? What are some of your favorites?

I tend to like movies that fall under the category of strange or romantic. I’m a big fan of Charlie Kaufman and Michel Gondry but my all time forever love is Nora Ephron. More specifically When Harry Met Sally. Everything I do is in an attempt to make my life more like that movie.

What was your favorite feature-length film this year? Any Oscar predictions you care to share? Is it FINALLY Leo’s year?

I loved the movie Spotlight. It made me want to watch every newspaper based movie ever made. There was something about it that was both soothing and compelling – like The West Wing…or Gilmore Girls. I was also completely in love with Room - all the praise and accolades for that bad boy are so well-deserved.

Leo’s been scooping all the awards - he has to win this right? Although I thought he should have won for Romeo + Juliet based purely on his attractiveness.

What’s next for you?

I am currently in development at Cartoon Network in a program that creates projects for potential series consideration. I also just started as a writer on Adventure Time. I’m a huge fan of the show so the whole process is a dream.

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

PROFILES OF THE WEEK: FEBRUARY 29TH

Working Not Working February 28, 2016

PROFILES OF THE WEEK: FEBRUARY 29TH

Joshua Davis, Designer. NYC.

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Annette Dalton, UX/IA Designer. Santa Monica.

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Piper Weaver, Designer. Tahoe City.

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Kingston Trinder, Copywriter. Los Angeles.

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Kathrin Laser, Designer. NYC.

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Cody Kussoy, Editor. NYC.

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Jeremy Boland, Art Director. NYC.

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Renée Melo, Illustrator. London.

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

FEELING HANGRY AND INDECISIVE? END YOUR SUFFERING WITH MENULESS

Working Not Working February 25, 2016

FEELING HANGRY AND INDECISIVE? END YOUR SUFFERING WITH MENULESS

*Two very hungry people who can't make decisions*

We've all been there. Hunger sets in, but instead of eating, the next two hours are spent "deciding." It happens when you're alone, with your roommate, or with a bunch of coworkers at the office. And by the end of those two hours, nothing sounds good. Because everything is shit and what's the point? Aziz Ansari's taco indecision scene totally nails it.

That's where Menuless comes in. Started by WNW Member #3520 Jillian Dresser with her partner Julian Tippins (two people who love food but hate decisions), Menuless is a food ordering service like Seamless that decides your order for you... so you don't have to. All you do is enter how many people you have and how much money you want to spend, and they send you food from a good restaurant nearby. Just think about how much more space you'll have after you clean out your menu drawer.

We spoke to Jillian about how hungry they were when Menuless was born, the crazy methods of delivery they considered, and why they're passionate about ending hanger. If you're too hungry and exhausted to order from Menuless, you're probably beyond saving. But I just had Chinese, what about Indian? Does the pork speciality shop have good vegetarian options? Is 4 and a half stars a good enough Yelp rating? Shut up.

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Tell us a little bit about your creative backgrounds.

We both graduated from VCU Brandcenter (different years), and met working together as an art director/copywriter team at Walrus, an ad agency here in NYC.

How hungry and indecisive were you the moment you decided to start Menuless?

Ha. Back when we were working together, we were on a low-budget photoshoot where we were on our own for lunch. We were at a random little studio in midtown. Nobody knew what was around for food, nor did anyone want to take charge or suggest anything. You know how it is, no one wants to be the one to blame if you end up with something awful! So anyway, after some half-hearted Yelping and Seamless review-reading, we settled on some unknown pizza place nearby. It was terrible. Like, so bad, that no one even pretended that it was good. We’ve all been there. We’ve all had those bad ordering experiences — especially in big groups — and we were just like, wouldn’t it be nice if there was something that just sent you food and you didn’t have to decide? So anyway, I’d say we were only at a 7/10 for hunger, but a 10/10 on the indecisiveness scale for sure.

What are your respective roles in building Menuless?

We took on pretty much everything as a team. When it came down to the nitty-gritty of site design and fine-tuning copy, we fell into our old roles a little bit, but really every decision we’ve made has been together.

"Before we found a food ordering API that we could actually use, we considered all sorts of stuff that now seems crazy. Like calling in all of the orders by hand, and even having a dude on an electric bike with a cell phone and bag of cash that would just drive around ordering and delivering shit. We didn’t know what we were doing."

What have been some of the challenges you’ve encountered thus far?

Our first major challenge was figuring out how we were going to get the orders through. It took us a long time and a lot of research to figure out how the hell our website would connect to the restaurants. Before we found a food ordering API that we could actually use, we considered all sorts of stuff that now seems crazy. Like calling in all of the orders by hand, and even having a dude on an electric bike with a cell phone and bag of cash that would just drive around ordering and delivering shit. We didn’t know what we were doing. I’d say that, and doing taxes. Business taxes are a bitch.

In the early days of Menuless, does it seem like people are giving up control to stave off starvation?

I think it’s more about making food ordering fun again. It’s easy to get stuck in a rut of just hitting the “reorder” button on Seamless. We all do it — it’s just so easy when you don’t have the energy at the end of the day to try something new. Or the guts, really. Menuless not only makes getting out of that food comfort-zone ridiculously easy, it makes it fun and exciting and even a little dangerous. But really, in a pretty low-risk kind of way. We made the probability of getting something you’ll like high by only choosing restaurants people love, and menu items people rank highly.

The whole voice of the brand is hilariously unapologetic. Did you ever consider a more comforting voice or is part of the fun taking charge?

It’s funny you ask that because that voice was actually one of the first decisions we made. I think the unapologetic tone sort of reflects the mindset of our audience, which are really just non-picky, hungry folks that just want food now, without having to fuss over it.

But yeah, we knew we were building a novelty product that wasn’t for everyone and we knew that if we tried to be more comforting it could have been a slippery slope toward creating a site that wanted to be something for everyone. Seamless already does that, and they’re great at it.

A GLIMPSE INTO THE MENULESS FAQ

What else are you working on these days?

Ironically enough, we’re both pretty into cooking. When we’re not working on Menuless or at our full-time or freelance ad gigs, we’re usually talking about new kitchen gadgets we bought or how to make the best quiche. But no other big projects in the works yet.

What are some top tips you can offer creatives who are thinking about launching a side project?

Just do it. I didn’t mean to sound like a tagline there. I just think you gotta get over that inertia we all have and just start doing whatever it is you’re thinking about. It’s easy to spend a lot of time in the dreaming phase, but if you just start building whatever it is, then you have something tangible that you can work with and mold and shape. That, and find people that are as equally passionate about your ideas as you are. It helps to keep the momentum going.

"It’s easy to spend a lot of time in the dreaming phase, but if you just start building whatever it is, then you have something tangible that you can work with and mold and shape."

What’s one song that always gets you in the creative zone, and still sounds good when you’re hangry?

That’s a funny question. I don’t know if there’s one song per se, but I remember listening to a lot of AC/DC during a work session once, and it inspired a whole other side project we’ll have to talk about some other time :)

Anything else you’d like to add?

Yeah! If you’re curious about what restaurants are on Menuless, follow us on Twitter at @menulessnyc. It’s also where we give away discount codes and other nonsense. Happy food ordering!

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

HOW TO DIRECT A FILM ON A SMALL BUDGET

Working Not Working February 24, 2016

HOW TO DIRECT A FILM ON A SMALL BUDGET

Let's face it: directing a film looks really hard. WNW Member #7027 Mikél Leyva embarked on his first directing gig so we had a few questions for him. Like how he juggled his creative brain with solving logistical challenges, getting the crew to work as a team, and keeping his day job in advertising. Oh, and the pressure: "As a director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses. In the end, you either made a good film, or you didn’t."

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What inspired you to direct Falling?

I’d been wanting to direct a film for a long time. Whenever I heard interviews with my favorite directors, I often felt that their way of deciphering life-stories was closest to the way that I related to life. But I’m aware that no one’s going to hire you to direct a film if you’ve never made one before. So in 2008 I decided to just go for it and direct my first one.

Where did the story come from?

