Let Me Show You The Way

Who, or what, was one of your first inspirations for what you do and why?

For most people that do most kinds of jobs, inspiration probably looks a lot like money. Less commonly, perhaps one of the things unique to creative professions, is for inspiration to come from other people’s work. But also, like, money too…

I’m interested in the way that the work can be such a turn-on. Visual experiences have always fascinated me…since I was a kid. It took me years to find a direction to point that energy and interest, but eventually, I became a designer.

It’s also worth noting here that I think any profession can be inspired, and therefore creative. It’s perhaps an attitude more so than a style or type of job.

Below, I have designer Kurt Volk, curator Angelina Lippert, and chef Mike Dimmer, each explaining what sparked them to pursue what it is they do…

Kurt Volk,
Designer, Troublemaker Studios and El Rey Network

Kurt has headed design projects for director Robert Rodriguez’s Troublemaker Studios since 2003. He’s created posters and key art, graphic elements that appear in films, title sequences, books, digital and printed promotional pieces, and likely hundreds and hundreds and hundreds of other things that many of us don’t even realize.

Kurt has supervised my work for El Rey Network (a production of Troublemaker) since I began working with them early in 2017. In my experience, Kurt always seems up for a challenge, and likely gets just that while spending his days at Troublemaker…

Who, or what, was one of your first inspirations for what you do and why?

“So when I was growing up, my grandfather owned a clip art business based on the east coast called Volk Art. It was more or less a stock illustration business — he would hire illustrators, designers and typographers to create original artwork that he would print into these small booklets and sell. He hired the great Herb Lubalin to design his logo and he worked with many of the great commercial illustrators of the era. Commercial art was sort of the family business ever since I can remember, so pursuing an art career was this very normal thing to do. There was never a debate about whether I’d become an artist, but what kind of artist I’d become.

My grandfather (I called him Pop Pop) would talk to me about Saul Bass and Milton Glaser when I was way too young to understand why, but his words taught me that there is a set of human hands behind everything I experience in culture. I remember looking at my Raiders of the Lost Ark trading cards and wondering who wrote the blurbs on the back, or wondering why the photo in People magazine from E.T. was from an angle that wasn’t in the movie itself. My grandfather was the first person to teach me to read the credits and to be curious about how creative things are made. He was the catalyst that launched me into making creative decisions of my own.”

Angelina Lippert,
Curator, Poster House

Angelina is the curator at Poster House in New York City. Poster House, which will open in 2019, is the first New York museum which will be dedicated exclusively to the art and medium of posters.

Working with board president Val Crosswhite, and director Julia Knight, Angelina is working to build Poster House in to a home which maps and explores human and graphic history and communication simultaneously. I’m so excited to see what they’re building.

Art history and conservation seems well established in Angelina’s career, but I was interested to find out how it got that way…

Who, or what, was one of your first inspirations for what you do any why?

“My interest in posters actually came about as a happy accident. I needed an internship the summer before heading to graduate school, and in this city you basically need to know someone in order to get a great internship. A childhood friend of mine said his father could get me a spot with his poster dealer, which was decidedly not what I wanted to do – at the time, I viewed posters the way a lot of people view them, as reproductions. And if I had $5,000 I thought (at the time) that I’d rather buy a painting, a unique work, than a printed multiple. But, I took the internship and, thanks to a really wonderful manager, got a lot more hands on experience than I’d ever get at a contemporary gallery or auction house. With her guidance, I started to see posters as not just decorative works of art, but also as little glimpses into history. Everything from big political movements to mundane products appear in posters, so you really get a more complete view of how people from a certain time and place lived – and I find that fascinating.

I ended up going back to the same gallery after grad school, and only left when I heard that they were starting a poster museum called Poster House in NYC. If you asked me in college if I thought I’d be the Chief Curator of a poster museum one day, I don’t think that would have ever occurred to me as a possibility – I thought I’d be running Sotheby’s Modern Art department! And, honestly, I’m glad the whole Sotheby’s thing didn’t pan out because dealing in such a specialized, small world invites so many more discoveries (and challenges) than your standard art world job.”

