ISSUE
001
PINTEREST MAGAZINE
PINTEREST MAGAZINE
subs crip tion
spring/ summer
2017
THIS IS FOR YOU. Inspiration is like jet fuel for your design, batteries for your brain, a window to your creativity. Pinterest helps you harness the inspiration that speaks to you, so you can go out and make the world a more beautiful place. But sometimes creativity calls when you’re not online, so we created this magazine as a physical reflection of your interests and tastes to guide your creative vision. Hope you enjoy it!
Aaron Davidoff CEO Pinterest
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CONTENT ISSUE
spring/ summer
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What’s in your issue?
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PORTFOLIO
PORTFOLIO
PORTFOLIO
Sara Andreasson
Richard mosse
martin victorin
The Swedish illustrator shows of her most recent work along with old favorite pieces.
Discover the Democratic Republic of Congo in a completly groundbreaking new way.
This issue’s stundent portfolio is a graphic designer currently located in San Francisco.
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TREND CHECK
WEBDESIGN
INTERVIEW
alessandra cremona
golden krishna
stefan sagmeister
Keep up with the trends in the design world. Alessandra knows what is hot this spring.
Design beyond the screen! we talk conceptual UX with the master of webdesign.
The swedish illustrator shows of her most recent work along with old favorite pieces.
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DREAM BRIEFS
PHOTOGRAPHY
FONT JOURNEY
turo and NY times
what’s in the future?
Nelson carnicelli
We dig deep into the process of two inspiring brief and the process of making it come to life.
We interview some of the top photographers to get a grasp of the future for the still image.
Discover the history of our most used fonts. Nelson takes you on a journey back in time.
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JOB INTERVIEW
ART SHOWS
WHO TO FOLLOW
tips from the pros
what’s comming?
three pinners for you
We spoke to some of the leading recruiters to find out the best tips for your next interview.
A lot of good art exhibitions are premiering this spring. We give you the complete list here.
Following talanted people on our platform is a great tool to get new creative drive.
PORTFOLIOS
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Fashion Is My Passion is an illustration series I did for an exhibition at the Pick Me Up Festival in England in 2015. I decided on a strict color palette and forced myself to stick to it throughout the whole series.
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Job: Freelance illustrator Born: 1989 Nationality: Swedish Location: Gothenburg
SARA ANDREASSON FREELANCE ILLUSTRATOR 2.
Tan Lines is a personal project that I did when i was still in art school in Gothenburg. I wanted to play with gradients and texture on the overexposed parts of the bodies of pale Swedes that becomes crazy the few days a year when the weather is good enough to go to the beach. 3.
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White Noise is a norm-critical project resulting in a series of fashion illustrations, through conformity and resistance aiming to expose the hierarchies that quietly shape the grid against which we are inevitably measured. 4. One of my most recent projects was creating illustrations for Lacoste’s kids label. This particular illustration was printed on t-shirts.
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SARAANDREASSON.COM
Job: Artist & Photographers Born: 1980 Nationality: Irish Location: New York
RICHARD MOSSE PHOTOGRAPHER 1.
In 2012 I released my book Infra of photos using a special film called aerochrome that was developed by the American military in the 70’s. Its film that shows klorofyl that is generated by plants, otherwise unseeable to the human eye. This gives the photos a infrared filtered look. 2.
The rich landscape of the Democratic Republic of Congo becomes almost dreamlike in the new color scheme and highlights the beauty of a region of ongoing war.
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The pictures of this series are taken in the middle of a conflict between rebel groups and Congolese national army. Both sides features in the series, in this photo, a young rebel soldier. 4. Here’s another rebel soldier, a significant thing I noticed taking photos of the men are that they all had a inner conflict of not wanting to be photographed and at the same time craved the attention and really wanted to show of in presence of the camera. 3.
Richardmosse.com
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STUDENT PORTFOLIO
School: Miami Ad School Graduation: 2018 Nationality: Swedish Location: San Francisco
MARTIN VICTORIN GRAPHIC DESIGNER 1.
Personal illustration project imagining a factory in the middle of the desert. I played around with basic shapes, gradients and textures. It’s all done in Adobe Illustrator.
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Sneakers For Robots is an illustarton series that I made into a personal project in 2015. 3. This is a close-up from a redesign i did of Wes Anderson’s The Life Aquatic with Steven Zissou. The illustration made the background of a book for Zissou enthousiasts. In the book you can learn more about all the wonderful creatures of the sea.
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A couple of months ago I made an information /inspiration booklet to highlight artists from the Bauhaus movement. All the trademark design tricks had been applied to the layout and design.
