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JESSICA WALSH Jessica Walsh es una directora de diseño y arte que trabaja como socia en la firma de diseño Sagmeister & Walsh con sede en Nueva York. Da conferencias sobre diseño en conferencias creativas y universidades a nivel internacional. Ella enseña diseño y tipografía en The School of Visual Arts en NYC. Su trabajo ha ganado numerosos premios en la mayoría de los principales concursos de diseño, incluidos Type Director’s Club, Art Director’s Club, SPD, Print, New York Festivals, D & AD, TDC Tokyo y Graphis, entre muchos otros. Se le ha otorgado a Forbes “30 de las 30 mejores creatividades que diseñan el futuro” y los “10 mejores creativos visuales” de Ad Age. Su trabajo ha aparecido en numerosos libros y revistas. Los clientes incluyen: Museo de Arte Moderno, The Jewish Museum, Institute of Arte contemporáneo Philadelphia, Barneys, The New York Times, Levis, Adobe y The School of Visual Arts. Organiza programas de tutoría para mujeres creativas a través de su iniciativa Ladies, Wine & Design; que se ha extendido a más de 40 capítulos en 30 países de todo el mundo. Su proyecto personal “40 días de citas” recibió más de 10 millones de lectores y recibió reconocimiento internacional, incluyendo anuncios de “The Today Show” y “The View”. Warner Bros compró los derechos de la película “40 Days of Dating”. Actualmente está trabajando en el guión. Abrams acaba de lanzar su libro “40 días de citas: un experimento”, que está disponible para su compra en línea y en librerías de todo el mundo.

Nacida en el 1986 ,como yo  , pero en Nueva York. Despuntó desde muy pequeña en temas de programación web y diseño, con solo 11 añitos ya se atrevía con el diseño del logotipo de la empresa de software de su familia. Se forjó una personalidad muy curiosa y creativa y no paró de aprender por sí misma hasta que en 2008 se graduó en la Rhode Island School of Design. Justo después realizó prácticas en Pentagram, ¡en el equipo de Paula Scher! y pasó a ser la directora de arte la revista Print, que compaginó como diseñadora e ilustradora de portadas para The New York Times. Apuntaba maneras, hasta que en 2012, sólo con 25 añitos y dos trabajados en el estudio de Stefan Sagmeister, se convirtió en su socia. Una carrera verdaderamente meteórica. Ha sido galardonada con un gran número de prestigiosos premios entre ellos el del Art Director’s Club, Type Director’s Club, SPD, Print, New York Festivals, D&AD, TDC Tokyo, y el galardón Graphis entre muchos otros.

Jessica utiliza la ironía, el humor y el juego en la mayoría de sus proyectos creativos. Ha desarrollado su propio lenguaje visual. Tiene un universo de colores, formas y lettering, influenciado por tendencias de los años 70 y 80. Mezcla mensajes irreverentes en piezas que luego fotografía. Su diseño es vibrante, reivindicativo y siempre sorprendente.

A Jessica no le importa mostrarse vulnerable ante el público. Es una creativa muy mediática. Lleva muchos años ya compartiendo su vida a través de las redes sociales y de varios experimentos documentados con textos y vídeos como “12 ways of Kidness” y el libro “40 days Dating”. En ambos

proyectos, Tim Goodman y ella exploran desde un punto de vista sociológico diversas faceta humanas. Es una persona muy comprometida con las causas feministas. Como en muchos otros sectores, en el diseño y la creatividad hay pocas mujeres que tengan cargos directivos todavía. Por eso creó la plataforma Ladies Wine & Design. Una iniciativa que quiere ayudar a cambiar esto a través de charlas, portfolio reviews, reuniones y workshops… entre mujeres. De momento, ya hay 180 ciudades en el mundo en el que organizan estos eventos, echa un vistazo a ver si tu ciudad está incluida.