Mike Dimmer,
Chef, Marble + Rye

Mike Dimmer runs the kitchen at Marble + Rye in my hometown of Buffalo, NY. Marble + Rye is the best restaurant in Buffalo. Yep, I say that with bias, he’s been a friend of mine since before he was cooking, but it’s also a wholehearted belief. His food is great.

Mike created Marble + Rye with his business partner Christian Wilmott, who runs the dining room and bar. Buffalo has pretty specific, home-spun tastes. While pleasing that traditional appetite, Mike has added all kinds of interesting new ideas and built on top of the established food culture of Western New York.

What, specifically, moved him towards a restaurant of his own is a conversation I’ve never had with him. So, let’s see…

Who, or what, was one of your first inspirations for what you do any why?

“Working in the restaurant industry, it’s relatively easy for me to think of a dozen people and places that inspired me to open up my own restaurant and bar.  As I now think about the actual reason I decided to go into this industry, I think the answer is sort of two-fold. First, I’ve worked in a lot of different areas in the hospitality industry. Most times, I would find myself saying “I could do this better”, but never wanted to have an attitude and arrogance towards someone else’s business, so I’d just put my head down and do things their way.

The real moment that I decided this is what I wanted to do with my life was when I was fired from a restaurant management position. As I left, I wasn’t angry or despondent. I felt relieved in the idea that I had learned so much. But what I learned is something that has carried through with me until this day. It wasn’t the recipes, techniques, front of house operation ideas that I was taking with me. I learned how NOT to run a business. I learned how NOT to treat employees. I learned how NOT to run your books and ‘pay’ your taxes. As I moved on from this place and into the next, that’s what I focused on. I never wanted to copy someone else’s style of business or food, but I wanted to make sure I learned from their mistakes. This was invaluable to me. To be able to see these mistakes with no real consequence to myself, and learn from them, was huge. I feel the restaurant industry is one of the few in this world that you can do that. There’s a million right choices to be made every day, but it’s that one wrong decision that can cripple and end you.

So, in all, the experience of being fired from a job I was really good at was the reason I stayed in this industry. Learning what not to do has become a big part of my life and my rental approach to business practices. And I have being rudely fired by an asshole to thank for that.”

Whether it’s the way a job is done, or the way it isn’t, it seems almost refreshing to find footprints already in the paths each of us are on. It’s not so terrifying, and it seems there’s good company along the way.

You can view Kurt’s work at kurtvolk.com.
More info on Poster House from Angelina at posterhouse.org.
More info on Mike and Marble + Rye is at marbleandrye.net.
Header image by me, Derek Gabryszak.

Thanks for reading Question Market 9!


No Surrender

What’s the closest you’ve come to giving up and doing something else?

Every pursuit of a creative profession is different. I learned I will not stop being a designer a couple years ago. I was more anxious about a poster project than I had been for any other I’d ever worked on. I feared my career was on the line.

Momentarily, peace of mind came with the realization that even if the project is dropped completely, it’s not going to erase my ability to, or interest in design. In my head to that point, my entire career was at stake with each gig…

That’s an insane way to work. Operating that way makes the work suffer. It’s a disservice to you, your clients or audience, and anyone you care about. Do not do that.

It’s a weird topic…giving up. It can be interpreted different ways. It can be smart. Realizing you’re not equipped for whatever it is you’re doing, and putting your time and energy elsewhere…could be brilliant. It can be looked down upon…seen as not having the strength to work toward and achieve a goal. And it can be a bunch of other shit too…likely filled with corporate buzz words I don’t really want to use. So with that, let’s get to the thoughts of some amazing creative people.

Below, I have Dick Zigun, Joanna Hausmann, and Midnight Marauder to describe brushes they’ve had with creative instability, how, and why they persisted…

Dick Zigun,
Founder of the Coney Island Circus Sideshow

Dick founded Coney Island USA in 1980 and since then, has dedicated his life to the unordinary. Coney Island is a magical place, and Dick has everything to do with it’s modern identity. Coney is among the main elements in the make up of New York City. At the same time, it kinda has nothing to do with New York, and can even feel like something far, far away. It’s got it’s own thing going.