I was living in LA working on a music project with a drummer friend of mine, while looking for a story for my film. And a close friend there was about to marry into quite a volatile relationship. Their tense wedding planning made me contemplate that need to secure an idea of love at all costs. I wanted to figure out what drives all of us to continually fall in and out of different versions of love, and that seemed like a good beginning for my film’s story. My focus was on the need for love, and not the discovery of it.

"I wanted to figure out what drives all of us to continually fall in and out of different versions of love, and that seemed like a good beginning for my film’s story. My focus was on the need for love, and not the discovery of it."

Where did you find the time while working on commercial projects?

It wasn't easy. I saved money for a few months to start with a small budget, and to take time to do pre-production. Then I set off to San Francisco to lead a large online project for Microsoft while preparing my film. I’d wake up before 6am every day and send film pre- production tasks to my crew. Then I’d go into the agency to lead the Microsoft project during the day. And then follow up on the film tasks in the evenings. I found it more natural to treat both projects pretty much the same, rather than to try to switch modes between personal and client projects. I must say that a huge number of people helped along the way, friends and many (then) strangers too.

"I’d wake up before 6am every day and send film pre- production tasks to my crew. Then I’d go into the agency to lead the Microsoft project during the day. And then follow up on the film tasks in the evenings."

Any advice you can share on learning to sit comfortably in the director's chair?

The phrasing of this question made me laugh – maybe Ridley Scott actually ’sits comfortably’ in the director’s chair, but I think the rest of us are on our feet orchestrating everything under pressure. But as for directing advice, I might just repeat what my good friend (and producer) David Levine said when he called me after reading the script for Falling. He said something like: “Mikel, no matter what happens, don’t compromise. Just don’t compromise." I’ve worked in every creative channel, and this advice has felt particularly meaningful in filmmaking. But it took me making a film to really understand the value of it. When making a creatively affected film, there were many more moments than usual in which you choose to either push on, or compromise.

"If you’re going to make a film, dig in deep, find something honest in you that you can be passionate about. Because it’s likely to take all of that to do a good job, and for your story to be worth sharing; then godspeed."

Another element I find important is motivation. I’d say that each of us sees the world in our own unique way, and our own way of living and understanding our experiences. And there’s already more half-hearted bad films out there than any of us will have time to take in. So if you’re going to make a film, dig in deep, find something honest in you that you can be passionate about. Because it’s likely to take all of that to do a good job, and for your story to be worth sharing; then godspeed. You will succeed in some ways and you will also make mistakes. But that’s okay, just learn from it all, and keep going.

What were some of the biggest challenges on set?

Film pre and post-production can have a project pace close to advertising, but directing on set is quite different. During filming, time is quite unforgiving, and you’re all working to create one big event, with parts that are being recorded at the same time, like an orchestra or scenes in a play. You prepare actors and crew for weeks to play scenes in meticulously transformed spaces that you only have for a certain amount of time, in which budget and the options for shots are directly linked. This event would be challenging to replicate.

And although you work with so many people, as the director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses, and having to re-shoot is not a viable option. In the end, you either made a good film, or you didn’t.

Compared to leading an ad agency project over a set of weeks (or more), one directs the course of a shoot by the second. And there’s a rhythm; it’s more similar to making music. Also, when under time pressure, people are hesitant to risk working in ways they haven’t worked before, which sounds understandable, but trying new things is often what you need them to do. And as a director you’re shaping the creative environment constantly and quickly. You define when and how it is collaborative, and when it’s time to keep moving, in a much faster pace.

I was operating in such a driven mode that when someone on the team wasn’t 100% on board, it was very noticeable to me. And so began this dynamic between my creative ambition, and my team’s skills and motivation, which I had to navigate constantly while making this film.

"As a director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses. In the end, you either made a good film, or you didn’t.

What differences did you notice in how you approached your work in advertising and this personal project?

Inspiration was gold. At a big ad agency you already have some of the best talent in their field and a team structure. But on a personal project there’s no accountable company structure or obligations. People don’t really ‘have to’ do what you ask, and your team could potentially walk away from your project at any time. So to make the best personal film possible with a rather small budget, and the majority of the team being junior volunteers, you have to find what will drive people to care as much as you do.

**How did the process of Falling make you think of teamwork differently?**

I'd like to think that I've always treated my teams with empathy. But directing volunteers while striving for professional quality means that I had to push a lot of people further than they expected to go. And I'm very grateful that this challenge made me consider what each person is getting out of working on the project, and out of working with me. In advertising, the client experience, the portfolio pice, and pay are often enough, but we don’t often think about what we have to give back to our teams. And I actually really enjoy nurturing talent. I’m the eldest of 3, maybe that’s got something to do with it.

In post-production, the dynamic changes again. And you may have a very clear idea of where you want something to go and feel compelled to micromanage. But if you do that you could block that person’s ability to make creative decisions, and you end up shooting yourself in the foot. So you need to read your effect on the team..

There are times when you just give a direction to aim for and that’s enough, but there’s often times when you need to support your team member enough to enable them to get on that journey with you.

Having directed a big project depending on a lot volunteers has been a gift in a way. You get more candid reactions from your team, and you learn to read people better. And without a budget, you really have to learn to inspire people to care for the work as much you do. Not only does this make you a better leader, it also reconnects all of you with the core reasons that drive the work you do.

"To make the best personal film possible with a rather small budget... you have to find what will drive people to care as much as you do."

What's next for you?

I’m currently most interested in how the emotive aspects of film/video can mix with the uniting power of digital media. I'm also looking into ways that I can contribute to projects that provide a social benefit - especially in the area of bridging perspectives. In terms of filmmaking, my next step is to continue developing my voice, and make more films. I want to find my ‘dream team’ of writers, producers, cinematographers, and crew to continually work with on many projects to come.

I’m currently editing Part 2 of Falling, and plan to finish it by Spring.

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

PROFILES OF THE WEEK: FEBRUARY 22ND

Working Not Working February 21, 2016

PROFILES OF THE WEEK: FEBRUARY 22ND

Alexander Engzell, Designer. Vaxjo.

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David Falossi, Director. Los Angeles.

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Zoe-Zoe Sheen, Illustrator. Los Angeles.

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Hattie Watson, Photographer. Los Angeles.

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Ophelia Chong, Designer. Los Angeles.

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Larry Nguyen, Designer. Los Angeles.

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Kevin Thomson, Copywriter. San Francisco.

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Jeany Ngo, UX/IA Designer. San Francisco.

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"We present this project to help expose crimes masquerading as commerce." - #63 Andrew Tider & #2120 Jeff Greenspan — "We present this project to help expose crimes masquerading as commerce." - #63 Andrew Tider & #2120 Jeff Greenspan

CAPTURED: PEOPLE IN PRISON DRAWING PEOPLE WHO SHOULD BE

Working Not Working February 19, 2016

CAPTURED: PEOPLE IN PRISON DRAWING PEOPLE WHO SHOULD BE

Last time we featured WNW Members #63 Andrew Tider and #2120 Jeff Greenspan, they were watching their Ed Snowden statue get arrested by the NYPD. Now they've got a powerful new book out, titled CAPTURED: People in Prison Drawing People Who Should Be, which pretty much says it all. "For over a year, we asked people in prison to paint or draw people we felt should be in prison–the CEOs of companies destroying our environment, economy, and society." You can pick up a copy here. [At the time we wrote this, book #579 of 1000 total had already been sold, so don't slack!]

Where does your money go? "All profits go towards efforts to elect Bernie Sanders as president. Holding corporations responsible for their crimes and reforming the criminal justice system are pillars of his campaign." Below is Andrew & Jeff's mission statement followed by several sample pages. Head over to the CAPTURED website to get the full picture.

"Corporations frequently commit crimes any average person would be imprisoned for. These corporate crimes devastate our environment, economy and society, yet the companies committing them often get away with only paying a settlement. These payouts do little damage to a corporation's bottom line and are practically baked into their budgets. The cost of doing business.

CAPTURED shines a light on these crimes masquerading as commerce. Through the use of art made by people in prison, this project imagines the highest levels of corporate leadership being personally responsible for their companies’ illegal actions.

Money, power, and political influence allow these companies, and their leaders, to not just break the rules, but make the rules. They are “untouchable.” On the opposite end of society’s spectrum lies another “untouchable”–the incarcerated– who even after paying their debts to society are often treated as unworthy.

