Hanker Magazine Issue Five

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ISSUE FIVE B L A C K & W H I T E / J U N E – J U LY 2 0 1 4

GAIL ALEC

SHAMON DUDSON

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JASMINE JESSE

DOWLING DRAXLER

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NOAP E M I LY

STUDIO ROPER

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ASGER

STEFAN

CARLSEN ZSAITSITS

www.hankermagazine.com

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Hanker Magazine is an independent, bi-monthly publication showcasing creative individuals, groups and organisations within the fields of art, design, illustration, photography, music, fashion and everything in-between.

Every issue features an array of creatives brought together under a particular theme, resulting in a consistent eyeful of inspiration. We put the focus on the works and leave the clutter to those awful mainstream magazines.

ISSUE FIVE B L A C K & W H I T E / J U N E – J U LY 2 0 1 4

FOUNDING EDITOR Dillon McIntosh — www.dillonmcintosh.com

FEATURED Gail Shamon — www.gabrielleashamon.com Jasmine Dowling — www.jasminedowling.com Jack Searls / Noap Studio — www.noapstudio.com Asger Carlsen — www.asgercarlsen.com Alec Dudson / Intern Magazine — www.intern-mag.com Jesse Draxler — www.jessedraxler.com Emily Roper — www.clipic.co.nz Stefan Zsaitsits — www.zsaitsits.com

COVER IMAGE Gail Shamon

© HANKER MAGAZINE 2014 WWW.HANKERMAGAZINE .COM

EDITORS L E TTE R PAG E 1 1

THEME BR OW S E PAGE 1 2

G AI L S H AMON PAG E 1 4

J ASMINE DOW L I NG PAGE 26

NOAP S TUDI O PAG E 3 6

AGER CARL S E N PAGE 48

AL E C D UDS ON PAG E 5 8

JESSE DR AX L E R PAGE 66

E MI LY ROP E R PAG E 7 6

S TE FAN Z S AI TS I TS PAG E 8 0

"T O S E E I N C O LO R I S A D E L I G H T F O R T H E E Y E B U T T O S E E I N B L A C K A N D W H I T E I S A D E L I G H T F O R T H E S O U L" — A N D R I CA U LW E L L

E D I TOR S L ET T ER I S S U E FI VE – THE ‘B LACK & WHITE’ ISSUE THE NEW HANKER MAGAZINE! Welcome to the fifth issue, the 'black and white' issue.

As you may have noticed a few changes have been made to the design and layout of the magazine. I feel as though these changes are an improvement on previous issues but would love to get feedback if you feel otherwise.

Issue Five features an abundance of awesome creatives including; cover photographer Gail a.k.a Gabrielle Shamon, Australian typographer and all-round creative Jasmine Dowling, modern outdoor apparel label 'Noap Studio', photographer and image manipulator Asger Carlsen, Intern Magazine's Editorin-Chief Alec Dudson, mixed media and collage artist Jesse Draxler, New Zealand photographer Emily Roper and Austrian artist Stefan Zsaitsits. A new segment, the 'Theme Browse' has also been added to the magazine so be sure to check that out.

Don't forget Hanker Magazine now has a website where you can keep up to date on everything between issues.

Just like the last few issues Hanker Magazine is available in print and digital download. Visit www.hankermagazine.com As always thank you to everyone that contributed to the creation of this issue and thank you to everybody reading and viewing this magazine. I hope you enjoy the contents within and I encourage you to go and check out the featured creatives.

Dillon McIntosh Founding Editor

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T H — M E — W —

E —

B R O —

Each issue we will invite a special guest to share six things with us that relate to the theme.

The topics include; music, book/magazine, fashion, design, photography, art, film, whatever/random, online, eat/drink, place and event. This issues 'Theme Browse' was create by Hanker Magazine.

