“That Was Perfect!”: VFX Artists Blown Away By Childhood Favorite Movie You Forgot
Hill Country Photographer uses her craft to create legacies
Kim Ortiz, a photographer and mixed-media artist in the Hill Country Galleria, said she hopes to inspire everyone to do what they love to do.
Ortiz was a certified public accountant before being laid off in 2012; she had been taking photography courses on the side since 2008 and saw it as an opportunity to start a new career.
“It was like a turning point, and I said, ‘I’m going to do what I love,’” she said.
Ortiz then built a new photography studio in Dallas in 2014 and ran a successful business for five years before deciding to move to Austin in 2019; she eventually opened a new studio at the Galleria in January 2020. At the beginning of February, Ortiz relocated her studio to a new spot in the Galleria that she said is “more central.”
“I’ve already noticed more people stopping to look through my windows since I changed locations,” Ortiz said.
Her photography and gallery mostly features dogs; however, she said this is only part of her business as she also photographs families, families with their dogs, headshots for executives and high school seniors.While she does do traditional photography, Ortiz said her specialty is as a mixed-media artist and photographer.
“Mixed-media paintings are my signature product, and I’m the only one in Lake Travis who does them,” she said.
Mixed-media paintings are a three- to four-month process that involve taking the photos, painting the photo in a special software on the computer and then printing the photo and placing it on canvas to paint the photo by hand, she said.
Because the process involved in mixed-media art is so time-consuming, Ortiz only sees around 30-50 clients a year.
“What I do is a luxury,” she said. “But it’s also important because of the story I’m creating.”
Ortiz, who owns six rescue dogs, said she had this revelation when one of her dogs, Lexie, died in 2017.
“Dogs are like family, and they don’t live forever, but if you have a portrait done of your dog, they live forever,” she said.
She said everything she does is about creating a legacy.
“Portraits are all we have of our family when someone dies,” she said.
Ortiz also said she hopes to create lasting legacies through her work and donations to nonprofit organizations. In the last 10 years, she has raised $30,000 for various organizations, and she is working on raising money through her business for the American Heart Association and the Austin Humane Society.
“I’m very fortunate to be here at the Hill Country Galleria because I live here,” she said. “I’m very active in the community, and anyone who asks for a donation, whatever nonprofit it is, I will donate.”
Kim Ortiz Portrait Art
12700 Hill Country Blvd., Ste. S-120, Bee Cave
512-817-4996
Hours: Tue.-Fri. 1-5 p.m., Sat. by appointment only, closed Sun.-Mon.
How to Make Money with Photo Art
Photography is more accessible and popular than ever before in the digital age. The ascent of virtual entertainment stages and online commercial centers has made a huge crowd for picture takers to grandstand and sell their work. There are numerous opportunities to turn your passion for photography into a profitable business, whether you are a professional or a hobbyist. From selling prints and computerized downloads to permitting your photographs or offering photography administrations, there are multiple ways of adapting your photograph workmanship. You can turn your passion for photography into a rewarding career or side business with the right approach and dedication. You can achieve financial success while pursuing your creative passion by evaluating a variety of options and selecting those that are most effective for you.
Selling prints and advanced downloads is one of the most famous ways of adapting your photograph craftsmanship. It is now easier than ever to sell your prints and digital downloads online and reach a global audience thanks to the internet. You can set up an internet based store on your site or utilize an outsider stage like Etsy or Compelling artwork America to sell your work. You can manage your sales and shipments with the tools and audience these platforms provide. You can also promote your prints and digital downloads on social media to attract customers to your online store.
To ensure customer satisfaction, it is essential to use high-quality printing and paper when selling prints. You might want to think about hiring a professional print shop or investing in high-quality paper and printer. If you want to give your customers a variety of options, you should also think about the size and framing options for your prints. Make sure to offer a variety of file formats and sizes when selling digital downloads to meet the needs of different customers. Customers who prefer to print their own photos at home may find digital downloads to be a cost-effective and convenient alternative.
In conclusion, selling prints and digital downloads of your photo art is a great way to make money. You can showcase your work to potential clients and reach a global audience by utilizing the power of the internet and social media. You can build a solid brand reputation and ensure customer satisfaction with high-quality printing and paper products.
Another lucrative way to make money from your photo art is to license it. When you sell a photo license, you give someone permission to use it in a certain way, like in a book, magazine, or advertising campaign. You can charge a fee for the usage rights under the non-exclusive or exclusive license.