The artistry displayed within this project may help viewers see the incarcerated as more than one-dimensional criminals and remind them a prisoner is also a person. They may also remind us a corporation is not a person. A corporation has no conscience. It cannot repent or truly pay for its crimes.

As consumers, we can say there are injustices we are not willing to tolerate. By not supporting companies endangering our health and freedom, and by questioning a system that wields punishment so unevenly, we can stop being mute witnesses."

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ICED COFFEE BREWED WITH SUNSHINE, FRIENDS & SHEER WILL

Working Not Working February 19, 2016

ICED COFFEE BREWED WITH SUNSHINE, FRIENDS & SHEER WILL

We caught up with creative couple #2298 Kristina Mueller and #10241 Chris Mueller to discuss their newest venture: creating and branding an iced coffee company called Venice Cold Brew. After Kristina and Chris moved to Los Angeles, Chris saw "a chance to dig in and become a part of the city we lived in, a chance to pour my drive, energy and excitement into something completely new." The Art-Director-and-Photographer couple brought their particular skill-sets to the table, and were further assisted by some additional WNW Members, which Kristina definitely appreciated: "Ask for help. Lots of help. It really does take a village to create a brand. Without the help of so many different people with unique talents, the brand would not be nearly as dynamic as it is." For all of you Angelenos out there, Venice Cold Brew is available in a lot of cool stores from Venice to Downtown, and will help you survive LA's incoming summer, its hottest yet.

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How did Venice Cold Brew come about?

Chris: I’ve always wanted to start a business. I’ve always wanted to take an idea from start to finish and make it fly. When our family moved to Los Angeles I quickly realized that the opportunity was now. It was a chance to dig in and become a part of the city we lived in, a chance to pour my drive, energy and excitement into something completely new. Coffee is something that I’ve always been crazy about and now I’m able to combine that with my love for design, photography and problem-solving into one tangible direction.

How did each of you apply your skill-sets to the project?

Kristina: Chris quickly began to develop a photographic voice for the brand through photos he was taking at the beach and on the streets of Venice. I was able to use my experience in branding and design to help develop a signature logotype to screenprint onto the front of the bottle. From there, along with the other assets we commissioned, I built the website as well as other elements for social media and print collateral.

What were some of the unexpected challenges of starting a coffee company and building its brand?

Chris: Time. Until you begin building a business from scratch you really have no idea how long it takes to make the vision reality.

Relationships. What you realize is how valuable the relationships are that you already have in place and how hard it is to make new quality connections in seemingly endless categories.

Money. This has been big. There are so many hidden costs that you can never be prepared for – permits, trademark attorneys, certified commercial kitchens, insurance, etc...

What about this whole adventure makes you the proudest?

Chris: Making it happen. I’ve always been driven by a challenge – a direction without a roadmap. The thought that through a culmination of friends, life experience, passion, drive and sheer will you can do anything. Past that it’s seeing the bottle on store shelves and knowing that someone will see the product, and based on its presence they are compelled to purchase it and enjoy it.

Did any other WNW members help develop Venice Cold Brew and its brand?

Kristina: Yes definitely. The writer Tatum Shaw contributed early on to help shape the voice for VCB and coined the mantra “Take your coffee with sunshine” which has been a pivotal theme for us. Alexander Barrett then took that phrase and others by Tatum, and illustrated them beautifully. Once the bottles were printed, filled, and capped, Justin Fantl shot some gorgeous product photos. And a shout out to Dana Bruington for her set creative direction!

What’s next for you, and Venice Cold Brew?

Chris: Growth. We have begun taking on larger customers like Whole Foods which is pushing us to create more product with an eye on service and sharpening the brand experience. This is going to require more people. In March we plan to raise capital to bring on employees than can assist in manufacturing, sales, marketing and social media.

How many cups of coffee do you each drink a day?

Kristina: Chris probably drinks his weight in coffee everyday, partly because all his meetings are all done over coffee, and of course making sure the product is consistently tasting great. I drink less only because I like to sleep.

What are some top tips you can offer to WNW members thinking of starting their own company or brand?

Kristina: Ask for help. Lots of help. It really does take a village to create a brand. Without the help of so many different people with unique talents, the brand would not be nearly as dynamic as it is.

What came first, coupling up or work? Tell us the how-you-met story!

Kristina: Coupling up came first. It’s embarrassing to say, but we met because we lived next door to each other. But I learned early on that Chris was a very talented photographer. That definitely piqued my interest.

Do you frequently collaborate on projects, or do you tend to keep working and not working separate?

Kristina: Our work is usually very separate, although many years ago I did hire Chris to shoot a magazine cover for me. We shot it in studio and I remember wanting to kill him. Working together on VCB has been a great meld to our sets of talent but there has been plenty of disagreements along the way, mostly over the fact that Chris expects less than 24hr turnaround times.

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

Kristina: We haven’t promoted nor hid it at all really. But I guess the cat’s out of the bag now.

How would you describe the creative scene in Venice?

Kristina: The creative scene in Venice is really strong. There are a ton of independent professionals making all kinds of great work here. Filmmakers, writers, illustrators, photographers, professors, ceramicists… We’ve only lived here a few years, but everyday we meet more and more makers living and working in Venice.

Anything else you’d like to add?

THANK YOU. Thank you to everyone who’s played a role in making Venice Cold Brew a success. Thank you to everyone who believed in the vision and were willing to lend a hand to make this fly.

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

PROFILES OF THE WEEK: FEBRUARY 15TH

Working Not Working February 14, 2016

PROFILES OF THE WEEK:
FEBRUARY 15TH

Kali & Karina, Art Director. Los Angeles.

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Amber Justis, Art Director. San Francisco.

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Gabriel Pulecio, Creative Technologist. New York.

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Lisa Kirchner, Art Director. Los Angeles.

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Timothy Stroh, Designer. Loveland.

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Jordan Fish, Director. Brooklyn.

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Eric Wagliardo, Art Director. Brooklyn.

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Mei-Ling Wong, Producer. Brooklyn.

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HOW TO GET YOUR SIDE PRODUCTS INTO RETAIL STORES

Working Not Working February 12, 2016

HOW TO GET YOUR SIDE PRODUCTS INTO RETAIL STORES

We enlisted WNW's #6379 Vinit Patil to offer some helpful step-by-step advice on getting your products into retail stores. As a creative, Vinit knows that coming up with great product ideas in your spare time is not the hard part, it's what to do next. And as co-founder of SKUE with #6038 Spencer Sass, Vinit's specialty is equipping you with everything you need to sell your products to indie retailers. Below, Vinit puts your product to the test, setting you up for retail success.

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By WNW Member #6379 Vinit Patil, co-founder of SKUE

If you found time between freelance gigs to produce something you’ve had on your mind for a while, kudos! You deserve a hug for going after your passion and shipping it.

While the path to selling online is fairly well-documented, let’s look at how you can go about selling products at your favorite independent retail store. The Kidrobots, Teichs, and Paxton Gates of the world, who serve a niche market and cringe at any mention of big box retail.

At SKUE, the online wholesale marketplace that I run with my co-founder Spencer Sass, we invite indie retailers once a month to source products from independent designers. The items we’ll use as examples are picked from these buying rounds.

We’ll stick to the basic categories of jewelry, accessories and home decor. The following are questions on every independent retailer's mind:

Is it unique?

Jewelry making is popular among the design crowd; however, since the market is saturated, standing out means thinking beyond traditional materials, beading techniques and laser cut pendants.

What sets apart these rings by Angnieska of ORU is the hand-woven Japanese glass beads, using the traditional Native American technique called Peyote Stitch. It’s not something retailers see often. And it is fairly difficult for big box retailers to replicate, which depletes them of all their cost advantages.

The combination of diametrically opposite ideas creates a distinctive selling point for the store owner.

“Love the mixed media. Wonderful job of bringing heritage into the present,” commends Angela Tsay of Oakland Supply Co., a boutique focused on Made in USA goods in Oakland’s historic Jack London Square.

Being unique is in the DNA of creatives so it’s something you’ll figure out. Now the next question:

Is it retail ready?

