If You Let Us Write Above Sports
Do you remember that great Nike ad that started with “If you let me play sports?” by Janet Champ and Rachel Nelson? The one that talked about how a girl will be less likely to get into all sorts of trouble, and more likely to have all kinds of confidence, if you let her play sports?
Read MoreMEET THE ARTIST YARN BOMBING NEW YORK & REINVENTING STREET ART
MEET THE ARTIST YARN BOMBING NEW YORK & REINVENTING
STREET ART
Graffiti murals and sidewalk stencils typically come to mind when someone mentions the term "street art." But WNW Member London Kaye is broadening the possibilities, substituting spray cans and wheatpaste for her medium of choice: yarn. The Brooklyn-based artist talks to us below about her background in classical dance, how she stumbled onto the world of yarn bombing, and why New York is the perfect backdrop for her craft: "When I began almost 4 years ago, I gave myself a challenge. Everyday for 30 days I would put something outside and leave it there for people to enjoy. It forced me to try new things and create my own style. What I discovered is I love using chain link fences as a canvas for my work. It allows me to hang up crazy things...without hurting the environment or the world around us.
Tell us about your creative background. Who is London and how did she get here? When did you first become interested in yarn and crocheting?
I grew up doing ballet and started my crochet career when I was 13. My friend's mom taught me to crochet one afternoon and I instantly fell in love. I began by selling scarves to the girls at my dance studio and it became quite trendy to wear. I could have never guessed that I would still be at it 14 years later.
Yarn and crocheting are not typically associated with street art. How did you come to identify with this medium, and recognize it as a perfect vehicle for street art?
I was working at the Apple Store and knew it was not my true calling. I was trying to figure out what I really wanted to do with my life and crocheting was always at the top of my list. One day an artist came in to buy a computer and she had a crazy crochet bag. That is when a light bulb went off! I can be more creative with this crochet skill of mine and I began googling crochet art. This is when I discovered the world of “yarnbombing.” I went home that day from work and took one of my scarves and wrapped it around the tree outside of my apartment in Brooklyn. Instantly I was hooked!
You’ve been called “The One To Watch” in the world of yarn bombing. How would you define yarn bombing, and how has your process evolved over time?
Yarnbombing is when you take a piece of crochet or knit goodness and wrap it around an object. I have taken yarnbombing to the next level. When I began almost 4 years ago, I gave myself a challenge. Everyday for 30 days I would put something outside and leave it there for people to enjoy. By doing this, it forced me to try new things and create my own style. What I discovered is I love using chain link fences as a canvas for my work. It allows me to hang up crazy things like mermaids, tomatoes, and ballerinas without hurting the environment or the world around us. It is also a perfect way to stretch and manipulate the yarn in unexpected ways.
Do you feel any pressure to prove the possibilities of yarn as an artistic medium? Do the expectations and stereotypes of yarn and crocheting keep you motivated to continue exploring new ways to create and communicate with it?
Making special handmade things out of yarn is a tradition that is passed down from generation to generation. I like to say it is an apocalyptic skill! I love crocheting so much and I continue to challenge the norm of what you can do with yarn.
In using yarn and crochet, do you revel in the opportunity to play against the expectations and go really dark or subversive with your work?
I crochet things that make people smile. The topics I choose are generally in line with something that people of all ages can connect with. There is always a bit of whimsy and fun in what I do. Every once and awhile I want to go dark, do something totally out of character. I am sure it will happen at some point, but not yet.
What moment or project in your career so far has made you the proudest?
I had the opportunity to crochet a billboard in Time Square for Miller Lite. It was 50’ x 25’ and was 100% crocheted. I am so grateful for that project, it was a huge success!
Biggest career failure?
I installed a crochet mural on a wall in my neighborhood in Bushwick. I had been asked to crochet the installation for a flea market, however they did not ask the correct permission and I got caught in a gentrification battle. At the time it was difficult to wrap my mind around. However I grew a lot from this experience and am now much more aware of where I put my art and how it affects the community.
What are you working on now?
I am working on a commercial for GAP, a window display for Valentino, and an Installation for the Amazeum Children’s Museum. I am busy crocheting, and I would not want it any other way!
How would you describe your creative style? Do you recognize a signature style that links all of your projects beyond the medium you use, or do you try to excuse yourself and approach each project as its own entity?
I have my own style and a process I follow for each piece of street art I crochet. With every new project comes new learning. I was never officially taught to crochet, so I am still trying to improve my skills and create pieces that look beautiful but also have a deeper meaning and heart. Sometimes I will begin a project and think it will turn out a certain way, but halfway through I change my mind and let the yarn take over.
How does New York influence your work?
There is no city like New York. All of the different cultures and people living and working together makes me happy to call it home. The idea of being at the center of such a vibrant city allows me to have no limits to what I create. I know it will be accepted. This is why I never hold anything back, and am down to crochet absolutely anything that inspires me!
What cultural and creative venues do you frequent in New York?
I love going to the art galleries in Chelsea. They always have new work that is unexpected and free to look at. The High Line is also one of my favorite spots to get inspired.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
I enjoy crocheting because you can be social and productive at the same time. The way I get the most work done though is being a lone wolf and crocheting all day everyday. I am so lucky to do something I love as my career because putting in the work is never an issue.
Who are some of your biggest creative idols and influences?
Picasso, Olek, and Einstein would be my biggest creative influences.
If you weren’t a street artist, what do you think you’d be doing instead?
I would love to own a flower shop!
What do you do when Not Working?
When I am not working I am doing ballet, smiling and loving life!
What are some things you would tell your high school or early twenties self?
Everything works out better than expected.
The project takes however long you have.
The world only throws at you what you can handle.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: SEPTEMBER 6TH
PROFILES OF THE WEEK:
SEPTEMBER 6TH
Al Mendili, Creative Technologist. Seattle.
Liz Kelley, Designer. Savannah.
Joshua Zucker-Pluda, Director. NYC & LA.
Danielle Ouellette, Art Director. Los Angeles.
Carlos Sanchez, Designer. Oakland.
Matthew Miller, Designer. San Francisco.
Alexander Shelley, Art Director. New York.
