Mathilda Holmqvist's Work Brings People Together, Often for Food

Working Not Working August 27, 2017

Mathilda Holmqvist's Work Brings
People Together, Often for Food

Being a freelance illustrator and graphic designer has afforded WNW Member Mathilda Holmqvist the ability to combine her two favorite passions: visual communication and food. A lot of her work exists within London's food scene, like a recent large-scale project designing a food court next to the Thames under Hungerford Bridge. In our interview, Mathilda tells us why she elected to switch over from painting to pursue a career that employs her creativity in an everyday and communal sense.

Mathilda also offers some really useful advice on maintaining creative curiosity. "It’s more fun to be a beginner at something than a master, so don’t be afraid to go outside your comfort zone as you’ll approach a project with a really different energy as a beginner than if it’s something you’ve done for years."

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

I started out studying painting at a private school in Sweden and then moved to London to study Fine Art at Goldsmiths. After graduating I worked full-time as studio manager for a sculptor for 3 years until I finally made the move to go freelance.

I really loved my years of studying art but a few years after graduating I realised I much preferred working directly with people, and for my creative work to be more useful in an everyday sense rather than contained to hanging on walls to be looked at. (Not that there is anything wrong with that!) So I moved on to working with illustration and graphic design, and for the last few years, I’ve worked mainly within the food scene in London, which I love! Food is my other passion besides visual communication.

How would you describe your creative style? Do you recognize a signature style that links most of your projects, or do you try to excuse yourself and approach each project as its own entity?

Probably something along the lines of bold, sensitive and atmospheric. I started out creating quite painterly illustrations with lots of textures and details as that was how I was used to working, but as I developed as an illustrator my images have become more minimal and scaled back. I don’t think of myself as having a signature style but rather of my work as being a progression of my development as a creative. The style is more a reflection of what inspires me at a specific time and what I’m trying to communicate.

What do you see as the turning point in your creative development and career so far?

When I had worked as a studio manager for about 2 years, I applied to an illustration competition to create a whisky label for Bunnahabhain. During those two years I hadn’t done much creative work as I felt disconnected from painting but hadn’t found a new creative platform to replace it with. At the time I was a bit worried I would end up working for the creative industry rather than as a creative. But unexpectedly I won the competition, which led me to recommit to working creatively and exploring illustration and design. It turned out I both loved the process making of illustrations and graphic designs as well as the community. A year later I moved on to freelancing.

What were some of the challenges in launching your creative career?

Having expensive Swedish student loans to pay back as soon as I graduated was definitely a challenge, as it didn’t leave much room for internships or just exploring different options. Another thing was getting a hang of how the illustration world worked, since it wasn’t an industry I was familiar with. I found pricing and contracts very confusing in the beginning – and still do sometimes!

Which of your projects are you proudest of and why?

Together with my boyfriend, I run a design collective called Pencil x Pixel, where we mainly design branding for London and UK-based food traders and producers. This spring we were commissioned by Southbank Centre and three separate food traders to design a food court next to the Thames under Hungerford Bridge. It was the biggest commission scale wise we had done to date. It was so much fun working on that scale and thinking about how people would physically experience and interact with the area, the colours and designs, as well as getting all of the food trades individual branding to work together cohesively. It was a challenge I really enjoyed and one of those projects that felt really rewarding and satisfying to complete.

What would be your dream project or job, or is it already on your resume?

I would love to illustrate and design a cookbook! I have always enjoyed reading cookbooks and love learning about different cultures through their food traditions and recipes. So to dive into illustrating a really thick cookbook that people would use for decades would be a dream.

How would you define the London creative scene?

Extremely talented and full of friendly but really hard working people. It is also very diverse and dynamic.

How do you see the creative landscape shifting in the UK/Europe?

I think visual design is becoming a bigger part of our everyday lives, which is great as it’s creating more work for creatives. It’s also become a bigger part of companies’ identities, no matter the industry. Even smaller companies are becoming more sophisticated in their approach to design and branding. I think this is leading to more being asked of creatives in shorter amounts of time, but maybe it’s always felt like that?

If not here, where would you most like to live?

Either in a cabin in the North of Sweden or Vancouver. Vancouver would probably be better for work… but North of Sweden would be great for inspiration!

Who are your biggest creative influences?

At the moment I’m very inspired by Aaron Draplin’s ‘Thick Lines’ posters. I’m going through a bit of a 60’s and 70’s phase and just love how those posters in a very contemporary way evoke that era for me.

What scares you most about making creativity your career?

Not much at the moment! I had lots of worries starting out but am at a pretty happy place at the moment creatively. I’m sure there will be more worries in the future but for now, I’m just enjoying working.

One book, one album, one movie, one show. Go.

Book: Big Magic by Elizabeth Gilbert

Album: Anything by Alison Krauss

Film: It’s A Wonderful Life

TV: Parks and Rec

What is your most treasured possession?

Hmm… not sure! Maybe my Moomin mugs? Tove Jannsons ’ illustrations are a daily inspiration while having my coffee.

What did you want to be when you were growing up?

A wallpaper designer, fashion designer, astronaut, actress, Disney animator and a painter in the south of France (I was very good at dreaming of the future).

What do you do when Not Working?

Cooking, eating, seeing friends, playing softball, baking, reading.

What’s the best advice you’ve ever heard or received that all creatives should hear?

It really depends on what kind of creative rut I’m in, but either ‘just do it’ or ‘work hard and be disciplined’ or ‘take time to refuel your inspiration’ usually does it for me. I also found this to be true, that it’s more fun to be a beginner at something than a master, so don’t be afraid to go outside your comfort zone as you’ll approach a project with a really different energy as a beginner than if it’s something you’ve done for years.

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

Lilian Darmono for her wide creative skills and talents (I don’t think there’s anything she can’t draw!) and my very talented boyfriend and collaborator Ian Sargent who teaches and challenges me creatively almost every day.

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

At the moment I’m working on three exciting branding projects for local food traders. I’m also hoping to take some time to work on a personal project I’m developing around food and hosting dinners this autumn.

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Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.

Kelsey Bryden Uses Design to Address What Matters Most to Her

Working Not Working August 26, 2017

Kelsey Bryden Uses Design to
Address What Matters Most to Her

MIKE O'DONNELL / EDITOR

There's often a social edge to Brooklyn-based WNW Member Kelsey Bryden's work. She sees her freelance career in Art Direction and Design as a unique opportunity to open up a conversation about what matters to her the most. Design becomes more than just a vehicle to express herself, but also a means to bring people together. It's rewarding to see the ways that Kelsey pushes herself to explore new methods in her mission, whether it's set design or photo-illustration or jewelry made of tampons. "They portray tampons as luxurious items, in the same way the government imposes a luxury tax on feminine hygiene products. I’m proud of this project for calling out the absurdity of taxing female health, as though it were not a priority or basic human right."

If you're unsure of how to start getting political with your work, Kelsey advises, "Think about the personal experiences you’ve had that made you feel a certain way, and let those be the foundation."

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Tell us about your creative background. Who is Kelsey Bryden and how did she get here?

My dad was an art director and a painter. He had a terminal illness that progressed as I got older, so I strove to find ways I could emulate him. I took classes at great art universities in the summers when I was in high school, although I still didn’t feel very artistically inclined.

When I started as a full-time college student I was studying business at an art school. The truth that I held onto as early as I could remember was that I wanted to have my own business, be my own boss— hence the choice in major. But thankfully, being in the art school environment led me to design and I started taking design-related internships rather than business-related ones. When I think about it now, freelance design and direction DOES obviously allow me to own a business and be my own boss. It feels like the best of both worlds.