You can pitch your photo to publishers, advertising agencies, or businesses directly to use it in a particular project or campaign. You also have the option of selling your images on stock photography websites like Shutterstock or iStock. Photographers can sell their images on these platforms to a wide range of clients, including small businesses and multinational corporations.
It is essential to comprehend the usage rights and license fees when licensing your photos. License fees can vary depending on the intended use, duration of the license, and exclusivity of the license, and usage rights can range from one-time use to unlimited use. When licensing your photos, you should also take copyright ownership, credit requirements, and model releases into account.
Ultimately, licensing your images is a great way to monetize your art and generate passive income. Licensing your photos can help you make more money and get your work out there, whether you sell them directly to potential customers or through a stock photography website. You can negotiate fair terms and safeguard your intellectual property by comprehending usage rights and license fees.
Making a photograph book or schedule is a remarkable way to feature your photograph craftsmanship and possibly bring in cash. A collection of your photos can be used to tell a story or convey a theme in a photo book, and a calendar can feature your photos in a practical and decorative way. Print-on-demand services, local retailers like gift shops and bookstores, or your website are all options for selling these products.
Print-on-request benefits like Snippet or Humdinger offer a helpful method for making and sell your photograph book or schedule without stressing over stock or transportation costs. Covers, paper quality, and binding options can all be customized with these services. To reach a wider audience, you can use the print-on-demand service’s marketplace or set up an online store on your website.
It is essential to make an investment in high-quality design and printing when creating a photo book or calendar to produce a product that is both attractive and professional. Consider working with a visual planner or utilizing plan programming to make a durable design and plan for your photographs. You ought to likewise pick top notch printing and paper materials to guarantee that your item looks and feels premium.
All in all, making a photograph book or schedule is a novel way to grandstand your photograph craftsmanship and possibly bring in cash. By utilizing print-on-request administrations or neighborhood retailers, you can contact a more extensive crowd and deal your clients a top notch item. You can create a product that stands out from the crowd and is both professional and appealing if you place an emphasis on high-quality design and printing.
A great way to turn your love of photography into a profitable business is to provide photography services. There are a few specializations you can look over, like picture photography, wedding photography, occasion photography, or business photography. It is essential to select a specialization that complements your interests and strengths because each of these specializations requires different skills and equipment.
You must create a portfolio of your work before you can begin providing photography services. This can be accomplished by volunteering to photograph events or organizations or by taking pictures of friends and family. Utilize web-based entertainment and verbal exchange to advance your administrations and fabricate your client base. To meet potential customers, you can also attend networking events or join local photography groups.
It is essential to take into account all costs when establishing a price for your services, including post-processing, travel, and equipment. Conduct market research and set a competitive price for your services to guarantee a profit. To increase your revenue and provide customers with more value, you can offer packages or add-ons.
In conclusion, making money from your photo art by providing photography services is rewarding. You can attract clients and build a successful business by selecting a specialization that aligns with your interests and creating a solid portfolio. To ensure that you make a profit, promote your services via social media and word-of-mouth, and set your prices competitively. You can turn your love of photography into a fulfilling and lucrative career with hard work and dedication.
At this point , I want to share best Photo Editing program below. If you want to make money with Photo Art . I strongly recommend this program.
Teaching photography classes is a great way to share your knowledge and skills with others while making money from your art. You can offer classes face to face or internet, contingent upon your inclinations and the interest for your courses.
For those who are new to photography or want to improve their skills, beginner-level courses on basic photography techniques, camera settings, and composition are excellent options. Further developed courses can zero in on unambiguous subjects like scene or picture photography, photograph altering, or lighting procedures. When designing your courses, take into account the skill level of your target audience.
Make use of your website and social media to advertise your photography classes. To reach a larger audience, you can also promote your classes by collaborating with venues or photography organizations in the area. Make a point to make an expert and coordinated educational program for your courses, remembering clear learning targets and hands-for exercises. It’s likewise fundamental to establish an inviting and drawing in learning climate to make the experience charming and vital for your understudies.
Pricing for photography classes can vary based on the audience you want to reach and the material covered. Conduct market research and set your courses’ prices affordably to guarantee a profit. You can also encourage enrollment and cultivate a devoted following by offering package deals or discounts.
All in all, showing photography classes is a great method for adapting your photograph craftsmanship while offering your insight and abilities to other people. You can attract a diverse audience and establish a profitable business by offering courses on a variety of subjects and skill levels. Make use of your website and social media to promote your classes, develop a well-organized and professional curriculum, and set competitive prices for your courses to guarantee a profit.