If you would like to submit your own six things for the next issue visit: www.goo.gl/ugcmgh

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MUSIC

BOOK

C h e t F a k er – Built On G las s w w w. chet f aker. com

Ra c ism In Th e UK www.d yla nmc d onoug h .c o m.au

FASHION

DESIGN

Noap S t udio w w w.noaps t udio. com

Lytro Illu m www.lytro.c o m

ONLINE

RANDOM

To d a y O r Tomorrow w w w. t o day or t omorrow. net

Swa llo wed 55mm Film Resu l t s www.g oo.g l/RX 6LF7 HANKER MAGAZINE | 13

GA I L S HAM ON ww w.g a br ie l l e a s h a mo n . c o m

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Tell us a bit about yourself...

Who are you and where are you from?

Do you consider yourself a perfectionist?

Yes and no.

My name is Gabrielle, but you can call me Gail. I am 18 going on 19 and a proud student of the Columbus College of Art and Design in Columbus, Ohio, studying photography with a double minor in creative writing and copywriting.

I was born i n Chicago, Illinois, USA but moved to Hong Kong before I turned 2.

I grew up there for 16 years, and it was my dad who had our family spending summers in Portland, Oregon so we could have a good cultural balance between America and Asia.

How would you describe your work?

Emotive and expressive, but also youthful and dark. Some describe it as 'organic'.

But above all, most of it is very personal to me.

If you could photograph anyone, who would it be and why?

It was after I broke my kit lens in around September of 2009 and received a 5 0mm for Christmas. My dad warned me 'don't break this o ne too' and with it, I felt like I was discovering something much bigger than myself (pardon the cliché).

Just one person?! Okay, it's a tie. If I had to name someone famous, I would shoot Tallulah Morton in a heartbeat.

Everything about her is strong; her hair, her eyebrows, her eyes, her cheekbones, all of it. She's beautiful. Otherwise, there is a model here in Portland name Jennifer Sullins whose face has me in absolute awe. She's fallen off the radar a little unfortunately, so I don't see us working together anytime soon, but she is surely one of the most unique -looking women I've ever seen in my entire life.

What do you enjoy the most about photography?

Where do you see yourself and your photography in five years?

I was an angsty little teenager (around 13/14 at the time) who hated everything, and photography gave me this unbiased, untainted sense of wonder; a whole new set of eyes to see the world in such a way that wasn't as horrible and twisted as some of us think it to be.

This is the big scary question I've found myself unable to answer ever since entering college, actually. I wouldn't min d freelancing as a fashion photographer, shooting for big companies and designers and given the opportunity to travel.

Do you remember when you first fell in love with photography?

Who or what inspires and motivates you?

I love indep endent films and anything by Woody Allen. I love traveling and seeing my friends travel and document their adventures. My dad is a huge inspiration to me; he is very strong-willed, responsible and kind; everything I want to be as I continue to grow older. Music with good, deep lyrics is also a big one for me.

Or, as my friend Josh likes to say, "kicking ass… and taking shots."

To check out more of Gail's work visit: Facebook – www.goo.gl/jRB7fU Flickr – www.goo.gl/ad7NR6

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JAS MI NE DOWLIN G ww w.ja s m ine d ow l i n g . c o m

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I am Jasmin e Dowling born and bred in Brisbane, Australia.

Your typography style is very personal and expressive. What do you think is the most appealing thing about handwritten type?

Everything. I love the flaws of hand written typography, all the little things that make it its own. It is something that isn’t mass produced and really fits the context it is used for.

Out of all the posters you've created and quotes you've written, which one is your favourite?

I really love the ‘Do what you fucking love’ print that I created with white ink on black. The white shows up every flaw of the typography and keeps the type at is rawest.

Where do you draw your inspiration from? Is th ere anything or anyone that constantly inspires you?

I keep music on 100% of the time when I am writing, just to pick up on nice words or combination of words. I also love looking at other cliché quotes, then switching them up to be more relevant to society today.

What materials and tools do you use?

I use ink, brushes of all kinds and have started using markers like the TOMBOW brush markers and COPIC markers. I love to experiment with new shaped brushes or markers to evolve my typographic style.

You have a decent following on instagram (understatement), how important to you is maintaining a strong online presence?

I think it was always important for me to show more than just my work, it was always about just sharing who I am, what I like and what I do to everyone. It has been essential to me being able to do what I love to do full time. It is not only a way

for me to grow as a brand but also push me to always create something new and better than what I have done previously.

