# Fabrik > Your online portfolio website > Contact: support@fabrik.io ### Posts #### 3D, VFX and CGI Artists on Fabrik: A Deep Dive into 120 Portfolio Websites – Fabrik As a 3D, VFX or CGI Artist the importance of having a platform where you can display a multi-facetted portfolio is vital and having a selection of easily adaptable templates gives you time to focus on creating. We have curated a selection of superlative portfolios from our 3D, VFX and CGI Artists along with insights on which characteristics of Fabrik were their top-picks to help inspire and guide you when creating your online portfolio. Ariel Palanzone Theme: Canvas Ariel Palanzone currently works as an Animator, 3D Designer and Art Director for different design and animation studios. In his work he tries to establish unique environments that act as conversation starters on the impossibility and irony of objects and materials depicted; a joyous but beautiful stab in the world of art and installation. Ariel is using Canvas, with a spotlight homepage and stacked project layout. “It is true that surrealism is a style that appeals to me, because of its poetic perspective on the reality and constant questioning of rational, physical and logical conventions.” – Ariel Palanzone View Ariel’s Portfolio Akshay Tiwari Theme: Calico Akshay Tiwari is an accomplished Motion Designer and Experimental Artist having worked on projects for well-known brands such Netflix, Logitech and Boonika Network. Akshay is using Calico with a cover spotlight homepage and stacked project layout. “Fabrik has always helped me curate and present my work as a seamless experience.” – Akshay Tiwari Discover Akshay’s Portfolio 66% of the 3D, VFX and CGI Artists we surveyed prefer to use Calico as their choice of theme. Easy to style with unique homepage layouts, Calico gives 3D, VFX and CGI Aritsts the opportunity to add their creative flair with customizable theme styles and the ability to display a variation of media. Fabrice Fiteni Theme: Poplin Fabrice Fiteni is a Director and Animator established in London and has spent the last few years working on several projects from commercials to short films and new interactive media. He is highly dedicated to making rhythm communicate with art, no matter what the support to be used. Fabrice is using Poplin with an featured thumbnails homepage and stacked project layout. Check Out Fabrice’s Portfolio Jon Noorlander Theme: Calico Hailing from Sweden, Jon Noorlander is a Creative Director at Method Studios in New York. In his teens he discovered 3D and was intrigued to follow the endless possibilities of creating his own 3D art. Jon is using Calico, with a spotlight homepage and stacked project layout. View Jon’s Portfolio Jody Sargent Theme: Calico Jody Sargent is a Senior Environment Artist who loves being able to bring someone into a whole new world that she has designed and tell little stories about the world around them in clever ways. Jody is using Calico, with a spotlight homepage and spotlight project layout. Discover Jody’s Portfolio Fernando Lazzari⁠ Theme: Airdura With a unique combination of design, creative and technical skills, and focused on motion graphics, live action and VFX, Fernando Lazzari⁠’s work combines multiple disciplines to create sophisticated audiovisual pieces.⁠ Fernando is using Airdura, with a thumbnails homepage and stacked project layout. Check Out Fernando’s Portfolio Raquel Villa Theme: Calico Raquel Villa is a Madrid based 3D Artist with a deep curiosity on the mixture between strange behaviours and movements. Raquel is using Calico, with a thumbnails homepage and stacked project layout. “Fabrik focuses on curating very select templates and style, which helps me concentrate on creating. Its ease of use and quick adaptability is a delight, especially when you need to quickly test multiple versions of how the work can be shown.” -Raquel Villa View Raquel’s Portfolio 66% of 3D, VFX and CGI Artists chose a thumbnails homepage layout with a stacked project layout to showcase their portfolio. Thumbnail layouts make it a useful layout for 3D, VFX and CGI Artists as videos and imagery are displayed with a lot of detail and is a versatile layout that suits projects that have varied media types and aspect ratios. Partnered perfectly with a Stacked project layout which is great for those wanting to present projects as a case study or journey. Hieu Vu Theme: Calico Hieu Vu is a Motion Designer and Animator born and raised in Hanoi, Vietnam with a muse for colors and music. He has a collective portfolio working alongside well-known brands such as Intel, Adobe Max and Call of Duty. Hieu Vu is using Calico, with a spotlight homepage and stacked project layout. Discover Hieu Vu’s Portfolio Mitchell Stuart Theme: Tocuyo Mitchell Stuart is a Lead Concept Artist and Matte Painter residing in British Columbia, Canada who creates futuristic worlds and realistic characters to the finest detail. Mitchell is using Tocuyo, with a cover with thumbnails homepage and stacked cover project layout. “Fabrik just looks great and is a breeze to set up. I also love how customizable it is. The interface is very clear and actually makes creating a multi-facetted portfolio of works achievable in no time at all!” -Michael Stuart Check Mitchell’s Portfolio Maxx Burman Theme: Calico Los Angeles based Matte Painter and Art Director Maxx Burman works across film, television, video games, commercials, and design. His Matte paintings have been featured in the films such as Godzilla, Iron Man 3 and in shows including Game of Thrones, The Walking Dead and House of Cards. Maxx is using Calico, with a thumbnails homepage and gallery project layout. “If you know me personally, I’ve already told you a hundred times to get rid of the half-assed website and use Fabrik. It’s like “hey, we’re designers here, we designed a great site, you can change things but we’re going to make sure you don’t mess it up”. Game over, super slick site.” -Maxx Burman View Maxx’s Portfolio Patrick Blades Theme: Calico Patrick Blades is a Digital Artist whose work deviates from what is normal, creating fantastical landscapes and anomalistic human forms. Patrick is using Calico, with a thumbnails homepage and video project layout. Discover Patrick’s Portfolio Patrick Gibson Theme: Calico Patrick Gibson is a Multidisciplinary Designer and 3D Artist residing in the UK working across advertising and film from concepting through to final production. Patrick is using Calico, with a spotlight homepage and stacked project layout. Check Out Patrick’s Portfolio A close call between an uncropped, square or landscape image crop for 3D, VFX and CGI Artists. We believe that 3D, VFX and CGI Artists are torn between a uncropped, square or landscape image crop as they are rarely bound to specific aspect ratios and feel that each project should be showcased to enhance the dimensional aspects of their work. Hool&Co. Theme: Calico Hool&Co. are a creative duo living and working in NYC. They direct, write, and produce live-action and motion design projects and are motivated by their passion for filmmaking, design, and the power of storytelling.⁠ Hool&Co. are using Calico, with a spotlight homepage and stacked project layout. View Hool&Co.’s Portfolio Andrew Kinsler Theme: Calico Andrew Kinsler is an Art Director and Animator whose creative career has taken many turns, from Animator in post production studios, to Art Director in the agency world, brand side creative, and most recently moved into product development. His clients include NFL, Apple, Starbucks, Apple Music, iTunes and more. Andrew is using Calico, with a thumbnails homepage and stacked project layout. Check Out Andrew’s Portfolio Andrew Popplestone Theme: Tocuyo Andrew is Creative Director at Territory Studio in London. With a background in fine art and graphic design Andrew has a visual storytelling approach that combines concept and narrative, a graphic designers eye and a rich cinematic aesthetic. Andrew is using Tocuyo, with a cover with blocks homepage and video project layout. View Andrew’s Portfolio A large proportion of 3D, VFX and CGI Artists prefer to use a black background with white text. Imagery or video content displayed on a dark site helps accentuate texture and tone and a pop over color adds a touch of personality. A darker background is usually paired with white or light grey text to give a complimenting contrast. Take creative control over your portfolio and showcase your work perfectly on any device. Build your Fabrik portfolio in minutes. Discover 3D, VFX and CGI Artists on Fabrik #### Artists on Fabrik: A Deep Dive into 120 Portfolio Websites – Fabrik Artists use conscious skill and creative imagination to evoke emotion within their viewers and immerse them into their perspective and establishing this within their online portfolio is pivotal. We have curated a selection of outstanding portfolios from our Artists along with insights on which characteristics of Fabrik were their top-picks to help inspire and guide you when creating your online portfolio. Andres Marti Theme: Tocuyo Andres Marti is a photographer and creative artist residing in Bogotá, Colombia. In his latest personal photographic series titled “Otredad” (Otherness), you can see hints of Baroque and Romanticism. The work relates to days that one is understood as a whole and other days where that whole is fragmented. Marti is using Tocuyo, with a cover with thumbnails homepage and stacked project layout. “What I like the most about Fabrik is that it is a perfect canvas for my work where it shows detail in a very elegant way, my favorite function is the carousel at the entrance, it makes me feel very pro.” -Andres Marti View Marti’s Portfolio Justin Southey Theme: Tocuyo Justin Southey is a talented Abstract Artist, Illustrator and Designer and his practice explores notions of landscapes and fantastical worlds that serve as metaphors for more unquantifiable emotional and spiritual spaces. Justin is using Tocuyo with a featured with thumbnails homepage and stacked cover project layout. “I love that Fabrik is simple and easy to use, and looks professional.” -Justin Southey Discover Justin’s Portfolio A third of our Artists prefer Tocuyo for their choice of theme. Cover layouts within Tocuyo allows an Artists work to become truly immersive with a full-screen hero, thumbnail grids and inline About content – Perfect for them to introduce themselves as well as their work. Studio Amaral Theme: Loden Portuguese artist Studio Amaral’s portfolio is a sensory experience, canvases full of textural brush strokes and complimenting palettes of both lifestyle and landscapes. Studio Amaral is using Loden with a cover homepage and lightbox project layout. Check Out Studio Amaral’s Portfolio Nabil Nezzar Theme: Calico Nabil Nezzar is an Artist and Illustrator. In a world of watercolour, graphite and gouache, giving traditional media a contemporary twist, Nabil is known for photo-realistic painting and drawing of natural environment, portraiture, architecture, fashion and beyond. Nabil is using Calico, with a featured spotlight homepage and strip project layout. View Nabil’s Portfolio Danielle Callaghan Theme: Poplin Danielle Callaghan is an illustrator living in Edinburgh, Scotland. She especially enjoys illustrating stories featuring animal characters and the great outdoors and has worked on a variety of commissions, including children’s books, merchandise and murals. Danielle is using Poplin, with a featured thumbnails homepage and gallery project layout. Discover Danielle’s Portfolio Maxime Olivier Theme: Loden Maxime Olivier is a large format painter who creates cosmic dimensions that transport the viewer to the very personal universe of the artist. Maxime is using Loden, with a cover homepage and slideshow project layout. Check Out Maxime’s Portfolio Lucha Rodríguez Theme: Jute Lucha Rodríguez’s work as an artist is a transitional tool to open ourselves to experiences and levels of awareness. It challenges perception and dimensionality through distortion and illusion. There is a disturbance from the proper original state of the material with a constant plane to space movement. Lucha is using Jute, with a featured blocks homepage and stacked project layout. View Lucha’s Portfolio Over 50% of Artists favour a feature homepage layout with a stacked project layout. Artists particularly love a feature homepage layout as it allows them to use a large or fullscreen hero area to display one, or several, of your projects in a slideshow setting the subject and tone of their work. A stacked project layout is a very simple and forgiving and allows for variety in the types and sizes of media you have. Oliver & Hans Theme: Canvas Oliver & Hans is an art collaboration between Oliver Abbey (Denmark) and Hans (Korea) whose artworks are made through a visual language embedded in a process of formal abstraction investigating the construction and subsequent deconstruction of form. Oliver & Hans are using Canvas, with a thumbnails homepage and stacked project layout. “Digital media is part of the creative process – we can make quick changes to the artworks and send it back and forth to Seoul and Copenhagen using our website.” -Oliver & Hans Discover Oliver & Hans’ Portfolio Raniya Mansoor Theme: Canvas Raniya is a politics graduate, and a self-taught Maldivian artist. With an intuitive abstract-expressionist approach, her art is connected to life, her Maldivian heritage, and a journey of wellness. She is the co-founder of Oevaali Art Shop, a Maldivian studio dedicated to fine art and design. Raniya is using Canvas, with a stacked homepage and strip project layout. Check Out Raniya’s Portfolio Stefan Reiss Theme: Tocuyo In his work Stefan Reiss has been researching for ten years in the fields of drawing, painting, sculpture, installation, projection and lighting. He develops specific works for the different media, which are mutually connected and establish contextual relationships between them. His artistic focus is to combine art and technology, research and innovation, immersion and experience. Stefan is using Tocuyo, with a featured with blocks homepage and lightbox project layout. “As an artist I always have to change every part of my website at every time, because the series of my artworks change all the time. Fabrik is so comfortable and multifunctional at the same time. It’s unbelievable: I can reorganise my website immediately.” -Stefan Reiss View Stefan’s Portfolio Samuel De Maré Theme: Tocuyo Samuel De Maré is a Painter, working and Living in Mechelen, Belgium. His paintings constantly change focus, taking different paths through a scene to try to capture his intention. Samuel is using Tocuyo, with a cover with thumbnails homepage and stacked cover project layout. “As a painter, Fabrik was exactly what I was looking for in a portfolio site. It’s very straightforward and easy to update my portfolio with new works. So if I’m posting something on social it takes just a few minutes to add these works to my site.” -Samuel De Maré Discover Samuel’s Portfolio Heather Via Moore Theme: Jute Heather Vida-Moore is a visual artist from Hamilton, Ontario. She is primarily a painter whose work is often abstract, featuring complex, organic patterns, although she has also worked with a variety of other media, including drawing, sculpture, printmaking, digital art and video. Heather is using Jute, with a featured thumbnails homepage and stacked project layout. Check Out Heather’s Portfolio 80% of Artists we surveyed prefer their artwork to be displayed uncropped. Artists work in an array of different mediums and the majority opt for an uncropped ratio so that they can display their artwork in all it’s entirety. This allows them to capture the viewers gage and fully immersive them into the thought process and deeper meaning behind their work along with giving viewers a similar experience to being present within an art gallery. Dietmar Rudolf Theme: Canvas Dietmar Rudolf is a German Sculptor specialising in stark, minimal stone sculptures and restorations and has exhibited his work in several galleries.⁠ Dietmar is using Canvas, with a thumbnails homepage and lightbox project layout. View Dietmar’s Portfolio Kari Nord Theme: Tocuyo Kari Nord works with painting and gets in close contact with nature, a good flow in the process with her abstract images. The influence of nature in the artistic process and the interplay between Kari Nord’s finished painting and nature – is her project. Kari is using Tocuyo, with a featured with thumbnails homepage and stacked cover project layout. Check Out Kari’s Portfolio Caroline Gold Theme: Poplin Born in London, Caroline is an artist who now divides her time between her East Suffolk studio and Lewes. After a decade illustrating for clients, she began painting full-time and has exhibited in many galleries. Caroline is using Poplin, with a featured thumbnails homepage and stacked project layout. View Caroline’s Portfolio The majority of the Artists we surveyed favored a white background with black or grey text. Artists often leave the colors and tone within their artwork to influence their portfolio and opt for a simple white background with black or grey text. Some Artists only use specific colors within their palette so may choose to incorporate a splash of this either within the text or as the background throughout their portfolio to compliment their artwork. We pride ourselves making sure your work will always display beautifully on any device. Document your process and show off your art with a portfolio website that beautifully compliments your work. Disover Artists on Fabrik #### Choose a portfolio that’s easy to use You may have the time and energy to create your portfolio right now but when you’re a busy creative updating your site will always be the thing that’s last on your list.  There’s only one thing worse than not having a site — having a site that hasn’t been updated in years. Choose a portfolio platform that is quick and easy to update. I can’t emphasise this enough; if you can put some processes in place to make updating your portfolio as easy as possible, do it now to take the effort out of updating later. You may want to create templates for your work or set up your site to give your portfolio room to expand and breathe. If you’re a HTML wiz then good for you, otherwise choose a portfolio service that does all of the heavy lifting for you. If you don’t need to build it and host it yourself, then don’t. Let building and hosting your site be someone else’s concern. Your time is too precious to be trying to figure out why your site is really slow or dead in the water. When choosing a portfolio platform make sure it includes the features you depend on, and that there’s a team on-hand to support you if you need answers to technical questions. Maxx Burman on Calico Curate your content You have a time limit to show your audience what you’re made of. It’s normally less than three minutes. Choose the work that best reflects where you want to focus.  You may want to group your work into sections, or sub-folios, to let your visitors get to the stuff they’re most interested in quickly, and design your portfolio for repeat visits. Put your recent work and your best work upfront, and make it as easy as possible for your audience to see your work. Your next contract, position or commission may depend on it. Unpublish old work if it’s bloating your portfolio. The best creatives are those that are fearless enough to let go of the stuff they’ve done and gear their portfolios towards what they’re doing right now. Traditionally creatives would carry their portfolios with them, pulling out work and adding in new work depending on where they were and who they were talking to. Treat your online portfolio exactly the same and get into the mindset of using it as an evolving, never-finished document of your journey as a creative. “The best creatives are those that are fearless enough to let go of the stuff they’ve done and gear their portfolios towards what they’re doing right now.” Show your creative process I’ve listened to a lot of creatives in the past talk about their resistance to sharing detailed case studies of their work, or more importantly, productive files like PSD’s with the creative community.  If you’re good at what you do you’ll get copycats regardless of whether you give other creatives an insight into your thoughts and process or not. In the six months after putting one of my most recent branding projects for The Pressery on Behance we were finding a new copycat brand about once a fortnight somewhere in the world. It’s okay, it’s part of the job, but make sure you own it. As David Ogilvy once said in his field: “If you ever have the good fortune to create a great advertising campaign, you will soon see another agency steal it. This is irritating, but don’t let it worry you; nobody has ever built a brand by imitating somebody else’s advertising.” Own it by showing your process, by making it clearly obvious how you got to the end result. Creatives like to see that sort of stuff; it’s inspirational. It’s exactly why Dribbble exists and Behance has a Work In Progress channel. Deconstruct your work, make the presentation layer a project in its own right. Raphaelle Tinland on Airdura Speculate to accumulate As well as having your own personal portfolio as a base for your work there’s real value in using other creative platforms as well.  Creative platforms are designed to give you exposure, along with a huge mix of other creatives looking for exposure, so if your project gets showcased (in Creativepool’s Annual or by one of the Behance Served galleries for example), you’ll receive a lot of interest for a short time. I use Creativepool, Behance, Dribbble and Flickr to gain exposure, and then route that attention back towards my personal site where visitors are more likely to spend longer looking at other work rather than getting distracted. Once you’ve uploaded new work, share it across your social networks. Get friends and colleagues to share it. This is the final part in promoting your work and perhaps the most important. There’s a blurred line between over-promoting yourself and nobody ever seeing your updates.  Your audience are busy and distracted; there’s a lot of noise out there in the social sphere so a lot of the time your updates will go unnoticed by most people. You can push the same update out on your social channels a few times, nobody will hold it against you. Keep your posts short and let your work do the talking; entice don’t explain, let that part happen after the click. And to close — take criticism and don’t brush it off or stubbornly ignore it. Make sure your portfolio and the processes you’ve put in place to edit it and your content are flexible enough so that you can react to comments and opinions from your friends and from prospective employers. Tim Jarvis is an award-winning creative director and co-founder of Fabrik and Frēsh. As CEO of Fabrik Tim supports and champions creativity; helping creatives find a voice and audience for their talents regardless of their background, geography or experience. You can find Tim’s work on his portfolio. #### Create Cover Images from your Videos – Fabrik Play the video at full screen this could be any video MP4 file, YouTube or Vimeo etc. We recommend using a screen size 2560 x 1440, if you do not have one of those just use the highest res screen you can get your hands on. Pause the video at the point you want to make your cover image, if you have motion blur try to scrub the video slightly forwards or backwards to get the best shot you can. Make sure there is no chrome on the Video player visible and then: Mac OSX: CMD + SHIFT + 3 Windows: Print Screen (PrtScn) this will copy to your clipboard so you will need to paste into Paint, Photoshop or any image editing software to see the image. Once you have your image saved to your computer, it’s more than likely your image will be in a PNG format, most of the time with cinematic images you will want them formatted as a JPG, you can read more about the reasons why here in our when to use png or jpg image formats tutorial. Mac OSX: you can use Preview, open the file in Preview and click File > Export select your location and at the bottom you will see a selector for Format, set this to be JPEG. Windows: again in windows you can use paint, open the file click File > Save As select the location and where is says Save as type select JPEG from the dropdown list. Find the saved image on your computer, upload to Fabrik and we’ll take care of the rest. #### Customize your Vimeo player – Fabrik Watch the above video to see how you can create a portfolio website from your Vimeo content in minutes. We’ve had a few Fabrik customers ask how they can customise the look of their embedded Vimeo videos so we decided to create a blog post to help. Below you will find all the helpful tips Vimeo have on their website explaining the process. Note: In order to customise the player for videos added by URL within the Fabrik dashboard you must have either a Vimeo Plus or PRO account. Basic Accounts Basic accounts allow for some customization of player size, text colors, and numerous other features. To make changes, go to the video you’d like to embed and click the “Share” button. Then click the “+ Show options” link that appears above the embed code field. Once you’ve made your changes, copy the new embed code. In most cases we recommend you add videos using the “Video/Embed URL” box within the dashboard rather than using the “Embed code”. In this case you would need a Vimeo Plus or Pro account to customize the player. Plus & PRO Accounts From your video page click on the “Settings” button under the video and then select the “Embed” tab and customize the player as you like. There is a helpful sidebar that explains the different customization options:Vimeo Plus and PRO give you complete control over every aspect of the embedded video player. When you make changes, you can save your settings as presets so you can use those settings again for other videos. Remember, the settings you choose will dictate how this video will appear when other users embed it. Intro: You have the choice to show or hide your portrait, title, and/or byline when the video first loads. You can also control whether other users who are embedding your videos can show or hide these elements, as well. Outro: When your video ends you can choose to display one of these elements: Videos: display the latest 3 videos from your videos, likes, channels, groups, or albums. These three videos: choose any 3 videos* Text: write your own outro text, with basic HTML allowed A link: display a link to another site Nothing: show a black screen at the end of your video *For PRO members, these options will only appear if you have the Community Pass turned on. Everything else: Use the settings to completely customize the embedded video player. Leaving everything checked will enable the standard player available to everyone, but as a Vimeo Plus or PRO member you can customize it to your liking. Remember, you can always preview your changes to make sure the player looks exactly the way you want it to. Creating Presets You can create embed presets to easily apply the same custom embed settings to all of your videos. To create an embed preset go to one of your videos and click the “Settings” button that appears below the video. From there, go to the “Embed” tab and once you’ve customized the embed settings to your liking click the “+ Create new preset from these settings” button. Name your new preset and click “Save preset.” From now on you can apply this preset to any video by going to the video’s settings, clicking the “Embed” tab and selecting the preset from the drop-down menu under “Presets.” To apply a preset to all your videos, go to your Global Video Settings and select your preset from the drop-down menu under “Choose embed preset to apply to your videos” then click the “Save as default” button. Check “Also, apply to existing videos” to do just that. Easy peasy! #### Designers on Fabrik: A Deep Dive into 120 Portfolio Websites – Fabrik Designers show creativity in their ability to produce a sense of feeling within the visuals or products they create alongside being able to think outside of existing ranges – Their portfolio is no different. We have curated a selection of leading portfolios from our Designers along with insights on which characteristics of Fabrik were their top-picks to help inspire and guide you when creating your online portfolio. Juan Carlos Pagan Theme: Calico Juan Carlos Pagan is a New York based Artist, Designer, Typographer, and Creative Director who is currently the founding partner of Sunday Afternoon, a design studio and artist management agency representing top talent. Juan is using Calico, with a spotlight homepage and stacked project layout. View Juan’s Portfolio Nancy Kouta Theme: Airdura Nancy Kouta is a Graphic Artist currently based in Beirut. Interested in the magical perfect imperfection of nature and space patterns, Nancy’s style is a blend of abstract forms and organic geometric shapes with bold vibrant colors. Her visual explorations designs are a mixture of real yet surreal little stories and allusions stuck together to form a whole. Nancy is using Airdura, with a featured thumbnails homepage and stacked project layout. View Nancy’s Portfolio Split 50/50, the most popular themes with Designers are Airdura and Calico. Both themes allow Designers to fully immerse their individuality and creative flair into their portfolio. Airdura is perfect for those wanting to display full-width imagery and unique block styles whereas Calico is eared towards showcasing longer-form projects with customisation options that will allow Designers to emphasise their creativity. Matt Jalac Theme: Airdura Matthew Jalac has been curating beautiful interior landscapes for his clients since 2015. He loves to play and layer various textures, prints, colors, and finishes to create a personalized mood for every client. Matt is using Airdura with a cover spotlight homepage and stacked project layout. Check Out Matt’s Portfolio Keyvan Varashk Theme: Calico Keyvan Varashk is a Designer and Photographer who creates for books, fonts, branding, interface and social media. He prides himself on telling stories and bringing out the ephemeral and the invisible. Keyvan is using Calico, with a spotlight homepage and stacked project layout. “I’m blown away by the quick and good support and Fabrik in general. As a freelance designer and photographer I can highly recommend them!” – Keyvan Varashk View Keyvan’s Portfolio Lucas Zanotto Theme: Calico Lucas Zanotto is a Designer, Animator and Director although isn’t your standard Animation Director; yes, his graphic design and architectural background has led to meticulously crafted 2D work that’s won prestigious animation awards. Lucas is using Calico, with a spotlight homepage and stacked project layout. Discover Lucas’s Portfolio Zoe Koperski Theme: Airdura Zoe Koperski works as a production designer for commercials, immersive productions and film. Today, her background in psychology and fine art, tied with an intimate approach that offers a wealth of emotions to the viewer, means that she is a sought after designer and consultant. Julia is using Airdura, with a cover with thumbnails homepage and video thumbnails project layout. “Beautiful layouts, and amazingly quick and helpful guys. You can chat to them on the site within minutes and they always help me out when I’m stuck or with custom settings. I’ve recommended them to a few people now and everyone loves them.” – Zoe Koperski Check Out Zoe’s Portfolio Jake Clarke Theme: Calico Residing in the UK, Jake is a multidisciplinary Digital Designer with a huge passion for the music. His clients consist of well-known brands within the music idustry such as Ark Patrol, Heroic Recordings, Redbull Studios and more. Jake is using Calico, with a thumbnails homepage and stacked project layout. “Fabrik gives me a platform to effortlessly upload and organise my content with a click of a button, coupled with a variety of themes with a truckload of customisable parameters. No coding knowledge? Not an issue.” – Jake Clarke View Jake’s Portfolio Designers prefer to display their homepage in a Thumbnails layout complimented by a Stacked project view. Simple is best. Designers are rarely restricted by specific sizes of media and it’s clear to see why a Stacked project layout is favoured as it adheres to those with media of varying aspect ratios alongside a clean, simplistic feed style view. Joseff Ryland Theme: Calico Joseff Ryland is an Industrial Designer with work and experience within Product, Footwear and Accessories. His motivation is to create ethical, sustainable and responsible products and technology. Joseff is using Calico, with a spotlight homepage and stacked project layout. Discover Joseff’s Portfolio Maria Jose Contreras Theme: Airdura Maria Jose Contreras is a communication and content strategist currently based in London. With a unique background where Fashion, Theatre, and Photography merge, my creative practice has always been inspired by the search for truth in people and their relationships, both with the environment, with other people, and with themselves.. Maria is using Airdura, with a cover with thumbnails homepage and stacked project layout. Check Out Maria’s Portfolio Jason Wilkinson Theme: Airdura Jason is a Creative Designer and music lover currently living and working in Brighton whose portfolio spans across brand identity, campaign design and print media. Jason is using Airdura with a cover with thumbnails homepage and stacked project layout. “Amazing support, flexible layouts and friendly UI. A level above the rest!” – Jason Wilkinson Discover Jason’s Portfolio Hugo Dominguez Theme: Airdura Hugo is a Designer based in Chicago who loves his craft and is intrigued by the process along with the journey of each individual project he creates. He is well-rounded in all assets of design, be it Web, UX, Print, Wvents, Video and Photography. Hugo is using Airdura, with a featured with thumbnails homepage and stacked project layout. Discover Hugo’s Portfolio Tim Jarvis Theme: Airdura Tim is an award-winning Creative Director who thrives building creative relationships with photographers in fashion, film, and brand direction along with artisanal producers, artists and jewellers. Each allow him room to experiment and express his love for minimalism, typography and graphic design methodology. Tim is using Airdura, with a feauture with thumbnails and stacked project layout. Check Out Tim’s Portfolio Over 70% of Designers we surveyed preferred the use of a Landscape image ratio. Although Designers are rarely bound to specific aspect ratios, they do favour continuity and a landscape image ratio allows them to display their projects with cohesion, giving an overall aesthetic to their portfolio. Michael Shiao Chen Theme: Calico Michael is a Director, Designer and Animator currently based in Sydney. He aims to bring out a cross-cultural mix of Eastern and Western influences – ranging from his own upbringing and time spent living and working abroad in Japan and Vietnam. Michael is using Calico, with a thumbnails homepage and stacked project layout. View Michael’s Portfolio Prairie Sage Theme: Jute With a passion for minimalism, photography and graphic design, Prairie Sage specialise in distinctive branding design and social media content creation to help those to discover their brand story and voice. Prairie Sage is using Jute, with a cover thumbnails and stacked project layout. Check Out Prairie Sage’s Portfolio Pete Harrison Theme: Coburg Pete Harrison is an award winning Digital Artist and Creative Director from the United Kingdom freelancing under his online alias ‘Aeiko’. He continues to innovate at an exceptionally creative level in both corporate and cultural industries. Pete is using Coburg, with a cover thumbnails homepage and stacked project layout. View Pete’s Portfolio Designers prefer to keep it simple with a light background and dark or pop of color for their text. Designers tend to display their work with variety of color tones and palettes depending on their creative brief. Keeping a simple light background with black, grey or colored text means they can display a collective of projects allowing their design to take precedent and speak for itself. Designed to showcase your work perfectly on any device, every Fabrik portfolio site is unique. Get started and create your portfolio website today. Disover Designers on Fabrik #### Embracing the Power of Side Projects: Fuelling Creativity and Growth – Fabrik In the dynamic world of creativity, side projects have emerged as a powerful catalyst for innovation, personal growth, and professional development. These passion-driven endeavours offer creatives a unique avenue to explore, experiment, and express themselves beyond the confines of their regular work. In this article, we will delve into the profound significance of side projects and why they have become an essential component of the creative journey.   