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?

The common thread I’m always striving to insert is obscurity; the something that makes people look twice. It’s also always colorful, oftentimes conceptual.

What do you see as the turning point in your creative career and development?

I worked for a little while at an interactive design agency, but found it to be pretty creatively stifling. I wanted to use my very conceptually-geared mind, which I couldn’t do there. Things changed when I started committing to this way of thinking and making, and when I left that job. Around that time I started introducing photography into my work, which was also game-changing. For years prior I would come up with ideas which I naturally saw as photographs, but it took me a while to realize that I could leverage the way my brain naturally saw things. And that I could be an AD / designer who heavily uses photography!

Which of your projects are you proudest of and why?

For a few reasons, probably the photo-illustrations of the tampon jewelry. It was an idea that I judged in the beginning, and doubted whether it could be executed the way I envisioned. The fact that in lieu of all the self-doubt, I made the images anyway AND they came out beautifully makes me very proud.

On top of that, there’s a lot of meaning behind them. I have a personal connection to the objects (don’t we all?), but more importantly they portray tampons as luxurious items, in the same way the government imposes a luxury tax on feminine hygiene products. I’m proud of this project for calling out the absurdity of taxing female health, as though it were not a priority or basic human right.

Is there often a political or social edge to your work, or do you feel a certain immediacy these days?

Yes! Not always, but I try to incorporate these things for sure. Politically, I advocate for women as you can tell in the project mentioned above. I also wanted to work on a project that responded to the awful, awful event that was the U.S. election, so I designed a set that incorporated famous activist statements. I also asked underrepresented people to appear on the set and say whatever they wanted into a megaphone.

Socially, I love bringing people together, and if I can achieve that in my work I’m happy. People don’t often think social interaction naturally intersects with design, but I think it definitely can. I worked on an experiential storytelling project over the course of a year, and it was a very cool way to meet people and to facilitate other people meeting.

What do you see as the role of an artist in addressing political and social issues through their work? Any advice you can share with creatives looking to do their part?

I think if you’re moved to address these things, that’s great. but it’s not your duty. It’s hard to form your own political opinion, or to distinguish what’s your own versus what you’re hearing, because there are so many other people’s opinions that are being broadcasted all around us. I’d say think about the personal experiences you’ve had that made you feel a certain way, and let those be the foundation.

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

I'm pushing myself to work more in set design — the idea of creating physical worlds for people to exist in is super interesting to me. I'm also thinking about starting/making a magazine, because I think independent mags are beautiful and cool.

Who are some of your biggest creative influences?

John Waters, Iris Apfel, Rupaul

One book, one album, one movie, one show?

Men Explain Things To Me, Blond, The Handmaiden, Thrones

What do you do when Not Working?

Sometimes I roller skate! Check out the Pier 2 Roller Rink in DUMBO.

What’s the best advice you’ve ever heard or received that our members need to hear?

Send more cold emails!

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

I love Brooke Bamford. I also think Mattiel Brown is very talented. And of course, queen of all things set design, Adi Goodrich.

Anything else you’d like to add?

Slide into my DMs anytime girl.

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Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.

Darren Oorloff Makes Album Art Melting in Nostalgic Futurism

Working Not Working August 21, 2017

Darren Oorloff Makes Album Art
Melting in Nostalgic Futurism

MIKE O'DONNELL / EDITOR

"Those flamingoes are out of control!" "Look at this! Are you fucking kidding me?!" "I can't stop looking! Is this Pink Floyd or from the future?" When WNW HQ first came across WNW Member and Designer Darren Oorloff's album covers, there was a fair amount of wonderment, disbelief, and profanity in the volley of our responses. So we decided to interview Darren to find out some of the secrets to his approach, his influences, and what's next. While we might describe the common thread through Darren's work as "super-awesomeness," Darren helps us find some more descriptive words: "I’ve carefully curated my art to create an illusion of consistency – largely through similar colours and type treatments – but look closer and you’ll notice the only real links between the content are a sense of nostalgic futurism."

Darren also opens up about the trend in music toward designs that challenge the boundaries of the music's genre, as well as the necessity of creative tension to open a greater dialogue. "I don’t think new trends catch on in a creative field unless there is a sense of tension, perhaps a conflict – people need to disagree in order to create a conversation that will propel the trends’ reach." Here's to Darren's portfolio and music design continuing to surprise and provoke.

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

My name is Darren Oorloff and I’m an Art Director from Melbourne. More specifically I create identity, packaging and artwork for the music industry.

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?

Committing to one particular style has been difficult for me. I think it’s important to establish a distinct identity as an artist, but this has a tendency to limit one’s skillset. As soon as I’ve mastered a style or a technique, I’m no longer interested in it and need to move onto something more complex. I’ve carefully curated my art to create an illusion of consistency – largely through similar colours and type treatments – but look closer and you’ll notice the only real links between the content are a sense of nostalgic futurism.

What do you see as the turning point in your creative career and development so far?

The biggest turning point for me was when my approach to design changed from ‘how do I make this?’ to ‘how do I make this look good?’ Prior to this, the physical execution of a concept was my biggest challenge – stitching multiple images together to create realistic compositions. Nowadays I have a pretty versatile set of skills and access to excellent resources where I lack, so my focus has shifted to creating beautiful compositions without the restrictions of technical incapacity.

Can you give us a little insight into your process for designing album and concert artwork? Do you try to only allow the music itself to influence your visual response, or do you also draw inspiration from whatever you’re into at the moment?

Surprisingly the music isn’t my primary influence. I’ve found a lot of artists have a carefully crafted image that doesn’t necessarily align with their sound. In my initial steps, I identify how the artist wants to be perceived. Then, I find a middle ground between what inspires me and what is applicable to the artist’s image and branding.

Do you find that it’s easier to create album artwork if you’re a fan of the music, or does it not really make a difference in your approach?

I don’t believe it makes a great difference. I try to remain fairly objective and open-minded about every project. You would think the quality of work would be much better if I was a fan of the genre and had an understanding of the history. However, some of the most creative and influential art is born of contrasting design style with genre. There is a strange movement happening right now where rappers are using a ‘metal’ aesthetic, the metal-heads are taking influence from the ‘electronic’ aesthetic and all the genres are swapping styles.

Which of your projects are you proudest of and why?

The project that garnered the most attention was for a Japanese heavy metal band called Crossfaith. This is a perfect example of a strange genre crossover as mentioned above. Crossfaith has some electronic influence in their otherwise heavy sound, so we decided to go all out on a sci-fi, almost Vapourware aesthetic. The biggest challenge here was to introduce aggression into a typically vibrant, fun style (Vapourware) and I think there’s a very fine line in the sci-fi spectrum between being cool and being nerdy. Anyway, I think I managed to navigate all of this gracefully with this particular artwork and the response was just manic.

What would be your dream project?

I’d love to work on some kind of elaborate stage/set design with immersive projection mapping. I’m also totally fascinated by VR and augmented reality, so it’d be nice to get involved in something within that realm.

Who are some of your biggest creative influences?

Shusei Nagaoka

Doug Johnson

Hajime Sorayama

Roslaw Szaybo

Tadao Ando (Architect)

Jiro Ono (Chef)

What are your favorite album covers of all time and why?

My parents had a couple of Vangelis CDs and as a child they had the most intriguing covers, depicting strange sci-fi worlds.

I am completely bamboozled about how Doug Johnson created this series. His airbrushing skills and use of colour make me sweat.

