At this month’s Nicer Tuesdays we dived into the processes that have built recent impressive creative projects. From photographic campaigns with renaissance influences by Hollie Fernando, a music video by Raine Allen Miller visualising anxiety, and Random International’s giant orbs that are meditative and daunting at the same time, to Andrew Rae’s mammoth illustration of “Fear and Loathing in the time of Trump”.
While each talk discussed differing mediums, each of the creative’s processes involved layer upon layer of details, influences and consequently some great wisdom too. Below, we share some of our learnings from the night.
Teenage interests can inform adult work
Photographer Hollie Fernando took us back to the beginning of her photographic career, starting with her teenage years. Over the past decade we learned that the Fernando family have provided support, inspiration and equipment to encourage and inspire her career. Starting out by photographing her cousins in a nearby wood on her Sony Ericsson, Hollie’s dad took note of her interest “or cry for help” and passed down his old Practica film camera. From there, the photographer “fell in love with my craft” and her younger sister became her muse. This journey has formed the photographer’s painterly style and even helped on her recent “dream shoot” for Laura Marling’s Semper Femina album campaign.
Anxiety comes in many forms, and those forms can be creative
Director Raine Allen Miller talked us through the influences and process for her new video for Denai Moore’s Trickle. With lyrics that discuss anxiety, Raine used the film to display how anxiety “comes in many forms,” but also how it “can be creative”. Using layers of details within the music video, from a long awkward ending, to stop-motion flower animations, Raine “liked the idea of a pretty look being made into something about anxiety.” Her directorial view expands the meaning of the taboo subject.
You can never guess how people may react to work
Random International’s head of technology, Dev Joshi, explained how “as a studio we explore the human condition in an increasingly mechanised world,” concentrating on its recent performance +/-Human in collaboration with Wayne McGregor at The Roundhouse. By speaking to our “lizard brain” the performance used orbs that react to their surroundings to create a feeling “that is familiar enough, but not familiar enough that you’re comfortable with it". However, the biggest surprise was how the audience would react and inform the piece. “The best part of my job is seeing what people do, it’s amazing.”
It’s the little details that make a mammoth project
Renowned illustrator Andrew Rae taught us how tapping into people’s perceptions of recognisable figures can elevate an illustration. Talking through his recent cover for The New York Times Magazine on “Fear and Loathing in the time of Trump”, Andrew dived into the mammoth detailed illustration made up of numerous recognisable figures. Explaining how “there aren’t many people whose face you could replace with a butt and still recognise it” on Trump, how “with Steve Bannon it’s distinctive because of how ill he looked” and Nigel Farage is instantly recognisable “being a twat”.
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Supported by: Park Communications
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Supported by: Monotype
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Drinks sponsor: Hop House 13
Thanks to Hop House 13 for providing the drinks!