Sagmeister & Walsh[edit] After earning her Bachelor of Fine Arts from RISD in 2008, Walsh moved to New York City. to intern at the notable design firm Pentagram. She turned down a job at Apple where she was offered nearly $100,000 annually to accept the internship under Paula Scher at Pentagram, where she would stay for nearly a year. [3][5] She then worked as an associate art director at Print magazine[5] and had design work and illustrations featured in various books, magazines and newspapers, including the New York Times and New York Times Magazine.[6][7] In reflections about her time at Print magazine, she identifies it as one of the best things to happen in her career as it was how she found and developed her personal style.[8] In 2010, Walsh met Stefan Sagmeister. He looked through her portfolio and offered her a job at his design studio, Sagmeister Inc.[3][4] In June 2012, after two years at the firm, Walsh was made partner, at age 25.[9][10] In homage to a nude self-portrait Sagmeister had sent out to announce the formation of his own firm 19 years prior, the new partners released a photo of themselves naked in their office to announce the renaming of the firm to Sagmeister & Walsh.[9] Blending handcraft, photography and painting with digital design, [1][11] Walsh works primarily on branding, typography, website design and art installations. [7] Her signature style has been described as "bold, emotional and provocative" [4] with the occasional surrealistic flourish,[12] and her art has been said to look "hand-made and at times quite daring." [7] Walsh has worked on projects for clients including Levi's, Aizone, Adobe and Colab Eyewear,[3] [13]  and rebranding efforts for The Jewish Museum of New York and the Aldrich Contemporary Art Museum in Connecticut.[1][14] Walsh and Sagmeister collaborated on Six Things: Sagmeister & Walsh, an exhibition that opened at the Jewish Museum in March 2013, and ran for five months. For the exhibit, an exploration of happiness, they created a sound-activated sculpture and five short films.[15] In July 2019, Walsh announced she was leaving Sagmeister & Walsh and forming her own studio, & Walsh, which will replace Sagmeister & Walsh who will not take on new clients. The new studio will support collaborations between the former partners and employees and many clients will move to the new company. Walsh has said that the studio is a fulfillment of her dreams as a teen to run her own business and the studio will become one of 36 female-led creative studios in the United States.[16]

40 Days of Dating[edit] In 2013, Walsh and fellow designer and friend Tim Goodman decided to date for 40 days to see if they could overcome their relationship issues and fall in love. They documented the social experiment on a blog, 40 Days of Dating, launched in July 2013.[3][17] In support of the blog, which earned more than 5 million unique visitors in less than a year, [3] they appeared in segments on talk shows Today[18] and The View.[19] In September 2013, Warner Brothers purchased the film rights, with a screenplay to be written by Lorene Scafaria, and Michael Sucsy attached to direct.[20][21] Walsh and Goodman will serve as consulting

writers on the script[17] and also wrote a book for Abrams, 40 Days of Dating: An Experiment, out in early 2015.[3][4]

12 Kinds of Kindness[edit] In 2016, Walsh and Goodman began a second project together, "A 12-step experiment designed to open [their] hearts, eyes, and minds".[22] Throughout 12 steps, the two designers contributed to society with their kindness and recorded the results, teaching themselves and their readers lessons of how a little contribution can go a long way. From going around the city of New York, asking strangers if they need help, to placing themselves into the shoes of those who receive the most negative feedback, such as telemarketers and homeless, Walsh and Goodman's experiment has received astounding feedback. Apart from an entertaining social experiment to follow, Walsh and Goodman also ask for the readers' interaction and contribution by including a "make your own steps" section to the website. They invite followers to join their journey, "whether it's random acts of kindness, facing a fear or insecurity, being nice to your enemies, or paying it forward,"[23] and document with photography, illustrations, writing, and typography on social media with the tag #12kindsofkindness. Although the two designers led the project, the acquired immense assistance from friends, family and co-workers, from film to animation included to illustrate each step. The experiment was live from January 13 to March 15, 2016. [24]