In my opinion Neil Krug’s best work to-date. He captures so much momentum and drama in a still image.

Released this year, this is probably the most perfectly executed example of a crossover of metal design on a rap cover.

How would you describe the creative scene in Melbourne? Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?

Melbourne has a very vibrant, ever-evolving creative scene. I particularly love this place because it’s young and still establishing its own identity as a creative city.

I surround myself with creatives every day for inspiration. However, up until now, I’ve designed solo, on account of having a very specific vision for developing my identity. Today, having established that style/aesthetic, I’d be open to collaboration with other artists where my technical abilities lack.

What do you do when Not Working?

I’ll try to get a skate in when there's time, and sun.

I also like to go for a run – I feel like I’m problem-solving 24/7 because I don’t – and can’t – apply a consistent method to each project. Running gives me an hour each day to focus on nothing, and to give me a break from that persistent problem-solving.

What’s some of the best creative advice you’ve ever heard or received that our members need to hear?

Ken Robinson said something that floored me in a talk about schools killing creativity: “If you're not prepared to be wrong, you'll never come up with anything original”

This isn’t something I’d ever considered. I feel like I’ve taken risks, but they’ve all been calculated risks. I don’t think new trends catch on in a creative field unless there is a sense of tension, perhaps a conflict – people need to disagree in order to create a conversation that will propel the trends’ reach.

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

I’ve always been a fan of Anny Wang, her 3D game is on another level.

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Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.

Book Lovers Day: Regular Worms Are Weird. Bookworms Are Cool.

Working Not Working August 9, 2017

No pressure for all these authors, memoirists, and poets, but the bar is set pretty high before even getting past the dust jacket.

Meet the Grammy-Winning Creative Director of The Black Keys

Working Not Working August 7, 2017

You've undoubtedly encountered his album artwork for some of rock music's most notable acts, both classic and contemporary. We talk to Carney below about his creative journey from his background in Akron to his current design practice in Nashville. He gives us a behind-the-scenes look at his early start designing album covers, posters, t-shirts, and flyers for his brother Patrick's band The Black Keys, and how that culminated in a Grammy for his work on their 2011 album Brothers.

Meet Chris Vanderhurst, Future Heavyweight Champion Art Director

Working Not Working August 7, 2017

Meet Chris Vanderhurst, Future Heavyweight Champion Art Director

MIKE O'DONNELL / EDITOR

On the eve of our trip to London, we figured we'd get the lowdown from WNW Member Chris Vanderhurst. After only a month in London, Chris still feels like a seasoned tourist more than an official resident but he's excited to break into the UK's freelance scene. Chris also tells us about his creative successes and challenges, why he loves London advertising's use of the word "middleweight" in place of "midlevel," and offers some advice on the importance of choosing battles wisely.

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

I ask myself these questions almost every day. I started my career in Chicago after portfolio school, then LA, then to New York, and now London thanks to my girlfriend’s lucrative job offer and my inability to cope with certain election outcomes. There’s never really been a concrete plan or job offer in advance, but things have a way of working out if you’re willing to put in the work and not be an asshole.

People should move more often. There’s neat stuff out there.

How would you describe your creative style? Do you recognize a signature style that links most of your projects, or do you try to excuse yourself and approach each project as its own entity?

I’d like to say I don’t have a particular creative style because every brand and project is going to have its own unique solution. What works for BMW might not work for Google. I’ve always been more interested in solving the advertising puzzle than imposing a style onto a project that might not call for it. It’s why I ended up as an art director instead of a designer, and why I consider myself more of a problem-solver than artist (despite what my mom thinks).

What do you see as the turning point in your creative development and career?

There isn’t an exact date and time I can point at, but there was a point in my career I took pride in working weekends. But putting in 80 hours a week for 6 months straight isn’t something to be proud of. Thankfully, I’ve gotten at least a tiny bit wiser and stopped mistaking activity for productivity because it’s really easy to forget that this is all just advertising. It’s that whole “work to live, don’t live to work” thing.

What were some of the challenges in launching your creative career?

Getting a foot in the door is absolutely the hardest part for me. I’ve had the good fortune of employers generally wanting me to stick around long after my first freelance project wraps up, but it’s surprising to me how difficult—and panic inducing—it still is to get a recruiter’s attention in the first place. Fortunately, sites like WnW can help alleviate that. (Look at that shameless plug!)

Which of your projects are you proudest of and why?

I’ll go with our HBO Escape event for a few reasons. First and foremost, it was crazy cool to see Timothy Simmons (Jonah from Veep) pop up on my twitter saying “holy shit this is great” while he is in the middle of something I was brainstorming 3 months prior. Beyond that, it was satisfying because my partner and I had never really done any kind of event, but we still managed to impress our clients enough to take it on the road to SXSW.

What would be your dream project or job, or is it already on your resume?

The dream job is always the next one. I feel like we’re all on the hunt for it, and that’s part of the fun. I’ve worked with brands that I truly adore (and brands that no one does), but the truth is that there is no such thing as the perfect agency or golden brief that is going to be everything you’ve ever dreamt of. The trick is finding something to fall in love with wherever you are at the moment.

All of that being said: astronaut.

You’re new to London. From what you’ve seen so far, how does the London creative scene compare to that of New York and Los Angeles?

It’s hard to say because a month in, I still feel like I’m playing tourist. So far London has hidden the endearingly rough edges and eccentric personality you accidentally stumble upon in New York and LA, but I’m excited to find them.

I will, however, say their term “middleweight” is significantly cooler than “midlevel.” This distinction should be applied across the entire agency structure so my business card can someday read “Chris Vanderhurst. Heavyweight Champion Art Director”

How have you seen the industry shift from when you first started your career?

There was a glorious time not long ago that I thought an “influencer” was just the cool kid in high school who encouraged bad decisions.

If not in London, where would you most like to live?

I think Portland would be next on my list. Or maybe Austin, the Portland of the south.

Who are your biggest creative influences?

At the risk of sounding sentimental, I have to say it’s my late professor and friend, Robert Sedlack. He was the heart and soul of the Notre Dame graphic design program who opened my eyes to the power of design as a tool to solve problems, not just make powerpoints look pretty.

What scares you most about making creativity your career?

The fear that I’m a total hack who has already come up with my last decent idea, and there are a million 18-year-olds out there that are more naturally and terrifyingly talented than I ever will be. Fortunately, this fear consumes only most of my time.

One book, one album, one movie, one show. Go.

The Bone Clocks, The White Stripes’ Elephant, Battered Bastards of Baseball, The Simpsons (the early stuff. obviously.)

What is your most treasured possession?

Do my two cats count? Other than that, a pillow I had embroidered with a Run the Jewels lyric that Killer Mike retweeted.

What do you do when Not Working?

Putting 3 hours of anxiety-fueled research into where to eat dinner, or traveling an embarrassing amount of distance to play Mario Kart and drink beers with friends.

What is your motto?

I’m not the type of person that claims to have a motto. Is that a motto?

What’s the best advice you’ve ever heard or received that all creatives should hear?

“You guys. It’s just a fucking Instagram post.” - midmeeting from an exasperated creative director to an overzealous team. There are absolutely problems out there worth fighting for, but a little perspective goes a long way. Choose battles wisely.

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

My job right now subsists of finding a job and making sure my cats don’t tear up the furniture.

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Project Highlight: Bulletproof Coffee Rebrand

Working Not Working July 24, 2017

Project Highlight: Bulletproof Coffee Rebrand

MIKE O'DONNELL / EDITOR

Bulletproof Coffee is just a quick walk from WNW HQ’s Venice office and a high-speed sprint back. The stuff packs the kind of kickback that sometimes makes us wonder if it’s technically street legal. The name fits.

