Meet The Comedian Who Warms Up Oliver, Colbert, & Fallon: Part II
Meet The Comedian Who Warms Up Oliver, Colbert, & Fallon: Part II
MIKE O'DONNELL / EDITOR
Last week, we caught up with WNW Member #84 Craig Baldo to discuss his double-life as a stand-up comedian and freelance copywriter. Craig shared some of his experiences serving as the warm-up act for the likes of Oliver, Colbert, Fallon, and Stewart. Below, we continue the conversation, and Craig continues to surprise us: "Fun Fact: I DJ’d Peter Dinklage’s wedding." What?!
Craig also discusses New York and its influence, how he spends his time Not Working, and advice for his fellow creatives: "Exercise your creativity out of the office. Don’t always have it pinned to a brief. I don’t trust creatives without side projects. If your creative mission in life is to sell paper towels, that’s fucked up. No disrespect to paper towels. They come in handy with spills."
How does New York influence your copywriting and your stand-up?
To me, New York is the best place in the country to do stand-up. There’s boundless material – day traders and models and little old Chinese bag ladies on one block, drag queens, police horses, Moby on the next. Every block’s different. Long, oppressive winters get you good and depressed which is GREAT for your act, as long as you don’t close shop altogether. In LA, what’s to write about? “People are SO Hollywood here, and what’s up with traffic on the 405?” If I did it over, I’d do it in NYC again. Ditto for copywriting.
“New York is the best place in the country to do stand-up. There’s boundless material – day traders and models and little old Chinese bag ladies on one block, drag queens, police horses, Moby on the next.”
What cultural and creative venues do you frequent in New York?
I go to hip bars in Williamsburg and Shazam songs, curate playlists, then throw dinner parties with my 40-something friends, blowing them away with how cool and relevant my musical tastes have remained. Is that cultural?
Seriously though, I’m loving Spotify right now (not just cuz my wife works there) but because it’s like a custom record store at your fingertips. Obviously not as romantic as crate digging through vinyl, but I don’t have time for that anymore. However I still like to stay on top of emerging music and old funk stuff, so I appreciate what Spotify offers. I used to be a mediocre DJ. Fun Fact: I DJ’d Peter Dinklage’s wedding.
And I’ve always loved going to the movies. Any excuse to eat Twizzlers. I like BAM! in Brooklyn because they put up good films and I can walk there from my home. And I like telling my friends to meet me at BAM! Where? BAM! BAM!
The New York Hall of Science in Queens is a great place to visit, even if you don’t have kids. Unless you hate science and learning. Then you wouldn’t like it.
“I like BAM! in Brooklyn because they put up good films and I can walk there from my home. And I like telling my friends to meet me at BAM! Where? BAM! BAM!”
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
In a way, anyone doing stand-up is a lone wolf. So in that regard, yes, being solo works for me. But I really love to collaborate, which is another reason I took to copywriting. I love people and working in a team. As far as an overall community, I probably assimilate more with the weirdos of stand-up comedy. I miss it. Not to say I haven’t become friends with some beautiful weirdos in advertising, I’m just more at home among the die-hard joke tellers.
“I’m pretty good with kids and think I could really inspire them at that age. Does this all read as creepy and “pedophile”? I hope not. I just think I could make a difference as a high school teacher. I’d teach pre-algebra or French kissing. I’M KIDDING.”
If you weren’t a copywriter and comic, what do you think you’d be doing instead?
Maybe I’d be a high school teacher. I’ve always been nostalgic for high school. I feel like most people weren’t into it. My hormones were relatively balanced so I had a blast. It’s an exciting age because kids aren’t fully cynical but they’re still very sharp. I’m pretty good with kids and think I could really inspire them at that age. Does this all read as creepy and “pedophile”? I hope not. I just think I could make a difference as a high school teacher. I’d teach pre-algebra or French kissing. I’M KIDDING.
What do you do when Not Working?
Take trips. Make playlists. Hang out with the fam. Play piano. Play cribbage. Be outside. Slow-cook pork. I also look for work. I’m not right in the head when I’m not earning. It’s funny, you tell yourself freelancing is the ideal situation – I’ll work a bunch, make bank, then take off a couple months and finish writing my screenplay or building my Burning Man float or whatever. Then, DAY ONE of being jobless, you’re like, “Um. Shit.”
From time to time, I collaborate with Harry Bliss, writing captions to his cartoons (because I can’t draw). Some of our toons have been published in The New Yorker.
“I don’t trust creatives without side projects. If your creative mission in life is to sell paper towels, that’s fucked up. No disrespect to paper towels. They come in handy with spills.”
What are some things you would tell your high school or early twenties self?
I’d probably tell myself that stand-up comedy is a viable career path and to start doing it ASAP. It wasn’t until I was in my mid-twenties that I discovered regular people like me were pursuing stand-up, not just people born into TV or rogue highwaymen without families. But I really don’t regret a minute of my life, except maybe the one in Allentown, and even that made for a funny story, so it’s a win. I’ve lived every moment the way I’ve wanted. That’s also part of my problem. My long-term goals have suffered because of my in-the-moment mentality. I’m still working on that. I also might tell my early twenties self to warn people about 9/11.
What are some tips or advice you can offer to fellow creatives?
Exercise your creativity out of the office. Don’t always have it pinned to a brief. I don’t trust creatives without side projects. If your creative mission in life is to sell paper towels, that’s fucked up. No disrespect to paper towels. They come in handy with spills.
Who are some of your biggest creative idols and influences, comedic or otherwise?
Growing up, my idols were mostly comedic and musical: George Carlin, Eddie Murphy (his comedy), John Ritter, Rik Mayall, Paul Reubens, Michael Jackson, Rush, the list goes on, sadly a lot of white men. Louie CK became my North Star in ’98. I remember seeing him and being like, “I want to do what that guy does.” His ideas were so weird, but still grounded in his sharp trademark insights. Louie would have killed it in advertising.