Ana Mouyis, Animator. Brooklyn.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
SAD ANIMAL FACTS, AN ADORABLE WAY TO RUIN YOUR CHILDHOOD
SAD ANIMAL FACTS, AN ADORABLE WAY TO RUIN YOUR CHILDHOOD
WNW Member Brooke Barker is a writer, illustrator and animal enthusiast living in Portland, Oregon. She’s also the creator of Sad Animal Facts and a former copywriter at Wieden+Kennedy. She has a dog who can never eat chocolate and three guppies who can't take naps because they don't have eyelids.
Sad Animal Facts has gained a massive following as a Tumblr page and Instagram account, but will soon be available in book form on September 6th. Head here to pre-order a copy now. It's "a delightful and quirky compendium of the Animal Kingdom’s more unfortunate truths, with over 150 hand-drawn illustrations." It's great for adults who have grown disillusioned over the years, and for kids to share at their next show-and-tell. In addition to being funny, Sad Animal Facts is pretty informative. And unlike Snapple facts, they're actually true. Did you know that giraffe babies fall six feet to the ground when they're born? Or that chickens can be startled to death? Or that sheep have no upper front teeth? Now go win some mystery shots at bar trivia.
We interviewed Brooke to find out how Sad Animal Facts started, how she's honed her illustration skills on the fly, and whether she has come across any animal facts so sad that she's skipped over them out of pity. The short answer is no.
But first, a message from Brooke Barker...
Tell us about about your creative background. Who is Brooke and how did she get here?
I studied Medieval French History and Visual Arts in college and things have gone really well, considering. For the last four years I’ve been a copywriter at Wieden+Kennedy Portland, and now I’ve switched to freelance copywriting and get to spend even more time working on bizarre side projects like Sad Animal Facts.
When did you first come up with the idea for Sad Animal Facts? Were you surprised by the overwhelming response on Instagram?
I’ve been an animal enthusiast ever since I was the age when all of us were animal enthusiasts. And it’s more fun to tell people about the sad facts, because we’re bombarded with the happy facts when we’re growing up. We all know cats have nine lives, but that’s not even true, so it’s a lot more interesting that adult cats can’t recognize their mothers, and that their tongues can’t taste sweet things, and that they can get zits. Those are the things I’m interested in drawing.
Sad Animal Facts started on Instagram and Tumblr, and people were so supportive and friendly! It’s exciting to look at my phone and see all these sweet messages, instead of people saying “All right Brooke, you’ve told us enough about snow monkeys” the way they do in real life.
What are 3-5 of your favorite sad animal facts?
I’m really interested in facts that came out of bizarre studies: like the fact that lab rats enjoy mating more when wearing vests, and that sheep can only recognize 50 faces, and cow’s produce the most milk while listening to R.E.M.’s “Everybody Hurts.”
One fact that came out of a bizarre study is the fact that rats are worse at solving mazes if humans nearby expect them to do a bad job. I take that fact very seriously. It’s the fact that I sometimes end up thinking about at night. Am I a rat, and which sort of rat do people expect me to be, and how long are these mazes, how complicated are we talking?
Have you come across any animal facts so sad that you’ve skipped over them out of pity?
I’m pretty ruthless at this point - the darker a fact is, the more excited I get. I’m more likely to skip over a fact because it’s way too confusing.
Sometimes I feel a bit too much empathy for female animals. It can be sort of a bummer to be a female predator, and there are a lot of sad facts about female lions, female baboons, and other female predators that I’ve skipped over.
How have you seen your illustration skills evolve with this project? What animals have been hardest for you to draw?
I’m probably not going to be my generation’s great artistic savant, but illustration is really fun because it’s another way to express ideas besides writing, vandalism, or shouting.
I still have the worst time with reptiles, birds with an obnoxious number of colors, and manatees. I can tell you what animals would have looked like if I had been the one to design animals - they would all be sort of bag-shaped, with lots of fur, an easy-to-draw tail, a pretty basic pattern, and interesting ears. There would have been several dozen versions of the raccoon, basically.
What are you working on now?
My husband WNW Member Boaz Frankel and I make a daily desk calendar called the It’s Different Every Day calendar. Instead of a year-long theme (sudoku, waterfalls, jokes about dogs) every single day has a different theme. We’re working on the fourth edition of it right now.
Who are some other WNW Members whose work you admire, and why?
I love everything Tuesday Bassen does. Her work makes being a girl feel like being a fan of a sports team that always wins.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
MEET RAOUL PAULET: MORE DEFINED BUT NEVER CONFINED
MEET RAOUL PAULET: MORE DEFINED BUT NEVER CONFINED
It's common for creatives to cite an army of backgrounds, muses, and practices that shape their artistic methodology. But few offer a portfolio that so clearly exhibits every influence as WNW Member Raoul Paulet. His work reads like a kaleidoscopic dance, heavy on both risks and rewards. Below, Raoul recalls a creative background that traverses theater, cinematography, visual design, and digital animation, and examines how each field has shaped the fluidity of a few of his more recent projects. "This profound love and respect for the creative world, and the constant research I do every day in this wide field help me shape my evolving profile, getting day by day more defined but not confined." Through a passion for creative discovery, Raoul honors his inspirations without ever allowing them to paint him into a corner.
Tell us about your creative background. Who is Raoul and how did he get here?
Who is Raoul? Well, that’s a very good question!
Being a very curious and versatile creative, I hardly find a way to define myself. Even though you may see a “fil rouge” throughout my works, I almost always tend to revolutionize everything on every new project. That’s why I think the Industry sometimes struggles when it tries to put creatives into defined and somehow limited boxes. They usually say: “you’re this and you do that, or you’re that and you do this”, full stop. In my case, I’m this but also that and I could make that but I could also make this. My creative background goes from theatre to cinematography, passing from visual design and digital animation, plus I have a deep passion in any kind of art form.
This profound love and respect for the creative world, and the constant research I do every day in this wide field help me shape my evolving profile, getting day by day more defined but not confined.
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?
From my personal POV, I’d say it’s indescribable, because as you suggest I usually try to approach each project as its own entity, but at the same time people who look at my projects quite often find and recognize my touch, my personal signature style, so I guess my work can be visually recognized even though I do not do it consciously.
AINÉ + Sergio Cammariere - "Dopo La Pioggia" Music Video
What drew you to this subject?