So does its design rebrand, which commenced late last year and was lead by WNW Member Ethan Keller, head of Seattle-based Emblem Studios. The whole point of Bulletproof Coffee is to give you the goods so you can power through the day and stay hyper alert, hyper effective, and for some of us also just plain hyper. A cup of Bulletproof Coffee includes grass fed butter and brain octane oil. Yum. Keller and Emblem Studios have captured the efficiency and scientific research that Bulletproof sells with a clean and technical upgrade. The dove from the old logo (pictured below) has evolved with a monochromatic iteration, and the condensed font has been retained, albeit with some necessary improvements. The hexagon pattern featured on the cups and packaging drives home the idea that Bulletproof uses science.

Emphasizing the color orange in this redesign is particularly a home run for Emblem. According to this site which addresses color theory, “Orange represents enthusiasm, fascination, happiness, creativity, determination, attraction, success, encouragement, and stimulation. To the human eye, orange is a very hot color, so it gives the sensation of heat... Orange increases oxygen supply to the brain, produces an invigorating effect, and stimulates mental activity. It is highly accepted among young people. As a citrus color, orange is associated with healthy food and stimulates appetite… In heraldry, orange is symbolic of strength and endurance. Orange has very high visibility, so you can use it to catch attention and highlight the most important elements of your design.” Intelligent design advice, Color-Wheel-Pro.com You could essentially replace “orange” with “Bulletproof coffee” in the description above, and capture everything the company touts.

Bulletproof's new visual identity stands apart from that of other coffee brands in its boldness and intensity. Which is exactly what Bulletproof is aiming to do. Does your company need a new logo or complete rebrand? Ethan Keller is Available.

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Old logo

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How to Organize a Brazilian Design Festival with Felipe Rocha

Working Not Working July 17, 2017

WNW Member Felipe Rocha is a Brazilian art director and graphic designer based in New York, recently serving as a Senior Designer at Sagmeister & Walsh. Currently, Felipe is putting the finishing touches on a Brazilian design festival called Bonde, which will take place on Saturday, July 22nd in New York. We talk to Felipe below about the logistics, challenges, and breakthroughs of organizing a design festival.

ARTIST NICOLO BIANCHINO PAYS HOMAGE TO GIORGIO MORODER

Working Not Working June 5, 2017

ARTIST NICOLO BIANCHINO PAYS HOMAGE TO GIORGIO MORODER

WNW Member Nicolo Bianchino clearly has excellent taste in music. His latest project "Giorgio" is an ode to Italian singer, songwriter, and producer Giorgio Moroder. Nicolo's animations compliment voice-over musings by the man himself, as he discusses the discovery of his now infamous synthesizer sound. The featured music is "Giorgio by Moroder," a track by Daft Punk, who are just one of the many famous acts that Moroder has influenced.

Here's Free Range's personal favorite Giorgio Moroder song, from his soundtrack to the late-night 80s thriller Cat People:

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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

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

Artist Gemma O'Brien Shows Us How To Travel To Cuba

Working Not Working February 12, 2017

Artist Gemma O'Brien Shows Us
How To Travel To Cuba

WORKING NOT WORKING

We like to feature members' adventures since the freedom to travel is one of the many luxuries for freelancers in the WNW community. WNW Member Gemma O'Brien was the first we've come across who has traveled to Cuba. So we reached out to learn about the logistics of traveling to Cuba, to find out what the creative scene is like, and to get a preview of what's to come now that Gemma's packing new inspiration: "I have a folder of reference photos I took on the trip that I am waiting to integrate into a piece; there's a wealth of inspiration in the textures, colour and signage from Cuba. As someone who is always drawn back to the boldness of working in black and white, Cuba reinvigorated the power of colour for me and I think that will be the biggest influence on the work I make over the next year."

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

Sure! My name is Gemma, I’m 29 going on 30, I’m a Gemini, and I work as a designer/artist in Sydney, Australia. My specialty is lettering, illustration and typographic murals. My creative path began when I dropped out of Law School at age 19 and made the switch to Design. After I graduated from art school I worked in a couple of post-production studios before taking the leap and going out on my own to focus on typography and illustration in 2012. Now, my time is split between working in my studio in Redfern and travelling the world to speak at design conferences, teach lettering workshops and generally have a good time

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 differently?

I like to think the common thread in my work is text, words, and language. Beyond the constraints of working with the alphabet, I like to explore a wide variety of visual forms – from detailed drawing to loose calligraphic brush work. I tend to get bored easily so I need to keep my style fluid to stay interested.

The freedom to travel both for business and pleasure is one of the many luxuries of freelancing. How did you end up setting your sights on Cuba?

Cuba came about because I had some free time between two international conferences – the AIGA conference in Vegas and Brief Festival in Madrid. It would have been crazy to fly all the way back to Australia, so my fellow jet-setting friend, Frankie Ratford (Founder of The Design Kids), suggested we go to Cuba!

A lot of artists have an interest in visiting Cuba. Can you share a little insight into the process and logistics of traveling there?

I think there are a number of ways to get there now; however, there are still limitations if you’re American or traveling through America solely for tourism. I didn’t encounter any trouble, but take my travel advice with a grain of salt! I booked through a travel agent which involved a bit of paperwork, but it included the visa and documents. Frankie traveled via the Cayman Islands which bypasses America. I think she bought her visa on the plane for 25 bucks? My only other advice would be to get cash at the airport when you arrive in Havana, you’ll need it straight away to pay for your taxi. Internet access is very limited. It’s kind of like going on a holiday in the nineties - be prepared to live without the internet and plan what you’re doing each day the old-school way because you won’t be able to rely on Google.

Did you have any expectations of what Cuba would be like ahead of your trip? In what ways were you surprised?

Prior to my visit, I had seen images from photographer Danny Clinch and photos of murals painted by Rone in Cuba in 2016. Other than that I had no idea to what to expect. It really was unique and quite amazing when I arrived. I was surprised by just how prevalent the classic cars were - I had imagined there would only be a few set up for rides for tourists, but they were everywhere. It really felt like going back in time.

How long were you in Cuba? Did you just stay in Havana or explore elsewhere?

I only had 5 days in Cuba before I had to get to the next design conference. We stayed in Havana for a couple of nights and then got a car to take us to Varadero which is a beach town about 2 hours away. Varadero was a nice escape from the hustle and bustle of Havana. White sand, turquoise water, chickens roaming the streets and lots of delicious fruit: definitely worth a visit.

During your visit, did you get a sense of what the creative scene is like in Havana? (Murals, museums, music clubs?)

I actually didn’t see a huge number of murals, but I probably needed more time to explore. The bright colours of the buildings, hand-painted signage and interesting tile work throughout Havana all contributed to an overall sense of creativity and eclectic character. Fabrica de Arte Cubano is a big art gallery and club that was recommended to us. There was a huge line up so it's best to arrive as early as possible. I also visited the experimental graphic printmaking studio (Taller Experimental de Gráfica de La Habana) which was incredible. It is a big workshop with an attached art gallery (Galería del Grabado) and many Cuban artists were working on prints in the studio whilst I was there. I believe they also offer lithography and woodblock printing classes which I would love to do if I visit again.

Any particular venues, attractions, or restaurants that you recommend to members planning to visit? What was your greatest experience in Cuba?