Ladies Wine and Design[edit] In March 2016, Jessica Walsh and Timothy Goodman were in the middle of their “12 Kinds of Kindness” project, a 12-step program created in the hopes of becoming kinder, more empathetic people. Step seven of this project was entitled “Kill them with Kindness”. [25] During this stage, Jessica came to realize that often women in the design industry see each other as competition instead of allies, and so she came up with the idea of “Ladies, Wine and a bit of Design.” Jessica started Ladies, Wine & Design (LWD) in Brooklyn and since April 2016, chapters have been started in over 250 cities around the world, led by local creative women who have the same passion as Jessica to see a change in the industry. In the past year, the global Ladies, Wine & Design initiative has continued to grow. Official LWD merchandise is planned to be on sale in the future. The official Instagram for the organization, @ladieswinedesign, features inspiring advice and highlights from chapters all over the world. Unlike most networking types of groups, Ladies, Wine & Design events are intentionally kept small to better foster community and creativity between the attendees. [citation needed]

Other work[edit] Walsh teaches design and typography at the School of Visual Arts in New York.[26][27] She is represented by Creative Artists Agency.[20] One of the popular social campaign’s Jessica has done was titled #JessicaWalshHasNoFilter, and has recently been updated to #SorryNoFilterImages as it includes work from more artists and provides a broader audience.

Jessica Walsh, diseñadora, directora de arte y socia de oficina de Stefan Sagmeister, trabaja para clientes como Jay-Z, Barneys, The New York Times, Levi's y el Museo de Arte Moderno. Sus múltiples obras galardonadas aparecen en libros, galerías, museos y revistas de todo el mundo. se muestra. Jessica Walsh recibió numerosos premios, entre ellos "30 de los 30 mejores creativos que diseñan el futuro" por la revista Forbes. Su libro "40 días de citas" fue filmado por Warner Brothers.

Jessica Walsh llegó a nuestra industria a romper paradigmas y crear bajo sus propios parámetros. Ella, socia del famoso estudio Sagmesister & Walsh, es sinónimo de excelencia y creatividad en el mundo del branding y el diseño. Entre sus clientes están grandes marcas como The New York Times, Kia, AutoDesk, Frooti, Adobe, HBO Studio productions, Levis, Crown Plaza y Red Bull. Su estilo irreverente, arriesgado y colorido la caracteriza, pero sobre todo, su forma de trabajo. Ella es promotora de « Work hard, play hard«, pues considera que el juego es parte fundamental del proceso creativo. Para esta directora de arte y diseñadora, jugar significa realizar experimentos, descubrimientos, avances, y sobre todo, tener un almar curiosa. De esta manaera, evitaremos el riesgo de caer el rutina. Ella lo demuestra a través de su trabajo lleno de energía y color. Te invitamos a conocer más de este a continuación:

The New York Times Jessica realizó esta portada para le sección Arts & Leisure  de The New York Times. La meta fue crear una imagen que represente, en conjunto, la música clásica y pop, teatro, arte, verano y diferentes elementos de varias regiones de EE.UU.

Frooti Junto a Sagmeister & Walsh, Jessica desarrolló una nueva imagen para Frooti, una de las bebidas más populares en India. El reto fue diseñar un lenguaje visual, conceptos y estrategia para lanzar una campaña multiplataforma en medios impresos, redes sociales, web, juegos y un comercial de televisión. El objetivo principal: presentar un nuevo empaque de una manera fresca y divertida. La idea a la que llegó con su equipo, fue la de crear un mundo en miniatura usando pequeños modelos a escala de personas, vehículos y plantas, manteniendo únicamente los empaques de Frooti y los magos en tamaño real.

https://insights.la/2016/06/27/jessica-walsh-irreverencia-y-color-que-funcionan/

Adobe En 2014, Adobe acudió a Sagmeister & Walsh y les solicitó un gráfico interpretativo de su logo. Tanto su socio Stefan Sagmeister, como ella, realizaron propuestas individuales. Estos fueron algunos de los resultados del trabajo de Jessica:

Kia Junto a Sagmeister & Walsh, creó el concepto de este carro para Kia, llamado Light & Shadows (yin & yang). El carro y su entorno fueron convertidos en una gran sopa de letras. Los visitantes del show fueron desafiados a encontrar cientos de palabras escondidas, relacionadas con la temática.

