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Kim Easley: What It Takes to Get Hired at VML

Working Not Working May 20, 2016

Kim Easley: What It Takes to Get Hired at VML


We recently caught up with Kimberly Easley, Managing Director of Talent Acquisition at VML, who shared what she loves most about her job, VML's culture of giving back, and VML's success in remaining "flexible and media agnostic." Kim also let us in on what she looks for in a creative hire: "I like to see what makes a person interesting or what they are passionate about aside from the work. While the work is what gets you in the door, it’s your passion projects, your blogs and your travel experiences that really show us who you are as a person."

Stay tuned for our interview with Debbi Vandeven, VML's Global Chief Creative Officer, next week.


Describe VML in 3 words.

Transformational, innovative, collaborative

 

What about the culture of VML makes it an ideal place to work?

Our leadership is transformational – providing a foundation and vision that permeates throughout the organization, driving a centralized sense of culture, and inspiring innovative thinking and creativity. And even though we’ve grown, there’s still a deep appreciation for entrepreneurial thinking here at VML. The work itself is challenging and dynamic, and when you couple that with our heritage of giving back (the VML Foundation is our very own nonprofit) and a collaborative and fun work environment, you’ve got yourself an amazing and unbeatable culture. We hear people say all the time, “It just feels different than other agencies,” – and they’re right. From the moment you walk in the door, you know there’s something special going on here at VML.

What’s your favorite part of the job?

There are so many parts I love. VML has experienced such tremendous growth in the US since joining in 2012. It’s been amazing to be part of that journey, to go from being an AdAge Standout shop in 2012 to landing a spot on the 2016 AdAge A-List. As our talent team has grown, we’ve also been able to focus more on VML’s talent brand and how we position VML in the talent marketplace. That’s been extremely rewarding. Aside from being part of a great agency, it’s also a tremendous feeling when someone joins and they find great success.

 

What are you looking for in a creative portfolio that's unique to VML?

Each new role is independent of the other. VML has been extremely successful in being flexible and media agnostic. We cover almost every category – CPG, car, fast food, sports, tourism, telecom, tech, financial – from digital AOR to AOR to platform & experience. I like to see what makes a person interesting or what they are passionate about aside from the work. While the work is what gets you in the door, it’s your passion projects, your blogs, your travel experiences, etc. that really show us who you are as a person.  

Tell us a bit about your background and your career journey.

Definitely not a typical path. I was a social work assistant in the foster care system in Santa Cruz, CA and then ran fundraising for a non-profit. I was looking to move back to the East Coast at the time and found a posting for a “Staffing Counselor” – aka “Recruiter”. I thought I would be finding jobs for people who were down on their luck! When in fact, I began placing freelance creative and production talent at agencies. I worked the staffing side for ten years before entering the agency world directly in 2010. First at Publicis Modem and now VML. 

 

How did you end up at VML? 

Through networking of course ☺. It was a brand new role within the agency at the time. We’ve since built up our recruiting team from 2 to 6 recruiters nationally with 70% growth over the past four years. 

 

What’s your creative outlet? 

Photography, interior design, gardening

What qualities are most important in a prospective freelancer?

Being gifted at your craft, responsible, collaborative, and invested. 

 

Which social networks do you prefer for stalking people, creative or otherwise?

Instagram

 

How much time do you spend on each portfolio? And how long before you make a gut reaction on the portfolio? 

You can usually determine in the first few seconds whether or not they pass muster. You can spend a quality ten minutes on someone’s portfolio that is truly great. 

What do you judge first?

Does it look good? Does the layout make sense? Is it easy to navigate? Is it work I recognize? What’s their background/experience? Did I like the first project I clicked on? 

 

What kind of talent makes you warm inside?

Creatives that really know how to evoke emotion of any kind using whatever media makes the most sense – and in the end, you remember the brand. And on the flip side, if it’s a product I would actually use or could see being useful to others…one that makes perfect sense. 

 

What portfolio trends do you wish would good out of style? What do you love seeing?

It drives me crazy when someone doesn’t include their contact information on their site. It happens more than you’d think. I love reading bios and reviewing anything additional such as a blog, your photography, Instagram feeds – if it gives me greater insight into what drives you creatively, I’m interested. And remember, keep it simple and show the good stuff. More is not always better. 


In INTERVIEWS Tags Kim Easley, VML, Manager, Hirer, Creative, Agency

PUT A BIRD ON IT: ART THAT ADDRESSES CLIMATE CHANGE

Working Not Working May 18, 2016

PUT A BIRD ON IT: ART THAT ADDRESSES CLIMATE CHANGE


In December 2015, a rainbow-colored Painted Bunting arrived in Prospect Park, Brooklyn, diverted from its typical migration to Florida, Mexico, and the Caribbean. Strange juxtapositions like this are becoming commonplace in the wake of rising temperatures across the globe. 

This rare sight inspired WNW Member #5758 Tatiana Arocha to create “Tropical Birds,” a public art project launching a migration of birds into the trees of New York City neighborhoods to initiate a conversation around climate change.

The first migration is based on five different species of tropical birds from Colombia. Each is constructed from laser cut MDF and wheat pasted original illustrations with gold paint details. The handmade silhouettes include toucans, parrots, and hummingbirds with intricately-layered textures. The birds have been installed at specific sites and arranged in proportion to the size and scale of the trees they inhabit.

So far, Tatiana has created over a hundred Colombian birds (300 more in the making). She'll be installing birds in public spaces in The Navy Yard, Fort Greene and the Queens Botanical Garden; the installation at BLDG 92 will also be incorporated into the SONYA Art Walk this weekend (May 21-22). The National Audubon Society will be supporting the project through social media and a project feature.

When you discover a bird, tag it on Instagram with #tropicalbirdsnewyork.

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


In INTERVIEWS Tags Tatiana Arocha, Illustrator, Brooklyn, Tropical Birds

PROFILES OF THE WEEK: MAY 16TH

Working Not Working May 16, 2016

PROFILES OF THE WEEK: MAY 16TH


Ryan Rumbolt, Director. Halifax.

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Claudia Goetzelmann, Photographer. San Francisco.

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Lindsay Johnson, UX/IA Designer. Brooklyn.

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Jungyeon Roh, Illustrator. Seoul.

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Andreas Rau, Creative Technologist. Berlin.

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Mart Biemans, Illustrator. Groningen.

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Bianca Wendt, Designer. San Francisco.

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Paul Tuller, Illustrator. Brooklyn.

