Not only will you get hands-on experience working side by side with different departments in producing Whiteboard Journal programs but will also be involved in special intern-only projects. Designed both as a learning experience and to encourage individual creativity, these projects will have you working independently and in groups to create works that is supervised by Whiteboard Journal but whose content is entirely yours. This is your chance to showcase your talents and have the world as your audience.

Requirements:
• Must be located in Jakarta as our office is located in Kemang
• Able to intern full-time in our office, 5 days a week
• Posses strong English writing skills
• A strong interest in various subjects such as art and design, music, fashion, culture, even social-economics
• Knowledgeable and have a keen interest to keep on learning
• Basic Photoshop skills is a plus!
• A sense of humor is highly recommended

A name on the come up one will hear when delving into motion graphics is Aras Darmawan. A 24 year old motion graphic designer based in New York City who earned his stripes interning in Glow Studio and Onesize, and working for Postpanic in the Netherlands before establishing Flickafreak as an independent editor for motion graphics. With a portfolio filled with high profile clientele such as Google, Nike, and American Express, Darmawan is an Indonesian talent quickly garnering attention for his creative output.

Be sure to check his portfolio (link at the end) of article and enjoy the following mini-interview we did with him.

W: Having done so much work, do you have a personal style, or perhaps a preference in style, that is apparent in your pieces?

I tried to keep my style varied as much as I could because the creative industry demand, but at the same time I do think there is a certain style thats somewhat visible throughout my works. To be honest, I dont think having a certain style is all-important, whats more crucial to me is to be able to explore and combine various types of flairs altogether. Doing personal projects especially, I always like to start with my base style and then try to explore it more to become something dynamically evolving.

W: You have had a clientele who are known on a global scale and it seems most of your work is based overseas, but you have mentioned that you would like to promote yourself in Indonesia. Is there a particular reason for you wanting to do so?

Yes. Actually there is. Its all started from a lot of feedbacks from people back home telling me that Im better be off working overseas. No, seriously, I agree with them, because its a fact as the thing I wanna do, but I felt there are times when I feel disconnected from the design community back home. Im not trying to be a flag-waver here, but to be a part of Indonesian creative and design community is one of my target this year. I got inspired and motivated by a lot of people back home these past 2 years, and I feel like its time I wanna contribute. I simply wanna let them know that although being offshore, Im very excited and (still) feeling inspired by things happening here and back home.

W: As somebody who isn’t well versed in motion graphics, it seems that the work is heavily based on commercial interests. How does motion graphic fit in the grey area between commercial and non-commercial art?

I can see some people are struggling with this issue. To be honest with you, even I sometimes ask myself whether Im in the grey area or not? But yes, most of motion graphic designers who just started are having this mindset all the time.. or even the ones that already worked in the industry for many years. I totally understand it is important to think about money, your financial goal, and all that shit, but to me, motion graphics are more than that. Its an artform of its own. It has so many extensive possibilities and we as designers/artists/whatever should exploit that.

So the solution that I thought could work is to let yourself go for a full month or two and work solely on your self personal project. Try do some experimental shit, collaboration with some people, and all that exciting stuff. I know you probably will say ‘i have job man, i dont have the time for that’. but hey trust me, if you truly love what you do, the after-effect is simply worth it and felt amazing.

Do that at least once a year, because the industry will most likely eat up your soul. Sometimes you dont have that much freedom to be artistic and all that, especially when your motion graphic art is dealing with advertising world.

W: Can you tell us some of the things you are working on? What should we expect from you in the near future?

Oh yes, a collaboration with an uber talented Indonesian artist is coming up this November, and upcoming short film animated series that i wrote and directed. Im very excited to work on these two big personal projects. As for commercial works, I cant say much for right now… its top secret! hahaha, well yes, there is definitely something fun to work on by upcoming weeks.. so stay updated!

–

View Aras Darmawan’s portfolio at www.arasdarmawan.com

It’s 2011 now, 18 years later, and I’m reminiscing about those good ol’ days as I’m covering JanSport’s Freedom Expression bag design contest at Plaza Indonesia’s The Goods Dept. As I wondered around JanSport’s installation one particular section of backpacks caught my eye.

These weren’t the Right Pack or the Super Break we are now accustomed to seeing everyday; these sets of bags were obviously built for outdoor activities. Aesthetically though, they had a ‘vintage’ feel to them; the backpacks look functional but did not have the ‘cutting-edge’ appearance a lot of products seem to opt for this day and age. Later on I found out that this was a re-release of some classic JanSport products. Titled “The Heritage Series” this collection of bags revisits some of the innovation JanSport has brought to the market the past 4 decades, and while learning about this series Whiteboard Journal got to interview one of the architects of JanSport, Skip Yowell; discovering the philosophy and the humble beginnings of what is now one of the biggest bag companies on this planet.