Retail readiness means your product is in the right shape to add to the store shelves. It could mean simple things like hang tags that clearly explain the product story. Or including care instructions. These are often overlooked by novice designers.

Sometimes it could mean including a feature that a particular store’s customers are looking for.

Oxgut founder Laura Le, who also works as a freelance producer at Google Brand Labs and other agencies, uses decommissioned fire hoses to design bags and home decor pieces. The Franchesi Tote featured here certainly passes the unique test.

Retailers however may have a few concerns before bringing it into their stores.

“I like the clean upcycled design” says Allison McGowan of Teich, a home goods boutique in the West Village. “I’ve learned that NYC customers want pockets in their totes, especially if they are open at the top as this one is. People want to be able to securely store valuables.”

While it’s ready for retail for the beach-going public in NorCal, one solution could be to produce a special edition for the NYC crowd with an extra pocket.

It could be all you need to get retail-ready for your favorite store.

Is it utilitarian?

While stores do stock novelty items, they prefer products that are not only unique, but also have regular use for personal purposes or as gifts.

For designers, stationary is a good place to start. Anything different from the Moleskin or Field Notes are great for grabbing a retailer’s attention.

Alex Pearson, who runs a freelance design studio, recycles the extra inventory from his Wes Anderson themed letter press posters into a set of notebooks.

“Colorful and quirky. Like the movie.” says Sylvia Parker of Upper West Side store Magpie, which focuses on sustainable products. “Three-pack size is an asset.”

Another area with a lot of utility and room for experimentation is barware. The sales are great all year round.

“Anything that can be used towards an alcoholic drink, people are always interested in.” says Michael Levy, Creative Director of San Francisco Curiosities Store Paxton Gate.

Retail stores offer great cred to independent designers and the shop local movement. Stores also purchase in lower minimums so the small batch quantities you make between gigs are welcome.

And how cool is it that you can start a side business selling barware. Tom Dixon would be the first to agree.

Would you like to know how your side product will do at stores? Send a link vinit@skue.co and we'll include you in the next round of reviews and a chance to get sourced by the world’s best indie retailers.

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CALLING YOUR OWN SHOTS IS EVERYTHING

Working Not Working February 11, 2016

CALLING YOUR OWN SHOTS IS EVERYTHING

You may have met WNW Member #8776 Stephen McFadden at the 4th Annual WNW Holiday Party. He was the one filming it, so we can relive the GIFs, the drinks, the jams, and those spontaneous Shake Shack burgers. We recently interviewed Stephen so the WNW community could get to know a little bit more about the director's background and aspirations.

Stephen developed his television and broadcast chops on cruise ships and tourism videos. "My biggest reward has been traveling around the country and the world without ever having to pay for it." After returning to land, Stephen started his own one-man freelance outfit, McFadden Creative. And it seems that being his own boss suits him: "Having the ability to call your own shots is everything."

We also spoke to Stephen about which of his projects he's proudest of, and what he's learned from the high seas in case you're ready for an epic adventure yourself.

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Did you always know you wanted to be a photographer and director?

No, I didn’t always know but when I got to college, I went down the list of majors and chose Radio, TV & Film and it’s been my life’s passion ever since. At this point in my career, I can’t imagine doing anything else. It’s been a very unknown and exciting journey.

Who's inspired you?

No one person has inspired me but I’ve always admired people who’ve paved their own paths and did things their way. Currently, I feel that I’m a part of the new era of “auteurs” that seem to be disrupting internet video content.

Tell us about your career path. How did you get here?

After getting degrees in Entertainment Business and Film, I found myself interning at a major network (BET) where I learned the day-to-day operations of national televised programming.

Then from there, I started working on cruise ships (Royal Caribbean International, Norwegian Cruise Line) in the television and broadcast departments where I really cut my teeth in a fast paced, shoot and edit environment. My cruise ship experience really gave me the confidence and autonomy to manage my time and workflow. Back then, we were still shooting to (digi beta) tape. Ship life also gave me the opportunity to see far corners of the world while having amazing travel experiences.

After a couple of years of working and living on ships, I transitioned into shooting and editing travel/tourism videos which was a blast (Miles Media Partnership). Shooting/editing tourism videos helped me realize the power of content and how far reaching a “local” video could really be. During my travel/tourism time, I learned how important stories and characters are to unscripted content. This time also solidified that work can truly be fun.

From 2010-2015 I split my time between being a Project Videographer in education (St. Petersburg College) and freelancing as an “one man band” producer/shooter/editor under my own freelance outfit, McFadden Creative. The work I’ve done under McFadden Creative, hands down, has been the most rewarding work I’ve done to date. It’s given me the opportunity to create original web series, mini docs, fashion videos and other types of content. Having the ability to call your own shots is everything.

Currently, I’m a video editor at a New York video content agency.

Five Lessons from Working on Cruise Ship

1) Be prepared to work really long days. The average day as a Broadcast Tech involves managing and scheduling .mpg players for TV content, filming on board activities & live shows, turning around quick edits, constantly trouble shooting satellites and old equipment. It's the best crash course I've ever had in time management.

2) If you're lucky to get a great itinerary, it's the best way to travel the world. I've spent months in the Caribbean and one six month contract in the Mediterranean. Waking up in 10+ different countries, on two continents over the course of several months is pretty awesome.

3) When the ship docks, go get lost. Living six months at a time onboard ships can be really intense and can feel quite claustrophobic. The best cure for cabin fever is to go get lost in whatever city you're visiting. I spent a lot of time walking around with my camera, taking in the native cultures. Most places are extremely touristy, so get as far away from the main areas as possible. Always make good friends with cabbies, they will know where to take you for a small fee.

4) Your world view will change. One of the last ships I was on, I was 1 of 19 Americans out of 700+ crew members. It felt very different working in an environment where most people don't sound like you. Although, everyone spoke english, it wasn't everyones first language. It truly opened my eyes to see how big the world really is and how the rest of the world views Americans.

5) If you work hard and play harder, you will have created life-long memories that will last forever. Between all the new friends you'll make, the long hours of work, the long sea days (days spent at sea, not on land), great crew parties and beautiful destinations, it's the most amazing and intense work life you'll ever have.

Do your parents understand what you do for a living?

Not quite. They understand that I do stuff with cameras and computers. Aside from that, it doesn’t really makes sense to them.

What's your biggest challenge?

My biggest challenge is selling clients on my personal visions for their projects. It’s an ongoing, healthy challenge that I face.

Biggest reward?

My biggest reward has been traveling around the country and the world without ever having to pay for it. Most people would love to travel but don’t want to pay for it. I went years without ever having to pay for tickets.

What's it like shooting the annual WNW Holiday party?

Shooting a WNW Holiday party is a blast. WNW brings together an interesting mix of creatives who might not otherwise party together, so being able to document people having a good time from so many different backgrounds was the coolest part for me. Obviously, the music and drinks are great but this year Shake Shack was in the house passing out free burgers so that was pretty awesome in itself. Justin and Adam do a fantastic job of hosting a great event. I loved it so much, I wish they would host a summer party.

Favorite piece of your own work and why?

I would say my favorite piece would be a video I created with Chef Steve Phelps of Indigenous restaurant. It’s a piece I worked on for probably 3 years. The final video was called “Being a Chef” which basically documented the three year journey of a chef as he builds his brand and comes into his own as a star chef. He and I did numerous videos in between “being a chef” but he wanted one video which was a statement and testament to what it means to him to be a chef. It’s probably one of the most impactful videos I’ve made.

What's a dream project of yours?

My dream project would involve telling a brand’s unique story through culture, fashion, and food in a docu-series.

Any resources that have been helpful to you in what you do for a living?

The internet as a whole has truly been helpful for me. There are so many resources and avenues out there. Vimeo has been pretty integral in me discovering new ways to do things, discovering other creators and finding inspiration.

What's advice you'd give your high school self?

I would tell my high school self to stop being afraid that everyone is somehow better than you. And do something everyday that helps build my confidence and self-esteem. It took me years to finally realize that I was just as good as most creatives. And the other thing would be to always ask her for her phone number.

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PROFILES OF THE WEEK: FEBRUARY 8TH

Working Not Working February 7, 2016

PROFILES OF THE WEEK:
FEBRUARY 8TH

Evan diLeo, Designer. Brooklyn.