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


In LISTS Tags Ryan Rumbolt, Claudia Goetzelmann, Lindsay Johnson, Jungyeon Roh, Andreas Rau, Mart Biemans, Bianca Wendt, Paul Tuller
Image by WNW Member #2846 Leta Sobierajski

Image by WNW Member #2846 Leta Sobierajski

WOMEN AND MONEY: OUR FIRST TOWN HALL

Working Not Working May 15, 2016

WOMEN AND MONEY: OUR FIRST TOWN HALL  


By Claire Wasserman

"I’m a woman and I make a lot of money." One of the women in the room declared this loud and proud and the hundred or so women around her cheered. As an accomplished illustrator, and Working Not Working member, she should be proud. But sadly, she is in the minority. With women still making 78 cents to the dollar (64 and 56 cents if you're Black or Latina, respectively), this is a statistic that has long been troubling to us. Given that we are a network of the world's best creatives and companies, we are uniquely positioned to contribute to positive change in the industry. And that begins with conversation: raw, unfiltered, and honest.

At the urging of WNW Member Leta Sobierajski, we organized a town hall forum to enable more women to participate. Clearly we hit a nerve: within minutes of posting on Instagram, our event was sold out with a long waitlist to boot. On May 5th, over 100 women, mostly creatives and a few recruiters, packed into a beautiful Bowery loft (found courtesy of our friends at Splacer.) To help guide the conversation, we asked a few women along with Leta to share their stories first: Lotta Nieminen, Agatha Kulaga of Ovenly, Michelle Higa Fox, Dayna Evans of New York Magazine, Rachael Yaeger, Perrin Drumm of AIGA, and Amy Woodside of OKREAL. We kicked off the evening with a toast (with Cinco de Mayo margaritas, of course!) to each other and to the courage it takes to speak up about a subject that can be so uncomfortable. 

We were blown away by the generosity with which everyone offered their experiences. Frustrations were voiced but so was advice; from freelance pricing to salary negotiating, how to fundraise to being the only woman in a meeting. Tips and encouragement were passed as freely as the microphone. Any concern about the town hall being too open of a forum was put to rest as each woman encouraged the next to share. Because a diversity of industries were present, there was one consensus: we must host this again. 

In the meantime, we've continued the conversation in private Slack group (email us for an invitation.) You can also download our money playlist on Spotify and tag yourself in the Facebook album. 

Thank you to everyone who attended and to our partners at Splacer, Vita Coco, Yes Way Rose, and Taquitoria for helping make this happen. And thank you to Dayna Evans for perfectly capturing the evening in her New York Magazine article, Here's What Happens When Women Talk About Money.

We were proud to welcome the following women to the town hall:

Aelfie
Kinda Akash
Erin Allweiss
Karina de Alwis
Briana Auel
Carly Ayres
Lindsey Balbierz
Heather Beck
Erika Bernetich
Bianca Bramham
Kelsey Bryden
Karyn Campbell
Lauren Cannon
Courtney Cho
Noemie Le Coz
Guillermina Cruz
Stephanie Davila
Cristina Dennstedt
Perrin Drumm
Tonya Douraghy
Lyanne Dubon
Ellen Van Dusen
Dayna Evans
Lily Feinberg
Michelle Higa Fox
Ding Ding Hu
Yinfan Huang
Marissa Grey
Meredith Jenks
Jacquelyn de Jesu
Sasha Jotwani
Molly Keene
Ana Kim
Danielle Kroll
Agatha Kulaga
Nichole Kwok
Anne Lee
Mercy Lomelin
Gabriella Mangino
Jennifer Martonic
Brittany McAllister
Jennifer Monzon
Darcy Moore
Jen Mussari
Leigh Nelson
Lotta Nieminen
Anna Niess
Kaori Ogawa
Deanna Paquette
Lisa Pastor
Isabel Urbina Pena
Kim Phillips
Kiana Pirouz
Clemence Poles
Sara Radin
Jasmine Rao
Lindsey Reay
Julia Rothman
Ksenya Samarskaya
Elana Schlenker
Cari Sekendur
Sangita Shah
Michelle Shekari
Aleks Shineleva
Leta Sobierajski
Heewon Sohn
Preeti Sondhi
Jordan Sondler
Haley Stark
Tida Tep
Courtney Tight
Michelle Traub
Emma Tuccillo
Jennifer Vance
Erin Wahed
Claire Wasserman
Sarah White
Rachel Willey
Kristen Wise
Anna Wolf
Amy Woodside
Rachael Yaeger
Laura Zax


Want to get involved? Email us.


In EVENTS + CULTURE Tags money, salary, negotiating, women, feminism, networking, town hall, empowerment

What It Takes to Get Hired at FOUR32C

Working Not Working May 11, 2016

What It Takes to Get Hired at FOUR32C


Mark Jarecke moved to New York City in the early 90s to pursue a career in modern dance choreography. Now he's the Founder and Creative Director of digital design studio Four32C. Mark discusses this transition, what makes Four32C a unique studio, and why the work you do when not clocked in is so important: "We’ve nurtured a culture of curiosity. It’s important to us that we don’t rest on pretty or settle for the easy road. Whenever I’m talking to potential hires, I’m much more interested in the ideas and experiences they bring that aren’t related directly to their professional work."

Mark also goes into what keeps him creatively inspired, from teaching and studying yoga, to the searching mind of John Cage. "[He] taught us to really see the world around us, everything is already present if we just listen and pay attention. We don’t have to try as hard as we think we do. As designers and creatives, possessing strong observational skills and understanding that power is very inspirational to me."


Tell us about your background and your career journey.

I studied dance and philosophy at the University of Nebraska (Go Huskers!), then moved to New York City in the early 1990s to pursue a career in modern dance choreography. While I was taking classes at Merce Cunningham Studio and showing my choreographic work at downtown venues, I worked part-time at the Laban/Bartenieff Institute of Movement Studies (LIMS), helping them with tech support. Back then, tech support meant connecting Mac desktops through LANs or setting up printers, but the experience gave me a good foundation for what would become a career in design and digital technologies.

After working at LIMS, I eventually landed design jobs at both small and not-so-small digital agencies in New York, which led to becoming a designer (then creative director) at Condé Nast Digital. These were early days of publishing websites and I had the opportunity to lead the creative teams that designed and built CN websites such as Style.com and Epicurious.com.

 

How did you end up starting FOUR32C?

After nearly 8 years of leading the creative teams at Condé Nast Digital, I decided to jump ship and start my own design studio in 2009. I met and worked with many talented people at Condé Nast Digital, and I was fortunate to have former CN colleagues Mike Lee, FOUR32C’s Design Director, and Elizabeth Stafford, FOUR32C’s Director of Strategy, join me at FOUR32C.

Describe FOUR32C in 3 words.

Question. Design. Make.

 

What does the name refer to?

The studio is named after a Pantone color that I like.

 

What about the culture of FOUR32C makes it an ideal place for potential hires to work?

Mike, Elizabeth, and I pride ourselves on the fact that we’ve nurtured a culture of curiosity. It’s important to us that we don’t rest on pretty or settle for the easy road. Whenever I’m talking to potential hires, I’m much more interested in the ideas and experiences they bring that aren’t related directly to their professional work. 