Still developed to support one’s vigorous lifestyle, the Fall 2011 collection is highlighted with the words “Always On” – the two words that were spotted on almost every corner of the venue – giving definition to the selected piece that is suitable (originally) for athletes who ensures the collection boost their performances both On and Off field.

Held at Koi Restaurant, Kemang, on July 27, 2011, a selected media were introduced to the essence of the Nike Sportswear Fall Collection 2011, and that is a collection that retains a consistent level of innovation in its creation, which is seen through the modern twist of a classic favorite –  AW77 Hoody and  Air Max 90 – reviving an old favorite piece with a modern approach that can fit today’s need for both comfort and style.

The design itself is the results of constant experiment from Nike’s in-house design studio, where the behind-the-story tale was generously shared through Nike’s video of  “Tales from the Kitchen”. Spearheaded by Shane Kohatsu, Nike’s Innovation Lead for Basketball, his research dates back to his trip in China circa 2008, where he noticed the local basketball players were wearing everything from running shoes to hiking boots amid the hot, humid asphalt court. With that astonishing discovery in mind, he put together the thought of the breathable running shoe and the strength of a hiking shoe, to create what he calls – Hyperfuse – taking three materials and fusing them together into one material, which was later adapted by Ben Shaffer, the innovation lead of Nike Sportswear to the Nike products of Air Max 90.

The Air Max 90 has been given its new form, bearing the name Air Max 90 Fuse 2.0, the classical pair that normally undergoes a traditional hand-sewn process has been advanced with the a heat pressurized system guarantying lightness and breathability in its modern materials.

The Nike Sportswear Fall 11 collection is now available at all NIKE outlets. For a list of NIKE stores, visit here.

The Curtin House on Melbourne’s Swanston Street perhaps is one of the most embraced old buildings because it holds such a strong influence for the young. There is Cookie, a quirky place to have modern Thai cuisine; The Toff in Town, where gigs from Oscar & Martin to Toro Y Moi are held; well-selected clothing shops like Bul and Someday; and a record shop, playing tunes from Beach Boys to Fleet Foxes. Go to The Rooftop Bar and watch movies on a large screen with Melbourne sky as the background the hot during summer days with a bottle of beer on your right hand and a bucket of popcorn on the left. And guess who is the brilliant brain behind all of the wonderful things? Sally of Metropolis is the one.

Everything began in 2001 when Sally and her husband bought a bookshop on the shopping street close to St. Kilda beach. After a while, they decided to move the bookshop to the city. Strangely enough, all the fittings and the wallpaper fit perfectly on the building’s wall, it seems like Metropolis was meant to be there. Sally had a clear idea of how she wanted the building to be when she first started renting out the empty spaces, “It is a well thought out plan,” said her.

People love staying for hours here, browsing through the books and paraphernalia at Metropolis. Sofas and Barcelona chairs are available for visitors to sit down and have a read just to reassure themselves that it is the book they want (if not so many others). Because of its location in the middle of the city, people of any sorts can pop up to the shop. Those from students, designers, and travellers, but all are loyal customers who come to get a book recommendations from Sally. With no background in design or architecture, Sally proves that ‘people skill’ is the one and only thing she needs to run an independent bookshop, apart from the passion and love of what she does. We asked her about how she feels about the death of Border and if she feels threaten, but it does not seem to bother her. And about the rise of e-book? It is unwise to be against the technology because sooner or later it is coming, but she believes that people are not just buying books and reading them through a screen (well that sounds easy and fancy), but people are looking for the experience. After all, we still miss the smell of books and the enjoyment of finding out about books that we did not even know existed before. The joy of retail experience is what differs Metropolis from other bookshops and the virtual experience of buying books.

Sally happily said that Metropolis is a labor of love, a place that she builds up from her passion, not for the numbers. Building relations with people is what she enjoys the most from being a retailer. Everyone in the creative industry in Melbourne embraces Metropolis for being such a leader in informing people through books about the current affairs and trends, especially in the design field.

At the end of the day, book is still proven as the window of the world, thanks to Metropolis for making the whole experience of feeding the brain and the mind much more pleasurable.