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Scott Garner, Creative Technologist. Amarillo.

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Stephen Holtzhauser, Producer. New York.

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Iryna Korshak, Illustrator. Warsaw.

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Zack Kantor, UX/IA Designer. New York.

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Kate Copeland, Illustrator. London.

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Stephanie Crippen, Copywriter. Tampa.

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Alexa Wright, Designer. Los Angeles.

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JOEL KIMMEL CELEBRATES THE DANCE MOVES OF CAM NEWTON

Working Not Working February 7, 2016

JOEL KIMMEL CELEBRATES THE DANCE MOVES OF CAM NEWTON

Carolina Panthers quarterback Cam Newton is as creative with his celebratory dance moves as he is maneuvering out of the pocket and throwing touchdowns (except against the Broncos defense, apparently). And while he only gets paid to do one of those things, he clearly practices both. ESPN enlisted talented illustrator and WNW Member #1213 Joel Kimmel to show off some of his own skills and illustrate five of Cam's signature dances.

Via ESPN

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TWIST AWAY

CAN'T STOP THIS

ROCK-A-BYE BABY

THE ORIGINAL DAB

ALL EYES ON ME

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HOW TO START A BUSINESS WHEN YOU HAVE NO BUSINESS STARTING A BUSINESS

Working Not Working February 6, 2016

HOW TO START A BUSINESS
WHEN YOU HAVE NO BUSINESS
STARTING A BUSINESS

When Hyperakt gave WNW co-founder Justin Gignac the opportunity to speak at their monthly Lunch Talks, the answer was an immediate yes. With professional heroes Michael Bierut and Paola Antonelli (and WNW Member Lauren Hom, hey girl!) among the previous speakers, there was clearly no pressure to present.

This video includes highlights from Justin's presentation, geared towards anyone who is itching to make their ideas a business but consider themselves more artist than entrepreneur. Justin talks about how his side projects catapulted him into what he’s doing now, including how 'The Justin Gignac Freelance Status Apparatus' evolved into Working Not Working. WNW Creatives: if you’ve wondered what the site looks like to those that hire you, we lift the curtain (minute 8:24) on the other side.

Below is Justin’s totally simple, 18-step guide that he assures us he definitely did not make up the night before this talk.

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HILLARY COE ON DRAG RACING, FLYING JETS, & HARRISON FORD

Working Not Working February 5, 2016

HILLARY COE ON DRAG RACING, FLYING JETS, & HARRISON FORD

We spoke to WNW Member #2984 Hillary Coe about her experiences modeling, drag racing, flying jets, hanging out with Harrison Ford, empowering women through advertising, and looking to the uncharted territory of virtual reality, augmented reality, and home connectivity. Yes, she's done all of that. Which made us wonder if she's dipped her toes in cloning as well. And which of these endeavors Hillary was in the middle of when she took the time to chat with us. How fast was she going? Did she have Harrison guest answer a question? (Is it virtual reality or augmented reality that allows us to pretend to do all of this cool shit too?)

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Tell us your story! Who is Hillary Coe and how did she get here?

I am a creative director, a hands-on designer, and a technologist. I build experiences, the products that bring them to life, and the stories that make the world fall in love with them.

Growing up I was (and still am) fascinated with technology and traditional art. I studied digital media in college (visual effects, motion graphics, film and advertising), which allowed me to seamlessly work across all mediums of the creative field. This includes film production (Anonymous Content), creative production (Hornet/Famous) my own creative agency (BoxEight), advertising (Chiat/TBWA/Media Arts Lab) and the creative tech world (Google).

In addition to my professional career, I hold a world record in drag racing. I appear on the cover of the world’s largest fashion magazines, and push myself both mentally and physically by climbing mountains, jumping out of planes and learning to fly.

Screen Shot 2016-02-04 at 12.11.53 PM.png

Growing up, what did you want to be?

I wanted to be an astronaut. I fantasized about space and discovery of new worlds as I ran around the backyard in my underpants. I still romanticize the unknown up there, but with a slightly different lens now and more clothes on.

"I want to lick the gelato from Milan in late Summer with the violin gypsies and Parisian chainsmokers dancing on ships as they twist through Fjords under glowing northern lights."

Do your parents understand what you do for a living?

I used to chase my father around his agency when I was a kid - learning the letterpress and what that big Avid box machine did. I owe a lot of my storytelling to his never-ending openness to creativity. My mother is still upset I don’t make greeting cards.

What are some cities you’ve lived in, summed up in one sentence?

I want to lick the gelato from Milan in late Summer with the violin gypsies and Parisian chainsmokers dancing on ships as they twist through Fjords under glowing northern lights.

What's a dream place you’d like to move?

I would be satisfied never settling anywhere and always exploring. My inspiration pulls from the experiences outside of where work lands me, and I find it absolutely essential to my work (and growth as a human being) to seek that out.

You’ve been a successful creative director, designer, technologist, drag racer, model, and the list goes on. How does having such varied experiences impact your work?

I have this need to surprise, disrupt and hopefully inspire people to see things differently. If I wasn’t applying this to the rest of my life I would be dishonest.

How does one experience inform another? Do you apply insights from drag racing, flying jets, and modeling to your work as a creative director?

The psychology behind me seeking out those “experiences” is the same tension that drives me to constantly reinvent the way I tell stories. “Girls can’t race”. Bullshit. I spent every weekend for 2 years tossing wrenches with the right team until we broke records and made history. I see storytelling in this brilliant technological age the same way. There is nothing we can’t do, we just need to be smart, not fear change and have a damn good Creative Technologist backing us up (I recommend Hai Nguyen).

Are there any fields you haven’t conquered? If not, then next question. If yes, what are one or two things you always wanted to try your hands at but haven’t yet?

I want to invent new fields and conquer them. I want to take the sparks of magic in new platforms and shape them into the flaming powerhouses I see them becoming. Virtual Reality, Augmented Reality, home connectivity….there is a huge list of areas for creative influence yet to be defined. It is an exciting time to be a creative.

Work

“Real Time Advertising” won pretty much every award that ever existed. What was your involvement? Did you and your team know that you were onto something groundbreaking during development?

Twitter was winning and we were tired of every brand wanting to “re-create the Oreo moment” during live events. This was a perfect example of reinventing the way we saw advertising to meet the challenges of an ever-changing social environment. My creative role allowed me to imagine how this project existed in the world and how people used it. Ex: How could Nike provide an innovative experience on users' second screens when Messi scored a goal? Display ads were no longer something pushed on a user, they started a real conversation. That is the power of real-time advertising - it reflects real life as it happens, just like social media.

The adidas campaign “all in for #mygirls” addresses gender stereotypes on and off the proverbial field. I'm sure you have something to say on the topic of gender stereotyping.

The adidas campaign was very important to me - beyond my quest to tell real, authentic stories of girls all over the world kicking ass and taking names. Women who exist in male-driven worlds (including advertising) are rarely shown the perspective of other females fighting that same battle. I grew up a tomboy and seemed to be the only girl within 15 miles who liked to skateboard and swim in the ocean. If I had access to girls who shared those same passions I wouldn’t have felt so isolated- something a lot of women now feel in the workplace. The adidas campaign set up a community for girls to locate and set up their tribes online. I highly suggest to any young woman in advertising: find your tribe.

"If I had access to girls who shared those same passions I wouldn’t have felt so isolated- something a lot of women now feel in the workplace."

Harrison Ford still hasn’t finished building his WNW profile, but we still think he’s super cool. Did you get to meet Harrison and all of the voices behind the Conservation International's "Nature is Speaking"? Who most exceeded your expectations, or most surprised you?

I am truly inspired by how passionate and involved Harrison is toward this environmental crisis (he’s on the Board of Directors with Ed Norton). I respect all these actors: they have the eyes and ears of the world and volunteer that power for the sake of doing something good. One of them recorded a version based on a famous line they are known for and I wish we had permission to release it.

I’ll be sure to remind Harrison of his profile incompletion.

Do you have other causes you’re especially passionate about, that you’d love to work on in the future?