I think many design skills can be taught, but having a point of view and passion are inherent in someone or they’re not. I always say that I like to hire people who’ve worked outside of the industry because they bring new perspectives without the baggage of assuming that there’s one way to do things. I especially like working with people who studied fine arts or have worked as artists or non-commercial researchers. People who are quirky and maybe a little bit bookish are the kinds of people who do well at FOUR32C. Plus, people who like to eat and like champagne.

What qualities are most important in a prospective hire?

A solid, thoughtful portfolio is a given, but creativity that goes beyond the portfolio—whether it’s a freelancer who likes travel or is a trained chef or writer or actor—those are the kinds of qualities that are exciting. Hard-working, curious, has a critical eye—those, too, are admirable qualities.

 

Which social networks do you prefer for stalking people, creative or otherwise?

Online portfolios are great, but I think Instagram is a terrific way to get a peek into what creative people are really like. Whether it’s a carefully curated presentation of their lives or it’s messier and more organic. The balance of words and images on Instagram offers an interesting peek into a creative person’s life. Plus, I’m always interested to see who they follow and who follows them. 

 

What are you looking for in the portfolio of a potential hire that's unique to FOUR32C?

To start, I’m always interested in a careful consideration of typeface choices, coupled with a strong command of grid that is consciously broken. I appreciate patterns and scale choices, too. But I think what makes FOUR32C different is looking at the content of portfolio projects. What are these candidates thinking about besides type and grid? If they are thoughtful, passionate or have a weird streak, all the better.

How much time do you spend on each portfolio? And how long before you make a gut reaction on the portfolio?

It’s pretty quick. I usually get an immediate sense of who this person is and whether or not I want to know more. Starts with the gut first. Then the eye comes in and analyzes the choices they made. When first looking at a work by a designer, I notice where I look first, second, third to see if the designer understands how to call out hierarchy and guide my eye. 

 

What do you judge first?

Taste. Everyone at FOUR32C needs a good sense of taste. Everything else can be taught.

 

What kind of talent makes you warm inside?

I’d say talent outside of design. If they’re interested in music, architecture, food—I’m interested in them.

What are some poortfolio trends you wish would go out of style? What drives you nuts, and what do you love seeing?

Over-designed resumes are terrible and I’m not a fan of SquareSpace portfolios. Either code the site yourself and let that be part of your portfolio or put it on WNW.

 

What's the best piece of advice you can share about portfolios, personal websites and resumes?

Show who you are as a person. Your interests and passions. The projects you choose to do are just as important as how well you did them.

 

What’s your favorite part of the job?

I really love starting with nothing and finding my way to a solution that ultimately seems obvious. Of course, it isn’t obvious, but when all research ends up pointing to a concept and a design language that holds together completely, that’s exciting. 

What’s your creative outlet?

Yoga.

 

What do you do when you’re not working?

I have a nine-year-old son and a 16-month-old daughter, so when I’m not working, I try to spend as much time with them as possible. More often than not, we end up eating or cooking together. I also teach yoga and specifically the Rajanaka philosophical tradition is something that I’m trying to learn more about.

 

Who's your most significant creative or entrepreneurial inspiration?

John Cage taught us to really see the world around us, everything is already present if we just listen and pay attention. We don’t have to try as hard as we think we do. As designers and creatives, possessing strong observational skills and understanding that power is very inspirational to me.

 

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

Yes, I can do the splits (both ways).


In EVENTS + CULTURE Tags Mark Jarecke, Four32C, Managers, Hirers, Creative Director, Company, Features, Featured

MEET THE TOP VCU & RIT GRADS

Working Not Working May 9, 2016

MEET THE TOP VCU & RIT GRADS 


At Working Not Working, we pride ourselves on bringing together the world's best creatives. With thousands of creatives trying to join the community, we end up giving the green light to only about ten percent. But as you can imagine, evaluating the portfolio of a Creative Director with tons of years of experience is a bit different than reviewing a student who has yet to graduate. We're excited to find the best up and coming talent and watch them grow into those leaders. WNW's Director of Talent, Ashley Nowicki, discusses the process for selecting schools to scout and what goes into evaluating recent grads.

 

How did you choose VCU and RIT as schools you wanted to scout for talent?

AN: The grads from these schools are coming out with different types of skill sets, different strengths and weaknesses. We wanted to bring a well-rounded group of grads into the community this year, since the creative landscape is so expansive and companies are looking for many different types of fresh creatives to add to their team. Because these schools graduate their spring classes at different times, we will be releasing our 2016 picks in two phases to give companies a chance to scoop them up as quickly as possible.

 

How do you evaluate recent grads vs those more established in their careers?

AN: We’re looking for hunger, thoughtfulness and polish. Some students do a really good job of showcasing these aspects in their portfolio but some do it better in person or in conversation. Because of that, we work directly with schools to gain further insights as needed, like how well a recent grad handles feedback or if they can maintain a positive attitude under intense circumstances.

 

What was the best advice you were given when you graduated?

AN: “You don’t know shit.” The best thing recent grads can do is work hard and absorb as much as they can from those around them. Also, once you start making work for real clients and add it to your portfolio, make sure you indicate what is student work and what isn’t. Creative Directors and Recruiters request these details regularly. They tend to want to know your involvement in projects too so it’s a good rule of thumb to point out what you contributed to the work.

 

Worst advice?

AN: “It’s all about the money.” As graduation gets closer, it’s common for students to start feeling financial pressure. These days, it’s also common that grads will end up having more than one offer to choose from for their first job. Don’t make the mistake of misunderstanding value. Student loans can be substantial and big cities are expensive but focus on mentorship and growth. Choose the place that is going to give you the freedom to fail but also the support to learn from your mistakes. Go with the company that has the people you want to learn from, not the one with the biggest hiring budget.


Virginia Commonwealth University

VCU Art Directors

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VCU Copywriters

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VCU Experience Designers

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Rochester Institute of Technology

RIT New Media Design

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RIT New Media Development

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RIT Illustration

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In LISTS Tags Graduation, VCU, RIT

ONE THOUSAND DAYS OF DRAWING WITH CHRIS PIASCIK

Working Not Working May 9, 2016

ONE THOUSAND DAYS OF DRAWING WITH CHRIS PIASCIK


It has been fun to watch the evolving skills and styles of WNW Member #1168 Chris Piascik. A main contributor to this constant motion is Chris's commitment to posting a daily drawing to his blog every Monday-Friday, since 2007. In case you're out of the loop, and haven't been keeping up on Chris's blog, or following Chris on Instagram, he's generously compiled a nice round number of them in his second collection, titled Another 1000 Days of Drawing. You can buy a copy here.