You recently were apart of the design conference Analogue Digital, tell us all about it...

I was contacted by Matt Haynes when Analogue Digital was working with the Street Art Festival First Coat back in January. After I created a logo for that, he told me I was going to be a Next Gen Presenter in May. So I was nervous for 4 months for it. Being so new to typography and design it was pretty terrifying but I am now so glad I got through it. Analogue Digital supports so many local and international creatives and it was awesome to be a part of it.

Personally that would have been a dream come true so I can't even imagine how I would have been able to get up and talk. What was it like to get the chance? Was it everything you expected?

I was absolutely stoked when I was asked, then as I said all the nerves set in. It was more than what I expected. I was in awe of the extremely talented bunch of people that presented beside me that weekend and I got to meet some pretty inspiring people.

The atmosphere created by inspired and motivated creatives around Brisbane from all different backgrounds was really cool to be amongst.

What's next? Where do you see yourself in five years?

I think I would love to be working on larger typographic mediums. I would love to get into signage painting, spreading the art of brush typography on the larger medium.

PHOTO CREDIT: Camille Nathania Santiago – www.camillenat h an ia.co m

First off, who are you and where are you from?

What advice can you give someone regarding design or just life in general?

Just do something – anything.

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Introduce yourself...

Who are you and what is Noap Studio?

Hey, I’m Jack Searls, 28 years kicking and Noap Studio is an apparel label I spend the majority of my time on.

I was born and raised in Fremantle, We s t e r n A u s t r a l i a w h e r e I a t t e n d e d school and then University before moving to San Francisco in 2010. I spent a year in California until retuning back to Freo to continue freelance design. These days I’m bouncing back and forth between Perth and Indonesia but I’m currently typing this up in Warakurna where I’m running a design workshop in a remote community.

When and how did Noap Studio come about?

At the end of 2012 I was making decent money designing websites with a good friend of mine (sup Digla!) but it was becoming too much of a routine. I threw all of my interests and experience into a bucket and formed Noap Studio. I properly started working on the label during the f ir s t half of 2013, developing the branding, working on fits/patterns as well as designing trims and labels.

What, if anything, does the word 'Noap' mean?

I don’t have an answer for this yet. Google tells me it ’s the National Organization of Alternative Programs but I wouldn’t agree with that. I wanted to use a name that had no meaning, that way it wouldn’t get old.

It also looks nice.

Without giving out too many secrets, where do find your quality fabrics and who makes each garment?

I’ve got a bunch of fabric suppliers and manufactures that I regularly use around the globe. Usually we source a RTD (Ready

to Dye) fabric before taking it to our dyers, who then match it up to a chosen Pantone with a traditional hand dying technique.

If we have a pattern repeat a huge screen is made and then we screenprint onto long rows of the dyed fabric. Doing this creates a completely unique fabric for our own use. From here we send it to a manufacturer to cut and sew the garment - I’ve got different manufacturers who all specialize in a category.

It ’s a very hands on approach that allows me to oversee every process and create quality garments that hold value.

What inspires and motivates you and Noap Studio?

I can find inspiration anywhere in my dayto - day living but specifically I read (look at) Japanese fashion magazines, which are a great way of predicting colour and style trends ahead of the curve. I have to also mention the internet; Tumblr ’s, blogs, websites, digital magazines, Wikipedia, Instagram etc are all great and I have a few bookmarks that I regularly check. I’m motivated to run Noap Studio as it allows me to live an amazing life.

What do you think is the key to maintaining a successful brand with so much competition?

Presentation — there is so much to cover here. First of all your branding and identity, web and social medias, how the product is displayed in store, attention to details, promotional items and even the way you pack and ship online orders. If you’re only doing it half assed then why bother at all?

Quality — this is pretty simple. If a product doesn’t scratch up why would a customer buy it again or recommend it to a friend?

We are constantly upgrading our products — if you don’t then you'll fall behind the rest.

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Consistency — By designing collections that are consistent you will create a strong base of followers. Your customers will associate themselves with your brand but will not reinvest if you change your core values and styles.

What advice could you give someone looking to start their own clothing brand?

