An Interview with Corina Nika.

Corina Nika is the mastermind behind the blog, Cocorinna. An art director, graphic designer and letterer, Corina has worked with the likes of Elie Saab, Nicole Scherzinger, Virgin Australia and Pimkie. Corina began her blog as a creative outlet: an area to document her life, a place to inspire and be inspired and a way to connect with her clients and fellow designers all over the world. Nika uses her home, the island Kefalonia, as an inspiration. I recently contacted Corina in hope I would be able to get a little bit more of an insight into her life: you can see the interview below.



1) What sparked your interest in design as a whole? And when did you decide that Graphic Design was your path?

A few years back when i was in the arts school studying interior design, at the very first year we had a graphic design basics course. Finishing that year, my teacher told me that if i didn’t change direction and study graphic design i would regret it my whole life. And he was right! Once college ended, so had my interest about interior design and the love for the graphics grew stronger and stronger.

2) What challenges have you faced in the design world?

Quite a few, but not as many as others. In my bad luck, i was lucky. I had a surgery a few years ago that had me stay home for about a year not being able to work. So basically i was forced to go freelancing right away. The main challenge was starting from scratch and putting myself out there, building skills, finding clients and slowly - very slowly growing.



3) The creative industries are often seen as a 'mans environment.' Have you felt any sexism towards you as a woman since working in the industry?

Not at all! I would actually say that i’ve seen the exact opposite. I know so many talented ladies in the creative industry and they’re all so strong, empowering and inspiring. I’d like to think that sexism is something that slowly stops existing, replaced by mutual respect and admiration.

4) What would you say your biggest accomplishment is, and why?

Living a creative life. It’s something i’ve always dreamt of. I actually found an old tape back from school where i was asked what i wanted to be when i grew up. And i said, being a famous designer. Well i don’t know about being famous, but i’m definitely a designer, with the luxury of freelancing, and most of all creating everyday. It’s something that fuels my whole life.



5) How important do you think social media is to a designer in this day and age? Do you believe your blog has helped your business in any way, shape or form? And do you have any suggestions of websites you believe a designer should utilise?

Definitely. My blog originally started as a way to connect with the outside world (as i was stuck in the house for a year) and to challenge me to get inspired and design. Today it’s still the same thing, with the difference that there are much more eyes watching, and with social media growing, it’s practically crucial to be present everywhere and be seen.

When it comes to suggestions of website, i’d say pretty much the basic. From having your blog, creating a personal space, to a portfolio and all the social media twitter, instagram, pinterest. Bechance is also a great place to promote your work professionally.

6) Do you have any advice for someone trying to get their foot in the industry?

Believe in yourself, don’t get intimidated we’re all different, embrace that uniqueness and passionate about what you do. Be always open and observant to hear and learn from others and slowly you’ll find what works for you and build your way of working.



7) Your collages with plants are visually stunning. What is your favourite kind of medium to work with, and do you have a favourite area of design, such as branding, illustration, typography or editorial? 

That is so difficult to choose from! I think it depends on the mood. Some days i’m more into branding, and others more into illustration. As a designer, any creative outlet even if it’s just taking pictures or dying is always my favourite.

8) How do you decide which projects you want to work on? Do you ever turn a brief down, and for what reasoning?

I think i’ve never turned down a brief! I love being challenged by different styles and different types of people with all kinds of visions. Working on something specific would be boring i think. It’s such a journey to adapt on each project and bring my touch into the clients vision.



9) What is your creative process? And who or what would you say are your inspirations?

The creative process always changes from project to project and from type of project. It mostly starts with lots of daydreaming, inspiring, sketching and generally experimenting. As for my inspirations, i’m being inspired by every little thing around me. From the small daily things to jaw dropping like magnificent nature.



10) And to make these questions a little more fun, what is a fun fact about you? 

Ok, here’s one that i’ve never shared about me! I get super emotional about raspberries! They’re a big part of my childhood when i was living in Russia. I would gather raspberries from my grandmother’s garden, something i haven’t done ever since i was 5. And lets face it, you can’t find raspberries in Greece! So when i had some in Berlin last month, i couldn’t stop myself and burst into tears! I just go crazy for raspberries.

You can see more of Corina here, here, and here.

