COPYWRITER BRITTANY POOLE OFFERS HER OWN WRITER'S RETREAT

Working Not Working May 31, 2017

COPYWRITER BRITTANY POOLE
OFFERS HER OWN LOCAL
WRITER'S RETREAT

If you're a writer, you're most likely currently struggling to make sufficient progress on a project. If you're a writer and you don't struggle, get in touch with us so we can share with others how you bottled that magic. WNW Member Brittany Poole knows that for most of us, external and internal distractions do what they do and get in the way. Which is why she started hosting Local Writer's Retreats out of her creativity-tailored home in Santa Monica. So to the 99.9% of writers: What are you doing this Saturday?

Below, we talk to Brittany about this latest endeavor. In 2015, she co-founded HUSH, a database of the world’s best spots for a digital detox. So she's essentially an expert on combatting distraction. "Most creatives, myself included, are already masters at putting barriers in their own way. We like to make things black and white. Like, one day I’ll be so rich, I can quit my job, get a villa in Tuscany and finish that novel. When really, you could start this Saturday. It just might not be as sexy. So I felt like a local retreat could help bridge some of those barriers for people and eliminate some of those excuses."

What separates Brittany's eight-hour retreats are the minimal price tag (which includes lunch, a happy hour, and a fresh, bottomless mug of coffee), and the no-bullshit simplicity. (There are no critiques or unnecessary lectures.) She has a space that has helped fuel her creativity and she wants to share it. "The Local Writer’s Retreat is super personal. People are making a commitment to themselves to show up and put eight solid hours into their work (whether it’s a screenplay, an article, a standup set, a blog post, or even just some personal journaling). It’s their time. So I don’t really have a lot of rules, except maybe don’t blast the Black Eyed Peas through your headphones. Rihanna’s probably fine though."

Sign up for a retreat this Saturday, or one (or both!) of the two that Brittany is hosting in July. You can use the code 'WNW' to get $10 off if you sign up for this Saturday's retreat before Friday.

Follow Brittany on WNW

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

I'm an advertising creative and brand consultant, currently freelancing in LA. I cut my teeth at Crispin Porter + Bogusky, working on campaigns like JELL-O Pudding Face and Burger King’s Whopper Lust, before heading off to Saatchi and Saatchi London. Like most creatives in advertising, I like a constant buzz of side projects to soothe my creative soul. So I also recently began hosting one-day writing retreats out of my house in LA.

What lead you to open a writer’s retreat in your Santa Monica home?

Honestly, chasing the perfect coffee shop around LA is the pits. You’re spending tons of money on coffee, only to quickly realize people are staring you down for the table. Or else you get caught eavesdropping on some Hollywood drama for two hours and then spend the next two hours tweeting about it. We all do that, right? :)

That said, I’ve experienced firsthand how inspiring and effective a writer’s retreat can be at catapulting a project forward. It’s amazing what you can do when you physically remove all other distractions. Also, I’m just obsessed with my house. I realize that’s an obnoxious thing to say. But the space is so bright and calming and I’ve found it easier to work here than anywhere I’ve lived before. So I wanted to share that with other people.

Historically, writers have always been holing up in the woods to get words on the page... I’ve just found that nowadays, the retreats you find online are in exotic places with a very high price tag.

How does it work?

It’s basically like an adult study hall that you pay for. It’s intentional writing from 10:00 AM to 6:00 PM, with a thirty-minute break for lunch. No critiques or unnecessary lectures. Just an experiment to see what people can get done when they commit real time to their writing. (Lunch and an afternoon happy hour are included. And there’s always plenty of fresh coffee in the kitchen.) Other than that, it’s all about the work.

What do you think the average writer’s retreat does well? What areas of improvement did you want to get right with your own?

Historically, writers have always been holing up in the woods to get words on the page. So a retreat is really nothing new. They can be incredibly inspiring and rewarding. I’ve just found that nowadays, the retreats you find online are in exotic places with a very high price tag.

Sadly, most creatives, myself included, are already masters at putting barriers in their own way. We like to make things black and white. Like, one day I’ll be so rich, I can quit my job, get a villa in Tuscany and finish that novel. When really, you could start this Saturday. It just might not be as sexy. So I felt like a local retreat could help bridge some of those barriers for people and eliminate some of those excuses.

What are the golden rules of your writer’s retreat?

The week before, I’ll ask all participants to write down their hopes for those eight hours. Then, they break those down into hourly goals. We’ll share those goals at the beginning of the day for a bit of accountability, and then we get to it.

Otherwise, the Local Writer’s Retreat is super personal. People are making a commitment to themselves to show up and put eight solid hours into their work (whether it’s a screenplay, an article, a standup set, a blog post, or even just some personal journaling). It’s their time. So I don’t really have a lot of rules, except maybe don’t blast the Black Eyed Peas through your headphones. Rihanna’s probably fine though.

I also encourage people to wait until after lunch to get the wi-fi password. If you need it earlier, you have to ask for it out loud. A tiny bit of sadistic peer pressure on my part. But it keeps people thinking more intentionally about their computer time, and I’m just trying to help!

I also encourage people to wait until after lunch to get the wi-fi password. If you need it earlier, you have to ask for it out loud. A tiny bit of sadistic peer pressure on my part. But it keeps people thinking more intentionally about their computer time, and I’m just trying to help!

We’re noticing a trend, as you’re also the co-founder of HUSH, a database of the world’s best locations for a digital detox. Do you think the age of technology and information is an overall positive evolution that just needs checks and balances? Or would you permanently flip off that switch in a heartbeat if you could?

Ha, there is definitely a trend there. I can’t say a life void of technology is something I strive for. I’ve just always been pretty bad at multi-tasking. (I don’t really believe anyone’s made for multi-tasking, but that’s probably a discussion for another day.) So I think both HUSH and these writer’s retreats come from a place of being more mindful of how you’re using technology and where you’re putting your time. It’s like when kids used to take Adderall in college and then accidentally use all that focus on five hours of Facebooking. Creative energy is such an ebb and flow. I just like helping people be more considerate about where they’re directing it.

What advice can you offer to aspiring writers beyond maximizing the potential of their writing space?

1. Writers are dreamers. So we love fantasizing about the final goal. The screenplay becomes a box office hit. The novel earns its place among the classics. The blog has advertisers throwing money your way, and then you get to explain to all the dummies at your high school reunion what a “social influencer” means. These dreams are visceral and delightful. But if you can put that same romanticism into just getting 2500 words on a page, imagining how great that would feel, then you can start to chip away at the actual goal.

2. I think we lie to ourselves a lot. We say we’re going to get up at 6:00 like Hemingway and write every morning, when in truth, we’ve only ever done that once in 2013. So this year, personally, I’ve been calling myself out for those kinds of blatant lies. Instead, I’ve been trying to honestly acknowledge when and how I’m most efficient. I guess that doesn’t totally answer the question. But I think if you can reflect on those things more honestly, you can maximize your own progress. So you can admit that writing in the morning isn’t your thing. Or working from home isn’t your thing. Or even that working on a solitary project for months on end isn’t your thing. Then, you can optimize whatever it is that does work for you.

It’s like when kids used to take Adderall in college and then accidentally use all that focus on five hours of Facebooking. Creative energy is such an ebb and flow. I just like helping people be more considerate about where they’re directing it.

What are you currently working on?

I’m currently working on a writing project about my grandmother and her philandering ways. Recently, I’ve gained enough confidence to call it a novel. So I guess I’m working on a novel about that.

What do you do when Not Working?

I love taking classes when I can. This last year, I took an acting class for voice-over talent, which was a lot more nerve-wracking than it sounds. You can hear every mouth noise in that booth! I make a lot of gluten-free treats and force people to say it tastes like the real thing. Let’s see. I spend a lot of time traveling back and forth to Nashville to see family. I also enjoy gardening and emailing random bluegrass bands to see if they need backup vocals, so far to no avail. Call me!

What have you been reading lately that you would recommend to fellow WNW members?

I just finished Big Magic by Elizabeth Gilbert. It’s a fantastic read for creative minds. She points out how paralyzing it can be when everyone’s telling you to pursue your passion, especially for artists and writers. And she offers permission instead to “explore your curiosity.” It’s such a lovely phrase because it softens that calling and lets you get down to the business of making stuff—without knowing where it might lead. It’s a really refreshing book. I wish I could give it to everyone.

Anything else you’d like to add?

Yes! We still have a few spots left for our retreat this Saturday (June 3rd). And you can use the code: WNW to get $10 off if you sign up before Friday!

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Overshare Podcast: Sara Shelton

Working Not Working May 30, 2017

Overshare Podcast: Sara Shelton

Overshare is a 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. As Mental Health Awareness Month comes to a close, we're sharing Episode 7, which celebrates a project that builds awareness year-round. This conversation couldn't be closer to capturing what Overshare is all about. WNW Member #103 Sara Shelton sat down with our friend Claire Wasserman, founder of Ladies Get Paid, about her brave and very necessary project We Get Depressed. Having battled depression herself, and losing her brother to it, Sara knows better than anyone the importance of starting a cause that directly tackles one of depression’s false and most dangerous calling cards: that you're alone in your depression.

You can listen to the entire conversation on our podcast, sponsored by FreshBooks. Subscribe to Overshare on iTunes, and listen to all the other Overshare episodes with any other podcasting app via our RSS feed or follow us on Spotify.

Below, you can also read our Magazine interview with Sara from January 2016, when We Get Depressed was just getting started.

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Magazine Interview From January 29, 2016

"I was walking my dog, thinking about how, statistically speaking, I was walking by tons of people who get depressed. And wouldn’t it be comforting to just know who they were, so we could do a little nod, like, 'Yep, I get you.' When I got home from that walk, I bought the URL for We Get Depressed, googled 'how to build an online store,' and now here we are."