With the right strategy and approach, you can profit from your photo art. Think about making photo books or calendars, licensing your images, selling prints and digital downloads, offering photography services, or teaching photography classes. Regardless of your choice, you should ensure that you invest in high-quality tools and supplies, construct a solid portfolio, and promote your work via social media and other marketing channels. You can turn your love of photography into a profitable business with persistence and hard work.
Building communities and ensuring NFT success: Insights for artists
Building communities has become more crucial than ever in today’s rapidly changing art space, especially with the rise of NFTs.
Interview
Own this piece of history
The importance of building communities cannot be underestimated in the rapidly changing art world, driven by technology and the explosion of nonfungible tokens (NFTs) in the last two years. An audience is a social media following, but a community is a group of people working toward a common goal.
Art market economist and academic Magnus Resch has extensively researched the importance of communities and networks for artists.
Resch holds a Ph.D. in economics and has studied at the University of St. Gallen, the London School of Economics and Harvard. In addition to lecturing at Yale, he has produced several publications about the economics of the art world. He has appeared in academic journals and major publications like The Wall Street Journal, The New York Times and Vanity Fair.
Resch recently spoke to Cointelegraph about his latest book, How to Create and Sell NFTs — A Guide for All Artists, which explores the importance of building meaningful communities for artists, and how to create and sell NFTs compatible with their artwork.
Cointelegraph: Dr. Resch, how important is community building for artists in today’s rapidly changing art world?
Magnus Resch: Community in the art world matters for the success of any artist, but being in the right one is even more important. In one of my most recent studies, I looked at thousands of communities in the art world to evaluate their impact on the success of any artist. The results were surprising: 99.9% of artists’ communities don’t have any positive effect on the career of an artist.
These communities — I call them “island networks” — consist of museums, galleries, fellow artists of the same level and fans or supporters. These groups mean well but will never make a real impact at the higher end of the market. Instead, there is only one network that leads to success. For an artist who strives to be successful, the goal must be to become part of it. I call it the “holy land.”
CT: Can you share some key strategies for artists to successfully tap into this one community you call the “Holy Land?”
MR: My study shows the art world is a people business. Who you know matters more than what you make. In the absence of objective criteria that define what “good art” is, the network steps in to decide what good art is and what is not. That is why networking is so vital.
For artists, this means don’t spend all your time in the studio. Go out and meet the right people, at best, those that are part of the holy land. Or put bluntly, artists are on their own and need to accept that they are entrepreneurs running a business. Branding, marketing and self-promotion are essential to their success and are more important than their art. Artists who are waiting to be discovered will fail.
CT: What role do social media and digital platforms play in helping artists connect with their audience and foster a sense of community?
MR: Social media is the most relevant marketing tool for artists. They cannot rely on galleries to do the job, as most galleries are part of island networks and close down after a few years. In fact, one-third of all galleries never make any profit.
Getting into the holy land is hard, as only a few spots per year are available. That’s why building a brand is so important for artists. The easiest way to do this is via social media: 45% of art buyers regard social media as the most important channel to discover and find artists. Visits to offline galleries only follow in second place. I argue any artist serious about making it in the art world needs Instagram.
CT: Has this changed with the rise of NFTs?
MR: Not at all. NFT projects have allowed artists to learn what is required to make it without the gallery support. We have seen that the most important pillar in any NFT project is the community. Failed projects have misinterpreted the community as an “audience.”
An audience is the following on social media. A community is a close circle, a tight-knit and active group of people working toward the same goal. They can assemble on social media, but it goes beyond that. Building a community is about building loyal members who are supportive of an artist’s idea. I believe in the future where artists will give their community voting rights, allow them to participate in projects, and exchange ideas and assets. This is considerably different from today’s audience that just “likes” and follows but doesn’t participate.
CT: Can you share some successful examples of traditional art institutions and galleries that have embraced NFTs and the impact it has had on their businesses?
MR: The biggest winner of the NFT hype were digital artists such as Beeple, Justin Aversano, and Jen Stark. Digital art never played a major role in the art market, being the least popular medium after paintings, sculptures and photography. And then suddenly, some of these digital artists neglected by the market made significant money and sold for record prices. The real impact of NFTs, however, is yet to come. NFTs will be the underlying technology to authenticate every artwork — and not just digital art. This will change how art is traded fundamentally. Without an NFT to prove that the work is real, nobody will buy the painting.
CT: What are the main implications of NFTs on the art market?
