WNW Member Josh Yeston, the Associate Creative Director of Giant Spoon, gives a fascinating behind-the-scenes tour of some of the many creative logistics involved in this undertaking. "It seemed simple to our audience, but it was a symphony of complicated decisions behind the scenes."
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As McKenna puts it, "I saw Mosaic as an opportunity to collaborate with talented artists [with] a wide range of styles. I figured an email with 'Steven Soderbergh project' in the subject line would be pretty difficult to resist, so I aimed high with my proposed artist lineup."
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FREDDY ARENAS ANIMATES A NEW HBO DOCUMENTARY
FREDDY ARENAS ANIMATES A NEW HBO DOCUMENTARY
HBO Docs invited WNW Member Freddy Arenas to collaborate on directing the animated inserts for their documentary Risky Drinking, directed and produced by Ellen Goosenberg. Freddy's creative contributions help illustrate the scientific facts behind the film and the hypothetical situations within it. Below, we talk to Freddy about his creative style and process, as well as the creative challenges of this brief.
Tell us a little bit about your creative background. Who is Freddy and how did he get here?
I'm an independent director focusing on animation and starting to explore the live action world.
I was born in Caracas, Venezuela where I also went to school for visual communication. I've always being interested in animation and storytelling but that wasn't my school's focus, so I tried to learn everything I could on my own by reading articles and books as well as doing software tutorials online.
As soon as I graduated I started a small motion graphics studio, which helped me put everything I've learned to practice. After two years, I decided to moved to New York, the center of the motion graphics industry. My experience in NY has been amazing. I've had the opportunity to work at some of the most interesting studios including Buck and the Google Creative Lab.
For the past three years I've been working independently directing and producing projects for clients such as The New York Times, California Sunday Magazine, Netflix, and HBO Documentaries, among others.
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 think there's a certain way in which I approach projects that spill over across all of my work. I tried to find the right solution for each project, but as an independent director most of the times the clients come to me for "my style" either narratively or graphically so in a way, my approach already fits the project.
I'm constantly exploring new techniques to expand my skill set and find new ways to tell stories, so I have something else to offer to clients and to keep myself motivated as a creative. I share the experiments that come out of this on Instagram and Tumblr .
How did you come to animate an HBO Doc?
Ellen Goosenberg, the producer and director of the film, had seem this piece for The New York Times and thought I would be a good fit for the documentary. She wanted to include animation within the film to explain certain scientific facts and some hypothetical situations.
Can you tell us a little bit about your process for this project? What were some of the challenges?
It was amazing working with Ellen and the rest of the people involved in the film. They are amazing professionals and the way they set up the project allowed me to developed my vision and really craft the piece to a point where I was totally happy with the final result. In the motion graphics industry things move really fast and sometimes projects leave my hands when I still feel I could keep working on polishing them.
It was challenging to translate the emotion of the film into animation. I think Ellen created a really emotional and complex film, so it was interesting to find a way to carry that mood into animation.
Anything else you'd like to add?
Just want to thank again Ellen Goosenberg for inviting me to be part of her film and to HBO Documentaries for the great platform and their interest in creating this kind of content.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
WATCHING NOT WATCHING: MAD MEN
WATCHING NOT WATCHING: MAD MEN
To celebrate the final season of the cultural phenomenon that is Mad Men, we spoke to WNW Member #1218 David Saracino, a huge fan who has illustrated all of our favorite stylish characters. David fondly looks back on Mad Men with us: "Honestly, because of how well the show is made and written, they could all be greedy, womanizing alcoholics and I'd still watch it---oh wait." We also asked David to release his inner soothsayer and offer bold predictions for how the era will end: "I don't want to read too much into the ghosts Don's been seeing, but..."
How'd you get started as an illustrator? And how have you seen your work change over the years?
I've drawn all my life, so when college rolled around I majored in illustration, and landed my first paid editorial gig junior year. Ever since then I've worked with editorial and advertising clients on both coasts doing a variety of work, ranging from conceptual illustration to product development. My work has changed (and continues to change) quite a bit over the years. I started-off working strictly traditionally, watercolor and colored pencil / ink, but as I started getting more and more work, learning to work digitally proved much less time-consuming. Initially I was scanning in my final drawings, color-correcting them, editing them, then finally coloring them, which also became a pretty big time-suck. I eventually invested in a 21" Wacom Cintiq, so now I work digitally start-to-finish. It's been the saving grace to working with tight deadlines and round after round of last minute edits.
Do you tune in and watch Mad Men weekly or do you binge all at once? And other shows?
I do watch it live! Before I had access to cable tv at my apartment, it was so important that I watch it live that I used to watch it at a bar with cable. To be perfectly honest, I don't totally hate commercials. I've enjoyed commercials ever since I was young, always loving the funny ones, clever ones, etc. It's also pretty fitting to watch the commercials during a show about advertising, right? Also, I kind of love the annoyance of having to wait another week to see what happens next---I feel it really adds to my watching experience. To be fair though, when a new season of a show I like is uploaded all at once onto Netflix or wherever, I'm definitely guilty of binge-watching the hell out of it. Guess it depends on the show.