Dick established, and maintains that identity. He’s a complete, true creative, and seems hell bent to show the world that it can be seen differently. That’s what I’m shooting for as a creative, too. I don’t know Dick, at all, but he was wonderful enough to tell me a bit about himself…

What’s the closest you’ve come to giving up and doing something else?

“In Fall of 1995 we lost the lease on the Boardwalk building that had been our headquarters for 11 years. Half our Board of Directors resigned & we obviously had no funds & no right to keep on. I made a personal choice to lease another building on Surf Avenue, the 100 year old NYC landmark we now own…but at the time colleagues thought I was insane & I questioned my sanity as well. I maxed out credit cards to buy building materials I couldn’t afford & took a F/T outside job to keep our staff going. I lived in a tiny room with 2 snakes 2 cats and a dog.

For years I lived in the sideshow building with no real life of my own but…EVERYTHING good that’s happened since that insane decision 21 years ago has been the direct result of the insane 1995 choice when I should have given up & gotten a job teaching college.

Joanna Hausmann,

In most instances, Joanna’s brain is likely to be in three places at the same time. Here, there, and everywhere. Her comedy and writing are manifestations of that. She’s studied, quick, and two steps ahead of you, albeit in a different direction…

I get the sense that she’s searching, creatively speaking. As a collaborator, that’s incredible to work with; it’s ideal. In my case, she makes me a better designer. That was not an alliance I expected to gain when I met her, a comedian.

I got to work with Joanna every day at a website called Flama, which previously employed us both. She’s now a correspondent on Netflix’s Bill Nye Saves The World, and a regular performer with the Upright Citizen’s Brigade in New York. Here’s what she’s got to say…

What’s the closest you’ve come to giving up and doing something else?

“I think about giving up all the time. Every single time I have an audition I get so stressed I wonder what my life would be if I had a “normal” job with benefits and Keurig machine. Every time I have a big show I try to convince myself I don’t have what it takes to make people laugh. Every time I press send to an email that has a writing sample I spent days agonizing over attached to it, I think “this is stupid Joanna, you wasted your time.” I did the math. I have these sabotaging thoughts at least twice a month. And I used to take them seriously …. now I don’t.

The thought of quitting is never fueled by indifference; it is fueled by fear. The fear of failing. The fear of being judged. The fear of realizing my dreams are silly and unattainable. It’s seems easier to just quit and never find out what you fear the most; I’m not good enough. Once I realized the thought of quitting is actually a reflection of how much I cared, I knew I would never quit. The thoughts will come. And they will come religiously. But when they do, I know it’s a sign I’m doing something I fear which means I’m doing something right.

Midnight Marauder,

When I look at the film posters Midnight Marauder has made, I feel I’m spending a single moment with the film. His choice of image, what other image(s) it’s paired with, the colors, and type, all let me know what it’s like to live within that film.

He’s incredibly profound and articulate with the most basic ingredients…image, color, type, and composition. That’s it. His work is tonal, and atmospheric…it tells me very specifically what I’ll see, and so very little at the same time. That’s the perfect bait to get me to a movie. It’s simple, pretty, and enticing.

I’ve admired his work for a long time, and was thrilled to learn a bit about his background…

What’s the closest you’ve come to giving up and doing something else?

“That’s a pretty refreshing question. I don’t think I’ve ever been asked that before from anybody.

It’s definitely happened quite a few times, I’ve had some major set backs and failed a few times along the way. I don’t want to give up … I don’t want to give up on myself or my family. I’ve always wanted to work in film and I kinda fell into graphic design cause I failed in comic books and illustration. So this means everything to me. My passion is that strong and I won’t give up, ever !!

Whether it’s staring you in the face, or something you always notice at just a bit of a distance, that fear of everything going south always seems to be there. Ain’t that some shit.

You have to respond and adjust to the circumstances before you in order to survive. Change, and grow, yes…but give up, nah.

More info on Dick at coneyisland.com.
More info on Joanna at joannahausmann.com, or youtube.com/johaus89.
More info on Midnight Marauder a midnight-marauder.com.
Header image by Derek Gabryszak.

Thanks for reading Question Market 8!


I’ve Always Been For Sale

How important is selling your self or your work?

We all need to sell our selves or our work in some capacity. Whether that’s in the traditional form of presenting products to customers, or on a smaller scale, say, defending a creative decision we’ve made to a colleague or potential employer.