I felt it was the right time to push the cinematic storytelling a bit further, and jump on more complex story structures, where multiple storylines cross each other simultaneously throughout the whole film. Although the video suggests a flow of events, I love the idea of putting a certain amount of ingredients on the table and then leave room for the audience to imagine their own narrative.
What inspirations helped inform this project?
The idea behind it is to investigate a storytelling and editing style that mimics, on one hand, the way we consume content in the digital age, and on the other hand how our minds silently deform and readapt stored memories while recalling them back. So through the sole use of GIFs (playback included), the video breaks down a love story into hundreds of memories run in a loop.
Hardest part?
Putting all those clip together and giving them the right space, timing and reason to exist. It was like working on multiple edits at the same time, all intersecting with each other. Quite a long and tricky process.
Telekom Television Campaign - DDB Slovenia
What drew you to this subject?
DDB Slovenia gave me a lot of creative space for this big national TV campaign for Telekom. The more I was proposing new stuff I wanted to shoot, the more they were excited about working together. This is how it all started.
What inspirations helped inform this project?
Because they wanted to create an inspirational and metaphorical piece around the brand, I had the chance to play with my cinematographic background, taking inspiration from some of the best storytellers ever such as Kubrick and Hitchcock. I like the idea of slightly elevating our reality to something magical. I wanted it to look like an open-eyes dream.
Hardest part?
Probably the big long-take sequence where we passed from a sunny NYC indoor location shot of a woman through a decomposing apartment in the middle of the woods to finally end up at night on a bridge on an obscure lake where a mysterious sand castle is placed.
In order to create the “in-camera” visual effects, we had to build one big set and use only one long Steadicam movement from point A to point B. Big preparation for it as you can imagine, big crew helping out, and a lot of takes in order to get the right “in-camera” visual effects I had in mind. But at the end and after a lot of hard work, everyone was quite excited with the result.
Hugo & The Prismatics - "Le Mystère" Music Video
What drew you to this subject?
I wanted to explore the Japanese Kuroko technique, by turning it into something more contemporary, with a strong link to design and animation.
What inspirations helped inform this project?
I took inspiration mainly from Surrealism and Deconstructionism, especially exploring their graphic elements. Using those examples, we (Terrible Twins and I) started to draw sketches of the main scene, the table and all the main shapes we used on the set. We played with perspectives, lines, and shapes. We chose flat colours and analogous tones, so that the viewer’s eyes could easily mix and blend things together into one strange 2D/3D world; real 3D objects painted to make them look flat and flat surfaces that looked like 3D objects.
Hardest part?
Definitely the creation of certain kind of practical effects. For example, the moment where the performer falls into a mirror that breaks up into multiple pieces all around her was one of the most challenging but rewarding parts of the production.
Imagine a mix of camera movements, plus a live performance mixed with perfectly timed choreography. Everything should work and happen exactly at the same time in order to create the right visual illusion. I really love that section of the video.
What moment or project in your career so far has made you the proudest?
Being nominated as one of the best new young directors at the YDA in Cannes has probably been one of the best moments in my career so far. But I’d say also directing my first big TVC with DDB for Telekom Slovenia has been quite a big step up.
Biggest career failure?
I’d probably say the tons of pitches that almost every month sadly don’t get approved.
What are you working on now?
At the moment I’m in pre-production on a new music video that should be shot around the beginning of September and also just finished writing an idea for a short film that I hope to get it produced very soon. Stay tuned!
How does London influence your work?
To be honest London doesn’t influence my work that much. I think in terms of creative inspiration we could point at other cities, but for sure this city helps you push your work further every day.
Almost everyone here is only interested in getting the “next thing” done and when it’s been done no one remembers it the day after, because they’re already projected to the “new” next thing. This can be quite frustrating of course but it’s also exciting because it makes you research and pose a lot of interesting questions without the risk of getting bored in the process. But I also think that if on one hand we’re all running towards the next thing without looking back, we should also be able to better appreciate what everyday amazing people and artists do-make-create; otherwise the risk is that we might lose a lot of very good stuff in the middle.
What cultural and creative venues do you frequent in London?
London offers such an amazing cultural programme, from music to art, from screenings to live shows that it’s difficult to pick a few places. Established and underground institutions continuously offer new exciting things. Almost every month I find out about new galleries, clubs, theatres or concert spaces, especially in East or South London. One place I love in particular is the Red Gallery in Shoreditch. It’s an underground and alternative cultural venue where you can find cool expositions and exciting gigs in the same place. It’s probably the only remaining creative space left in that, sadly to say, gentrified area.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
For sure I’m more in my element as a lone wolf, but it doesn’t mean I wouldn't love to feel part of a more “real” and proactive creative community.
Even though it seems we’re all connected to each other, I don’t feel this sense of “community” these days. I probably have an old-school vision of a creative community but honestly the fact is a lot of time is spent online looking at each other's work in a very voyeuristic approach rather than meeting up in person. It’s quite depressing, at least creatively speaking. Yes, it can be part of our everyday way of communicating with others but it can’t be seen as “the only way” possible now. So how can we invert this trend? I don’t know, but I’d be more than happy to be a part of a creative community revolution.
Who are some of your biggest creative idols and influences?
David Lynch, Stanley Kubrick, Martin Scorsese, Werner Herzog, Gaspar Noé, Christopher Nolan, Jonathan Glazer, Spike Jonze, Bill Viola. Just to name a few…
If you weren’t a Designer and Director, what do you think you’d be doing instead?
Perhaps a philosopher or a performing artist. ☺
What do you do when Not Working?
Trying to get the most out of my life spending time with my wife, friends and family. Sports if possible, or simply doing nothing all day.
What are some things you would tell your high school or early twenties self?
Don’t waste your time too much.
Any album, film, television or book recommendations for your fellow WNW members?
Of course! One per category not to be missed out: “Malibu” by Andreson Paak; “Pusher” (the whole trilogy) by Nicolas Winding Refn; “Peaky Blinders” by Steven Knight; “The Heart Is Deceitful Above All Things” by J.T. Leroy. A good mix of new and old stuff.
Who are some other WNW members whose work you admire, and why?
To be completely honest with you, this is quite a tricky question to answer. WNW has so many great artists in each field that it’s almost impossible to point to only a few of them. The overall level is really high and so each of them should be admired. Well done to all of you!