I think my favourite experience was just walking through the little streets of Old Havana – it’s a sensory overload, with so much character in the old buildings. Two restaurants I would recommend are 304 O'Reilly on Calle O'Reilly and Cafe Miglis (Cuban and Swedish fusion).

Has this trip influenced any recent projects or your work in general? Any creative lessons learned?

I have a folder of reference photos I took on the trip that I am waiting to integrate into a piece; there's a wealth of inspiration in the textures, colour and signage from Cuba. As someone who is always drawn back to the boldness of working in black and white, Cuba reinvigorated the power of colour for me and I think that will be the biggest influence on the work I make over the next year.

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

I am working on a few commercial jobs and a new installation for China Heights gallery in April. I have a fair bit of travel coming up too: Costa Rica for FID conference, Bermuda to judge ADC Awards, and Barcelona and Sweden later in the year for Smashing Magazine Conference and a mural festival.

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

I love Llew Mejia’s detailed illustrations and Karan Singh’s bold patterns and designs.

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

PROFILES OF THE WEEK: JANUARY 16TH

Working Not Working January 17, 2017

PROFILES OF THE WEEK:
JANUARY 16TH

Kiem Vu, Designer. Brooklyn.

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Helen Tseng, Illustrator. San Francisco.

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Jamie Wignall, Illustrator. London.

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Kimberlee Mar, Producer. New York.

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Burke Lauderdale, Art Director. Brooklyn.

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Alex Gee, Motion Designer. Toronto.

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Thompson Harrell, Art Director. New York.

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Augusta Duffy, Art Director. Brooklyn.

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

MEMBERS YOU NEED TO KNOW: DAVID BOWIE ILLUSTRATOR ROADIES

Working Not Working January 10, 2017

As we remember the late David Bowie, who passed away on January 10, 2016, here are 8 of our favorite visual celebrations of his life and legacy by WNW Members.

PROFILES OF THE WEEK: JANUARY 9TH

Working Not Working January 9, 2017

PROFILES OF THE WEEK: JANUARY 9TH

Frank Ockenfels, Photographer. Los Angeles.

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Maggi Machado, Copywriter. London.

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Rizon Parein, Designer. Antwerp.

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Giulia Zoavo, Illustrator. Milan.

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Vittorio Perotti, Art Director. New York.

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Duke Aber, Designer. Weston.

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Audrey Desler, Portland. Designer.

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Rua Perston, Art Director. New York.

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

"NASTY WOMEN UNITE" FOR THE WOMEN'S MARCH ON WASHINGTON

Working Not Working January 9, 2017

"NASTY WOMEN UNITE" FOR THE WOMEN'S MARCH ON WASHINGTON

It's been inspiring to see so many Working Not Working Members apply their creativity to the social causes they feel most passionate about. One such member is New York-based Designer Simi Mahtani, who has created some super-clean "Nasty Women Unite" shirts and sweatshirts, with all proceeds going to Planned Parenthood.

Below, we talk to Simi about the impetus behind this latest project, and what she sees as the role of an artist in addressing social issues through their work. If you or someone you know is planning to attend the Women's March On Washington on January 21st, or a corresponding local march, make sure to pick up one of Simi's shirts to protest in style.

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

I'm a freelance art director and designer currently working in the realm of experiential design for pop-up events, brands, and retail experiences. I specialize in crafting unique lettering and typography.

Previously I cultivated my love for sports as a senior designer and art director in-house at the NFL, with an amazing team of creatives that allowed me to explore environmental branding for large-scale events such as the Super Bowl and Pro Bowl.

What social causes are you most passionate about?

I proudly stand with Planned Parenthood in their continual fight for women's reproductive care and rights. After the election especially, I wanted to find a way to fundraise using design.

Can you tell us a little bit about your latest project?

I created some tees here and I'm donating 100% of the funds from the sale of the shirts to Planned Parenthood. So not only do you get a dope shirt, but your money will also help other women around the country immensely. They make cool gifts for all the Nasty Women in your life.

Is there often a political or social edge to your work, or do you feel a certain immediacy these days?

I'm a native New Yorker, so I think I was born to appreciate and embrace immediacy. I definitely think that this has influenced my style as a creative: to be bold enough to stand out, with a clear, strong message to communicate. While I'm aware of social and political issues, it has mostly come through in my personal work. It is a method of expression for me, and hey, much cheaper than therapy.

The phrase "Nasty Women Unite" on the shirts is definitely politically charged. Who knew that one man's two words would define an entire movement of women to take action.

What do you see as the role of an artist in addressing these issues through their work?

As creatives, we have a critical role and platform to deliver impactful messages. There really is no better time to use that voice than now. We need to keep creating, making, tinkering, crafting, and pushing the envelope especially to evolve from the norm.

What’s next for you?

I would love to be involved with more projects that have a goal to create social impact. But first, let's sell some more Nasty Women Unite shirts :)

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

Working Not Working is an amazing community of creatives, it's so hard to narrow down! But I am a huge fan of the work of WnW Members David Saracino, Kervin Brissauex, Jon Contino, and Lauren Hom. Their work is so inspiring to me and constantly pushes me to strengthen my own craft.

Anything else you’d like to add?

A quote I love by Eleanor Roosevelt that says, "A rise in tides raises all boats." I hope this helps someone else take action.

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

PROFILES OF THE WEEK: JANUARY 3RD

Working Not Working January 1, 2017

PROFILES OF THE WEEK:
JANUARY 3RD

Albert Trulls, Designer. Barcelona.

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Eric Locko, Director. Los Angeles.

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Christy Lai, Designer. Portland.

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Carmel Gatchalian, Designer. New York.

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Elliott Graham, Art Director. New York.

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MC Wolfman, Illustrator. Beacon.

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Maggy Lynch-Hartley, Producer. Chicago.

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

MEET CHUCK KERR, ART DIRECTOR AT VARIETY

Working Not Working December 22, 2016

MEET CHUCK KERR, ART DIRECTOR AT VARIETY

Sometimes the best way to equip yourself with the tools to succeed in your field is to just jump in head first and learn on the go. That's how WNW Member Chuck Kerr got his start as a magazine art director in his hometown of San Antonio: "I was a 22-year-old, one-man art department with almost no freelance budget to work with and a weekly magazine to put out. To create 52 original covers a year, I had to experiment, improvise, and stretch my creativity every single week. Best education I ever received, hands down."

Chuck tells us how he winded up as Art Director at Variety, a perfect fit for his diverse skills, one of which is working with constant, tight deadlines. Chuck also offers a glimpse into his creative process: "I feel like once you crack the core idea of what the story is trying to say, every other design decision becomes easier — the concept tells you what to do. When something ultimately clicks for me, hopefully this means it will click for the reader, as well."

As a creative and hirer, Chuck shares some great advice for creatives looking to work at Variety. "If you want to get into the weekly magazine world, you’ll have to be flexible and fast. As much as I may want extra time to do tons of research, make mood boards, take nap breaks, and workshop something until it’s perfect, the deadlines never stop coming. Having confidence in your abilities and knowing to trust your gut are valuable skills when turnaround can be so quick."

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

I grew up in San Antonio, Texas and was always really into drawing, comic books, and music. When it became clear that being the next great Marvel artist or a famous drummer wasn’t going to work out, I gravitated toward writing and designing for my high school and college newspapers. As an undergrad, I interned at my hometown alt-weekly, the San Antonio Current, before becoming their full-time art director in 2006. I was a 22-year-old, one-man art department with almost no freelance budget to work with and a weekly magazine to put out. To create 52 original covers a year, I had to experiment, improvise, and stretch my creativity every single week. Best education I ever received, hands down.