Andres Marti / Otredad: Me Gustaba Tanto Una Flor        “Otredad is my personal photography project in which, through portraits, I immerse characters in universes that play between reality and fiction, where melancholy is the protagonist. All these visual metaphors are aimed at understanding my vision of melancholy, humans who are in an apparent sadness so deep that they forget how beautiful they are.” – Artist, Andres Marti Unleashing Creativity Side projects provide a fertile ground for creatives to unleash their full creative potential. Freed from the constraints of clients, deadlines, and expectations, creatives can dive into uncharted territories, take risks, and push the boundaries of their imagination. This uninhibited creative exploration often leads to breakthrough ideas, fresh perspectives, and innovative solutions that can infuse their primary work with renewed energy and originality. Personal Fulfilment and Growth Engaging in side projects enables creatives to pursue their personal passions and interests, offering a sense of fulfilment and satisfaction. Whether it’s a photography series, a musical composition, or a writing project, these endeavours allow creatives to express their true selves authentically. This personal fulfilment, coupled with the continuous learning and skill development that side projects foster, nurtures the artist’s growth and expands their creative repertoire. Edit Ballai / 2318: Rebirth – Part 3 “My personal pieces are the ones that are really close to my heart. Interestingly, the favorite ones are those that tell a complete story through many images, which required several months of work on them – not to mention the preparation phase when I was just doodling storyboard frames, probably hundreds.” – Concept Artist, Edit Ballai Professional Opportunities Side projects can serve as powerful showcases of an artist’s abilities, opening doors to new professional opportunities. Through their side projects, creatives can attract the attention of potential clients, collaborators, or employers who are captivated by their unique vision and talents. The creative autonomy demonstrated through these projects can be an invaluable asset, establishing credibility and distinguishing oneself in a competitive industry. Preventing Burnout and Renewing Passion The demands of routine work can sometimes stifle creativity and lead to burnout. Side projects act as a much-needed respite from the daily grind, reigniting the spark of passion and enthusiasm. When creatives engage in projects that align with their personal interests and aspirations, they rejuvenate their creative spirit, infusing newfound energy into their primary work. Side projects provide a refreshing change of pace, helping creatives maintain their momentum and drive in the face of challenges. Diana Neto / Personal Inspiration and Innovation By pursuing side projects, creatives expose themselves to diverse influences and experiences. This exposure nurtures a constant flow of inspiration, enabling them to stay on the cutting edge of their field. Side projects offer an opportunity to experiment with different mediums, techniques, or subject matters, stimulating fresh ideas and unlocking novel approaches that can be applied to their regular work. This cross-pollination of ideas and exploration fuels innovation and propels creative growth. In the realm of creativity, side projects have evolved into a vital force, empowering artists to reach new heights of expression, growth, and success. Through these endeavours, creatives can embrace their true passions, evolve their skills, and create a lasting impact. Side projects provide a fulfilling escape, rekindle inspiration, and unlock untapped potential, resulting in a more vibrant and meaningful creative journey. So, to all creatives out there, embrace the power of side projects and embark on a transformative odyssey of self-discovery and creative fulfilment. #### Filmmakers on Fabrik: A Deep Dive into 120 Portfolio Websites – Fabrik Whether you’re a Director, Cinematographer or Editor, your portfolio is not just a collection of your work but a statement of your personality and home to your creativity. We have curated a selection of outstanding portfolios from our Filmmakers along with insights on which characteristics of Fabrik were their top-picks to help inspire and guide you when creating your online portfolio. Matias Boucard Theme: Calico Born in France, Matias is an award-winning Cinematographer whose extensive portfolio is an array of commercials, music videos and feature films. Matias is using Calico, with a thumbnails homepage and stacked project layout. View Matias’s Portfolio Myrthe Mosterman Theme: Loden Myrthe Mosterman is a Cinematographer who is always chasing the perfect light. Be it golden hour or a very specific point of view, her imagery paints a whimsical yet totally naturalistic picture, accessible yet out of reach. Myrthe is using Loden with a cover homepage and stacked project layout. “I was mixing up all kinds of ideas and examples, and found my favorite design at Fabrik. I love the fullscreen images at the homepage and I am very happy with the end result.” – Myrthe Mosterman Discover Myrthe’s Portfolio Split 50/50, the most popular themes with Filmmakers are Airdura and Calico. Airdura is an immersive and slick theme that couples gorgeous typography with full-width video that plays across a multitude of devices and has unique block styles whereas Calico offers Filmmakers showcasing lots of projects full customisation options. Both themes beautifully present your projects creating a portfolio that is truly individual. Malte Rosenfeld Theme: Jute Malte Rosenfeld is an award wining cinematographer. With roots in photography, lighting and documentary films the emphasis in all his work is character portraiture and visual story arch to support and carry the story. Malte is using Jute with an featured thumbnails homepage and lightbox thumbnails project layout. “”Fabrik is great – it just works especially with all moving image and the service is excellent, on the very rare event that it is needed.” -Malte Rosenfeld Check Out Malte’s Portfolio Lauren Sick Theme: Tocuyo Lauren Sick is a multifaceted Writer and Director, whose work spans both the narrative and branded space and has grabbed the attention of clients such as New Balance, Nike, Garmin, Fendi and more. Lauren is using Tocuyo, with a featured thumbnails homepage and video cover project layout. “I love how user-friendly the site is and the fact that all templates are customizable. I feel like the designers crafted something truly intuitive. And the customer support at Fabrik is insane!” -Lauren Sick View Lauren’s Portfolio Neels Castillon Theme: Airdura Neels Castillon is a Paris based film director and artist. Named one of the 2018 Young Guns by the ADC/One Club for Creativity, Neels has built a reputation directing visually rich and emotionally engaging films in challenging environments. Neels is using Airdura, with a thumbnails homepage and lightbox thumbnails project layout. “I love the simplicity and the design of Fabrik. It’s a perfect tool to show your portfolio to the world without being an expert in web design.” -Neels Castillon Discover Neels’s Portfolio Will Dohrn Theme: Calico Will Dohrn is a London based Director specialising in commercials, short films and music videos. He is interested in provoking thought around our lived spaces, people and structures, using inventive and unique visual devices to create impactful, feeling driven stories and art. Will is using Calico, with a spotlight homepage and project layout. Check Out Will’s Portfolio Shaun James Grant Theme: Calico Shaun James Grant is one of those artists’ whose career span is impressively jaw-dropping but they don’t quite seem to notice it. A quick look at his portfolio reveals a string of brands and stars gracing his lens – whether it’s for still or moving frames. Shaun is using Calico, with a spotlight homepage and video project layout. “Everything about Fabrik is easy. It’s easy to set up, it’s easy on the eye, it’s easy to maintain. It brings no additional hassle to my life and lots of little benefits. What’s not to like!” -Shaun James Grant View Shaun’s Portfolio It’s a tie! Our Filmmakers favour a cover or thumbnail layout for their homepage. A homepage cover layout gives Filmmakers the ability to create an intro feature on their homepage rather than displaying a featured project – This is particularly favored as it allows Filmmakers to display a highlight reel showcasing their best work in a compelling way. We also found a much higher proportion of Filmmakers using the Lightbox project layouts than other creator types. By including several stills for moving image projects, they’re using Lightbox to allow viewers to navigate through them from thumbnail grids. Rafa G. Arroyo Theme: Calico Rafa G. Arroyo is a Cinematographer residing in Madrid and aims to tell beautiful stories that transmit profound and pure feelings through film and photography.⁠ Rafa is using Calico, with a spotlight homepage and lightbox project layout. Discover Rafa’s Portfolio Barnaby Roper Theme: Calico Barnaby Roper is a Photographer and Director whose work has appeared in publications including i-D, Dazed & Confused and British Vogue. He has directed music videos for David Bowie, Snowpatrol and Kanye West. Barnaby is using Calico, with a spotlight homepage and stacked project layout. Check Out Barnaby’s Portfolio Joel Knoernschild Theme: Jute Born in Southern California, Joel’s a mixed-race, half Japanese Emmy award winning film and commercial Director who seeks to give a voice to marginalized individuals. His reach background both personally and professionally, has given him a unique maturity and compassion in documenting stories of community and identity and turning the spotlight to underrepresented groups of our society. Joel is using Jute, with a cover blocks homepage and stacked project layout. “The nice thing about Fabrik is it’s all automated. You don’t have to resize all of the images to be the same width for it to look nice. It just does it for you.” -Joel Knoernschild View Joel’s Portfolio Patrick Fileti Theme: Airdura With a reputation built on powerful, emotionally charged content, filmmaker Patrick Fileti’s storytelling is driven by a belief that images speak to the soul of the viewer. Fileti works primarily with non-actors to capture life as it is, carefully framed and distilled. Patrick is using Airdura, with a cover with thumbnails homepage and stacked project layout. Discover Patrick’s Portfolio Lluís Murúa Theme: Poplin Lluís Murúa, born and bred in Barcelona, was never constrained by geography. His work as an editor has brought him all over Europe as well as the United States working with artists such as Sia and Katy Perry. Lluís is using Poplin, with a featured thumbnails homepage and stacked project layout. “The love the simplicity of Fabrik. For one side, the aesthetics are absolutely gorgeous and I love it. And for another side, it’s incredibly easy to post your new work and refine every aspect of your website.” -Lluís Murúa Check Out Lluís’s Portfolio 100% of the Filmmakers we surveyed had their portfolio displayed in landscape. Perhaps not the greatest of surprises; our Filmmakers almost exclusively use landscape crops for their imagery. However, with fresh filmmakers working on square formats in social-first campaigns, this traditional trend could be coming to an end. Matt Houghton Theme: Calico Matt Houghton is an award-winning Filmmaker and Photographer with an eye for finding the beautiful and unusual in the everyday. He draws on his background in documentary, capturing intimacy in his subjects and telling simple human stories.⁠ Matt is using Calico, with a spotlight homepage and slideshow project layout. “For me, creativity is a split-second of inspiration followed by hours and hours of development.” -Matt Houghton View Matt’s Portfolio João Marques Theme: Airdura João Marques is Portuguese director and photographer. His recent portfolio consists of personal photography work which has been featured in exhibitions and several international online platforms such as VSCO, Fubiz and Milk. João is using Airdura, with a cover with thumbnails homepage and lightbox thumbnails project layout. Check Out João’s Portfolio Rob Chiu Theme: Airdura Rob Chiu is a Director whose a arresting visuals, precisely framed shots and careful lighting give a surreal cinematic beauty. Throw in his sober yet powerful visual narratives, painstakingly composed and poetic, plus his emphasis on sound design to create atmospheric moods, and the otherwise ordinary subject matter of his films is endowed with an exceptional nature. Rob is using Airdura, with a featured blocks homepage and slideshow project layout. View Rob’s Portfolio Shades of grey, black or white are prominent colors favored by Filmmakers for use as text or background. We’d naturally see the largest proportion of black background websites with white text for filmmakers. Tonally, imagery from films tends to be darker and more muted than imagery from other creator genres. Wrapping cinematic imagery in a dark site helps express darker tones, and white overlaid text is normally a better contrast option for text over imagery. Showcase your work perfectly on any device with a Fabrik portfolio and build your portfolio site in minutes. Disover Filmmakers on Fabrik #### Filmmakers Rising: Trends for 2025 & Beyond – Fabrik Filmmaking Trends in 2025 and Predictions for 2026 2025 has been a landmark year for filmmakers—not because of one seismic shift, but because of several subtle, rapid, and deeply interconnected evolutions. From AI-assisted storyboarding to cloud-based post-production workflows, the art and business of filmmaking are being reshaped at every level. But amid all this transformation, one truth remains unshakable: human stories, told with honesty and vision, are what audiences crave most. Technology can streamline, enhance, or expand what we can do—but it cannot replace the soul of a filmmaker’s vision. As we look to 2026, the future is not just about automation—it’s about imagination. Filmmaking Trends in 2025 AI in Pre-Production and Post Is Mainstream (But Not Mandatory) AI tools like Runway, ElevenLabs, and GPT-based assistants are widely used in tasks like rough editing or concept development. According to TV Technology’s NAB 2025 report, AI is reshaping media workflows across the industry—yet many filmmakers are pushing back against overuse. Netflix’s Ted Sarandos emphasised that the future of AI in cinema isn’t about cutting corners—it’s about enhancing quality by “10%.” Still, many creatives are choosing to work without AI entirely, embracing slower, hands-on processes as a form of creative resistance. Vertical and Social-First Filmmaking More filmmakers are adopting vertical formats not just for marketing, but as a legitimate form of narrative storytelling. Platforms like TikTok and Instagram have opened new avenues for serialised, social-first cinematic language. Micro-Budget Indies with Major Studio Feel Thanks to powerful tools like DaVinci Resolve, Unreal Engine, and virtual production, micro-budget filmmakers can achieve professional aesthetics. AI-driven indie studios, such as PJ Accetturo’s recent case study, show that even commercials created with GPT-4, Midjourney, and Runway can match agency-quality results. Sustainability Is No Longer Optional With major festivals requiring eco statements and cities introducing emissions guidelines, sustainable production has gone from “nice-to-have” to necessity. Tools like carbon calculators and solar-powered gear are becoming standard on environmentally conscious sets. Creator-Led Studios and Decentralised Production Filmmakers with built-in audiences via Patreon, Substack, or YouTube are building creator-owned production houses. These lean teams operate with creative freedom, transparency, and financial independence—challenging the traditional gatekeeper model. A Human-Centered Filmmaking Renaissance Analog is Back Super 8 and 16mm film are enjoying a major resurgence—not just for aesthetics, but for the intentional, tactile process they demand. The U.S. analog film processing market is seeing a rebound, as noted in a recent industry report. The Art of the Long Take Long, unbroken shots are on the rise—used to resist algorithmically optimized fast-cut storytelling. This trend favors immersion over immediacy, depth over dopamine. Workshops Over Plugins Across Berlin, Toronto, and Seoul, local film collectives and labs are thriving—prioritizing mentorship, community, and collaborative storytelling. These spaces are driven by people, not plugins. Stories Rooted in Lived Experience Audiences continue to crave work that feels personal. The most powerful films of 2025 weren’t generated—they were lived. They speak to shared emotion, and to lived truths that no machine can imitate. Technology That’s Redefining the Craft Virtual Production Comes of Age Virtual production, once the domain of big-budget blockbusters, is now widely accessible. Studios like Studio Ulster in Northern Ireland are making LED stages and in-camera VFX available to smaller teams—fueling a boom in regional film jobs and innovation. Generative Tools in Storyboarding and VFX Concept artists and pre-vis teams increasingly use generative tools for early design work. Used sparingly, these tools can help get ideas moving—but they’re just as often supplemented or replaced by hand-crafted work in the final stages. Real-Time Cloud Collaboration Tools like Frame.io and Blackmagic Cloud allow globally distributed post-production teams to work together in real time, without hard drives or in-person sessions. The result is faster turnaround—and more inclusive collaboration. Audience Trends in 2025 Interactive and Nonlinear Storytelling Viewers are gravitating toward narratives that let them make choices or explore multiple outcomes. Filmmakers are experimenting with branching storylines—both in streaming and immersive formats. Short-Form and Serialised Content Serialised storytelling in short formats is booming. TikTok-native series and YouTube Premium dramas under 10 minutes per episode are building loyal fanbases with limited budgets and big ideas. Diversified Distribution Channels Decentralised release models—from creator-backed crowdfunding to Web3-native releases—are gaining traction. While early-stage, platforms tied to blockchain and NFTs are creating alternative income streams for indie filmmakers. Predictions for 2026 AI-Human Co-Directed Films Recognised: Expect formal recognition of hybrid projects at film festivals—sparking debate around authorship and ethics. Blockchain-Based Distribution Expands: NFT-based licensing and smart contracts could give filmmakers more control over rights, monetisation, and fan engagement. Global Voices Rise to the Forefront: From Indigenous sci-fi to Southeast Asian horror, expect to see more diverse voices amplified via better translation tech and global funding pipelines. Experiential Cinema Grows: Storytelling will evolve beyond the screen—into installations, live interaction, and immersive mixed-reality experiences. What This Means for Filmmakers You don’t have to use AI to stay relevant. Let your voice lead, and use tools only when they serve your vision. Human flaws, rhythm, and texture can’t be imitated—and they’re what give your work life. Whether you shoot on a phone, on film, or on a volume stage—your method doesn’t define your value. Your intention does. Final Thoughts: A Future With—and Without—AI The future of filmmaking is not a binary between tradition and tech. It’s a spectrum of creative possibilities, where every filmmaker decides their place. AI can help—but it cannot dream. It cannot remember childhood smells, carry grief, or fall in love. Those things are yours. Cinema has always been about empathy. About feeling less alone in the dark. And that, no matter what tools you use, will never change. #### How to create private projects Private projects are hidden from the home and portfolio pages of your Fabrik site and only accessible through their direct URL. This makes them perfect for sending pitches to clients or a quick preview before putting your work live. To make a project private, click the privacy button on the project detail page: If you’re sending out a pitch, you may find a more suitable layout for your project from the Layout panel: After saving the project, click the new launch button in the command bar to open the project page on your site: You can then copy the full URL from your browser’s address bar and share this if required: To change the URL of your project (perhaps to something harder to guess or client specific), go to the Details panel and change the project’s slug: Once you’ve saved the project, it will be available at the updated URL: #### Illustrators on Fabrik: A Deep Dive into 120 Portfolio Websites – Fabrik As an Illustrator, you’re all about providing a visual representation from idea to content and how you showcase your portfolio should be no different. We have curated a selection of leading portfolios from our Illustrators along with insights on which characteristics of Fabrik were their top-picks to help inspire and guide you when creating your online portfolio. Prateek Vatash Theme: Canvas Prateek Vatash is a Graphic Artist and Designer based out of Bangalore, India. His work, primarily uses a blend of 3D and 2D media, bringing together forms and content taken from his multiple interests in the fields of typography, architecture, interior design, and the occult. Prateek is using Canvas, with a square featured thumbnails homepage and strip project layout. “I think the true magic happens when you inject every bit of your personality into the work you create.” – Prateek Vatash View Prateek’s Portfolio Esther Lalanne Theme: Calico Residing in London, Esther Lalanne works as an Illustrator for magazines and brands, and as a Character Designer and Director for the animation industry. Her work is mainly focused on characters, relationships and inclusivity.  Esther is using Calico with a spotlight homepage and project layout. Discover Esther’s Portfolio 53% of Illustrators we surveyed prefer to use Calico as their choice of theme. Out of the box Calico works as well for flat colours or for photography. With simple spotlight and thumbnail grids, spaced with a comfortable border you can very quickly showcase your style and particular flair, right from the homepage. Scott Balmer Theme: Calico Scott Balmer is a freelance Illustrator based in Scotland, UK. He has a distinctively visual nature and creates illustrations that pop using bold bright colors. Scott is using Calico with an un-cropped thumbnails homepage and stacked project layout. “My favorite feature is that Fabrik gives you options when it comes to colour […] allowing you to completely customise them to your hearts content.” -Scott Balmer Check Out Scott’s Portfolio Milica Golubović Theme: Airdura Milica Golubović is a visual artist and illustrator. She creates poetic digital imagery with focus on atmosphere, color and texture, and draws inspiration from nature, the Mediterranean seaside and everyday life in general. Milicia is using Airdura, with a square blocks homepage and stacked project layout. “My favorite feature is the ability to put the same project into different sub-categories and sub-portfolios” -Milica Golubović View Milica’s Portfolio Sam Green Theme: Calico Sam Green is an Illustrator and Graphic Artist based in London, UK, specialising predominantly on movie poster art, comics and other pop culture creations. Sam is using Calico, with a thumbnails homepage and stacked project layout. Discover Sam’s Portfolio Lasse Bauer Theme: Calico Lasse Bauer is a Graphic Artist residing in Denmark. With a passion for cars, he has worked with clients such as Porsche Club of America, Eagle E-Types, Audi Sport, Tom Kristensen and many other companies and individual car enthusiasts and collectors. Lasse is using Calico, with a spotlight cover homepage and gallery project layout. “Holy Jesus on a horse – Fabrik’s dashboard and editor are just amazingly fast and stable.” -Lasse Bauer Check Out Lasse’s Portfolio David Vanadia Theme: Loden David Vanadia is a French artist and Illustrator who is on a quest to find meaning through his minimalist artworks, full of bold graphics and human emotion. David is using Loden, with a thumbnails homepage and stacked project layout. View David’s Portfolio Over 60% of Illustrators feel that a thumbnails homepage layout with a stacked project layout is the perfect combination to showcase their portfolio. Thumbnail layouts allow Illustrators to display a collective of their work in a harmonious way, encapsulating each portfolio so that is clear and easy to navigate. A stacked project layout gives Illustrators the option for a variety of media within their projects, making it simple to display both motion and static illustrations in different aspect ratios. Blood Bros Theme: Airdura Blood Bros is an Illustrator and Animator based in Tokyo, Japan whose background in graphic design informs his illustration work. He enjoys the challenge of transforming complex ideas into humorous images. Blood Bros is using Airdura, with a blocks homepage and stacked project layout. Discover Blood Bro’s Portfolio Richard Carabello Theme: Airdura Richard Caraballo is a Creative Director, and Illustrator residing in New York, USA. whose illustrative talent is sparked by his passion for music. Richard is using Airdura, with a thumbnails homepage and stacked project layout. Check Out Richard’s Portfolio Nicolae Negura Theme: Jute Nicolae Negura is a Romanian Illustrator that decided to make Lisbon his home and source of inspiration. His work is a combination of strong and garish colors and a rough ink trace that resembles vintage comics. Nicolae is using Jute, with a featured thumbnails homepage and lightbox thumbnails project layout. View Nicolae’s Portfolio Niklas Sundin Theme: Tocuyo Niklas Sundin is a Sweden-based multidisciplinary creative who makes his primary living as an Illustrator and has created work for world renowned brands and musicians. Niklas is using Tocuyo, with a featured thumbnails homepage and stacked project layout. Discover Niklas’s Portfolio Sam Gibley Theme: Calico Sam Gibley is an Illustrator who creates distinctive painterly illustrations that have been featured in books, magazines, comics and exhibitions worldwide, and also on television. Sam is using Calico, with a spotlight homepage and stacked project layout. Check Out Sam’s Portfolio 40% of the Illustrators we surveyed prefer to display their portfolio in landscape. The results were close between an uncropped, square or landscape image crop but we believe that’s due to the fact Illustrators are rarely bound to specific aspect ratios. However, displaying or composing projects within a landscape ratio allows the eye to be taken through the image from left to right, giving the Illustrator the ability to create depth or make a statement. Evgenia Chuvardina Theme: Calico Evgenia Chuvardina is a Russian Illustrator and Graphic Designer currently living in Germany who draws pictures full of color and bizarre ideas.⁠ Evgenia is using Calico, with a spotlight homepage and lightbox project layout. View Evgenia’s Portfolio Ellie Shipman Theme: Calico Ellie Shipman is an illustrator and artist based in Bristol, UK, and working globally. She creates playful, bold illustrations and patterns exploring sustainability, women and wellbeing for editorial, research and campaigns. Ellie is using Calico, with a spotlight homepage and stacked project layout. “Fabrik has been a fantastic platform to showcase my creative practice in its various guises. It has helped me take ownership of my practice and share my portfolio as part of applications for countless projects.” -Ellie Shipman Check Out Ellie’s Portfolio Zack White Theme: Calico Zack White is a freelance Motion Designer and Art Director who has created playful illustrations for clients such as AMC, Topps, Blue Cross and Tegna. Zack is using Calico, with a featured spotlight homepage and stacked project layout. View Zack’s Portfolio Pops of colour on a white or black background, Illustrators love the ability to customise colours to suit their brand or portfolio. We tend to see illustrators display work with closer colour tones and swatches. This is no doubt purposeful on the part of the illustrator – working with palettes they’re comfortable with, and working within colour trends over time. A straightforward white background and black text remains popular, but again, with close colour palettes there are opportunities to use more unique background colours that compliment flat artwork. Showcase your work perfectly on any device with a Fabrik portfolio. Build your illustration website in minutes. Disover Illustrators on Fabrik #### Illustrators Rising: Trends for 2025 & Beyond – Fabrik 1. Neo-Traditionalism A resurgence of traditional media (ink, watercolour, pencil) with a modern twist. Artists are mixing tactile imperfections with digital finishes for a hybrid aesthetic. Think: visible brush textures, scanned sketchbook pages, and analogue/digital mashups. Influencers: Owen Gent and Victo Ngai. 2. Maximalist Psychedelia Hyper-colourful, detailed compositions drawing on retro 70s aesthetics, infused with surreal and dreamlike themes. A visual antidote to the minimalist era. Use: Editorial work, album art, and fashion campaigns. Popular on: Instagram, Behance, and indie publications. 3. AI–Human Collaboration More illustrators are integrating AI tools like Midjourney, DALL·E, and Photoshop’s generative features—not to replace, but to brainstorm, texture, and iterate faster. Impact: Speeds up workflows and encourages experimental visuals. Ethical Note: There’s growing emphasis on transparency and ethical sourcing. 4. Motion Illustrations & Loops Micro-animations and seamless GIF loops are booming, especially in social content and UX/UI design. Static images are giving way to lightweight, animated expressions. Toolkits: Procreate Dreams, After Effects, Spine.   Upcoming Trends (Late 2025 – 2026) 1. Post-AI Authenticity As generative AI floods the market, unique human expression and unmistakably handmade visuals will become premium. Raw, imperfect, and deeply personal art will be celebrated. Expect: Zine-inspired aesthetics, expressive linework, and collage. 2. 3D Illustration Meets Flat Design Artists will blend 3D objects (created in Blender, Spline, or Nomad Sculpt) with flat vector styles, offering depth and interactivity without going full hyperrealism. Watch: Interactive websites, AR experiences, product packaging. 3. Cultural Reclamation & Identity Art Illustration will continue to be a powerful tool for cultural storytelling, with a rise in regional, indigenous, and identity-focused narratives. Key drivers: More brands seeking authentic, localised perspectives. Collaborations: Between illustrators and historians, anthropologists, or community groups. 4. Eco-Visualism As climate urgency grows, illustration will lean into visual storytelling that advocates for sustainability—organic motifs, earthy palettes, and activist-driven messaging. Usage: Nonprofits, conscious brands, public installations. Pro Tips for Illustrators Navigating 2025–2026 Build a Hybrid Skill Set: Combine drawing with motion, 3D, or interactivity to stay versatile. Create With Intention: In a saturated visual landscape, originality and voice will cut through the noise. Be Platform-Savvy: Experiment with emerging platforms (like spatial computing apps and wearable interfaces). Network Authentically: Collaborations and community-driven projects will matter more than follower count. Final Thoughts The illustration landscape for 2025–2026 will be shaped by tension—between the human and the machine, the digital and the physical, the personal and the global. But at its heart, it remains a space for visual poetry, rebellion, and storytelling. Illustrators who embrace experimentation, remain culturally aware, and honour their unique voice will thrive in this new era. #### Minimalist Portfolio Website Design Minimalist design is a design philosophy that focuses on simplicity and clarity. It is characterised by the use of minimal elements, such as simple shapes, clean lines, and a limited colour palette. The goal is to create a clean and uncluttered aesthetic, emphasising the essential aspects of the design and eliminating any unnecessary elements. We’ve partnered with Codeless to discuss how the benefits of a minimalist website design can help you showcase your work effectively, provide a positive user experience, and communicate a sense of professionalism and expertise. Ariel Palanzone: Multidisciplinary Designer 01: Emphasises your work A minimalist design puts your work front and centre, by avoiding clutter and distractions it provides a canvas that allows your portfolio projects to shine. Visitors to your website can focus on the quality and uniqueness of your work without being distracted by unnecessary design elements, leading to a more positive user experience and a greater likelihood of them engaging with your work. By using minimalist design principles, you can create a memorable and impactful portfolio website that effectively showcases your skills and expertise. 