Today, I’m inspired by even more white men: Stone/Parker, Mike Judge, Ricky Gervais, the people who say fuck you to the establishment a lot in their work. Non-white men I admire are Esperanza Spalding, tUnE yArDs, Julia Louis-Dreyfus, Tig Notaro, Tariq Trotter, Samantha Bee and José Parlá.
Any album, film, television or book recommendations for your fellow WNW members?
Love Silicon Valley, Veep and Better Call Saul. Nathan For You is genius. And of course John Oliver.
Watch the film, What We Do in the Shadows. So good.
I’ve been reading some pretty boring stuff lately, like Being Mortal by Atul Gawande, which helped me deal with some recent death stuff. Also reading The Sound of the City by Charlie Gillett, a tremendous book about the history of rock music.
I always have music recs. From my current rotation, I’d recommend Rodrigo Amarante, Jacques Dutronc and Amen Dunes. I make ongoing music and film recs on an app called Rex (created by Chris Smith, a director I worked with years ago on some Wendy’s spots). Find me there for more good stuff.
Who are some other WNW members whose work you admire, and why?
Jeff Church is a great creative and good friend who’s helped me a lot. Really creative guy. He organized what I’d call a motley-professional stickball league. He might categorize it another way, like an outdoor gentleman’s club with homemade bats.
There’s a guy, Justin Gignac, who has done some fun stuff. I’d love to meet him someday.
Dan Rollman is nothing but awesome.
Kim Schoen is a wildly talented experimental artist who never stops putting stuff out there.
I just love people who take risks and do their thing. Ya know? They just do it. That would be a good tag line. Maybe? Nah.
Anything else you’d like to add?
Really, after all that? How about a funny GIF. Please add one here for me. Thanks.
Bonus Content
Craig's tweets are on point. [Click below to zoom.]
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MEET THE WNW MEMBERS NAMED TO ADWEEK'S CREATIVE 100
MEET THE WNW MEMBERS NAMED TO ADWEEK'S CREATIVE 100
Congratulations to all the Working Not Working Members named to Adweek's sophomore edition of the Creative 100. The annual list celebrates "the masters of the creative idea" and "profiles 100 unique and fascinating problem solvers from the worlds of advertising, media, technology, branding, pop culture and more." Get to know the names and work of the featured Working Not Working Members below.
David Littlejohn
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BEETHOVEN & EDISON STAR IN ERICH & KALLMAN'S FIRST CAMPAIGN
BEETHOVEN & EDISON STAR IN ERICH & KALLMAN'S FIRST CAMPAIGN
Erich & Kallman, a brand new agency co-founded by Steven Erich and WNW Member Eric Kallman, has brought out some old and familiar faces for its first campaign. Who better than a troupe of pioneering artists and groundbreaking inventors, all considered way ahead of their time, to plug Chick-Fil-A's newest invention: the Egg White Grill breakfast sandwich. Scroll down to watch Michelangelo, Susan B. Anthony, and Alexander Graham Bell explain why chicken for breakfast "is not as crazy as you think." We're excited to see what's next for the San Francisco agency. A shout-out to WNW Member Laura Ferguson as well, who served as Executive Producer on the campaign.
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PROFILES OF THE WEEK: JULY 25TH
PROFILES OF THE WEEK: JULY 25TH
Heather Rosen, Art Director. Los Angeles.
Paul Roberts, Art Director. New York.
Sage Romano, Copywriter. New York.
Paul Pajot, Designer. London.
Janet Lai, Designer. San Francisco.
Jayesh Raut, Designer. Mumbai.
Ian Mitchell, Producer. New York.
Tyler Hoehne, Designer. Los Angeles.
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TUESDAY BASSEN CALLS OUT ZARA FOR ALLEGEDLY BEING TOTAL ASSHOLES
TUESDAY BASSEN CALLS OUT
ZARA FOR ALLEGEDLY BEING
TOTAL ASSHOLES
WNW Member #324 Tuesday Bassen is an award-winning illustrator and designer with a wide range of high-profile clients including The New Yorker, The New York Times, Target, Playboy, and the list goes on. But there's one name that's surprisingly missing from the list: Zara. And while Zara has never hired (or paid) Tuesday for her work, plenty of her work is seemingly for sale on Zara's site. Tuesday's friends and fans quickly took note and informed her of the similarities. Below you can see Zara's response to Tuesday's inquiry, which she shared on her Instagram.
Tuesday's cause has been covered by GOOD, Guardian, Nylon, Vogue, Fashion Law, Cosmopolitan, and many more. And she's not the only artist whose work has been lifted by Zara. Adam J. Kurtz and Gabriella Sanchez are just two WNW members whose work has striking similarities to their products. "Some of you are asking how you can help," Tuesday writes. "Repost and tag them, on Twitter, on Insta, on Facebook. I don't want to have to burden any of you with the financial strain that comes with lawsuits."
Adam J. Kurtz, a WNW Member and Bassen’s friend, put together an image comparing the work of 12 independent artists with near-identical products on Zara’s website. Adam also listed the products in a subsection of his site called “Shop the Stolen Art.”
It's tough to go into battle alone. Kudos to Tuesday for standing up for her work and, in doing so, standing up for other independent artists. It's clear Tuesday isn't alone, which may at first seem disheartening but it is also encouraging. A shout-out to all the artists who have helped get the message out there. It only underscores the importance of creative communities. Without everyone's support of Tuesday, both before the controversy and since, and without artists sharing their own similar experiences, who knows if Tuesday's voice would have been heard.
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A CELEBRATION OF SWING & THE CHASE FOR PERFECT MOMENTS
A CELEBRATION OF SWING & THE CHASE FOR PERFECT MOMENTS
The first spoken words of the newest short by WNW Member #9338 Leandro Santini & Anna Franzén describe Swing as a dance form that's "a bit like a drug." Kudos to the filmmakers, as the intoxicating movements, dreamy slow-motion and reflective voiceover almost immediately put you under Swing's spell. "You're constantly chasing this high, this amazing magical moment," the voice continues.