A sense of community

You'd think in an industry which relies so heavily on competition and always striving for the top spot, that there would be a lack of support between designers. However, it's become obvious to me that that is not the case: after emailing designers, interacting with and attending industry talks I've realised that there is a huge sense of community within the design world. Many of the designers I have emailed have wished me well in my journey of the aspirational designer hoping to get her foot in the door -- there is acceptance and a hope for others to succeed in such a difficult industry to make a mark in.

Throughout my first and the majority of my second year I found it incredibly difficult to share my work on social media platforms. Always second guessing myself and what I had created, I struggled with the idea of letting others see and critique my portfolio. This fear was verified during my first university interview, which I wrote about in this post. It has held me back in terms of trying to get placements and internships, as I haven't felt ready nor good enough to show my portfolio to industry professionals.

I wanted to work on this and finally try to open up with my work. I feel I've done so and grown my confidence in this area using my blog: blogging has really helped me take a step in the right direction. Unfortunately, I haven't truly utilised any other social media platforms in order to get more of an audience for my blog.

More recently, I've created a twitter, which you can see on the right of my blog. After speaking to Breanna Rose, and hearing from Dave McDonald, I finally understood the importance of social media for my career rather than just using it to keep up with my friends. It's a valuable platform to have on your CV, and also having an audience and keeping up with others blogs and trends using websites such as bloglovin is advantageous to a career in this digital age and post internet generation.

Something I've also began to utilise in terms of showcasing my work, is Instagram. I recently posted up a few photos of current projects I was working on and had completed, using the hashtag design and graphic design to reach out to a broader audience, rather than limiting the images to those who follow me. I was shocked by the amount of likes and comments and direct messages I received, with many sending me compliments and critique. It's clear to see why others share their work, and I believe it will aid me in the future within my career. I do hope to continue utilising social media in the future and create a platform I can be proud of.

The design world is often thought of as a harsh reality. It's competitive, it can be malicious and, full of arrogance. It's a mess of self promotion and constantly striving to be on the top of the podium: As can most industries. What makes the creative industry great is that it is full of so many hoping to see you succeed. It's full of friendship, kindness, support, influence and inspiration: and it's that which makes me most excited to continue my use of social media and continue to connect with more creatives.

Kitchen

For six years of my life, I lived in Spain. I often get told how lucky I was to have experienced living abroad: and I was, I have no doubt about that. Living in Spain has given me something different to answer the common interview question, "tell me an interesting fact about you," and I am incredibly thankful! Living in another country gave me an experience many don't ever get to have, and was essential to my growth. I feel I became a more receptive, understanding and welcoming person due to my adventures, and I am able to communicate well with people from all walks of life.

That being said, I spent most of my time out there wanting to move into the British overseas colony known as Gibraltar. Living so close to the area, I was jealous of those being able to live the foreign experience with the added familiarity of home, Britain. And so when I finally got the chance to move into the area to study A Levels, as my school was only able to provide International Baccalaureate and my family were worried at how recognised the curriculum was, I was extremely happy.

The School I studied at before moving to Gibraltar, Sotogrande International School, promoted and celebrated art as if it were the most important subject. We were constantly encouraged to create, be it musically, technologically, or dramatically. It was intimate and raw: forever being challenged to reach into our imagination, and it is something I believe directly influenced my decision to study Design.

My studies in Gibraltar were a different story. The arts were not celebrated as consciously, and they lacked a contemporary and modern pull. Art was studied mainly through the more traditional methods.

Despite this, Gibraltars education system is well balanced and passionate: the government offer students the opportunity to progress through university free of charge, which is valuable. After completing a degree many return home to the area and try to begin a career. Unfortunately, there is a lack of opportunity in the creative industries within the area, and there is little support.

Recently, a group, dissatisfied with the current situation, have began to take matters into their own hands. Patrizia Imossi, Christopher Tavares and Stefano Blanca Sciacaluga have created a living, breathing workspace for young artists in Gibraltar. With the lack of studio space to facilitate the exploration and experimentation involved in the creative arts, the group set up the place as a blank canvas for all artists of every media. The Listen to the Sirens Space for Contemporary Art concept is simple: an exhibition in the form of a communal studio, allowing curation to occur and culminate into a final show of the achievements within the initiative.