02: Easy to navigate As a minimalist portfolio website design has fewer design elements, it is typically easier to navigate, making it simpler for visitors to find the information they are looking for. With a clean and uncluttered design, the essential elements of the website, such as the navigation menu and the portfolio items, are more prominent and easier to access. Myrthe Mosterman: Cinematographer “A well-designed portfolio website should be easy to navigate, fast, and intuitive. People typically visit these websites specifically to view the showcase of work, which means that the centre of attention should be precisely on the featured projects. A minimalist design approach ensures that visitors are not overwhelmed by clutter or unnecessary distractions, thereby providing a seamless and enjoyable browsing experience.”  – Eldo Roshi, Codeless 03: Fast loading times A minimalist portfolio website design can lead to faster loading times because it typically employs a smaller file size due to its simple and streamlined design. With fewer design elements, the website requires less processing power and fewer HTTP requests, resulting in faster loading times. This is important, as slow loading times can negatively impact user experience and lead to higher bounce rates. 04: Mobile Friendly A minimalist portfolio website is typically designed with responsive design principles in mind. By using a simple and clean layout, a minimalist design lends itself well to adapting to different screen sizes, making it easier to view and navigate on mobile devices. Maxx Burman: Matte Painter “Minimal design on portfolio websites is essential to highlight the work being showcased and create a positive user experience. By keeping design elements in check and focusing on ease of navigation, we can ensure that our portfolio websites are not only aesthetically pleasing but also effective in presenting our work to potential clients and collaborators.” – Eldo Roshi, Codeless 05: Timeless and versatile A minimalist portfolio website design is timeless and versatile as it relies on simple and classic design elements that transcend trends and fads. The simplicity of the design makes it easy to update and modify as needed. By avoiding complex and trendy design elements, a minimalist design can remain relevant and effective for years to come. 06: Focuses on your content By prioritising simplicity and clarity in your portfolio website design, you can create a space that effectively showcases your work and encourages visitors to focus on the content, skills and expertise on display, thus leading to greater engagement and more opportunities. Diana Neto: Fashion Photographer “As a designer, I cannot emphasise enough the importance of minimal design on portfolio websites. Such an approach allows for the focus to be placed on the photographs and portfolio items themselves. It is essential to have a design that includes tasteful design elements, but without going overboard. Striking the perfect balance between style and simplicity can be challenging, but it’s a crucial aspect of creating an effective portfolio website.” – Eldo Roshi, Codeless #### Photographers on Fabrik: A Deep Dive into 120 Portfolio Websites – Fabrik Photographers have a keen eye for detail ensuring that all elements within an image work together harmoniously to convey the right vision and your portfolio should be able to embrace this and do the same. We have curated a selection of leading portfolios from our Photographers along with insights on which characteristics of Fabrik were their top-picks to help inspire and guide you when creating your online portfolio. Diana Neto Theme: Canvas Diana Neto is a Photographer and Art Director based in Lisbon. The connection between humans and Nature is the essence of her work and is evident throughout her portfolio; the perfect marriage of environment, light and fashion. Diana is using Canvas, with a cover homepage and lightbox project layout. “Fabrik as a platform is so easy to work with. I personally enjoy the clean design and being able to manage my content quite quickly. Also the fact that you take interest in the creatives that use Fabrik to showcase their work is very welcoming, creates a sense of community and support.” – Diana Neto View Diana’s Portfolio Iness Rychlik Theme: Canvas Iness Rychlik is a Polish-born photographer and filmmaker with a particular interest in historical drama. Despite her severe myopia, she has been dedicated to visual storytelling for over a decade. Iness is using Canvas with a strip homepage and project layout. “I love the selection of Fabrik’s templates, which makes it easy to make my portfolio look exactly the way I want it. What I also appreciate is your wonderful customer service; any questions are answered promptly, no matter how silly they might be.” – Iness Rychlik Discover Iness’s Portfolio Torn between two themes, the two most popular for Photographers are Canvas and Calico. With both themes being a great choice for Photographers, Canvas is slightly higher favoured. It is a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images and allowing Photographers to beautifully present their portfolio in a multitude of ratios. Karen Joaquín Theme: Tocuyo Karen Joaquín is a Dominican Film Director and Photographer based in Barcelona, Spain. A multi-artist, she is also a screenwriter, photo still photographer, cinematographer, and advertising copywriter. Karen is using Tocuyo with a cover with thumbnails homepage and stacked project layout. “I love that I can make it totally my own and I can expose my films and photographs in a simply but representative way. I love the feature of having mini albums in a clearly and understandable gallery.” -Karen Joaquín Check Out Karen’s Portfolio Kirstie Mcnulty Theme: Tocuyo Kirstie Mcnulty is a Fashion and Editorial Photographer residing in Manchester, UK. She has captured for fashion brands JDW Fashion and SimplyBe along with having her work is featured in magazines such as; Solstice Magazine, Institute Magazine and Dreamingless Magazine. Kirstie is using Tocuyo, with a cover with thumbnails homepage and stacked project layout. View Kirstie’s Portfolio Christian van Duuren Theme: Canvas Based in the Netherlands, talented director and photographer Christian van Duuren’s series of black and white portraits exude elegance and display the beauty of forms and tones. Christian is using Canvas, with a thumbnails homepage and lightbox project layout. Discover Christian’s Portfolio Elliott Wilcox Theme: Calico London based Photographer Elliott Wilcox has been the recipient of several prestigious awards and continues to develop his photographic practice and push the boundaries of his medium. Elliott is using Calico, with a thumbnails homepage and stacked project layout. Check Out Elliott’s Portfolio Matt Pearson Theme: Calico Matt Pearson is a London based Photographer who has captured the attention of some of the best known names in entertainment and sports. He has a keen interest and grounding in sport and exercise, allowing him to capture movement and people in his own unique way. Matt is using Calico, with a thumbnails homepage and stacked project layout. View Matt’s Portfolio The perfect combination. Our Photographers favour a thumbnail homepage layout with a stacked project layout. We found a large proportion of Photographers prefer using a thumbnails as it is a great choice for focusing your audience on a single media item at a time, making it a useful layout for viewing imagery with a lot of detail. A stacked project layout is a very simple and forgiving  and allows for variety in the types and sizes of media you have. Bruno Militelli Theme: Canvas Bruno has a delicate balance between abstraction and allegory and captures nature in its smallest details. Starting from macro photography, he transcends the boundaries of orthologic vision and captures the minutiae of each object photographed.⁠ Bruno is using Canvas, with a stacked homepage and slideshow project layout. Discover Bruno’s Portfolio Julie-Annabelle Schimel Theme: Canvas Julie-Annabelle Schimel is a Parisian photographer residing in France. She devotes herself to the world of the image: to transmit with technology her dreams, fears and imagination. Julie-Annabelle is using Canvas, with a thumbnails homepage and spotlight project layout. Check Out Julie-Annabelle’s Portfolio Prajit Ravindran Theme: Loden Prajit Ravindran is a Software Engineer by profession and a photographer by hobby and when he moved to Utah, fell in love with the state. Prajit Ravindran has driven for miles exploring the rich, diverse landscape that Utah has to offer and the outcome takes your breath away. Prajit is using Loden, with a featured thumbnails homepage and slideshow project layout. View Prajit’s Portfolio Aks Huckleberry Theme: Tocuyo Born in a tiny southern town in Russia, Aks Huckleberry is a young filmmaker and a portrait photographer, who spent her most formative years in London. Aks is using Tocuyo, with a cover with blocks homepage and slideshow project layout. “My favourite thing about Fabrik is how welcoming and supportive you guys are, especially when it comes to setting anything up on the website. It is rather minimalist in design and easy to use, but occasionally, I did have a couple ideas I wasn’t sure how to bring to life myself and one of you would always come to the rescue.” -Aks Huckleberry Discover Aks’s Portfolio Constantin del Castillo Theme: Calico Constantin del Castillo is a Fashion Photographer who creates national and international brand labels campaigns in fashion, beauty and advertising. Constantin is using Calico, with a spotlight homepage and stacked project layout. Check Out Constantin’s Portfolio A whopping 73% of Photographers we surveyed prefer their images to be displayed uncropped. Unlike other creators, Photographers tend to showcase their images in a range of ratios including; landscape, portrait and square. Most opt to display their work uncropped, so that it can be viewed in all its entirety. Gareth Gardner Theme: Canvas Gareth Gardner is an architectural photographer, filmmaker, journalist and curator based in London. Gareth is adept at examining the built environment and his portfolio is testament to this.⁠ Gareth is using Canvas, with a spotlight homepage and spotlight project layout. View Gareth’s Portfolio Hörður Sveinsson Theme: Canvas Reykjavík based Photographer and Director Hörður Sveinsson specialises in portrait, editorial and advertising photography and video. Hörður is using Canvas, with a thumbmails homepage and stacked project layout. Check Out Hörður’s Portfolio Luìs Monteiro Theme: Canvas Born in Portugal , Luis Monteiro moved to London in the year 2000 to pursue his passion for Fashion photography. His photos regularly appear in some of the most influential fashion magazines such as Vogue, Harpers Bazaar amoung others. Luìs is using Canvas, with a spotlight homepage and lightbox project layout. View Luìs’s Portfolio  Tones of grey, black or white are prominent colors loved by Photograhpers for use as text or background. Photographers have a love for a monochrome palette and often opt for a shades of grey, black and white for the background or text throughout their website. A tonal aesthetic emphasises contrast and gives a simple minimalistic look. Showcase your photography perfectly on any device with a Fabrik portfolio. Start your free trial right now. Disover Photographers on Fabrik #### Photography Rising: Trends for 2025 – Fabrik Photography is an ever-evolving art form, and in 2025, it is shaped by emerging trends and the resurgence of timeless classics. This article delves into the key trends and creative concepts that are defining photography this year, helping your work captivate diverse audiences and stand out. Understanding Photography Trends and Their Importance The photography industry is constantly advancing, with new techniques and innovations shaping visual aesthetics. These trends influence everything from portraits and landscapes to commercial and lifestyle photography, allowing images to resonate more deeply with audiences. By staying attuned to these trends, photographers can refine their skills, explore fresh creative directions, and ensure their work remains relevant in a dynamic field. Now, let’s explore the defining photography trends of 2025! Key Photography Trends in 2025 1. Bold and Vibrant Colours After years of subdued tones, photography in 2025 embraces high-contrast, vividly saturated colours. Particularly prevalent in fashion and branding, this trend leverages colour theory to create striking compositions. The rise of AI in photography further enhances the ability to experiment with dynamic colour palettes, marking a bold shift in visual storytelling. Photo Credit: Kristina Skoreva 2. Prioritising Authenticity Over Perfection As society moves away from unrealistic beauty standards, photography trends emphasise raw, candid moments. Unretouched, natural images are gaining traction, particularly in portrait, fashion, and lifestyle photography, appealing to audiences who value authenticity over overly edited visuals. Photo Credit: Monika Kozub 3. Documentary-Style Visual Narratives The demand for genuine storytelling continues to grow. Photographers are focusing on everyday life, social movements, and personal stories, creating compelling images that foster emotional connections. This approach brings depth and relatability, making photography a powerful medium for meaningful narratives. Photo Credit: Yasmin Peyman 4. Environmental Motifs in Photography As urbanisation increases, there is a growing desire to reconnect with nature. From remote landscapes to urban green spaces, nature photography is gaining prominence across various genres, including travel, wildlife, commercial, and portrait photography. Photo Credit: Alexander Abero 5. Blending Imagery with Art Social media continues to influence photography, merging artistic elements with reality. Photographers are incorporating murals, graffiti, and digital effects to create unique, visually captivating compositions that blend artistic creativity with traditional photography. Photo Credit: James Garman 6. Promoting Sustainability Through Photography With heightened awareness of environmental issues, photographers are using their work to document the effects of climate change and advocate for sustainability. This trend spans various fields, from wildlife and documentary photography to sustainable fashion and food imagery. Photo Credit: Naja Bertolt Jensen 7. Ethical Storytelling As awareness of social responsibility grows, photographers are approaching subjects with sensitivity, ensuring ethical representation. This includes obtaining consent, respecting cultural norms, and using photography as a tool for advocacy in social justice and human rights. 8. AI and Traditional Photography Fusion Artificial intelligence is revolutionising photography by enhancing editing processes, refining backgrounds, and generating high-quality imagery. AI-powered tools allow photographers to push creative boundaries, making it easier to achieve stunning visual effects. 9. Inclusive and Diverse Representation Diversity in photography is more than a trend—it’s a necessity. Brands are shifting towards authentic representation, showcasing a broad range of skin tones, body types, and identities to connect with modern audiences and reflect real-world diversity. Photo Credit: Nikolas Gannon 10. Minimalism and Simplicity In contrast to visual clutter, minimalism remains a dominant trend. Clean, simple compositions with ample negative space emphasise the subject, resulting in timeless and elegant imagery that resonates across various photography genres. Photo Credit: Kunj Parekh Final Thoughts The photography trends of 2025 blend classic techniques with modern innovations, offering endless creative possibilities. From embracing authenticity and bold colours to integrating AI and environmental themes, these trends inspire fresh perspectives and compelling storytelling. By staying ahead of these developments, photographers can refine their craft, expand their artistic horizons, and make a lasting impact in an ever-evolving industry. #### Portfolio and Sub-portfolio Layouts – Fabrik A lot of people have asked for it and i’s been on our to-do list for a while now. So, as a bit of an early festive treat for our Fabrik users we’ve put some time aside from our dev schedule and we’re very pleased to announce an update to the Portfolio layout options. You can now set unique layouts for each or all of your portfolios, and – if you have them, sub-portfolios. You’ll now find a new Layouts tab within your Portfolio and Sub-portfolio options, featuring unique layouts for displaying both portfolios and projects at the same time. The possibilities are almost endless, but in a nutshell you now have complete freedom in how you want your work to be grouped and displayed. So how does this work in practice? Let’s illustrate it with an example: In your Fabrik site you have a film portfolio and a photography portfolio, before this update those portfolios were forced to use the same layout, which isn’t ideal if they’re full of two very different types of media, or if one portfolio contains a lot more projects than the other. So you now you have the flexibility to choose the layout which suits each portfolio and sub-portfolio best, just like you do with your projects. Each of our themes has been updated with brand new Portfolio layouts, so it’s over to you: let us know how you get on! #### SDR VS. HDR (For Beginners) – Fabrik Should I Export My Photos in HDR or SDR for My Portfolio? As a creative professional, the choice between HDR (High Dynamic Range) and SDR (Standard Dynamic Range) is an important one when exporting your work for online platforms, including your portfolio. If you’re using editing tools like Adobe Lightroom, you’ve likely seen the option to export in HDR, which promises more vibrant colors and greater detail. But is this the right choice for your portfolio on Fabrik? What’s the Difference Between HDR and SDR? SDR (Standard Dynamic Range): This is the traditional format, supporting a limited range of brightness and color. SDR is universally compatible across devices and browsers, making it a reliable choice for displaying photos online. HDR (High Dynamic Range): HDR offers a much wider range of brightness, contrast, and colors, making it ideal for photos with complex lighting, such as landscapes or night shots. However, not all devices or browsers can display HDR properly, which can lead to inconsistent viewing experiences. Why SDR is the Best Choice for Your Fabrik Portfolio At Fabrik, we provide a seamless and elegant platform for showcasing creative portfolios to a wide audience. While HDR has its advantages, especially for those using high-end devices, the majority of users still access portfolios on devices and browsers that are optimized for SDR. We recommend uploading your images in SDR to ensure your work looks consistent and professional on all devices. Here’s why: Universal Compatibility: SDR images will display correctly across all devices, browsers, and operating systems. Whether someone is viewing your portfolio on a smartphone, tablet, or desktop, they’ll see your work exactly as intended. Consistent User Experience: Since not all web browsers support HDR yet (with only Microsoft Edge and Safari offering limited HDR support), uploading in SDR ensures that your portfolio looks its best on every browser. If you upload HDR images, there’s a risk that users on older or unsupported devices may see inaccurate colors or brightness, which could detract from your work. Optimized Performance: Fabrik is designed for fast-loading, high-quality images. Since HDR files are larger, they can slow down load times, potentially affecting how quickly viewers can access your portfolio. SDR files are smaller and will load faster without sacrificing quality, providing a smoother experience for your audience. Reliable Compression: Platforms like Fabrik sometimes compress images to improve load times and optimize for web use. SDR images typically compress more predictably and retain their visual integrity across different screens, ensuring your photos remain sharp and detailed. When to Use HDR While we recommend SDR for uploading to Fabrik, there are certain cases where HDR can still be useful. If you’re showcasing your portfolio in a private presentation or sharing it with clients or collaborators who you know have HDR-capable devices, exporting in HDR might be a great way to highlight the finer details in your work. However, for general portfolio display on Fabrik, SDR remains the best option to maintain consistency and compatibility for all viewers. Conclusion If you’re uploading your portfolio to Fabrik, we recommend sticking with SDR exports. This ensures that your work looks professional, loads quickly, and displays consistently across all devices and browsers. HDR is a powerful tool for enhancing contrast and color, but for most online platforms, including Fabrik, SDR will give your audience the best viewing experience. By exporting in SDR, you guarantee that your creative work shines—no matter where or how it’s viewed. #### The Best Resources To Get Together, Stay Creative And Inspired – Fabrik Imagine the current scenario playing out in a time or place where no internet would be available. Thankfully, this is not the case and we have to be grateful to the advances of technology for allowing communities to come together, support their members and keep the productivity wheels turning. Here at Fabrik we’re always looking for ways to support our members and, despite the bleak times the humanity is now facing, we are committed to assisting, any way we can, everyone to feel their most inspired and creative self. We have compiled an exhaustive list of resources to help you connect with like-minded individuals and communities, advance your ambition and keep you busy while the world is at somewhat of a standstill. by Ido Raz Education Thousands of free online courses from top universities around the world to tickle and expand your brain. Have a look at the following: Learning How to Learn by the University of California Script Writing: Write a Pilot Episode for a TV or Web Series by the University of Michigan Introduction to Computer Science and Programming Using Python by the Massachusetts Institute of Technology Modern & Contemporary American Poetry by the University of Pennsylvania Introduction to Classical Music by Yale University Hollywood: History, Industry, Art by the University of Pennsylvania Discover more here. For more art-oriented curricula, the MoMA in New York offers a comprehensive list of online courses to help you see the world through the lens of art. From the fundamentals of Modern Art to Fashion and Strategies to engaging with Art, there’s something for everyone. For more hands-on classes, head straight to Brit + Co and browse a extensive list of courses ranging from Photography, to cake decorating to investing. by Cherryl Brunel Art Granted, we can’t go out, but this doesn’t necessarily mean that we can’t enjoy a nice virtual walk in the museum or art performances. For instance, The Metropolitan Opera offers daily streams of classical masterpieces. Sit back and enjoy. Google is also collaborating with the most prominent museums around the world to offer virtual tours. Here are some of our favorites. The British Museum The Solomon R. Guggenheim Museum and Foundation with its famous spiraling staircase The National Gallery of Art in Washington, DC Le Musée d’Orsay in Paris National Museum of Modern and Contemporary Art, Korea Head straight to Google and indulge in a feast for the eyes and the mind. In addition, Art Basel is regularly launching online viewing rooms for a fresh look in what’s trending in the contemporary world of art. Last but not least, The Social Distancing Festival is a online museum specially set up for the Covid times, showcasing talent from all around the globe. Something for the kids There are online activities to keep your little ones entertained, too. There are a bunch of YouTube videos which offer virtual rides at Disneyland’s most coveted experiences; the Space Mountain ride in the Magic Kingdom, the classic It’s A Small World boat ride or even Peter Pan’s Flight. We admit it, we are hooked, too. The Cincinnati Zoo & Botanical Garden also offers Home Safari Facebook livestreams. Get in, we’re going on a trip! By Félix Marquis-Poulin Professional Resources and Growth Professional communities from around the globe were quick to come together and connect their members on a quest to foster stay-at-home networking and personal growth. Here are our favorites. The Panel by Q&A: A Slack gathering of cultural leaders discussing the state of music and industry insights While you’re stuck at home, consider taking some time to review the book of a junior creative to help them navigate this weird industry. Connect with Coffee at a Distance by We Are Next. Because quarantine shouldn’t prohibit you to talking to people who can advance your career. Hows Work? with Esther Perel. In this new podcast, iconic couples therapist Esther Perel brings new perspective to the invisible forces that shape workplace connections, conflict and dynamics. We will be back with more recommendations as we work to enrich our arsenal of online resources. If you have more online communities and activities to partake drop us a message on Instagram, Twitter and Facebook. We’re listening. Till then… quarantine and chill! Cover Image by Sebastian Lange #### The Summary: How your sites look in 2024 – Fabrik We like to check in with our community and explore how you prefer to use Fabrik. Your creative portfolio should be a well-structured compilation of work demonstrating your ingenuity, skills, and thought process – A visually unified, seamlessly integrated curation of creative projects, meticulously planned and presented like a whole product. We handle the technical details, leaving you to focus on the content. Jump straight to the sections: Themes Homepage Layouts Project Layouts Image Crop Ratios Colours 1. Themes Calico remains the favourite choice of theme across our community and is favoured by filmmakers, 3D and VFX artists in particular.   Our themes employ smart layout technology to adjust to your project content. To simplify things you can change your theme anytime. Trial users frequently ask us which theme they should choose for their portfolio sites. In the end, there’s no right or wrong theme to use – it’s about discovering the layouts that highlight your project content most effectively. ↑ Voile So new it’s not even on the list yet! With Voile, we’ve taken creativity to new heights to provide you with an exceptionally unique website. Exciting customisations give you much greater control over your homepage, while our new Random, Offset and Split project layouts present your content in charming and unforeseen manners. We urge you to let Voile reflect your style and add a dash of excitement in presenting your exceptional work. ↑ Tocuyo Tocuyo is especially favored by artists, but also works well for cinematic filmmakers and photographers who want an immersive, full-screen format for their work. Ideal for creatives who wish to present both themselves and their work, Tocuyo offers a range of Cover layouts and becomes highly engaging with a full-screen hero, thumbnail grids, and integrated About content. It’s well-suited for medium-sized portfolios. ↑ Coburg Coburg, a magazine-style theme, introduces Fabrik’s Scatter layout. Popular with Studios and Agencies – its elegant typography and optional frame borders help arranges disparate project content harmoniously within guttered containers. ↑ Airdura Airdura is an engaging and minimalist theme that combines polished typographic elements with full-width images and distinctive block styles. Boasting over twenty layouts to choose from, both Designers and Filmmakers alike use Airdura for its capacity to display a truly unique portfolio and present projects flawlessly. ↑ Jute A contemporary classic styled theme featuring timeless typography and design. It includes full-width cover images, homepage layouts with a left-aligned menu and responsive sidebar. The expansive, stunning imagery is highlighted by excellent layout options – a favorite among various creative professionals, with over 25% being Stylists and Filmmakers. Jute includes a strip project layout for displaying portrait images in a horizontally scrolling page. ↑ Calico Calico is a magazine-style theme, and the first to offer Fabrik’s unique spotlight homepage, portfolio and project layout options tailored for showcasing long-form projects and blog posts. An impressive 60% of 3D, VFX, and CGI Artists have selected Calico, leveraging its extensive customization features. ↑ Loden With Loden, bigger truly is better; Loden has become popular over the last couple of years with cinematic focussed portfolio sites – as this theme emphasizes maximizing the size of photos and videos. Loden is bold and sought after by both Filmmakers and Artists, with over 25% choosing it to let their visuals and videos speak for themselves. ↑ Canvas This feed-style theme includes a sidebar and layout options designed to offer greater control over the arrangement of text and images. It’s a popular choice, favoured by Photographers who shoot candid style for its capability to display images in both un-cropped and portrait formats. ↑ Poplin This highly adaptable and straightforward theme has seen a renaissance in recent years, and is well-loved by Studios and Agencies. Offering numerous layout options to help you establish a unique style for your website. Emphasizing simple thumbnail grid layouts, it’s particularly useful for creatives with a large number of projects. 2. Homepage Layouts Over half of our Fabrik community prefer to show their project thumbnails up front rather than introduce themselves with a cover image, video reel or slideshow of highlighted work.   Evidently favoured by creators across all creative genres, a thumbnail homepage layout is an excellent option when aiming for show your audience one project at a time, rendering thumbnail and grids to be beneficial layouts for showcasing an array of projects easily. It’s a flexible arrangement well-suited for most creators with diverse media types and aspect ratios. ↑ George Muncey Photographer, Director & Creative Director. Theme: Canvas, Homepage Layout: Thumbnails ↑ Ollie Dahmen Cinematographer. Theme: Airdura, Homepage Layout: Thumbnails 3. Project Layouts Layouts are designed to work within themes to give individual projects the flexibility they need. This allows you to present each to its fullest.   Every theme we offer includes a set of layouts for your homepage, your portfolio pages and your projects. Each layout is tailored for specific media aspect ratios or presentation styles. Whether your images are in portrait or landscape format, or you aim to showcase video and images uniquely, there will be a layout choice that suits each of your projects optimally. Stacked All media within your project is arranged in a single vertical column, displayed at uniform width and ordered from the top to the bottom in alignment with the sequence in your Project Media view. Stacked is an exceedingly uncomplicated and lenient layout, accommodating a range of media types and sizes. Opt for a stacked layout if your project encompasses media with diverse aspect ratios or if you prefer a layout reminiscent of a feed. It’s an excellent choice for presenting your project as a case study or narrative journey. A top-pick across all creative groups, our Stacked layout is perfect for longer form projects or a variety of media formats and accounts for almost three fifths of all project layouts. Gallery & Video Presenting a large display area for a singular media item from your project, accompanied by thumbnails arranged below. Selecting any thumbnail replaces the currently displayed media item with the enlarged view of that thumbnail. Gallery employs a set aspect ratio and may trim your media to fit the frame, making it particularly suitable for projects with consistent aspect ratios across all media. An ideal option for photography and film projects originating from a single shoot or with a specific theme Video layouts are similar to Gallery layouts, except that any video items in your project will always appear at the top in the large preview area, making it a popular choice for DoP’s and Cinematographers who present a video with their preferred stills underneath. Slideshow A straightforward layout presenting a single large media frame. Progress through your media items sequentially using next and previous buttons. Some themes additionally offer progress indicators or text to indicate the viewer’s position within the sequence. Slideshow is suitable for projects with uniform aspect ratios across all media and can be advantageous for assembling a portfolio of unrelated work or presenting your project in a predefined sequence. Spotlight Spotlight uses a novel pairing of double and single sized thumbnails in rows to help you emphasise individual media items or projects. If you aim to showcase particular projects from your portfolios or significant media within a project, without appearing cluttered or overwhelming, then this layout is ideal for you! In each row, the width and height of the spotlight are harmonised using a straightforward mathematical formula – ensuring that the height of the two thumbnails perfectly matches the height of the larger thumbnail, albeit your smaller media items may undergo slight cropping. Lightbox All media items are displayed as thumbnails, ordered from the top left in rows and matching the ordering of your project media items. Lightboxes are a great choice if you want your audience to focus on a single media item at a time, making it a useful layout for viewing video and imagery with a lot of detail. This layout is versatile and suits projects that have varied media types and aspect ratios. Strip Every media item in your project is showcased in a single row horizontally, utilising the entire vertical space of your browser. Media transitions from right to left as your audience navigates through your project media using the next button, or by swiping on a trackpad or touchscreen – concentrating on one item at a time. Strip is an excellent layout option for photographic projects featuring media with diverse aspect ratios or projects primarily composed of portrait or square images. Random Our brand new layout option: Random adds a little unexpected twist to your site content by mixing up the sizes and positions of media items to create some really beautiful results. ↑ Matthew Jalac Interior Designer. Theme: Airdura, Project Layout: Stacked 4. Image Crop Ratios You’re fond of landscapes, and so are we. With slightly more than half of you selecting a landscape ratio for your Fabrik site.   