In the interview below, Sara also discusses depression's link with creativity: "We’re thinkers! We over analyze and question things and sweat all the details... I try to think of it as a package deal. Being creative means that sometimes, I’ll struggle with depression. But it also means that sometimes, I’ll get to feel funny and smart and excited to make things. I try hard to be okay with that package because, for one, I don’t have a choice - I’m stuck with myself. But also because when I’m in a good place, I really like getting to be me."

Get your t-shirt here to let others know they're not alone.

Tell us a little bit about your background. Who is Sara Shelton and how did she get here? How did you become a copywriter?

I wasn’t lucky enough to be one of those kids who knew what they wanted to be when they grew up. All I knew was that I wanted to do something creative, something I cared about, and something that I could do while wearing sneakers. After growing up in Texas, I eventually found my way to Ft Lauderdale (okay, I moved there for a dude) and finished up my degree in Communications.

When I set out to find my first real job, I immediately regretted majoring in Communications. I hadn’t learned how to DO anything. But I loved writing, so I made a list of every film company, editorial house, and ad agency within 50 miles of where I lived, and started knocking on doors. My first job was as a personal assistant at a tiny, three-person ad agency. Then I moved to what I thought was a more legit agency, only to discover that it was basically scamming people with those “Click Here and Get a Free iPod” web banners. (Sorry, everyone).

My uncle is a copywriter, so I talked to him and he said, “you’re not really working in advertising, you know.” He told me about copywriting, and about Miami Ad School. I wasn’t too thrilled about going back to school, but I decided to give it a shot. After my first quarter in ad school, I was like, “okay, I love this and I want to be really good at this.” So I put my head down and got to work.

What do you do when “Not Working”?

There’s nothing I love more than sitting in a bar with funny friends laughing about dumb shit. I’m also a big lover of comedy. I’m so fascinated by standup, although I’ve never performed it. I used to do a lot of improv, but being part of a group is a huge commitment… and agency life makes that really difficult. So now I just perform in storytelling shows from time to time. It’s not as popular of an art form, but I love it. You should check it out! I also have this really awesome pitbull named Thor who I wander around Brooklyn with quite a bit. I can be a bit of a hermit, so it’s nice that he forces me to get out of the house. I actually had the idea for We Get Depressed while I was out walking him.

What led you to start this project?

Depression has been a “thing” in my life since I was in high school. I lost my brother to suicide when I was 16, so I’ve spent years thinking about his depression, and playing out ways I could have saved him. But since then, I’ve also struggled with my own depression, so it’s always top of mind. There was a time about four years ago when I had just moved to LA and out of nowhere, I got really depressed. Like, really depressed. I remember meeting my aunt for dinner and just hoping she’d be able to tell because I was too embarrassed to bring it up. Luckily, she noticed immediately, and she and my cousin put me in touch with a professional. I got on medication for a while, and once I was feeling better, I thought a lot about how ashamed I had felt for feeling depressed. I didn’t want to inconvenience anyone with my problem, and I was honestly too exhausted to google “therapists in Santa Monica”. Keeping it a secret had been so important to me, which in hindsight felt really messed up.

So when Robin Williams died last year, I posted something on Facebook, encouraging friends to get help if they need it. The last part of it said, “And don’t think, for a second, you’re alone. There’s probably more of us than there are of them, just no one ever talks about it.” I got so many messages about that post. Friends basically saying “hey, that’s really brave of you to admit that you get depressed. Nobody knows this, but I’ve struggled with it too.” I realized admitting it wasn’t just a problem for me, but for others as well.

Then a few months ago, I was walking my dog and thinking about how, statistically speaking, I was walking by tons of people who get depressed. And wouldn’t it be comforting to just know who they were, so we could do a little nod, like, “Yep, I get you.” When I got home from that walk, I bought the URL for We Get Depressed, googled “how to build an online store,” and now here we are.

We Get Depressed directly tackles one of depression’s false calling cards, that we’re alone in our depression. Do you see that feeling of loneliness in feeling alone as the most dangerous effect of depression?

I do, and social media doesn’t help. Online, we all present ourselves as these perfect people loving every moment. Depression makes you feel like you’re the only one on the planet who’s such a mess, so you go out of your way to hide it from all your “perfect” friends. Which, I’m telling you, is absolutely exhausting. And only makes it worse.

There seems to be a general consensus that depression is particularly prevalent in creative individuals. Why do you think this is? How has your creativity helped keep depression at bay? And how has your creativity perhaps opened the door to depression?

Because we’re thinkers! We over analyze and question things and sweat all the details. Creative people have heightened emotions. Sometimes that can work to our advantage, and other times it’s the opposite. That’s just the way it is. So I try to think of it as a package deal. Being creative means that sometimes, I’ll struggle with depression. But it also means that sometimes, I’ll get to feel funny and smart and excited to make things. I try hard to be okay with that package because, for one, I don’t have a choice - I’m stuck with myself. But also because when I’m in a good place, I really like getting to be me.

What’s been the reaction since you started this project? Any unexpected effects from sharing it?

The support has been so reassuring. Not only are people buying the shirt, but they’re wearing it. I found wearing it to be a bit intimidating at first, so I’ve been really inspired by those who throw it on like it’s nothing. It makes me feel like I’m a part of something, rather than just a lone wolf trying to make a point. One thing I wasn’t expecting to happen was how many people would reach out to me, and share their personal experiences with depression. People seem to really want to open up about it. Makes sense, because it feels pretty liberating.

What are some top tips you can give to fellow WNW members who suffer from depression?

I don’t know if I’m qualified to give tips, but here are some things I wish I was better at:

Don’t wait until it gets really bad to admit it to yourself. Talking yourself out of a dark hole fucking sucks, and the deeper you’re in it, the harder it can be to motivate yourself to start crawling out of it.
Make mental notes of what triggers your depression, so you can (try to) limit those things.
When things are good, note the things that make you feel joy, and make those things a priority in your life.
Don’t give up, you’re doing the best you can and that’s good enough. Don’t be so hard on yourself.
Tell someone. (Maybe someone who you know can relate because you’ve seen them wearing that shirt around.)

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

There are so many! I’ve always admired Brian Moore, Rahul Panchal, and Graham Douglas for each having this fearless attitude towards making ideas happen. I’m a big fan of Tommy Noonan and his new bodega project. I’m obsessed with Donnell Johnson’s writing. And nobody has a better eye than Elizabeth Dilk. Anything she lays out, I want to buy.

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Meet Neil Mahoney, Editor of Key & Peele, Drunk History, & Portlandia

Working Not Working May 30, 2017

Meet Neil Mahoney, Editor of Key & Peele, Drunk History, & Portlandia

MIKE O'DONNELL / EDITOR

If you're even remotely into modern comedy, you've seen the work of WNW Member Neil Mahoney. Neil, based in Los Angeles, has worked as an Editor on an amazing range of broadcast and internet shows like Key & Peele, Portlandia, Drunk History, The Life And Times of Tim, and Between Two Ferns. In our interview below, Neil talks about his approach to editing, but we first kick things off with his creative background. "I grew up in a sleepy vacation town in Massachusetts like the one in JAWS. Crazy stimulating during summer months but left us year-round kids starving the rest of the year. We made spy movie parody videos, skateboard 'sponsor me' tapes and overall mischief to fill out the rest of the year." It's clear that Neil developed a discipline, resourcefulness, and sense of humor early on that has kept him afloat then and now, and enabled him to build an impressive career.

Neil also discusses the importance of building an ever-growing community of lasting connections that have opened priceless opportunities, what he sees as his role as an editor, and how he imparts his particular style. "The key to my sensibility for comedy is to deliver a believable world, just as you would in a drama, so that when the comedic elements are introduced, they seem even more absurd." We also asked Neil what's next. "I'm wrapping up an Amazon series that I can't really talk about that's really nuts, especially in the editing. But after that, I'm going to try and go outside and get some fresh air.

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

My name is Neil Daniel Mahoney and I grew up in a sleepy vacation town in Massachusetts like the one in JAWS. Crazy stimulating during summer months but left us year-round kids starving the rest of the year. We made spy movie parody videos, skateboard "sponsor me" tapes and overall mischief to fill out the rest of the year. Eventually, whenever there was a big assignment at school, I would ask if I could make a video instead.

Then I went to college, maybe I shouldn't have, but I received some book-learning to tug around while trying to make a living via humor. I interned with a music video house, and with the production company that made Mr. Show and Tenacious D, which I held in very high regard. Through that, I forged a lot of the relationships that have been keeping me employed on really fun projects.

**What were some of the challenges of getting started as an editor? And how did you end up working on the likes of Drunk History, Key & Peele, and The Life and Times of Tim?**

I never intended to be an editor, although I really enjoyed watching the process, and piecing together the logic and decision making while observing guys like Steve Welch and Dean Holland and later, Peter Atencio. I wanted to be a writer and see my career now as an extension of that: protecting the writers' vision while hiding mistakes made along the way and accentuating the contributions of the production crew. Eventually, I hit the point where it was impossible to pitch networks as an unknown writer without a "presentation" reel. So I learned to edit because editors were the only people I couldn't convince to work for free.

I enjoyed editing some web series I'd produced which lead to a job at FUNNY OR DIE which was like grad school. Getting to work beside so many funny new people and super experienced SNL folks like Andrew Steele was a real gift. When I decided to leave to try and get traditional TV kinda work, Life and Times of Tim was my second interview. It was a bizarre technical process but an amazing crew of writers and producers and cast. I think BJ Porter made a big push for me to get that job. I owe him a lot.

I worked on Drunk History because Naomi Odenkirk introduced me to Derek Waters, and I produced and edited a series called Derek and Simon with him and Simon Helberg and we all got along, so when Drunk History hit, he knew we would be like-minded. Same basic story for Key And Peele; Peter Atencio, the director and co-EP, had made a web series with Jonah Ray and myself called The Freeloader's Guide To Easy Living which I co-wrote and produced, but mostly breathed over Peter's shoulder and got free editing lessons. I was initially brought on to just cut the improvised live audience pieces for K&P but eventually got to cut whole shows.