I absolutely love this idea. Like many, I find it difficult to separate my home life to my working life, especially when lacking a space dedicated to such. Though I now have my own workspace within my home, the creation of a studio allowing creatives to collaborate, learn and appreciate each others work will truly aid the design industry in Gibraltar, or rather the lack of one.

Part of the Listen to the Sirens project is Kitchen, a space for "experimenting and trying new recipes." The project is extremely important for many reasons: for creating an arts hub in an area that does not currently possess one, for providing activities, workshops, communication and discussion, and for being a collaboration between the Ministry of Culture of the Government of Gibraltar, and Little Constellation, a Network for Contemporary Arts within small states and micro areas of Europe, based within the Republic of San Marino. It's great to see the government acknowledge the need for a creative space, backing the creative industries and taking on board the need for such a program. The interest and research being currently conducted into contemporary visual cultures within all micro areas of Europe is great news for the trade, and the marriage between different territories allows the project to be more diverse.

As someone who has lived abroad, I can understand the importance of gaining experience within different cultures, especially in an industry which relies heavily on a connection with the audience, therefore it's great to see smaller communities getting involved and opening doors to a better cultural experience: and possibly allowing the opportunity for creatives to have a place and career in the area.

Though the installation will only be operating between the 30th of April until the 5th of June, I hope this is the start of a new direction within Gibraltar. I hope for future students and creatives, myself included should I choose to return to the area following finishing my degree, that the creative arts are more open and easily accessible, and there are more opportunities to explore such. The installation is a great platform, open to all and transforming into something the country can be proud of: building up from the artistry within the area, showing all kinds of different skills and experiences within an area of self study. I truly wish there had been something similar whilst I had been living there, and also wish there was something of this nature within my current location, Newcastle Upon Tyne. The idea of constructing a space from a blank page into a collaboration between so many is beautiful, and a perfect example of the support within the industry, and also community spirit. I can't wait to follow the story and see the final outcome.

You can find out more about the installation here, here.

Lane 7

Newcastle Upon Tyne is well known for it's independent businesses. More recently, there has been an upsurge in the craft and creativity of these businesses: Lane 7 is one of these. Not long ago, I was invited to a staff night out at the venue, which offers a first class dining experience, ten pin bowling, ping pong, pool and karaoke. We decided to hire the private suite for karaoke, and though booking only two hours, ended up staying for free for a further two: the atmosphere and the hilarity was that good. Throw some drinks in the mix, and you've got a great night.

The concept of Lane 7 is brilliant: reminiscent of a venue more likely seen in London, the place boasts a lot of aspects missing from the Tyne nightlife, all in one area. I actually spent the entire evening annoying my co-workers by talking about branding and stealing business cards and placemats.

The branding of Lane 7 was designed by Wonder Stuff studio, an agency based in the North East. The first project of this size for the studio, Lane 7's high class bar/restaurant/bowling alley/karaoke/ping pong/pool hybrid was a new concept for the North East and for all involved, therefore Wonder Stuff had the difficult task of making it a success: they also documented the process over on Identity Designed. As an aspirational designer, it's great to get to see and read the process of industry professionals.

With a brand being the heart and soul of a business, Wonder Stuff understood that the main areas to focus on were the interior, service and communications. They began the project by putting together a mood-board of similar venues and branding influences from across the world.

Basing the interior on a New York inspired warehouse style look and feel, they then had to generate a name. The brief was to create something edgy, flexible and distinct that would tie in with the interior style. After umming and arring, and throwing ideas back and forth, Lane7 was devised. Lane was an obvious reference to the bowling alley, and also a sense of geographical location. The 7 came from the 1,024 possible outcomes of a game of bowling: 1 + 0 + 2 + 4 = 7.

Following the name generation, Wonderstuff then had to create a logo. As you can see from the images above, the process was a lengthy one. They decided to use the relationship between the similarities of the L and 7 to create a bold, confident and ambigramic (a symbol whose elements remain the same when viewed from a different direction or orientation) identity, inspired by the constant movement of the bowling ball.