Check out last year's Free Range interview with Chris, where he discusses his daily drawings and the ways he has benefitted from this commitment. 

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


In INTERVIEWS Tags Chris Piascik, Daily Drawings, book, Illustrator, Freelance

CARL MALLIA: THE HUMAN BEHIND "ROCK, PAPER, SCISSORS"

Working Not Working May 5, 2016

CARL MALLIA: THE HUMAN BEHIND "ROCK, PAPER, SCISSORS"


From a small island in the middle of the Mediterranean to the crowded colossus of New York, WNW Member and Copywriter #5260 Carl Mallia has traveled a long way to find success in advertising. He recently spoke to us about the support of trusting clients, fortunate timing, and still having no idea what he's doing. Carl shared his insights specifically through the lens of his most recent project for Android, "Rock, Paper, Scissors", which was an Ad of the Day and fan favorite during the Oscars. The ad, which packs an anti-bullying message in bringing three well-known competitors to life, has surpassed 7 million views. "When advertising crosses the line between selling and entertaining, it’s a pretty amazing and unique experience to be a part of." Carl also shared his take on freelancing: "You get a real sense of what agencies are like, before committing to anything long-term... It’s a little like dating–freelance gives you the chance to play the field and see if there’s a really great match out there."

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Tell us about your creative background. Who is Carl Mallia and how did he get here?

I grew up on a small island in the middle of the Mediterranean called Malta, and moved to a slightly bigger island when I was about 12, called England. I first studied Law but graduated with a degree in Journalism and had no idea what I was doing. So I decided to apply for a Masters in Advertising & Marketing Strategy as it sounded pretty interesting, and far more impressive than “unemployed.” While studying, I interned at a small agency in London where I first learned that the term “copywriting” wasn’t just a misspelt legal term. When I graduated, they hired me.

Since then I’ve worked at agencies of all shapes and sizes in London, Beirut, Dubai, and New York. I’ve made lots of different kinds of work. I've been fortunate to pick up several awards, and even more fortunate to meet some wonderful people along the way. But I still have no idea what I’m doing.

 

Tell us about the “Rock, Paper, Scissors” ad you created for Android. How did you get involved?

Like plenty of things in life (especially freelancing), getting on the brief came down to one thing: good timing. I was just finishing up another project and happened to be in the right place at the right time.

I was working without a partner at the time, so after I got briefed I just went off and locked myself in a room for a couple of days and thought about all the ways to bring the line, “be together, not the same” to life. It was the most open brief I think I’ve ever worked on: challenging, but a lot of fun. I’m a bit of an animation nerd (Hayao Miyazaki and John Lasseter are huge inspirations) and I love storytelling, so approaching it like some kind of Aesop’s fable–where cute and palatable characters could be used as a device to convey such a strong message–felt like a sweet spot.

When did you realize you were onto something special?

I’m not sure you ever really know you’re onto something special until it’s out in the world and you see the way people react. But it definitely felt like it had potential from quite an early stage. Whenever I explained the idea to anyone, even people who didn’t work in advertising (especially people who didn’t work in advertising), I could see them getting excited about it. I think the fact that we all know the game of “rock, paper, scissors” but have never really seen them brought to life, combined with such a powerful and important message, felt very unique and struck a chord with people. At a time when the world seems to be filled with so much hatred and tension between different people, countries and cultures, it was nice to be able to remind people that being different can, and should, be a wonderful thing.

I guess the moment I fully realized it was something special was when I saw the Internet reacting, and the attention it received. When advertising crosses the line between selling and entertaining it’s a pretty amazing and unique experience to be a part of. Oh, and when “Thug Life” shared it, that was a different kind of special.

 

Did you envision a John Hughes 80s vibe from the start, or did that come later with the music?

Definitely not. In fact, the first time I heard the track on the edit I was totally against it. Even our editor, Dave Slade, who found the track and put it on it the first place, never thought it would make it all the way. In my mind, we were always going to end up with some type of Pixar-esque score, or a remake of a well-known track, like John Lewis or Chipotle do so well. But the longer we kept trying to beat John Parr’s “Man in Motion”, the more it became apparent that it was the perfect track to use. The 80s vibe really adds that layer of nostalgia to the film and has that feel-good factor that makes you want to throw your fist up in the air at the end, à la The Breakfast Club. We’re just fortunate that we had such amazing clients who were willing to take the risk, and I’m fortunate that everyone else on the team realized that it was the right track to use way before I did.


"Our clients, who I can’t speak more highly of, approved an edit before any characters had arms, legs, eyes, mouths, or noses. Wait, they still don’t have noses."


Any unexpected challenges working on this ad?

Our director, Conor Finnegan, has a really interesting and unique animation style where all the characters are actually shot practically, before animating all the arms, legs, and facial expressions in post. The characters you see in the film were actually real pieces of paper, or real scissors, etc. So I think one of the biggest challenges for everyone was just having to use our imagination for so long and place so much trust in the process. Our clients, who I can’t speak more highly of, approved an edit before any characters had arms, legs, eyes, mouths, or noses. Wait, they still don’t have noses.

The other biggest challenge was time. Or rather, lack of it. Due to the cultural conversation around diversity and the Oscars, we knew that’s when we wanted to be on air. But thanks to an incredible production team (both Droga5 & Nexus) who did not stop working, we managed to hit our deadline. Just.

What project in your book makes you the proudest?

I’m very proud of the way this project turned out, but I think for one reason or another, I’m proud of everything in my book. That’s not to say that I think every piece in my book is great, but usually if there’s something I’m proud of about a project, I’ll put it in. Although that said, when I look back at work, I usually just mostly see the flaws and ways it could have been improved. So once the project is done, I’ll upload it onto my site, and just move onto the next one. And just try and make sure this next project becomes the thing I’m most proud of.

 

What are you working on now?

I just took a week off and went to Mexico where I spent most of my time working on my tan, and trying to perfect my chili-to-taco ratio. I’m almost there.

I’m also about to start a short-term freelance gig here in NYC, so I’m looking forward to that. As a creative problem solver it’s great to be able to go into an agency and try to tackle new problems from a fresh perspective.

And I always like to have a side project or two on the go. Right now I’m working on an illustrated book about strange idioms with a copywriter friend in Sydney and an illustrator friend in London.


"A very wise friend of mine once told me there are three salaries for an advertising creative: 1) the money that gets deposited in your bank every month, 2) the work you make, and 3) what you learn. I think as long as you’ve got at least two out of the three happening at one time, you’re in a good spot."


What are some of the pros and cons of being a freelance copywriter versus a full-time copywriter?

A very wise friend of mine once told me there are three salaries for an advertising creative: 1) the money that gets deposited in your bank every month, 2) the work you make, and 3) what you learn. I think as long as you’ve got at least two out of the three happening at one time, you’re in a good spot. Freelance or full-time.