It’s fair to mention that Filmmakers show a distinct preference for landscape ratios, but they’re not the only ones. A portfolio presented in landscape format is favoured by most of our creators because it enables them to exhibit a variety of projects in various formats, ranging from image stills to video. Discover how Filmmakers use Fabrik   In contrast to other creators, Photographers often exhibit their images in a variety of ratios, yet the majority choose to present their work without cropping, allowing it to be viewed in its entirety. Photographers on Fabrik: A Deep Dive   We hold the view that 3D, VFX, and CGI Artists grapple with the decision between an uncropped, square, or landscape image crop, given their infrequent adherence to specific aspect ratios. They believe that each project should be displayed to accentuate the dimensional facets of their work. See 3D, VFX and CGI Artists on Fabrik   Being the sole creator type showcasing all crop groups, Stylists and Models stand out in this regard. Frequently provided with images directly from the photographers or representatives they collaborate with, Stylists and Models typically have less influence over the presentation of those photos. How Stylists, MUA’s and Models use Fabrik   Artists operate in various mediums, with most choosing an uncropped ratio. This enables them to engage viewers and fully immerse them in the thought process and deeper meaning behind their work, providing a similar experience to being in an art gallery. How Artists build coherency across disparate works   Studios and Agencies collaborate closely with a large number of creatives across various fields, and presenting their portfolio in landscape format enables them to exhibit a range of projects, from image stills to video. Studios and Agencies on Fabrik ↑ nicolor Production Company. Theme: Tocuyo, Image Ratio: Landscape 5. Colours Simple is best. The majority of our creators opt for a clean-cut white background with black text. However, not all members of our community share identical sentiments. Displaying imagery or video content on a dark-themed website enhances texture and tone, while a splash of color adds a personal touch. A darker backdrop is typically combined with white or light grey text to provide a complementary contrast. 3D, VFX, and CGI Artists prefer a black background with light text to make their projects stand out, whereas Studios and Agencies appreciate adding a touch of personality and were discovered to be the creators who showcased the most variety of colours. illustrators presented work with similar colour tones and swatches. Undoubtedly, this is intentional on the illustrator’s part – utilising palettes they are familiar with and adhering to colour trends over time. While a simple white background and black text continue to reign supreme, employing closely matched colour palettes offers opportunities to incorporate more distinctive background colours that enhance flat artwork. Artists frequently allow the colours and tone within their artwork to shape their portfolio and select a plain white background with black or grey text. Some Artists restrict themselves to specific colours in their palette, so they might decide to integrate a hint of these colours either in the text or as the background across their portfolio to complement their artwork. ↑ PÁRAMO Production Company. Theme: Airdura, Colour Palette: Sage and Lilac Studios and Agencies possess distinct brand styles, frequently incorporating color into their portfolios to uphold a consistent brand aesthetic. Employing a darker background enhances texture and tone, complementing those with a more atmospheric aesthetic. You’ve got the inspiration, it’s time for you to join the world’s leading Filmmakers, Artists, Photographers and Designers. Start your free trial and build your portfolio now. Get Started #### What’s in a theme? – Fabrik We’re often asked by our trial users which theme they should use for their portfolio sites. Ultimately there’s no right or wrong theme to use – it’s about finding the layouts that show your project content off best. With Fabrik you’re free to change theme as often as you like, which won’t affect your project content at all. We encourage you to add your project work in first, then play with the themes and their layouts as much as you like until you hit on one you really like the look of. This can be a trial-and-error exercise, so to make it a little easier Tim built his own portfolio on all eight of our themes, using exactly the same typography and site styling – so you can see exactly how each theme handles the exact same content. We’ve linked them all from one handy site for you, so you’ll always have a reference point when looking at themes for your own portfolio. View our Base Reference site Fabrik themes are designed to flow seamlessly through all device and screen types from mobile up to broadcast. Our layouts for your homepage, portfolio lists, project pages and blog pages are all designed to highlight different types of content, or to help you find the right solution for your portfolio site; whether that has hundreds of projects, or just a few. Things to remember: When you switch themes your customisations are saved, so if you don’t get on with the theme you’ve switched to, switch it back and try something else. You can edit the options for your layouts from the Customise section. Go to Customise, then Theme Layouts. In each layout group, tap the options icon over the layout you’re using. Within a layout’s options you’ll find all the fine-tuning stuff; like what aspect ratio the layout crops your thumbnails to, how many columns of thumbnails your site uses for each type of device, how your layout controls feature and list elements, and loads of unique elements that make each layout special. You can set your default layouts from the Customise section, but you can also assign specific layouts to specific projects. When editing a project, tap on the layouts tab to directly assign a layout to that project in particular. If in doubt, play about. Enjoy the process of building your site and remember, we’re always around to answer any questions you may have on how our themes and layouts work. View our Base Reference site ### Pages #### 3D CGI and VFX Artists Create a Beautiful Animation Portfolio Website that Works Perfectly on Any Device Show your 3D, CGI, and VFX work in a portfolio that feels like your creative universe, not a template. Start your 14-day free trial today No credit card required Work Bora Demirbilek 3D Designer Work Prateek Vatash 3D Artist Work Mark Jackson VFX Artist Why 3D, CGI, and VFX Artists Choose Fabrik A finished shot only matters once someone actually sees it.Your work also deserves the right stage. A render loses its lighting, texture work, and hours of detail the moment it’s shrunk into a thumbnail. A 3D artist portfolio and a CGI artist portfolio rarely need the same layout; matte painting, environment art, procedural work, and VFX supervision all look like completely different jobs on paper.Fabrik gives each project the space it needs, displaying work at full scale and adapting layouts to fit every discipline. There are no rigid templates or compromises, just a portfolio that flexes with your craft. Credits Prateek Vatash 3D Artist Built for the Way 3D, CGI, and VFX Work Really Happens Whether you’re building a 3D portfolio, a CGI artist portfolio, or a VFX artist portfolio, your work has unique needs. Some projects can’t go public yet, some demand full-scale presentation, and different specializations look nothing alike. Fabrik handles it all without forcing your art into the same rigid mold. Private Until You’re Ready to Share You Control What Leads Shown at the Scale It Was Made Add Video Breakdowns in Seconds Every Specialty, One Organized Portfolio Private Until You’re Ready to Share Toggle a project from private to public or lock it behind a password until a film or game is released. Keep NDA-protected work safe, then reveal it the moment you’re cleared. You Control What Leads Smart focus can predict what a thumbnail should center on, but a technical shot may require a more precise approach. Adjust any crop by hand so your portfolio always leads with the exact detail that shows your work best. Shown at the Scale It Was Made A render loses its lighting and texture the moment it’s shrunk down. Full-resolution output and fullscreen display mean your work is shown exactly as it looked before compression. Add Video Breakdowns in Seconds Paste a Vimeo or YouTube link and instantly showcase before-and-after or wireframe-to-final breakdowns. No embedded codes, no extra video hosting to manage. Keep Everything, Show What You Choose Matte painting, environment art, procedural work, and VFX supervision each deserve their own space. Nested portfolios let you keep every specialty separate, organized by discipline, client, or project, without feeling scattered. See Why the Creative Community Choose Fabrik "Fabrik just looks great and is a breeze to set up. I also love how customizable it is. The interface is very clear and actually makes creating a multi-facetted portfolio of works achievable in no time at all!" Mitchell Stuart 3D & VFX Artist "Fabrik focuses on curating very select templates and style, which helps me concentrate on creating. Its ease of use and quick adaptability is a delight, especially when you need to quickly test multiple versions of how the work can be shown." Raquel Villa 3D Artist "I can upload new art and change the whole look with a few button clicks whenever I want. I've tried a few website builders over the years, this is definitely the one I recommend to everyone!" Jody Sargent Environment Artist "If you know me personally, I've already told you a hundred times to get rid of the half-assed website and use Fabrik. It's like "hey, we're designers here, we designed a great site, you can change things but we're going to make sure you don't mess it up". Game over, super slick site." Maxx Burman Matte Painter Themes That Let Your Work Be Represented the Best Choose from themes designed specifically for 3D, CGI, and VFX portfolios, built to let your work move, not fight a cluttered layout. Pick the one that matches your style, then finetune fonts and colors before going live. Get Started Get Started Get Started Get Started Get Started Get Started Launch Your Portfolio in Minutes Showcase your work alongside the best in the industry with a portfolio built for your craft. Try Fabrik Free for 14 Days No credit card required Credits Rory McLean 3D Artist Layouts That Fit Every Kind of Shot A wireframe breakdown needs a different layout than a single hero render, and a full environment turntable needs something else again. Choose from Stacked, Lightbox, Slideshow, or Gallery, project by project, so a VFX artist portfolio, a CGI artist portfolio, or a 3D artist portfolio can each present work exactly as it’s meant to be seen. Switch layouts anytime without affecting what’s already uploaded. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Start Building Now Made by Creators, for Creators Everything you need to keep your site fast, secure, and easy to find is handled for you. Your Own Domain  Connect your own domain or start with the free onfabrik.com address included with every site. Upgrade whenever you're ready. Speed Without Compromise Everything you need to keep your site fast, secure, and easy to find is handled for you. Ready for Every Display Upload high-quality work, and it looks perfect on phones, laptops, and 4K displays. Secure by Default  Every site includes a free SSL certificate, so your work stays protected. Built for Search Clean code, tidy URLs, and redirects help people find your VFX portfolio online. Gogle Analytics Track your traffic and understand your audience, with no code to add. Go Further with Custom Code  Add your own CSS or HTML when you want to push the design. Tag and Filter Your Work Tag projects so visitors can quickly browse the work they're looking for. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support See What 3D, CGI, and VFX Artists Have Built with Fabrik Real portfolio examples from working artists across the industry, each one a live site you can explore. Mitchell Stuart Digital Matte Artist Mark Jackson VFX Artist Prateek Vatash 3D Artist Andrew Popplestone Creative VFX Director Ariel Palanzone 3D Designer David Gibbons Matte Artist Bora Demirbilek 3D Designer Akshay Tiwari Procedural Designer Patrick Blades Digital Artist & Director Maxx Burman Matte Painter Rory McLean 3D Artist Peter Eszenyi VFX Supervisor Show Your 3D, CGI & VFX Work at Its Best Build a portfolio that makes every frame, render, and breakdown impossible to ignore. Create Your Portfolio Credits Bora Demirbilek 3D Designer Answering Frequently Asked Questions About Fabrik How much does Fabrik cost? Fabrik offers simple, transparent pricing with a free trial to explore the platform first. From there, pick a plan that fits whether you’re building a 3D artist portfolio, a CGI artist portfolio, or a VFX artist portfolio. Can I keep some projects private? Yes. Toggle any project private, or lock it with a password until you’re cleared to share it. This is ideal for NDA-protected work or anything still unreleased. Is my site secure? Every Fabrik site includes a free SSL certificate by default, so your portfolio and the people visiting it stay protected. Can I change my theme or layout later? Yes. Switch between themes and layouts, including Stacked, Lightbox, Slideshow, Gallery, Spotlight, Video, or Strip, anytime without touching anything you’ve already uploaded. Do I need to know how to code to use Fabrik? Not at all. Upload your work, choose a theme, and customize fonts, colors, and layouts. No coding is required at any point. How fast can I launch my portfolio? Most artists can publish a 3D animation portfolio or a 3D portfolio on a Fabrik-built website in under an hour, especially when their work is already organized. Can I use Fabrik for a 3D animation portfolio? Yes. Fabrik is designed to showcase animation, motion, and other visual work, making it easy to build a 3D animation portfolio with videos, images, and project details in one place. What makes Fabrik different from other 3D portfolio websites? Fabrik gives artists more control over how their work is presented, with flexible layouts, video support, private projects, and customizable themes. Whether you’re building a 3D artist portfolio, CGI artist portfolio, or VFX artist portfolio, you can create a site around your work rather than adapting your work to a rigid template. What does Fabrik actually do for 3D, CGI, and VFX artists? It gives detailed, render-heavy work the space to be shown at full scale, keeps different specialties organized without forcing them into one template, and lets embargoed projects stay private until they’re ready to go public. It’s built for artists creating 3D, CGI, and VFX portfolios. #### About Us Fabrik: The Portfolio Builder Creatives Trust to Showcase Their Best Work. Work Super68 Motion Graphics Designer What is Fabrik? Designed especially for creatives, Fabrik makes it really easy for you to create professional websites that showcase your work.Our intuitive dashboard makes updating your site something you want to do. Our platform connects to the services you already use, which means you can add your work easily, and share it to your social networks quickly.Choose a theme that suits your style of work, organise your portfolio the way you want to, and customise without writing any code.We take care of the technical stuff and you take of the content. Simple. How did we get here? We are creators. We’ve been designing and building portfolio websites for a number of years. In this time we’ve come to understand exactly what creatives want; something that is easy to use, affordable and presents your work in the most elegant way.The more we created the more we learned. We added features when they were actually needed and removed the things that weren’t being used.We created a service that we wanted to use, that our friends wanted to use, and we hope, something that you want to use. Our Ethos Your Creative Space Everyone deserves a place online that reflects their work and creative identity. Work Shines We help you present your work in a way that makes it shine even brighter. Keep It Simple Building and managing a website shouldn’t require technical or coding expertise. Built Together Our Fabrik community help shape the future of Fabrik. Always Responsive Your work should look outstanding on every screen, from mobile to billboard. Affordability and Quality Beautiful, professional portfolio websites shouldn’t come with a premium price tag. Start Building Your Portfolio #### Agencies and Studios Create a Beautiful Portfolio for Your Agency or Studio in Just Minutes Fabrik gives agencies and studios a beautiful, powerful way to showcase their work, attract dream clients, and grow their brand. Start your 14-day free trial today No credit card required Work Annomann Production Company Work Absolute Post Post House Work Drei Film Production Studio Why Agencies and Studios Choose Fabrik Great studio work is never just one person’s work. A single studio portfolio might need to hold a director’s reel, an illustrator’s spot work, and a model’s editorial shots, all in one place. Clients should be able to explore that roster without getting lost.With Fabrik, projects can live under multiple people or categories at once. Organize by creator, genre, year, or medium in a way that reflects how your studio actually works.Fabrik keeps stills and video side by side at full quality, so your portfolio feels like one complete story instead of a patchwork of mismatched pieces. That is what sets the best agency portfolio websites apart. Credits Trizz Creative Studio Organized for a Roster, Not Just One Body of Work Your portfolio brings together directors, illustrators, editors, and other creatives, each with their own body of work. Fabrik keeps the roster structured and easy to navigate, so clients can explore individual talent without losing sight of the studio behind it. Work Can Be Nested, Not Flattened One Layout for Mixed Media Help Clients Find the Right Work Add New Talent Without Rebuilding One Studio, One Look, Many Contributors Work Can Be Nested, Not Flattened With Fabrik, your main portfolio can bring the entire team together while giving each creative their own space for archives, highlights, and current projects. Everything stays connected, but each person’s work has room to stand on its own. One Layout for Mixed Media Creative work rarely comes in one format. A single project might include stills, video, mood boards, and other visual assets. Fabrik’s stacked layout allows different media to coexist naturally, providing ample visibility for each project component. Help Clients Find the Right Work When clients are looking for specific talent or experience, they should be able to get there quickly. Fabrik’s tagging and filtering let visitors browse by genre, creator, year, or medium and find relevant projects without scrolling through unrelated work. Add New Talent Without Rebuilding Creative rosters change. New people join, projects wrap, and new work comes in. With Fabrik, you can add and update portfolios without restructuring the entire site, giving your agency or studio room to grow without starting over. One Studio, One Look, Many Contributors Even with a dozen different creatives, your studio portfolio can still feel like one brand. Fabrik keeps the theme and layout consistent across every contributor’s work, giving the whole site a cohesive look and feel. See Why the Creative Community Choose Fabrik "We love the creative design of our new website! Fabrik had tons of background knowledge on current and innovative website and design trends which was invaluable to us." Camp David Production Company "We were beyond impressed by how far we were able to stretch the design aspects of the site while still having user friendly back-end capabilities." Academy Production Company "Holy Jesus on a horse - your dashboard and editor are just amazingly fast and stable. Really awesome job you did there!" Bauer Artwork Illustration Studio "People always compliment us on the way our site looks, and thanks to the team at Fabrik it's super easy to maintain and keep up to date." Friends Electric Creative Studio Themes Built to Display Diverse Creative Work Browse themes built to hold a wide range of work across your studio or agency. Give every contributor room to showcase their own style, then customize the theme to reflect your brand before it goes live. Get Started Get Started Get Started Get Started Get Started Get Started Your Next Client Starts Here Give your work the stage it deserves and make it easy for clients to find the right talent. Try Fabrik Free for 14 Days No credit card required Credits Annomann Production Company Every Contributor Gets the Layout That Fits A brand campaign might work best as a full gallery grid, a director’s reel as a fullscreen slideshow, and a quick piece as a simple strip. Choose the right layout for each project without changing anything else already live. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Start Building Now Made by Creators, for Creators Everything you need to keep your site fast, secure, and easy to find is handled for you. Your Own Domain  Connect your own domain or start with the free onfabrik.com address included with every site. Upgrade whenever you're ready. Fast Loading Your illustration portfolio loads quickly around the world, so visitors can focus on your work instead of waiting for pages to appear. Share the Story Behind Your Work Share sketches, works in progress, or the story behind a finished piece. Schedule posts ahead of time to keep your portfolio fresh. Secure by Default  Every site comes with a free SSL certificate to help protect your portfolio and the people who visit it. Built for Search Clean URLs, SEO-friendly code, and redirects make it easier for your illustration portfolio website to be found in search. Understand Your Audience Connect Google Analytics to see where visitors come from, what they explore, and which pieces get the most attention. Go Further with Custom Code  Add custom CSS or HTML whenever you want complete control over your site's design. Shape the Navigation Drag and drop menu items; link to a project, client site, or shop, and create a navigation that works for your illustrator portfolio. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support Illustrators Who've Made Fabrik Their Own Fabrik’s evolution has been shaped by working closely with illustrators and creative studios just like you. Trizz Creative Studio F5 Films Production Studio Raskols Production Company Cat & Owl Films Production Studio Annomann Production Company Drei Film Production Studio Absolute Post Post House Blackbox Production Company Show Your Best Work, Beautifully Whether you’re an agency or a studio, keep every project organized, on‑brand, and ready for clients to explore. Create Your Portfolio Credits Trizz Creative Studio Answering Frequently Asked Questions About Fabrik Will Fabrik work for both my team and individual creatives? Yes. You can manage a single studio portfolio while giving each creative their own space within the same site, all while maintaining a consistent brand identity. How easy is it to update our portfolio? You can add new projects, replace media, and update contributor profiles without relying on a developer. This makes it easy to keep your agency portfolio current as your team and body of work grow. Can we show different types of work in one project? Absolutely. Mix stills, video, audio, PDFs, and more within the same project so clients can experience the full scope of your work in one place. Can clients filter and find the right work quickly? Yes. Fabrik’s tagging and filtering let visitors browse by creator, genre, year, or medium, helping them get to the most relevant work quickly. Can we keep some projects private? Yes. You can hide projects from public view or protect them with a password, giving selected clients access to work that isn’t ready for everyone to see. Will our portfolio look good on any device? Yes. Every Fabrik site is responsive, so your portfolio adapts to phones, tablets, and desktops without requiring additional work. Can we use our own domain name? Yes. You can connect a custom domain to give your agency portfolio or studio portfolio a fully branded web address. How does pricing work for agencies and studios? Fabrik offers plans designed for different team sizes and needs. You can start with a 14-day free trial and choose the plan that best fits your studio or agency. Is our work and client data secure? Yes. Fabrik uses security measures to protect your work and gives you control over which projects are public or private. Fabrik is also GDPR compliant. What kind of support do you offer? You can access the Fabrik help center, along with customer support, to help you set up your portfolio and manage it as your team grows. #### Artists Build a Beautiful Artist Portfolio Website in Minutes Update, refine, and rearrange your portfolio with ease, so your art always reflects who you are. Start your 14-day free trial today No credit card required Work Raniya Mansoor Artist Work Caroline Gold Artist Work Samuel De Maré Artist Why Fabrik is the Preferred Portfolio Builder for Artists Most artists are already deep into their next series before the last one feels complete. Pieces from earlier work often take on new meaning as a fresh direction emerges. An artist website builder should keep up with that pace, adapting to your work instead of demanding a full rebuild every time something changes.Fabrik makes it easy to reorganize and present your art in ways that reflect how you actually think about it, whether by medium, by year, or by any structure that best tells your story. That is why so many artists consider Fabrik the best website builder for artists, giving them a platform that evolves as quickly and creatively as the work it showcases. Credits Stefan Reiss Artist Created for the Way Art Should be Experienced A wall in a studio or gallery is arranged with intention. Fabrik brings that same level of curation to your artist portfolio website, giving you complete control over how every visitor experiences your work. Creative Control Curate Your Opening Flexible Grouping & Sharing Quality Preservation Share Your Process Complete Creative Control Fabrik gives you complete control over how your portfolio looks, feels, and evolves. Personalize your site with fonts, colors, and styling that reflect your artistic identity, then arrange your work the way you would in a gallery. Every detail works together to create an artist portfolio website that feels unmistakably your own. Set the First Impression Every exhibition has an opening piece that sets the tone. Fabrik lets you choose the theme and layout that best complements your work, then decide which pieces introduce a collection and which follow, so every project unfolds exactly as you intended. Organize on Your Terms Group your work by medium, exhibition, series, or year, and rearrange collections whenever your practice evolves. Keep works in progress, client commissions, or upcoming exhibitions private, then share them only with the people you choose. Your artist portfolio website stays organized around your workflow, not a fixed structure. Stay True to the Original A painting’s palette, the texture of a sculpture, or the details in a digital illustration deserve to be seen properly. Fabrik’s website for artists preserves the quality of your work, keeping colors and details true from studio to screen. Share the Story Behind the Work Every finished piece begins with sketches, studies, experiments, and revisions. Fabrik’s built-in blogging tools let you publish studio journals, exhibition updates, and the stories behind each collection, giving visitors a more profound understanding of your creative process. See Why the Creative Community Choose Fabrik "As an artist I always have to change every part of my website at every time, because the series of my artworks change all the time. Fabrik is so comfortable and multifunctional at the same time. It's unbelievable: I can reorganise my website immediately." Stefan Reiss Artist "As a painter, Fabrik was exactly what I was looking for in a portfolio site. It's very straightforward and easy to update my portfolio with new works. So if I'm posting something on social it takes just a few minutes to add these works to my site." Samuel De Maré Artist "Digital media is part of the creative process - we can make quick changes to the artworks and send it back and forth to Seoul and Copenhagen using our website." Oliver & Hans Artists "The ability to put the same project into different sub-portfolios. From the start I had the impression that there are real people behind Fabrik, which was proved every step during the setup process." Milica Golubovic Illustrator Themes That Let Your Art Speak Choose from themes that stay out of the way and let your art do the talking. Pick the one that fits, and switch it later if your work moves in a new direction. Get Started Get Started Get Started Get Started Get Started Get Started Explore More Themes Create a Portfolio That is No Less Than an Exhibition Keep your latest work front and center with a portfolio that’s easy to update, organize, and share. Try Fabrik Free for 14 Days No credit card required Credits Maria Ray Johansson Artist Layouts That Let Your Work Lead The way work is presented shapes how it’s experienced. Select the layout that suits each project, decide how visitors explore it, and change layouts at any time without rebuilding your portfolio. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Start Building Now Designed to Make Your Portfolio Standout Everything you need to keep your site fast, secure, and easy to find is handled for you.  Your Own Domain  Connect your own domain name for a site that looks fully professional. Fast Loading Your portfolio loads quickly around the world, helping visitors stay focused on your work instead of waiting for pages to load. Looks Great Everywhere From phones to 4K displays, your work stays crisp, detailed, and beautifully presented on any screen. Secure by Default  A free SSL certificate comes with every site, protecting your portfolio and the people who visit it. Built for Search Clean URLs, SEO-friendly code, and redirects help more people discover your artist portfolio website. Understand Your Audience Connect Google Analytics to see how visitors discover your work and which projects attract the most attention. Go Further with Custom Code  Add custom CSS or HTML whenever you want complete control over your site's design. Shape the Navigation Drag and drop menu items, link directly to your latest exhibition, featured series, shop, or Instagram profile, and guide visitors exactly where you want them to go. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support Explore Artist Portfolios Built with Fabrik See how various artists present their work with Fabrik. Browse real portfolios, discover different curation styles, and find inspiration to showcase your own creative practice. Caroline Gold Artist Lucha Rodriguez Artist Dietmar Rudolf Sculptor Andres Marti Artist & Photographer Maria Ray Johansson Artist Stefan Reiss Artist Magnasoma Digital Artist Lisa Stockham Ceramic Artist Samuel De Maré Artist Raniya Mansoor Artist Heather Vida-Moore Artist Jordan Wade Artist Let Your Portfolio Be as Alive as Your Canvas Start your free 14‑day trial and give your art the stage it deserves.  No credit card required. Create Your Portfolio Credits Raniya Mansoor Artist Answering Frequently Asked Questions About Fabrik What makes Fabrik the best website builder for artists? Fabrik combines beautifully designed themes, flexible layouts, high-quality image display, and simple portfolio management in one place. As your work evolves, your portfolio can evolve with it, making Fabrik a trusted artist website builder for creatives at every stage. Do I need any coding or technical skills to use Fabrik? No. Fabrik is a website builder for artists designed to be intuitive from the start. You can create, customize, and publish your portfolio without writing a single line of code. Can I customize the look and feel of my portfolio? Absolutely. Fabrik preserves image quality while optimizing performance, so your artwork looks crisp and detailed, and loads quickly across all devices. Will my images be displayed in high quality? Yes. Personalize your portfolio with themes, layouts, fonts, colors, and navigation that reflect your artistic style and create a distinctive artist portfolio website. Can I sell my artwork directly from my site? Yes. Link your portfolio to your preferred e-commerce platform or online shop, making it easy for visitors to purchase prints, originals, or commissions from your website for artists. How easy is it to update my portfolio with new work? Adding new work takes just a few clicks. Upload new pieces, rearrange collections, switch layouts, or refresh your portfolio without rebuilding your site. Will my site work on mobile devices? Yes. All Fabrik portfolios are fully responsive, ensuring your artwork looks beautiful on phones, tablets, laptops, and large desktop displays. Do I own my content and images? Yes. You retain full ownership of your artwork, images, and content. Fabrik simply provides the tools to present and manage your portfolio online. Is there a free trial, and what's included? Yes. Start with a 14-day free trial and explore all the features of Fabrik with no credit card required. Build your portfolio and customize your site as per your preference. #### Blog URL: https://fabrik.io/blog/ #### Contact Us Contact Us Have a Question? We’re Here to Help. Support If you need help using Fabrik or are experiencing problems with the service please let us know by emailing support@fabrik.io. Feedback Our goal is always to provide you with very best tool for the job. That's why we value your feedback. We would love to hear from you. Feel free to send us an email on support@fabrik.io so we can learn about any comments or concerns you have. Connect with us Fabrik is always evolving. To stay up to date with what we're proud of, what we're working on and what's going on in the Fabrik community why not follow us on  Instagram Facebook-f #### Cookie Policy Cookie Policy Last Updated: 7th August 2025 Fabrik Creations Limited (”the Company”, “we”, “us”, “our”) uses cookies and similar technologies on our website and platform to enhance your experience, provide essential services, and gather usage data. This Cookie Policy explains what cookies are, how we use them, and your rights under UK GDPR and PECR. Fabrik Creations Limited (‘Fabrik’) operates the portfolio and blogging service Fabrik. It is Fabrik’s policy to respect your privacy regarding any information we may collect while operating our websites. 