MR: So far, there have been none. We are only at the beginning of what’s coming. I predict that NFTs will have a lasting impact, which is fourfold: Artists will exert more control over their work and earn royalties from resales; more collectors will populate the market as it has become more transparent; institutions will find it easier to engage their communities, and give them ownership through participation and involvement in governance. And finally, the art market will become more regulated for the better and thereby increase in value. Clearly, this won’t happen overnight, as changes in the art world take time. We are looking at 5–10 years’ until NFTs become the standard of how artworks are transacted and authenticated.
CT: Can you discuss any common mistakes artists should avoid when entering the NFT space and how they can set themselves up for long-term success?
MR: Most artists will never enter the NFT space as NFTs are not art. And those overpriced, celebrity-endorsed JPEGs that often are associated with NFTs will go away. I don’t even think we will talk about the term “NFTs” five years from now, similarly as we don’t talk about mp3 anymore.
NFTs are the underlying technology that will be used whenever artworks are transacted. In the future, it is not unlikely that the artist will register every painting that leaves a studio on the blockchain. So when it’s traded, the artist not only gets royalties but also knows who the new owner is. This allows them to work more independently and not rely on galleries entirely to promote or authenticate their works. As a consequence, artists will earn more on every piece they sell.
CT: How can collectors effectively determine the value of artwork in today’s dynamic market, particularly with the emergence of NFTs?
MR: Most art is not a good investment. Almost all artists are stuck in island networks and will not see an increase in value. For collectors who are purely interested in making money, they should focus exclusively on artists and galleries who form the population of the holy land. However, if they are interested in collecting art for any other motive (and consider it a cherry on top if the artist increases in value), the whole art market can be their hunting ground.
CT: Has the price transparency and liquidity that NFTs facilitated changed this?
MR: Many of those who bought NFTs as an investment were not able to make a profit with them. They have moved on to other investments. And as the hype faded, the true winners were those who bought works that they liked and wanted to live with. Another phenomenon is visible, too; we are currently seeing the merger of the traditional art market and a few digital artists who had success during the NFT hype. Beeple, Dmitri Cherniak, Tyler Hobbs, Casey Reas, and Artblocks, who exclusively sold on digital platforms like OpenSea and catered to a crypto-native audience, have now started showing their works with established traditional players in the art market, such as Pace Gallery. A representation by Pace Gallery, which is part of the holy land, will help them to manifest their value, even after the hype and their crypto buyers are gone.
CT: If art is not a good investment, why should we buy it?
MR: After having done much data analysis on the art market, one strategy for collecting proven to be the most effective is to buy what you like, as most likely, you will never make any money with the art you buy. I call it “responsible buying” — the notion that buying art is not just an exchange of monetary value but also a philanthropic act. Rather than putting money into an asset, I donate it, knowing that, in all likelihood, I won’t be able to resell the piece. But, by buying it, I am supporting the artist so that she can continue creating art, which inspires her community to continue with this essential form of human creativity. To me, it is a way of doing good, and it comes with an object that I love and a story to tell.
Memorial Art Gallery promoting diversity in art through new exhibits
The museum is working on several upcoming exhibits.
Four Inane Questions with photographer Roy Inman
Courtesy photo
Just ask, and Roy Inman will be quick to tell you about his—as he jokingly puts it—“checkered photography career.” His lifelong stint as an ace photojournalist has taken him “on board America’s first nuclear-powered aircraft carrier, to the White House, and to Fashion Week in New York,” he says. “And, of course, all over my hometown of Kansas City, Missouri.”
Inman tells us he worked as a city desk photographer after graduating from the University of Kansas and earning an MA in photojournalism from the University of Missouri-Columbia. (Fun fact: he was director of photography for the Kansas City Star’s Sunday Star Magazine for a total of 17 years.)
His work has been published in plenty of well-known publications, including Time, The New York Times, and Better Homes and Gardens, but he says his favorite thing to photograph is “what’s in front of his camera at the moment.”
He’s also the resident photographer at Union Station and can often be seen with a camera in hand at the iconic tourist attraction. (Yes, you probably have his famous parade crowd shots from the Royals’ World Series or Chiefs Super Bowl hanging in your mancave.) In fact, Union Station is so near and dear to Inman’s heart he spent five years documenting the building’s pristine restoration. He even produced a book showcasing that work: Kansas City’s Union Station: Reflections After 100 Years.
We caught up with Inman in between a hectic day of shooting to query him with our four whackadoo questions. Fortunately, he only made us carry his gear for seven of his nine shoots that day.
The Pitch: What’s the single best photo you’ve ever taken?