That said, I think there are definitely some specific pros and cons about freelance life. I love to travel so being able to take time off between gigs and have control over that side of things is a very nice feeling. Another big pro is that you get a real sense of what agencies are like, before committing to anything long-term... It’s a little like dating–freelance gives you the chance to play the field and see if there’s a really great match out there.

What are some top tips you can offer creatives, based on your experiences as both a full-time copywriter at a top agency and now as a freelancer hustling on your own?

To a large extent, I think you kind of have to approach your freelance gigs as if you’re working there full-time. Even though you might not necessarily see the project through, or you may just be coming in to cover someone while they’re away, it’s important to be fully invested in every project and just try add as much value as you can.

Other than that, most of the tips would be very similar. Patience, networking, working hard. The old maxim “work hard and be nice to people” always feels rather pertinent and a good rule to live by. Try to surround yourself with good people, try to have fun, and don’t take things too seriously. It really is just advertising. Although a lot of that is definitely easier said than done.

 

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

Oh man, there’s way too many. This could be a loooong list, but I’ll try to keep it short-ish. I definitely have to mention my better half, Rai Halim. Not only will I get in trouble if I don’t–she’s also far more talented than I. And just generally the best human I’ve ever met.

Other than that, it’s probably worth mentioning a few incredibly talented art directors who I’ve been very very fortunate to partner with: Jordan Young, Sarah Kraus, Bianca Guimarães, and Joaquin Salim.

As well as partners, since I’ve been in the US I’ve also been very fortunate to work with some amazing Creative Directors who I really admire and have learned–and continue to learn–a lot from. Jordan Kramer, Donnell Johnson, Jon Zast, and Jon Randazzo who are on WnW. And Andy Carrigan, Sherrod Melvin, Jim Therkalsen, Dan Morales, and Jill Applebaum, who are not. Yet.

 

Anything else you’d like to add?

Yes. If anyone in New York knows where to get a decent British Sunday Roast, please don’t be a stranger. I’m desperate for a Yorkshire pudding. Or some pastizzi.

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Source: http://freerange.workingnotworking.com/blog/meet-the-human-behind-rock-paper-scissors
In INTERVIEWS Tags Carl Mallia, New York, Copywriter, Malta, Android

PROFILES OF THE WEEK: MAY 2ND

Working Not Working May 2, 2016

PROFILES OF THE WEEK: MAY 2ND 


Adi Goodrich, Designer. Los Angeles.

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Hazel Baird, Motion Designer. San Francisco.

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Allison Ball, Designer. New York.

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John Benedict, Copywriter. New York.

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Alan Capriles, Editor. New York.

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Julie Lamb, Art Director. New York.

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Jenee Jernigan, UX/IA Designer. Los Angeles.

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Evan Silver, Director. Santa Monica.

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In LISTS Tags Creatives, Freelancers, Designers

IT'S ON US: CREATING CONTENT FOR THE WHITE HOUSE

Working Not Working April 30, 2016

IT'S ON US: CREATING CONTENT FOR THE WHITE HOUSE



WNW Member #10191 Gabriella Sanchez recently visited the White House to attend an It's On Us panel with keynote speaker Vice President Joe Biden. The organization is making strides in spreading sexual assault awareness and bringing positive changes to policies involving schools, specifically on college campuses. Through the Tumblr Creatrs project, Gabriella was tasked with creating creative content inspired by the event for the White House: "When I got the email for this project my jaw literally dropped and I think my email response started with a string of 'OMG! OMG! OMG!'"

We spoke to Gabriella about her process for this project, and how the brief shifted: "The content was originally going to be very White House-centric and about this specific event but in the end I was allowed to create content around the aspects of the actual issue that stood out to me, like the stories of victims being blamed for their attack because of what they were wearing and the role that men need to play in the solution."

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Tell us a little bit about your creative background. Who is Gabriella and how did she get here?

My creative background is a very windy road of this and that but always involved creativity and visuals. I received my degree in fine art where I created a lot of installation and video-based work but also took every graphic design course my college offered. After I graduated college I moved to Paris and paid the rent by nannying and doing freelance design work. That’s when I got my first illustration project for a magazine under the french newspaper publication, Le Figaro. After I moved back to the US I got a job as an in-house designer for the LA-based lifestyle brand, Ban.do. At that time I continued to explore more illustration and hand rendered typography work since that seemed to be the most natural meeting point of my two backgrounds. Then after a couple years there I went back to freelancing full-time and I love it! I feel like this is a really good moment where all my fields of interests and creative visions are coming together in a really great way.

 

How did you get involved in creating content for the It’s On Us panel at the White House?

I was brought on through the Tumblr Creatrs project which is a department within Tumblr that connects artists with brands and advertising campaigns. I’ve been asked to do a couple projects through this program and am always amazed at the awesome clientele but needless to say when I got the email for this project my jaw literally dropped and I think my email response started with a string of “OMG! OMG! OMG!”

What was the event like? 

It was really informative and uplifting. It’s On Us is an organization that aims to stop sexual assault with a specific focus on college campuses. Matt McGorry was the moderator and the panelists at the event were actually all college students who have had significant impact on their schools in regards to ending rape culture, challenging school policies and spreading awareness on their campuses. It was really awesome seeing both young men and women, victims and non-victims band together against this serious issue. To top it all off Vice President Joe Biden made the closing speech and I was totally struck by his words and was also inspired that we are at a time where issues like sexual assault are getting the attention they deserve.

 

Did you have an idea of how you would approach your illustrations ahead of the event? Or are they a reaction to what was discussed during the panel?

This project was a very fast-paced go-with-the-flow kind of deal. Because the White House was involved, we had to be flexible with their schedule and restrictions. The Tumblr Creatrs producers and I would talk daily and modify our strategy as new information and guidelines came in. On my part at least we ended up with very different content than I originally expected but I think it really turned out for the best. For example, going into the project the content was originally going to be very White House-centric and about this specific event but in the end I was allowed to create content around the aspects of the actual issue that stood out to me like the stories of victims being blamed for their attack because of what they were wearing and the role that men need to play in the solution.

What were some of the challenges in creating content for both It’s On Us and the White House? Was there a more rigorous approval process than usual?

The most challenging part was probably the extreme flexibility we needed to have because we didn’t always have all the info that far in advance. We were always updating our strategy on how to approach this project. However, I really enjoyed that aspect too. For one I think it really gave us all a team-mentality, and secondly it was really energizing to have to create content in such a responsive manner. Instead of having weeks to develop out the concepts, I had to respond very quickly, like within less than 24 hours, while still making the content very potent for this subject and audience. I feel like it was a much more visceral way of creating that doesn’t happen as often and I truly enjoyed it.

 

What’s next for you?