Any with truly good intentions. There is no better feeling than taking the skills and passions I have and applying them to ACTUALLY make a difference in the world. I just finished some work for the UN Climate Conference, and currently I’m lending a hand to XQ: who are rethinking the education system by empowering the right people to bring schools into the 21st century. Keep an eye out.

Inspiration & Advice

Who are some other WNW members you admire, and why?

Blake Kidder - One of the craziest creative minds I have worked with

Tim Geoghegan - Because he’s not afraid to cross dress on a casual Wednesday

What’s the best advice for a creative that you’ve ever heard? Do you have a favorite quote, or personal mantra?

Lee Clow: Make it smart. Make it beautiful. Have fun.

If a problem you are trying to solve doesn’t work within the constraints of the brief, the platform or technology--change the constraints. Be prepared to go to bat for it.

Learn. Don’t get comfortable. Know what’s out there. Find out who is doing cutting edge work. Watch lectures, go to conferences, attend dinners even if you aren’t particularly social. LEARN to be social.

Things you would tell your high school or early twenties self.

Stay weird and don’t drop out of that C++ class.

"I highly suggest to any young woman in advertising: find your tribe."

Bonus Round :)

What do you do when Not Working?

I’m learning to fly. Once you ride in an F-16 you’ll never look at the sky the same way again.

What song always gets you in the creative zone?

I’m not sure about creative zone but this question reminds me of that Kenny Loggins song I used to play before races.

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Illustration by WNW Member #1612 Jing Wei

WNW MIXTAPE: SYNTH YOU'VE BEEN GONE

Working Not Working January 28, 2016

WNW MIXTAPE: SYNTH YOU'VE BEEN GONE

Here's a mixtape that's almost as much fun to say aloud as it is to listen to. Featuring perhaps one of the most overused yet still somehow under-appreciated instruments, Synth You've Been Gone finds WNW Member #5187 Nick Ceglia weeding through a dark world of bad synthesizer sounds and resurfacing with 14 gems. The party's capped off with "Sound and Vision" by the late David Bowie, who may be late but will always remain fashionable.

We also caught up with Nick to see what life is like as a full-timer on the creative team at Chipotle. Direct all "burrito buck" questions to him; we can't help you.

You can open the mixtape in Spotify here.

Tell us a little bit about your background. Who is Nick Ceglia and how did he get here?

I’m a photographer turned graphic designer turned copywriter, and I now write about burritos for a living. Been a curvy road to where I’m at, but I’m happy to have a background in a few areas.

What’s it like being part of the in-house creative team for Chipotle? Any tasty discounts?

It’s great—super fun to write for. We have a small creative team with very talented designers, and the company as a whole really values creativity and good design. And yes, plenty of tasty discounts. See me for some burrito bucks.

We’re big fans of your tumblr coverundercover. Did you discover a particular book cover undercover that lead you in search of other hidden gems? What was the most unexpected cover undercover you discovered? (Say that ten times fast and then answer it.)

The first cover I discovered was a French-English dictionary. I originally bought it for the jacket design and I didn’t find the design underneath it for a while. I think that was the most unexpected because they’re both great covers. It got me psyched and I started thinking about how many others I missed.

What % of the time do you listen to music while you work? Who are some of your favorite musicians/artists?

Quite a bit. My playlist is a good synth-themed mix of what I’m into. There’s some indie stuff, Talking Heads, Devo, and I got to fit in a Paul McCartney jam that’s pretty bizarre. Also looking forward to the impending Wolf Parade reunion.

What are you working on these days?

I’m currently working on what our packaging will be after our Cultivating Thought series comes to a close, which is pretty exciting.

What are some top tips you can offer creatives based on your area of expertise?

I think it’s good to try and not get bummed on small projects. Especially when you work in-house, you don’t always get sexy projects and a lot of it is working on the little aspects that make the brand what it is. If you can find a way to make a bathroom sign or some receipt tape funny, it can be pretty rewarding.

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WHAT THE F*#!CK IS A UX DESIGNER, ANYWAY?

Working Not Working January 27, 2016

WHAT THE F*#!CK IS A UX DESIGNER, ANYWAY?

We've all heard of UX Design, but what is it? We enlisted the help of Sweden-based WNW Member #2079 Anton Sten to peel away some layers from this mysterious, ever-shifting role. As Anton notes in his new e-book User Experiences that Matter, it really boils down to valuing your customer, and understanding how to make them happy. But he also stresses that while UX is integral, it is only part of a great experience: "Even if your product is amazing - like really the best of the best - it can all be destroyed by one impersonal customer service answer, a slow loading website, or not delivering on a promise. After that it’s back to square one. I think Uber is a good example. Regardless of how ‘friction-less’ the app is, if your driver is bad, then you’ll have a bad experience. Everything has to play well together."

WNW members, use the code 'wnw25' to get 25% off of User Experiences that Matter.

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Your book does a great job of breaking down UX Design (and all of the abbreviations that come with it) so that its purposes and applications are more transparent. What lead you to write this book?

Thank you! It was about a year ago that I started writing more and more. When I started, it was purely out of wanting to share my personal reasoning behind my designs in a more thoughtful way. Due to working remotely, I often have to express my concepts in written text. It was only natural to begin to share my ideas and opinions with the world about UX Design and what it takes to make a really great user experience. I started working with a great editor, Joshua Yuhas, who helped me to transform these articles into better pieces, making sure the structure is easy to follow. We both noticed how they would do even better if they were placed in an order where they could build off from each other.

What gaps in understanding UX do you hope to fill?

There are so many opinions on what UX Design is and I wanted to provide other UX Designers with a simple guide to clear up the confusion. I sincerely believe that even the best wireframes - a UX Design mainstay - can result in a really poor experience for the user. A really well thought out plan needs more than just a UX Designer, but participation from the entire team. The user needs to be considered in every step of their journey.

What’s your background? How did you become a UX Designer?

I started way back in 1996 with web design. Back then, there really wasn’t much in the way of ‘design’ and it would be many years before UX Design was even a concept. Because the industry was so young, I was able to get a job at a traditional advertising agency without an education or any prior experience. While working there, I learned all the ground rules of good design (typography, color theory, etc) from the people I worked with.

In 2000, I started at Hyper Island and for the next ten years I spent much of my time working as a designer/art director for agencies in Sweden and Denmark. Ironically, my last two full-time jobs were at large advertising agencies (BBDO and Bates Y&R) teaching the “traditional” staff how to do better digital work. It was a real role reversal.

When I did finally venture out on my own, I was much more aware of what I was good at - and what others do better. I realized that my strengths were in making sure everything fits well together and understanding how people use these “things”. I found that even while working as a designer, I was more focused on the big picture than just adjusting the drop shadow perfectly on a button.

If you weren’t doing what you do, what do you think you’d be?

I like to think that no matter what I’d be doing, I’d still be focused on making sure people are having a great experience. I’ve specialized in digital products because it’s still such a new field and there’s so many exciting things going on. I do have a passion for animals, and working with them would be amazing. In fact, I bring my dog to my office every day. She’s my only co-worker.

In User Experiences That Matter, you stress how it really boils down to valuing your customer, and understanding how to make them happy. Can you tell us a little bit about the challenges that come with that?

While most of us want to create great user experiences because we know that happy customers equal happy sales, we tend to limit the scope of what really creates that great experience. I have worked with numerous e-commerce sites that only wanted me to improve 2 or 3 pages believing that if we get those right, it’ll be all blue skies and unicorns. I think the challenge with user experiences is that it takes so much effort to build something great and it can be destroyed with just one mistake. Even if your product is amazing - like really the best of the best - it can all be destroyed by one impersonal customer service answer, a slow loading website, or not delivering on a promise. After that it’s back to square one. I think Uber is a good example. Regardless of how ‘friction-less’ the app is, if your driver is bad, then you’ll have a bad experience. Everything has to play well together. For larger companies, this can be especially difficult since they tend to work in silos.

Any advice you can give to our members on the importance of understanding the customer / how to keep ‘em happy?

