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!


To Stay Sharp

What is the most recent skill you’ve developed?

I’m trying to figure out if creative development is something I need to stay focused on, or if it’s something that’s inevitable. I suspect that if I keep designing…if I keep creating things, it’ll be inevitable that I learn new skills in one way or another.

By committing to my work, I’ll either be adding more of myself in to the work, or developing new design-specific skills like figuring out a better way it retouch hair, or use geometry to help tell a story. Perhaps those are two ever-evolving avenues of creativity; how articulate you can be personally and professionally.

If you’re committed, I really think those two things are impossible not to evolve.

With that in mind, I asked Eddie Pepitone, Michelle Poler, and Dustin Stanton about what skill each of them have developed most recently.



I’ve worked with Eddie on a few things, and he’s always been incredible. He’s responsive, friendly, courteous, etc…everything you could want from someone you’re doing business with. More impressive than those great things though is his creative energy. He’s a stand-up, and as an actor, he’s appeared in some of the best comedies of the past two decades.

His stage sets are like an intense massage. There’s pain in it, aggression…but you leave feeling lighter, relieved, and seeing things brighter. He’s calculated, in control, and completely reckless at the same time. That contrast is incredible. This set is from a while ago, but is so interesting. He flexes every muscle a comedian has. Watch how far away he holds the mic at certain points, while still being completely effective.

I hear he’s even dabbling in politics and community organizing. I love that someone as versatile as Eddie continues to develop, but he does…

What is the most recent skill you’ve developed?

“I think the things I learn how to do are ongoing. Modulating my voice from the rage to soft-spoken guy is something I’ve been working on as I realize it’s very funny to go to extremes vocally with an audience. I have been more conscious of varying my tone and range and it’s all about just being more present and not panicking as a performer.

I used to think I had to get a laugh every second and I’ve finally realized that the silences or the spaces in between are just as important as the jokes. In fact it sets up the jokes!”


Michelle created 100 Days Without Fear. She’s Venezuelan and after studying at SVA in New York, she worked as a designer and art director. Then, through the process of conquering a list of fears she began telling her own story in a way that connected with others.

Her curiosity is what impresses me most. She’s been able to translate an exploration of herself in to exploring and influencing people across the world. She’s an interesting example of that intersection of personal and technical skill. I’m so happy that she said she’d answer my question…

What is the most recent skill you’ve developed?

“I believe that as artists we are constantly developing and polishing the skills we already have trying to become every day the best version of ourselves. 5 years ago when I got married I decided to buy a GoPro to capture in video my honeymoon adventure. We were going to Hawaii so I wanted to put together a short video to share with family and friends and also to keep for ourselves. My little brother was in film school at the time and he kindly edited a nice little video about our wedding day. I quickly learned the things you need to put into a video to make it entertaining, creativity was the main component. Two weeks after we came back from our honeymoon I gave editing a shot. People started to go crazy about the cool video I made and started to ask me to edit videos for them about their personal experiences. Shortly after, I became the official video person of the family and in my circle of friends. I created videos about meaningful occasions as gifts for the people I care about the most, but I never thought about doing something serious with my video making and editing skills. I would only do it for fun.

 Last year I decided to become a braver person by facing one fear a day for 100 days. I wanted to share my progress through social media so I decided to record myself facing the different fears, editing and uploading one video a day. After editing 100 videos consecutively I can see how much I’ve grown and how my skills have improved enormously. The thing I used to do for fun became my full time job. Most recently, I started developing video blogs (vlogs) which is different than shooting an adventure. So I had to learn all about cameras, lights, audio, tripods. Just when I thought I had everything under control, I had to start from scratch. So, yeah, we actually never stop developing and polishing the skills we already have. I wonder what kind of videos I will do next.”


Dustin is a graphic designer for the entertainment industry. He’s created lots of great key art, but his contributions to Paul Thomas Anderson’s films have always shook me up most. His interpretations of the stories are so nuanced and personal…exactly the thing those films need.

I worked with Dustin on a gig poster for Bill Burr. The poster was for a tour of California and Bill gave us the idea to interpret the drought that California was in. Dustin built a great narrative based on that concept which I followed through on.

What I learned from working on that project is that a designer should be able to think their way out of any problem. You’re given a creative problem, you figure out an answer to it, and then execute it. Having a purposeful answer is an underestimated tool. That seems obvious, but more often than I’d like to admit, I find myself trying to figure it out as I go. My point is that Dustin sharpened my creative problem solving skills. So, I’m curious what he’s been working on for himself…

What is the most recent skill you’ve developed?

“One of the recent skills I’ve been developing is self editing.

I once heard (or read) a quote somewhere: “He with fifty ideas has none”. I get it. I think I’ve been trying to work that philosophy into my work and provide my clients with more quality and less quantity – putting forward the ideas that I believe in and have good reasons to present to them. So far, it’s been working well with the people I work with.”

I’m glad that our relationships with creativity seem to keep evolving. It feels like there’s security in that. Something of comfort that can constantly shift from being personally rewarding, to professionally.

More info on Eddie at eddiepepitone.com.
More info on Michelle at michellepoler.com.
More info on Dustin at dustinstantoncreative.com.
Illustration by Brett Mikoll, dierichgettrying.com.

Thanks for reading Question Market 2,