Metropolis Bookshop
Level 3 Curtin House
252 Swanston Street
Melbourne 3000
Australia
www.metropolisbookshop.com.au

A week into Cereal Nation’s Birthday (which is on the National Children’s Day), we got a chance to interview the wonderful people behind Cereal Nation, as well as the illustrator and author who contributed to the Mellyberry’s Children Book Series. Enjoy!

W: Could you tell us briefly about the Mellyberry’s Children Book Series.

CN: Well, Cereal Nation really began with us mopey adults tapping into our childhood memories and letting whatever wild adolescent imagination inspire us to create a line of children’s apparel that is, as a certain Beach Boys’ song excellently explains: Fun Fun Fun! As for the Cereal Nation-edition books, early 2011 we were getting ready to launch our first line to the outer reaches of your inner child’s consciousness, and Else-Press (littl-else) approached us with publishing children’s stories and illustrations that they had ready. We loved Melly Berry’s stories and the illustrations that accompanied them, and so the special-Cereal Nation edition of these books was born (hooray!!!).

Only 100 copies of each book were made for this collaboration, and each includes a Cereal Nation poster specially designed by each respective illustrator (thank you guys!).  Be sure to read these books, they were written for kids 1 to 1000 years young!

Author: Melly Sutjitro

W: How did you get into writing?

As far as I remember it, I always love writing. I’ve been writing since I was a kid. I remember how I loved those essay writing tests at school. I used to write longer answers than I was asked and it amused my friends and my teachers deeply. “You are asked to write only half page, not two and half pages.” My passion for writing was first acknowledged by my 5th grade teacher who, despite my ignorance, enrolled me in multiple writing competitions. One of them ended up in me representing my school’s district in some sort of national writing competition. I forgot the name and the date, but I remember that I went home with a 2nd place trophy and a proud smile that day.

I guess you won’t be able to write well unless you read too. And there’s my other passion, reading. Some of the books I collected back then are still here with me in good condition.

Every time I read a new book or an article, especially a good one, it never fails to open my mind, tickle my curiosity, enhance my imagination, and inspire my spirit. All of those are important factors in writing stories.

W: What was your creative process in writing the Mellyberry’s Children Book Series?

I am at my most creative state when I am daydreaming ☺. It means I am in a relaxed mood. No wonder that most of my children’s story ideas came to me during my bed time routine with my kids. It was the same process with each of our CN/Littl-else books. Three out of five CN/Littl-else books that I wrote were originally created during those moments with my kids. Once I got the story in my head, it flows to my computer. I rarely edit my draft right away. I usually do my second look after a few weeks, sometimes months.

The final part of my story writing is to read it to my husband and my kids first before anyone else. I am lucky to have the three biggest critics/fans in my house. Children, especially, are very honest. They’ll tell you what they think of the story point blank, no sugar coated needed. My kids will tell me honestly if the story or the character is ‘awesome’, ‘cool’, or ‘yuck’, ‘mean’, or simply ‘sweet’. Their constant ‘why this’ and ‘why that’ would then make me improve the plot and tie up loose ends.

W: What have been the challenges you’ve encountered in writing children’s book?

The big challenge would be to think like a kid. Sadly, that’s the thing that we, adults, often forget. The other challenge for writing children’s book is how to keep the story interesting without dragging it too long or making it unnecessarily complicated, without losing the moral that I want them to grasp.

W: The Mellyberry’s Children Book Series carry five different themes. What are the messages that you would like children to learn from your stories?

They may carry different themes, but at the end they all tell the same message – be an open minded person. Don’t judge someone or something too fast or too blindly. Once your mind is open, you’ll become a (much) tolerant and sensible person. It’s superbly important to be an open minded person, who acknowledges and respects differences in others without losing the very core of who you are. Imagine how strong our nation would be in the future, when our next generations display and exercise these kinds of qualities.
The idea may seem too over the top right now, but it’s not impossible, especially if it’s introduced to our children from an early age.

W: Being a mom of two, has that shift your perspective in writing? And what fascinates you the most about children?

Being parents changes everything in a magical way. I’d say that it has contributed a lot in my writing style and the things that matter to me most.

Aside from being honest, fun and creative, children fascinate me in many other ways. They are open minded little people with big energy. They make simple things fun in a big way. In their pure mind, they see others as unique individual regardless of the race or religion or skin color. There are so many things we can learn from the young minds.

W: What is next in line for you?