“I wanted to be a writer and see my career now as an extension of that: protecting the writers’ vision while hiding mistakes made along the way and accentuating the contributions of the production crew... I learned to edit because editors were the only people I couldn’t convince to work for free.”

What do you see as the most important part of your job as an editor? Can you give our readers a glimpse into the process? Is comedy, really, all in the timing, like they say?

It's really about protecting the process that's lead to the footage being put in your hands. My basic rule of thumb/order of operations is to first make sure the script and story is being conveyed, then make sure the best work by the actors shines [including ad libs, improvising], then look at the contributions of the director and what style they want to present the first two in. And finally if all of those things are clicking, throw some editing cherries on top. Timing is of course important, but that's very much up to the performers more than someone in my position. I have a little bit of leeway to adjust the timing of performances, but only in rare occasions do you want the editing to draw attention to itself as comedy.

Do you feel a lot of pressure to help the mood and jokes land for the famously funny (& powerful!!!) comedy people?

Of course. The most stress I have been under is editing stand-up comedy because, for a network like Comedy Central, you are under very tight time constraints for act-breaks and overall show length. We often had to tighten and kind of re-write people's performances to fit in those limits and it feels very invasive. You really want to do your best to honor their intentions and create an honest portrayal of their stage act.

“The most stress I have been under is editing stand-up comedy because, for a network like Comedy Central, you are under very tight time constraints for act-breaks and overall show length. We often had to tighten and kind of re-write people’s performances to fit in those limits and it feels very invasive.”

You’ve worked as an editor on comedic masterpieces like Key and Peele and Between Two Ferns with Zach Galifianakis. Have you worked on dramatic projects as well, and does your approach change with genres?

I've done a few films and series that weren't straight comedies, and I really enjoyed that process. Without the pressure of trying to deliver laughs every thirty seconds, you are freed to deliver something more visually interesting, if that helps the story and the pacing. That being said, the key to my sensibility for comedy is to deliver a believable world, just as you would in a drama, so that when the comedic elements are introduced, they seem even more absurd.

What comedic films, shows, or sketches showcase some first-class editing? Do you always pay attention to the editing when watching movies or shows?

I try to ignore the editing of shows, and just enjoy them. If the editing is apparent, it's probably not very good. That's why I can't enjoy any reality shows, because it's so blatantly emotionally manipulative, and meant to create misleading expectations. I honestly have been into Ice Hockey lately, because there's no artifice to it, it's just happening live and at the end, there's a winner and a loser and the drama was all genuine.

As for scripted shows, I think Veep has some great editing because it's just so fast paced. I also think Last Man on Earth on Fox, and Detroiters on Comedy Central has excellent pacing. And on the opposite end of the spectrum, Baskets and Better Call Saul are really luxurious in long takes and visually interesting.

Who are some of your biggest creative idols and influences? And have you been able to meet or work with any? If so, who surprised or surpassed your expectations?

I've been really lucky in that I came to Los Angeles with a goal to work with Mr. Show and that whole class of writers and performers and I've worked with almost all of them. I worked on an episode of Portlandia last year that featured Mitch Hurwitz and watching the dailies of his scene was so crazily impressive of how fast he was on his feet, and so insanely funny. Maria Bamford was a huge thrill too because her genius is only surpassed by her generosity and real concern for others.

What moment or project in your career so far has made you the proudest?

Working on Key and Peele was pretty much the first time anyone in my family had heard of something that I'd done, so that's up there. I was proud to be nominated for an Emmy for the last season alongside Nick Monsour and Rich LaBrie, in no small part because somewhere my name will be next to theirs forever and I think they're both really great editors.

Biggest career failure?

That's the best thing about working in Post Production; you aren't really done until the thing you're doing is as good as it can be. There are some projects I've directed or edited that could have been more successful, but I can't call that a failure. They were all fun to make. Maybe that I turned down an opportunity to direct a pilot because I had concert tickets that weekend, and now that show is in its third season. That was pretty dumb of me.

What’s next for you?

Not sure! I'm wrapping up an Amazon series that I can't really talk about that's really nuts, especially in the editing. But after that, I'm going to try and go outside and get some fresh air.

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

I'd like to try writing, like on a show that has writers-rooms. I like that kind of collaboration and have a fun time preoccupying myself with structure and enjoy re-writing.

What do you do when Not Working?

I just took a trip to Sweden, so I think I'll try and travel a lot more when I've got time. I tend to pick up little projects like restoring a piece of furniture or other little home art projects to relax.

“When editing with clients in the room, and they ask for an alternate take of something and while you’re trying to pull alternates up the same take plays again, and the client says “Oh yeah, that’s much better” is too frequent, and too embarrassing.”

What cultural and creative venues do you frequent in Los Angeles?

Largo at the Coronet is my favorite place to see live performances in LA. It's a theater that has loads of history and is really generous to its little family of regular performers, so I like to support that. Cinefamily has a lot of revival screenings and other weird video art nights that are fun. There seems to be a new craft fair every weekend so I enjoy snooping around those, as I have a lot of crafty friends who make cool stuff.

Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?

I like the communal environment when generating ideas, but when I'm sitting down to cut I prefer to be alone. When editing with clients in the room, and they ask for an alternate take of something and while you're trying to pull alternates up the same take plays again, and the client says "Oh yeah, that's much better" is too frequent, and too embarrassing.

Any album, film, television or book recommendations for your fellow WNW members?

I really enjoyed Cuplicated on Vioobu.com this weekend. I'm a big fan of deep set-ups and really committing to a bit like that. The "Craig Healy" character was something they came up with almost ten years ago at Funny or Die. I'm reading a book of critical essays on the show Deadwood but it's kind of terrible.

Anything else you’d like to add?

Not really! It's been difficult to talk about myself this much. Thanks for your interest in my life.

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"2016," A BOOK AND YEAR OF POSTERS BY BRÁULIO AMADO

Working Not Working May 30, 2017

"2016," A BOOK AND YEAR OF POSTERS BY BRÁULIO AMADO

Portugal-born, NYC-based WNW Member Bráulio Amado has a new book out called 2016. Printed on 120 pages of coated matt volume 170 grain paper, 2016 collects essentially every poster that the graphic designer and illustrator produced last year. Which is a lot. A whole lot of eclectic awesomeness. From underground DJ shows to Ty Segall concerts and everything in between, the collection captures both the chaos and ever-evolving style of Bráulio's work. Buy a copy here.

Follow Bráulio on WNW

Follow Bráulio on WNW

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Olimpia Zagnoli Demonstrates How to Eat Spaghetti Like a Lady

Working Not Working May 30, 2017

Olimpia Zagnoli Demonstrates How to Eat Spaghetti Like a Lady

MIKE O'DONNELL / EDITOR

In 1942, Time Life magazine prescribed a step-by-step process for "how to eat spaghetti like a lady." It seems the times have changed. Milan-based Illustrator and WNW Member Olimpia Zagnoli has now masterfully subverted the original with her own series, also titled How to Eat Spaghetti Like a Lady. The black-and-white originals by Alfred Eisenstaedt (displayed below) suggest composure, conduct, and convention. Olimpia twirls this idea of uniformity into submission and shows off an eclectic array of colorful personalities, creatively enjoying their pasta as they defy the rules of conduct and, while they're at it, even the rules of gravity. Olimpia's show will be open through the end of July at Antonia Colombo Arte Contemporanea in Milan.

Photographs and Instructions from Time Life

Step 1: “Four strands of spaghetti should be segregated from the pile.” Step 2: “With soup spoon as prop, twirl fork and spaghetti gently.” Step 3: “A ladylike mouthful of spaghetti is ready for consumption.” Step 4: “Full forkfuls should be consumed in entirety. Nibbling is out.” Step 5: “Truant strands require patience, lip facility, suck-power.” Step 6: “With end in sight, diner has consumed 160 in. of spaghetti.”

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Getting Too Much Done? Spend Hours Coloring in this Music Video

Working Not Working May 24, 2017

Getting Too Much Done? Spend Hours Coloring in this Music Video

MIKE O'DONNELL / EDITOR

W+K Group Creative Director/WNW Member Craig Allen and production company MediaMonks have created a playful, interactive music video for Real Estate's new song "Stained Glass." And while the song is under 4 minutes, you could easily snap back to reality 4 hours later and wonder why everything around you looks so drab. Because "Stained Glass", directed by Allen, is really half "music video" and half "coloring book." And how you choose to interact with it is entirely up to you. You can color in the line-drawn video as the song progresses, or hit pause and color everything in to watch the entire video unfold in your preferred palette. Or you can be a boring grown-up and watch an already colored-in music video above. The choice is yours. But don't let all the possible decisions stress you out. This is supposed to be therapeutic.

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Watching Not Watching: Twin Peaks with Artist Summer Ortiz

Working Not Working May 18, 2017

Watching Not Watching is a recurring Free Range series where we invite a WNW Member to nerd out with us over a particular TV show that fuels their creativity. It's essentially a way for us to experience a taste of the water-cooler conversations that the freelancing portion of our community might be missing out on.

IN CASE YOU'RE OUT OF PRACTICE, THIS IS VIRTUE-PRODUCED YOGA

Working Not Working May 17, 2017

IN CASE YOU'RE OUT OF PRACTICE, THIS IS VIRTUE-PRODUCED YOGA

In their latest ad campaign, Lululemon, the Yoga-inspired apparel company, walks their yoga pants out of the studio and into the outside world. The campaign consists of a series of mini-documentaries, produced by Vice’s in-house agency Virtue. And it's a natural fit that Virtue chooses to showcase these applied beliefs in the real world in a series of interpersonal and individual contexts. After all, Lululemon touts their mission as “honouring yoga by taking the practice off the mat.” The term “practice” is a staple of yoga, in part a repetition of an activity but much more the application of an idea or belief that can extend into the world. The campaign offers a few of these practiced virtues in action, against the backdrop of a volleyball match, a drum kit, and a surf session. The practice of letting go. The practice of breath. The practice of nonviolence. The practice of devotion. In a way, the pace of the ads themselves mimic that of some yoga forms, with a volley of powerful exertion and quick edits followed by quiet, slow-motion rests before the action resumes. Namaste to the following Working Not Working members behind this campaign: Anthony Coleman (Creative Director), Nick Maciag (Lead Creative), Dena Lenard (Producer), and Erin Kelly (Senior Designer).