Photo by Roy Inman
Roy Inman: So, I was shooting this ginormous event at our beloved Union Station, a benefit for something or other, people in costume and all that. I saw one person dressed as King Kong and had in tow a flashy, big-bosomed blond woman resembling Fay Wray. Quite the scene it was.
But then—then, I spied this amazing, gorgeous (in her own way), obviously self-actualizing creature with spiked hair and eyes that resembled a Star Trek character. Love at first sight for a roving photographer. She embodied all of the joy, laughter, and unbridled enthusiasm that is humankind.
What’s your favorite, impossibly perfect, go-to, on-the-run photography snack?
That’s an easy one—Oreo Mint Thins. Not a big fan am I of the big glob of filling found in regular Oreos. In addition, the thin ones suggest to me that by eating them, I will actually get thinner! What a genius marketing idea!
The only drawback to eating thin mint Oreos in the car is the little black crumbs that tend to collect on everything, including me. Fortunately, when I am out shooting, I typically wear black to blend into the background, the goal of every photojournalist.
You get a one-hour coffee klatch with any photographer. Who are you choosing to kibitz with?
One hour coffee with Ansel Adams would be my choice. He was well-grounded in life and photography—and an absolute master at black-and-white printing. Along with Fred Archer, Adams invented the Zone System, a complex formulation that virtually guaranteed every B&W final print to be sheer perfection.
Who do you think the world’s most impossible celeb would be to shoot? (You know, a true diva, but not in a good way.)
Sean Penn. Don’t like the cut of his jib.
He always looks as if he just sucked on a lemon. Or maybe ate a raw potato that had stayed in the ground too long. Uck! I know, I know, he probably has millions of adoring fans, and he has probably won some award or other, but I have never seen a film or even an interview with him that I liked.
However, being a freelancer and always trying to stay ahead of the rent, I would take on the task for enough money. I mean, a lot of money. Then, take a shower afterward.
Sand Castle Winery Moves to Shrink Sleeves to Beat Supply Chain Issues and Expand Distribution
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The wine industry is still recovering from the 2020-2021 COVID pandemic. A November Geisenheim University survey for the ProWein Business Report found that two-thirds of global wine industry representatives it surveyed identified supply chain disruption as the biggest threat to their businesses after cost increases. 92% reported that they had experienced availability issues with glass bottles, significantly more than for any other products.
Sand Castle Winery, which lies along the Delaware River in beautiful Bucks County, Pennsylvania, is one winery that decided to pivot away from its specialty cobalt blue glass bottles to shrink sleeves that simulated the blue on a more readily available clear glass bottle for three compelling reasons:
- To control the supply chain.
- To ensure uniformity across bottle orders so the visual footprint on the shelf would not change.
- To gain significant cost savings.
“Like every business in the country, COVID made us face a decision about how to go forward,” says Managing Partner Chad Sletten. “We used that time to pivot. We have a very unique product, Alpine Spice, which we bottled in a beautiful cobalt blue bottle with a screen-printed label. The product began growing in 2020 from something people knew from wine festivals and local retailers to gaining state-wide and even some national attention, so we decided to expand our distribution. But the supply chains weren’t reliable: even if we were lucky enough to get it, we couldn’t count on a supply down the road.”
Sletten’s contact at Waterloo Container, George Hall, Waterloo’s Territory Sales Manager for the Finger Lakes and Eastern Pennsylvania region, suggested they use shrink sleeves instead and partnered with Syracuse Label to recreate the iconic cobalt blue bottle and original screen-printed art in a shrink sleeve with the same look and feel.
“It’s a very specific and unique bottle and label design,” says Sletten, “and we wanted to keep the integrity of that 25-year-old product and honor it. We used our 25-year mark as the moment to pivot to new packaging. The new process also removed a couple of steps, drastically reducing the cost of goods since it’s quite expensive to procure the cobalt glass bottle and have it screen printed.”
“Chad told me, ‘I need something scalable that isn’t going to change,’” Hall explains. “The shrink sleeve solution did all of the above. We went from a scarce German Riesling-style bottle not made frequently to an always-available flint (clear glass) stock made in Pennsylvania. It ended up being 30% cheaper and still gave it that iconic cobalt blue look with the alpine skier on it. It also allowed them to hit the price point in the retail market they needed for the product to take off.”
The packaging transition and ramp-up were both successful, and Alpine Spice has grown from 90 to 318 stores, with plans to reach all 603 PA Liquor Board (PLCB) stores. Sand Castle Winery also did a retail push with Giant Foods, and the product is in Giant Foods, Weis Supermarkets and Wegmans.