Anything else you’d like to add?
If you’re in London and would like get in touch, please do not hesitate to drop me a line. I’d love to meet new artists with which to collaborate, especially on creative (no budget!) personal projects. Let’s meet up. Let’s share creativity. Let’s make great things together.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: AUGUST 29TH
PROFILES OF THE WEEK:
AUGUST 29TH
Aria Mcmanus, Art Director. New York.
Steve Olimpio, Designer. Los Angeles.
Becky Simpson, Illustrator. Austin.
David Filiberti, Photographer. Brooklyn.
Simon Horton, Copywriter. New York.
Eddie Ringer, Editor. New York.
Kent Koren, Copywriter. Brooklyn.
Juliet Diamond, Producer. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Overshare Podcast: Kate Bingaman-Burt, Adam R. Garcia & Rich Tu
Overshare Podcast: Kate Bingaman-Burt, Adam R. Garcia & Rich Tu
Overshare is a new Working Not Working event series and podcast that features honest conversations with our favorite creatives about the tough stuff we don't talk about in public often enough. In the third episode, WNW co-founder Justin Gignac travels to Portland during Design Week to talk to three WNW all-stars: Kate Bingaman-Burt, Rich Tu, and Adam R. Garcia.
Housed in Outpost, a 13,000 square foot industrial building, the trio give Justin the rundown on the creative scene in Portland. "One thing about teaching here is that the community is just so generous and their doors are so open," says Kate. "It’s kind of ridiculous to not tap into the community, especially when you’re a design student and you’re teaching at a design program... Even though I’ve been here for 8 years, I’m still so in awe at how generous the community is. It’s a game-changer." Adam adds, "This place really does exemplify the idea of openness both creatively and collaboratively...there’s a cutthroatness that doesn’t need to exist here because of the creative infrastructure of this city."
Rich, the newest Portlander, shares the challenge of retooling some of his New York City tendencies. "I’m struggling with shedding a bit of the New Yorker out of me. I remember when I first got here, I was riding the train and I was like hoodie, sunglasses, don’t fuckin talk to me. Thinking 'have to be in the zone, on the way to work.' But then of course, going to work at the Swoosh, every one takes the same fuckin train. Inevitably, you’re seeing everyone at work and then you start opening up, you start becoming a human being…my next hurdle is really to become an outdoorsy guy."
Kate, Rich & Adam also open up about about their personal definitions of success and failure, and how they try to build on success and embrace and rebound from fears and failure. Rich reflects on the idea of not letting his parents down, and carrying the torch of success. "Being the child of an immigrant is a really meaningful thing. They came to the United States from the Philippines when they were twenty years old [supporting their families back in the Philippines]...and I think, 'Shit, I've got to live up to that. My mom ended up being a doctor, my dad ended up being an architect, doing amazing things off of pennies in the Philippines. I look at that, I'm like 'I can't not fail that legacy. I've got to at least do something with my life.' Having them see my success is the anti-failure for me."
As the conversation winded down, Kate was asked what advice she would give to her younger self: "It's okay to be loud. I think about the way that I was just spending a lot of worry about what people are thinking of me, trying not to have people notice me, trying not to have people listen to me. It was a lot of time that I wasted being up against the wall. It's really important to me, especially to my female students too, that it's okay to be loud. So be loud."
For those of you who couldn't join us, we have good news: you can listen to the entire conversation below on our new podcast, sponsored by FreshBooks. Subscribe to Overshare on iTunes, Soundcloud, or with any other podcasting app via our RSS feed.
A heartfelt thanks to FreshBooks for sponsoring this episode of Overshare. FreshBooks is a ridiculously easy cloud accounting software for freelancers and small business owners. It makes your accounting tasks easy, fast and secure. You can start sending invoices, tracking time and capturing expenses in minutes.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us.
Don't forget to follow us on Instagram or on Twitter, where we share more content like this.
PROFILES OF THE WEEK: AUGUST 22ND
PROFILES OF THE WEEK:
AUGUST 22ND
Ashley Mackenzie, Illustrator. Edmonton.
Sarah Herron, Art Director. Playa Vista.
Julie Wilkinson, Designer. New York.
Philip Haynes, Photographer. London.
Simi Mahtani, Art Director. New York.
Eric Chaves, Front-End Developer. Brooklyn.
Cheri Anderson, Producer. New York.
Terence Eduarte, Illustrator. Manila.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Overshare Podcast: Jon Contino
OVERSHARE PODCAST:Overshare Podcast: Jon Contino
Overshare is a new WNW event series and podcast that features honest conversations with our favorite creatives about the realities of being an independent creative. For the second installment, renowned designer Jon Contino helps Overshare earn its Parental Advisory sticker on iTunes in an honest and hilarious discussion about building his brand over twenty years and dealing with copycats. Jon comes clean to the audience about his competitive nature and inclination to always have something to prove: "I always, always, always feel like I have something to prove, mostly because what I do is ridiculous. The fact that I just draw stupid shit for big companies and they say 'Okay'. How long could that possibly last?"
When hearing his imitators receive praise for being "visionaries," Jon tries to take it in stride: "Not that I am, but the fact that I know you’re stealing from me, if anyone should be getting those compliments it should be me. And I know I shouldn’t be getting those compliments 'cause I got it from somewhere else too." Jon finds assistance on big projects from one unlikely source in particular: "I’m not even joking. [My daughter] is three and I’m always just like, 'Which one do you like?' And she’s like, 'Umm, this one.' And I’m like 'Done. Here you go AT&T.'”
It's clear that Jon Contino operates at his best when he has a certain edge. On whether moving to the suburbs and having a kid has made him lose his edge, Jon had this to say: "It’s probably made it worse because I have a daughter. I’m just waiting to knife a 14-year old kid. The first boy she brings home, I can’t wait because I’m locking him in the basement and I’m just gonna call his parents to come pick him up because he’s not allowed upstairs."
Lastly, Jon offers some priceless advice of his own to remember when you inevitably hit a creative wall: "If [your creativity] didn’t come back, I think you would be some kind of science experiment. I feel like you are wired to be a creative person. If you hit a wall, that’s natural. If you hit a wall, and it never comes back, you should probably be studied. You don’t stop breathing unless you die. You’re always breathing, you’re always doing these things that it’s just like a bodily function that’s unique to you."