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WNW MEMBER ADI GOODRICH ART DIRECTS NEW FLEET FOXES MUSIC VIDEO

Working Not Working May 15, 2017

WNW MEMBER ADI GOODRICH
ART DIRECTS NEW FLEET FOXES
MUSIC VIDEO

WNW Member Adi Goodrich served as Art Director and Production Designer on the newest Fleet Foxes music video, "Fool's Errand." This is the second music video released in advance of the band's long-awaited third album Crack-Up, out June 16th. Adi was behind the first single's lyric video as well, collaborating both times alongside director Sean Pecknold, the older brother of frontman Robin Pecknold. (Adi and Sean co-run an animation, photography, and design studio called Sing-Sing you should definitely check out.) If you like heavenly harmonies and bewitching choreography at the top of cliff faces, all wrapped in a Jodorowsky aesthetic, well then Happy Monday to you.

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DESIGNER GRACE DUONG HELPS YOU CONNECT WITH YOUR INNER MYSTIC

Working Not Working May 15, 2017

DESIGNER GRACE DUONG HELPS YOU CONNECT WITH YOUR INNER MYSTIC

WNW Member Grace Duong has designed her latest project using both her extensive design background and a heavy dose of positive vibes. It's called Mystic Mondays. The project offers an array of colorful tarot cards for the modern age. Below, we talk to Grace about her own spirituality and how it fueled the project, whose Kickstarter campaign launches today. Grace also discusses the hard work that goes into a Kickstarter campaign, as well as the importance of the right kind of collaborative spirit. "Finding the right people to be involved in this creative baby of mine was important, as the Mystic Mondays tarot is all about positive energy. Surrounding yourself with people that believe in your vision helps keep you motivated, supported, and on track."

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

I’m a multidisciplinary designer who’s worked mainly in advertising & startups. I’ve always been creative and it started off with fine art. Since my middle / high school was primarily focused on math & science, the arts program was limited so I had to look for it in other ways. In high school, I ended up working for a mural artist, joined stage crew so that I could paint sets, and various figure drawing, ceramics, and other art related classes on Saturdays that was offered by the Philadelphia public school system. Philadelphia is an amazing city for the arts since you’re surrounded by a ton of art museums and resources. When I went to college, I was introduced to graphic design and also fell in love with the design thinking and practical applications of art that went behind each project. I loved the power of visual communication that when done well has the capacity to impact people on a larger scale and in a (hopefully) beneficial way.

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?

I believe in creating with purpose and as multidimensional human beings, we’re capable of so much more than just being the “one thing”. All of my projects reflect my personality - a playful & bright aesthetic, a love of color, and a punch of positivity. However, it does depend on the project and the message it carries, to determine how the completed project will turn out.

Approaching each project as its own entity allows me to try new things, to explore different facets, which in turn allows me to decide which medium connects best for the project. In a culture of more more more and “pixel pushing” fast paced work, I think we eliminate the discovery process which is so important when you want to create something meaningful.

I definitely have a ton of different ideas all the time, all seemingly unrelated to each other, but what binds them all together is my pursuit of projects that contain a dash of altruism. I would really like my creative projects to help other people in various ways by combining art and functionality.

Your latest project is called Mystic Mondays. What’s it all about?

Mystic Mondays is your tarot for the modern age. It is an intuition tool for spiritual guidance, designed with intentional good vibes and a love of color! Energy is made of vibrations and each color vibrates at its own frequency. This colorful deck is full of positive vibes that allow you to access answers for your highest good.

Mystic Mondays is about starting your week off fresh with intentions, empowering yourself by listening to your own inner voice, and having fun in the process. It’s a modern take on tarot where I designed it to invite people to connect with themselves in ways where they might not ordinarily do so.

Right now the 22 Major Arcana cards are finished and I’m launching a Kickstarter on Monday, May 15 to help fund the creation and production of the rest of the 56 Minor Arcana cards!

There is also an app, so you can take the Mystic Mondays tarot with you wherever you go!

When did you first become interested in tarot?

I was gifted a tarot deck by my cousin Sylvie about 8 years ago and have been playing with them on and off since then. Ever since I moved to LA, for the past 5 years, I developed an interest in spirituality and dabbled with energy healing, astrology, and most pertaining to this project - psychic readings. It’s super interesting to me because there is so much mystery around all of these topics mostly because they’re intangible - but feelings are feelings, and if let loose, they can run over all aspects of your life, so it’s really important for taking the time out for self-care.

Tarot is awesome because there is so much symbolism held within each card. Each card holds a different meaning that pertains to the different life passages that you may go through. Tarot is not “scary” and will most likely not predict your death or impending doom. It’s more about using the cards to connect the dots so that you can gain clarity about whatever is on your mind. You can even use them as daily guidance, by pulling out a card. Whatever the message is, you can apply it to your life to help you throughout your day.

Why was it important to you that the traditional tarot gets an upgrade? Did you feel certain pressures to balance your own creative voice and the time-tested traditions of tarot?

I would walk into different spiritual stores that carried tarot decks and was never drawn towards a specific one where I “had to have it”. That sparked the idea of wanting to create my own. I actually remember telling a psychic reader that I was going to create my own deck, and he proceeded to go into the symbolism of the Temperance card and the importance of the little Hebrew symbol on the figure’s chest. He made it clear to me that there is a myriad amount of symbolism in the traditional tarot. I respected that and stayed true to the meanings of the card while putting my own spin on what they meant to me. So the meanings of the cards remain essentially the same and true to the traditional tarot. However, the illustrations in Mystic Mondays simplify them and get to the heart of the matter.

Can you share some of the creative challenges and breakthroughs that came with this undertaking?

I actually struggled with how to approach this project in the beginning, and it wasn’t until after a trip to London where everything seemed to click. So in December of last year, I took the entire month to illustrate the cards and it poured right out of me. It’s important to take time for yourself because it refreshes & nourishes you so that you have creative juices to flow.

The other aspect of it was putting together a Kickstarter campaign, and that actually requires a lot of research and preparation. It felt challenging because this was something new that I haven’t done before, but I’m always down to try something new and equally up for the challenge. Also, you’d be surprised how willing people are to help out once you ask!

Finding the right people to be involved in this creative baby of mine was important also, as the Mystic Mondays tarot is all about positive energy. Surrounding yourself with people that believe in your vision helps keep you motivated, supported, and on track.

What would you say to tarot skeptics that may help them see the benefits of giving it a try?

What I love about tarot is that everybody has their own individual experience with it. It’s like having a relationship with your cards and connecting with it in your own way, and by doing so, allows you to tune into your inner voice. We are all so busy in our lives, and part of the practice of tarot is slowing down, taking the time to reflect on your situation, and connecting the dots on your own. External circumstances easily influence us, but once you take the time to ask yourself those hard questions, you already know the answer.

The stigma behind tarot is that it’s scary, but it’s really a tool you can use to access your own intuition. There is no “right” or “wrong” way to use the tarot and you don’t need to be an expert to use them. It’s an experience, and you can have fun with it!

Who and what are your biggest creative influences?

I take inspiration from things that I read, people I come across, and my surroundings. That little piece of information that you pick up somewhere might not be relevant to you now, but it could prove to be useful later.

In terms of design & art direction, I’m a big fan of Sagmeister & Walsh and their individual side projects that speak to humanity, Refinery29’s fun & feminine media presence, and Leta Sobierajski & Wade Jefree’s quirky art direction. There’s so many more amazing studios & designers, I can hardly name them all!

I’m also a big fan of Salvador Dali and his abstract art beyond his time, James Turrell with his use of light, color, & space, and Ai WeiWei for using his art to have a voice in activism.

I’m pretty active on Instagram and Pinterest and find a ton of visual inspiration through those platforms also. The internet is an amazing place.

What do you do when Not Working?

As of late, I’ve gotten much more into writing and how to express myself creatively through words, whether it’s freeform writing or more structured ways of telling a story.

I’m also always looking to try new things (like a Kickstarter), so am always looking for a new coffee place to hang out at, an intriguing event happening in the area, or place to travel to. Switching up my routine keeps things interesting as I tend to get bored fairly easily.

AND I’m always down for a good hip hop dance party!

Who are some WNW Members whose work you admire and why?

I think that everyone in the WNW community brings a valuable and unique standpoint with their work. Everyone’s so talented, it’s hard to select a few. Keep on doing you, boo!

Anything else you’d like to add?

Please support the Mystic Mondays Kickstarter!

You would make all my rainbow dreams come true <3

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LUIS MENDO ILLUSTRATES A TOKYO RARELY SEEN BY VISITORS

Working Not Working May 8, 2017

LUIS MENDO ILLUSTRATES A TOKYO RARELY SEEN BY VISITORS

In our interview below, Illustrator and WNW Member Luis Mendo discusses his move from Amsterdam to Tokyo, the difference between the two creative scenes, and how he developed a fascination with his latest subject: Tokyo interiors. "In Tokyo, people use their houses merely as a place to sleep. Most of us eat and meet friends outside, in cafes or restaurants. The apartments are tiny and don’t allow much of inviting others in. That’s why the interiors are often very personal, full of things, and reflect very well the true personalities of the people living in them."