CARGOCOLLECTIVE/ MARTINVICTORIN.COM
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x interview by tina essmaker x
Inspirational and intriguing designer Stefan Sagmeister is recognized for his unorthodox, provocative designs that tweak the status quo and question the designer’s role in society.
Could you describe your path to what you are doing now? Well, my name is Stefan Sagmeister. I’m an Austrian designer who lives and works in New York City. I got to be interested in design when I was 14 or 15. I started to work for a little local magazine, but I quickly found out that I preferred the design part much more than the writing. At the same time, I played in bands that were not very good, which led me to became interested in album covers. That set the trajectory for me to apply to design school later on, when I was 18. I did not get into design school, so I attended a small, private art school for a year and reapplied to the University of Applied Arts Vienna, where I then studied for four years. From there, I received a scholarship to study here in New York at Pratt Institute. I got a Master’s degree and worked for a year or so under the mantle of work-study. Then I had to go back because that scholarship came with a two-year home residency requirement. I went back to Vienna for a year, then spent two years in Hong Kong, which was probably the most commercial time of my life. I worked under the mantle of a large advertising agency and opened a design studio for them. Through that, I learned everything there is about running a design studio; we worked for some of the agency’s very large clients and some of our own, much smaller clients within that construct. Then I came back to New York, worked for my hero, Tibor Kalman, for half a year, and opened my own studio. When I started it, the idea behind the studio was to design for the music industry and to stay small. The first became boring after six or seven
years, and we branched out in many other directions in addition to music. We stayed true to the second one; after 20 years of being in business, we are still tiny. A few minutes ago, before we began this interview, you mentioned that you started your studio out of your apartment? Yes. The same as what you had mentioned— the idea was to keep overhead very low so that we would not be financially dependent on our clients and still be able to pick and choose an account based on the merit of the job, rather than how much it paid. I think that turned out to be a very important strategy that influenced the trajectory of the studio greatly. That is personally interesting to me because Ryan and I are working out of our apartment right now after going out on our own full-time in January. How long did you work out of your apartment before you moved into a studio space? Forever. We stayed there for 15 years, even though that wasn’t my intent. We’ve only been in our current space about five years now. I had looked for two spaces and, even though looking at real estate in 1993 was much easier than it is now, I didn’t find two good spaces. What I did find was one space on two floors that seemed possible—it was a duplex apartment. I reluctantly put the work and home situation together. Because of that, we introduced some clear rules from the very beginning: we stopped work at 7pm, unless there was a real catastrophe, and we didn’t work on the weekends. At that point, I had one or two people working with me. Stopping work at 7pm each night brought about a couple of really nice
”Hobbies are for people that don’t like what they’re doing” pinterest magazine issue 001
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things: mainly, we worked really hard until 7pm, because there was still all of this stuff to do. It created an atmosphere where there wasn’t personal phone calls or things like social media, which didn’t exist back then. We started at 9:30 or 10am and ended at 7pm; in between was hard work. It created a nice separation. At 7pm, it was like, “Whew! We are done.”
”From ages 26 to 29, I
worked 16 hours a day, including weekends. I did not like it. I knew that if I continued that way, I would not continue to be a designer; I’d be burned out by 35 and have to do something else”
I had seen design studios with a home office where the principals sat around in their bathrobes at 11:30am, looking through the papers. Of course, then they had to work every night until 2am because the work had to get done. I was fearful of that, but it didn’t happen. So many people told me I would love it when work and life were finally separated. I think it’s fine and appropriate, especially now that the age difference between me and some of our team is so big. Plus there are some people who want to come in on the weekend and do this or that, which wouldn’t have been possible before. Yet I didn’t feel relief when we finally moved into a studio. I was fine for the first 15 years. It’s been a good transition for us, but we have multiple projects that we’re balancing right now, including a magazine. I think that once that is out, we’ll set more regular hours. But, lately, we’ve been working very long days. Not that I need to give you advice. I’ll take it (laughing). In my case, the strict hours were helpful. When I opened that studio in Hong Kong, I was 29. From ages 26 to 29, I worked 16 hours a day, including weekends. I did not like it. I knew that if I continued that way, I would not continue to be a designer; I’d be burned out by 35 and have to do something else. I liked being a designer too much to go down that route. I thought design was the thing I wanted to do, and it was clear to me when I opened the studio that I had to find a structure that was sustainable for a long time. I also think there’s a time in your life when it’s necessary to work more, but if you want to do this long-term, not everything can be a baby all the time—you can’t keep giving birth.
SAGMEISTER AND WALSH
SAGMEISTER AND WALSH
Did you have an “Aha!” moment when you knew that design was what you wanted to do?
I think the first development was simple and easy because I did a lot of work for that magazine. The magazine was culturally active: it organized a concert series here or a demonstration there. All of that needed some sort of graphic design, like a poster. I did those and I liked doing them more than the others at the magazine, so I did a better job. But I don’t think that was an “Aha!” moment; it was more, “I really like doing this.”