 

Within the interior and logo, the studio designed a homage to the vintage stylings of ten pins 1950's days: with a hand drawn typographic approach throughout, they developed this into an all-encompassing brand identity system. Following this, they designed a full range of touch points such as letterheads and leaflets, business cards and badges, mugs and menus. This crafted an identifiable characteristic for the brand.

In the brands physical presence the studio was also involved: working alongside local interior designers to ensure the brand, rather than the budget, dictated the design, and designed both internal and external signage, posters, and graphics which fit the venue. They also ensured the staff lived up to the brand, advising the staffing and uniform policy.

It's quite obvious to see why Lane7 is so popular and successful: the design studio had almost full reign on the project and were able to make sure every aspect was neatly in tune with the identity system. This allows the brand to be all encompassing. Whilst I was there, it was clear I wasn't the only one interested in the design: I heard my coworkers and others there at the bar and alleys talking of how beautiful the place was and how much effort had gone into the venue, and it's true. Seeing the North East become a haven for independently owned businesses is great, but seeing those businesses progress to such distinctive and energetic varieties is truly exciting.



I think my favourite aspect of Lane7 is the logo. After stealing a business card and returning home, I pulled out the business card from my purse upside down and noticed it was an ambigram. It's simple, symmetrical and subtle: the best kind of logo. The whole venue is playful, as seen with the hilarious bathroom signs: and it just works.

Wonderstuff Studios managed to bring something creatively new to the North East: something on trend, contemporary and visually stunning, and I highly suggest you check it out. You can find out more here, here and here.

Profile: Jessica Walsh

Jessica Walsh is a designer, art director, illustrator and partner at design studio, Sagmeister & Walsh. As mentioned previously, I came across Stefan Sagmeister's work whilst researching for my Editorial brief last year: since then, he has become possibly my favourite graphic designer. Focusing on his concepts rather than style, Sagmeisters work is both intimate and raw, aiming to shock and connect the viewer.

Walsh reached out to Sagmeister for advice on her portfolio following graduation, and recieved a position within the firm. The mutli-disciplinary designer has stated that Sagmeister was the only person she could really see herself working for: after discussions on how to make it work between them, the pair decided to rename the company to Sagmeister and Walsh and create a partnership. This was a way for the two to be happy working together for many years to come.

"I love the studio and the work we do. I’m so grateful for the opportunities that I’ve been given, but there’s always a part of me that’s really hungry for new work and challenges. I think that a lot of the work I’m doing can be pushed to be better. I think that most creatives are usually discontent with what they’re doing; it drives us to create better work. If I felt completely satisfied, I’d be more likely to recycle the same ideas and styles into my work."

The addition of Jessica Walsh was noted by sending out an email featuring a naked portrait of the two, with the line "We will do anything for design." This was very Sagmeister-style, once again pushing the extremes and utilising the shock factor. Sagmeister stated of the change, "In the two and a half years she has been here Jessica has really shown she can do the entire thing - from ideas to execution to being responsible for the studio. Making her a partner just seemed the right thing to do. She's only 24 but she is an exceptional person."

The hope for the agency was that the addition would allow Sagmeister to operate more self-generated projects, with Walsh working more on client-based work. Walsh manages the studio, whilst Sagmeister oversee's the larger, corporate projects in a creative director role. And it works: the agency is still one of the leading design agencies in the world.

Walsh's story explains how important it is to reach out to other designers, even for advice. Dave McDonald touched upon this point within the industry talk I attended: and Walsh is a great example of how such can benefit not only a portfolio but a career. Design Councils 2010 survey on the British design industry released results revealing that whilst the number of designers has grown nearly a third since 2005, 60% of the industry are male, 93% are white and the average age is 38 years old. With those statistics at hand, seeing a young female fresh out of school making it work amongst a highly acclaimed designer is exciting and gives a lot of hope to the industry.

Speaking of her childhood, Walsh grew up within a household of entrepreneurs: no one in her direct family was involved the art industry, though her parents were very business orientated. With that influence, Walsh created imaginary, small businesses whilst growing up. As her family wasn't involved in the arts, her parents had fear when Walsh decided to progress to art school. Despite this, she believes her family have been supportive throughout her career, and calls her mother "my number one fan." This support has aided Walsh and pushes her to continue to contribute something bigger than herself.