“We have not had any customers notice the difference,” adds Sletten.
Sand Castle Winery’s story illustrates the importance of a label that adds interest, conveys a message and generates sales―something wineries know is hard to do. With consumers more price-conscious than ever, a winery needs to capture the buyer’s attention immediately with the visual aspect of the package if they hope to increase the likelihood of getting the bottle in the cart.
Shrink-sleeve labeling is a rapidly growing solution that even the smallest wineries can use to create unique, easily-customizable labels that draw the eye. Wineries can create colorful full bottle designs that tell their story and instantly change―or recreate―the look of their package and brand.
“The current economic climate has created a renewed need for creative marketing,” says Bobbi Stebbins, Marketing Director at Waterloo Container Company. “A 360-degree label surface offers more marketing real estate. At this year’s trade shows, customers said they wanted their products to look different from the competition. At the same time, they are very cost conscious and want the most value per dollar spent on packaging. Since only so many bottle designs are available, and custom bottle molds can be expensive, choosing to label with shrink sleeves is a great way to create visual interest and add messaging space to any label. Sleeves can even be enhanced with special effects and textures not achievable with paper labels.”
Waterloo Container has provided shrink sleeves to its clients for ten years, and demand has grown significantly in the past three years, following the rise of online purchasing, which intensified the need for packages to stand out. A wine bottle must ‘pop’ on the website to convince customers to buy it and pay for shipping. A bright, colorful look and effective messaging can make the difference between a browsing consumer and a sale. Waterloo responded to the increased demand for this versatile labeling by purchasing and installing a second production line and a state-of-the-art shrink sleeve applicator that operates at high speeds for larger runs. This new line can sleeve up to 100,000 bottles per day with seven application mandrels handling a wide range of different bottle shapes and sizes. For smaller jobs or hand-applied applications, Waterloo maintains its original line.
To learn more about current special offers on shrink sleeve applications, please call 315-539-3922 or email contactus@waterloocontainer.com.
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Colony Debuts a First-of-its-Kind Incubator: The Designers’ Residency
A new design incubator program from design gallery and strategy firm Colony has hit the ground running! The Designers’ Residency aims to nurture the next generation of designers by providing real studio experiences and collaboration opportunities under the guidance of Colony’s founder, Jean Lin. Over the 8-month long program, young design residents will have the chance to discover and hone their craft with the ultimate goal of launching their own studios and their first collection through Colony.
The curriculum was put together by Lin and Colony Art Director, Madeleine Parsons, leaning on both Lin and Parsons’ time as professors at Parsons and RISD. Focused on product development and design leadership, the program moves through the steps of launching a studio, including collection development, marketing and sales strategy, and exhibition and photography. The lessons combine to offer success in the contemporary design landscape, as well as positioning of their own studio. During the residency, Colony subsidizes shop space and employs the residents at the gallery, allowing for studio and curation experience at a professional level along with income.
Marmar Studio, Noon Valet + Pippi Nightstand
For its inaugural Residency, Colony worked with two burgeoning studios. Marmar Studio, a furniture and object design studio founded by Ingemar Hagen-Keith, will be showcasing their debut Pet Collection. Alexis & Ginger, the namesake design studio led by Alexis Tingey and Ginger Gordon, will be debuting Ode. Both studios will ultimately be added to Colony’s permanent roster of independent American design talents.
Marmar Studio, Noon Valet + Pippi Nightstand
“Each piece in the collection captures that explosive affection you feel when you see something you can’t hold back from embracing. I see these pieces as living companions for your home,” says Marmar Studio founder Ingemar Hagen-Keith of Pet Collection.
The furniture and object design studio is guided by animated gesture and refined form, with Pet Collection uniting the practical and fanciful. The series’ visual language pulls from abstract depictions of animal silhouettes and translates them using wood craft. For example, the Pippi Nightstand is an abstract interpretation of Hagen-Keith’s cat, bringing together smooth curves and sharp edges. Noon Valet follows suit with circular cutouts that cast dynamic shadows throughout the day.
Marmar Studio, Noon Valet
Marmar Studio, Pippi Nightstand
Marmar Studio, Ibbit Stool
Marmar Studio, Ibbit Stool
Marmar Studio, Clog Lounger
Marmar Studio, Clog Lounger
Alexis & Ginger, Draped Side Table, New Morning Side Table + Because the Night Stool
Alexis & Ginger, aka Alexis Tingey and Ginger Gordon, create work that brings together the pair’s love of process rooted in research and the desire to use traditional craft to evoke stories. Innovative material and form explorations reflect their appreciation of the nuanced details. The Ode collection is inspired by the balance of weight in materiality, form, and color.