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

I was born in a small city in Spain and after studying graphic design in Madrid and Holland, I worked in Barcelona for a while designing magazines and newspapers. Then moved to Amsterdam where I became known as an editorial designer and art director, relaunching titles and creating new ones on a lead role. After 18 years of that, it became all too much and I needed a big change so I moved to Tokyo where I decided to draw for a living.

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?

My Spanish background and visual references (from Picasso to Goya) are probably visible in what I do, I try to keep my line loose and fresh, that’s why I rarely do pencils before making a drawing and start inking straightaway. People say they recognize a style although I do different things, some tight and some really loose. As a former art director I know each client needs a different approach to convey the message so I adapt easily. Also I like to keep changing styles so I don’t end up boring myself.

You recently created a series of 7 animations of Tokyo interiors for Electric Objects. What were you hoping to capture with this project?

Years before moving to Tokyo, I found the Kyoichi Tsuzuki book "Tokyo: A Certain Style” which showed the insides of small Tokyo apartments, tiny spaces packed with stuff from floor to ceiling. I found those photos mesmerizing and loved to look at them. Now that I’ve lived here for a while, I made these drawings being a mix of my own apartment, the one I would like to live in and those of friends, including some city constants like the red lights on tall buildings, the crows, and the carefully “hairdressed” trees.

Can you share some of the creative challenges and breakthroughs that came with the undertaking?

Since I was working from mental references directly in my sketchbook, it was a pretty straightforward process. I enjoyed making all the mistakes which I partly left in there. Only used photoshop to color them. The most difficult part was the animation (which is not my strong suit) but luckily my friend Fons Schiedon helped with that and made beautiful animations out of my drawings.

Do you see the interior world of Tokyo as an escape from the city’s bustle, or just a natural display of a Japanese way of living?

In Tokyo, people use their houses merely as a place to sleep. Most of us eat and meet friends outside, in cafes or restaurants. The apartments are tiny and don’t allow much of inviting others in. That’s why the interiors are often very personal, full of things, and reflect very well the true personalities of the people living in them. That’s what interests me so much and I always try to visit people’s homes to see who they really are.

What’s the creative scene like in Tokyo? How does it differ from that of Amsterdam?

I think it’s very different to other cities I know mainly because of how well people treat each other. There’s no conflict, envy or rivalry. We are all pretty good friends of each other and the disciplines are very mixed, so I will go to UI/UX meet-ups and you see architects at illustrators' parties. We all get along really well and everybody is nice and friendly. Something very different with my experience in Amsterdam.

In what ways has living in Tokyo surprised you?

There’s always something to discover. So many neighborhoods all full of different things. You can walk endlessly and there’s always something interesting around each corner. I always avoid the big streets as the charm is really in the back alleys.

Who and what are your biggest creative influences?

So many… Comic book artists like Loustal, Joann Sfar and Christophe Blain, modern illustrators like Quentin Blake, Javier Olivares and Lauren Tamaki, but also timeless heroes like Robert Weaver, Miroslav Sasek and Ronald Searle. Picasso and Luis Buñuel have always been a constant in my world of references and as of late I have discovered people so different in approaches like Chris Sasaki, Damien Cuypers and Georges Beuville.

What advice can you offer to creatives for drawing inspiration from their immediate surroundings?

Don’t look so much to other people’s work and concentrate on yourself more, draw all the time, carry a sketchbook with you at all times and annotate what you see. A face, a building, a detail… As Paul Smith said, “there’s inspiration in everything, and if you don’t see it, look again”.

What’s next for you? What are you working on now?

Now working on a T-shirt line for a sustainable fashion brand, doing monthly covers for Wako department store in Ginza, weekly travel sections for Volkskrant Magazine in Amsterdam, some animation backgrounds for a huge Japanese train company, and planning a show in Shanghai. It’s all very mixed in theme and kind of work, but that’s how I like things to be.

What do you do when Not Working?

I am always working. In the sense that I do not really see the difference between drawing someone in the train or a small spot illustration for a magazine. I do enjoy both and they fill my head all the time. Even when I am eating or walking I will think about how to draw things.

Who are some WNW Members whose work you admire?

Jessica Hische and Amélie Tourangeau.

Anything else you’d like to add?

I consider myself a total amateur, having been drawing professionally for just the last 4 years. I think I know nothing and learn a lot every day. My extra asset is that after 20 years as an art director, I easily think as such and help art directors to make the best of a job. I also understand what moves them and their needs.

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11 World Championships as Head Coach earned Phil Jackson the nickname "Zen Master"

The Infinity League: GIFs That Never End for Legacies That Never Die

Working Not Working May 3, 2017

The Infinity League: GIFs That Never End for Legacies That Never Die

WORKING NOT WORKING

With a lot of action going on now in every major sport, there's no better time to pay respect to the sports greats. WNW Members and creative partners Dan Koo and Matt Garcia linked up while working at 72andSunny in LA. Their immediate connection was due in part to a mutual respect of each other's work, but also thanks to an unending love of sports. Their latest project, The Infinity League, seems like the perfect avenue to showcase their creative skills and passion for sports. As they tell us in the interview below, "The Infinity League was born from a desire to create a bad-ass tribute for the sports legends we grew up with. The idea we landed on was to make GIFs that never end for legends that never die through infinite loop animations." Some of the legends include Mia Hamm forever sliding in celebration, to a butterfly morphing into Muhammad Ali, to Jim Brown breaking the tackles of Mars Attack! martians.

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Tell us a little bit about your creative backgrounds. Who are Dan Koo and Matt Garcia and how did they get here?

Dan: I grew up in Los Angeles and loved to draw ever since I was little. I’d draw superheroes, dinosaurs, and Pokemon for kids at my school and they would pay with their lunch money. That was my first taste of art meeting commerce. I went to school at Art Center in Pasadena and my first job was at CP+B LA. Several years later I started freelancing at 72andSunny LA where I met Matt. Safe to say we hit it off.

Since moving to the east coast a few months ago, I’ve been freelancing around New York for agencies like Mother NY and Translation. It gives me time to keep working on The Infinity League.

Matt: I’m originally from Kansas where I spent summers working with my grandpa on the family farm. Going into college I had no real idea what I wanted to do, but fell into advertising after realizing news writing wasn’t for me. I applied and got accepted into Brandcenter in the copywriting track where I spent two years not just learning how to make ads, but learning how to think. Since then I’ve gone on to work at GSD&M and have been at 72andSunny LA for over a year now.

The @NBA #playoffs won’t be the same this year without @kobebryant. What a legend. #blackmamba @lakers #thisiswhyweplay #nba #sports #basketball #animation #design #illustration #legend #lakerforlife #24 #nbaplayoffs @nbaontnt

A post shared by @infinityleague on Apr 15, 2017 at 8:47am PDT

What was it about the other’s creative style that lead you to partner up with them?

What brought us together other than our sports background was our drive to make good work. We’re both very passionate about what we do and challenge each other to be better.

You recently launched a project called Infinity League. What’s it all about?

The Infinity League was born from a desire to create a bad-ass tribute for the sports legends we grew up with. The idea we landed on was to make GIFs that never end for legends that never die through infinite loop animations. Together we concept each GIF idea, then Dan illustrates and animates while Matt comes up with the words. At the moment we have 11 GIFs that span across 6 sports and we’re in the process of adding more.

The @NHL #playoffs has us thinking about the great #GordieHowe. #MrHockey @detroitredwings #sports #animation #design #illustration #legend #hockey @victoryjournal #espn

A post shared by @infinityleague on Apr 13, 2017 at 9:10am PDT

What have been some of the challenges and breakthroughs of bringing the project to life?

We definitely went into this a bit naive as to how much work a project like this would demand. I think if we knew what we were getting ourselves into, we may have second guessed it. We’re glad we didn’t. We found our stride after the first few GIFs and haven’t looked back.

What’s next for the Infinity League?

We’d like to keep adding to the list. It just gets better the more legends we have.

Happy Belated Birthday Mia Hamm! Congrats on being the face of @ussoccer_wnt for over a decade. #soccer #PlayLikeAGirl #soccerlife #animation #sports #miahamm #design #espn #legend @victoryjournal

A post shared by @infinityleague on Mar 18, 2017 at 8:37am PDT

What are the guidelines for getting drafted into the Infinity League? Unrivaled stats? Unbelievable stories?

Unrivaled stats definitely, but we also look at what makes their story different from everybody else in the game.

Who do you want to see win the NBA Finals? And who do you think will win the NBA Finals?

Dan: Clippers, they’re my team. Unfortunately, they lost Game 7 this weekend so I’d say Golden State is looking pretty stacked.

Matt: Rockets, but I’m confident Golden State will win.

Good luck to the @Browns finding another @JimBrown32 #NFLDraft @NFL @victoryjournal @espnnfl @nflnetwork #sports #football #animation #design #illustration #marsattack #legend #32

A post shared by @infinityleague on Apr 28, 2017 at 10:11am PDT

Who and what are your biggest creative influences?

Dan: Paul Caiozzo, he was my teacher at Art Center and a big creative influence for me. He pushed me creatively beyond what I thought was capable and taught me to break the rules. Nick Loftus is another big creative influence in my life, he was my ACD at CP+B. I learned work ethic and how to be a proper Art Director from him.

Matt: Mark Fenske, a professor at Brandcenter, and Ryan Carroll, a GCD at GSD&M, have had the biggest impact on me creatively. They both pushed my thinking and writing to a level I wouldn’t have been able to reach on my own.

What would be your dream project in the creative world of sports?

Creating work for an NBA player would be a dream, Giannis would be great to work with.

The greatest boxer of all-time Muhammad Ali, three-time world heavyweight champion and silver-tongued boxer. @TheRealLailaAli #thegreatest #boxing #animation #sports #design #bleacherreport #espn #muhammadali #ali #thelegend #cassiusclay @victoryjournal

A post shared by @infinityleague on Mar 8, 2017 at 8:43am PST

Who are some other WNW Members whose work you admire, and why?