Become a customer! :)

There are some great books on this topic, but I believe Delivering Happiness by Tony Hsieh is one of the best. To better understand the customer’s point of view, it’s important to see what their full journey is. What did they do before visiting your site? Why did they end up on your site? If you sell something, why did they choose to buy from you? There are so many questions here and they boil down to the exact same thing - you have to really understand your customer. If you don’t, you can’t make them happy in the long run because you’re just guessing.

If nothing else, what are five things our members should know?

1. Work problems are very rarely solved in the office. I usually take my dog for a walk around Malmö and I get so much more done that way. Staring at a blank canvas on a computer screen doesn’t get good results.

2. Don’t have an ego - it’s OK not to know everything.

3. Don’t make promises you can’t keep, especially as a freelancer, but really as a human being in general.

4. Try new things. About a year ago I finally tried Pilates Reformer and now I love it. For many years I had an idea of what it is (I was wrong) and that I wouldn’t like it. Finding an exercise form that you love makes it a lot easier to keep in shape.

5. Find out when, where, and how you do your best work. Then adjust your life to better support it. It’ll mean you’ll create better work and be happier when not working.

What’s next for you? What are some dream projects?

I was asked to work on the UI of new car models recently and that would have been a great experience for sure. They are so important to our everyday lives, but have evolved so little. I bought a new Audi last summer and basically it has the same UI and UX as a model from ten years ago! While companies like Tesla are doing some great things, their improvements seem to be primarily technical. You get a 17” touch screen, but it’s still showing things that we are all used to. It would be a dream project of mine to create a new and exciting UI and UX in something we use as often as the car.

Unfortunately, this position would have meant moving, which I wasn’t up for. I enjoy the freedom that freelancing brings and will continue to do great work for my awesome clients.

What do you do when you’re Not Working?

I enjoy hanging out with my wife and dog, reading, watching football (soccer), and playing FIFA on my Playstation.

Are there other WNW members whose work you admire?

I’m sure that there are a bunch of awesome people on WNW, but it’s hard to communicate great UX work/projects just through screenshots. Lia Software Art seems to do awesome work and I would love to hear about challenges in working on a voice-controlled experience. Adam Glynn-Finnegan has done awesome stuff and I’ve always loved the Evernote branding.

Tell us about the significance of your email address :)

I’ve always had a love for France and anything related, so when I started my first company I called it Le Petit Garcon (The Little Boy). Mostly, this was because I felt very small compared to the agencies I was pitching against. The last year though, I’ve come to realize that my clients hire me and I might as well just do business as Anton Sten. My website is now antonsten.com and has the added bonus of being far easier to pronounce to someone over the phone.

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

PROFILES OF THE WEEK: JANUARY 25TH

Working Not Working January 24, 2016

PROFILES OF THE WEEK: JANUARY 25TH

Sylvia Boomer Yang, Motion Designer. Brooklyn.

Follow Sylvia on WNW

Jared Culp, UX/IA Designer. Austin.

Follow Jared on WNW

Robin Davey, Illustrator, London.

Follow Robin on WNW

Jillian Adel, Art Director. Los Angeles.

Follow Jillian on WNW

Karen To Nakada, Designer. Los Angeles.

Follow Karen on WNW

Camille Chu, Designer. Los Angeles.

Follow Camille on WNW

Ben Kopp, Illustrator. Philadelphia.

Follow Ben on WNW

Ryan Lowry, Photographer, Chicago.

Follow Ryan on WNW

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

TAKE A BREATHER WITH LEE MOULTON

Working Not Working January 22, 2016

TAKE A BREATHER WITH
LEE MOULTON

When we first heard of Breather we were immediately intrigued: beautifully designed spaces for rent by the hour or the day, unlocked with an app. After partnering with Breather for this year's holiday party, we sat down with Lee Moulton, Head of Strategic Partnerships, to learn more.

Not only did we get the inside story on the company, Lee told us about his unique background: his upbringing in the midst of the Liberian Civil War, starting Youth Action International while at Amherst, and how he switched from Goldman Sachs to startup: "Being able to make it through early adversity and excel both academically and professionally was really fueled by my belief that I was spared from the killing and horror in Liberia for a larger purpose. I value and treasure every opportunity that has come my way."

WNW Members: check this week's newsletter for details on Office Hours we're hosting 1/27 in a NYC Breather. We'll be answering all your questions about freelancing, full-timing, and the future of Working Not Working.

Members can also book their own Breather space and get an hour free, just use the code WNWVIP.

Tell us about your background: Who is Lee Moulton and how did he get here?

Oh boy, where do I start? So I was born in Madison, Wisconsin, where my mother, who is a native of Liberia, was finishing her graduate school work. We moved back to Liberia before my 2nd birthday and I spent my early years there growing up in the capital of Monrovia. Around the age of 5, the Liberian Civil War began and we had to evacuate. Because my young sister and I were both American Citizens, we left on the U.S. Embassy plane while my mother stayed back to help her family get out of the country. For almost a year and half, I didn’t get to see my mother as I settled with family in North Carolina. I have to admit, it was a rough way to spend my formative years.

Pushing through that rough start, I managed to get a scholarship to attend the Northfield Mount Hermon School in Northfield, Massachusetts. Afterwards, I gained admittance into Amherst College and went on to Goldman Sachs. Being able to make it through early adversity and excel both academically and professionally was really fueled by my belief that I was spared from the killing and horror in Liberia for a larger purpose. I value and treasure every opportunity that has come my way and make sure to always aim for excellence in all I do. Thanks to my mother and extended family, I’ve had the support needed to keep going and keep pushing myself to new heights.

You spent six years at Goldman Sachs. How’d you make the transition to startup life?

I realized while working at Goldman that I had a real interest in entrepreneurship. At Goldman, we served companies that were large and established but more and more, coming out of the financial crisis, our focus started to turn to the rapid growth of emerging companies like Facebook and Uber. As I studied those companies and their paths to success, I knew that I wanted to be part of a similar story so I started asking friends in the startup world for intros to small companies that they thought had growth potential and could use my sales and finance skill set. After doing what I call “startup dating” and having a ton of coffees and conversations with various founders, I ended up speaking to the General Manager of Breather here in NYC, Packy McCormick, and meeting with the CEO and Co-Founder Julien Smith. One of the things I learned during my career at Goldman was that organizational culture and values were extremely important in the success of any endeavor. From my preliminary talks with Julien and Packy, I was immediately taken aback by their passion for the Breather concept, their belief in putting people first, and their appreciation and respect for my prior experience. The rest is history.

Tell us about Breather, and what exactly is it?

At Breather, we are aiming to be that “third” space between people’s homes and offices, a place where they can meet, work or relax in peace, quiet and comfort. Right now, Starbucks is the defacto third space for urban dwellers. In a busy, bustling city, if you need a place to take a call or find respite, eventually there will be a Breather within a couple of blocks of wherever you are that you can pop into and get a personal, private space whenever you want it with powerful wifi, comfortable seating, white boards, and all the other tools you might need.

The use cases are pretty uncanny. For instance, Uber’s Head of Design uses Breather for team meetings and off-sites. We are an official corporate perk for employees at Etsy, Facebook and BuzzFeed, and we also have thousands of freelance photographers, videographers and other content creators who use our locations for photoshoots, interviews and meetings with their clients.

In a nutshell, we want to empower individuals and organizations by unlocking the buildings and spaces they walk by each day. Why have 1 office when you can have hundreds, on demand. We want you to walk around feeling like you have 10,000 keys right there in your pocket. To feel like the city is yours.

Breather spaces are not people’s homes or offices, correct? It’s a space that Breather owns, decorates and rents out?

Correct. Breather spaces open at 6:00am and close at 10:00pm, with a few exceptions. We only open space in buildings designated for commercial use. We’ll find an office in a central location, furnish it with all the amenities our users love, and then make it available by the hour via our app and website. The real magic of it is that each location has a keycode to unlock the door so that spaces are super easy to access, whenever you need them.

How do you think WNW members can benefit from using Breather?

One of the central tenants of Breather is to empower. WNW members who need private meeting space to close business, pitch new clients, or to be productive while in the city can leverage the Breather network. I am proud that we worked out an agreement to offer an exclusive discount on our spaces just to WNW members, as well as give each member 1 free hour to try us out for the first time.

What do you do when you’re Not Working?