Las claves El trabajo de Jessica se trata de crear o redefinir la personalidad de una marca, como ella lo ha demostrado a través de sus trabajos. Uno de los errores que muchos comenten, es hacer algo minimalista que no comunique absolutamente nada. Por lo tanto, la clave principal está en el proceso. Empezar por los atributos de dicha marca, en especial los que la hacen resaltar de las demás. La siguiente clave es el concepto, capaz de encarnar dichos atributos y acoplarse a todos los medios posibles. Luego, el proceso gira en torno al color, la audacia, la vanguardia, la energía, y más que nada, las emociones. El resultado final no debe solo ser estéticamente atractivo, sino también funcional. En todo este proceso, es donde debemos involucrar el juego, la imaginación, la fantasía y la curiosidad. Solo de esta manera, no solo cumplir con el cliente, sino sorprender. Y así, es el multidisciplinario trabajo de Jessica. Ella será speaker de Reinvention 2016, en donde podrás conocer más sobre esta técnica del proceso creativo de jugar mientras trabajamos. Recordemos, jugar no tiene nada malo. Los niños siempre juegan porque ellos creen que todo es posible, es hora de seguir ese ejemplo y recuperar esa visión de vida que alguna vez tuvimos .

The design phenom blends candid typography with maximalist concepts to transport us to a powerful new world. Could you tell me a little about your background, where did you grow up and when did you embark on your professional journey? I was born in NY, but moved to a conservative town in Connecticut when I was 5 and raised there. My parents were entrepreneurs and growing up I figured I would follow their path and go to business school. When I was eleven, I became obsessed with an online pet named “Kacheek,” which was a part of an online game called Neopets. One element of the game allowed you to create a website for your digital pet and I wanted to make the best webpage ever, so I taught myself HTML, CSS, and various graphic programs. By the time I was twelve, I had decided to make a website that could teach other kids how to code. Google ads had just launched and, out of curiosity, I tried placing a banner ad on my website. All of a sudden, I started getting large checks from Google every month. At that point, I realised I could make money from what I considered a passion, which gave me the confidence to pursue a career in design.

I studied at Rhode Island School of Design where I was encouraged to get off the computer and experiment with materials. While uncomfortable at first, it turned out to be one of the most valuable parts of my education. I quickly realised the potential to merge analogue with digital work to make it more interesting. I also learned the value of creative collaborations in order to achieve an idea or vision I couldn’t have done on my own. Following RISD I faced a tough decision. I interned at Apple, and they offered me a well-paid position. I was attracted to the idea of a laid-back California lifestyle and a comfortable paycheck; however, I wondered if I would be happier in New York at a design studio where I’d get a variety of challenges. Instead of accepting the job at Apple, I started a low-paid internship working for one of my design idols, Paula Scher. It was a huge risk, but I learned so much working with her at Pentagram. I threw myself into the work and worked nights and weekends on freelance projects to pay my rent.

From there I worked at design magazine Print where I developed a surreal, handcrafted, playful style that I am now known for. I then moved to work with Stefan Sagmeister at his studio for two and a half years, and we worked very well together. In 2012 we started to have conversations about how we could continue to collaborate in a way that was mutually beneficial for the both of us. I was already in charge of most of the client work at the studio and had

been thinking of starting my own studio so that I could get recognition for the work that I was doing. Stefan was interested in spending more time on the studio’s self-initiated projects like The Happy Film. We worked out a partnership, which allows us to do both things and to help each other in the process.