After six years at the Current, I was more than ready for new challenges, so in 2013 I moved to Seattle to launch some new Pacific Northwest travel magazines for Sagacity Media. While I loved living and working in the PNW, an out-of-the-blue offer from Variety was too good to pass up, so I moved to Los Angeles in 2014 and am back in the world of weekly magazine deadlines, only now on a much, much larger scale.

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?

With every project I work on, whether it’s editorial design, logo design, comics, or whatever, I am always looking to get a gut-level, emotional response from the reader. The reaction I’m aiming for is always somewhere between “Wow!” and “Oh, of course” — the sweet spot where something is simultaneously a total surprise but also satisfyingly obvious.

One of my favorite parts of the job is coming up with visual concepts for complex or thematically rich stories. I feel like once you crack the core idea of what the story is trying to say, every other design decision becomes easier — the concept tells you what to do. When something ultimately clicks for me, hopefully this means it will click for the reader, as well.

In general, my personal style tends to lean toward bold, graphic ideas, without too much extra ornamentation. Sometimes it’s a matter of putting too much stuff on a page and then editing it down, removing elements until what’s left is absolutely essential. That being said, I do have a pretty healthy sense of humor, and enjoy slipping in small details when they add something without distracting from the overall package. For example, I recently did some freelance work for Seattle Met magazine, designing a fun feature story about Sasquatch hunters. On the very last page of the section, I replaced the page number in the folio with a tiny silhouette of Sasquatch — so after several pages dedicated to how elusive this creature is, readers get a little Sasquatch sighting of their own. That was a fun one.

I am always looking to get a gut-level, emotional response from the reader. The reaction I’m aiming for is always somewhere between “Wow!” and “Oh, of course” — the sweet spot where something is simultaneously a total surprise but also satisfyingly obvious.

You’ve been an Art Director at Variety for more than two years. What separates Variety for you? How have you seen its identity evolve from within in recent years?

Variety is a legendary brand that has covered the entertainment business for over 110 years. Our readership is primarily people in the industry, so we focus on news and analysis rather than celebrity gossip. While its core mission has remained constant since its early days, Variety has survived turbulence in the print industry by changing with the times, evolving from a daily broadsheet, to a weekly newspaper, to its current form: a perfect-bound, oversized magazine, which launched in 2013.

Back when I was interviewing, creative director Chris Mihal sent PDFs of back issues for me to check out, but I was truly blown away when I got physical copies in the mail and saw how much care and attention went into each issue. Between our high production value and routinely working with the best photographers and illustrators, the Variety art team is committed to making the print edition as beautiful as it is informative.

Variety is a legendary brand that has covered the entertainment business for over 110 years. Our readership is primarily people in the industry, so we focus on news and analysis rather than celebrity gossip.

Which of your projects for Variety are you proudest of and why?

I’m proud to be designing for Variety each and every week, but there are a few projects where I felt like I brought something unique to the table.

Not long after I started, Variety had a cover story about the so-called “Morning Show War” between NBC’s “Today” and ABC’s “Good Morning America.” We obviously couldn’t photograph the anchors, so we had to go conceptual for the cover. I came up with the idea of having two coffee mugs — one with the “Today” logo, one with “GMA’s” logo — smashing into each other like “Monday Night Football” helmets, hot coffee erupting everywhere. Then when you opened up to the feature spread, both mugs were cracked, standing in puddles of coffee with steam rising up like on a battlefield (I think I even namedropped “Saving Private Ryan” during the original pitch). Craig Cutler and his team in New York shot everything practically and captured the carnage beautifully. People always assume it was created digitally, but nope — real coffee, real mugs.

This year, Variety did an issue devoted to “Hollywood and Politics.” For one of the feature story illustrations, I proposed that we pay homage to the famous Richard Nixon Esquire cover by George Lois — only instead of Nixon getting ready for his close-up, it’s Donald Trump. Illustrator Anita Kunz did such a great job that we all had to agree it should be promoted to the cover. Even though it’s got one of my least favorite people on it, it’s still one of my favorite covers.

Another cover I’m proud of is much more recent: our 2016 “Global Issue,” which looks at how the entertainment industry is doing across the world. Instead of doing a traditional illustration, I had the idea to model the entire cover on a U.S. passport, complete with gold foil lettering and a custom seal which was designed by La Tigre in Italy. I always love when print publications take advantage of the fact that they have a physical form, and I especially love the idea of a film executive with a huge Variety-size passport on their desk. And who can resist gold foil?

I’ll listen to music related to the story I’m working on as a way of getting “in tune” with it. For instance, a recent cover story on “La La Land” had me listening to Chet Baker and the Bill Evans Trio, and a feature on Paul Thomas Anderson’s “Inherent Vice” was mostly designed while listening to Can and other psychedelic ’60s groups.

What’s your general process for designing Variety features? Do you research the individual and project, or work entirely from the text?

For me, it starts and ends with the story. We cover everything from media mega-mergers to Oscar season, to filmmaker and actor profiles, and everything in between. Each feature layout has to reflect the subject and tone, but also fit in with our overall aesthetic. Ideally, I’ll have the story in hand to read before designing, but sometimes time constraints mean writing and designing happens more or less simultaneously. Any original photography or illustrations will obviously have a big impact on what the pages look and feel like, but when time permits I also try to do my own research into the subject in case it triggers any design ideas.

My officemates know I tend to wear earbuds pretty much all day, but what they might not know (nerd alert) is that occasionally I’ll listen to music related to the story I’m working on as a way of getting “in tune” with it. For instance, a recent cover story on La La Land had me listening to Chet Baker and the Bill Evans Trio, and a feature on Paul Thomas Anderson’s Inherent Vice was mostly designed while listening to Can and other psychedelic ’60s groups. I don’t do it all the time, and I have no idea if this makes a huge difference to the final product. But it’s fun to think that it does, even if only in the smallest way.

Who and what are your biggest creative influences?

There is so much inspiring stuff in the magazine world right now. I’ve been a longtime fan of GQ and Wired, and most recently have gotten into Condé Nast Traveler since Caleb Bennett took it over. Mike Solita’s newly redesigned Fortune looks amazing and is currently being passed around the office, and we also regularly share copies of Leo Jung’s always-great California Sunday Magazine. T.J. Tucker and his team are still putting Texas Monthly into a league of its own when it comes to city/regional magazines. I love what WNW Member Claudia de Almeida does at o Banquinho, especially her stunning type treatments and her work for San Francisco Magazine. Benjamin Purvis’s redesign on Runner’s World made that book a must-read; their front of book section is really inventive and cool. I loved what Chris Skiles was doing back when he was creative director at Houstonia, and Jane Sherman and Sara D’Eugenio do an amazing job designing Seattle Met every month. (Follow Sara’s Instagram dedicated to cool magazine design: @arteditdesign!) I think Tim Leong and company are doing incredible work at Entertainment Weekly. EW has a smart, fun energy and all the hidden Easter eggs consistently reward sharp-eyed readers.

Finally, an all-time favorite would have to be Richard Turley’s run on Bloomberg Businessweek, which was a master class in how to be innovative, authoritative, and clever. He really helped give that magazine a strong voice. BB comes up in the office on a regular basis.

I also still try to keep up with what alt-weeklies are up to, like The Stranger in Seattle. I might be biased, but I feel like alt-weeklies are great talent incubators and a lot of my favorite designers built up their chops at alt-weeklies.