"How we can use design as a tool to affect the bigger picture and reach larger audiences is something that has always been really interesting to me. We’ve done a few projects for charity through the studio and it’s great to be able to use our skills to help communicate messages that we really believe in. In the coming years, I’d like to work on personal projects that touch people well beyond the creative audience. I think one good example of this is the Happy Show that Stefan just launched in Philadelphia, which I did a lot of design and concept work for. We get so many people emailing us to say how the show affected them or changed their lives or just made them smile. I think that’s definitely more the kind of work that I want to be doing."

Speaking of her idea generation, Walsh understands that nowadays, nothing is entirely original. Creativity and ideas come from unexpected connections and inspiration, showcases things we have all encountered before but in a fresh and unusual way. The inspiration for these ideas evolve from our experiences and what we have learned in life. Walsh believes her biggest influences are psychology, fashion, furniture, music, films, space and "everything that makes us human."

"I think it’s invaluable to be surrounded by friends who inspire you and who you can talk to about your work and process. If you’re stuck on a project, you can get an opinion from someone who you trust. It also never hurts to have friends to whine to when Illustrator crashes or your printer doesn’t match your Pantone color correctly."

Walsh works organically based on the projects she has, her strengths and interests and her availability. Her design process varies depending on what area of design the project is: for example, on a branding project she begins with a period of research and brand immersion. Understanding the client is key, from who they are, to their goals and personality of the brand and / or product. The visual solution comes from this content, therefore it is an unbelievably important step. Following this, Walsh begins to design explorations: giving herself plenty of time for this phase. Coming up with concepts and idea generation are Jessica's favourite part of the process: it is the most playful part. Whilst ideas sometimes form straight away, others can take time for trial and error and experimentation: once the direction is decided, she then places all her energy into creating a presentation around the idea which shows the client it's application across different mediums. This process is similar to the process I have learnt through my degree, and I can appreciate how important each stage is to the final outcome. Last year my experimentation lacked within my modules: this year however, I have dedicated more time to this step and feel my solutions have improved greatly.

Walsh's advice for aspiring designers is to follow your heart and do the kind of work that excites you. She explains that we shouldn't worry about getting a high paying job right out of school, but to take the process slow and work with designers and studios we admire to learn as much as we possibly can. Working hard, being persistent, staying curious and challenging ourselves are important components to be successful. That being said, the most important is to have fun. Figure out what drives you as a designer and a person: if it feels like work, then you're probably not going to want to spend the majority of adult life doing it. If you have fun and enjoy your work, others will pick up on that and enjoy it too, therefore benefitting not only yourself, but your clients and colleagues too.

What inspires me most about Jessica Walsh is her attitude. When talking of her legacy, Jessica would like to be remembered as a nice person. Describing herself as a close friends and family sort of person, she believes it's important to have a healthy balance between work and spending a quality life with the people she loves. Of equal importance is creating good work. Walsh has a "down for whatever" energy, and isn't scared to challenge herself and push herself and her work beyond the creative boundaries. Always striving to create something bigger and better, Walsh believes she's incredibly lucky to have found her passion, and wants to continue to create work which makes others stop and think, feel and be inspired. This energy in her work is her success, and she is very much succeeding: the Sagmeister and Walsh collaboration has gone from strength to strength and I can only see it continue to do so.

You can see more of Walsh here, here, and here.

Goals for my Future

I feel I have benefited from creating goals for my final year of my foundation degree, and therefore feel it is important to continue this for the future. Setting targets for myself allows me to focus on areas I feel need improvement and measure my progress. I have felt more motivated during this year due to this, and with my final year right around the corner it's crucial to be in the right mind frame.

1) Following this year I will be continuing my studies at Sunderland University. I would like to continue to keep a diary to plan my modules and be more organised as I feel this has helped me to manage my time more efficiently.

2) I recently got a new job. Although it is still a 20 hour position, it is more flexible and allows me to change my hours if necessary. I would like to continue in my position at work, and possibly advance to a higher level.

3) I would also like to experience placements in the industry. I aim to do this within the summer months. This will require more focus on my portfolio creation and creating a CV that is suitable for these positions.

4) I feel I have expanded my skills in illustrator over the year, using the program within a few of my modules. I do understand there is still a lot of room for improvement and I aim to continue to develop my skills over summer and my final year of my degree. I hope by this time next year I will feel more confident and competent with the program.