I will keep writing, of course. My writing will continue to underline matters which are close to my heart – women and children. There are couples of developing stories right now, from novel and mommy’s diary, up to junior novel and children’s fables. It’s great to do what I love. I can only hope that my readers love the works that I write ☺

“When Prince Brite and Prince Nite were born, the whole Kingdom celebrated with a blast of happiness. Peace and prosperity soon followed. But ambition and greed clouded the the Kingdom’s future.
What had become the fate of the two Princes?
This enchanting tale will tell you more about honoring promises, sharing kindness and storing away selfishness.” – Day and Night

Day and Night
Illustrator: EorG

W: Can you describe about your previous (art)work? What theme do you normally explore in your work?

Just recently, I’ve just done one for a “save the earth” project. Before CN books, I’ve just done a children’s books which takes the normal issues in to a fairytale setting. I don’t normally explore my work in to any particular theme. I usually explore my work in to the story theme that I’m working on. Each story is different than another.

W: Share us a bit about your illustrations for the Mellyberry Children Book Series.

I’ve done this book with the consideration of the ancient setting and it’s mystical fairytale attachment to it. Also the storyline is more serious. So I make my artwork in a serious but still colorful way for kids to enjoy.

W: What was your creative process behind it?

Playing with many styles of drawing including acrylic on wood with digital means.

W: What do you draw your inspiration from? Any artist or particular people that inspire you?

Yes, this book is so very inspired by other artist like my other works. But.. this is so embarrassing.. I forgot his name. I often forgot names, but I remember his artwork in detail.

W: What is next in line for you?

Maybe I’m thinking of making my very own first book this year. Maybe.. If things doesn’t get in a way.


“Will it be nice if we only play with people who are similar to us? People who wear the same color of clothes, eat the same color of food, or play the same color of toys? Will we be happy if everything we own – pets, cars, or houses – are in the same color? No? You don’t think so? Well, some folks in this story thought otherwise. Let’s see if what they thought was right.” – Rainbow

Rainbow
Illustrator: EMTE (Muhammad Taufik)

Can you describe about your previous (art)work?

I’ve done illustrations for various book covers, magazines( mostly fashion), and various children books.

What theme do you normally explore in your work?

Daily life mixed with my ‘own imaginary world’

Share us a bit about your illustrations for the Mellyberry Children Book Series. What was your creative process behind it?

I  used a lot of mediums-from watercolor, marker,ecoline, acrylic, I even scanned a woodboard for the background elements. Whether its been easy or its been hard, its been a lot of fun.

Books (mostly design and illustrations), watch alot of animation movies, sharing thoughts with friends, taking pictures, meeting people, working with a team, and travelling. Life is an inspiration to me and I love to draw it.

W: Any artist or particular people that inspire you?

David Downton (I love his simple and spontaneous drawing style), Jordi Labanda (for his quirkiness), and mirko hanak ( I dig his bizarre watercolor technique)

W: What is next in line for you?

Doing some project design (illustrating the merchandise ) for Dunia Fantasy-Ancol.

“Life in the jungle was never the same again when a strange egg hatched.
A baby dinosaur was welcomed into the world. Little did he know that his adventurous journey was about to start. Once the baby dinosaur grew up, he had to struggle to find his place in this part of the jungle.” – The Last Dinosaur

The Last Dinosaur
Illustrator: Ykha Amelz

W: Can you describe about your previous (art)work? What theme do you normally explore in your work?

Basically I just simply like to draw. I just like to draw anything I’d like to draw, nothing specific or intended to be something conceptual at the beginning. But since I got a chance to be a full time illustrator in Still Loving Youth Magazine and Scandal studio back then, I began to took it in the next level as in exploring my drawing output. Eversince, I began to experience lots of exciting projects such as children illustration book, fashion illustration, coorporate illustration, customize local gigs posters, etc. Till now I’m still running various illustration & design project with my own Studio, THE RIGHT STUFF.

Mmmm my normal theme? I like drawing rabbits . . it’s my own personal joke. Big front teeth, you get the idea.

W: Share us a bit about your illustrations for Mellyberry Children Book Series.

I were involved in the first Else-Press Publishing’s children illustration book project that also collaborate with Cereal Nation. Basically the project is about a merge between one talented children book author, Mellyberry, with five local illustrators. When I read her script, I fell in love instantly and started to draw this super cute dinosaur book.

W: What was your creative process behind it?

From the five Mellyberry script, I got ‘The Last Dinosaur’. Did lots of brainstorming and character sketching with Melly. “How bout bigger eyes & bigger cheeks?!”, she once said with excitement.

I usually use soft colors on my previous work, but for ‘The Last Dino’ I decided to go with full on bright colors, hope it doesn’t hurt the kids’ eyes. I enjoy drawing Big Eyes and the rest of the animal forest very much . . it was awesome.

W: What do you draw your inspiration from? Any artist or particular people that inspire you?