SWING is a lyrical documentary that portrays the harmonious relationship between two dance partners, and between them and the dance itself. Michaela and Rupert share how the dance form has changed their lives and brought out their real selves.
SWING's running time is just over 2 and a half minutes; that's how long it should take for you to wonder how you ended up dancing on your desk looking down at the chair you had just been sitting in.
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THE STYLE-BENDING WORK & CURIOUS MIND OF CHICAGO'S POUYA AHMADI
THE STYLE-BENDING WORK & CURIOUS MIND OF CHICAGO'S
POUYA AHMADI
"I think curiosity is the most powerful sense that can drive anyone towards any assumed goal. It can lead to many new discoveries." As a designer equipped with an untethered curiosity, WNW Member #12259 Pouya Ahmadi is always in discovery mode. Just take a look at the selection of his writings on his portfolio site. He's also well-equipped to offer great advice on the importance of an inquisitive mind, which we're sure keeps his students engaged at The University of Illinois at Chicago. In our interview below, Pouya surveys the creative landscape in Chicago and how it influences his design, and walks us through some of his most inspiring and challenging projects. He even addresses his biggest career failures, adding "Usually when I look at them in isolation, they seem to be big failures. However, in the grand scheme of things they seem unusually like appropriate moves toward some kind of larger goal."
Tell us about your creative background. Who is Pouya and how did he get here?
I’m a Chicago-based graphic designer, typographer, and educator. I am currently running my personal practice where I focus on brand identity, typography, and type design projects for a variety of businesses. I am also an assistant professor of graphic design at The University of Illinois at Chicago where I focus on teaching typography, type and poster design in both graduate and under-graduate levels. Prior to moving to Chicago, I studied Visual Communication and Image Research at the Basel School of Design in Switzerland where I had the opportunity to learn about Swiss typography more in-depth both in its historical context (what is known as International Style), as well as its current position in today’s design world. Before then, I studied Graphic Design at the University of Tehran.
I never start any project before forming an opinion about it... If I find myself in a position where I can’t contribute to the discourse, I usually remove myself from the project. But aside from that, to me, each project is an opportunity to reflect on design as a discipline and a form of communication.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
Formally speaking—you can easily trace influences from Swiss typography in my work. Conceptually speaking—I believe it could be the way I reflect on each project. My design process usually starts with a period of time spent on conceptualizing or thinking about the subject matter and understanding my position in relation to its core concept. I never start any project before forming an opinion about it. And that is basically what I mean by “reflecting on the project itself.” If I find myself in a position where I can’t contribute to the discourse, I usually remove myself from the project. But aside from that, to me, each project is an opportunity to reflect on design as a discipline and a form of communication. I do my best to take advantage of the opportunity to do so.
Experimental Film Society posters
What drew you to this subject?
I’ve been always interested in cinema and was looking for an opportunity to collaborate with filmmakers or organizations dedicated to cinema to work on their promotional material, identity, etc. EFS was one of those rare opportunities that I was always looking for. I had absolute freedom to design the identity and promotional materials and I believe that was why the project was well-received in both film and design communities.
What inspirations helped inform this project?
Mainly the films themselves were the source of inspiration. The majority of the films are directed following the Remodernist Film Manifesto. The manifesto itself was also one of the biggest sources of inspirations for the posters.
Hardest part?
Translating the idea of each film to tangible visual ideas that could form a poster was the most challenging part. And of course thinking of each poster as an individual film but also part of a series didn’t make the process any easier.
Starts/Speculations exhibition catalog
What drew you to this subject?
The Starts/Speculations exhibition catalog was designed for the Chicago Design Museum's first exhibition in their permanent location. I think both the topic (100 years of design in Chicago) and the freedom I was given to design the catalog yielded the successful result. I also think the challenge of designing a piece for a design event was another factor that drew me to the project.
What inspirations helped inform this project?
The exhibited work were a great source of inspiration for the catalog as well as the layout of the exhibition. Every element in the catalog refers to either of those two.
Hardest part?
The time pressure imposed a big challenge. We had less than a week to design the entire thing. Considering the fast pace of the project, our initial idea worked. And that was a huge relief since we didn’t have much time to test any of our ideas. We could only trust our intuition.
ERC Quantum Typeface specimen/poster
What drew you to this subject?
I designed this custom typeface (ERC Quantum) for the University of Chicago. The fact that the university was interested in having a custom typeface made the project very exciting. Of course the freedom that I was given in terms of designing the entire character set had an enormous impact on the outcome.
What inspirations helped inform this project?
The typeface was originally designed for the William Eckhardt Research Center. The scientific activities that took place in the center were the main source of inspiration for the geometric monospace typeface that I designed for them.
Hardest part?
Designing a typeface is not an easy job. To make an entire character set that is perfectly balanced and working is perhaps the most difficult part about designing any typeface.
The “Writings” section of your portfolio showcases both your extensive knowledge of design, as well as your untethered curiosity in further explorations and discoveries. Does this process of establishing a dialogue with the work of others help inform your work in specific ways?
It does. In fact, I don’t see my writings as separate from my design work. For me, it is another form of thinking or reflecting on design.
I think curiosity is the most powerful sense that can drive anyone towards any assumed goal. It can lead to many new discoveries.
As a professor at the University of Illinois, teaching must keep you learning as well. Any tips or advice shared with your students that you can also offer to fellow creatives? Any tips to help fellow creatives jump-start a similar curiosity in their craft?
I think what you just mentioned is what I always found the most useful advice: to always be curious. I think curiosity is the most powerful sense that can drive anyone towards any assumed goal. It can lead to many new discoveries.
What moment or project in your career so far has made you the proudest?