5) Within this year I have created many editorial pieces. Following on to next year, I would like to choose briefs that are more open and challenging, such as creating branding identities. I also feel it important to create work outside of university to balance my portfolio and demonstrate my skills away from my course requirements. I believe that by tackling YCN briefs and entering more competition briefs I will be able to show that I am comfortable with working alone and at home.

6) Another goal I have is to continue to reach out to industry figures. I reached out to a few within this year, such as Breanna Rose and Corina Nika, and found their support and advice helpful and uplifting. Hearing other success stories is inspiring, and I have created two great contacts out of doing so. I would like to now reach out to others in the industry but also working in Newcastle Upon Tyne, and ask for advice on my own portfolio.

7) That leads me to my last goal: sharing. I want to continue to share my work through twitter and instagram. I also want to expand the platforms with which I do share my work, and branch out to places such as Cargo Collective and Behance, allowing me to create an online portfolio. I think this will aid my confidence and the criticism I may receive will be taken on board and help me within the future.

Like Knows Like

As mentioned previously in this post, I love to watch documentaries and inspirational videos when working. Whilst watching Ted Talks on Netflix has becoming a daily ritual, I recently came across Like Knows Like. Described as an independent side project, Like Knows Like makes short documentary films about inspiring creatives: photographers, illustrators, designers, entrepreneurs and bloggers all over the world. Though famous for their work, Like Knows Like goes beyond this to share personal stories that otherwise remain untold from these creatives. It delves into their inspirations and personalities, exploring their flaws and who they really are as people. "With these films, we tempt to make your social media experience more meaningful."

Geffen Refaeli


Geffen Refaeli is a freelance illustrator from Israel. Uploading her first "Daily Doodle Gram" on Instagram in May 2012, Refaeli selects elements from different images appearing on her photo stream and combines them into a doodle. This idea of creating something new each day and posting it on social media is something I have been wanting to do as a challenge.

What I found really meaningful about this mini documentary is the way Refaeli speaks about her path. "Given the chance to go back, I think I would become a veterinarian." Freelance design is a lonely business and Refaeli touches upon this, explaining that she would love to be an illustrator part time, and have a career alongside, which allows her to be more sociable and work amongst others.

Jessica Walsh


Jessica Walsh is a well known name within the design community. A designer, art director and illustrator in New York, Walsh is a partner of design studio Sagmeister and Walsh, and teaches at the School of Visual Arts. Most recently, Warner Bros. has acquired the film rights of her side project "40 Days of Dating." This project was a relationship experiment between Walsh and her good friend Tim Goodman, within which the two, dissatisfied with their dating habits and the prospect of being single, dated each other and documented it. With rules of seeing each other every day, going to couples therapy once a week, taking one weekend trip together and not dating others, the project was documented through videos, questionnaires, photographs and typography. Walsh speaks openly about the project within this documentary, explaining how in many ways her art actually saved her, and the aftermath of the project, moving on.

James Victore

James Victore is a designer specialising in poster design. Based in Brooklyn, New York, by the time he was 30 years old his work was exhibited at the Museum of Modern Art. He has continued to expand his work and now has permanent collections in museums in Paris, Washington DC, Zurich and Amsterdam, and has also produced for the New York Times, Time Magazine and Esquire. Victore talks of his childhood and creative influences, and describes how many told him not to pursue a career in this field. Following his success he became a commercial designer and disliked how he wasn't doing the kind of work he enjoyed, no longer designing something that "stirred people's souls." Commercial business is compromise and it was here he realised that he was a better teacher than a designer. Now speaking regularly around the world, Victore is a professor at the School of Visual Arts, lecturing at RISD and teaching through his own events such as "The Dinner Series" and "Take this Job & Love It." I found his talk inspiring, as he raises many points about how design is such a broad subject and though one area may be right for you, others may not: that doesn't make you a bad designer. That makes you human.

I find it difficult to work in absolute silence. It's necessary for my concentration and my motivation to have background noise: I often find that I get distracted by music, so having something inspirational and influencing in the background is a better alternative. It's also important to look past a designers work and understand who they are as a person, and what made them create in such a way: hence why Like Knows Like is a valuable documentation.