Currently, I’m working on some apparel items for a company that I’m really excited about but I’m most thrilled about an art show I’ll be curating and exhibiting in early this summer. It’ll be at the independent gallery I’ve started in downtown Los Angeles and this specific show will display work all by women of color. We’re currently working on our website for the gallery but if you follow me on Instagram, I’ll be posting an announcement the minute it’s done!     

 

Anything else you’d like to add?

If there are any women of color out there interested in more info or submitting their work for this show, please feel free to email me at hi@gabriella-sanchez.com and I’ll give you the full run-down of the theme and what we’re looking for.

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In INTERVIEWS Tags Gabriella Sanchez, Consent, White House, Illustrator, Gif, It's On Us, Joe Biden, Tumblr

ROBERT WHITMAN RECALLS HIS 1977 PHOTOSHOOT WITH PRINCE

Working Not Working April 27, 2016

ROBERT WHITMAN RECALLS HIS 1977 PHOTOSHOOT WITH PRINCE


Almost forty years ago, WNW Member #8507 Robert Whitman was just getting started as a photographer in his hometown Minneapolis. His friend was a manager for another up-and-coming creative, Prince, who was only 19 at the time and working on his first album. Robert agreed to photograph Prince for a brochure to help get him a record deal. Below are excerpts from Robert's interview with Billboard. Head over to Billboard for the full interview.

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Interview by Billboard's Shannon Adducci

How were you introduced to Prince?

Owen [Husney] came over and said, 'You've got to listen to this.' He had heard this tape, I think it was "Soft and Wet." So we went in the car and drove around, listening to it, and it was just amazing. Owen was managing him and he had a couple of partners, including Gary Levenson. They said, 'We want to make a little brochure on him, to get him a record deal. Would you be willing to shoot him?' I said, 'Sure. I don't know what I'm doing, but I would be happy to.'

How did you conceive the shoot?

It ended up being three different shoots. I had a very small studio in the Kemps Ice Cream building [in Minneapolis]. I had one piece of seamless and a portable flash. We did the first shoot there. And then we did another session in downtown Minneapolis, out of which came one of the most iconic images, of him against a white wall with music notes. The building belonged to the Schmitt Music Company. And then we did another shoot at Owen's home. We shot him with Owen's dog, sitting at a table, playing the piano.

What was he like on set?

He was very, very shy. But he opened up to me and he was willing to play around, willing to try different outfits. I didn't know what I was doing, so I experimented. I put light behind his hair so his Afro was like a halo. We put sequins on him and then I put a scarf on the lens, but it didn't work. We took his shirt off. We had him blowing bubbles. This is all old analogue stuff. But he really opened up and we had some silly moments. He was young and was just starting and so was I.

What do you think of the photos, looking back on them?

They're so bad they're good. There are really some bad shots in there. I have about 17 to 19 rolls of film from that week, but there are only 20 or 21 photos that I've been showing (at exhibitions). There was some really horrible cropping. But there are some great expressions. I think I have some of the only photos of him where he has a smile on his face. 

Did you ever see Prince again?

I had one moment with him many years later, maybe in the early eighties. I was in LaGuardia Airport, on the phone, and all of a sudden Prince walked by and said, 'Whitman, how are you?' I said, 'Fine, great,' and he walked off. And within a second all these kids were asking me if I could get them his autograph. I never saw him again. 


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In INTERVIEWS, WORK Tags Prince, 1977, Photography, Robert Whitman, Photographer, Features, Featured

PROFILES OF THE WEEK: APRIL 25TH

Working Not Working April 25, 2016

PROFILES OF THE WEEK: APRIL 25TH


Laurenne Sala, Copywriter. Los Angeles.

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Raoul Paulet, Director. London.

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Kevin Harris, Designer. Queens.

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Isabel Seliger, Illustrator. Berlin.

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Monica Lo, Art Director. San Francisco.

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Matthew Naboshek, Designer. Boston.

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Carlos Oliveras Colom, Designer. Los Angeles.

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Hans Thiessen, Designer. Vancouver.

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In LISTS Tags Hans Thiessen, Carlos Oliveras Colom, Matthew Naboshek, Monica Lo, Designer, Los Angeles, Art Director, Berlin, Illustrator, Isabel Seliger, Kevin harris, Raoul Paulet, Laurenne Sala

5 MEMBERS YOU NEED TO KNOW: MOTORCYCLE ILLUSTRATOR GANG

Working Not Working April 23, 2016

5 MEMBERS YOU NEED TO KNOW: MOTORCYCLE ILLUSTRATOR GANG


Kellen Hatanaka, Illustrator. Toronto.

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Jen Mussari, Illustrator. Brooklyn.

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Jeff Östberg, Illustrator. Stockholm.

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Kervin Brisseaux, Illustrator. New York.

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Nick Iluzada, Illustrator. Los Angeles.

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In INTERVIEWS Tags Nick Iluzada, Kellen Hatanaka, Jeff Ostberg, Kervin Brisseaux, Jen Mussari

FROM DESIGNER TO FILMMAKER IN EASTERN AFRICA: RYAN LECLUYSE

Working Not Working April 21, 2016

FROM DESIGNER TO FILMMAKER IN EASTERN AFRICA: RYAN LECLUYSE


WNW Member #9493 Ryan LeCluyse traveled to Eastern Africa a designer and returned a filmmaker, creating Under the Tree in collaboration with Mama Hope. As a reaction to the NGO and international development world often providing broad sweeping facts and statistics, Under the Tree is an immersive portrait of "three distinct entrepreneurs around Eastern Africa who are attempting to better their communities."

We were curious to learn how Ryan came to branch out from his experience as a designer and take on the role of filmmaker: "I fundraised to buy Mama Hope some camera equipment and didn’t have much left in the budget to hire anyone." Ryan also generously offers some great advice for those looking to step out of their comfort zones and explore a new medium or field: "Don’t wait for the ‘perfect timing’ or a paying client. Also, don’t wait around wondering if it’s really a pursuit for you (e.g. I think I like film, but I don’t know I like film). Worst case, you’ll do something and learn a lot in the same time period you’d otherwise be dragging your feet."

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Tell us a little bit about your creative background. Who is Ryan LeCluyse and how did he get here?

The path probably all started when I was around 11—I wanted nothing more than to make video games. A mentor from an online video game artist community called Polycount pointed the way, “To work in video games, you need to learn to draw.” That led me to UNCSA, a performing arts boarding school, where my drawing instructor noticed my penchant for typography, “You know, there’s a career called graphic design.” When I made it to design school, a professor taught me, “Design doesn’t just have to sell shit, it can also help make the world a better place.”

The last one really stuck. From then on I realized that, if I could apply what I love to trying to better the world around me, then I wouldn’t want to do anything else. It’s been challenging, but I’ve dedicated my practice to communicating ideas and building products that are based in positive social impact.


"I’ve dedicated my practice to communicating ideas and building products that are based in positive social impact."