For those of you who couldn't join us, we have good news: you can listen to the entire conversation below on our new podcast. Subscribe to Overshare on iTunes, Soundcloud, or with any other podcasting app via our RSS feed.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us.
Don't forget to follow us on Instagram or on Twitter, where we share more content like this.
VOTEGIF, A FUN WAY TO SHARE YOUR STATE'S REGISTRATION DEADLINE
VOTEGIF, A FUN WAY TO SHARE YOUR STATE'S REGISTRATION DEADLINE
Not sure when your state's voter registration deadlines is? Don't be ashamed of your ignorance. WNW Member Erica Gorochow has got you covered with VoteGIF. "Voter turn out in the USA is notoriously low. Since deadlines to register to vote aren’t federally standardized, it can be easy to accidentally miss the cut off. I personally think this is an acutely important election."
We personally agree, so head to VoteGIF, mark your calendars and strategically share with your friends whose political leanings sync up closely with yours.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Overshare Podcast: Leta Sobierajski + Wade Jeffree
Overshare Podcast: Leta Sobierajski + Wade Jeffree
Overshare is a new WNW event series and podcast that promotes honest conversations about the realities of being an independent creative. To kick things off, more than 50 people came together in a dive bar in New York City in February to hear creative couple Leta Sobierajski & Wade Jeffree open up about everything from getting paid to getting rejected to their ongoing collaborations. There were even some highbrow detours to discuss important topics like squatty potties and choice curse words.
Leta and Wade, both Brooklyn-based multidisciplinary designers, had been married for just three weeks at the time of their conversation with WNW co-founder and heavily bearded host Justin Gignac. When asked if it is tough to be in a relationship with someone in the same line of work, Leta explained, "It’s really relieving actually. When either of us come home we’re able to talk about every minute detail of our days and the projects that we’re doing, and we understand each other completely which is great. I don’t think that I could be in a relationship where our lives are so different and so separate that we don’t understand what the fuck we’re doing."
The whole point of Overshare is to shine a spotlight on the struggles as much as the triumphs. Leta had this to say about the risks involved and impetus for clearing the slate and taking the leap into freelance: "I didn’t like the people I was working with. I didn’t like my boss. The company wasn’t doing so good, and so it just got to a point where I was like 'Fuck this. I know what I want to do. It’s time to start over.' I wiped my portfolio completely from all of the work that I had done for the past three years, and just started loading it up with personal projects. That was really scary."
It's clear that Leta & Wade can't imagine doing anything else. Wade opened up about the feeling of purpose that design affords him and why it drives him to continue to grow as a creative: "There is a power in graphic design and design in general to not only influence culture but empower people. And I think there’s something really beautiful in that."
For those of you who couldn't join us, we have good news: you can listen to the entire conversation below on our new podcast, sponsored by FreshBooks. Subscribe to Overshare on iTunes, Soundcloud, or with any other podcasting app via our RSS feed.
A heartfelt thanks to FreshBooks for sponsoring this episode of Overshare. FreshBooks is a ridiculously easy cloud accounting software for freelancers and small business owners. It makes your accounting tasks easy, fast and secure. You can start sending invoices, tracking time and capturing expenses in minutes.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us.
Don't forget to follow us on Instagram or on Twitter, where we share more content like this.
PROFILES OF THE WEEK: AUGUST 15TH
PROFILES OF THE WEEK:
AUGUST 15TH
Alison Bracegirdle, Copywriter. London.
Neri Esparza, Front-End Developer. New York.
Erik Johnson, Designer. Encinitas.
Buddy Bojorquez, Designer. Los Angeles.
Audrey Desler, Designer. Portland.
Daniel Spooner, Copywriter. Los Angeles.
Nate Pence, Editor. Chicago.
Shirley Huong, UX/IA Designer. New York.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ILLUSTRATOR BRIAN HURST PUTS HIS STAMP ON #RIO2016
ILLUSTRATOR BRIAN HURST PUTS HIS STAMP ON #RIO2016
WNW Member Brian Hurst has been knocking out stamp after stamp on his Instagram channel in his free time like a champ. We didn't know you could fit that much clever conceit, fresh design, and timeless look in an inch by an inch. Take notice, USPS and people who like cool stuff.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
WATCHING NOT WATCHING: STRANGER THINGS
WATCHING NOT WATCHING:
STRANGER THINGS
The beauty of Netflix is that an addictive new series will appear seemingly from thin air, ready to be discovered in its entirety. And then the word will spread, slowly but surely. Stranger Things is a perfect example. An unassuming trailer popped up at the start of summer, and now you're telling (or being told by) all of your friends that it's the best thing since [enter 80s reference here]. Fans are obsessing over every aspect of the show, from the 80s allusions to the haunting electronic score to the glorious opening credits, co-designed by WNW Member Arisu Kashiwaga.
Below, we talk to four WNW Members (Ben Stafford, Phillip Van, Ann Shen, & Evan di Leo) who love the show as much as we do, and approach the discussion with a consideration for how the show can inspire their creativity. A few of them love Stranger Things so much they even threw in some awesome fan art. A special thanks to WNW Member Ida Kristina Andersson as well for perfectly rendering the majestic life form that is Winona Ryder.
*Light Spoilers & Nerding Out Ahead
What was it about Stranger Things that hooked you?
BEN STAFFORD: I ended up watching four episodes the day it came out (July 15th) and the remaining four the following day. It felt more like a movie experience rather than your typical episodic TV show. There's a certain beauty to what Stranger Things was able to do in 8 episodes that most shows can't do in 22. They were able to tell a clear story, make the viewer care about the characters and how they developed and changed over time and they managed to keep the pacing just. Here's where I'm giving out some "A+'s": child actors/actresses, theme/score, title sequence, set/prop/costume departments and the many nods to the classics it borrowed from in Season 1.
Am I gushing too much? Likely. But I know what it feels like to care passionately about what you're making and hope other people receive your vision and love it as much as you. I'd say the Duffer brothers can be confident in knowing their vision has been accepted and applauded. So from one artist to another, well done and here's to Season 2!