Brock Kirby, killer writer and love everything he does. From his Atlantic work to the Ripple spot, it’s a wonderful mix of smart, inspiring and fun work.

Dave Canning & Dan Treichel, an amazing team and two guys who do very funny and smart work.

David Povill created some of our favorite Old Spice work ever with Smellcome to Manhood.

Anything else you’d like to add?

Thanks again for featuring us. We really appreciate the support.

The founding member of the 700 home run club. #NationalBabeRuthDay @mlb @yankees #baseball #animation #design #illustration #baberuth #legend @victoryjournal #thegreatbambino #sports

A post shared by @infinityleague on Apr 27, 2017 at 10:58am PDT

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OkCupid Chisels Its Jawline With the Help of Jay Daniel Wright

Working Not Working May 1, 2017

OKCupid had the good sense to enlist Berlin-based WNW Member Jay Daniel Wright for a design update. Working in tandem with the in-house design team, Jay Daniel Wright has enlivened the app with the creation of a whole new set of icons that captures the buoyancy of his trademark style.

THIS COUPLE'S TRAVEL PHOTOS MEET IN THE MIDDLE WHEN THEY CAN'T

Working Not Working April 24, 2017

THIS COUPLE'S TRAVEL PHOTOS MEET IN THE MIDDLE WHEN
THEY CAN'T

Creative couple Becca Siegel and WNW Member Dan Gold have been partaking in ongoing adventures all over the world since meeting in New York in late 2015. The only hitch is that they're mostly traveling separately. Aware that long-distance relationships are tough, regardless of whether you're one country or continent away, Becca and Dan decided to embrace the fluctuating distance in a positive light and started Half Half Travel. It's an Instagram project that bridges their travel photos side by side so their photos can meet in the middle, even when Becca & Dan can't.

"Our initial goal was a project to stay in touch and show our adventures away from each other." The project is a really cool approach to comparing each of the places that they've been and the experiences they’ve had on their own. And Instagram users agree. Since starting the project 6 months ago, Half Half Travel has grown to top more than 20,000 followers at the time of posting this.

We interview the traveling duo below to find out how Half Half Travel has evolved, and what they've learned on their respective journeys that they're most looking forward to bringing back into the fold. "A few qualities we have both been able to work on individually while apart have been independence, communicating, patience and trust, bringing out our adventurous sides and lastly…. We have become very good at taking halves of photos."

Tell us a little bit about your backgrounds. Who are Becca & Dan and how did they get here (or wherever you currently are)?

Dan was previously living in New York City when he and Becca met in winter 2015. Soon after their first few opportunities of getting to know each other, Dan was given the opportunity to travel for 12 months around the world with Remote Year. He left for Europe in May 2016. After 11 months of travel, he is living in Argentina from April through May of 2017.

Becca, has been living in New York City for 4 years. After returning home to the NY area by way of East Asia, there was something missing. She immediately filled the void by traveling to places like India, Africa and South America. She is currently in New York City, and visited 5 continents in 2016 alone.

When Dan told Becca that he found this program that lets someone travel for a year, she was happier than Dan was (Dan: and I think she still is). She understands the learning experiences and friendships that can form while being away for so long. They decided to embrace the decision in a positive light. Halfhalftravel was born as a way to stay connected by sharing photos from each other’s independent travels.

Huacachina, Perú 🇵🇪 + Taganga, Colombia 🇨🇴 #halfhalftravel . . . . . . . . . . . #travel #travelgram #travelblogger #travelcouple #ldr #longdistance #backpacker #backpacking #world #worldtravel #earthpics #instatravel #explore #neverstopexploring #adventure #trip #wander #wanderlust #couple #digitalnomad #beautifuldestinations #passionpassport #travellife #igtravel #bestvacations #bae #peru #colombia #goals

A post shared by becca & dan (@halfhalftravel) on Mar 29, 2017 at 5:12am PDT

What was the impetus behind your respective adventures?

Dan likes a change after something gets easy or stale. After learning New York City and coasting through a daily commute on the 2-train to Chambers street, he wanted to try something different. He believes that just because you were born in a specific city doesn’t mean you need to live there. Traveling and being in a different city each month is a great way to live like a local and always learn more.

Becca has always had a huge crush on Asia, previously having lived abroad in Hong Kong, where she studied as an exchange student, and in Shanghai, China, where she taught English at a primary school for two years. When she is not traveling, she is now based in New York City. She likes to travel as often as possible. Now she gets to visit Dan in lots of great places.

Dan and Becca have been to a combined 5 continents and 43 countries.

Tell us about Half Half Travel. What was the initial goal and how has it evolved since its inception?

Half Half Travel has evolved from 1 follower to more than 11k and growing, in less than 6 months. Our initial goal was a project to stay in touch and show our adventures away from each other.

We wanted to share our story through photos on Instagram, and the project has evolved to a following that is giving strength to LD couples and travelers all over the world.

Vaca en una finca (Colombia) + Zebra on a safari (South Africa) #hafhalftravel . . . . . . . #travel #travelgram #traveller #traveler #travelling #traveling #travelcouple #ldr #longdistance #backpacker #backpacking #world #worldtravel #travelpics #travelphoto #travelphotography #instatravel #travel #explore #adventure #wanderlust #trip #wander #wanderlust #colombia #southafrica #safari #farm #zebra #animal #animals

A post shared by becca & dan (@halfhalftravel) on Jan 26, 2017 at 1:07pm PST

Can you give a little insight into the process of bringing the two photos together? Which ones are your favorites?

Some of the photos are planned; for example, Dan and I will both plan to take a photo of money, or our hand, or our feet. For others, we have sifted through our best shots on our trips over the past nearly-18 months since we met, and put them together when they work.

Our favorites are the ones of us together and with our backs; also the hand - even the wrinkles line up.

What have been some of the creative challenges of bringing Half Half Travel to life?

Some of the challenges of bringing Half Half Travel to life have been developing ideas for photos that are original and aesthetically interesting at the same time; the second challenge is blending the photos together so that they flow. We want people to have to ‘look twice’ in order to get the full effect and also appreciate the two halves on their own, as photos with stories.

NYC+London #halfhalftravel . . . #travelingcouples #travellers #travelgram #coupletravel #travel #instatravel #travelgram #passportready #travelblogger #wanderlust #instatravelling #goexplore #igtravel #travelblog #travelpics #wanderlust #travelphoto #beauty #worldcaptures #nomad #explore #remote #digitalnomad #nomadlife #london #nyc #longdistancerelationship #longdistance

A post shared by becca & dan (@halfhalftravel) on Oct 26, 2016 at 1:12am PDT

When was the last time you were in the same city?

Living - NYC, May 16, 2016

Traveling - Medellín, Colombia, February 12, 2017

Any lessons learned or skills developed on your respective journeys that you’re excited to bring back to the relationship when you reunite?

A few qualities we have both been able to work on individually while apart have been independence, communicating, patience and trust, bringing out our adventurous sides and lastly…. We have become very good at taking halvess of photos.

👓 Lima, Peru + Brooklyn, NY #halfhalftravel . . . . . . . We would also like to thank @warbyparker for this look! . #travel #travelgram #travelblogger #travelcouple #ldr #longdistance #backpacker #backpacking #world #worldtravel #goals #instatravel #explore #neverstopexploring #adventure #trip #wander #wanderlust #couple #digitalnomad #beautifuldestinations #passionpassport #travellife #igtravel #glasses #bae #bklyn #peru #beach

A post shared by becca & dan (@halfhalftravel) on Apr 3, 2017 at 5:26am PDT

What advice can you offer to long distance couples? Any tips to help bridge the physical gap, besides stealing Half Half Travel?

The key to making a long distance relationship work is understanding and communication. Equally important are planning visits/trips and looking forward to having new adventures together, counting the days til you next see the other person, knowing that you're both thinking about each other and of course, sending postcards and surprises in the mail!

What do you do when Not Working, besides globetrotting?

Dan, in his free time, runs marathons, plays drums, codes websites and hosts photography meetups all over the world.

Becca runs a bar crawl for backpackers visiting New York, does photography for fashion blogs and engagements, enjoys biking outside, learning tons of languages (including emoji) and yoga.

New York, NY + Prague, Czech Republic #halfhalftravel . . . . . . . . . . #wanderlust #backpacker #backpacking #nomad #remote #ldr #travelgram #travel #traveling #instagram #instatravel #prague #czech #europe #newyork #nyc #newyorkcity #ny #nyc #nypd #car #half #explore #adventure #yellow #tiny #cars #longdistance #ldrcouple #hashtag

A post shared by becca & dan (@halfhalftravel) on Dec 6, 2016 at 6:15am PST

What’s next for you?

Dan and Becca love the momentum that Half Half Travel has attracted since October when they launched the account and their website.

Future plans include creating a photo book of the images for friends and family, or whomever from their fan base is interested in their photography. Dan and Becca are both freelance photographers (find their work at www.danielcgold.com and www.beccasiegel.com) and both want to continue to travel the world when Dan’s year is over, but together!

Anything else you’d like to add?

We don’t always post from the cities in which we are presently, but if you’d like to see where we are currently, please visit our Instagram profile! We love to meet up.