” The only risk is not taking a risk”
Has there been a point when you’ve decided to take a big risk to moved forward?
When you opened your studio, did you have a mentor in regards to business, or did you figure it out on your own? Well, at the time, there was a group around called First Tuesdays, which was roughly a dozen design group heads who met on the first Tuesday of the month to talk about something other than design. We talked about anything from health insurance to how to run a
business. The subject changed each month. It was always held at somebody’s studio and that person had to provide the drinks and food and was in charge of choosing a subject and preparing something about it. Then everyone in the group would talk about that subject and share how they did things. It was brilliant for somebody like me who knew very little.
SAGMEISTER AND WALSH
There are two things that come to mind: one was the opening of the studio when we sent out that postcard of me, naked. I was fearful of it at that point, and I had a girlfriend who thought it was going to cost me the only client I had. In some ways, I think that was an important thing to do as a first project because I needed to overcome my fear. It turned out well, meaning the client loved it and put it up in his office with a sticky note attached stating: “The only risk in life is to take no risk.”
”I think that while I’m doing something, I’m never satisfied. But there are times I look at a project and recognize that it’s the best we can do because it’s at the edge of what we’re capable of in that moment. I think that’s about the best you can do” Have you had mentors along the way?
When Jessica joined the studio and we sent out the announcement with both of us naked, it wasn’t a risk for me—although it probably was for Jessica. It was kind of jokey and we had done a number of projects with nudity by then. There was zero risk for me.
The biggest one was Tibor Kalman. While I was studying, I followed the work of M&Co, which was the studio that he ran. As a student, that was the Holy Grail—it made sense to me. The work was smart, witty, conceptual; it took form seriously, but in an understated way, which fit me well at the time. After 50 phone calls, I managed to get an interview with Tibor, and then I worked with him.
I think it’s always risky the first time, though. My first sabbatical was similar. I was going to ask about that. I had a very uneasy feeling in my stomach: Will we lose all our clients? Will we be forgotten? Will the first seven years we spent building the company be for naught? There were all these real fears. When none of them turned out to be true, the second sabbatical was zero risk.
Did you had your eye on working with Tibor? In a way. I interviewed him for my thesis and managed to smuggle my portfolio in and show that as well. Then I heard from somebody else that he kept it in his office. From then on, we kept in contact until after I returned from Hong Kong and worked for him. SAGMEISTER AND WALSH
Are you creatively satisfied? The lame answer is sometimes. I think that while I’m doing something, I’m never satisfied. But there are times I look at a project and recognize that it’s the best we can do because it’s at the edge of what we’re capable of in that moment. I think that’s about the best you can do. Later on, depending on how they’re received, some projects become a smashing success and I think, “I knew it was fantastic!” (both laughing) And some are utter failures and, of course, I knew that, too! Are there any projects you want to explore in the next few years? Right now, I want to finish The Happy Film. That’s the biggest thing. Having encountered all the difficulties of making the film, simply because of the vastness of the theme, I promised myself that the next project will be about my toenail or something really tiny. (laughing) I don’t know, but, ultimately, I have a couple of directions. Even though I’m not a very secretive person, I try not to talk about future projects, simply because I’ve learned that if I do, I live so much through them that I lose the desire to do them—it’s a very Viennese trait. So many people sit in the cafes in Vienna and talk about the things they want to do and lose the desire to do them. What kind of legacy do you hope to leave? Hmm. I would have to think about it. It’s one of those things that Tibor was interested in at one of the various points I met up with him, and I didn’t get it at the time. Toward the end of his life, when he was already sick, Tibor was really interested in his legacy. I thought, “Really? That’s so boring.” But I’m sure that there’s going to be a time in my life when I’m interested in my legacy and probably, hopefully, actively worrying about it and building it, but not now.
SAGMEISTER AND WALSH
”After a short amount of time, it’s easy to realize that most people are not that much smarter than you—they just go for it. Why not go for it yourself, too?” 24
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DREAM BRIEFS
designstudio
Brand overhaul
TURO - TURNING TRAVEL INTO ADVENTURE. CLIENT: RelayRides/Turo
AGENCY: Designstudio
BRIEF: Our brief was to do a massive brand overhaul, Turo previously known as RelayRides needed a new take on both brand visuals and overall communication. The brand was well positioned to disrupt the car rental industry by connecting renters directly to vehicle owners. With cars sitting idle 92% of the time, Turo plans on putting our one billion cars to better use. Throughout the process, we rented over 40 cars through Turo’s service — and even put up our own personal cars for rent. We wanted to live in the spirit of the brand, infusing that sense of adventure into every step of our process. The new name and logo symbolise the starting point of the journey. The identity is simple, clear and directional – encouraging all of us to get out there and start our next adventure.