PHILLIP VAN: The aesthetic! Then the performances. Then the story. In that order. The look and feel of the show is pure nostalgia. For any 80's kid, resistance is futile. Every reference gave me a pleasant, even unnerving sensation, tapping into a weird part of my brain that has been dormant since the 80's. Sorry to my brain, which I just completely sold out. Who didn't love The Goonies, E.T., Explorers, The Lost Boys and Close Encounters growing up? The series also mines darker films like Nightmare on Elm Street and Altered States. Granted, none of this is original, but that's the point. It's the jigsaw construction of references that makes the whole collage so ridiculously enjoyable.
Then the performances got me -- the kids they found are insanely amazing. And they clearly all trained at whatever kid acting school Sean Astin and Corey Feldman graduated from before making The Goonies. Not Eleven though -- she's even better -- she definitely went to whatever school Natalie Portman came out of before making The Professional. Around the end of episode 3, the story really kicked in, the pace picked up, and I found the premise more original than I assumed it would be.
ANN SHEN: I love spooky mysteries that dip a toe into horror but not quite because I can be such a chicken about real horror films (like The Exorcist) or disgusted by the gratuitous torture gore-fests that’s the trend nowadays. But as a child of the 80s and early 90s, these sci-fi mystery/adventure stories were the best! Stranger Things walks that line SO well. From the opening mystery to the variety of characters, there’s so much for anyone to connect to – and the opening titles are so good, the set details are fantastic, and the soundtrack sets the perfect mood. It’s all so familiar yet completely original.
EVAN DI LEO: I had a very vague ‘you have to watch this show’ recommendation from a friend and knew little else about it. It quickly became obvious this was going to be a show I needed to spend the time with. It feels like just a fantastic love letter to a very specific flavor of film and media from our childhood... even in an age where huge chunks of film and media companies are trying desperately to capitalize on that nostalgia. This show just hit all the right notes.
Which of the three storylines (the kids, the teenagers, or the adults) did you like most, and why?
BEN: Without a doubt, it's the kids who stole the show. The boys' chemistry was great, but the most captivating character was Eleven. I loved the way she learned how to be a friend and what it meant to care for others. I think the group's bond grew tighter and gave them more confidence the more time they spent with Eleven.
PHILLIP: The kids, definitely. I mean, other films and shows have conjured the 80's, Like Halt and Catch Fire, Freaks and Geeks, Donnie Darko, House of the Devil, but until now, none have nailed the feel of the KID FILMS of the 80's, which were arguably the most important ones. Tarantino craps on the 80's a lot, but one thing he can't crap on at all (is saying crap twice) is that there was never another era that made kid films the way the 80's did. Don't get me wrong, Spy Kids is great (haven't seen it), I love Harry Potter (totally lost track) and Pixar is Pixar (nothing to add to this, Pixar IS Pixar) but where are the kids riding around on BMX bikes late at night to deal with the secret nature of reality using DIY contraptions they built in their basement???
That having been said, the teenagers' story exceeded my expectations. Charlie Heaton reminded me so much of River Phoenix that he actually feels like he time traveled to the present to shoot this show. (What kind of day rate would he get for that?) I love how his story basically turned into a class struggle -- blue collar misanthrope vs. white collar preppy kid and his terrible wealthy friends. It was also a classic test of faith. In the 80's, if you believed in weird stuff, the rich conservative kids would beat the hell out of you. The Duffer Brothers totally channeled 80's writers, addressing the worst of Reaganism, specifically the intolerance Reagan supporters had for anyone who thought or acted differently. Thank God we live in a better era now, where the idea of a megalomaniacal Republican out to poison our minds and spread fear and hate is an unimaginable nightmare, relegated to the distant past.
ANN: The kids! Their story was so reminiscent of those 80s childhood stories about coming of age, being full of hope, and doing the right thing. Eleven is such a great character -- she’s so strong and powerful, expresses the hell out of the show, and barely says 10 words total in the series. Kids have such rich internal lives, and it was so great that some of it started spilling into the adults’ reality in Stranger Things, most exemplified by when the adults start using the kids’ fantasy vernacular to describe what was happening.
EVAN: I think probably the Mom's story, or the Adults is the most interesting. The show does a fantastic job showing you three distinct perspectives, or really four if you count Eleven as a separate line. Watching the show now as adults we can relate to those nerdy kids because we were those kids. We were those angsty teenagers. And there's piles and piles of great (and not so great) films about these stages of growing up. But Stranger Things has a very relatable and real take on parenthood as well. On adulthood. That’s something thats largely missing from these other coming-of-age films. And to use sci-fi/paranormal devices to explore real loss and relationships. "People think I’m crazy, I know I sound crazy… but I can FEEL him." It's very compelling.
Is Stranger Things, and television in general, a source of creative inspiration or escape for you?
BEN: I believe it's both. I love tv shows with stories that engage and make me think. It helps spark new ideas and causes me to approach my work differently.
PHILLIP: A creative inspiration, definitely. An escape, not so much. I always get a little worried when people tell me they watched something because they "needed to escape." Not to get pedantic, but all good stories involve conflict. Most involve extreme conflict. Saying I watched Stranger Things to escape feels like saying I played Call of Duty to go to my zen place. If dying on a battlefield in Frankfurt is my form of meditation, something's wrong.
But seeing such insane love for the 80's on full display is inspiring, to say the least. I've read articles about how the 80's are a fully exhausted era in film and TV, but if anyone gave a sh*t about what those cynical writers looking for a clickbaity headline had to say, Stranger Things wouldn't exist. Sorry, just venting. Stop attacking the 80's!
ANN: Oh definitely a source of creative inspiration. Even though I love nothing more than something brand new to marathon as my preferred method of chill, I always inevitably get inspired by what I’m watching. It helps that I tend to be drawn to things with great stories, strong characters, and obsessively addictive qualities (inspiring me to think of why, and then hopefully adapting it for my own work).
EVAN: It definitely is. There's so many amazing things happening with television right now. Literally too many. I can’t keep up. And theres a lot of lessons on storytelling and writing and aesthetics there as well. There are lessons in studying painting or literature or music or photography… but television and film combine so many disciplines. And of course to let yourself get carried away in a good story, it's a great source of escape.
Complete this sentence: If you like ________, you’ll love Stranger Things.
BEN: I'm being redundant with what most are saying but I have to say E.T. The Extra Terrestrial. I watched it soon after finishing the show to help fill that Stranger Things-sized gap in my life.