What lead you to Under the Tree? How would you describe the project to our readers?

I was working as a designer at Google X. After about 9 months, I realized that I felt too removed from the impact I wanted to have. X was a fascinating place, but it wasn’t for me. Around the same time, a friend introduced me to Mama Hope and the work they were doing really resonated with me. One day, I came knocking at their door with a proposal for how to facilitate the story of their impact and they were totally game. That idea became Under the Tree.

What is it? I describe Under the Tree as a portrait of three distinct entrepreneurs around Eastern Africa who are attempting to better their communities. The idea is as simple as that, but it has manifested as a web series. Each episode is about a single Mama Hope partner and is composed of film vignettes I created from that location/partner.

Had you been to Africa prior to this project? Where in Eastern Africa did you travel for Under the Tree? How long did you stay to get all of the footage, interviews, and intangibles required for the project?

I had never been anywhere in the continent. This was going to be completely new for me! I spent four months between Tanzania, Uganda, and Kenya. The idea was to stay a few weeks with each partner, getting to know them, their families, their communities, and their projects. I wanted to get a basic trust and comfort level established before I began filming or adopting a point of view. After the initial rounds, I came back to each location for a longer period, about a month, to live with the families and to capture anything and everything.


"I wanted to get a basic trust and comfort level established before I began filming or adopting a point of view. After the initial rounds, I came back to each location for a longer period, about a month, to live with the families and to capture anything and everything."

Under the Tree is not a series of snapshots addressing a broad issue, but rather an immersive exposure to the daily routines and struggles of specific individuals. How did you decide on this approach to addressing these issues of health, education, and livelihood?

Under the Tree started out as a reaction to a lot of what we see coming from the NGO, charity, and international development world: broad sweeping views of facts and figures that paint a simplistic and overbearingly ugly picture… I wanted to ask what would happen if we simply told a story. My hunch was that the inherent issues would still surface, but they would come up in context and therefore be understood on a personal scale rather than an intangible, less empathetic, global one. It also made me much more comfortable talking with and filming people—I didn’t have a hidden agenda and people were much more willing to participate.


"Under the Tree started out as a reaction to a lot of what we see coming from the NGO, charity, and international development world: broad sweeping views of facts and figures that paint a simplistic and overbearingly ugly picture"

How did you straddle the line between inhabiting the role of "journalist" and embracing your instincts as a creative? Did your background in design influence your approach to this project in any particular ways?

Calling this journalism is probably generous… Really, I simply spent time with people in each of these places and then would write a brief for myself. Creativity came into play when I would then try to imagine outcomes. Then, I’d collect as much material as possible for any imagined outcomes—stories, footage, audio, pictures—the more the merrier.

More specifically, to that last point, I think my background in design kept a final product at the forefront of my mind. As I worked, I could always imagine what it might look like. This was both good and bad, but it certainly allowed me to anticipate what I might need to capture in each phase of production so that ‘designer me’ wasn’t left empty handed.


"My background in design kept a final product at the forefront of my mind... It certainly allowed me to anticipate what I might need to capture in each phase of production so that ‘designer me’ wasn’t left empty handed."

This project seems like a massive undertaking. Did you have a small or large team working with you?

Yeah, it’s big. A year later, I’m still working on it.

There have been core collaborators, but for the most part, I’ve had to take it on myself. Andrew Weathers is a brilliant musician and has done a great job helping me capture a unique feel with his original score. David Gouch is an incredible engineer/design who did a majority of the code that I then tweaked for Episode 2 and will continue to work on for 3. Hannah Clyne, field coordinator for Mama Hope, spent the first month traveling with me and helping me get my sea legs (she also taught me enough Swahili to ingratiate myself to most people I met). Then there have been friends who watch the films with me, read my writing, look for bugs etc… So, the people who have been interested in helping have come and gone and they’ve all been a part of what the project has shaped up to be.

What’s next for Under the Tree?

Next, there are a couple of things: most importantly Episode 3, which marks the end of the series. Beyond that, I’m currently working on how to bring Under the Tree to different platforms. The website has been great for creative control and expression of the truest form, but it’s not so great for getting the message spread and heard. I’m planning some exhibitions on the west coast and potentially another format through which to release the online series.

Under the Tree extends beyond your wheelhouse as a designer into documentary filmmaking. What lead you to mix things up? Do you plan to continue to explore both mediums or do you see yourself transitioning into filmmaking?

It wasn’t so much about mixing it up as much as it was about getting this project done with the resources I had. I fundraised to buy Mama Hope some camera equipment and didn’t have much left in the budget to hire anyone.

But yeah, that dive into filmmaking and storytelling has certainly affected where I want to take my practice. I would love more opportunities to produce documentary work for new technology platforms—like the slew of VR documentaries coming out, how awesome is that!?


"That dive into filmmaking and storytelling has certainly affected where I want to take my practice. I would love more opportunities to produce documentary work for new technology platforms—like the slew of VR documentaries coming out."

What are some top tips you can offer our members who are thinking of stepping out of their comfort zone into another field?

To just make it happen. Don’t wait for the ‘perfect timing’ or a paying client. Also, don’t wait around wondering if it’s really a pursuit for you (e.g. I think I like film, but I don’t know I like film). Worst case, you’ll do something and learn a lot in the same time period you’d otherwise be dragging your feet.

Pitch your idea to some creative peers or an organization you have a line into (even if it’s a nonprofit two doors down) to hold you accountable and get to work.

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

I went to college with Nick Hum. Then and now he impresses me with his approach to design—he is just teeming with crazy and amazing ideas that people are naturally drawn to because they are funny as hell or weird. His work is his voice, and who wouldn’t want his voice added to theirs?

Nitzan Hermon has been a mentor and a friend for a long time. He’s an incredibly thoughtful designer who, I think, approaches design in a very academic and systematic way. He produces work that addresses longevity and the entire ecosystem of a challenge.

Ike Edeani is an incredible photographer who had collaborated with Mama Hope before I knocked on their door. Just looking at his photography of the places I was about to go to really helped inspire my vision for what the films could look like.

 

Anything else you’d like to add?

Thanks so much for showing the work! I’d simply ask that, if readers are inspired by it, then share it, learn more about the issues it talks about, and keep on doing cool shit.

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In INTERVIEWS Tags Ryan LeCluyse, Storyteller, Filmmaker, Designer, Uganda

PROFILES OF THE WEEK: APRIL 18TH

Working Not Working April 18, 2016

PROFILES OF THE WEEK: APRIL 18TH


Matt Sundstrom, Illustrator. Portland.

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Ezequiel Asnaghi, Producer. New York.

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Madeline Moore, Art Director. San Francisco.

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Scott May, Designer. Portland.

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Leah Shea, Designer. Portland.

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Veronica Corzo-Duchardt, Designer. Philadelphia.