The Experimental Film Society identity and poster series is one of my favorite personal projects. It’s been one of my longest collaboration throughout my career so far and the one that gave me the most freedom.
Usually when I look at [my career failures] in isolation, they seem to be big failures. However, in the grand scheme of things they seem unusually like appropriate moves toward some kind of larger goal.
Biggest career failure?
There’s been many. Usually when I look at them in isolation, they seem to be big failures. However, in the grand scheme of things they seem unusually like appropriate moves toward some kind of larger goal.
What are you working on now?
I’m currently working on an identity and a series of posters for an art/installation exhibition. I am also working on designing a book and a typeface for a young poet based in North Carolina. Aside from that I am working on my talk that I will give at TypeCon in August, and of course, preparing for school on the side.
How does Chicago influence your work?
To me, Chicago has the most interesting architectural scene in the US. But historically speaking, I think Chicago Fire has had an enormous impact on me as a designer.
What’s the creative scene in Chicago like? What cultural and creative venues do you frequent?
Chicago has a relatively small design community which is really appealing to me. It’s competitive but it’s also very collaborative. I usually go to see the shows at the Art Institute of Chicago, MCA Chicago, and Cultural Center. I just moved to a new neighborhood in Chicago which allows me to visit some of my favorite live music venues like The Empty Bottle and Subterranean more often. I do also frequent Reckless Records to find some old Jazz records.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
The latter is probably more true about me. I do enjoy being part of the community but I usually am by myself or you can find me in a small circle of people.
Who are some of your biggest creative idols and influences?
There are many, but to name one, and perhaps the most influential one, I would say David Lynch.
I think the loose boundaries between the creative fields these days have allowed creatives to explore different types of media simultaneously, and to be able to pick and choose the one they feel most confident using for their needs.
If you weren’t a Designer, what do you think you’d be doing instead?
Probably a filmmaker or a writer. But then again I do make films and write as a designer anyway. I think the loose boundaries between the creative fields these days have allowed creatives to explore different types of media simultaneously, and to be able to pick and choose the one they feel most confident using for their needs. That’s a big advantage due to democratization of creative tools and technological advancements. However, it is easy to get lost in the sea of all of these capabilities available to us.
What do you do when Not Working?
There’s not a clear boundary between my work and the other activities I do throughout the day, or at least I don’t see them as separate activities.
What are some things you would tell your high school or early twenties self?
I would tell myself to stop caring too much about solving math problems.
Any album, film, television or book recommendations for your fellow WNW members?
Recently I’ve been listening to this Toronto-based Jazz band called BadBadNotGood and found their work quite interesting. I’m always on the lookout for good/inspiring Jazz music and when I come across a good band I usually try to listen them for a while. Aside from that, I do really enjoy this new experimental electronic project by Matmos called “Ultimate Care II”. I think it’s both conceptually and formally a masterpiece of our time.
Anything else you’d like to add?
Thanks to you and your colleagues for your handwork to make this platform a great place for creative people.
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PROFILES OF THE WEEK: JULY 18TH
PROFILES OF THE WEEK: JULY 18TH
Brandon Burns, Designer. Brooklyn.
Jill Silberstein, Producer. Nashville.
Kelsey Hannah Walsh, Designer. Brooklyn.
Nitzan Hermon, Designer. New York.
Riikka Laakso, Illustrator. Berlin.
Job Hall, Producer. Los Angeles.
Pouya Ahmadi, Designer. Chicago.
Noemie Le Coz, Designer. New York.
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Meet The Comedian Who Warms Up Oliver, Colbert, Fallon, & More
As a stand-up comedian, WNW Member Craig Baldo was a finalist on Last Comic Standing before booking Conan and landing as the warm-up act for the likes of Jon Stewart, Stephen Colbert, and currently John Oliver on each of their historic shows.
Read MoreSHE-MOJI, A MUCH NEEDED GIRL GANG AT YOUR FINGERTIPS
SHE-MOJI, A MUCH NEEDED GIRL GANG AT YOUR FINGERTIPS
It's impossible for a person to reach their potential if they're not given the tools and language to express themselves. Three WNW Members took notice that emoji, while a fun, easy and increasingly popular tool for communication, offer a shortcut to a whole collection of troubling stereotypes. They've taken charge, creating She–Moji. It's an emoji keyboard, for women. We spoke to Melbourne-born and New York-based WNW Members Nirmala Shome, Noemie Le Coz and Karina de Alwis, who share the origin story of She-Moji and tell us why a miniature girl gang is long overdue:
"The standard emoji keyboard reduces female identities to brides, princesses and dancers, with female activities centered around getting nails or hair done. As professional women in the field of digital and design, we decided to put our skills to work and change all of this – as a small, yet globally-accessible move towards a better representation of women all over the world. Red-headed yogis. Blondes with sass. A black belt karate master with an afro. A latina astronaut. An Indian chef. Even an African-American goth."
The She–Moji keyboard for iPhone launched July 8 worldwide – available on the App Store. It includes 400+ original emoji, including women representing all shapes and colors, professions, activities, outfits and nationalities, plus a slew of powerful call outs like Slay All Day, Kween and Om. As if that isn't enough, they're also donating 50% of app profits from the App Store to the Malala Fund, which strives to ensure every girl has access to 12 years of free, safe, quality primary and secondary education.
P.S. They're calling all emoji users to help them build the She–Moji girl gang and tell them what you want to see in the next release. Use #MAKEMYSHEMOJI, or reach out via Twitter: @shemojiapp, Instagram: @she.moji, or Email: hello@she-moji.com
How was the idea for She-Moji born?
During a casual night in, we started talking about the need for a better range of female emoji, and decided that maybe instead of talking about it, we could actually make it! We’ve been working in digital and design for so long, we were excited to do something together and put our skills towards something we really cared about.
Why is it important that something as seemingly innocuous as an emoji keyboard be carefully considered and as inclusive as possible?