Play or watch basketball and football. I am a huge sports fan. I love competition and have an extremely high amount of respect for the work athletes have to put in to perform. I also enjoy cinema and try to catch as many movies as I can.

You also helped start Youth Action International, a humanitarian non-profit organization focused on rebuilding war-torn African countries. How did you get involved?

I helped start Youth Action International while in college. It started as a student organization on campus at Amherst and we spread it to various schools in the area. I was the first President of the organization and joined the board when we got 501c3 certification. I had always wanted to find a way to help out Liberia and other countries impacted by war, and Youth Action International was the perfect opportunity to give back. My work with Youth Action International and what we’ve accomplished since 2004 is something I take great pride in.

TIPS FOR TAKING A BREATHER

Lee Moulton’s top tips on how to maximize your time at Breather:

1. Have an idea of what you want to accomplish. Arrive with an action plan and agenda for your meeting so you don’t waste time.

2. Minimize distractions. Try to turn off your phone and really give your full attention to the project you are working on.

3. Find your comfort zone. Some users like working from our couches and some like sitting at our tables and using our work chairs. Figure out which is better for you.

4. Invite attendees to the meeting via our app. They will get a calendar invite with location and time of the meeting, saving you time so you don't have to send a meeting request in your calendar.

5. If you feel the meeting is going to run longer than the time you booked, extend your reservation as soon as you can before someone books behind you.

BONUS ROUND!

Last three things you Googled:

Bernie Sanders
Riley Curry
Purpose Justin Bieber

Most significant creative or entrepreneurial inspiration:

Stan Lee

Favorite quote:

“After climbing a great hill, one only finds that there are many more hills to climb” – Nelson Mandela

Advice you’d give your high school self:

Take more risks and don’t worry about failing. Failing is okay, as long as you learn from it.

Need a Breather? Use the code WNWVIP to get a free hour.

COVERED NOT COVERED? JAN 31 DEADLINE FOR HEALTH INSURANCE

Working Not Working January 21, 2016

COVERED NOT COVERED? JAN 31 DEADLINE FOR HEALTH INSURANCE

Before venturing out into the wonderful world of freelance, most of us spent time in the full-time trenches where health insurance was (mostly) paid for by the company. Well, not anymore, sucker. Now it's your responsibility to cover your own ass.

But don't worry, getting health insurance isn't as complicated as it seems. For those of you near us in New York, New Jersey, Los Angeles and Dallas, we like the folks at Oscar. Ya know, the ones with the cartoon-y ads (there's even one with a dick pic) plastered all over the NYC subways. Not in those cities? Your local insurance providers can be found at healthcare.gov.

Anyhoo, regardless of who you go with, you gotta do it quick. January 31st is the deadline to enroll for coverage. After that, you’re gonna get hit with a tax penalty of $695 or 2.5% of household income (whichever is higher). Ouch. So, do it. If not for your health, at least to get your mom to stop nagging you.

Illustrations below by WNW Member #9667 Robin Davey

WONDER WHAT IT'S LIKE GOINGTO THE OSCARS? ASK JULIA POTT

How did you come to be the voice of Emily in Don Hertzfeldt’s mind-bending Oscar-nominated short World of Tomorrow?

Had you ever done any voice work before, besides the Golden-Globe winning WNW Microsoft Commercial? Tell us about the experience.

Were you already familiar with Don Hertzfeldt’s work?

Where were you when Don told you he was bringing you to the Oscars? What was the first thing that came to your mind?

How have you prepared for the Oscars? Most importantly: Who are you wearing?

Has Don cast you as the voice of his acceptance speech if/when World of Tomorrow wins?

Which actors and actresses are you hoping to bump into on the red carpet or in the buffet line? (Is there a buffet line? We’ve never been to the Oscars…)

Are you a big movie buff? What are some of your favorites?

What was your favorite feature-length film this year? Any Oscar predictions you care to share? Is it FINALLY Leo’s year?

What’s next for you?

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

PROFILES OF THE WEEK: FEBRUARY 29TH

Joshua Davis, Designer. NYC.

Annette Dalton, UX/IA Designer. Santa Monica.

Piper Weaver, Designer. Tahoe City.

Kingston Trinder, Copywriter. Los Angeles.

Kathrin Laser, Designer. NYC.

Cody Kussoy, Editor. NYC.

Jeremy Boland, Art Director. NYC.

Renée Melo, Illustrator. London.

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

FEELING HANGRY AND INDECISIVE? END YOUR SUFFERING WITH MENULESS

Tell us a little bit about your creative backgrounds.

How hungry and indecisive were you the moment you decided to start Menuless?

What are your respective roles in building Menuless?

What have been some of the challenges you’ve encountered thus far?

In the early days of Menuless, does it seem like people are giving up control to stave off starvation?

The whole voice of the brand is hilariously unapologetic. Did you ever consider a more comforting voice or is part of the fun taking charge?

A GLIMPSE INTO THE MENULESS FAQ

What else are you working on these days?

What are some top tips you can offer creatives who are thinking about launching a side project?

"It’s easy to spend a lot of time in the dreaming phase, but if you just start building whatever it is, then you have something tangible that you can work with and mold and shape."

What’s one song that always gets you in the creative zone, and still sounds good when you’re hangry?

Anything else you’d like to add?

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

HOW TO DIRECT A FILM ON A SMALL BUDGET

What inspired you to direct Falling?

Where did the story come from?

"I wanted to figure out what drives all of us to continually fall in and out of different versions of love, and that seemed like a good beginning for my film’s story. My focus was on the need for love, and not the discovery of it."

Where did you find the time while working on commercial projects?

"I’d wake up before 6am every day and send film pre- production tasks to my crew. Then I’d go into the agency to lead the Microsoft project during the day. And then follow up on the film tasks in the evenings."

Any advice you can share on learning to sit comfortably in the director's chair?

"If you’re going to make a film, dig in deep, find something honest in you that you can be passionate about. Because it’s likely to take all of that to do a good job, and for your story to be worth sharing; then godspeed."

What were some of the biggest challenges on set?

"As a director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses. In the end, you either made a good film, or you didn’t.

What differences did you notice in how you approached your work in advertising and this personal project?

How did the process of Falling make you think of teamwork differently?

"To make the best personal film possible with a rather small budget... you have to find what will drive people to care as much as you do."

What's next for you?

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

PROFILES OF THE WEEK: FEBRUARY 22ND

Alexander Engzell, Designer. Vaxjo.

David Falossi, Director. Los Angeles.

Zoe-Zoe Sheen, Illustrator. Los Angeles.

Hattie Watson, Photographer. Los Angeles.

Ophelia Chong, Designer. Los Angeles.

Larry Nguyen, Designer. Los Angeles.

Kevin Thomson, Copywriter. San Francisco.

Jeany Ngo, UX/IA Designer. San Francisco.

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

CAPTURED: PEOPLE IN PRISON DRAWING PEOPLE WHO SHOULD BE

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

ICED COFFEE BREWED WITH SUNSHINE, FRIENDS & SHEER WILL

How did Venice Cold Brew come about?

How did each of you apply your skill-sets to the project?

What were some of the unexpected challenges of starting a coffee company and building its brand?

What about this whole adventure makes you the proudest?

Did any other WNW members help develop Venice Cold Brew and its brand?

What’s next for you, and Venice Cold Brew?

How many cups of coffee do you each drink a day?

What are some top tips you can offer to WNW members thinking of starting their own company or brand?

What came first, coupling up or work? Tell us the how-you-met story!

Do you frequently collaborate on projects, or do you tend to keep working and not working separate?

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

How would you describe the creative scene in Venice?

Anything else you’d like to add?

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

PROFILES OF THE WEEK:FEBRUARY 15TH

Kali & Karina, Art Director. Los Angeles.

**How did you come to be the voice of Emily in Don Hertzfeldt’s mind-bending Oscar-nominated short World of Tomorrow?**

**Has Don cast you as the voice of his acceptance speech if/when World of Tomorrow wins?**

**How did the process of Falling make you think of teamwork differently?**

PROFILES OF THE WEEK:
FEBRUARY 15TH

PROFILES OF THE WEEK:
FEBRUARY 8TH

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