Alexis & Ginger, Threshold + Silhouette Sconces
From hand-carved forms to compositions using natural materials, the pieces exude a refined strength while paying homage to artistry and craft. These talents are often associated with female makers, such as embroidery and lace making. An inlay of mother of pearl makes its way around an India ink dyed wood base of the New Morning Side Table. Meanwhile, the Tower of Song Light features a hand-pleated and cut ivory shade that brings to mind architectural forms and tapestry details.
Alexis & Ginger, Threshold Sconce
“We both began by going to the NYPL picture collection and sifting through the endless stacks of folders filled with images of lace, gloves, architectural details, greek urns, and portraiture from every era,” said Gordon. “We find inspiration in the smallest details and the largest forms.” Tingey adds, “Through gathering images and discovering details we find stories and moments that resonate with us. Through our research we look for stories that feel tactile and hold a connection. We try to incorporate these experiences into our designs.”
Alexis & Ginger, Because the Night Stool
Alexis & Ginger, Because the Night Stool
Alexis & Ginger, New Morning Side Table
Alexis & Ginger, Ode Collection
Alexis & Ginger, detail of Tower of Song I
“At Colony, we have a foundational imperative to support and celebrate emerging independent American designers. In recent years, my work in design education as a professor at both Parsons and RISD has inspired me to explore new ways to provide a bridge from designers in their nascency to professional practice,” said Lin. “Starting one’s own studio is an enormous undertaking both creatively and financially, and a privilege that is not always afforded to many immensely talented designers. My hope is that this program allows more voices to shine, and more young designers to feel supported enough to take the leap into creating work that is wholly their own.”
An advocate of education and inclusivity, Lin hopes for the program to create more accessibility and opportunity in an industry that can hold many obstacles. While the inaugural residency was by invitation, applications for the 2023-2024 Residency program are open until May 1st.
To learn more about the Designers’ Residency, visit goodcolony.com.
Andrew Keller named global chief creative officer of WPP Coke agency Open X
After more than seven years at Meta, Andrew Keller is returning to the agency world as the global chief creative officer of WPP’s Open X, the holding company’s team dedicated to serving its massive Coca-Cola account.
Keller joined Meta in 2016 as global creative director and most recently served as VP of creative and experiential. Prior to his time at Meta, Keller logged 18 years at Crispin Porter + Bogusky, where he rose through the ranks to become chief creative officer and eventually CEO.
Returning to agency side
For Keller, the Open X position represents a chance to return to the agency world while using the expertise he gained working brand-side.
“Being able to focus on a brand was actually something that I really appreciated,” Keller said. “I really missed the agency world, where it’s [about] ideas every day. That’s the product, that we make coming up with ideas. And that was something that I really wanted to get back to.”
Keller will be based in Atlanta and start his role in June. He replaces Javier Campopiano, who is set to join McCann this year.
Read more: McCann Worldgroup hires Javier Campopiano
Keller also sees his new role as a chance to work on a brand responsible for his initial interest in advertising as a child growing up in Atlanta.
“It was a Career Day in the third grade when someone came in and talked about an ad for Mello Yellow, I was like, ‘Whoa, that’s amazing,’” Keller said. “My father-in-law was a Coca-Cola bottler in Savannah. There’s just a lot of meaning in this brand …even if it didn’t mean something to me, it means something to the world in an important way.”
Keller will help lead an Open X team open to all of WPP’s employees which currently utilizes around 8,000 employees globally, according to Laurent Ezekiel, CEO of Open X and chief marketing officer at WPP. Agencies that are part of the team include Ogilvy, VMLY&R, AKQA, Wunderman Thompson, Grey, EssenceMediacom, Ogilvy PR, Landor, Design Bridge & Partners, BCW, H&K, Hogarth and The&Partnership.
Ezekiel says he was looking to find the “CCO of the future,” which meant purposefully looking for someone with a background in tech.
“There is a huge data, tech, and experience-driven [capabilities] behind everything that we’re doing for The Coca-Cola Co.,” Ezekiel said.
Art and technology
Recent Coca-Cola ads have leaned into art and technology. The company held a recent contest for fans to create Coke art utilizing AI tools ChatGPT and DALL-E, with the winning art to grace billboards in New York and London. A short film called “Masterpiece” highlighted an iconic Coke bottle in an art gallery come to life. The latter was part of Coke’s global “Real Magic” campaign.