Emoji have grown into their own lexicon and we see them more and more in everyday communications. Even though they seem frivolous, emoji play a huge role in the way we communicate, and affect how we subliminally think about women. We understand that the native emoji keyboard can’t include everything, for everyone, but we’ve all become far too comfortable working around the skewed offering, and retrofitting our messages to work with the limited set.
We hope She-Moji helps reiterates the need for better female emoji in the official Unicode set.
What were some of the challenges in making sure no woman was left behind? How did you ensure that She-Moji reached its potential in this regard?
While we tried to make sure we covered many bases we just couldn’t get them all in – we had a list as tall as us and just had to focus on our MVP so we could get this to market. We spoke to friends and relatives and settled on the current set – but this is just the beginning.
We also knew that for this to succeed it needed to work well and look hot(!) so we enlisted the help of our super talented friends Devin Ross (iOS developer) and Blair Burke (3D animator).
Which She-Mojis are your favorites?
Bad ass skateboarder
Zen meditation
Baller astronaut
Black Belt Jiu Jitsu Master
BFFs in bathing suits
What’s your hope for She-Moji’s impact? What’s next?
Our initial intention with this first release was to spark a conversation around the lack of female representation in the native set of emoji – a conversation that people (including us!) have been too comfortable to ignore. Plus, we would love to be able to reach out to the Malala Fund with a sizable donation to help move their programs forward.
Beyond this first release, our plans are simple – to continue to expand our She-Moji girl gang! There are so many we thought of but didn’t get to include for launch, which we want to add in the next round. Also in the inclusive She-Moji spirit, we want people to send in their She-Moji requests with the hashtag #makemyshemoji – effectively empowering our audience to decide what’s included in the next generation.
As well as expanding the She-Moji options themselves, we hope to roll out to Android too, if we are able to grow our user base enough.
You’re donating 50% of app store profits. What makes The Malala Fund a fitting partner for She-Moji?
We knew we wanted to donate 50% of our profits to a women’s charity from day one. There are so many emoji apps out there now, we didn’t want to just add to the clutter without trying to make a real impact.
Malala herself is synonymous with inclusivity, and advocating for women everywhere. We all followed her story and her work long before we started this project, so she immediately came to mind.
The Malala Fund works to provide 12 years of safe, quality education for all girls. So we really felt this organization aligned with the philosophy and inclusive nature that She–Moji itself was built on.
What do each of you do when Not Working?
Nirmala
When I’m not working, I’m busy working on my side projects with my super talented mates. I also love being active and am a self confessed health freak who is addicted to yoga.
Noemie
I’m a nerdy designer at heart and probably never not designing up something ridiculous in my head. I also love laughing more than anything – I try to sneak in time for re-runs of Seinfeld and Absolutely Fabulous whenever I have couch time (which is less than I’d like these days!)
Karina
Every time I'm asked this question, I make a mental note to get a hobby! When I'm not working, I love a good girls’ night out, or even just having friends around for dinner.
Anything else you’d like to add?
Just this:
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ART YOU CAN STEP ON
ART YOU CAN STEP ON
Graphis is a highly regarded international publisher of books on communication, committed to presenting and promoting the work of exceptional talent in Graphic Design, Photography, Advertising and Art/Illustration. One such talent is WNW Member #896 Warren Eakins. They clearly have good taste.
Graphis Photography selected seven photographs from Warren's "Art Underfoot" series, which he describes as “a series of photographs of the banal and unnoticed."
Warren adds, "The subjects in these photographs go unnoticed and are walked on day after day. But I often recognize a photographic possibility in these insignificant and often utilitarian things of no interest. I am drawn to the various textures, tones, shapes and colors, when composed in the camera they become surprisingly beautiful images – elevating the insignificant to a place of interest."
This isn't the first time Graphis has recognized Warren's work. He has been awarded gold and silver medals in past Graphis Photography competitions. He also recently made the Louvre in Paris. A photograph of Warren's was selected by Exposure Award International Photography for their exhibition, ‘The Body Collection’, at the Louvre last July.
Check out some "Art Underfoot" below.
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PROFILES OF THE WEEK: JULY 11TH
PROFILES OF THE WEEK: JULY 11TH
James Hurwitz, Creative Technologist. Valencia.
Russell Heubach, Art Director. New York.
Knoed Creative, Designer. Chicago.
Jessica Ambrose, Producer. Los Angeles.
Morgan Ramberg, Illustrator. Chicago.
Dan Mancini, Director. San Francisco.
Giada Tamborrino, Designer. London.
Rich Hinchcliffe, Animator. Harrogate.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Write Where It Hurts: How To Get Published in The New Yorker
WRITE WHERE IT HURTS: HOW TO GET PUBLISHED IN THE NEW YORKER
Getting work published in The New Yorker is a dream for many writers. WNW Member Marco Kaye was on the phone with his mom when their email came through: "I didn’t even tell her right away. I guess I wanted to play it cool--something I am terrible at doing, by the way--and it felt surreal. I think I was shaking." Now Marco's a regular contributor to The New Yorker's "Daily Shouts," and is nearing the completion of his first novel.
Marco tell us why he branched out from copywriting, and how the processes of copywriting and creative writing, while similar, require the flexing of completely different muscles. He also offers great advice for aspiring writers: "You need to make sure something is right before you send it out. You need to take a piece of writing all the way. Writers are so eager to be published. And now anyone, anywhere can be published instantly, on so many forums. But I think there is long-term value in the quiet, difficult work of shaping self-started projects over the course of weeks and even years. This writing comes from deeper waters."
It's clear that Marco basks in the solitary writer's struggle that intimidates so many: "I rent my own office space in Hoboken, which looks like a 50’s gumshoe detective office--frosted glass door with my name in gold letters--and I love it. Being alone is food for the true writer. Instead of office parties, you party everyday with a demon called Your Mind. Less chips and guac, more anguish and fun."