Speak with your manufacturers and hear what they have to say. Essentially a manufacturer is investing in your business and they will want to see you succeed.

Success for you means more work for them.

Learn as much as possible along the way but most importantly never stop enjoying it.

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What's next for Noap Studio, any plans in the making that we should know about?

Short term I have two more collections being released this year. Spring has been sampled and is ready for production. I’m also working on the Summer collection which will be available in November.

Long term I’ll be expanding the collection with new styles. I’m really looking forward to developing jackets and more knitwear for Winter 2015.

Other than that I’ve got a couple of epic collaborations in the works and more adventures planned to road test the products.

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Have you ever been in an epic outdoor location like the Grand Canyon, or on top of a snowy mountain? Maybe it was on the beach with an incredible sunset, whatever it was Noap Studio and Hanker Magazine wants you to share it with us.

Tag your epic surrounding on Facebook or Instagram with #noapchallenge and you could win yourself a $200 or $100 voucher to spend at www.noapstudio.com Rules: • Photograph(s) must include your self in an epic outdoor location (lost in a forrest, sailing the open seas etc…)

• No dodgy selfies, get creative with your photo shooting.

• Photograph(s) ha ve to have been taken within the last year (12 months).

How To Enter: • Tag your photographs on Facebook or Instagram with #noapchallenge, tag Noap Studio and Hanker Magazine and don’ t forget to mention where the photo was taken.

• NO EMAIL SUBMISSIONS! Please don’t fill our inboxes with your submissions, use Instagram and Facebook only.

Deadline: • 30th June 2014 – Winners Announcement date TBD Prizes: • First Place (chosen by Noap Studio) — $200 voucher for Noap Studio.

• Runner Up (chosen by Hanker Magazine) — $100 voucher for Noap Studio.

Don't forget to share this with your friends and fans on your social media pages and blogs…

If you have any issue contact Hanker Magazine via email at hankermagazine@gmail.com.

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Who are you and where are you from?

My name is Asger Carlsen and I am 40 years old. I emigrated to the USA from Denmark in 2007.

How would you describe your work to someone?

An attempt to move forward with my general perception of what could be an image or a possible object.

Who and/or what inspires you and your work?

I believe imagery and visual accomplishment comes from w ithin but at the moment I do like Thomas Houseago.

What is the creative process for your images?

A lot of concentration and sitting completely still. Or an unrestricted use of pixels. Or stacking images on images until it makes you feel happy. Of course this is all done in Photoshop.

What's next for you?

A presentation at Art Basel Miami this Dec 2014 - with my German gallery. I also have 2 books that will be released this year. One is a collaboration with artist Roger Ballen, the other is a drawing project that I have been working on.

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Who are you and where are you from?

I'm Alec Dudson and I'm from a grim part of the world called Stoke - on-Trent.

What have been your previous creative experiences leading up to Intern Magazine?

I guess my first was a website called KLLKT (Kollektivnye) which I was invited to start with some friends. At the time, I was getting quite into photography and had just returned from a trip around the US with plenty of photos. Originally, KLLKT was just a means to disseminate those images, write photo essays and see how people reacted to them. As time passed, my interests shifted and more of my time inbetween my bar job was spent curating the editorial for the site. About a year in, the rest of the guys had gone on to do other thi ngs, one of them had interned with magazines in both London and New York. As much as I loved Manchester (where I lived at the time), I felt like it was a good opportunity to dip my toe in the magazine world proper and see if I had (finally) found my calling. I went on to internships with Domus in Milan and Boat in London, nine months in total with a lot of sleeping on couches, cycling a huge rucksack around and more barwork.

As I suspected though, I felt right at home, this was what I wanted to do. The big predicament though was working out (or trying to at least) how to make a living working in magazines, I couldn't sust ain unpaid internships any longer.

What does Intern Magazine aim to do?

Where did the idea come from?