PHILLIP: The Goonies / The 80's / Trapper Keepers / BMX bikes / Dark Crystal / Golden Era Spielberg / Joy Division / David Bowie / The Lost Boys / Television.
ANN: E.T. / Goonies / Winona Ryder / The 80's / sci-fi mysteries / Are You Afraid of the Dark
EVAN: John Carpenter / Stephen King / The Goonies / Synthwave. Yes Yes Yes Yes.
What other shows, new or old, do you recommend to fellow WNW Members?
BEN: My favorite drama shows are Lost and Breaking Bad. Hard to beat those. If we're talking comedy, you can't go wrong with Parks & Rec, The Office, Community or Arrested Development. And I'll always have a special place in my heart for Survivor. I haven't missed a season since it first started when I was 14.
PHILLIP: Halt and Catch Fire -- the only other super amazing 80's thing I've seen recently. I'm also just getting into Documentary Now! and it's criminally funny.
ANN: So my old reliables aka shows I put on all the time when working (which is a lot) include: Bob’s Burgers, Buffy the Vampire Slayer, Parks & Rec, 30 Rock, and Gilmore Girls. Shows that are currently on that I’d recommend: Scandal, How To Get Away with Murder, Unreal, Master of None, Fresh Off the Boat, The Mindy Project, Sherlock, and Game of Thrones (I held out for a long time on this one, but I am now in deep). As you can probably tell from this list, “Shows featuring a strong female lead” rank high on my Netflix recommendations.
EVAN: I'm a HUGE fan of Peaky Blinders. I'm a sucker for Crime Family stories and this one is tremendous. The dialogue is cutting and brilliant. There are so many strong and compelling characters. The period setting is beautifully realized. The music and art direction are top notch. Oh and the cinematography. The costuming. The lighting. Pretty much everything they do, they do well.
Stranger Things does a great job of functioning as an homage to so many great shows and films before it, while also establishing its own original personality. How do you achieve a similar balance in your own work when drawing inspiration from other subjects and artists?
BEN: That's a great question. I think they stole the best part of the greats and were able to create something fresh yet familiar. It's very much like how J.J. Abrams' The Force Awakens was widely accepted. I think both of these camps knew what struck a cord with people when it came to the originals and were able to capture that for their own benefit and story.
I look at masters and study their work in hopes that I can take the best parts of their work and convey similar feelings in my own. The more I study, the more I'm able to think like the masters instead of straight up lifting their work or ideas. I think that's the balance everyone hopes for. I'm no master, but if I can pay homage or if people can notice similar tendencies, I'll be satisfied.
PHILLIP: If I'm making anything that's an homage to anything else, I wear my references on my sleeve. I don't claim something is mine when it isn't. I try to write a love letter to the thing I'm referencing in a way that I hope flatters rather than mortifies the original makers of that thing. A dedication is worlds apart from a theft. One is the upside-down version of the other. Sorry. Half-baked Stranger Things reference.
ANN: First, I make sure to draw from a large and diverse pool of inspiration – from Rococo paintings to John Singer Sargent to fashion illustrations of Rene Gruau to mid-century children’s book illustrators and designers to Parisian building signage, the list goes on. I study what works and what’s appealing to me about their work -- the design, the light, the color, the lines. Then I put the inspiration away and try to find ways to apply it to my own work. And it always starts with that -- design, value, color, lines.
EVAN: This is a tricky one I think. Finding your own voice is so important as a creative person. But I also think that it's good to study the artists and work that you are moved by. You can't create in a vacuum. It’s good to know and hold up work that you really love so you have something to aim at. I think especially for those starting out, you can let go of trying to be unique or have a voice and just study work that you love. Do the work. Learn your craft. And in time your voice will emerge.
What are you working on these days?
BEN: I do a fair mix of editorial illustrations and logo/branding work. I've only been professionally illustrating for the past couple of years but it's been fun to test the waters find what I'm truly passionate about. I've got some big goals so as they say, "I've only just begun."
PHILLIP: A pilot! And that's all I can say about that. Also, commercials. I'd love to do an 80's inspired one. I wish brands just made straight up 80's commercials for their products again. Can't we all collectively agree to deny that the present exists? If we did, maybe it would disappear forever. Alright, I am a bit of an escapist. I'll admit it. Talk to me after the election.
ANN: Lately I’m doing a lot of publicity for my upcoming book, Bad Girls Throughout History, coming out with Chronicle Books on September 6! I’m also in development of a couple big illustration projects that will be coming out next year, so there’s a lot of juggling happening right now.
EVAN: I’ve been spending time really trying to sharpen up my traditional drawing chops as well as get deeper into digital painting. I do a lot of sketching, drawing people I are memorable walking around New York. And a lot of time painting in photoshop. I’m also developing a short film with my good friend and partner Ashley Becerra that will be a sort of surreal character study. Exploring the complications of expectations in personal relationships. It’s been very fun to explore a idea without a brief or client to tend to.
Want to nerd out about the shows and films you're watching? Email us.
WATCH PEOPLE TRY TO BUILD IKEA FURNITURE ON DRUGS
WATCH PEOPLE TRY TO BUILD IKEA FURNITURE ON DRUGS
Ikea is often regarded as somewhat of a two-sided coin. On the one hand, you're getting your hands on some sleek and ultra-modern furniture at an affordable price. On the other hand, you're left to piece together the miscellaneous legs, screws, and slabs of particleboard and bring that sophisticated dresser to life. And that's not even mentioning the journey through Ikea itself (watch this clip from Louie.) If you fail, you may never bounce back. But if you succeed, the world suddenly feels like a cool Baltic breeze.
WNW Members Hunter Fine and Alex Taylor decided to take the stakes even higher and create Hikea, a web series filming people high on drugs while attempting to build Ikea furniture. The hopelessness of the subjects in the first two episodes is hilarious, as they try to overcome not only the hieroglyphic instructions but the debilitating effects of LSD and Shrooms.
To truly test your inner fortitude, skip the marathon you've been training for and attempt to build a Godmorgon or Malm or Knutstorp. And when you're finished, put your feet up on one of those Jordbros and watch an episode of Hikea to witness what could have gone wrong.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: AUGUST 8TH
PROFILES OF THE WEEK: AUGUST 8TH
Diego Salinas, Designer. New York.