Tell us about your creative background. Who is Marco and how did he get here?
I wanted to be an English major at UVA, but I didn’t get in, so I “rebelled” by majoring in Art at my state school, University of Delaware. While there, I discovered a great program called Visual Communications. Though we technically trained as art directors, I am color blind and my classmates always squinted whenever looking at one of my designs. Writing came easier for me. My first real ad job was for Jeff Kling, back when he was at Euro RSCG. Then I worked at Wieden Portland for four years, and then I moved back to NYC to freelance and go back to get my Master’s in Creative Writing. I put rebelled in quotes because my parents were like “go for it.” Years later, when I told them I wanted to write novels they were like, “That’s awesome. Do what you want to do.” I’m like, “Don’t you want to question these moves at all?”
Years later, when I told [my parents] I wanted to write novels they were like, “That’s awesome. Do what you want to do.” I’m like, “Don’t you want to question these moves at all?”
What led to your decision to move into creative writing and pursue your MFA? Are you still taking on freelance copywriting work?
When I started working at Wieden, I became serious about creative writing. Just before getting a job there, I had my first piece accepted on McSweeney’s. Something about the agency’s atmosphere, along with Portland’s bookish culture (sometimes I would walk through Powell’s City of Books on my lunch break just to get from Couch to Burnside), made me want to continue writing. Kevin Jones introduced me to the whole idea of an MFA. I had never considered it before. Once I got accepted into NYU, I realized my goal was to see if I could work on fiction that was longer than four pages. Three hundred and some pages later, I’m almost finished with the novel I started there.
And yes, I am constantly freelancing! I really love freelance to jump SWAT-like in and out of projects, and still find time to devote to writing.
Writing a novel or short story uses a completely different muscle than advertising. You put ideas out of your head and shuffle around in darkness to find the light switch.
As someone who’s now well-versed in both, how is the creative process for writing ads similar to and different from writing fiction or literary essays?
Lawrence Weschler, one of my NYU professors, asked me if advertising was fiction or nonfiction. I really loved this question because it is hard to answer! On one hand, you’re aiming at some truth. Thoughtful brands want to be authentic. On the other hand, fiction needs to be there to surprise and entertain. Writing short humor (i.e. for New Yorker or McSweeney’s) is very similar to advertising in that you start with a clear, simple concept. The writing process means following and seeing what surprising paths it can take you down. Colin Nissan and Mike Lacher are amazing at it. Both are also copywriters.
Writing a novel or short story uses a completely different muscle than advertising. First emerges a character, feeling, image, or environment. And then you’re focusing on language, the way to express it all. Then a situation. An idea is maybe the third or fourth most important thing. You put ideas out of your head and shuffle around in darkness to find the light switch.
How did it feel when you were first published in The New Yorker, a pipe dream for a lot of writers. Is there another publication that you now have your sights on?
I waited a long time to approach The New Yorker. I wanted to create something that felt like it could be right for them, versus tossing an idea their way and seeing if it stuck. So it felt validating in that sense. I was on the phone with my Mom when their email came through and I didn’t even tell her right away. I guess I wanted to play it cool--something I am terrible at doing, by the way--and it felt surreal. I think I was shaking.
Now, I want to finish my novel and get it published.
Write where it hurts. "Print into the bruise," even if you’re writing comedy. “Mistakes,” she wrote, “are little cakes I’m baking.”
What are some tips or advice you can offer to fellow creatives contemplating a similar career shift?
You need to make sure something is right before you send it out. You need to take a piece of writing all the way. Writers are so eager to be published. And now anyone, anywhere can be published instantly, on so many forums. But I think there is long-term value in the quiet, difficult work of shaping self-started projects over the course of weeks and even years. This writing comes from deeper waters. I discovered a poem in Zyzzyva, a literary magazine, by Aliza Rood called “Print Into the Bruise.” What a great title. Write where it hurts. Print into the bruise, even if you’re writing comedy. “Mistakes,” she wrote, “are little cakes I’m baking.”
How does New York influence your writing?
The human panoply bound within this island is the best. I write down things people say. I peek over shoulders at texts. The other day, I passed a woman talking on her phone outside of a pizza place. “Second of all,” she said into her earbud speaker, “my Mom’s dead, so if she called you that would be really surprising.” I don’t take that and stick it into a novel, but I feel the need to jot it down. You have to feel the rhythms of the way people talk. You need to create a whole catalogue of gestures and observations you can pull from at any given moment.
My ideas always come out half-formed and mangy. In fact, I mistrust an idea if it doesn’t change somehow in the writing process.
How would you describe your creative writing style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
Oh, remember a few answers up how I talked about having a “clear, simple idea”? Well, that was way misleading. My ideas always come out half-formed and mangy. In fact, I mistrust an idea if it doesn’t change somehow in the writing process. For “Announcing MyIlluminati,” I had the thought, “I am President of the Hoboken Illuminati.” That seemed funny to me, this vast conspiracy had more day-to-day foot-soldiers. But as I started to write it, I immediately saw how small the idea felt. So I changed it to a way to get involved locally, not matter where you live.
As for style, that feels like something almost beyond my control. You write from the center nougat of your chocolate-covered interests. You see where it goes from there.
Who are some of your biggest creative idols and influences?
My favorite writers are Lorrie Moore, Sam Lipsyte, Martin Amis, Karen Russell, Vinnie Wilhelm, Philip Lopate and Simon Rich. If that seems like a lot of idols, I welcome a vast list.
What are some things you would tell your high school or early twenties self?
In my novel, Remember the Damps, I speak to a highly fictionalized version of my early-twenties self. I would tell my main character, Reed Ellis, what I would tell myself: you are better than you think.
Being alone is food for the true writer. Instead of office parties, you party everyday with a demon called Your Mind. Less chips and guac, more anguish and fun.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
I rent my own office space in Hoboken, which looks like a 50’s gumshoe detective office--frosted glass door with my name in gold letters--and I love it. Being alone is food for the true writer. Instead of office parties, you party everyday with a demon called Your Mind. Less chips and guac, more anguish and fun.