It came quite directly from the crossroads I found myself at. I hadn't really planned on starting my own mag, but as my time at Boat drew to a close and my options, in terms of paid work in the field didn't seem any differen t from when I started, I figured that doing my own thing might be the only option. When I was working on ideas, the one that I kept coming back to was this one focussed on internships. I pitche d the idea to Davey (Spens, Creative Director of Boat) and Chris (one part of She Was Only, our designers, then freelancing at Boat)

and both thought the idea had legs. I think my last six weeks or so in London, I tried to refine the idea. It seemed that if I was going to launch a mag, it had to have a really strong concept, without that, I feared that it would just be another non- specific kind of artsy, kind of culturey, melange of a publication.

I wanted Intern to have a bigger scope than that, for it to exist as a resource as well as a luxury item, for it to champion this underclass of workers, without doing what everyone else was doing and telling them that their work wasn't deserving of pay. In a nutshell, Intern looks to showcase emergent creative talent whilst sustaining a balanced, meaningful debate on the culture of internships. What I feel we have already done with Issue One is prove that you can make a beautiful indie mag almost entirely out of work done by students and recent grads, it can make for an engaging read as well. We've also proved that despite being small (our first issue was only a print run of 2000), you can make a magazine and pay all of your contributors.

While the payment isn't quite where I want it to be yet, that was a vital principle of the mag.

Intern is something that you can pick up because you think it looks pretty, take home, read and learn some stuff you didn't know. It's also something that can help you figure out how you want to try and make that leap into being a full-time professional creative. It doesn't offer a failsafe answer, but allows the opportunity to learn valuable lessons from others, consider a broad variety of perspectives and indulge in some pretty inspirational stories and work.

Having done an internship myself, I found it rewarding at times but I could also see how some places take advantage of an intern. From your personal experience what are your views on internships today?

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debate centres around the issue of pay.

You will always find features in intern where people look to justify unpaid internships and ones that challenge them.

I was lucky with my internships in two ways.

Firstly, I had a great time at both. I'm not saying every day was fun and frolicks, but I met and worked with some great people, people who will be my friends for life.

From them and a host of others I learned a lot and in that sense, the experiences were both invaluable. Secondly, I was lucky enough to have a group of frie nds supportive enough to put me up during the seven months I spent at Boat in London. Not many people are that fortunate. T hankfully with my bar experience, I managed to get a part-time job to cover living costs but that would never have been enough to pay rent.

How do you think internships could improve?

Personally, I would like to see unpaid internships come to an end, they can be really enriching, worthwhile experiences despite being unpaid, but the playing field is far too uneven if that's the case. The unfortunate and sadly predictable flip side to allowing unpaid internships to continue is, of course, that it allows hoards to pop up that are purely a construct for companies to gorge themselves on unpaid labour.

You've successfully released issue one of Intern and are currently working on issue two, what can we expect from the next issue?

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I'd like to think that someone could approach the situation from an interesting new angle. Governments, Companies and Universities could all re -think their role in things, for any real change to take place someone with enough sway and power needs to make a lasting statement of intent. RIBA are a good example of positive action, they recently announced that they would strip an RIBA accredited firm of that title if they were found to take on unpaid interns. In the magazine, we're constantly looking for new ideas from different industries and countries. The conceptual underpinning of Praktikum (internships in Germany) is pretty interesting and is explored in our upcoming issue.

I think we've explored some new perspectives, something I want each issue to do. Both in terms of the industries that the features focus on and where they are set. While London and New York are understandably recurring locales,

Issue Two travells to Melbourne, San Francisco, Portugal and Germany. We've got contributors from the likes of South Korea, Finland, Turkey, Norway and Austria on board and that cosmopolitan app roach is one that I deem very important as well.

In terms of the content, I don't want to give too mu ch away but we've got some big names in the design world to offer their opinion and a piece with perhaps my favourite illustrator at the moment and his magnificent former intern.

What is the long term goal for Intern?

To steadily draw more and more people into the discussion about internships by putting together magazines that defy their contributors' "status" in the industry. The incredible power of magazines is that you can communicate with people on so many different levels. Visually, I have no doubt that we can catch the eye, the challenge is to pace o ur content in a way that makes the subject engaging and approacha ble.

The more folk we can get interested in our contributors' work, the more paid work they can get and the more people we can get talking about internships, the more momentum there will be for a critical assessment of the current system.

What advice could you give to someone looking to get their foot in the door of a creative career?

Quite simply to remember your value.