I’m a big fan of the alternative comics work of Daniel Clowes, Adrian Tomine, Charles Burns, Jillian Tamaki, Eleanor Davis, Dash Shaw, and Chris Ware just to name a few. Many of these artists also moonlight as editorial illustrators, and are on my wish list to work with some day.

Speaking of comics … while not exactly a graphic design textbook, Scott McCloud’s Understanding Comics was a very, very early influence and detailed how ink on a two-dimensional page can create a three-dimensional, emotional response in a reader. I feel like every designer (and editor!) should read this book, it has a lot of great things to say about the relationship between words and pictures, and what is a magazine if not a bunch of words and pictures?

Having confidence in your abilities and knowing to trust your gut are valuable skills when turnaround can be so quick. One thing that makes it all easier: The Variety art team is a great creative group that genuinely enjoys working together.

What advice can you offer to creatives hoping to work at Variety? What can they expect from Variety’s creative culture and what would it take for them to succeed there?

If you want to get into the weekly magazine world, you’ll have to be flexible and fast. As much as I may want extra time to do tons of research, make mood boards, take nap breaks, and workshop something until it’s perfect, the deadlines never stop coming. Having confidence in your abilities and knowing to trust your gut are valuable skills when turnaround can be so quick. One thing that makes it all easier: The Variety art team is a great creative group that genuinely enjoys working together. I feel very lucky to work with collaborators who actually know how to collaborate. We all strongly believe in putting the work first and egos second, and letting the best idea win, because — hey, guess what? Then everybody wins.

What do you look for in a creative portfolio that is unique to Variety? Any tips for creatives to breathe life into their portfolios?

“Be undeniably good.” That was Steve Martin’s advice on how to succeed in comedy, and I think it applies to pretty much everything. The Variety art team sees tons of portfolio websites and we look at tons of magazines, and the artists that stand out the most have strong, unique voices and distinctive styles. We tend to go after people who are very consistent because we always want to have a pretty good idea what the final piece will look like before we hire them. If you’re someone who dabbles in several different aesthetics, it might be a good idea to focus on just one or two styles so art directors know more or less what to expect when they reach out to you. We usually don’t have time to go back and forth with an illustrator for several rounds of revisions, and if that did happen, we would probably avoid that person forever.

A couple other things: Check out what kind of work gets published in your favorite publications or websites, and if you fit in with what they already seem to like, feel free to submit your work to them. Blind submissions (“Hello sir and/or madam…”) tend to be less successful. Also, if you’re still building up your portfolio, personal work or fan art can be fine — especially if it has a really unique point of view — but we mostly want to see if you can tell a story visually. So one thing you could try is taking a pre-existing story and creating your own illustration for it. Even though it’s unpublished work (and make sure to label it as such), it will demonstrate that you can create art in service of a specific story, which is what you will be doing 99% of the time when illustrating for editorial. Bottom line: Make the kind of work you want to be hired for, and if you’re persistent and consistently good, you’ll break through.

What’s next for you?

We are going to head into a short publishing break while we gear up for early 2017 — specifically Oscar season. I’m hoping I’ll do better on the office Oscar pool this year; last year’s was rough. (How could Stallone not win for his work in Creed? How?!)

What do you do when Not Working?

“Not Working” isn’t something I do very often, even when I’m not at work. In 2014, I founded a monthly collaborative zine night at Meltdown Comics in Hollywood, based on a similar event I used to attend in Seattle. Melt-thology is an inclusive, social, creative space where artists of all skill levels get together and draw a one-page comic or illustration that I collect into a monthly zine for contributors. We average about 40-50 diverse artists per Melt-thology issue, and it’s been really inspiring to see the growing community that has sprung up around it.

The other thing I do, but have been taking an unintentionally extended break from, is play and write music. I’ve been playing drums since I was about 4 years old, and I also play the piano. I was pretty active in bands back in Texas and Seattle, and I’m hoping to go into the studio in early 2017 for my own songwriting project, Bad Breaks. Music is a big part of my life, whether I’m making it or watching it (or stuck in LA traffic, listening to it). My all-time favorite moment at Variety so far is meeting Brian Wilson at a cover shoot inside the studio where the Beach Boys recorded Pet Sounds in the mid-’60s. At one point, Wilson sat at a grand piano and plunked out some chords while photographer Marco Grob shot amazing portraits. It was like getting a very small, very special concert from one of the greatest musical geniuses ever, and that’ll stick with me for a very long time.

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

I’ve been in LA for over two years now, but I admittedly still haven’t made many connections outside of the editorial world. One of the reasons I was so excited to join Working Not Working was to have a resource for getting to know other creatives in this city, and elsewhere. I do know a few WNW illustrators like Joel Kimmel, Erin Gallagher, and Daniel Fishel, who all do great work. Erin does amazing pop culture posters and illustrations, and we both had pieces in a recent Broad City-themed art show at Meltdown Comics. I look forward to meeting more artists and creatives through WNW!

Anything else you’d like to add?

Go Spurs Go.

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MO' MONEY MO' PROGRESS

Working Not Working December 18, 2016

MO' MONEY MO' PROGRESS

WNW Member Cari Sekendur tells us that before her latest project, there had not been much of a political or social edge to her work. But like many WNW Members, Cari feels that there's now a fire lit under her. It's why she created Mo' Money Mo' Progress, which ties in with the gift-giving season and makes it easier to give a gift that matters. As Cari tell us, "Mo’ Money Mo’ Progress was born of a desire to mobilize progressives to take action. After the election, my partner Laura Zax and I knew we weren't alone in asking ourselves what we could do to protect the parts of our society we value most. So we decided to merge her background in philanthropy with mine in graphic design to create this platform."

We talk to Cari about this newfound drive, how she and her partner Laura determined which non-profits to include, and what she sees as the responsibility of creatives in addressing social issues in their work. "Visual communicators, artists, musicians etc have the opportunity and responsibility to use our skills to move people to take action. Our ability to make confusing or disparate information engaging and easy to understand is essential."

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

I’m a graphic designer and art director who dabbles in illustration. My work tends to be either a little bit quirky or very clean and understated.

My path to where I am now has been a winding one. As a kid, I loved making things and told everyone I was going to be a "rainbow painter” when I grew up. That's essentially what I do now... but it took me a little while to get here. I didn't study design in undergrad and started my career in marketing and operations at tech companies. I transitioned to design about four years ago when I was given the blessing-in-disguise of being laid off by a turbulent start-up I worked for in Berlin. Since then I have spent most of my time doing branding and web design in both freelance and full-time capacities.

What is Mo’ Money, Mo’ Progress? What was the inspiration behind this new project?

Mo’ Money Mo’ Progress was born of a desire to mobilize progressives to take action. After the election, my partner Laura Zax and I knew we weren't alone in asking ourselves what we could do to protect the parts of our society we value most. So we decided to merge her background in philanthropy with mine in graphic design to create this platform.

Our first initiative is a holiday gift guide that makes it easy for people to donate in lieu of (or in addition to) giving gifts this year. The organizations we've featured are ones you may not have heard of, but they're all doing critical work -- whether at the grassroots, within the legal system, or at the level of policy and advocacy. And they all need our support now more than ever.

Who else helped in making this idea a reality?

We are lucky to have had support from many of our friends and family members. The exceedingly talented Heidi Chisholm, another WNW member, created some of the illustrations. Laura led the charge with research, vetting and copywriting and had help with some writing and editing from a handful of our friends, siblings, and parents. Leigh Nelson, owner of LMNOP Creative, where I spend my days, has kindly lent us time and resources.

What were some of the challenges of bringing Mo’ Money, Mo’ Progress to life?