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Robyn Baker, Designer. Los Angeles.

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Laust Deleuran, Creative Technologist. Portland.

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In LISTS Tags Freelancers, Creatives, Designers, Portland, Features, Featured, Profiles

DRINKING NOT DRINKING / LA

Working Not Working April 15, 2016

DRINKING NOT DRINKING / LA


The torrential Los Angeles drizzle and Obama traffic last week couldn't keep us and our LA Members from meeting up at Resident in DTLA for Drinking Not Drinking, our global happy hour series. Much love to our good friends at Mount Gay Rum, who served an assortment of delicious rum-based cocktails and some dangerous rum punch; it mixed well with the good music, vibes, and snacks. Head over to Facebook to see what went down. And shout-out to WNW Member #3180 Phil Johnson for designing the new Drinking Not Drinking branding.

We are always looking to celebrate our LA members, and cultivate the LA creative community. Many of us spend all day behind computer screens, so it's important to do things in real life too. Drinking Not Drinking is more than just a happy hour; it's a way to experience Working Not Working offline. 

We didn't forget about you, San Francisco. Our next stop on the Drinking Not Drinking tour is next Thursday in the Mission District at Southern Pacific Brewing from 6-9. We'll be partnering again with Mount Gay Rum. RSVP here.


Adam Tompkins, Co-Founder of Working Not Working


In EVENTS + CULTURE Tags Drinking Not Drinking, Los Angeles, Mount Gay Rum, Phil Johnson, WNW, Party, Creatives

10 MEMBERS YOU NEED TO KNOW: SEMPLICE LABS

Working Not Working April 14, 2016

10 MEMBERS YOU NEED TO KNOW: 
SEMPLICE LABS


In the introductory post of our new "Members You Need to Know" series, we spoke to WNW Member #1412 Jon Contino, who shared a list of five members whose work leaves him with equal measures of reverence, wonderment, and pure jealousy. 

This time around, we asked Semplice Labs to do the honors. Semplice is an incredible portfolio builder that is made for designers by designers, founded by WNW Member #1830 Tobias van Schneider. It discards standard portfolio templates in exchange for a platform much more powerful and flexible. Below WNW Member #10656 Lu Yu, part of the Semplice team, shares her inspirations and gives us a list of ten WNW Members that amaze her in different ways. 

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Growing up, who were your heroes (creative or otherwise)?

Definitely my parents! When I was little my family had little income. We lived in a dark single room apartment for many years. My father was a very smart man: he had the courage to quit his job, took the risk to open his own business with debts, and worked as hard as he could. After countless sleepless nights he carried us out of poverty. And my mother has always backed him up. Also, my mom was the one who introduced me to art and design. My parents taught me to work hard, always in pursuit of something better; they are my biggest heroes!

 

Professionally and personally, who would you say has had the biggest impact on you?

As a designer myself & working on Semplice, a portfolio-building tool for designers, I go through many portfolios every day. This has been the source of inspiration for me and definitely has a huge impact on my work. So I would say every designer in the Semplice family has their impact on me.

 

You're hosting a dinner party. Who are your dream guests, alive or dead?

I would REALLY love to invite our awesome Semplice team members to my party. All of us work remotely, from different countries all over the world. Our office is Slack and some of us have not even met in person yet. I wish one day we could all get together. It’d be fun!


LU YU'S TOP 10

 

Anatoliy Gromov

"Anatoliy is one of our first members, so I have seen how his work has evolved. A hard working designer with a lot of talent!"

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Pawel Nolbert

"I mean - it’s Pawel Nolbert! His work is pure beauty and I still can’t figure out how he did them ;) I respect him as an artist as he keeps on experimenting with new styles."

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Ryan Romanes

"I truly admire Ryan’s aesthetic taste and his perfect execution. Every single image in his portfolio wows me!"

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Marina Esmeraldo

"Marina’s talent is incredible. Her work makes me smile every time. Love her distinctive style."

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Verena Michelitsch

"I can pretty much put an ‘=’ between Verena and pretty, elegant work. She keeps her portfolio simple, because her work already does the rest."

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Annika Weller

"Annika has the magic of turning serious corporate projects into playful, fun and pretty artwork."

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Cathrine Understrup

"I can’t really find the difference between work and play in Cathrine’s work. She’s not afraid to experiment."

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Diego Aguilar

"If there’s anyone that makes me feel jealous, that’s Diego. With clients like Spotify, Nike, Mars, he is definitely rocking the Semplice club."

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Christina Michelitsch

"Few people can pull off a style like Christina. She has the eye and her work is full of excellent ideas."

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Nidia Dias

"Anyone stereotypical would probably find it surprising that those stunning graphics are created by a female designer. Well, Nidia does it and does it well. I’m proud of her."

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In EVENTS + CULTURE, INTERVIEWS Tags Lu Yu, Tobias van Schneider, Semplice, members you should know

LAMPO: The Modern Lamp that Comes in a Tube

Working Not Working April 13, 2016

LAMPO: THE MODERN LAMP THAT COMES IN A TUBE


You no longer have to suffer under that fluorescent overhead lighting in your studio. Or keep answering "Ikea" when guiding a guest on a tour of your home; help is here. Combining a modern aesthetic with an elegant and functional design, LAMPO is the newest project by WNW Member #4013 Kasia Ozmin and frequent collaborator Lindsay Richardson, who are currently raising funds on Kickstarter.  

What is LAMPO? "Inspired by the mechanics of threaded wooden toys and the infinite possibilities of origami," LAMPO is a modern lamp that comes in a tube. It's easily shipped and assembled, and beautifully rendered with threaded maple legs and a geometric origami shade. LAMPO's warm and tactile qualities are a welcome contrast to our abundance of screens and appliances. With only 9 days to go, head over to Kickstarter to back LAMPO and help Kasia and Lindsay reach their goal. 

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Follow Kasia on WNW

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In WORK Tags Kasia Ozmin, Designer, Brooklyn, Lampo, Products, Kickstarter, Freelance

PROFILES OF THE WEEK: APRIL 11TH

Working Not Working April 11, 2016

PROFILES OF THE WEEK: APRIL 11TH


Luke & Omid, Copywriter + Art Director. San Francisco.

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Nate Luetkehans, Designer. San Francisco.

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Sarah Bruns, Art Director. New York.

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Bob Pullum, Art Director. San Francisco.

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Caroline Lee, Copywriter. Venice Beach.

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Lisa Kaplan, Producer. New York.

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Casey Harper, Designer. Portland.

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Fuzzy Wobble, Creative Technologist. Brooklyn.

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


In LISTS Tags Luke & Omid, Nate Luetkehans, Sarah Bruns, Bob Pullum, Casey Harper, Fuzzy Wobble, Brooklyn, San Francisco, Portland, creatives, freelancers
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