✋️: Iceland 🇮🇸 + New York 🇺🇸 #halfhalftravel . . . . . . . . . . #travel #travelgram #traveller #traveler #travelling #traveling #travelcouple #ldr #longdistance #backpacker #backpacking #world #worldtravel #nyc #travelphoto #travelphotography #instatravel #explore #adventure #trip #wander #wanderlust #couple #goals #blog #remoteyear #iceland #boyfriend #girlfriend

A post shared by becca & dan (@halfhalftravel) on Mar 10, 2017 at 6:51am PST

London+NYC Dan&Becca #halfhalftravel . . . #travelingcouples #travellers #travelwithus #coupletravel #travel #instatravel #travelgram #passportready #travelblogger #wanderlust #instatravelling #goexplore #igtravel #travelblog #travelpics #wanderlust #travelphoto #beauty #worldcaptures #nomad #explore #remote #digitalnomad #nomadlife #vsco #london #nyc #longdistancecouple #ldrcouple #longdistancerelationship

A post shared by becca & dan (@halfhalftravel) on Oct 25, 2016 at 11:32am PDT

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ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY TOKYO TRIP

Working Not Working April 24, 2017

ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY
TOKYO TRIP

WNW Member James Curran is spending the month of April in Tokyo. And what better way for him to share his experiences than by employing his creative chops with an animated diary. He's documenting his daily whimsy and wonderment in the form of a Tokyo Gifathon, and animated James Curran looks like he's having the time of his life. Taking in so much of what Tokyo has to offer within the first 3 weeks, from arcades to the Bonsai Museum to Yoyogi Rockabillies to cat cafés, we can only imagine what activities Curran has planned for the home stretch.

This isn't James's first foray into Gifathons. Here are his recaps of his time in Los Angeles and his time in New York.

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Day 2 - Eating flying sushi.

Day 3 - Street fighting in arcades forever.

Day 4 - Crossing Shibuya Crossing.

Day 5 - Running through cherry blossoms.

Day 6 - Ramen noodle refills.

Day 7 - Always losing to claw machines.

Day 12 - My first Tokyo earthquake.

Day 13 - Bonsai museum.

Day 14 - Cat café.

Day 15 - Sake tasting.

Day 16 - Yoyogi Rockabillies.

Day 21 - Origami.

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WNW MEMBER DIANE LINDQUIST GUIDES GURL MUSEUM DAYS

Working Not Working April 17, 2017

WNW MEMBER DIANE LINDQUIST GUIDES GURL MUSEUM DAYS

As the temperature and humidity rise in the coming months, you'll be desperately searching for air-conditioned escapes with cool marble flooring. You should be thinking museums. And if you're a "gurl" in LA, you can hit up the best museums and galleries with your own "gurl" gang. WNW Member Diane Lindquist is the founder of Gurl Museum Day, which includes both organized field trips to the latest exhibitions and installations, and a branded magazine that celebrates female artists, their journeys, and girl-focused exhibits.

In our interview below, Diane offers generous insights and openness into her creative background, in part shaped by the loss of vision in her right eye at a young age due to retinoblastoma. "In the years after surgery and treatment, I had many tests to make sure the cancer had not returned. The tests would be made up of shapes, color palettes, and other cognitive exercises. It was during this time that I began to develop my creative background."

She also shares the impetus behind GMD and its growing headcount. "My gurl friends would tease me about the galleries and museums I would visit. So I invited them to go with me. The next museum we went to they invited their friends and, soon enough, I asked everyone to document their experience on Instagram using the hashtag #gurlmuseumday. After a few more museums, other girls began to ask for information about how to be included. During one night of spontaneity–and lack of sleep–I developed the branding and website and GMD was born. I later discovered that only 5% of female artists had their work shown in reputable galleries and museums. That set in motion a series of events that deepened my mission to increase those numbers."

If you're in Los Angeles, you can learn more about GMD here and below. And New York, stay tuned for when GMD officially becomes bicoastal.

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

The story of Diane Lindquist starts in the city of stars, Los Angeles, a city where there are many shiny bright lights, but for me those lights were a bit blurry at first. At a young age, I started to lose vision in my right eye. It started out very minor and it quickly worsened. I can remember feeling so confused by what I was seeing that I would bump straight into walls. It turned out I had retinoblastoma (a form of cancer) in my right eye. My parents were immigrants, working-class, and this was something beyond their understanding and reach. If it wasn't for my mother's love and determination I might not be here to tell this story. With her help, I fought and survived cancer, but it took my right eye. I spent countless nights in the hospital, making friends with other kids with cancer (many of whom lost their battle) and developing a sixth sense — what I call my "killer fine eye.”

In the years after surgery and treatment, I had many tests to make sure the cancer had not returned. The tests would be made up of shapes, color palettes, and other cognitive exercises. It was during this time that I began to develop my creative background. I had to wear eye patches, which weren't a friendly look for other children. I would dwell in the sounds, colors, and type around me because I lacked the vision I felt I needed and missed. I tried so hard to capture as much in my memory. Over the years, I always felt a creative spark within me. Coming from a humble background, I still felt a need to be practical.

At the age of 16, I started working. I had excelled in strategy and liberal arts in high school, so it was natural to pursue them in college. I put myself through higher education by working nights and I also set up a backup plan. While design is my passion, I decided to hedge by earning a BS in Marketing and a minor in Graphic Design. The world needs designers, but I felt like marketing was a skill I could always support myself with. Afterward, I worked my way from a junior to senior designer. I taught myself web design, later UX/UI design (with some established education) and so on. While I have come a long way, I will always be learning. I think one has to be constantly learning to be successful.

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?

It took me a while to figure this out. My creative style is a combination of clean, stand-out designs with a fresh, bold, modern, and minimal aesthetic. I use lively colors, a synthesis of my Mexican-American heritage and love of Swedish minimal design. My creative style is completely different for projects I work on. I really try to keep a piece of my style within each project while I create designs that are based on what the client's or users needs are.

What was the impetus behind GURL Museum Day? What’s the project all about?

GURL Museum Day (GMD) stems from my childhood. I didn't have many opportunities for recreation, but at school, we had field trips. The first museum I visited with my teachers was The Holocaust Museum in Los Angeles. I was about eight years old. For those who have never been, it's very impactful. I felt shocked and learned so much during my visit. The exhibition was fully interactive (with videos and other interactive installations). It evoked so much emotion in me. The empathy I felt struck those feelings I had from children teasing me for wearing an eye patch or even the rejection of my father's approval (since I was not 'normal' to him). I remember tearing up, touched deeply by their struggle. It also opened in me the desire to learn more about others through the conduit of the museum experience. Thus my love for museums and galleries carried me through my teenage years. When I could, I would use holidays to visit them. I learned about creating and exhibiting work. Some prints I made were shown at an LA River Gallery and, to my surprise, they were featured in The LA Times. I sold out half of my digital prints, which was a new thing for me. This also led me to volunteer in the expansion of the Downtown Los Angeles Art Walk, where I was seeing art reshape the inner city. My gurl friends would tease me about the galleries and museums I would visit. So I invited them to go with me. The next museum we went to, they invited their friends and, soon enough, I asked everyone to document their experience on Instagram using the hashtag #gurlmuseumday. After a few more museums, other girls began to ask for information about how to be included. During one night of spontaneity–and lack of sleep–I developed the branding and website and GMD was born. I later discovered that only 5% of female artists had their work shown in reputable galleries and museums. That set in motion a series of events that deepened my mission to increase those numbers.

Can you give our readers and potential GMD attendees an idea of what a Gurl Museum Day looks like?

We have GMD Tours monthly, currently in Los Angeles (coming soon to New York). The day begins with meeting at a selected spot (usually in front of the museum). Gurls start arriving and we allocate thirty minutes of meet 'n greet. There we make a collective circle and I introduce myself, welcome them to GMD, and pass out name tags for gurls to write down their Instagram handle (towards the end I like to collect them in a printed promo piece to make sure I tag the girls in the photos I take). Then I ask two to three questions: (1) What are you passionate about? (2) Your most recent obsession or (3) Your favorite artist or type of art? This really gets all the gurls to open up and loosen up. Then we enter the gallery or museum. Sometimes we have a docent, sometimes we do a self-guided tour. It's fun to see all the gurls talk to each other and bond over art. The last thirty minutes we usually say where we are going next, say our goodbyes, and hit up the gift store (of course)!

Of the museums and galleries you and your gurls have visited thus far, which ones do you recommend most highly? Which exhibits sparked the best discussions afterward?

The Broad is the brand spankin’ new museum of Los Angeles. It’s been all the rage and it doesn’t disappoint. My favorite gallery in LA is Ace Gallery. Most people don’t know about it but it’s amazing space. The beginning of the year we went to the Annenberg Space for Photography’s Skylight Studio for #GIRLGAZE. That generated a lot of conversation and interest because it was a range of photography in the perspective of females views. We talked about how powerful and important it was to feel represented within each photograph.

Was a magazine always an integral part of this project or did it come about later on?

It’s wasn’t at first. However, after sharing this with so many girls, it clearly became the most needed part and I was happy to find collaborators that wanted to assist in the development. I partnered with Erin Remington. She’s an art curator and blogger at AFINEREYE. She helps with the interviews and the rest of the development of GMD. The magazine is strictly focused on sharing stories of gurl artists. Supporting their journeys or reviewing exhibitions that are related to girls.

In what ways has this creative undertaking surprised you and challenged you?

I had done other projects, but they were planned out and systematic. This developed organically and every step has been a discovery both creatively and strategically.

Will you be planning a good number of air-conditioned museum trips this summer to escape the L.A. heat?

Oh yes! Summer in LA is the best. Everyone wants to go out and it’s the best time to visit galleries and museums. We have a whole year planned out. We are heading to visit Hauser Wirth & Schimmel, MOCA, MOLAA, Blum & Poe, & CAAM, to name a few. We are also planning to expand to New York by the beginning of summer.

Who/what are your biggest creative influences?

As far as designer legends and greats, I admire and respect: Susan Kare, Aaron Draplin, WNW Member John Maeda, Paul Rand, Saul Bass, Jessica Walsh and Stefan Sagmeister. There are also many designers out there that are equally amazing and talented like Mig Reyes, Janet Longhurst, and Tobias van Schneider. I also find inspiration other ways from companies, products or agencies like HUGE and am heavily into art and culture. I have a whole list of female artists. At the top is Barbara Kunger, Maria Lassing and so on.

What’s next for you? What are you working on now?