From the high and the low and the to’s and the fro’s.
From things I admire and from the silly things too.

Dr.Seuss, Andy Riley, Laura Laine & Alphonse Mucha are some of my inspiring people.

W: What is next in line for you?

I’m preparing a solo exhibition. Wish me luck!

“A long time ago, both animals and humans were able to speak. But, one of them wanted something more. Did they get what they wanted? And how did greed reward them in the end?” - Why Animals Can’t Talk

Why Animals Can’t Talk
Illustrator: Ella Elviana

W: Can you describe about your previous (art) work? What theme do you normally explore in your work?

Before this, I’ve done many illustrations for children’s book. Most of which are pictorial books. Other than that I’ve done illustrations for novels for both children to teenagers from the classic to contemporary genres. There isn’t any particularly theme in my work; most stories I illustrate are just ‘normal’ children’s stories.

W: Share us a bit about your illustrations for the Mellyberry Children Book Series.

For Cereal Nation, I made the illustration for the book ‘Why Animals Can’t Talk’. To make the story to life, we need to have an understanding [of the story] and believe it. It is only after that can we have an idea of which characters and scenes are suitable then we give the story its soul.

W: What do you draw your inspiration from? Any artist or particular people that inspire you?

My inspiration is from nature, from the books I read, from the artwork of other artist, from movies I watch, from music I listen to, and from many different sources. The artist that I like are mostly classic children book illustrator with their distinct style as Garth Williams, Beatrix Potter, Chihiro Iwasaki, Quentin Blake, etc. I like the sincerity that shines through their work.

W: What is next in line for you?
I would still be in the realms of children illustration, while continuing to develop my skill and find my own distinctive style.

“Andy is devastated when he learns that his very best friend will move to another country. He does exactly what any other boys would do in his situation. He sulks, he whines and he does everything in his power to stop his best friend from moving out.” – My Best Friend

My Best Friend
Illustrator: Lidia Puspita

W: Can you describe about your previous (art)work? What theme do you normally explore in your work?

My latest work is the illustration for the children’s book with melly berry. The theme that I usually work on is fantasy, women, and natural objects.

W: Share us a bit about your illustrations for the Mellyberry Children Book Series.
The story is about friendship of 2 children. When one of them had to move, the other friend was afraid of feeling the loss.  The illustration is simple about separation, forgiving, and friendship.

W: What was your creative process behind it?

While stealing some time off of work, I started sketching Rico and Andi’s character while imagining the clothes they would wear. After it was agreed by else press and Melly, I started sketching the whole story from “My Best Friend”, then I transferred it to Adobe Illustrator and Photoshop.

W: What do you draw your inspiration from? Any artist or particular people that inspire you?

My inspiration is from what I see, hear and feel. The magazine, internet, and comic books are part of my inspiration.

W: What is next in line for you?

For now I am still focusing in my current job. I still want to develop my illustration style, because at this point I haven’t found the appropriate style

–

Mellyberry Children Book Series is now available in Aksara Bookstore Kemang and can also be ordered online through www.elsepress.com

Cereal Nation Official Website
Cereal Nation Facebook
Cereal Nation Twitter

Set amongst the plethora of modern clothing retail and the grades of restaurants both modern to traditional, Biku Teahouse is an eclectic mix of both worlds. Upon entering the tea house you will be swept by the sense of irony that the place eludes, the exterior is a Teak Joglo that was once an antique store with a historic value of 150 years old, the interior, with remains of teak chairs and table combines various mix of rustic furniture, and curtains by  the pillars and ceiling, giving both an authentic feel as well as an upscale refinement without overdoing it.

Contrast to its traditional architecture, is the afternoon tea concept, originally famous from the western hemisphere, providing an assortment of desserts, sandwiches, accompanied by of course, the various blends of tea. Although, afternoon tea maybe a universal afternoon activity, when in Bali especially at this tea house, the menu has been adjusted to fit the locale taste by the offering Asian cuisines as the Ayam sisit with the Sambal Matah Tart, Vietnamese Spring Rolls, Samoosa with Cutney and a heavier choice of meals for lunch and dinner.

Biku Teahouse is also home to Ganesha  Bookshop, the second outlet of a famous bookshop that is in Ubud. The bookshop collects various books of old to rare, many which carry the historical subjects about the archipelago or any modern coffee table books, which is perfect, if you liked to enjoy a quite afternoon unaccompanied.

Biku Tea House
Jalan Raya Pittenget No. 888,
Seminyak,
Bali
T: +62 361 875 0888

www.bikubali.com