What is it about Mad Men that draws you in?
Definitely the time period and production value. I'm a huge fan of midcentury design, and the show's attention to detail is outstanding. I know a few people who had a hard time getting into the show and gave up on it because none of the characters were "likeable" enough. Honestly, because of how well the show is made and written, they could all be greedy, womanizing alcoholics and I'd still watch it---oh wait.
Upon seeing Roger's 'stache, did you immediately declare, "I have to draw that"?
Absolutely. I drew Roger and a few others last year, but I wanted another shot at him. I feel like I'm editing and redo-ing a lot of my work recently---not sure why---but his new 'stache definitely gave me an excuse to give him another go with the 'ol tablet. John Slattery's likeness is surprisingly difficult to capture, so adding a mustache to an already difficult-to-recognize portrait made me keep second-guessing his features. I'm pretty content with how he turned out, but who knows what will happen when I look back on it in a week.
What's your take on the start of the final season?
Looks like it's back to business as usual for Don and Roger, not that I'm surprised. I'm glad we're seeing Ken's story focused on a bit too. Not to mention the start to a possible/probable love interest for Peggy. Was a little surprised from the complete absence of Meghan, but I'm guessing we're going to see a little more of her. All in all, I'm pretty interested to see how they're going to fit in everything they need to wrap up in 7 episodes.
Bold predictions for how the era will end?
I don't want to read too much into the ghosts Don's been seeing, but my girlfriend and I agree that we think Don's going to kick the bucket by the end of the season; especially when he witnessed that song and dance number by Robert Morse in the mid-season finale last year. I'm not sure what's going to happen to the firm, it could either be sold off and completely absorbed by McCann, or have lead creative be taken over by Peggy; she's definitely proven herself to Don.
Do you think a new show about advertising will quickly fill the well-shined black Oxfords of Mad Men?
I really hope that there isn't an insurgence of shows that take on advertising. They definitely won't stock up well, especially if they don't devote the time and effort to crafting such a production. The actors deliver such incredible performances, all in a very cinematic environment, and I doubt that can be outdone for now.
Is Mad Men, and television in general, a source of creative inspiration or escape for you?
Most definitely, on both accounts. I'm very right-brained, and really get lost or caught up in cinematic experiences. I've historically gotten heavily invested into dramas, whether they be film or on tv, since they're inherent to beautiful cinematography. They definitely provide me a source of creative inspiration, as I almost always need to draw the main characters of a show or film immediately after watching it. As to them being an escape, I love getting caught-up in a good story and I tend to tune everything else out while I'm watching something I'm really into. I've been really excited about how much better tv has gotten over the last 5 or 10 years; it really seems like I get to watch a mini-movie in every episode.
What other shows or films do you recommend to the WNW community?
I was recently recommended by a friend to watch The Jinx on HBO, and I was not disappointed. I'm also a big fan of documentaries and whodunnits, so this was a shoe-in. I really enjoyed Tina Fey's latest straight-to-Netflix series Unbreakable Kimmy Schmidt (illustration featured in The New Yorker), and I've just recently caught up with all of Louie on FX. I was floored by True Detective S01, and after the teaser trailer for S02 I lost my shit. In terms of recent films I enjoyed, I think the Oscars hosted a bunch of really outstanding films this year. Birdman was incredible, and was shocked it got subbed for Best Picture, and I really enjoyed Nolan's latest Interstellar; although I think that's one that you really had to see as large and as loud as possible in 70mm in Imax.
Anything else you'd like to add?
Nothing else really, other than thanks so much for taking the time to ask me about my work and interests, as well as featuring me on Watching Not Watching! I hope you enjoy my work, and keep in touch to see who I've been drawing.
Want to talk to us about the shows and films you're watching? Email us.
WORK: LOOKING
WORK: LOOKING
WNW Member #1923 Chris Rubino is behind the titles for the new HBO hit show Looking. We asked Rubino to give us a glimpse into his process for this project: "Initially I was trying some more conceptual routes. Then after discussing these with the director, Andrew Haigh, I decided to go in a more illustrative direction, paying homage to some of the hand painted signage you find all over the West Coast (as this show takes place in San Francisco). The research of signage around SF led me to the Bar signage you see below. The show is by no means exclusively about nightlife but it does play a big role and we felt referencing these places slightly in the titles was a cool idea. The neon sign immediately puts you into a specific place and mood. It seems to be working well and there is a thought that the title color will continue to change as the season continues."
Looking Titles
Looking Titles
Looking Titles
Looking San Francisco Bar References
Looking Sketches
Looking Advertisement
Looking Advertisement