The more confidently you project yourself, the more professional you will appear and the more seriously people will take you. It's not something that's necessarily in my nature so it took a while for me to feel comfortable calling myself an "Editor-in- chief". It's amazing though, how differently people react to you when you speak confidently about what you do.

In a set of industries so oversubscribed, self- confidence is pretty key. You can be making incredible work, but if you're not putting it out there, no-one is going to see it.

To check out Alec's personal site visit: www.alecdudson.co.uk

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Who are you and where are you from?

Jesse Draxler. Livin' in MPLS. Who and/or what inspires you and your work?

Vibration, atmosphere, mood.

When did you first start creating mixed media and collage art?

My senior year of college I started fuckin' with that sort of thing while writing a thesis about the appropriation of a subculture's aesthetics in mainstream media using pu nk as a case study. This was right before the idea of subculture died 'bout 6-7 years ago.

What do you prefer, analogue or digital and why?

The lines have become blurred. I get claustrophobic working in any particular medium for too long. Doin' all of it all of the time.

If you had to describe your work, what you say?

What would it feel like if your bones quit holding you up?

What are some of the materials and tools you use?

Found imagery & objects, acrylic, xacto, spray paint, wall paper paste, graphite, ink, markers, photoshop, cinema 4D, the internet.

What's next? Is there something you're currently working on?

Got a lot in the works. Can't stop. Tune into my IG.

Check out more of Jesse's work here: Tumblr – www.jessedraxler.tumblr.com Instagram – www./instagram.com/jessedraxler

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Who are you and where are you from?

Hello! I’m Emily, I’m a 24 year old photographer from New Zealand. I g rew up on the outskirts of a little town called Feilding.

Who or what inspire you and your work?

SO many things! People I meet, music I listen to, places I explore, interesting patterns of light and colour… Actually, light and colour is without a doubt my biggest inspiration, it ’s what guides me while I’m shooting.

How would you describe your style of work?

Pieces of my adventures…

What is your favourite piece of equipment and something you can't live without?

My prime lenses! I love those things to bits. Also, the light of the magic hour - can I count that as equipment? That is hands down my most valuable tool that I get to utilize… and the best part is it ’s free!

From personal experience what's some good advice for someone looking to get into photography?

Just keep shooting. Don’t listen to the rules that other people tell you about what you should be doing or how you should be doing it…

What's a normal day in the life of Emily Roper?

Try to avoid comparing your work to anything else that ’s out there, just stick to your own guns and believe in your work and what you’re producing.

It varies, depending on what the work is…

I love what I do because no two days are ever the same. I actually studied Film and Television at the NZ Broadcasting School…

So at the moment, I work part time in that industry, and I work with Photography/ Video clients through my little business Clipic alongside it.

If you ever start to feel a little bit unmotivated or uninspired… take a moment to remind yourself WHY you’re shooting… why do you love it so much, and who are you really shooting for? I take photos for clients, absolutely, but I also take photos for me, because it ’s what makes me happy.

If you weren't doing photography what would you be doing?

Check out more of Emily's work here:

Something that makes me feel just as happy I’d hope!

Facebook – www.facebook.com/ClipicLtd Flickr – www.goo.gl/rzEsAZ Tumblr – www.emilyroperisi.tumblr.com

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Who are you and where are you from?

I´m Stefan Zsaitsits, an artist living in Austria.

When did you first start drawing?

Like everyone I started drawing when I was a child. But I didn´t stop since then and am still trying to improve the way I draw or paint.

Who or what inspires you and your work?

Hard to say. It could be a great book, music, something in the TV, as well as events in daily life.

Your works are very intriguing, do they have stories behind them?

The people and their history emerge during the process of drawing and don´t have one but many storylines.

If you had to describe your work, what would you say?

I think I´d say that I currently draw imaginative portraits.

Your work focuses on what looks like children and includes an interesting scenario of s ome sort, what is the reasoning behind this?

It´s reflecting on childhood in common, growing up and questioning if something like growing up really exists.

What advice could you give someone looking to begin a creative career?

I´m not sure and could use some advice too, but important seems to be discipline (which is the harder part) and loving the creative process.

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