Can you describe your day-to-day life – How does the day usually start and end for you? What gets you out of bed in the morning and what keeps you awake at night? I don’t have a consistent daily routine, which is part of what I love about my job. Sometimes I’m travelling and giving talks or workshops, other times I am at new business meetings or photo shoots, other times I am at the office designing or working with our team. In the last few weeks, my routine has been quite boring as we’ve been swamped at the studio. To be honest, we are always swamped; I keep pretending it’s a temporary thing that will go away one day even though I know realistically it won’t. Anyways, the last week I’ve woken up around 5-6 a.m. I do a few hours of writing or client emails. I love to multi-task, even when I am at the gym or blow drying my hair I am still answering emails or updating Instagram. I usually try to plan meetings in the morning, so they don’t break up my day as much, and after that, I go into the office. I work at the office until 5-7 p.m. I also often plan meetings at the end of the day, again, so they don’t break up my day. People sometimes assume I have a huge social life and that I must be out and about at events all the time, but that’s not the case. I am an introvert and socialising every night takes too much energy. I do have a few close friends and family with whom I will meet up with for dinner or drinks a few nights a week.

What is your creative philosophy? I am interested in creating emotionally engaging, concept-driven work that is embodied in beautiful forms. I always try to approach the process in a playful way, with a sense of humour. I want people who view my work to experience or feel something, whether it makes them think, brings them joy or offers them inspiration.  I always aim to create functional work that achieves our clients’ goals.

Travel seems to be an important part of your life, how do these journeys inform your work? Conferences are a great way to keep up to date with what others are doing / thinking and challenge yourself to see things from a new perspective. They also bring together interesting and inspiring speakers who are experts in their fields. I myself have found much inspiration and knowledge by attending conferences that I apply to our studio’s practice. I have also met many talented creatives at conferences that our studio collaborates with.

Can you tell us about 40 Days of Dating? 40 Days of Dating is a project that I did with a good friend of mine, Timothy Goodman. We were friends for years, and we always made fun of each other for our opposite relationship problems and styles. We wanted to explore our habits and fears in order to learn more about the nature of relationships and love. We decided to date each other for forty days and keep diary entries about each date. We recorded our daily experiences, created videos, and made illustrations.  We launched a blog where you can read our daily records appearing side by side. Since the launch, over twenty-five million unique people have visited the blog, and we have received thousands of e-mails from people around the world. Some people hated the project, but most people were touched and felt they related to our experiences. We wrote a book published by Abrams, and the film rights were optioned to Warner Bros, who are working on making a movie based on our experience.

What are the best and most challenging parts of your role? Right after I started to receive a lot of attention, mostly after #40daysofdating , I found myself stifled by perceived expectations for a month or so. I worried if people expected me to constantly create this kind of “viral” or popular work. I worried about waking up one day and not having any more good ideas. I worried when making something that people would think about it, and if / how the haters might hate on it. However, I quickly realised that this was all pretty silly. I had always created for fulfilment: whether it was to make something I wanted to see in the world that I was passionate about, to challenge myself, or to give back to others. I realised if I tried to create work to satisfy others or to live up to these perceived expectations, my work would go nowhere. It’s impossible to make everyone happy! There’s a great quote from Tibor Kalman that says, “If you make something no one hates, no one loves it either,” which I think is so true; there is a fine line between love and hate. I like to create work that starts dialogues, evokes emotion, or illuminates my own personal voice or views and beliefs. Not everyone is going to like what I do or have to say, and that’s okay. So, I stopped worrying so much about everyone else. I focus every day on doing the best work I can and keeping myself stimulated and challenged. I try to use design as a tool to illuminate meaningful topics outside of the design world that I find important. Many people don’t like me or what I make or what I have to say, and that’s okay! That is their right, too.

You have been exceptionally proactive in sharing your journey, offering personal learnings and insights via your Instagram. You don’t shy away from discussing difficult subjects and taboos in life and work. What motivates you to keep sharing your thoughts and struggles? I struggled with depression and anxiety when I was much younger, and after I was diagnosed, I was determined to learn as much as I could about these illnesses to learn how to help myself out of the negative and closed state of mind. After recovering, I always had a desire to help others struggling from the things I’ve overcome, which was one of the inspirations behind my personal projects like #12kindsofkindness or #letstalkaboutmentalhealth . There is probably more in these areas I’ll explore in my work eventually.