Andrew Seger, Editor. Brooklyn.
Savannah Rusher, Designer. Brooklyn.
Lindsay Johnson, UX/IA Designer. Brooklyn.
Andrey Smirny, Illustrator. Brooklyn.
Philip Owens, Editor. Los Angeles.
Julia Robbs, Photographer. New York.
Andrea D'Aquino, Art Director. New York.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
MEET FRANZISKA & HANNA BARCZYK, THE ILLUSTRATING SISTER ACT
MEET FRANZISKA & HANNA BARCZYK, THE ILLUSTRATING
SISTER ACT
We're always interested in learning how creatives are inspired by those around them. That's why we started interviewing Creative Couples last year. Now, we're excited to talk to two WNW Members who have known each other their entire lives: Franziska Barczyk and Hanna Barczyk. In our interview below, the Toronto and New York-based sisters tell us about their creative evolutions as illustrators, how they inspire one another, and where their styles bridge and divide: "The approach to subject matter is similar as we both have a strong focus on women, movement and the figurative but the approach differs as Franziska’s work is narrative and Hanna’s conceptual." While they have their own practices, they'll be joining forces for their first show together in Toronto on December 8 at Coldstream Fine Arts Gallery.
Tell us about your creative backgrounds. Who are Hanna & Franziska and how did they get here? How did you both end up becoming illustrators?
Franziska: Growing up I’ve always had an interest in drawing as well as the arts in general, such as performance and dance. I went to the University of Toronto for two years where I took art history and visual culture. I also had the chance to take painting and printmaking classes. My sister at this time was enrolled in the illustration program at OCAD U. This is when I saw that art/image making can be applied. I switched over to OCAD U and then graduated two years after my sister. I have since been going back and forth between graphic design and illustration. And even though I’ve worked in the agency environment and also as an in-house graphic designer, I kept drawing in my free time and was involved in gallery shows. Finally, I decided to focus on illustration full time. I’ve also worked as a studio assistant for Edel Rodriguez (2010) and Christoph Niemann (2014-2015), both who I look up to as mentors. It’s the continued interest to want to create stories through drawing that make me continue to do illustration.
Hanna: I’ve always known I wanted to be an artist. When we first moved to Canada from Germany in 1996, we walked past the Ontario College of Art and Design (now OCAD U) as part of getting to know Toronto. I knew that I wanted to study there in the future, and I ended up getting accepted into OCAD's drawing and painting department. In my first year walking through the halls, I noticed illustrations exhibited on the wall and reached out to my teacher. I then switched my major to Illustration. I graduated in 2006 and have since been involved in many creative industries from mural painting, film, graphic design and dance. Since 2013 I solely work as a freelance illustrator in between NYC and Toronto for major publications.
What do your parents do?
Our mother is a social worker and our father is a historian.
How would you describe each of your creative styles? What similarities and differences do you see in your work?
Hanna’s style is more rooted in the hand-drawn traditional medias with a minimal colour palette. Franziska’s work is mainly digital with a wider colour palette, using gifs and incorporating collage. The approach to subject matter is similar as we both have a strong focus on women, movement and the figurative but the approach differs as Franziska’s work is narrative and Hanna’s conceptual.
What are your three favorite pieces in your sister’s portfolio and why?
Franziska: My favourite pieces by Hanna are: ‘Blue couple’, ‘The Iraqi Friends We Abandoned’ for The New York Times and ‘Perfectly Imperfect’ for The Los Angeles Times. To me they are strong, smart and sensual visual solutions.
Hanna: My favourite pieces by Franziska are: ‘Shape Woman’, it’s visually fun, confident, and has a a great mood. ‘Portrait of Jon Stewart’, captured his personality well, and ‘Skype Kiss’ which I feel captures a full story in a short gif animation.
In what ways do you inspire each other? Do you ever get competitive?
We inspire each other by sending each other links to other artists, magazines, fashion, and interesting blogs. When we are in the same city we spend more time talking and inspiring each other through stories and ideas. We might have a sense of an unspoken competitiveness.
What are you each working on now?
We will be having our first duo show together in Toronto on December 8 at Coldstream Fine Arts Gallery so we are working on paintings for that as well as numerous editorial projects.
What cultural and creative venues do you frequent (arthouse theaters, galleries, museums, bookstores, record stores etc)?
In NYC: Whitney, MoMA, MET, Guggenheim, Printed Matter, David Zwirner gallery, and other galleries in Chelsea, the Strand bookstore and cafes
In Toronto: AGO, Swipe Design book shop
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
We both prefer working independently. It’s important to find out for yourself when you are most happy with your work. It’s important to get feedback when you are first starting out, not necessarily from a community but from a mentor. Once the work is finished it’s great to showcase it to the creative community.
Who are some of your biggest creative idols and influences?
Picasso, Matisse, Frida Kahlo and Hockney
If you weren’t an illustrator, what do you think you’d be doing instead?
A film director or dancer
What do you do when Not Working?
Dance.
What are some things you would tell your high school or early twenties self?
Not to wait for approval but make choices independently.
Any album, film, television or book recommendations for your fellow WNW members?
Film: Victoria
Book: Italo Calvino's Invisible Cities
Art books: Soy Cuba, The Push Pin Graphic, Mexico Illustrated and any Blexbolex books.
Albums: Erik Satie, FKA twigs, Astor Piazzolla, Frederico Aubele, Orchestra Baobab, Ismael Rivera, Willie Colon, Hector Lavoe.
Who are some other WNW members whose work you admire, and why?
Emiliano Ponzi: amazing sense of depth, perspective and sensibility towards subject matter and mood.
Jordy van den Nieuwendijk: treatment of colour, the simple compositions, fun
Olimpia Zagnoli: the way shapes are used to create compositions, simple, confident
Lynnie Zulu: stylistic, simple, emotional, sense of confidence and openness
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
The Little Assignment That Could
While in conversation with an art director, I listened to her detail the incessant drudgery of a recent workday. In the morning, she had to attack two 90-second TV commercial briefs. After that, she kicked off a global branding campaign for the agency’s most prized account. She also had to start designing new logos for one of the biggest companies in the world. On top of all this, there’s an upcoming film shoot in Fiji that she hasn’t even packed for yet.
Read More