In February, Coke inked a deal with management consultant Bain & Co. to explore new ways to enhance the creativity of its marketing through OpenAI.
Keller said he’s excited about the potential of AI as a “co-pilot” for creatives.
“I actually think we’re going to learn more about what creativity really is as we explore AI, and I think that we’re going to be able to use AI quite effectively to drive ideas and to drive insight and to drive production,” he said.
“We’re applying and experimenting with AI across the entire WPP Open X model, and we’re pushing hard across many of the brands at The Coca-Cola Company,” Ezekiel added.
Keller will join Open X’s creative council, which includes Laura Visco and Thiago Cruz, global creative leads for Open X at Grey; Guillermo Vega, global creative lead for Open X at Ogilvy; Hugo Viega, global creative lead for Open X at AKQA; Rafael Pitanguy global creative lead for Open X at VMLY&R; Manuel Borde, global creative lead for Open X at VMLY&R Commerce; Daniel “Dany” Minaker and Sebastian “Patán” Tarazaga, global creative leads for Open X at Wunderman Thompson.
Keller’s focus will also include helping to build experiences for Coke brands that are centered on building communities.
“Community’s about finding intersecting values,” Keller said. “What’s important to you as a brand? What’s important to the people and where do you connect [with them]? … We’ve seen the sort of personalization of content and products [driving community building]. I would say that more than ever we’ve got to know exactly who we’re talking to and what we’re talking to. We’ve got to be extremely relevant. These days it’s easier than ever. And that creates a bigger obligation to do it, or you just feel like you’re missing everything.”
Time at Meta
Keller led global business creative during his time at Meta which included working on the company’s rebranding from Facebook and leading the communication and positioning of Meta’s products and tools for businesses, creators and developers. He helped double the size of Meta’s social and web channels, according to Keller, which included the Meta for Business website and social channels for entities, such as Instagram for Business.
Keller helped lead campaigns such as Meta’s “Good ideas deserve to be found,” and shows on Facebook including The #BuyBlack Friday Show.
Keller departed for what was then Facebook during a time when many advertising execs were making the move into the tech space. And while that is still the case for some high-profile names, this is the latest example of a Meta executive going back into the agency world. In February, Jason Sperling was named chief operating officer of Innocean USA after serving as global executive creative director of Meta Reality Lab and Teemu Suviala, global head of brand design for Meta Reality Labs, joined the WPP-owned brand and design consultancy Landor & Fitch.
A reunion
Keller’s return is a reunion of sorts for him and WPP’s Global Chief Creative Officer Rob Reilly, both of whom played lead creative roles at Crispin during its prime when it was named Ad Age’s Agency of the Decade.
“We’re just great partners that really respect what each other does. And I think it’s just going to be so fantastic to be back together with him and playing in the world that he has really played a big hand in creating,” Keller said about Reilly.
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Keller recognizes the significance of the reunion but doesn’t put too much stock into it.
“I don’t think about it,” Keller said “I loved what I was doing … but through the journey, what I realized is this is the space that I want to come back to. I’ve got the bandwidth, I’ve got the energy, I’ve got the excitement to really dig in here, and I am excited to figure out what is going to be this next innovative age of marketing and advertising.”
A focus on partnerships
Moving forward, Ezekiel said the Open X team is focused on a few key growth areas for its client, which includes a focus on digital and innovation, co-creating products with outside partners, such as launching a limited-edition beverage with electronic music producer Marshmello and its canned Jack & Coke launch in partnership with Jack Daniel’s.
Coca-Cola’s fourth-quarter net sales increased by 7% to $10.1 billion, driven by 12% growth in pricing and a favorable sales mix. For 2023, the company previously forecast organic revenue growth of 7% to 8% and earnings per share growth of 4% to 5%.
Read more: Coca-Cola to discuss AI at Ad Age Web3 Summit
Speaking at the Consumer Analyst Group of New York conference in February, Coca-Cola President John Murphy described the company’s results over the last few years as “steady returns in an unsteady world.” Moves to trim its portfolio and adopt a more efficient marketing approach have resulted in a healthier company, Murphy added.
“We have a very clear understanding of what is it that drives volume, price and mix in our many markets across the world,” Murphy said. “And I think what we’ve seen over the last few years is developing capability to toggle these levers so that we can both win locally as well as deliver on our broader enterprise agenda … This approach is paying off.”
A Sculpture of Remembrance and Hope
A history teacher ignites the flame remembering the Jewish descendants of the small town of David-Horodok, Belarus.