As much as I can, I try to let my work do the talking (he says as he types a blog instead of designing something). Making good things feels like the easiest, perhaps purest way to approach success to me. I’m always a little uncomfortable when I’m actively trying to sell something, so a quality or honest product helps keep a clean conscience. I say this in spite of the fact that technically I’m a commercial artist. It’s kinda my job to sell shit…whatever it may be.

The following insight comes from people in commercial arts. People who sell, help sell, or make things intended to sell. With that in mind, the measure taken to present ourselves really interests me.


Brett does a bit of everything. And he should. He has the energy, imagination, curiosity, patience and dashing good looks for a bit of everything.

He’s not without focus though. Brett is the design half of Oxford Pennant, a pennant and flag company based in Buffalo, NY. With Oxford, Brett explores the history, function, and aesthetic of pennants. In Brett’s hands, the company and it’s products look great and actively participate the history of their medium.

Brett and I have been pals for over a decade. Occasionally he’s my house guest. Other times he’s my collaborator, savior, competition, confidant, cheerleader, and/or coach. I trust him creatively, so am wondering where this question sits in his head…

In what you do, how important is selling your self or your work?

“The term “personal brand” is thrown around a lot – but it’s useful when considering if, how, and when to promote myself in my work.

My successes in design have come from being consistent on social media. Rarely a personal photo, mostly relevant stuff that compliments my work – sketches, travel photos, good bullshit. A proper website is still necessary, but being mindful on social apps is so much more important in attracting the right people to see my tastes, and ultimately get in touch. “Don’t post pictures of your kids.”

That said, with Oxford Pennant my business partner and I have made a purposeful effort in remaining faceless. With the exception of attending trade shows and meetings, we try and let customers tell our story by reposting their product photos – which is now our main source of social content. The human element: include a hand written note with every order, it’s company policy.


As I’ve said before, Jessica is incredible. As a designer, she’s thinking, knowledgable, and her talent seems limitless. She’s also generous enough to give me another answer for this little project. She answered Question Market 4 a couple months ago about stress and anxiety.

She’s created fantastic work for projects large and small and I picture her putting the same amount of thought and care in to each project that comes across her desk. I was curious how she views presenting herself to clients and the world…

In what you do, how important is selling your self or your work?

“Selling yourself” isn’t quite the term I would use—I’d more call it “establishing trust or confidence”. When I’m working with a new client, my first job and the job I really need to accomplish at every presentation with them, is for them to feel like I’m really devoting myself to the work and that they made a good decision in trusting me with the project. As far as “selling myself” to others online, I just try to be real. I share things that I’m excited about, nervous about, angry about, etc. I don’t let clients bully me into sharing and hash tagging on their behalf. I have built up an audience that is interested in me and work, and it’s important to me to not betray them by being disingenuous.


The majority of Graham’s professional work is photos of products and things that his clients hope people buy. He’s shot for Tiffany & Co., Barney’s New York, Nylon, Milk Makeup, and Martha Stewart. And, had work published in the New York Times, Wall Street Journal, WWD, and Bloomberg Businessweek. He works for companies and brands that have a long, and distinguished history. His work has to live up to that.

Graham has an incredible sense of composition and color. He brings that to his clients and their products so seamlessly that I almost don’t notice his personal touches. Which is exactly the way it should be for a great commercial artist.

With that…

In what you do, how important is selling your self or your work?

As a freelance photographer, selling myself is very important, but I don’t think about it in this way. I’ve never wanted to be a salesman and it’s my least favorite part of running a business.

I put that ‘selling’ energy into building and maintaining honest relationships with other creative people. My work is a natural extension of myself. Knowing me is understanding and hopefully appreciating my artistic vision and process.

Seems like honesty really helps ease the burden of “the sell.” Mean what you say, and it’ll all sort of put itself together.

More info on Brett at dierichgettrying.com, and oxfordpennant.com.
More info on Jessica at jessicahische.is.
More info on Graham at grahampollack.com.
Header image by Derek Gabryszak.

Thanks for reading Question Market 6, I had the damnedest time trying to figure out if yourself, or your self was the correct usage in this scenario.