What books are on your summer reading list, or should be on WNW members?
To anyone in design or advertising, I would recommend Lightning Rods by Helen DeWitt, The Ask by Sam Lipsyte, Ride a Cockhorse by Raymond Kennedy and The Mezzanine by Nicholson Baker. All are amazingly funny, extremely perceptive stories.
Anything else you’d like to add?
If you are making work that matters to yourself, the greater chance that work will matter to others. And that’s an amazing place to be.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
AN APP THAT ENCOURAGES YOU TO LOOK UP FROM YOUR APPS
AN APP THAT ENCOURAGES YOU TO LOOK UP FROM YOUR APPS
WNW Member Ekene Ijeoma is a designer known for his data-driven, socially-engaged interdisciplinary work. Last September, we featured Ekene's installation, "Wage Islands", a 3D map which tackled the geographies of access in New York, a direct result of disparate wages and housing costs. Ekene's latest project is Look Up, a participatory public art app made with Processing and support from Google Creative Labs. As you near any street intersection, the app asks you to look up from your phone to engage in the diversity and serendipity of the city.
Look Up breaks the habit of constantly checking phones and builds a ritual of looking up at intersections and not missing out on the city – draining all the energy we pour into our phones back into our streets. The app uses crash injuries and fatalities data from NYC DOT’s Vision Zero road safety project to create a 1–5 energy score reminding participants why our streets need their energy, eyes, and “hellos”. In doing so, Look Up creates a space for participants to get in tune with the energies, rhythms and vibrations of the city. You can choose if you want to be prompted at every 1 to 3 intersections, or at random while on foot, on a bicycle or in a car. It's free, open source, doesn't require a SIM card, uses low battery and data and doesn't store or share your data.
"Whether it's strangers making eye contact and saying hello or friends hugging," Ekene writes, "Look Up hopes to tear down the digital walls we build up, opening us to seeing, acknowledging and valuing the people and city around us."
Visit look-up.nyc to learn more about the app, and search tag #lookupnyc on Twitter and Instagram.
7 MEMBERS YOU NEED TO KNOW: POOLSIDE ILLUSTRATORS
7 MEMBERS YOU NEED TO KNOW: POOLSIDE ILLUSTRATORS
We recently started a new series where we introduce our readers to members they need to know, grouped together by theme. Last time around, we featured a raucous and rebellious gang of motorcycle illustrators. Given the rising temperatures, we figured we'd cool you down with the following list of poolside illustrators. Dive in!
Ben Stafford, Shelby.
Julianna Brion, Baltimore.
Kiki Ljung, Barcelona.
Amélie Tourangeau, Montréal.
Morgan Schweitzer, Los Angeles.
Cynthia Kittler, Frankfurt.
Janne Iivonen, Brighton.
YES, THIS IS A GIANT TORTILLA BEACH TOWEL
YES, THIS IS A GIANT TORTILLA BEACH TOWEL
Two WNW Members have made a tortilla towel. Now you can finally rest easy. Created by Members Mary Dauterman and Sarah Lloyd alongside collaborators I-Ping Chiang and Chelsey Blackmon, the tortilla towel is inspired by the (universal?) fantasy of being a human burrito. The towel is 5 feet across and will make you feel like a tiny taco filling. It also makes the perfect picnic blanket. Just don't eat it. Head here to fulfill your summer fantasy.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: JULY 5TH
PROFILES OF THE WEEK: JULY 5TH
Franziska Barczyk, Illustrator. New York.
Omar Acosta, Director. New York.
Soleil Ignacio, Illustrator. New York.
Tim Lampe, Designer. Atlanta.
Ellen Schofield, Illustrator. Minneapolis.
Phil Gable, Copywriter. New York.
Christine Taylor, Producer. Portland.
Joel Knoernschild, Director. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
THE BALANCING ACT OF A TRAVELING PHOTOGRAPHER
THE BALANCING ACT OF A TRAVELING PHOTOGRAPHER
"I think you learn the most when things go wrong. Being able to react quickly to adversity makes a good photographer a great photographer." WNW Member #5591 Laura Austin recently walked us through her approach to photography, and the rewards and challenges of life as a traveling photographer. It's clearly a balancing act: "I thrive off traveling and am so thankful that my job allows me to do it, but it also involves a lot of jet lag, hauling gear around, and late nights editing photos in hotel rooms."
Laura also tell us why she redesigned her web portfolio to better cater to her personality and creative style, and why maybe you should too: "It was well worth the investment to create something unique and tailored to me and my work... A creative’s portfolio should let the work speak for itself. The last thing you want is a clunky/overly designed website that distracts the viewer from your work. Keep it simple."
Tell us about your creative background. Who is Laura Austin and how did she get here?
Oh man… that’s a long story, but I will try to give you the abbreviated version. I started as a graphic designer, moving to California when I was 18 to work as a designer at Quiksilver. After 2 years I was tired of sitting behind a desk and took a job at Snowboarder Magazine as their online editor. While there I was able to design, shoot photos, and write… satiating all areas of my creative interests. But I found snowboarding as a subject to be constraining so I quit. I then moved to Los Angeles to try to make it as a full-time freelance photographer since that seemed to be what I was most passionate about. Now, 4 years later, it has seemed to work out pretty well.
How often do you travel for work?
It’s funny, I thought I had to move to Los Angeles to be a photographer, but a majority of my shoots I need to fly to. I’m on a plane at least once a month… but I think at my busiest I spent 8 weeks in a row at airports.
Walk us through what it’s like to be a traveling photographer. What’s the most rewarding part? The most challenging part?