One big challenge has been time constraints. Laura and I both work full-time, so this has been a classic nights-and-weekends labor of love.

But, the very biggest challenge has been getting people to donate. People have been so willing and eager to share the site -- it's been viewed by thousands of people in under two weeks -- but that has translated to fewer donations than we had anticipated, especially given the overwhelming positive response we receive at every turn. It's just plain hard to get people to give away their money.

How did you select the non-profits?

Vetting non-profits isn’t a science, but we want to break down the thought process—and rigor—behind our selections.

Within each category, we aimed to select organizations tackling distinct and timely issues. We strove for a balance of organizations working at the grassroots, within the legal system, and at the level of policy. We favored those that you may not have heard of, recognizing they may be overlooked this giving season.

For each category, we researched between 10-20 different organizations, investigating leadership, scouring press mentions, hitting up friends in the field, and of course pouring over financials.

For all 501(c)(3)s, we looked at the organizations’ 990 tax filings. Where possible, we investigated their Charity Navigator profiles as well, looking in particular at fundraising efficiency, CEO compensation, and the percentage of revenue going toward programming.

The list we’ve arrived at is by no means conclusive or exhaustive. In particular, in an attempt to make this resource broadly applicable, we skipped over some outstanding organizations working exclusively at a local level (Standing Rock excluded).

What social causes are you most passionate about?

I’ve been thinking a lot about intersectionality lately. It’s hard to pick a single cause since so many of them are intertwined -- Standing Rock is both environmental and racial justice oriented, Southerners on New Ground is a LGBTQ+, racial justice and immigrant cause. That said, I’ve always been a passionate feminist, and my undergraduate degree is in Women, Gender & Sexuality Studies. However women’s issues, too, extend throughout all of the areas we are focusing on.

Is there often a political or social edge to your work, or do you feel a certain immediacy these days?

Before we started Mo’ Money Mo’ Progress, there had not been much of a political or social edge to my work, but Laura spent the first six years of her career doing social impact work in the non and for profit sectors. As is the case with many progressives, the current state of affairs has definitely lit a fire under me to use my skills for action.

What do you see as the role of a creative in addressing these issues through their work?

Visual communicators, artists, musicians etc have the opportunity and responsibility to use our skills to move people to take action. Our ability to make confusing or disparate information engaging and easy to understand is essential.

What’s next for you?

Once the holiday season is over, we are going to to expand Mo’ Money Mo’ Progress to include resources related to volunteering and organizing, education (suggested reading and film lists), and other ways people can use their time or money or skills to continue fighting for our shared values.

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

Heidi Chisholm, I see her every day and yet her talent and good spirit never ceases to amaze and inspire me.

Jing Wei, I love the whimsy and fun in her work. I especially love her little monster creatures and the magical hairdos she uses in her illustrations.

Anything else you’d like to add?

If Mo’ Money Mo’ Progress strikes a cord with you, help us share it. Spread it around your company Slack channel, your Insta, Twitter and Facebook, send it to your mom or your Uncle Jerry. If you have ideas or comments or want to get involved, get in touch!

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

PROFILES OF THE WEEK: DECEMBER 5TH

Working Not Working December 4, 2016

PROFILES OF THE WEEK:
DECEMBER 5TH

Tony Chen, Editor. Los Angeles.

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Michael Sevilla, Art Director. Santa Monica.

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Anna Farrell, UX/IA Designer. New York.

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Azsa West, Art Director. Tokyo.

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Vinesh Gayadin, Designer. Amsterdam.

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Jarrod Higgins, Copywriter. Portland.

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Jenny Tiffany, Illustrator. Portland.

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Mathilda Holmqvist's Work BringsPeople Together, Often for Food

Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.

Kelsey Bryden Uses Design toAddress What Matters Most to Her

Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.

Darren Oorloff Makes Album ArtMelting in Nostalgic Futurism

Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.

Meet Chris Vanderhurst, Future Heavyweight Champion Art Director

Discover more talent like Chris on Working Not Working.

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Project Highlight: Bulletproof Coffee Rebrand

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ARTIST NICOLO BIANCHINO PAYS HOMAGE TO GIORGIO MORODER

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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!

Artist Gemma O'Brien Shows UsHow To Travel To Cuba

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PROFILES OF THE WEEK:JANUARY 16TH

Kiem Vu, Designer. Brooklyn.

Helen Tseng, Illustrator. San Francisco.

Jamie Wignall, Illustrator. London.

Kimberlee Mar, Producer. New York.

Burke Lauderdale, Art Director. Brooklyn.

Alex Gee, Motion Designer. Toronto.

Thompson Harrell, Art Director. New York.

Augusta Duffy, Art Director. Brooklyn.

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

PROFILES OF THE WEEK: JANUARY 9TH

Frank Ockenfels, Photographer. Los Angeles.

Maggi Machado, Copywriter. London.

Rizon Parein, Designer. Antwerp.

Giulia Zoavo, Illustrator. Milan.

Vittorio Perotti, Art Director. New York.

Duke Aber, Designer. Weston.

Audrey Desler, Portland. Designer.

Rua Perston, Art Director. New York.

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

"NASTY WOMEN UNITE" FOR THE WOMEN'S MARCH ON WASHINGTON

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

What social causes are you most passionate about?

Can you tell us a little bit about your latest project?

Is there often a political or social edge to your work, or do you feel a certain immediacy these days?

What do you see as the role of an artist in addressing these issues through their work?

What’s next for you?

Who are some other 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!

PROFILES OF THE WEEK:JANUARY 3RD

Albert Trulls, Designer. Barcelona.

Eric Locko, Director. Los Angeles.

Christy Lai, Designer. Portland.

Carmel Gatchalian, Designer. New York.

Elliott Graham, Art Director. New York.

MC Wolfman, Illustrator. Beacon.

Maggy Lynch-Hartley, Producer. Chicago.

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

MEET CHUCK KERR, ART DIRECTOR AT VARIETY

Tell us a little bit about your creative background. Who is Chuck Kerr 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?

I am always looking to get a gut-level, emotional response from the reader. The reaction I’m aiming for is always somewhere between “Wow!” and “Oh, of course” — the sweet spot where something is simultaneously a total surprise but also satisfyingly obvious.

You’ve been an Art Director at Variety for more than two years. What separates Variety for you? How have you seen its identity evolve from within in recent years?

Variety is a legendary brand that has covered the entertainment business for over 110 years. Our readership is primarily people in the industry, so we focus on news and analysis rather than celebrity gossip.

Which of your projects for Variety are you proudest of and why?

What’s your general process for designing Variety features? Do you research the individual and project, or work entirely from the text?

Who and what are your biggest creative influences?

Having confidence in your abilities and knowing to trust your gut are valuable skills when turnaround can be so quick. One thing that makes it all easier: The Variety art team is a great creative group that genuinely enjoys working together.

What advice can you offer to creatives hoping to work at Variety? What can they expect from Variety’s creative culture and what would it take for them to succeed there?

What do you look for in a creative portfolio that is unique to Variety? Any tips for creatives to breathe life into their portfolios?

What’s next for you?

Mathilda Holmqvist's Work Brings
People Together, Often for Food

Kelsey Bryden Uses Design to
Address What Matters Most to Her

Darren Oorloff Makes Album Art
Melting in Nostalgic Futurism

Artist Gemma O'Brien Shows Us
How To Travel To Cuba

PROFILES OF THE WEEK:
JANUARY 16TH

PROFILES OF THE WEEK:
JANUARY 3RD

PROFILES OF THE WEEK:
DECEMBER 5TH