BRANDING: The new brand is built on these core characteristics, underpinning everything the brand stands for. For both renters and owners, it’s about embracing our own adventurous spirit and celebrating the journey. This character is expressed throughout all the design work. The brand uses color in a very simple, selective and secondary manner – allowing for the owners’ cars and renters’ aspirations to form the color story. We also broke the rental industry mould with a new typographic approach, utilizing a series of serif typefaces, presenting Turo with a more refined, editorial tone.Once the identity system was formalized, we worked hand-in-hand with Turo’s team on core elements of the user flow, designing key screens across the web and within the product itself.
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YEAR: 2016
BRINGING IT TO LIFE: To further celebrate the spirit of adventure, we concepted a brand film — introducing Turo to the world. Turo already has an amazing user base across 3,000 cities and 270 airports. Yet the community didn’t have a place to share their own stories. As part of the brand launch, we developed content to kickstart a new user generated blog – Adventure Stories. Each member of our team took to the open road to record their own stories as a photo-journal. From Chicago to Big Sur to Cincinnati, these genuine adventures have helped create a library of authentic content for the brand. Check out Brian’s trip to the Pacific Northwest, Pete’s Tesla surprise, Julia’s weekend in Nashville, and a whole bunch more.
JR-Art
Magazine cover
A WALKER IN THE CITY. CLIENT: The New York Times
ARTIST: JR
YEAR: 2015
BRIEF: An installation at Ellis Island features large archival photographs of immigrants displayed throughout the island’s abandoned hospital. The locals, the not-famous, the threatened and the threatening, figures in the margins. To be an immigrant is to have moved; to be a New Yorker is to keep moving. Everybody is from somewhere, and that’s the strength of the city.
IDEA: The first question we ask you when you get to the city is where you’re from,” says JR, who refers to his “mixed origins” and is himself a relative newcomer, having lived part time in New York for four years. “That’s something really special. Where I come from in France, when someone asks you, ‘Oh, where are you from?’ people can take it the wrong way. People say: ‘What? Am I not French enough for you?’ Here, there’s not a sense of that.
For this project, we decided we’d photograph recent immigrants and paste their images on the city’s streets, where they and other immigrants are often invisible. The pasting would be made in the heart of Manhattan, on Flatiron plaza, the triangle of pavement between Fifth Avenue, Broadway and East 23rd Street. 29
BRING IT TO LIFE: After JR took each person’s portrait in his studio, the likeness was printed larger than life on stock paper (often on several pieces taped together). Then he photographed each subject again outside, on the street, holding up that magnified self. As captured here by JR, these newest New Yorkers become portraits in motion, unstuck, peeled loose, set free in the city. The picture was then printed on 62 strips of paper. JR and his 20-person crew took these strips to Flatiron plaza and began affixing them to the ground at 4 a.m. The pasting took about three and a half hours and resulted in a 150-foot-tall image of Aliyev striding eastward. The sun came up. Pedestrians began to wander over Aliyev. Just as JR had predicted, they often walked right over him without even noticing. pinterest magazine issue 001
PINNERS TO FOLLOW
ASTRID CAMPOS GRAPHIC DESIGNER
GREG LUTZE ART DIRECTOR
KAREN HOFSTETTER creative director
Astrid Campos is an artist and graphic designer based in California. She produces collaborative projects with other artists and exhibited work for galleries and museums all over the state. When not occupied with her work or studio projects she writes nonsensical poems and prose, and sleuths by night. However, she spends most of her waking hours traversing the net lately to find the best new designs. She is one of the biggest influencers in design on pinterest with almost a million followers.
Greg Lutze is a creative art director based in Oakland, California. He is one of the founders of the hugely successful app VSCO, that was awarded App of the Year by Apple and Best New App from Google in 2015. He works with experience design and print design in a wide range of fields and on pinterest he gathers all of his favorite visuals on a big spread of pinboards. Whether you are interested in new design furniture or contemporary art, Greg has a pinboard for your taste, all with his significant selection of avant garde and trendy twist.
Karen Hofstetter is a print specialist and creative director from Brazil, active in Berlin. She creates prints designs that are printed on a wide range of different textiles that she sells. On her pinboards you will find beautiful illustrations, interior design and patterns, a lot of patterns! Her taste is defines by soft and light colors with powerful visuals.
Astrid is a great creative to follow if you enjoy organic illustrations and soft pastel tones.
A perfect creative to follow for keeping up on trends and tech from a design perspective.
Follow Karen for her contemporary design and get inspired by her beautiful patterns.
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