That’s a loaded question you’ve got there. Being a traveling photographer is probably a lot less glamorous than you think it would be. I thrive off traveling and am so thankful that my job allows me to do it, but it also involves a lot of jet lag, hauling gear around, and late nights editing photos in hotel rooms. But at the same time, the opportunity for travel was what originally attracted me to photography. So the most rewarding part is getting paid to experience new places.
The best work trip you’ve been on? Worst work trip?
The best work trip… probably traveling to Scotland to shoot Tiger Woods for Nike. I’m going to avoid the worst work trip question to avoid offending clients, but there have definitely been some unorganized nightmares.
What kind of research do you do ahead of your trip?
To be honest I feel like the less research, the better… for me at least. Sure I’ll do a quick image search to start developing loose ideas beforehand, but I like to let the locations inspire me when I get there. I feel like if you were to plan all your shots in advance, you’d miss out on opportunities that you never knew existed. But I work really well on the fly, so this ideology probably doesn’t work for everyone.
Do you usually pack light or bring suitcases filled with lenses and equipment? What’s the one camera you can’t live without and why?
I normally pack light to make the airport experience easier and lower the risk of damaging equipment in transit. My camera and all of my lenses fit into a backpack I bring as a carry on so that I am never separated from my gear. If I am on a shoot that requires more equipment I will set up a rental to pick up at whatever destination I am traveling to. Camera I can’t live without… Canon 5D MarkIII… I use it on all my shoots.
Argentina
What drew you to this subject?
This was a trip I took to Francis Mallman’s (a famous Argentine chef) island in Patagonia. I was so inspired how he lived life his life so I reached out to him to see if I could come to shoot him and his team. There is so much to be told about this experience… you can go to my site and read about the whole experience.
What inspirations helped inform this series of photographs?
All the photos from this trip were shot in a documentary style, so I drew from my surroundings including the people and landscapes.
Hardest part?
This photo in particular is a shot of one Francis’s staff on a two-hour boat ride on a tiny boat to his island in the middle of nowhere. The challenge here was battling the elements. It was freezing and water was splashing everywhere… so I had to try to keep my fingers warm and my camera dry by hiding everything under the poncho I was wearing.
White Sands
What drew you to this subject?
Every year I try to set out on a solo road trip over New Years to start my year off fresh doing exactly what I want to do.
What inspirations helped inform this series of photographs?
For this series I wanted to go off and create photos that were purely based around personal creating since most of my work is commercial. It was a chance to document myself in my element at my happiest.
Hardest part?
For all the photos of myself on these trips I had to set up my camera on a tripod and create the composition I wanted, then I would run into frame and snap the shutter using a remote in my hand. It was a guessing game, but I was able to capture some amazing moments of just me in the wild. You can see more from these trips here and here.
Rapha
What drew you to this subject?
This was from a shoot I did for my favorite bike apparel company Rapha of their female ambassadors riding in the hill country of Texas. I hop on any opportunity to showcase women in an environment/situation where they aren’t normally showcased.
What inspirations helped inform this series of photographs?
My goal with these photos was to showcase the beautiful landscapes they were riding through, but also showcase the high level of riding they were doing.
Hardest part?
I couldn’t make the ladies stop and ride back through to stage a perfect shot. I had to try to make the best photos I could on the fly. So I had to drive ahead of the pack a ways, stop when I found a good photo opportunity, set up my camera for the shot, and wait for them to ride through… hoping that I would get the photo I wanted on the first try. For this particular photo I had to lay in a bed of flowers on the side of the road and was stung by multiple bees while waiting for them to ride through my frame. More from this series here.
Tiger Woods
What drew you to this subject?
This was during a shoot I did for Nike with Tiger Woods in Scotland during The Open. I was giddy just to shoot one of the premier athletes of their sport.
What inspirations helped inform this series of photographs?
It is few and far between that you get opportunities to shoot such high profile people. So for this shoot I wanted to show Tiger in a way he had never been seen before. I wanted to make him feel human and relatable. This photo may not be the best representation of that, but if you look at this series you can see more of that.
Hardest part?
Once people walking around realize we were shooting Tiger they started to gather around since it was a public course. We had security holding back a crowd of over a hundred people while I was shooting him on course. The hardest part was avoiding getting people in the shot to make the photos seem intimate.
What are you working on now?
I just launched a new portfolio site which includes a blog so I’ve been trying to create interesting content in my downtime between shoots. It’s been really nice to have an outlet like that to do whatever I want and keep the creative juices flowing when I’m not working.
How’d you go about redesigning your web portfolio? When did you realize it was time for a major update?
My site began to feel stale and I decided I didn’t want to create a site through some template with a potential of having the same design as many other creatives. So I planned out exactly how I wanted my site to look and operate and enlisted the web design team East Of Western to build it from scratch. It was well worth the investment to create something unique and tailored to me and my work.
What tips can you offer to creatives who are thinking of retooling the way they present their work and personal brand online?
A creative’s portfolio should let the work speak for itself. The last thing you want is a clunky/overly designed website that distracts the viewer from your work. Keep it simple. There are a lot of great sites that provide templates to build off of like Format or Squarespace. But if you are design savvy and want something unique I highly suggest finding a local web designer to build something for you.
What are some top tips you can offer creatives, based on your experiences as a traveling photographer?
Travel aside, create work that is coming from inside you… don’t try to replicate someone else’s work. You’ll never stand out unless your work is authentic to yourself.
Tell us a story/experience where you learned something, either about yourself or your craft.
Oh man… I’m constantly learning. I think you learn the most when things go wrong. Being able to react quickly to adversity makes a good photographer a great photographer. With that being said I probably learn more about my craft on every shoot I do.
Who are some photographers who have most inspired you and influenced your style?
Hmmmm… as I mentioned before, I try not to pull from other’s work too much. But some of my favorites are William Eggleston, Ryan Mcginley, Noah Kalina, and Nadav Kander.
What would be your dream project?
Anything for National Geographic.
Who are some WNW members you most admire, and why?
Helena Price for her success in personal projects.