What keeps you so passionate and focused today? My work keeps me inspired, challenged, motivated and fulfilled. We have a ton of interesting projects going on at any one moment in our studio, combined with my passion projects. Not every moment of the process is “fun,” there’s a lot of gritty production and coordination. However, I love the journey of working towards something I believe in, and I’ve always understood that requires a lot of persistence and hard work. I worked my butt

off to get to this point where I now have flexibility and freedom to work when and where I want to which is ideal for me. I used to never take weekends off, though in the last few years I started to as I learned the importance of letting my mind rest and recharge and the importance of occasionally doing nothing.

Where do you find inspiration? I believe that creativity is all about making interesting connections between things that already exist. I think inspiration for those connections can come from everything we experience as human beings: our conversations, our travels, our dreams, art, a great psychology book, our love lives, etc.  I try not to look within our own field of design for inspiration; that’s when you run the risk of regurgitating styles and techniques people are used to seeing. If you

find your inspirations from unexpected places, and vary your inspirations to not be too close to any one source, it’s easier to create unique work. I frequent museums and shows and look at all kinds of creative work, like fashion, furniture design, painting, photography, and sculpture. I listen to music and have conversations with friends. I read books about psychology and science, and blogs about popular culture. The list goes on.

Do you avoid trends? Trendy design and styles can work if you are designing something temporary, like an illustration in a magazine or a poster with a short life-span. However, most of the time at our studio, we seek to create work that can have a long lifespan and stay relevant for a long while, especially in relation to branding. The identity and visual language we create for our clients should stay fresh and relevant even after a decade.

Personal projects have been a huge part of your career development; can you talk about why these are so important to you? Many people struggle with ideas, especially when it comes to self-initiated projects or their own business concepts. It’s easier with creative client work as

you’re often given set rules and limitations from the client such as timeline, budgets, or pre-existing style guides to work within. With your own projects, you can do anything! That is exciting, but it’s also daunting. Most people end up drowning when the possibilities are endless. It’s like going to a restaurant with a thousand items on the menu; it ends up being much harder to figure out what you want. Coming up with ideas is actually not that difficult compared to following through. Do you have any other experimental projects like this planned for the future? I am focused on growing Ladies, Wine & Design. Coming up in the design industry, most of the famous icons or heroes to look up to were men. The design industry was mostly a boys club at the top, and still to this day, only 312% of creative directors or CEO’s are women depending on the country you are in. I started thinking about this a lot a few years ago after a woman in the industry was quite cruel to me on social media for no reason, I didn’t even know her. It made me realise that sometimes women can be unsupportive of other women because our chance of reaching the top is so much slimmer than our male counterparts. This realisation inspired me to create Ladies, Wine & Design. I wanted to bring together women who are determined to help other women, and create a platform where we could share resources and exchange ideas and inspiration and lift each other up and support each other, instead of tearing other down. We hold free mentorship circles, creative meet-ups, salon nights, and conferences. Shortly after starting this in NYC, I had women from around the world contact me to start LWD in their own cities, and we’re now in over 170 cities worldwide!

The stories that have come out of these events have been so inspiring. We’ve heard stories of women who formed bonds through our meet-ups who went on to create studios or new businesses together, women who were inspired from the events to make career changes to pursue what they truly love doing, women who got the courage to ask for a raise or confront a co-worker who was being sexist. The stories go on and on, and it’s very motivating and inspiring to me. This year we launched a merch platform, Sorryihavenofilter.com where my studio designed lots of lady power merch. All the profits go towards expanding LWD. We have many ideas, from hosting larger global events in New York and abroad, to more events for chapter leaders, to expanding our mentorship programs. https://www.oneclub.org/articles/-view/jessica-walsh-unfiltered https://www.wix.com/blog/design/2019/03/jessica-walsh-graphic-designer-interview/ https://www.wix.com/blog/design/2019/01/jessica-walsh-graphic-design-tips/ http://nfgraphics.com/constructivismo-psicodelia-y-op-art-de-la-mano-de-jessica-walsh/