I have another project called Compassionate Landspace. This is a collection of visuals—posters and social cards—created and donated by designers that encourage empathy in the name of fairness, equality, and progress. Our goal, as a collaborative effort, is to allow a different type of visual messaging in our current landscape with compassionate visuals to be used by marginalized communities, organizations, protestors and the general public who aim to share the same message. I am working on another collaboration project and just hoping to expand GMD in different exciting avenues.

What do you do when Not Working?

Galleries and Museums… no really! I still go to so many opening receptions (aside from the ones we do with GMD). I am highly addicted to coffee, but as I like to say, “Coffee is addicted to me!" I enjoy visiting and collecting coffee shop experiences. I am also a mentor and love those relationships dearly. We can only shape our industry if we share our knowledge.

Who are some WNW Members whose work you admire and why?

Lately, I admire gurls who are in a cross-disciplinary sector between a designer and artist such as Tuesday Bassen and Gabriella Sanchez.

Anything else you’d like to add?

Thanks for sharing my story!

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

Overshare Podcast: Shantell Martin + Ivan Cash

Working Not Working April 13, 2017

Overshare Podcast: Shantell Martin + Ivan Cash

Overshare is a 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. For our 6th episode, WNW co-founder Justin Gignac talks to Members Shantell Martin and Ivan Cash, who both possess an enviable level of self-awareness, gratitude, and the ability to appreciate and live in the present. It makes the resulting conversation especially lively and insightful, as it shifts from creative foundations to the complex ideas of sharing and spontaneity and connection, to how artists can challenge an overreliance on technology both professionally and personally.

Shantell kicks things off talking about her background growing up in a white, racist, and homophobic community where she immediately felt like an outsider. "Because I didn't look like anyone else around me, I didn't have that pressure to fit in and to be like everyone around me... I was almost given a passport to be myself from quite an early age, which I think allowed me to explore this kind of natural creativity that I had inside me." For Ivan, the first creative project that brought him to where he is today resulted in getting arrested. While taking a screen printing class in college, Ivan made t-shirts encouraging the firing of then embattled New York Knicks coach Isaiah Thomas, and sold them outside of Madison Square Garden on game nights. After three nights of selling out of shirts, Ivan was arrested on the fourth and taken to Midtown South Precinct. "News of the arrest ended up getting a lot of coverage. I was interviewed on ESPN Radio, and a year later that project got me my first professional job in advertising. So, in many ways, getting arrested got me my first professional job."

Both Shantell and Ivan are artists very much driven by human connection. Shantell discusses the concept of spontaneity and sharing that drives her work and captures the magic of what art can be. "Why are we here in life? It's to share... We've gotten to this stage where we imagine that art is this romantic moment of craziness that an artist does, and that's because we don't have access primarily to an artist's process... 99% of my work is done with an audience and I allow the audience to see my process. And that's the magic. Before I do anything, there's a blank canvas. After, there's the final result. We can all look at a final product and bring our baggage to it... But the moment of connection, the moment of sharing for me is when you actually create the work. And if you can share that, then we're all connected in that moment and we're all experiencing the same thing happening at the same time. And when I produce a work that's never existed before, then for me that is essentially connecting and sharing at its core, and that is what I'm here to give to the world in a way that no one else can."

Ivan's work often focuses on the burdens of technology and always being "on." The conversation naturally shifted toward meditation, which both Ivan and Shantell have practiced. "I've gone on a number of long-term silent retreats that are a total recharge for me, where I can process everything," Ivan says. "We work out our bodies but when do we work out our brain or have a cleanse to process all of the crazy shit that happens on a day-to-day basis?... It's usually a week, but I've sat a month in silence... I think it couldn't help but allow me to pursue my passions more and learn 'what do I really want?' It became clear there was no other path but to do what I felt most convicted and passionate about. I hope that I'm a better listener from it."

For those of you who couldn't join us, we have good news: you can listen to the entire conversation below on our podcast, brought to you by our friends at AND CO. Subscribe to Overshare on iTunes, Soundcloud, or with any other podcasting app via our RSS feed.

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A heartfelt thanks to AND CO for sponsoring this episode of Overshare. Let AND CO, co-founded by WNW Member Leif Abraham, help you run your freelance business by managing your invoicing, time tracking, expenses and projects with the combination of a smart app and your personal Chief Operator.

Get 20% off for 3 months on all premium memberships with the code “WNW”.

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The Freelancer's Guide to Being a Genius at Saving

Working Not Working April 5, 2017

So you’re self-employed. Congratulations! Now you can go to the gym at 3:30 p.m., when no one’s there. Braise a pork shoulder on Tuesday afternoon and actually make it to your kid’s performance of “Third Graders Sing the Lady Gaga Songbook.” (You can also nap. Not that you'd ever do that.) As long as you can fight off the specter of loneliness by talking to the cat all day, there are many benefits to the gig economy.

COPYWRITER BRITTANY POOLEOFFERS HER OWN LOCALWRITER'S RETREAT

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

What lead you to open a writer’s retreat in your Santa Monica home?

Historically, writers have always been holing up in the woods to get words on the page... I’ve just found that nowadays, the retreats you find online are in exotic places with a very high price tag.

How does it work?

What do you think the average writer’s retreat does well? What areas of improvement did you want to get right with your own?

What are the golden rules of your writer’s retreat?

I also encourage people to wait until after lunch to get the wi-fi password. If you need it earlier, you have to ask for it out loud. A tiny bit of sadistic peer pressure on my part. But it keeps people thinking more intentionally about their computer time, and I’m just trying to help!

What advice can you offer to aspiring writers beyond maximizing the potential of their writing space?

It’s like when kids used to take Adderall in college and then accidentally use all that focus on five hours of Facebooking. Creative energy is such an ebb and flow. I just like helping people be more considerate about where they’re directing it.

What are you currently working on?

What do you do when Not Working?

What have you been reading lately that you would recommend to fellow WNW members?

Anything else you’d like to add?

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

Overshare Podcast: Sara Shelton

Magazine Interview From January 29, 2016

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Meet Neil Mahoney, Editor of Key & Peele, Drunk History, & Portlandia

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

What were some of the challenges of getting started as an editor? And how did you end up working on the likes of Drunk History, Key & Peele, and The Life and Times of Tim?

What do you see as the most important part of your job as an editor? Can you give our readers a glimpse into the process? Is comedy, really, all in the timing, like they say?

Do you feel a lot of pressure to help the mood and jokes land for the famously funny (& powerful!!!) comedy people?

You’ve worked as an editor on comedic masterpieces like Key and Peele and Between Two Ferns with Zach Galifianakis. Have you worked on dramatic projects as well, and does your approach change with genres?

What comedic films, shows, or sketches showcase some first-class editing? Do you always pay attention to the editing when watching movies or shows?

Who are some of your biggest creative idols and influences? And have you been able to meet or work with any? If so, who surprised or surpassed your expectations?

What moment or project in your career so far has made you the proudest?

Biggest career failure?

What’s next for you?

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

What do you do when Not Working?

What cultural and creative venues do you frequent in Los Angeles?

Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?

Any album, film, television or book recommendations for your fellow WNW members?

Anything else you’d like to add?

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"2016," A BOOK AND YEAR OF POSTERS BY BRÁULIO AMADO

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Olimpia Zagnoli Demonstrates How to Eat Spaghetti Like a Lady

Photographs and Instructions from Time Life

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Getting Too Much Done? Spend Hours Coloring in this Music Video

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IN CASE YOU'RE OUT OF PRACTICE, THIS IS VIRTUE-PRODUCED YOGA

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WNW MEMBER ADI GOODRICHART DIRECTS NEW FLEET FOXESMUSIC VIDEO

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DESIGNER GRACE DUONG HELPS YOU CONNECT WITH YOUR INNER MYSTIC

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

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?

Your latest project is called Mystic Mondays. What’s it all about?

When did you first become interested in tarot?

Why was it important to you that the traditional tarot gets an upgrade? Did you feel certain pressures to balance your own creative voice and the time-tested traditions of tarot?

Can you share some of the creative challenges and breakthroughs that came with this undertaking?

What would you say to tarot skeptics that may help them see the benefits of giving it a try?

Who and what are your biggest creative influences?

What do you do when Not Working?

Who are some WNW Members whose work you admire and why?

Anything else you’d like to add?

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

LUIS MENDO ILLUSTRATES A TOKYO RARELY SEEN BY VISITORS

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

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?

You recently created a series of 7 animations of Tokyo interiors for Electric Objects. What were you hoping to capture with this project?

Can you share some of the creative challenges and breakthroughs that came with the undertaking?

Do you see the interior world of Tokyo as an escape from the city’s bustle, or just a natural display of a Japanese way of living?

What’s the creative scene like in Tokyo? How does it differ from that of Amsterdam?

In what ways has living in Tokyo surprised you?

Who and what are your biggest creative influences?

What advice can you offer to creatives for drawing inspiration from their immediate surroundings?

What’s next for you? What are you working on now?

What do you do when Not Working?

Who are some WNW Members whose work you admire?

Anything else you’d like to add?

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

The Infinity League: GIFs That Never End for Legacies That Never Die

Tell us a little bit about your creative backgrounds. Who are Dan Koo and Matt Garcia and how did they get here?

What was it about the other’s creative style that lead you to partner up with them?

You recently launched a project called Infinity League. What’s it all about?

COPYWRITER BRITTANY POOLE
OFFERS HER OWN LOCAL
WRITER'S RETREAT

**What were some of the challenges of getting started as an editor? And how did you end up working on the likes of Drunk History, Key & Peele, and The Life and Times of Tim?**

WNW MEMBER ADI GOODRICH
ART DIRECTS NEW FLEET FOXES
MUSIC VIDEO

THIS COUPLE'S TRAVEL PHOTOS MEET IN THE MIDDLE WHEN
THEY CAN'T

ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY
TOKYO TRIP