1. What Are Cookies? Cookies are small text files placed on your device (computer, smartphone, tablet) when you visit a website. They allow the website to recognise your device and store information about your preferences or past actions. 2. Types of Cookies We Use We use the following cookies: a. When browsing Fabrik hosted websites Strictly Necessary Cookies These cookies are essential for the operation of our website and services. They enable core functionality such as secure login, account access, and payment processing. Consent is not required for these cookies. 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Contact Us If you have any questions about this cookie policy, the practices of any of Fabrik’s web sites or services, or your dealings with Fabrik, please contact us at support@fabrik.io. #### Features Fabrik Features Fabrik is a unique creative platform designed to showcase your work in the most impressive way. Behind every portfolio is the powerful Fabrik Engine. Let us show you what it can do. Technology Media Management Discovery Themes Our themes are designed by some of the most incredible talent in the industry, with years of experience in finding the perfect way to present their work (and yours!) to the world. We use state of the art web technologies and techniques to make sure all of our themes will make your work shine; from mobile and tablet devices, laptops and desktops and anything else we can lay our hands on to test them with. Layouts Within each theme choose from a variety of layouts to fine-tune how your content is presented. From grids of small, medium or large thumbnails to stacks, magazine layouts, gallery slideshows and fullscreen options - find the perfect fit yourself. And the best news of all; you can change layouts from page to page too, so if one project looks better in one layout then go with it. Custom Domains Every Fabrik site has an onfabrik.com address that you can use but you're free to link your own domain name to your Fabrik site. We've made it easy for you to set up custom domains from the Fabrik dashboard and provide the support you need if things aren't so clear at the other end. Secure All sites encrypted with free SSL certificate making sure your site is secure and up to date with the latest security standards which will also aid your sites performance in search engine rankings. Portfolios With Fabrik your projects can be arranged into multiple portfolios. Create and manage portfolios in any way you see fit; by subject, by discipline, by date - whatever makes the most sense to you. Portfolios can even contain sub-folios, giving you complete control over where your projects appear on your site. Fully Hosted The days of dealing with your own hosting are well and truly over. Fabrik's hosting environment is properly next-level. Let us spend our time thinking about things like load-balancing, geo-locational efficiency, site-caching and scaling infrastructure. We have people here that enjoy that sort of thing, you just get on with making great work. Styles & Settings Choose the fonts and colours that best fit your style of work. Adjust your theme settings to control how your content and images are displayed; for example choose how many projects you want to display on a portfolio page, or whether or not to show blog articles on your homepage. Each and every Fabrik site becomes unique in just a few moments. Responsive Design Fabrik is designed to look great on any device. From mobile to desktop or even TV and billboards, our themes allow your work to shine whilst giving your audience the very best possible experience, however they view your website. Fullscreen Imagery Our themes take advantage of great design and technology to make sure your beautiful work isn't crushed into a little block on a page of little blocks. From theatre mode for video and lightboxes that rotate through your project images to fullscreen covers, we're adamant that your work should never be compromised in its presentation. Tagging Take advantage of tagging to give your projects and blog articles context. Tags enable your audience to focus and filter your content to get to what they want to see faster. Automatic Image Handling No more messing around in Photoshop, just upload your work! Fabrik will automatically generate perfectly sized and optimised versions of your images to make sure they look great on your site regardless of what device or screen size your audience are using - from mobile through to HiDPI and Retina screens. Cropping Fabrik provides a number of cropping options to give you control over how your imagery is presented on your site. We believe in letting you decide how our themes work with your images for the best result. Of course, cropping is optional for those of you who prefer to present every glorious detail of your work. Cover Images If a picture can speak a thousand words then your cover image is pretty important. Our themes and layouts have options to display large, high-focus cover images for your projects and blog posts. If you're looking for an ultra-slick portfolio we can cover your video files with a clickable high-resolution cover image too. Add video from YouTube Adding video from YouTube couldn't be easier. Simply paste in the YouTube URL of your video and you're good to go. Even a cat can do it. Seriously, we did a test. Add video from Vimeo Vimeo is a great service and has a vibrant creative community. Say goodbye to complicated embed codes. All you need to add your Vimeo content is the video URL. CDN Media Storage Your media is served by an ultra-fast content delivery network from data centres distributed around the world. This means that your Fabrik site loads really, really fast - regardless of whether it is viewed out and about on a mobile or in an Photographer boardroom. Image Naming Add more to your images with titles and captions. Fabrik themes use image metadata in lightbox modes and certain layouts. This also means better SEO for your site and attribution for you. Import imagery from Dropbox If you're using Dropbox to store your photography or design work then connect to Dropbox to simply import it into your Fabrik projects media. Schedule Blog Posts Set future publish dates to control when your blog posts appear on your site - perfect for when you're halfway up a mountain shooting a job or if you're spacing your blog activity out for maximum readership. Pages Fabrik makes it easy to add custom pages to your site. Whether you want to include a quick personal bio or you want to create an illustrated case study, our pages follow the styling of your chosen theme to make sure it all comes together seamlessly. Customise your Menu Updating your site menu is really easy with our drag-and-drop menu builder. Add links to external URL's if you have a shop or an Instagram feed, or provide direct links to the work you want to feature. Support Our support team are on-hand to help you get your Fabrik site set up and live. If you need help adding your content or more technical aspects such as linking your domain then look no further. Custom CSS If you're feeling adventurous and want to tweak one of our themes outside of the normal customisation options you can add your own custom CSS. Custom HTML Add your own HTML if you need to inject third-party webmaster verification codes or scripts into your site. Background Fabrik is designed and run by passionate creatives and developers. We think like you and we know exactly what you need from a website. Furthermore we listen to what you want. Fabrik is built from all the good ideas we have as well as those from our growing community. If you'd like to see something added to make your site better and your work shine brighter, get in touch. Indexed Pages The team behind Fabrik all have senior-level industry experience running or working in leading agencies in the digital sector. Our extensive knowledge in writing clean, well-performing and solid code means Fabrik sites are easily indexed by search engines and conform to industry standards for good organic SEO. Redirects If you're moving over to Fabrik from an old website you can easily set up 301 redirects so that specific pages indexed from your old site have a home in your new Fabrik site. This means you won't lose your existing search traffic and search engines will have an easier time finding the new destination of your most popular pages. Open Graph Fabrik generates Open Graph metadata from your portfolio and blog content so that when your content is shared on social networks like Facebook, Pinterest, LinkedIn and Twitter your work is presented right, and more importantly, continues to be attributed to you. Semantic Code All our themes are built to industry standards for code and accessibility to ensure that your website can be viewed by everyone, regardless of which browser or device they're using. Semantic markup also means search engines can understand it too. Titles and URL's Fabrik creates clean, canonical URL's for your pages so that your content is optimised as much as possible for discoverability and search engines. Google Analytics Analyze your website's traffic and learn about your audience with Google Analytics. Setting up your Fabrik site couldn't be easier; no need to add any code or mess about under the hood. Automatic Sitemapping Fabrik automatically generates correct and readable robots.txt and sitemap.xml files for your site, based entirely on your content and pages. We make sure priority and indexing data for your site is handled correctly so you can get on with the job of making more lovely content for search engines to find. #### Filmmakers Build a Beautiful Film Portfolio Website in Minutes Showcase your films with a beautiful portfolio that's easy to build and update.  Start Building Free No credit card required Work Patrick Fileti Filmmaker Work Boris Sewald Director Work Kuva Filmmakers Why Filmmakers Choose Fabrik for Their Portfolio Website Every film has its own rhythm and its own way of pulling an audience in. Your portfolio should give each one room to stand on its own, whether you’re showcasing a short film, a documentary, a commercial, a music video, or the latest addition to your filmography.Designed with visual storytellers in mind, Fabrik gives you the creative freedom you’d expect from one of the best website builders for filmmakers.  Choose how each project is laid out, let your films play full screen the way they were meant to be seen, and as your filmography grows, every new addition finds its place without disturbing what you have already built.  A Film Portfolio That Adapts to Your Creations  Creating a filmmaker portfolio website shouldn’t mean wrestling with technical settings or spending hours organizing projects. Fabrik handles everything behind the scenes, so you can spend less time managing your website and more time making films. Theatrical Presentation Easy Upload Choose Your Cover Optimized for All Screens Organize Your Filmography Show your films in theatre mode Your films deserve more than a tiny thumbnail surrounded by everything else on the page. Theatre Mode lets each project play full screen, while lightboxes and striking cover images create a stronger first impression before anyone even presses play. The result is a viewing experience that keeps attention on your film rather than on the surrounding website.  Bring your films in within seconds Adding a film is as simple as pasting a Vimeo or YouTube link. There are no embedded codes to copy, plugins to install, or complicated settings to work through. Your showreel and latest projects can be online in just a few clicks. Choose the first frame your audience sees Before anyone presses play, your cover frame sets the expectation. Fabrik lets you choose exactly which still introduces each project, giving every film a strong opening image that reflects its tone and style instead of relying on an automatically generated thumbnail. Upload once and look sharp on every screen Upload your stills once, and Fabrik automatically creates optimized versions for different devices and screen sizes. Whether someone visits your filmmaker portfolio website on a phone, laptop, or a HiDPI or Retina display, your images stay sharp without any extra work on your part. Keep Your Filmography Organized A growing filmography shouldn’t become difficult to manage. Organize your work by client, genre, year, or any structure that fits the way you work. You can even create nested portfolios, making it easy to keep commercial projects, documentaries, music videos, or personal films neatly organized as your collection grows. See Why the Creative Community Choose Fabrik "I swear by Fabrik for anyone wanting to showcase their work online. Striking yet simple and so easy to use, whilst still offering plenty of scope for customisation. The team are super helpful, even your Nan could use it." Shaun James Grant Director & Photographer "During the lockdown I had time for things that normally stay on my to-do list. I was mixing up all kinds of ideas and examples, and found my favorite design at Fabrik. I love the end result." Myrthe Mosterman Cinematographer "Can't believe I've nearly finished building my website. I think it took a couple of hours tops. Just need to do text and labelling tweaks. That's the best bit of software design I've come across in a long time." Colm O'Rourke Director of Photography "I can upload a new piece of work in minutes anywhere in the world, looks great and super easy to use. The people at Fabrik are friendly and very supportive." Ben Fordesman Director of Photography  Pick a Theme, Add Your Films and You're Set Browse a collection of themes created for filmmakers, compare different styles, and choose the one that best fits your portfolio. With the design already in place, you can set the fonts and colors that match your work and focus on customizing the details before publishing a website that’s ready to share. Get Started Get Started Get Started Get Started Get Started Get Started Your Next Portfolio Is Only a Few Clicks Away  Choose a theme, upload your films, and create a portfolio you’ll be proud to share.  Get Started Free No credit card required Credits Kuva Filmmakers Switch Layouts Without Starting Over Change the way your films are shown whenever you like, without moving anything you have already uploaded. Choose from Stacked, Lightbox, Slideshow, Gallery, Spotlight, Video, and Strip layouts to give every film the presentation it deserves.  Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Designed to Make Your Portfolio Standout Everything you need to keep your site fast, secure, and easy to find is handled for you.  Your Own Domain  Connect your own domain name for a site that looks fully professional. Speed Without Compromise  Your films load quickly anywhere, served from data centers around the world. Ready for Every Display  Upload high-quality work, and it looks perfect on phones, laptops, and 4K displays. Secure by Default  Every site includes a free SSL certificate, so your work stays protected. Built for Search  Clean code, tidy URLs, and redirects help people find your film portfolio online. Google Analytics Track your traffic and understand your audience, with no code to add. Go Further with Custom Code  Add your own CSS or HTML when you want to push the design.  Tag and Filter Your Work  Tag projects so visitors can quickly browse the work they're looking for. Simple Pricing for Filmmakers Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support See What Filmmakers Have Built with Fabrik  Real film portfolio examples from directors, cinematographers, and editors, each one a working site you can explore. Patrick Fileti Filmmaker Melodie Preel Director of Photography Charlie Thorne Director Rapheal Halloran Writer & Director Ralf Noack Director of Photography Alvaro de la Herran Director Shaun James Grant Filmmaker Joshua C Fry Cinematographer Boris Sewald Director Kuva Filmmakers Christopher Sabogal Director of Photography Blind Pig Motion Graphics Studio Lights, Camera, Publish Start your free 14-day trial and see your films come together in one portfolio. No credit card required. Create Your Portfolio Credits By Alvaro de la Herran Director Answering Frequently Asked Questions About Fabrik Do I need to know how to code to build a film portfolio website? Not at all. Choose a theme, add your films, and arrange them the way you like. Fabrik takes care of the technical side, so you can create a film portfolio website without writing a single line of code. How do I make a film portfolio that stands out? Start with a theme designed for filmmakers and lead with your strongest work. Knowing how to make a film portfolio is just as much about presentation as the films themselves, which is why Fabrik lets you choose layouts, showcase videos full screen, and organize every project the way you want. Can I use my own domain name? Yes. Connect your own domain name or use the free onfabrik.com address that comes with your site. Switching to your own domain only takes a few minutes from your dashboard. Is Fabrik a good website builder for filmmakers specifically? Yes. Fabrik was created for creative professionals and includes features filmmakers use, from full screen video playback and flexible layouts to Vimeo and YouTube integration. It’s why many creatives consider it among the best website builders for filmmakers. Where can I see film portfolio website examples before I sign up? Visit our gallery of film portfolio website examples to explore portfolios from filmmakers across genres and disciplines. It’s a great way to discover layouts, themes, and presentation styles before creating your own. Will my films look good on phones and tablets? Yes. Every portfolio automatically adapts to different screen sizes, so your films look great on phones, tablets, laptops, desktops, and larger displays without any extra work. #### Graphic Designers Launch Your Stunning Graphic Design Portfolio in Minutes Fabrik gives graphic designers a beautiful, powerful way to showcase their work, tell the story behind every project, and win the clients they actually want. Start your 14-day free trial today No credit card required Work Tim Jarvis Graphic Designer Work Jake Clarke Graphic Designer Work Juan Carlos Pagan Designer Why Graphic Designers Choose Fabrik Your work has its own point of view, and your portfolio should reflect it. The challenge is creating graphic designer portfolios that feel cohesive without making every project look the same.Fabrik gives you the freedom to shape your portfolio around your graphic design work. Give a branding project room to breathe, let a visual identity case study unfold naturally, or put a standout project front and center. Flexible layouts let each piece have its own character while keeping the experience cohesive from one page to the next. The result is the kind of best graphic designer portfolio that feels considered without feeling overworked. Credits Juan Carlos Pagan Designer Features That Are Built to Let Every Design Shine Your work should look great online and putting it there shouldn’t feel like another project. Show It at Its Best Make It Personal Super Simple Build Tell the Full Story Stay in Control Ensure Every Project Looks Its Best Choose a layout that works for the project, give your images room to breathe, and show the details at the scale they deserve. Switch things up whenever the next project calls for it. Make It Feel Like Yours Your portfolio should have your visual language all over it. Pick the type, colors, spacing, and details that fit your style and make the whole site feel like an extension of your work. Build It Without the Hassle A portfolio for designers shouldn’t take hours to figure out. Start with a layout you like, drop in your work, make it your own, and publish when you’re ready. Build a graphic designer portfolio website that feels like yours without starting from scratch. Show the Work Behind the Work Don’t stop at the final image. Add the brief, process, or thinking behind a project so clients can see how you got there, not just where you landed. Choose Who sees Which Project Keep client work under wraps with password protection, hide projects until they’re ready, and organize your work by discipline or type. It’s your portfolio, so you decide what gets seen and when. That’s what makes Fabrik a practical portfolio website for graphic designer portfolios. See Why the Creative Community Choose Fabrik "Fabrik gives me a platform to effortlessly upload and organise my content with a click of a button, coupled with a variety of themes with a truckload of customisable parameters. No coding knowledge? Not an issue." Jake Clarke Graphic Designer "Amazing support, flexible layouts and friendly UI. A level above the rest!" Jason Wilkinson Designer "Beautiful layouts, and amazingly quick and helpful guys. You can chat to them on the site within minutes and they always help me out when I'm stuck or with custom settings. I've recommended them to a few people now and everyone loves them." Zoe Koperski Production Designer "I'm blown away by the quick and good support and Fabrik in general. As a freelance designer and photographer I can highly recommend them!" Keyvan Varashk Designer Themes That Adjust to Your Design Style Fabrik’s flexible themes adapt to your content, helping you create graphic designer portfolios that feel polished, personal, and unmistakably yours. Choose a look that fits your style, add your work, and you’re ready to publish. Get Started Get Started Get Started Get Started Get Started Get Started Clients work with new designers every day. Build your first impression now Try Fabrik Free for 14 Days No credit card required Credits Jake Clarke Graphic Designer Experiment With Layouts Without Redoing Anything Switch between ways of presenting your graphic designer portfolio website, see what feels right, and keep experimenting until the page clicks. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Start Building Now Made by Creators, for Creators Everything you need to keep your site fast, secure, and easy to find is handled for you. Your Own Domain  Get an onfabrik.com address or connect your own domain to put your name or studio front and center. Speed Without Compromise High-resolution images and video load quickly, so visitors can focus on your work, not the wait. Ready for Every Display Your portfolio stays sharp and well-presented across phones, tablets, and desktops. Secure by Default  Every Fabrik site includes free SSL to keep your portfolio and client-facing pages protected. Built for Search Clean code, tidy URLs, and built-in SEO essentials help your graphic designer portfolio website get found by the right clients. Understand Your Audience See where visitors come from, which projects get attention, and how people move through your portfolio with Google Analytics built in. Go Further with Custom Code  Take your site beyond the standard settings with custom CSS or HTML, giving you more control when you want to push the design further. Tag and Filter Your Work Keep your portfolio easy to explore as your body of work grows. Tag projects by discipline, client, year, or type so visitors can quickly find what interests them. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support See What Other Designers Have Created with Fabrik Take a look at graphic designer portfolio website examples built with Fabrik. Explore how other creatives have shaped their sites around their work, then take a few ideas for your own. Lucas Zanotto Designer Julia Hanisch Graphic Designer Tim Jarvis Graphic Designer Jake Clarke Graphic Designer Keyvan Varashk Graphic Designer Juan Carlos Pagan Designer Your Designs are Ready to be Seen. Bring your designer’s eye to the portfolio itself. Set the type, spacing, layouts, and details exactly the way you want them. Create Your Portfolio Start your 14-day free trial. No credit card required Credits Jake Clarke Graphic Designer Answering Frequently Asked Questions About Fabrik What makes a good graphic designer portfolio? A good graphic designer portfolio makes your strongest work easy to explore. Clear layouts, strong imagery, focused project descriptions, and a consistent visual style help your work stand out. Can I create a graphic designer portfolio without coding? Yes. Fabrik lets you build a graphic designer portfolio website without writing code, so you can focus on presenting your work. Can I see graphic designer portfolio website examples? Yes. Explore graphic designer portfolio website examples built with Fabrik to see how other designers present their work, projects, and creative processes. What should I include in a graphic designer portfolio? Start with your strongest projects. Include finished work, case studies, process, and the thinking behind your design decisions. Can I change layouts without rebuilding my graphic designer portfolio? Yes. You can switch layouts without affecting the content you’ve already added, making it easy to experiment with different ways to present your work. Can I customize my portfolio website for graphic designer work? Yes. Customize typography, colors, spacing, layouts, and other details to create a portfolio website for graphic designer work that reflects your style. Can I keep client work private in my graphic designer portfolio? Yes. Password-protect projects or keep them hidden until you’re ready to share them publicly. How can I organize projects in my graphic designer portfolio? Tag and filter projects by discipline, client, year, or type, making it easier for visitors to explore your graphic designer portfolios. What do I need to start building my graphic designer portfolio? Your work and an idea of how you want to present it are enough. Choose a theme, add your projects, customize the details, and publish when you’re ready. #### Heroes Fabrik Heroes Our themes use intelligent layout technology to adapt to your project content. Switch your theme at any time. 
 Start your 14-day free trial today  #### Home Build a Beautiful Portfolio Website in Under 10 Minutes. Join the world's leading filmmakers, artists, photographers and designers. Build yours now.  Start Building Free No credit card required Work Elliott Wilcox Photographer Work Lucas Zanotto Designer Work Niklas Sundin Illustrator Trusted by Thousands of Photographers, Filmmakers, Artists, and Creatives Portfolios Created 10000 + Countries Covered 35 + To Build a Full Website 10 mins Device responsive 100 % Studios Filmmakers Photographers Illustrators Artist Designer Stylists VFX Artists 3D Artists Studios Filmmakers Photographers Illustrators Artist Designer Stylists VFX Artists 3D Artists Create the Perfect Online Portfolio. What Type of Creative are You? Fabrik supports and celebrates great creative leaders from the Fabrik community. Filmmaker Showcase your films, reels, and visual storytelling in a portfolio worthy of the big screen. Get Started Photographer Let every image shine with layouts designed to capture every detail and emotion. Get Started Artist Curate your work like a gallery and let your artistic vision take center stage. Get Started Designer Present your process, craft, and finished work in a portfolio that reflects great design. Get Started Illustrators From bold concepts to intricate details, showcase every illustration with confidence. Get Started 3D, CGI & VFX Artists Bring renders, animations, and visual effects to life with immersive presentations. Get Started Agencies & Studios Showcase your best work, highlight your expertise, and turn visitors into clients. Get Started Stylists & Models Build a striking portfolio that showcases your look, experience, and personal brand. Get Started Designed to Make Your Portfolio Standout Designed to Showcase, Not Distract  Every theme is crafted to put your work front and center, creating an experience that feels as polished as your portfolio.  Layouts That Fit Every Project Switch between grids, galleries, full screen displays, and more to present every project in the way it deserves.  Beautiful on Every Screen Your portfolio automatically adapts to phones, tablets, desktops, and beyond for a flawless viewing experience everywhere. Personalize Without Coding Customize fonts, colors, layouts, and styling to create a portfolio that's unmistakably yours—without touching code. Fast, Secure, Fully Hosted Leave hosting, security, performance, and infrastructure to us so you can focus on creating your best work. Built to Get Discovered SEO-friendly pages, clean URLs, metadata, and automatic sitemaps help your work reach the audience it's meant for. Start Free Trial Choose a Theme That Matches Your Style Calico A magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Get Started Poplin An incredibly versatile and straightforward theme with lots of layout options to help you to find a unique style for your website. With a focus on simple thumbnail grid layouts, creatives with lots of projects will find this theme useful. Get Started Tocuyo For creatives that want to introduce themselves as well as their work. With optional Cover layouts Tocuyo becomes truly immersive with a full-screen hero, thumb grids and an inline About content. Suited to medium-sized portfolios. Get Started Voile Let random be your guide and make your site truly unique. Includes advanced homepage hero options.  Get Started Airdura An immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles. With over twenty layouts to play with projects are perfectly presented and each portfolio is truly individual. Get Started Coburg A magazine format theme that introduces Fabrik’s Scatter layout. Beautiful typography and styling frame your project content arranged with bordered containers.​ Get Started Canvas A feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. Get Started Loden Bigger is better with Loden; a theme that focuses on making photos and video as large as possible. Loden is bold, and creatives who like to let their imagery do the talking will enjoy working with the simplicity of its layout and options Get Started Jute A distinctive modern theme with classic typography and styling. Full-width cover images, homepage layouts featuring a bottom-aligned menu and a responsive sidebar. Expansive, beautiful imagery is shown off with great layout options. Get Started Explore All Themes From Sign Up to Showcase in Minutes Find Inspiration for Your Next Portfolio Filmmaker Photographer Artists Designers Illustrators 3D VFX Artists Studios Stylists View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio View Portfolio Get Started Get Started Get Started Get Started Get Started Get Started Build Your Portfolio See Why the Creative Community Choose Fabrik "I'm creative with my brushes but certainly not with a computer, Fabrik has enabled me to take control of my creative content and build a slick, impactful site with ease." Emily McEwan Make-up Artist "I can upload a new piece of work in minutes anywhere in the world, looks great and super easy to use. The people at Fabrik are friendly and very supportive." Ben Fordesman Director of Photography "Beautiful layouts, and amazingly quick and helpful guys. You can chat to them on the site within minutes and they always help me out when I'm stuck or with custom settings. I've recommended them to a few people now and everyone loves them." Zoe Koperski​ Production Designer "Fabrik just looks great and is a breeze to set up. I also love how customizable it is. The interface is very clear and actually makes creating a multi-facetted portfolio of works achievable in no time at all!" Mitchell Stuart 3D & VFX Artist Build a portfolio that makes your work shine! Sign up for a 14-day free trial today. No credit card required. Get Started Free Credits By Jody Sargent Environment Artist, UK Answering Frequently Asked Questions About Fabrik What is a portfolio builder? A portfolio builder is like a mix of curator and designer for your work. It is meant for creative people who want to show films, photos, design, or art. It is not the same as a general tool built for shopping carts or company updates. It takes care of the setup side, like page layout and media handling, so your images and clips stay the focus. You get a polished look without having to learn web building. How does Fabrik compare to Squarespace, Wix, and WordPress? Fabrik is custom-built for creatives, offering you a tailored portfolio platform without the overwhelming bloat of all-purpose builders like Squarespace, Wix, or WordPress. While the other general platform requires hours of tedious template tweaking, plugin management, and layout fixing, Fabrik instantly adapts to your media, intelligently organizing your work into beautiful, responsive showcases. It handles your content hassle-free so you can focus on creating rather than fighting complex website settings. Will my portfolio website look good on mobile devices? Absolutely!Our layout is fully responsive; they easily adjust to the screen size. Your high-definition video reels, wide images, and text scale fluidly to look crisp on everything from a massive 4K monitor to an iPhone screen on the go. What is the best portfolio website builder for filmmakers and cinematographers? Fabrik is a smart pick for filmmakers and cinematographers.Many common builders either reduce video quality a lot or they struggle with large video files. Fabrik integrates seamlessly with platforms like Vimeo and YouTube, letting you embed uncompressed, buttery-smooth video reels while offering dedicated layouts designed specifically for motion media. Can I switch my portfolio template later without losing my uploaded work? Definitely!That’s Fabrik speciality. Fabrik treats your media assets and projects separately from your visual layout. With a single click you can swap your entire website’s theme or template and all your media, descriptions, and project details will automatically re-render into the new design seamlessly. Do I need web hosting or coding knowledge to build a portfolio on Fabrik? No.Not a single line of code, and zero hosting setup required. Fabrik is a fully hosted platform. We manage the servers, security, speed optimization, and media delivery so you can focus entirely on your craft while Fabrik does the heavy lifting of codes. What happens if I already have my own domain? You can connect it to your Fabrik site or use the free onfabrik.com address included with every site until you’re ready. #### Illustrators Drag, drop, and pitch your illustration portfolio in minutes The ultimate platform for commercial illustrators. Launch a beautiful, client-ready illustration portfolio to showcase your work without writing a single line of code. Start your 14-day free trial today No credit card required Work Nicolae Negura Illustrator Work Lasse Bauer Illustrator Work Esther Lalanne Illustrator Why Illustrators Choose Fabrik For illustrators, the thread running through their work matters more than any single piece. A fantastic illustrator portfolio website should let that thread shine, whether the project is an editorial spot, branding illustration, hand lettering, infographics, fashion work, concept art, or character design. Clients and briefs change constantly, but the hand behind the work stays the same.Fabrik gives illustrators real control over the details that define their style: colors, fonts, and page layouts. The site works with what is already distinctive about the work instead of flattening it into a generic template. Pieces can be grouped by client, by type, or by project, and tags let visitors jump straight to the kind of work they want to see.That flexibility is what separates strong illustrator portfolios from a one-size-fits-all template stretched to fit. Credits Evgenia Chuvardina Illustrator Make Your Illustration Portfolio Truly Yours Your style shows up in the colors you choose, the way you lay out a page, and the little details that make your work instantly recognizable. Fabrik gives you the freedom to bring those choices together and create a site that feels as distinctive as the work you put into it. Color That's Actually Yours Full Size, Not a Thumbnail Looks Right, Wherever It's Opened One Site, Every Kind of Work Keep Everything, Show What You Choose Color That's Actually Yours Pick fonts and colors that fit your palette instead of settling for a default. Small details like these make your illustration portfolio feel personal and unmistakably yours, rather than like another site built from the same template. Full Size, Not a Thumbnail Detailed illustrations deserve more than a tiny grid tile. With full-screen covers, visitors can view each piece at its intended size, giving the linework, texture, and color room to make an impression. Looks Right, Wherever It's Opened Your portfolio might be viewed on a desktop, tablet, or phone. Fabrik keeps your illustrations looking sharp and well-presented across screen sizes, so your work makes the same impression wherever it’s viewed. One Site, Every Kind of Work Editorial pieces, character studies, lettering projects, and concept sketches don’t have to sit in one undivided collection. Create separate illustration portfolios by client, project, medium, or any other category that helps visitors understand your work. Keep Everything, Show What You Choose Not every piece needs to stay in the spotlight. Tag, archive, or feature work without deleting it, so older projects remain part of your collection while your main portfolio stays focused and easy to browse. As your body of work grows, your illustration portfolio can grow with it without becoming cluttered. See Why the Creative Community Choose Fabrik "We love the creative design of our new website! Fabrik had tons of background knowledge on current and innovative website and design trends which was invaluable to us." Esther Lalanne Illustrator "I really like the simplicity that Fabrik offers. It's laid out well and easy to find things." Scott Balmer Illustrator "Holy Jesus on a horse - your dashboard and editor are just amazingly fast and stable. Really awesome job you did there!" Lasse Bauer Illustrator "The ability to put the same project into different sub-portfolios. From the start I had the impression that there are real people behind Fabrik, which was proved every step during the setup process." Milica Golubovic Illustrator Pick a Theme and Let the Ideas Flow Your illustrations already speak in their own colors and lines. The theme should be the quiet stage that makes them shine. Choose one, shape it to your palette, and let your work take the spotlight. Get Started Get Started Get Started Get Started Get Started Get Started From Idea to Portfolio in Minutes Find your theme, add your creations, and launch your online presence today. Try Fabrik Free for 14 Days No credit card required Credits Milica Golubović Illustrator The Right Layout for Every Illustration An illustration portfolio should adapt to the work it shows, from multi‑pose character sheets to finished pieces. Pick the layout that best tells each project’s story, so every illustration gets the spotlight it deserves. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Start Building Now Made by Creators, for Creators Everything you need to keep your site fast, secure, and easy to find is taken care of for you. Your Own Domain  Connect your own domain or start with the free onfabrik.com address included with every site. Upgrade whenever you're ready. Fast Loading Your illustration portfolio loads quickly around the world, so visitors can focus on your work instead of waiting for pages to appear. Share the Story Behind Your Work Share sketches, works in progress, or the story behind a finished piece. Schedule posts ahead of time to keep your portfolio fresh. Secure by Default  Every site comes with a free SSL certificate to help protect your portfolio and the people who visit it. Built for Search Clean URLs, SEO-friendly code, and redirects make it easier for your illustration portfolio website to be found in search. Understand Your Audience Connect Google Analytics to see where visitors come from, what they explore, and which pieces get the most attention. Go Further with Custom Code  Add custom CSS or HTML whenever you want complete control over your site's design. Shape the Navigation Drag and drop menu items; link to a project, client site, or shop, and create a navigation that works for your illustrator portfolio. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support Illustrators Who've Made Fabrik Their Own Fabrik’s evolution has been shaped by working closely with illustrators and creative studios just like you. Nicolae Negura Illustrator David Vanadia Illustrator Lasse Bauer Illustrator Scott Balmer Illustrator Richard Caraballo Illustrator Esther Lalanne Illustrator Evgenia Chuvardina Illustrator Milica Golubović Illustrator Niklas Sundin Illustrator Start Your Illustration Portfolio Today Claim your free 14‑day trial and showcase your illustrations in one beautiful portfolio. No credit card required Create Your Portfolio Credits Sam Gilbey Illustrator Answering Frequently Asked Questions About Fabrik How do I create an illustration portfolio that shows my range without losing my style? Group your work into clear portfolios by medium, project type, or subject while keeping your visual style consistent across the site. This lets your illustration portfolio show range without feeling disconnected. Do I need coding skills to build an illustration portfolio website? No. Fabrik lets you customize colors, fonts, layouts, and other design elements without writing code, so you can build an illustrator portfolio website without technical skills. How do I keep my color palette and fonts consistent across my whole site? Choose your colors, fonts, and layout styles through your site’s theme settings. Fabrik lets you customize these elements to create a consistent look across your illustration portfolio. Can I password-protect certain projects? Yes. You can add a password to individual projects, making them accessible only to people you choose to share them with. Is there a free trial for building my illustration portfolio? Yes. Fabrik offers a 14-day free trial with full customer support and no credit card required. It’s an easy way to test the platform before committing. What's the best way to organize my work: by client, by project type, or by year? Choose the structure that makes your work easiest to browse. Fabrik lets you create multiple portfolios, so you can organize illustration portfolios by client, project type, genre, or period. Will my illustration portfolio look good on mobile, since most people find my work there first? Yes. Fabrik’s responsive themes are designed to display your work across devices, from mobile screens to larger displays. Can I connect my own domain name to my site? Yes. You can use the free onfabrik.com address or connect your own custom domain whenever you’re ready. Is there a way to write about my process or share works in progress? Yes. Fabrik includes blogging tools that let you share your creative process, works in progress, and updates alongside your portfolio. Where can I see real illustrator portfolios before I sign up? Fabrik’s site features portfolios from creatives in its community, including illustrators, artists, designers, and other creative professionals. Browse these illustrator portfolios for inspiration before getting started. #### Photographers Create a Visionary Photography Portfolio in Under 10 Mins A portfolio that keeps your shots sharp and your brand strong. Full-resolution display, your own domain, and themes made for photographers. Start your 14-day free trial today No credit card required Work Andrea Jones Photographer Work Charlie Urmston Photographer Work Elliot Wilcox Photographer Why Photographers Trust Fabrik A great photograph has to hold up everywhere, whether it’s viewed on a phone screen, a large display in a client’s office, or anywhere in between. Every composition is intentional.Once a photo is chosen, it deserves room to breathe with full-resolution images, thoughtfully designed layouts, and a photography portfolio website that encourages people to slow down and look. It’s one of the reasons Fabrik is considered among the best website builders for photographers. Credits Aks Huckleberry Photographer Choose How You Want Your Photographs to Look Every portfolio is shaped by hundreds of creative choices, from the composition of a single frame to the way an entire gallery comes together. Fabrik helps you bring the same attention to detail to your photography portfolio, so your work is presented exactly as you envisioned. Choosing a Thumbnail Strong First Impression Privacy & Access Control Built for Responsiveness Built for Scaling Start With the Right Thumbnail Smart focus automatically centers your cropped thumbnails on faces, color, or the subject that matters most, so most of the time you won’t need to touch a thing. However, your eye is still the final judge; adjust any crop by hand whenever the automatic guess isn’t quite right. Lead With Your Best Shot Before a single photo in a project loads, one image sets the tone: the cover you choose. Treat it like a headline. Pick the shot that makes someone want to see what’s next, not whatever happened to be uploaded first. Choose Who Gets Access Toggle any project from private to public or protect it with a password in a few clicks. Whether you’re gathering client feedback or sharing contact sheets, you stay in control of who sees your work and when. One Upload, Every Screen Covered With this photography website builder, there’s no photoshop and no exporting five versions of the same shot. Upload your work once and get perfectly sized, optimized images for every screen, from phones to HiDPI and Retina displays. A Photo Portfolio Website That Grows Without Starting Over Organize your photo portfolio website into multiple portfolios by client, genre, or year. As your body of work grows, sub-portfolios keep everything organized, so scaling never means starting over. Fabrik is a website builder for photographers that makes it easy to grow your portfolio without outgrowing your website. See Why the Creative Community Choose Fabrik "Easy for clients to view, speedy and simple for me to upload pictures on the fly. I didn't update my last website for years because it was a hassle, this is genuinely a joy to use." Charlie Crane Director & Photographer "I need to be able to add images quickly and easily, Fabrik takes care of the complicated issues to keep your website competitive. Metadata, social linking, Google Analytics all there for you to setup and use." Elliott Wilcox Photographer "My favourite thing about Fabrik is how welcoming and supportive the guys are, especially when it comes to setting anything up on the website." Aks Huckleberry Photographer "I swear by Fabrik for anyone wanting to showcase their work online. Striking yet simple and so easy to use, whilst still offering plenty of scope for customisation. The team are super helpful, even your Nan could use it." Shaun James Grant Director of Photography Find a Theme That Matches Your Vibe Choose a theme that fits your work, then refine it with typography and a color palette that support your vision. Get Started Get Started Get Started Get Started Get Started Get Started Let’s Get Your Photography Online Pick a theme, showcase your best shots, and share a portfolio that captures your vision. Try Fabrik Free for 14 Days No credit card required Credits Kuva Filmmakers Flexible Layouts for Every Project Not every project fits the same layout. With Fabrik, you can choose from Stacked, Lightbox, Slideshow, Gallery, Spotlight, Video, or Strip for each project. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Made for Creators, by Creators Everything you need to keep your site fast, secure, and easy to find is taken care of for you. Your Own Domain  Connect your own domain name for a site that looks fully professional. Fast Loading Your portfolio loads quickly around the world, helping visitors stay focused on your work instead of waiting for pages to load. Looks Great Everywhere From phones to 4K displays, your work stays crisp, detailed, and beautifully presented on any screen. Secure by Default  A free SSL certificate comes with every site, protecting your portfolio and the people who visit it. Built for Search Clean URLs, SEO-friendly code, and redirects help more people discover your artist portfolio website. Understand Your Audience Connect Google Analytics to see how visitors discover your work and which projects attract the most attention. Go Further with Custom Code  Add custom CSS or HTML whenever you want complete control over your site's design. Shape the Navigation Drag and drop menu items, link directly to your latest exhibition, featured series, shop, or Instagram profile, and guide visitors exactly where you want them to go. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Customer Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Customer Support See What Photographers Have Built with Fabrik Real examples of photography portfolio website design from photographers around the world, each one a working site you can explore. Bobby Vu Photographer Andrea Jones Photographer Rob Potter Photographer Charlie Urmston Photographer Ivan Hugo Photographer Elliott Wilcox Photographer Davide Mardegan Photographer Eva Cobija Retoucher Shiouwen Hong Director Filipe Neto Photographer James Buck Director of Photography Eleonora Vergnano Photographer Every Pixel in Its Place Start your free 14‑day trial and present your photography in perfect clarity. No credit card required. Create Your Portfolio Credits Elliott Wilcox Photographer Answering Frequently Asked Questions About Fabrik Which photography portfolio website template should I choose? Start with a theme built for photographers, then choose the one that feels most like your work. Every photography portfolio website template puts the image first, so the decision comes down to the style that feels right to you. What makes Fabrik a good photographer website builder? A good photographer website builder should protect image quality, make client proofing simple, and stay out of your creative process. Fabrik does exactly that, with private galleries, fast-loading pages, and layouts designed around photography. Is Fabrik a website builder for photographers specifically, or a general tool? Fabrik isn’t a general-purpose website builder adapted for photographers. It’s a portfolio platform created for creative work, with features like Smart Focus, private proofing, responsive galleries, and image-first layouts that photographers use every day. What should I look for in a photo website builder? Look for one that keeps images sharp on every screen and gives you control over crops, layouts, and galleries. A photo website builder should never force your work into a layout that doesn’t suit it. Why do photographers consider Fabrik one of the best photo website builders? Photographers choose Fabrik for the details that matter every day: responsive image delivery, Smart Focus, private client proofing, custom domains, fast-loading galleries, SEO-friendly pages, and flexible portfolio organization. Together, they make Fabrik one of the best photo website builders for photographers who want complete control over how their work is presented online. Can I see photography portfolio website examples before I sign up? Yes. Explore real photography portfolio website examples created by photographers using Fabrik. Every portfolio is live, so you can browse different styles, layouts, and approaches before starting your own. Can I keep adding new work to my photo portfolio website? Organize your photo portfolio site by client, genre, year, or any structure that suits the way you work. As your portfolio grows, sub-portfolios keep related projects together without turning navigation into a chore. How do I keep my photo portfolio site organized as it grows? Yes. You retain full ownership of your artwork, images, and content. Fabrik simply provides the tools to present and manage your portfolio online. #### Pricing Personal £8.75 Per month billed yearly Or £10.25 billed monthly 50 Projects 10 Portfolios Unlimited Blog Posts 2GB Media Storage SSL Site Security Customer Support Professional £12.50 Per month billed yearly Or £14.75 billed monthly 100 Projects 20 Portfolios Unlimited Blog Posts 5GB Media Storage SSL Site Security Advanced Support Unlimited £18.75 Per month billed yearly Or £22.25 billed monthly Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage SSL Site Security Customer Support Choose Your Plan At Fabrik we have created pricing plans to fit your needs and usage. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support Get Started Designed to Make Your Portfolio Standout Portfolios Fabrik has the ability to group projects into portfolios allowing you to present your work in a way that makes sense to you. Our personal plan allows you to have up to 10 portfolios and our professional plan offers 20; giving you the abilty to create a very wide and varied range of work. Customer Support Support is included during your free Fabrik trial period so if you need help understanding how Fabrik works, or how to customise your theme and layouts, connecting up a custom domain name or getting your Fabrik site live then look no further. Get Support Advanced Support For more complex questions about customising your site speak to the development team behind Fabrik. We're here to advise and assist our Professional and Unlimited customers on how to tweak their Fabrik sites. Media Storage Your media is served by an ultra-fast content delivery network from data centres distributed around the world. This means that your Fabrik site loads really, really fast. Our professional plan includes 5GB media storage, that's enough space for more than 2000 images at 4K ultra-high resolution! If you need more you can use the unlimited plan. Themes We use state of the art web technologies and techniques to make sure all of our responsive themes and layouts will make your work shine; on any device from mobiles to presentation screens. All our plans give you complete access to our themes and you can change them as often as you wish. See our Themes Domain Names Every Fabrik site comes with a free onfabrik.com address that you can use, or you can link your own domain name any time. We provide SSL security to your site for free, whatever domain name you use, and we've made it really easy to set up custom domains within Fabrik. We're happy to support you if things aren't so clear at the other end. Answering Frequently Asked Questions About Fabrik What's included in the 14-day free trial? Full Access to Features: Get complete hands-on access to build, customize, and preview your full website, blog, galleries, and online store. No Credit Card Required: Sign up and start building without entering payment information.Risk-Free Testing: Test design templates, upload your content, and see how your portfolio functions before committing to a paid plan. Can I switch between plans later? Yes. You can upgrade or downgrade your subscription plan at any time directly from your account settings.If you upgrade mid-cycle, the unused portion of your previous plan is typically prorated toward your new plan. What payment methods are accepted? Credit & Debit Cards: Visa, Mastercard, American Express, Discover, and JCB.PayPal: Supported in most regions for automatic billing. Is there a money-back guarantee? Yes!We love seeing you happy, and if not, our standard paid plans include a 30-day money-back guarantee. You can cancel your subscription anytime within 30 days of upgrading and request a 100% full refund. Do I need web hosting or coding knowledge to build a portfolio on Fabrik? Free Trial: It costs $0 to create and build your portfolio during the initial 15-day trial period.Paid Plans: Paid plans typically range from £8.75 to £22.25 per month (billed annually), depending on the plan you choose:Personal plan (£8.75/year): Best for simple image galleries and standard portfolios. This plan allows you to build up to 50 projects, 10 portfolios, unlimited blog posts, and 2GB media storage with SSL site security.Professional (£12.50/year): This plan is specifically designed for professionals who need advanced customization and scalable tools to elevate their workflow and grow their business. With access to create unlimited blog posts, 20 portfolios, 100 projects, and 5GB media storage with SSL site security, it’s a perfect go-to for business who want to scale.Unlimited (£18.75/year): Unleash the creator in you with a plethora of templates for unlimited projects, portfolios, blog posts, media storage, and SSL Site Security with our unlimited plan.Our plans are creatively designed to meet all your creative needs with customer support round-the-clock. #### Privacy Policy Privacy Policy Our privacy policy will help you understand what information we collect at Fabrik, and how Fabrik uses it. When we talk about ‘Fabrik,’ ‘we,’ ‘our,’ or ‘us’ in this policy, we are referring to Fabrik Creations Ltd., the company which provides the Services. When we talk about the ‘Services’ in this policy, we are referring to our online website tools and platform. Our Services are currently available for use via a web browser on your desktop or mobile device. Fabrik Creations Limited (‘Fabrik’) operates the portfolio and blogging service Fabrik. It is Fabrik’s policy to respect your privacy regarding any information we may collect while operating our websites. Information we collect and receive Subscriber DataContent and information submitted by users to the Services is referred to in this policy as ‘Subscriber Data.’ As further explained below, Subscriber Data is controlled by the organisation or person that creates a Fabrik account (the ‘Subscriber’). Where Fabrik collects or processes Subscriber Data, it does so on behalf of the Subscriber. If you create a Fabrik account, you are a ‘user,’ as further described in our Terms and Conditions. If you are using the Services by invitation of a Subscriber, whether that Subscriber is your employer, another organisation, or an individual, that Subscriber determines its own policies regarding storage, access, modification, deletion, sharing, and retention of Subscriber Data which may apply to your use of the Services. Please check with the Subscriber about the policies and settings it has in place. Other InformationFabrik may also collect and receive the following information: Account creation information. Users may provide information such as an email address, first and last name and password to create an account.Billing and other information. For Subscriber that purchase a paid version of the Services, we collect and store billing address and credit card information.Services usage information. This is information about how you are accessing and using the Services, which may include administrative and support communications with us.Contact information. Any contact information you choose to add to your Fabrik website is stored on our platform when using the Services.Log data. When you use the Services our servers automatically record information, including information that your browser sends when you are using it. This log data may include your IP address, your browser type and settings, the date and time of your use of the Services, information about your browser configuration and plug-ins, language preferences, and cookie data.Device information. We may collect information about the device you are using the Services on, including what type of device it is, what operating system you are using, device settings, application IDs, unique device identifiers, and crash data. Whether we collect some or all of this information often depends on what type of device you are using and its settings.Services integrations. If, when using the Services, you integrate with a third party service, we will connect that service to ours. The third party provider of the integration may share certain information about your account with Fabrik. However, we do not receive or store your passwords for any of these third party services.Third party data. Fabrik may also receive information from Subscriber support software that we use to make our own information better or more useful. This might be aggregate level information, such as which IP addresses go with which zip/postcodes, or it might be more specific information, such as the general location of your internet connection and the username of your social media accounts.Facebook Data. If you opt to add media from facebook we will store the url of that media item to use on your website.Instagram Data. If you opt to add media from instagram we will store the url of that media item to use on your website.Google User Data. If you opt in to connect your YouTube account to Fabrik, we store data associated with your YouTube/Google user account to enable you to easily add YouTube content to your website. Identifying data includes your Google identity, name and email address. This data is never shared with any other parties. YouTube terms of service : https://www.youtube.com/t/termsGoogle Privacy Policy: https://policies.google.com/privacy At any point if you need to revoke Fabriks access to your YouTube information you can do so by disconnecting in the Dashboard or via your Google security page: https://security.google.com/settings/security/permissions if you need any help contact support How we use your information We use your information to provide and improve the Services. Subscriber DataFabrik discloses potentially personally-identifying and personally-identifying information only to those of its employees, contractors and affiliated organisations that (i) need to know that information in order to process it on Fabrik’s behalf or to provide services available at Fabrik’s websites, and (ii) that have agreed not to disclose it to others. Some of those employees, contractors and affiliated organisations may be located outside of your home country; by using Fabrik’s websites, you consent to the transfer of such information to them. Fabrik will not rent or sell potentially personally-identifying and personally-identifying information to anyone. Other than to its employees, contractors and affiliated organisations, as described above, Fabrik discloses potentially personally-identifying and personally-identifying information only in response to a subpoena, court order or other governmental request, or when Fabrik believes in good faith that disclosure is reasonably necessary to protect the property or rights of Fabrik, third parties or the public at large. Fabrik may access and use Subscriber Data as reasonably necessary and in accordance with Subscriber’s instructions to (a) provide, maintain and improve the Services; (b) to prevent or address service, security, technical issues or at a Subscriber’s request in connection with subscriber support matters; (c) as required by law and (d) as set forth in our agreement with the Subscriber or as expressly permitted in writing by the Subscriber. Delete InformationAt any point you can delete all your data from account > profile > delete. This will instantly stop your site and remove all data associated to your account. Other InformationWe use other kinds of information in providing the Services. Specifically: To understand and improve our Services. We carry out research and analyse trends to better understand how users are using the Services and improve them. To communicate with you by:Responding to your requests. If you contact us with a problem or question, we will use your information to respond.Sending emails and Fabrik messages. We may send you Service and administrative emails and messages. We may also contact you to inform you about changes in our Services, our Service offerings, and important Service related notices, such as security and fraud notices. These emails and messages are considered part of the Services and you may not opt-out of them. In addition, we sometimes send emails about new product features or other news about Fabrik. You can opt out of these at any time.Billing and account management. We use account data to administer accounts and keep track of billing and payments.Communicating with you and marketing. We often need to contact you for invoicing, account management and similar reasons. We may also use your contact information for our own marketing or advertising purposes. You can request to opt out of these at any time. Aggregated Statistics Fabrik may collect statistics about the behaviour of visitors to its websites. For instance, Fabrik may monitor the most popular fabrik sites. Fabrik may display this information publicly or provide it to others. However, Fabrik does not disclose personally-identifying information within aggregated statistics. Cookies A cookie is a string of information that a website stores on a visitor’s computer, and that the visitor’s browser provides to the website each time the visitor returns. Fabrik uses cookies to help Fabrik identify and track visitors, their usage of Fabrik websites, and their website access preferences. Fabrik visitors who do not wish to have cookies placed on their computers should set their browsers to refuse cookies before using Fabrik’s websites, with the drawback that certain features of Fabrik’s websites may not function properly without the aid of cookies. Business Transfers If Fabrik, or substantially all of its assets were acquired, or in the unlikely event that Fabrik goes out of business or enters bankruptcy, user information would be one of the assets that is transferred or acquired by a third party. You acknowledge that such transfers may occur, and that any acquirer of Fabrik may continue to use your personal information as set forth in this policy. Privacy Policy Changes Although most changes are likely to be minor, Fabrik may change its Privacy Policy from time to time, and in Fabrik’s sole discretion. Fabrik encourages visitors to frequently check this page for any changes to its Privacy Policy. If you have a Fabrik account, you should also check your dashboard for alerts to these changes. Your continued use of this site after any change in this Privacy Policy will constitute your acceptance of such change. Contact Fabrik If you have any questions about this privacy policy, the practices of any of Fabrik’s web sites or services, or your dealings with Fabrik, please contact us at support@fabrik.io. #### Stylists and Models Build a Portfolio as Beautiful as Your Work in Minutes Fabrik designs portfolios that speak the language of the fashion world for talent that demands to be seen, remembered, and booked. Start your 14-day free trial today No credit card required Work Lucy Freeman Makeup Artist Work Emily McEwan Makeup Artist Work Natalie Piacun Makeup Artist Why Stylists and Models Choose Fabrik In fashion, the work you show is not always the work you shot yourself. A stylist builds the look, a model brings it to life, and a photographer captures the frame. The real skill lies in curation, knowing exactly which images speak the loudest and presenting them with the same care that went into creating the look itself.Fabrik preserves every image exactly as it was captured, with no compression dulling the tones and no unwanted crops cutting into a photographer’s composition. For stylists, portfolios can be arranged by clients, by campaign, or by any thread that ties a body of work together. For models, every frame is shown as intended. Credits The Post Room Retoucher Fabrik: Designed for the Way Stylists and Models Work Fabrik combines precision presentation with creative freedom, giving stylists and models the ability to arrange, protect, and share their work exactly as they envision it. Cropping That Honors the Composition Full Fidelity, Every Frame A Portfolio That Embodies Your Perspective Document the Story, Not Just the Shot Discretion, When It Matters Most Cropping That Honors the Composition Intelligent focus centers a cropped image on what matters most: a face, a silhouette, or a bold interplay of color, yet the final decision is always yours. Refine any crop by hand when the automatic read is not quite the one your own eye would choose. Full Fidelity, Every Frame An image forfeits its nuance the moment it is compressed without care. Model portfolio sites that are created on Fabrik, preserve tone, texture, and detail exactly as delivered, so every shot resonates exactly as intended. A Portfolio That Embodies Your Perspective Arrange work by client, by campaign, or by any throughline that defines your vision. A stylist portfolio is not a folder of images; it is a curated statement, and Fabrik ensures it shows that same intent. Document the Story, Not Just the Shot Fashion is the concept, the collaboration, and the creative process. Fabrik’s integrated blogging tools let you share the inspiration behind a look, the mood boards that shaped it, the team that brought it to life, and the journey from first fitting to final frame. This context transforms a portfolio from a static gallery into a living narrative that deepens a viewer’s connection to your work. Discretion, When It Matters Most Keep a project private or secure it with a password until a campaign is cleared for release. The best model portfolio often distinguishes itself as much by what it withholds as by what it reveals. See Why the Creative Community Choose Fabrik "As a creative makeup artist with a particular eye for detail, its important to be able to convey what I do online, at the highest standard possible. Fabrik is easy to use, looks super professional and shows my work off to my clients perfectly." Poppy France Make-up Artist "I have been putting off making a new website for years as I'm not very tech savvy. Being introduced to Fabrik changed that and I had a new website within minutes. My content is varied and Fabrik was great to accommodate it in a sleek way." Helen Roche Make-up Artist "I'm creative with my brushes but certainly not with a computer, Fabrik has enabled me to take control of my creative content and build a slick, impactful site with ease." Emily McEwan Make-up Artist "My online portfolio needs to be easily navigated, clearly presented on any device used for viewing. Fabrik was the perfect platform with easy to use professional templates and smart design options. The team are very helpful with quick response times." Natalie Piacun Make-up Artist Themes That Are Designed to Reflect Your Vision Browse a collection of themes designed to let your images command attention. Nothing overdesigned, nothing distracting, just layouts that frame your work with clarity. Select the one that matches your aesthetic, then refine every detail until it feels entirely your own. Get Started Get Started Get Started Get Started Get Started Get Started From Runway to Real‑World Opportunities Whether you’re a stylist shaping trends or a model bringing them to life, Fabrik showcases your work in a way the industry can’t ignore. Try Fabrik Free for 14 Days No credit card required Credits Emily McEwan Makeup Artist Give Every Shot the Layout It Deserves A campaign shoot might need large, uninterrupted images. An editorial series might work better as a tighter sequence that keeps the eye moving. With Fabrik, you can choose the layout that suits each project, so every shoot is presented on its own terms. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Start Building Now Made by Creators, for Creators Everything you need to keep your site fast, secure, and easy to find is taken care of for you. Your Own Domain  Every Fabrik site comes with an onfabrik.com address, but you can connect your own domain so your portfolio feels completely yours. Speed Without Compromise High-resolution campaign and editorial images load quickly, so clients and agencies can browse your work without waiting. Ready for Every Display Your portfolio looks sharp on laptops, tablets, and phones, so every look comes through wherever it's viewed. Secure by Default  Every site includes free SSL, keeping client work, private campaigns, and unreleased images protected. Built for Search Clean code, tidy URLs, and redirects help your portfolio get found when clients or agencies search for you. Understand Your Audience See which campaigns, editorials, and projects are getting the most attention with Google Analytics built in. Go Further with Custom Code  Add custom CSS or HTML when you want more control over the look and feel of your portfolio. Shape the Navigation Help visitors find exactly what they're looking for by filtering work by client, campaign, category, or other tags. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support A Portfolio Platform for Stylists, MUAs, and Models Worldwide Explore real portfolios built with Fabrik, from editorial shoots and campaigns to individual looks. Browse each model portfolio example to see how different creatives present their work. Louise Hinton Makeup & Hair Designer Natalie Piacun Makeup Artist The Post Room Retoucher Eva Cobija Retoucher Lucy Freeman Makeup Artist Karent Urrego Stylist Cable Magazine Stylist Emily McEwan Makeup Artist Poppy France Makeup Artist Let’s Show Them What You’ve Got Bring your campaigns, shoots, looks, and collaborations together in one portfolio built for models and stylists, with flexible layouts and your own domain. Create Your Portfolio Credits Poppy France Make-up Artist Answering Frequently Asked Questions About Fabrik Can an unreleased campaign stay private until it's cleared to go public? Yes. Toggle any project private or protect it with a password, then open it up when you’re ready to share it publicly. What's the best way to organize work by client or campaign? Group projects by client, campaign, season, or however your work is organized. Keep everything structured without putting your entire portfolio into one undivided collection. Will my images stay true to how they were originally shot? Yes. Fabrik preserves your images without automatic cropping or compression, so your work appears online as intended. Do I need design experience to build a model portfolio site? No. Choose a theme, add your work, and customize the details without any design or coding experience. What happens if I already have my own domain? You can connect it to your Fabrik site or use the free onfabrik.com address included with every site until you’re ready. Will my portfolio work well on mobile? Yes. Every site adapts automatically to different screen sizes, so your work looks right on phones, tablets, and desktops. Can a project include context as well as images? Yes. Add notes and project details alongside your images to give clients and agencies more context about a shoot, look, or collaboration. Is there a free trial before I commit? Yes. Every plan starts with a 14-day free trial, with no credit card required. What happens when new work comes in? Add new campaigns and looks as they’re ready, while regrouping or archiving older work without affecting the rest of your site. Is Fabrik suitable for a stylist portfolio? Yes. Organize campaigns, looks, client work, and collaborations in one polished stylist portfolio. Where can I see examples of model portfolios built with Fabrik? Browse real model portfolio sites to see how different creatives organize and present their work. #### Terms & Conditions Terms & Conditions We run a portfolio and blogging service called Fabrik and would love for you to use it. Fabrik is a subscription based service but we offer a free trial so that you can try before you buy. Our service is designed to give you as much control and ownership over what goes on your site as possible and encourage you to express yourself freely. However, be responsible in what you publish. In particular, make sure that none of the prohibited items listed below appear on your site or get linked to from your site (things like spam, viruses, or hate content). You can check out our heroes to get a sense of the type of content that is welcome on our service (or not!). If you find a Fabrik site that you believe violates our terms of service, please let us know. Terms of Service The following terms and conditions govern all use of Fabrik websites, their content and any products or services made available through those sites, including, but not limited to, Fabrik Bespoke, Fabrik Hosted and Fabrik API (collectively, the “Service”) by You (“Subscriber” or “You”). The Service is owned and operated by Fabrik Creations Limited (“Fabrik”). The Service is offered subject to your acceptance without modification of all of the terms and conditions contained herein and all other operating rules, policies (including, without limitation, Fabrik’s Privacy Policy) and procedures that may be published from time to time on this Site by Fabrik (collectively, the “Agreement”). Please read this Agreement carefully before accessing or using the Service. By accessing or using any part of the Service, you agree to become bound by the terms and conditions of this agreement. If you do not agree to all the terms and conditions of this agreement, then you may not access the Service. If these terms and conditions are considered an offer by Fabrik, acceptance is expressly limited to these terms. The Service is available only to individuals who are at least 18 years old. Your Fabrik Account and Site If you subscribe to the Service, you are responsible for maintaining the security of your account and site, and you are fully responsible for all activities that occur under the account and any other actions taken in connection with the site. You must not describe or assign keywords to your site in a misleading or unlawful manner, including in a manner intended to trade on the name or reputation of others, and Fabrik may change or remove any description or keyword that it considers inappropriate or unlawful, or otherwise likely to cause Fabrik liability. You must immediately notify Fabrik of any unauthorized uses of your site, your account or any other breaches of security. Fabrik will not be liable for any acts or omissions by You, including any damages of any kind incurred as a result of such acts or omissions. Responsibility of Contributors If you operate a Fabrik site, post material to the Service, post links on your site, or otherwise make (or allow any third party to make) material available by means of the Service (any such material, “Content”), You are entirely responsible for the content of, and any harm resulting from, that Content. That is the case regardless of whether the Content in question constitutes text, graphics, an audio file, or computer software. By making Content available, you represent and warrant that: the downloading, copying and use of the Content will not infringe the proprietary rights, including but not limited to the copyright, patent, trademark or trade secret rights, of any third party; if your employer has rights to intellectual property you create, you have either (i) received permission from your employer to post or make available the Content, including but not limited to any software, or (ii) secured from your employer a waiver as to all rights in or to the Content; you have fully complied with any third-party licenses relating to the Content, and have done all things necessary to successfully pass through to end users any required terms; the Content does not contain or install any viruses, worms, malware, Trojan horses or other harmful or destructive content; the Content is not spam, is not machine- or randomly-generated, and does not contain unethical or unwanted commercial content designed to drive traffic to third party sites or boost the search engine rankings of third party sites, or to further unlawful acts (such as phishing) or mislead recipients as to the source of the material (such as spoofing); the Content is not pornographic, does not contain threats or incite violence, and does not violate the privacy or publicity rights of any third party; your site is not getting advertised via unwanted electronic messages such as spam links on newsgroups, email lists, other blogs and web sites, and similar unsolicited promotional methods; your site is not named in a manner that misleads your readers into thinking that you are another person or company. For example, your site’s URL or name is not the name of a person other than yourself or company other than your own; and you have, in the case of Content that includes computer code, accurately categorized and/or described the type, nature, uses and effects of the materials, whether requested to do so by Fabrik or otherwise. the Content is uploaded with the intent of publishing it via the Service. You may not, under any circumstances, use the Service for general file sharing or online storage. by submitting Content to Fabrik for publishing via the Service, you grant Fabrik a world-wide, royalty-free, and non-exclusive license to reproduce, modify, adapt and publish the Content solely for the purpose of displaying, distributing and promoting your site. If you delete Content, Fabrik will use reasonable efforts to remove it from the Service, but you acknowledge that caching or references to the Content may not be made immediately unavailable. Without limiting any of those representations or warranties, Fabrik has the right (though not the obligation) to, in Fabrik’s sole discretion (i) refuse or remove any content that, in Fabrik’s reasonable opinion, violates any Fabrik policy or is in any way harmful or objectionable, or (ii) terminate or deny access to and use of the Service to any individual or entity for any reason, in Fabrik’s sole discretion. Fabrik will have no obligation to provide a refund of any amounts previously paid. Payment, Renewal and Refunds General Terms By choosing to subscribe to any of our paid-for services you agree to pay Fabrik the monthly or annual subscription fees indicated for that service. Payments will be charged on a pre-pay basis the day you subscribe and will cover the use of that service for a monthly or annual subscription period as indicated. Renewal Fabrik will notify you when a subscription is due for renewal. It is your responsibility to renew the applicable subscription before it expires in order to avoid any interruption or access to the Service. Refunds If you are not happy with your Fabrik subscription, send a refund request to support@fabrik.io within 14 days of your purchase. After this date any refunds will be at Fabrik’s sole discretion. Responsibility of Website Visitors Fabrik has not reviewed, and cannot review, all of the material, including computer software, posted to the Service, and cannot therefore be responsible for that material’s content, use or effects. By operating the Service, Fabrik does not represent or imply that it endorses the material there posted, or that it believes such material to be accurate, useful or non-harmful. You are responsible for taking precautions as necessary to protect yourself and your computer systems from viruses, worms, Trojan horses, and other harmful or destructive content. The Service may contain content that is offensive, indecent, or otherwise objectionable, as well as content containing technical inaccuracies, typographical mistakes, and other errors. The Service may also contain material that violates the privacy or publicity rights, or infringes the intellectual property and other proprietary rights, of third parties, or the downloading, copying or use of which is subject to additional terms and conditions, stated or unstated. Fabrik disclaims any responsibility for any harm resulting from the use by visitors of the Service, or from any downloading by those visitors of content there posted. Content Posted on Other Websites We have not reviewed, and cannot review, all of the material, including computer software, made available through the websites and webpages to which the Service links, and that link to the Service. Fabrik does not have any control over those non-Fabrik websites and webpages, and is not responsible for their contents or their use. By linking to a non-Fabrik website or webpage, Fabrik does not represent or imply that it endorses such website or webpage. You are responsible for taking precautions as necessary to protect yourself and your computer systems from viruses, worms, Trojan horses, and other harmful or destructive content. Fabrik disclaims any responsibility for any harm resulting from your use of non-Fabrik websites and webpages. Copyright Infringement As Fabrik asks others to respect its intellectual property rights, it respects the intellectual property rights of others. If you believe that material located on or linked to by the Service violates your copyright, you are encouraged to notify Fabrik. Fabrik will respond to all such notices, including as required or appropriate by removing the infringing material or disabling all links to the infringing material. Fabrik will terminate a visitor’s access to and use of the Service if, under appropriate circumstances, the visitor is determined to be a repeat infringer of the copyrights or other intellectual property rights of Fabrik or others. In the case of such termination, Fabrik will have no obligation to provide a refund of any amounts previously paid to Fabrik. Intellectual Property This Agreement does not transfer from Fabrik to you any Fabrik or third party intellectual property, and all right, title and interest in and to such property will remain (as between the parties) solely with Fabrik. Fabrik, Fabrik API, Fabrik Bespoke, the Fabrik logo, and all other trademarks, service marks, graphics and logos used in connection with the Service are trademarks or registered trademarks of Fabrik or Fabrik’s licensors. Other trademarks, service marks, graphics and logos used in connection with the Service may be the trademarks of other third parties. Your use of the Service grants you no right or license to reproduce or otherwise use any Fabrik or third-party trademarks. Attribution Fabrik reserves the right to display attribution links such as the Fabrik “tag” on your site. Such attribution may be removed if explicitly requested. Domain Names If you are registering a domain name, using or transferring a previously registered domain name, you acknowledge and agree that use of the domain name is also subject to the policies of the Internet Corporation for Assigned Names and Numbers (“ICANN”), including their Registration Rights and Responsibilities. Fabrik URLs When registering for the Service you will be required to choose an “onfabrik.com” URL (“Fabrik URL”). You may not (a) select or use as a Fabrik URL a name of another person with the intent to impersonate that person; or (b) use as a Fabrik URL a name subject to any rights of a person other than you without appropriate authorization. Use of any Fabrik URL does not transfer ownership of any kind. Fabrik reserves the right to refuse registration of, or cancel a Fabrik URL in its discretion. Changes Fabrik reserves the right, at its sole discretion, to modify or replace any part of this Agreement. It is your responsibility to check this Agreement periodically for changes. Your continued use of or access to the Service following the posting of any changes to this Agreement constitutes acceptance of those changes. Fabrik may also, in the future, offer new services and/or features through the Service (including, the release of new tools and resources). Such new features and/or services shall be subject to the terms and conditions of this Agreement. Termination Fabrik may terminate your access to all or any part of the Service at any time, with or without cause, with or without notice, effective immediately. If you wish to terminate this Agreement or your Fabrik account, you may simply discontinue using the Service. All provisions of this Agreement which by their nature should survive termination shall survive termination, including, without limitation, ownership provisions, warranty disclaimers, indemnity and limitations of liability. Disclaimer of Warranties The Service is provided “as is”. Fabrik and its suppliers and licensors hereby disclaim all warranties of any kind, express or implied, including, without limitation, the warranties of merchantability, fitness for a particular purpose and non-infringement. Neither Fabrik nor its suppliers and licensors, makes any warranty that the Service will be error free or that access thereto will be continuous or uninterrupted. You understand that you download from, or otherwise obtain content or services through, the Service at your own discretion and risk. Limitation of Liability In no event will Fabrik, or its suppliers or licensors, be liable with respect to any subject matter of this agreement under any contract, negligence, strict liability or other legal or equitable theory for: (i) any special, incidental or consequential damages; (ii) the cost of procurement for substitute products or services; (iii) for interruption of use or loss or corruption of data; or (iv) for any amounts that exceed the fees paid by you to Fabrik under this agreement during the twelve (12) month period prior to the cause of action. Fabrik shall have no liability for any failure or delay due to matters beyond their reasonable control. The foregoing shall not apply to the extent prohibited by applicable law. General Representation and Warranty You represent and warrant that (i) your use of the Service will be in strict accordance with the Fabrik Privacy Policy, with this Agreement and with all applicable laws and regulations (including without limitation any local laws or regulations in your country, state, city, or other governmental area, regarding online conduct and acceptable content, and including all applicable laws regarding the transmission of technical data exported from the United Kingdom or the country in which you reside) and (ii) your use of the Service will not infringe or misappropriate the intellectual property rights of any third party. Indemnification You agree to indemnify and hold harmless Fabrik, its contractors, and its licensors, and their respective directors, officers, employees and agents from and against any and all claims and expenses, including attorneys’ fees, arising out of your use of the Service, including but not limited to your violation of this Agreement. Miscellaneous This Agreement constitutes the entire agreement between Fabrik and you concerning the subject matter hereof, and they may only be modified by a written amendment signed by an authorized executive of Fabrik, or by the posting by Fabrik of a revised version. This Agreement is not assignable, transferable or sub-licensable by Subscriber except with Fabrik’s prior written consent. Fabrik may assign this Agreement in whole or in part at any time without the Subscriber’s consent. This Agreement shall be governed by and construed in accordance with the laws of England, Northern Ireland, Scotland and Wales without regard to the conflict of law provisions thereof. No agency, partnership, joint venture, or employment is created as a result of this Agreement and the Subscriber does not have any authority of any kind to bind Fabrik in any respect whatsoever. Any notice to the Service that is required or permitted by this Agreement shall be in writing and shall be deemed effective upon receipt, when sent by confirmed e-mail to info@fabrik.io or when delivered in person by nationally recognized overnight courier or mailed by first class, registered or certified mail, postage prepaid, to Fabrik, Forward Space, The Old Church School, Butts Hill, Frome BA11 1HR. #### UI/UX Designers Create Your Interactive UI/UX Portfolio in Under 10 Minutes From wireframes to polished prototypes, Fabrik helps UI/UX designers present their process, highlight usability wins, and attract clients who value outstanding user experiences. Start your 14-day free trial today No credit card required Work Ville Kovanen UX Designer Work Ana Van Aerden UX Designer Work Enzo Iacono Pre-visualisation Designer Why UI/UX Designers Choose Fabrik Whether you design clean interfaces or map complex user journeys, your UI/UX designer portfolio website should show not just what you made but how it works. The challenge is creating UI designer portfolios and UX designer portfolios that capture both the craft and the thinking behind each design.Fabrik makes it simple to present your process and results. Show wireframes with final designs, bring prototypes to life, and guide visitors through the decisions that shaped each interaction.The result is a UI/UX designer portfolio website that highlights your design thinking, problem-solving skills, and the impact your work has on real users. Credits Enzo Iacono Pre-visualisation Designer Designed to Show Your UI/UX Vision at Its Best Your portfolio should look amazing, and getting it there shouldn’t feel like another full-blown project. Show Every Detail Make It Yours Zero Coding Required Share Your Story Stay in Control Give Every Project the Space It Deserves Pick a layout that fits the project, maybe a clean scroll for a mobile app flow or a side-by-side for wireframes and final screens. Let your designs breathe and show the details at the scale they deserve. Switch it up whenever the next project calls for it. Make It Feel 100% You Your UX/UI designer portfolio should reflect your style, not a template’s. Choose the type, colors, spacing, and little details that match your design personality so your site feels like an extension of your work. Build Without the Headache A portfolio UI/UX designer shouldn’t take days to figure out. Start with a layout you like, drop in your work, tweak it to your taste, and publish when you’re ready. No code, no stress. Show the Process, Not Just the Pixels Don’t stop at the final screen. Add the brief, user flows, wireframes, or usability insights so clients can see how you think, not just what you made. Choose what you share Hide projects until they’re ready, password-protect client work, and organize by platform, product type, or design stage. It’s your portfolio, and you decide what gets seen and when. See Why the Creative Community Choose Fabrik "Fabrik gives me a platform to effortlessly upload and organise my content with a click of a button, coupled with a variety of themes with a truckload of customisable parameters. No coding knowledge? Not an issue." Jake Clarke Graphic Designer "Amazing support, flexible layouts and friendly UI. A level above the rest!" Jason Wilkinson Designer "Beautiful layouts, and amazingly quick and helpful guys. You can chat to them on the site within minutes and they always help me out when I'm stuck or with custom settings. I've recommended them to a few people now and everyone loves them." Zoe Koperski Production Designer "I'm blown away by the quick and good support and Fabrik in general. As a freelance designer and photographer I can highly recommend them!" Keyvan Varashk Designer Themes That Work the Way You Design Whether you’re showing off a sleek app interface, a complex user flow, or a full case study, you can choose a style that matches your vision. Pick your theme, drop in your work, and bring your portfolio together in minutes. Get Started Get Started Get Started Get Started Get Started Get Started Build your UI/UX Design portfolio today No credit card. No hassle. Your portfolio is a few clicks away Try Fabrik Free for 14 Days No credit card required Credits Enzo Iacono Pre-visualisation Designer Refine Your Layouts Effortlessly Fabrik gives your UI/UX designer portfolio website the flexibility to evolve with your ideas, so you can focus on design and not rebuilding pages. Switch between layouts to see how your app flows, wireframes, prototypes, or case studies look in different formats. Lightbox All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Slideshow Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Strip Images display horizontally, full height in your browser. Slide right to left as you navigate through your media. The perfect layout choice for varied aspect ratios, portrait and square images. Stacked All images are displayed as thumbnails. When tapped they open a larger version in a lightbox above. Navigate with next and previous buttons or close the lightbox to return back to the grid at any point. Gallery Navigate through your media items one at a time using next and previous buttons. Take your viewers through your story in a sequence you dictate. Start Building Now Made by Creators, for Creators Everything you need to keep your site fast, secure, and easy to find is handled for you. Your Own Domain  Get an onfabrik.com address or connect your own domain to put your name or studio front and center. Make your UI/UX designer portfolio website instantly recognizable and easy to find. Speed Without Compromise High‑resolution images, videos, and interactive prototypes load quickly, so visitors focus on your work, not the wait. Ready for Every Display Your portfolio stays sharp and perfectly presented across phones, tablets, and desktops, ideal for showing responsive designs in action. Secure by Default  Every Fabrik site includes free SSL to keep your portfolio and client‑facing pages protected. Built for Search Clean code, tidy URLs, and built‑in SEO essentials help your UI/UX designer portfolio website get discovered by the right clients. Understand Your Audience See where visitors come from, which projects get the most attention, and how people move through your portfolio. Go Further with Custom Code  Push your site beyond standard settings with custom CSS or HTML for more control over your portfolio’s look and feel. Tag and Filter Your Work Keep your portfolio easy to navigate as it grows. Tag projects by platform, client, year, or type so visitors can quickly find what interests them. Start with the Plan You Need Start your free 14 day trial with full customer support and no credit card required. Billed yearly Billed monthly Save 15%   Personal £8.75 per month, billed yearly Start free trial Most popular Professional £12.50 per month, billed yearly Start free trial   Unlimited £18.75 per month, billed yearly Start free trial Projects 50 100 Unlimited Portfolios 10 20 Unlimited Blog Posts Unlimited Unlimited Unlimited Media Storage 2GB 5GB Unlimited SSL Site Security Support Customer Support Advanced Support Advanced Support Personal £ 8.75 /mo per month, billed yearly Buy Personal Projects 50 Portfolios 10 Blog Posts Unlimited Media Storage 2GB SSL Site Security ✓ Support Customer Support Professional £ 12.50 /mo per month, billed yearly Buy Professional Projects 100 Portfolios 20 Blog Posts Unlimited Media Storage 5GB SSL Site Security ✓ Support Advanced Support Unlimited £ 18.75 /mo per month, billed yearly Buy Unlimited Projects Unlimited Portfolios Unlimited Blog Posts Unlimited Media Storage Unlimited SSL Site Security ✓ Support Advanced Support Get Inspired by Real UI/UX Portfolios Dive into a curated collection of UX UI designer portfolio examples built with Fabrik. Explore, get inspired, and start shaping a portfolio that’s uniquely yours. Ville Kovanen Designer Ana Van Aerden UX Designer Enzo Iacono Pre-visualisation Designer Your next big project starts here Build a UI/UX designer portfolio website that wins work, tells your story, and grows with you. Create Your Portfolio Credits Enzo Iacono Pre-visualisation Designer Answering Frequently Asked Questions About Fabrik What should a UI/UX designer portfolio website include? A UI/UX designer portfolio website should showcase your best projects, case studies, design process, and results. Include wireframes, prototypes, and final designs to show your full skill set. How do I make my UX designer portfolio stand out? Group projects by client, campaign, season, or however your work is organized. Keep everything structured without putting your entire portfolio into one undivided collection. Can I use Fabrik to build a UI designer portfolio? Yes. Fabrik makes it easy to create a UI designer portfolio with themes that highlight your visuals, layouts, and interactive elements. What are some examples of great UX/UI designer portfolios? You can explore our showcase of UX/UI designer portfolio examples to see how other designers present their work and get inspiration for your own site. Do I need coding skills to create a UI/UX designer portfolio website? No. You can build a professional UI/UX designer portfolio website on Fabrik without writing any code. Can I update my portfolio UI/UX designer site easily? Yes. Fabrik lets you update your portfolio UI/UX designer site anytime, so your latest work is always visible. Is Fabrik good for hosting UX designer portfolios? Absolutely. Fabrik is built to host UX designer portfolios with fast loading speeds, responsive layouts, and secure hosting. Can I connect my own domain to my UI/UX designer portfolio website? Yes. You can use your own domain to make your UI/UX designer portfolio website look professional and easy to find. How much does it cost to build a UI/UX designer portfolio website on Fabrik? Fabrik offers flexible pricing plans for your UI/UX designer portfolio website. You can start with a 14‑day free trial to explore all features, then choose a plan that fits your needs and budget. ### Heroes #### Aks Huckleberry View Aks’ portfolio Born in a tiny southern town in Russia, Aks Huckleberry is a young filmmaker and a portrait photographer, who spent her most formative years in London. She prefers not to be based anywhere right now; continuously moving from one destination to another. Late last year we partnered with Ello to launch an initiative to support new talent through a series of grants aimed at helping creatives advance their art and craft. Aks is the final Hero from our three first year grant winners and we’re excited to catch up with her to take a closer look at what inspires her and the process behind her work. Aks Huckleberry “These are not voyages to go to as many places or to take as many pictures but rather to see the loved ones and have time to reflect.” Aks Huckleberry Whenever and wherever she travels, she takes a moving portrait of the place – which includes family, friends and strangers she encounters on her journey. The majority of her work isn’t staged, nor does it allude to the documentation; rather it is about capturing the mood, the atmosphere and the beauty of the place and memories of the people involved in it. Having developed her photography for over 10 years, Aks is now more involved with filmmaking. She’s been mostly working on travel diaries, young actors testing series, art and fashion shorts, including editorial and music videos. It’s the most natural medium for her aesthetic – honest characters in surreal setting seen through her gentle gaze. Aks Huckleberry Fabrik: Hi Aks and first of all congratulations on your win. Any plans on how you’re going to be making the most out of the Grant? Aks Huckleberry: “Good morning! Thank you! It was so lovely and unexpected. Two main things I spend anything I ever earn on are travels and gear. Hence, as soon as I received a cheque from Fabrik, I’ve booked myself a trip to Budapest. I’ve never been there before, so it was particularly exciting! I shot some new self-portraits and another travel diary, that I am yet to share with my dear viewers.” Aks Huckleberry Fabrik: Would you like to offer a little bit more insight on the creative process and the thoughts on the concept before taking the camera ? How do you start a project? Aks Huckleberry: “So many things I’ve shot are rather spontaneous, especially when it comes to portraiture and travel. However, when it comes to more conceptual work, then that requires a certain degree of preparation. I am a very visual person, and can sometimes be terrible at explaining my concepts. It is a great delight, if people I am working with are trusting my vision and do not pester me about what I want to achieve as a result. I tend to do the same thing, working with individuals, whose artistic approach I adore – for instance, I give a complete creative freedom to make up artists I choose to work with. My dear friends/team mates – make up artists, models and stylists – learnt to guess what I like just by reading my face. I am a terrible liar, and you can see most of my emotions on it, and that apparently proved to be helpful on set.” “I am a very visual person, and can sometimes be terrible at explaining my concepts.” Aks Huckleberry Fabrik: You describe your fondness of natural settings with natural lighting. In the era of an ultra-filtered digital reality, do you find it difficult to pursue this approach? Aks Huckleberry: “I think modern world is about adapting, hopefully without loosing yourself in the process. Occasionally, you have to compromise and learn new skills, challenging yourself for the greater goodness. One of the shoots I did for a magazine, required building a very specific lighting set. We were re-constructing a movie still, but enhancing it with high fashion styling. It was heavily out of my comfort zone, but the stylist wanted me for the project and in the end, I couldn’t say no. So I borrowed some lights from a friend, studied the lighting used in that particular movie and, before the models arrived on the set, we spent about an hour just playing around with the light to achieve that beautiful deep cinematic look. I do, however, believe I thrive the most just catching the beautiful natural light and people hiring me tend to appreciate that, without forcing any sort of artificiality on me. After all, they pick me for my specific style of shooting. I think photography has to be rather spontaneous to touch something in you. There is so much beauty in not quite being able to control the process of the final outcome – you can plan most things, but you cannot tell the sun to come out. You have to let go, allow for the magic to happen, and keep your eyes open and shutter closed in the right moment.” Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Aks Huckleberry: “I have to say, I am rather persuasive and can be quite ‘difficult’, in a sense that one cannot force me to shoot something I absolutely do not want to shoot. After working many years, you often know what will not translate well as a picture and have to warn clients about it. I am, however, very open for suggestions and trying new things. Everyone’s input on the set is valid. Often, you get so focused on your subject, that the most obvious thing of why something isn’t working, escapes your vision and you need a clear foreign mind to weigh in. I have been rather fortunate with my creative clients – we have a perfect flow of ideas between us, tossing them back and forth until both are satisfied with the concepts. There has to be a mutual trust on the set, otherwise things get tricky and unbalanced.” “I think photography has to be rather spontaneous to touch something in you. There is so much beauty in not quite being able to control the process of the final outcome.” Aks Huckleberry Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Aks Huckleberry: “Ha! How much time do we have? I don’t quite remember the time when I haven’t been obsessed with all forms of art, be that photography, cinema or more broadly painterly and sculptural practices of arts. It seems, people occasionally find some artistic influences in my works, which aren’t always planned. I suppose, you do take things in like a sponge and sometimes they suddenly manifest in the most unexpected places, like that double portrait I shot of my dear lovers in their concrete boat, which accidentally ended up looking like a Pre-Raphaelite painting.  I am not going to talk about my favorite photographers, but let’s talk about film, as I am slowly but confidently moving in that direction with my career. Moving image is so powerful. I am terribly sensitive to a beautifully told story, and those affect me heavily. When watching any movie, I try to take something away for myself – whether it be something I like, or something I absolutely would not want to see in my work – it is a wonderful exercise in getting to know yourself/your artwork/your influences. If we are talking more exemplary, there is a beauty of stillness and contemplation I adore in Andrey Tarkovsky’s work. I have been watching and learning a lot recently from Paul Thomas Anderson. His unique characters are hiding within these incredibly beautiful sets, often shot at my favourite times of day – sunset and sunrise, with the most gorgeous sun tones on the faces and landscapes. Another favourite film maker of mine is Wong Kar Wai – he is the person, who makes me painfully nostalgic for film – the richness and beauty of grain and those special colours, his specific way of filming and cutting scenes are forever engraved in my brain.  There is so much to discover in cinematography, it is often way too overwhelming for me, so I try to take it in slowly. Classics like ‘Apocalypse Now’ and ‘Mulholland Drive’ shook me. I know, objectively they have nothing in common, but I am putting them here together solely due to my sensation past watching them. ‘Mulholland Drive’ was so intensely confusing, beautiful and mad, that walking out into the sunshine after just felt wrong. ‘Apocalypse Now’ crashed me, I left the cinema and couldn’t talk to anyone, just wandering the city heavy hearted and empty.” “Moving image is so powerful. I am terribly sensitive to a beautifully told story, and those affect me heavily.” Aks Huckleberry Fabrik: What are your plans for the future? Do you have any project that you’re currently working? Aks Huckleberry: “Have you ever heard of this saying roughly translated as “If you wanna make God laugh, tell him about your plans”? I just got back from London, where I was shooting a week long project for a musician friend of mine, ‘Easypeel’, soon releasing his album, and I still have some exciting work to finish for that. I am plotting a couple of projects, which will be heavily referencing the old arts of painting and sculpture, but those are just in my head at the moment, waiting for their time to be unleashed.” Aks Huckleberry Fabrik: Final question: What do you like most about Fabrik? What is your favourite feature? Aks Huckleberry: “My favourite thing about Fabrik is how welcoming and supportive you guys are, especially when it comes to setting anything up on the website. It is rather minimalist in design and easy to use, but occasionally, I did have a couple ideas I wasn’t sure how to bring to life myself and one of you would always come to the rescue.” Aks is using Tocuyo, a theme for creatives that want to introduce themselves as well as their work. Using Tocuyo’s homepage cover layout with a video. Tocuyo creates an immersive experience that begins at the landing page. What’s more? It connects seamlessly with Vimeo.  View Aks’ portfolio #### Andres Marti View Andres’ Portfolio Andres Marti is a photographer and creative artist residing in Bogotá, Colombia. He is Co-founder and Director of the Laboratorio de Imagen Comes Cake, where he has had the opportunity to work with different brands, artists and foundations such as Nike, Fuji-Film, Indiebo, U = U, Aterciopelados and Esteman. In his latest personal photographic series titled “Otredad” (Otherness), you can see hints of Baroque and Romanticism. The work relates to days that one is understood as a whole and other days where that whole is fragmented. His camera has framed self-portraits, but most of these images are of his friends and acquaintances, coloring their noses and eyelids in ruby red like Rembrandt paintings—physically expressing vulnerability of these beings. We took the time to get to know Marti, read his interview: Fabrik: Hello Andres, we’re happy to have you as a Hero! To begin, can you share a bit more about yourself in your own words? Andres Marti: “My name is Andres Marti and I am an artist, Designer from Bogotá, Colombia. I consider myself an image maker. Since I was little, when I started to draw, I always focused on doing portraits. Since I graduated from university as a designer, I have had the opportunity to explore different aesthetic and technical routes, always focused on portraying people. With the image laboratory @ComesCake, a laboratory that I co-founded in 2011 together with other designers and artists, I learned to co-create; I learned to put together different visions and techniques such as collage, illustration and 3D. So I began to see photography as an infinite resource that is fed day by day. I had the opportunity to work for different music artists such as Esteman, Pedrina y Rio y Aterciopelados, designing the art of some of their albums. But also, and perhaps the most important thing about this project, is the creation of its own content, which has become an academic benchmark in Colombia. On the other hand, five years ago I started to permeate all this knowledge about the power of the image and how it can build into an icon through the narrative of Drag. Together with my husband and best friends we created a collective called @misamigasdrag with whom, through makeup and performance we create safe spaces for celebration for the LGBTI + community in Bogotá.” Fabrik: We’d love to know more about your Otredad series. What was your source of inspiration? In flushing your subjects’ noses and eyelids ruby red there are visual metaphors that hint at sex, desire and health. What is your approach here? For you does this carry more importance in terms of aesthetic, or subject? Andres Marti: “Otredad is my personal photography project in which, through portraits, I immerse characters in universes that play between reality and fiction, where melancholy is the protagonist. All these visual metaphors are aimed at understanding my vision of melancholy, humans who are in an apparent sadness so deep that they forget how beautiful they are. The inspiration for this project comes initially from the person (model) that I am going to portray. They (the models) catch my attention and starting from this initial inspiration, I look for fashion and illustration references that come together with the initial portrait. I get several ideas and concepts to bring back that sadness and melancholy that are in me, and that I always sought to portray. They are portraits that seek the perfect sadness, shot after shot. I color the eyes and noses of my models ruby red in the photos in order to evoque vulnerability, many times they look like makeup at other times as if the model had cried all day, we don’t know which pain is more real, portrait after portrait. I know that my work is an aesthetic action that is loaded with signs and symbols. These are communicated through my intuition every time I finish an image. They are like dreams or visions that are cloudy but they leave a feeling in the spectator. I seek through my work, to be able to grasp how immaterial that feeling is. Otredad ends up being a hybrid between photography and collage, since I intervene digitally to include pictorial elements such as fauna and flora, textures, textiles, accessories, etc. This project has allowed me to exhibit in different artistic spaces in Bogotá, London and Tokyo.” “I know that my work is an aesthetic action that is loaded with signs and symbols. These are communicated through my intuition every time I finish an image. They are like dreams or visions that are cloudy but they leave a feeling in the spectator. I seek through my work, to be able to grasp how immaterial that feeling is.” Fabrik: We love that your portfolio contains a combination of creative elements. Is there a particular field you enjoy the most? What is your process when deciding on and amalgamating different elements? Andres Marti: “Collage has always been my main technique as a creator. I combine concepts that have no apparent connection or images in themselves, both projects are exciting, in Otredad the process is more delicate; to always be connected with the feeling and a visual narrative. With the collage and illustration, it is more free, I let intuition be the protagonist, it can go from something very dramatic or something very silly or both ahahahah – This game of creating in both ways helps me to be constant in the process of creation and not be afraid to fail.” Fabrik: Is there any piece of work; be it a painting, a song, sculpture, that has left you with a lasting impression – or any mentors you have encountered throughout the span of your career? Andres Marti: “There are several creators from different disciplines who have marked me and many times given meaning to my work, such as the new masculinities that Palomo Spain raises through his clothes, the humor and styling of Toliet Paper Magazine, the staging and makeup of Sasha Velour, the contrasts of softness and darkness of Tim burton, the recursion of Michel Gondry, the surrealist stories of Alejandro Jodorowsky, the power to convey feelings of Rebecca Sugar with her cartoon Steven Universe, the elegance of Dalí and the creation of an icon like Andy Warhol.” Fabrik: You mention that you’ve begun your exploration into the creation of video art, and sculpture. How will you approach this? Will you incorporate melancholy and the surreal in your portrayal of people? Andres Marti: “With sculpture it has been an interesting process. With it, I am seeking to continue expanding the universe of Otredad. I am working on this project with an artist who makes sculptures of virgins and saints for churches in Antioquia, Colombia. I feel that these types of religious figures manage to convey feelings of sadness, pain and beauty. The next step I want to try is to make these pieces in 3D printing. My approach to video goes more with the motion graphic, giving life and movement to my photos. In the future I want to take it into something more theatrical, maybe with a story and dialogues.” Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Andres Marti: “Sometimes, because my project is very intuitive that it develops in the making. When facing a project of this type with a client, being able to premeditate everything is very difficult, many times the project works out, but not always with the same spark of a more intuitive and spontaneous a project.” Fabrik: With an already impressive and extensive portfolio, do you have any favorites or milestone projects? Andres Marti: “One of my favorite projects is “Reverdecer”, which is a capsule within the universe of “Otredad” where I reflect on the concept of waiting as a cathartic process. These are portraits of people deprived of their freedom and they seek to redefine the passage through prison, as a stage in which the human is stripped of their reality, to enter a state of hibernation and to concentrate all his energy on repairing and flourishing. Al this without being overwhelmed by the slowness of the passage of time and without withering along the way. This project was presented at the “Barcú” art fair in Bogotá in 2019, and the money and dissemination collected from the work was allocated to the “Accion Interna” foundation to continue working with the prison population.” Fabrik: What do you like most about Fabrik? What’s your favourite feature? Andres Marti: “What I like the most about Fabrik is that it is a perfect canvas for my work where it shows detail in a very elegant way, my favorite function is the carousel at the entrance, it makes me feel very pro.” Andres uses Tocuyo, ideal for creatives that want to introduce themselves as well as their work. With optional cover layouts Tocuyo becomes truly immersive with a full-screen hero, thumb grids and an inline about content. Suited to medium-sized portfolios. View Andres’ Portfolio #### Andrew Popplestone View Andrew’s design portfolio Andrew is Creative Director at Territory Studio in London. He is responsible for leading a team of artist and designers in the creation of title sequences, motion graphics and visual effects for feature films, television, commercials and branding. With a background in fine art and graphic design, Andrew is perhaps most known for his outstanding work in modern classic films such as Blade Runner 2049, Ready Player One, Alice Through The Looking Glass, The Help and many more. Without losing sight of the big picture and the message of the concept which needs to be communicated, Andrew is known for his meticulous research and the great effort he puts into creating visuals which are authentic, convincing and engaging to the audience. For Blade Runner 2049 the team went at great lengths dissecting and studying objects through macro lenses to discover imperfections and textures that could be used in the screens created for the film. Andrew’s involvement on Ready Player One (out on Blu-Ray this month), lead the team to create visuals that elevated not only aesthetic, but also consumer expectations, by creating products and interfaces that could see the light of the mainstream market in the near future.. Ghost in the Shell – Courtesy of Paramount Pictures and Dreamworks Pictures and Territory Studio His work has been recognized and lauded in almost all prestigious industry awards. He has received accolades from the Royal Television Society, D&AD, Typographic Directors Club and Promax, working with clients such as Marvel Studios, Disney, Warner Bros, HBO, BBC, HEAD, Adidas, AMC, NBC, Sky, MTV, Playstation, Scott Free, National Geographic, London College of Fashion, Herman Miller. Ghost in the Shell concept art – Territory Studio Busy as he is, he donated a bit of his time to catch up with Fabrik and discuss past and future work, along with anecdotes from his work so far. Fabrik: You’ve worked across different genres – commercial and feature. Do you have a preferred one? Is there anything specific trait or treatment that you seek to find in a brief? Andrew Popplestone: “I love feature film because it’s something that can be iconic and timeless. It can live in people’s minds in a way that the commercial genre might not necessarily do. However, commercial projects can also be incredibly fun and rewarding. The way I see it is no matter the genre it’s all creative and an opportunity to tell a story or create something that either hasn’t been done before or that engages and connects with someone on a sensory and emotional level. That’s ultimately what I look for in a brief.” Fabrik: Blade Runner 20149 was last year’s sensation, lauded for its impeccable -and somewhat experimental- aesthetics and visual prowess. How did you go about the research prior to developing your concepts? Were there any specific challenges while working on screens for the film? Andrew Popplestone: “It started by speaking with the director, Denis Villeneuve at the set in Budapest. He talked about how the world of Blade Runner 2049 had moved on and changed since the first film. As a result he asked us to develop a completely new kind of technology that reflected this, digital tech didn’t exist any more so what replaced it… The new film exists in a bleak dystopian world so we knew the technology had to follow this by being more organic, abstract and physical rather than slick sci-fi. In answer to that we got super experimental moving away from conventional digital/CGI, instead looking at physical handmade, human processes. Macro photography of fruit, shooting textures through lens’, anything with a human element created those imperfections that made the aesthetic feel not only real but inherently part of the bleak world Denis had in his mind. The challenge is always hitting the right tone. Technology is part of the overall world-building and when you get that right and it serves the story, it adds a level of believability and grounding in reality.” Blade Runner 2049 concept art – Territory Studio Blade Runner 2049 – Courtesy of Alcon Entertainment and Territory Studio “The challenge is always hitting the right tone. Technology is part of the overall world-building and when you get that right and it serves the story, it adds a level of believability and grounding in reality.” Fabrik: Taking cues from Ready Player one, we see a highly successful merge of 80’s nostalgia with products and environments that don’t even exist or exist in a limited capacity. Would you consider your work as a way to set consumer expectations for future technology products? Andrew Popplestone: “At Territory Studio we specialise in using design and technology to tell stories and often say that we operate at the intersection of those three areas. Filmmakers and directors are constantly looking for new and original ways to tell their story and so ask constantly imagine what technology might look like in the future and design products that don’t yet exist. How does it look, how does it work, how do we interact with it and what impact does it have on the wider world and story in which it exists? It’s not just designing the tech or product itself but the narrative around it. This experience from the film work then translates into the commercial world because brands come to us asking for the exact same thing. We might help them visualise how their brand could look in the future or how to tell their story using future technology.” Ready Player One concept art – Territory Studio Fabrik: Do you ever try creative routes or treatments that look great on paper, but don’t transition to the real, finished article. Are there cases where Territory has to go back and rethink a particular sequence, or tone for a project, and if so, is it something that happens as an organic part of the creative process or is it unusual/rare to deviate from the initial ideas they have? Andrew Popplestone: “Interesting question and the answer is yes there are time times when we have to go back to the drawing board as it were. Sometimes ideas can develop into something wildly different from what you initially envisaged and then other times the final result that makes it into the film turns out almost exactly like that first mental picture you had. It might be a case where I think I have a great idea but then once we try to put it into practice it just won’t work because it doesn’t fit with another part of the story or it’s over complicated. That’s why simplicity and clarity is so often the best way. It can also be that changes occur outside of our control. The script may change or an actors performance is different. Many things can happen that may change or affect our ideas so we’re always having to re-think and adapt. It can also go the other way of course. On Ready Player One for example I had a little idea for the title logo that flashes up as the lead character puts his visor on. We created a couple of animated tests and sent them to Steven. He happened to love them and wanted us to develop it which grew and grew and eventually turned into this big runway/tunnel ‘boot-up’ sequence which takes Parzival from the real world into the Oasis.” “It might be a case where I think I have a great idea but then once we try to put it into practice it just won’t work because it doesn’t fit with another part of the story or it’s over complicated. That’s why simplicity and clarity is so often the best way.” Fabrik: Any interesting or fun anecdotes from your time working on projects, or from the reception of your work? Andrew Popplestone: “What I always find funny about working on films is how people expect it to be super glamorous. I used to live with a good friend of mine who also works in film design. We had an apartment in Notting Hill in London and it always kind of boggled my mind and made me chuckle that Hollywood movies were being worked on on my kitchen table. When your work is received well by your peers that is lovely and fantastic. However when someone who’s completely unrelated to the industry says how they were emotionally engaged in something that you created, that is absolute gold.” Ghost in the Shell concept art – Territory Studio Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Andrew Popplestone: “When I was 10 my parents took me to go see Jurassic Park at the cinema. I was obsessed with Dinosaurs at the time and spent all my time drawing them. Watching that film I absolutely fell in love with the magic of movies. Then 23 years later I’m working on a Steven Spielberg film creating graphics and visual effects for Ready Player One. To come back around to work for the person that sparked that love for art and film was pretty special. It completely changed the game for me. Working with Denis Villeneuve on Blade Runner 2049 was incredibly inspiring. He has such vision and his passion was infectious. Throughout my career I’ve been lucky enough to have worked with some of the most talented people in the industry. Learning from people like Kyle Cooper and Erin Sarofsky and then the amazing team we have at Territory. Working with those artists every day is the perhaps the most enjoyable and inspiring part of this job.” “When your work is received well by your peers that is lovely and fantastic. However when someone who’s completely unrelated to the industry says how they were emotionally engaged in something that you created, that is absolute gold.” Ghost in the Shell concept art – Territory Studio Ghost in the Shell concept art – Territory Studio Fabrik: Any advice you’d like to impart on your craft to art directors, motion graphics and visual effects professionals going into the field? Andrew Popplestone: “It’s so easy to get sucked into the details and actually lose sight of the big picture. Simply making something look cool isn’t enough. It’s all about clarity, make sure you always bring your work back to the concept and story.” Fabrik: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career? Andrew Popplestone: “A couple of features that unfortunately I’m not allowed to talk about but are very exciting. In terms of personal directions I always try to learn something new and challenge myself creatively by experimenting with new techniques and styles and that often comes from working with different people. For example right now I’m also working on a couple of cel animation sequences for Sky Sports which I’m really enjoying.” “It’s so easy to get sucked into the details and actually lose sight of the big picture. Simply making something look cool isn’t enough. It’s all about clarity, make sure you always bring your work back to the concept and story.” Andrew has a visual storytelling approach that combines concept and narrative, a graphic designers eye and a rich cinematic aesthetic. He’s using our Calico theme; a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. View Andrew’s design portfolio #### Ariel Palanzone View Ariel’s design portfolio Ariel Palanzone is an artist who lives and works in Argentina. He is highly regarded in his industry and he has won a number of coveted awards and accolades throughout his career. Most notably, he has been featured twice in the Flamantes book of design in 2017 and 2018. He is also the winner of the Carbon Award in Sculpture at the Frēsh 18 awards. He currently works as an Animator, 3D Designer and Art Director for different design and animation studios. In his work he tries to establish unique environments that act as conversation starters on the impossibility and irony of objects and materials depicted; a joyous but beautiful stab in the world of art and installation. We had the opportunity to catch up with him and discuss the influences that guide his style, the differences between client work and free-wheeling imagination, as well as his plans on exhibiting his work in the future. Here’s what he had to say. Ariel Palanzone – Vikki Fabrik: You have worked across different genres – 3D and animation. Do you have a preferred one or you seek to find both in a brief? Ariel Palanzone: “Both disciplines are of interest to me and I try to combine them. I always look for my frames to be dynamic and function as animations, too.” Fabrik: Any interesting or fun anecdotes from your time working on projects, or from the reception of your work? Ariel Palanzone: “Working in advertising, I do not always have the opportunity to show my creative side as much as I would like to, and this- is why I try to use my free time to stimulate my artistic side. Those are the moments which are the most fun and represent freedom to me.” Ariel Palanzone – The Thinker Fabrik: In your work one can see influences from Dali and Escher – where do you draw your inspiration from? Ariel Palanzone: “It is true that surrealism is a style that appeals to me, because of its poetic perspective on the reality and constant questioning of rational, physical and logical conventions. I am also interested in artists from other styles and disciplines such as Tomas Maldonado, Lucio Fontana, Enio Iommi, Julio Le Parc and Erwin Wurm.” Ariel Palanzone – Serie/Surrealistic “It is true that surrealism is a style that appeals to me, because of its poetic perspective on the reality and constant questioning of rational, physical and logical conventions.” Fabrik: Your work has a strong physical art or element to it and it’s reminiscent of sculpture in some cases. Have you ever considered or are you in the process of “downloading” any of your designs into physical / spatial installations? Ariel Palanzone: “It would be very rewarding to see my work transformed into an installation of art and I work hard every day towards the realization of this goal.” Fabrik: Would you like to offer a little bit more insight on the creative process? I would like to learn a bit more about how you rationalize the concept and choose the textures that are strategically placed or mismatched and so on… Ariel Palanzone: “There are no magical positions. There is a lot of trial and error. For me, the process is the most rewarding and gratifying stage. The important thing is to take as much time as possible to experiment and look for different ways to communicate an idea. I think a work never ends and some times I even retract it after a while to process it with fresh eyes, modify it and try to improve it with new techniques that I am exploring at the time. I understand the concept as a poetic means of expressing a message, connecting different universes (music, science, philosophy, etc) and combining them to achieve a new meaning. My creative process consists of going out on the street and observing everything around me, writing down notes and doodling sketches. I also look for inspiration during my trips to museums, exhibitions or by watching documentaries and talks about poetry, philosophy, physics, etc.” Ariel Palanzone – Minimal Series Ariel Palanzone – Minimal Series “I understand the concept as a poetic way of expressing a message, connecting different universes and combining them to achieve a new meaning.” Fabrik: A lot of your work can be seen as humorous plays on common perceptions of different materials – something that 3D apps obviously give you the freedom to mess around with. Material properties like rigidity, gravity and structure are purposely flaunted in your pieces. Can you tell us a little about where that comes from, and your thought processes when disrupting and redefining materials in your output? Ariel Palanzone: “Basically I try to combine and alter elements to generate a new meaning. I seek properties of materials which help me reinforce this concept. For example, in the piece Ser & Tiempo, gold helps me showcase how valuable time is and when it melts it reflects that it is ephemeral and we must make the most of it.” Ariel Palanzone – Ser & Tiempo Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Ariel Palanzone: “I am always impressed by the musical work of Luis Alberto Spinetta and the literature of Jorge Luis Borges. An inspiring, lasting memory that I still tend to this day is attending the exhibition of the Argentinean sculptor Eugenio Cuttica. I was lucky enough to greet him and ask for an autograph!” Ariel Palanzone – Organic Series Fabrik: Any advice you’d like to impart on your craft to art directors, motion graphics and 3D designers going into the field? Ariel Palanzone: “I would say that they should stay curious, observant, and let their sensitivity and intuition guide them.” Ariel is using Canvas, a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. View Ariel’s design portfolio #### Ash K Halliburton View Ash’s portfolio Ash K Halliburton is an Art Director, Creative Producer & Director based in London, working primarily in brand communication, social content and campaigns. Her work ranges from creative direction and art direction, to set build and full production. With a career spanning across the creative spectrum, Ash has been both the person in front of the lens and the one behind the scenes. Kicking off her career as a model, she combined her passion for art and fashion to further delve into production, art direction, scouting to name a few. Her work is infused with a creative spark which she keeps reigniting with every brief that lands on her hands. Her clients include Nowness, Vogue Japan and Czechoslovakia, L’Officiel among others. We asked her a couple of questions and she offered her thoughts. Ash K Halliburton – Vogue Czechoslovakia Fabrik: Your career spans the fashion and visual industry from various positions. Can you talk about your professional transitions and how they happened? Ash K Halliburton: “WELL, this could take a while. My roles are still ever changing and blending. At the moment I am involved in a start up e-commerce, A start up disruptive spacial project, a possible agency… and then everything else. I started as a model when I was 19, and whilst growing up in Newcastle, there was never a point when someone said, ‘oh you should work in fashion, do creative direction, work with artists… etc etc’. I was told I could be a secretary. I am dyslexic and a terrible writer. So, on set I was watching everyone wondering what they were doing… when I quit modeling I started as a production assistant, dipping my toes into everything until I eventually settled on art direction. I studied Technical effects for performance at UAL, it was heavily focused on prop making but I was designing the entire concept of the script. I wish I had studied film, but maybe a bit too far gone now! It has taken to being in my 30’s that I realise I can make a career from being involved in different areas, more like a ‘studio’, it never gets boring, I just have to choose my projects, and teams, wisely, and possibly find another pair of hands/person to team up with!” Fabrik: Your work transcends styles and attitudes going from playfully surreal to refreshingly accessible and honest – may I say bare. Would you like to tell us more about your source of inspiration? Ash K Halliburton: “To be honest a lot of my work, I get briefed and have to fulfil the brief. When I am involved in the creative of the project it generally goes down the surreal, tongue-in-cheek route. Since being in the creative industry for so long it has to be fun for me to do. Fashion, especially, can be so serious, people spend their time trying to fulfil others expectations. If you find your toaster inspiring then so be it. If it’s not fun don’t do it. I would say my inspiration comes from nostalgia, bus journeys, folklore, old wives tales, expressions, discrimination, art, people, travel… the list goes on. Growing up in a mining town, Northerners, there is a very ‘no shits given’ attitude, which has inspired the more surreal stuff.m. My dad would think some of my work is ridiculous, which makes me want to do it more.” “Fashion, especially, can be so serious, people spend their time trying to fulfil others expectations. If you find your toaster inspiring then so be it. If it’s not fun don’t do it.” Ash K Halliburton – Tre & Elmaz X Lik Wu Fabrik: You have worked with some of the most influential editions, actively shaping the way we perceive fashion, gender and style. Have you ever had any difficulties pushing your creative and artistic approach to clients? Ash K Halliburton: “I think clients always think they know best, when actually they have no idea what they want. I can pitch something along the lines of EXACTLY what they asked for and they say.. ‘we want to do this as an extension on last years campaign… but completely different’ which cracks me up. If you are working for a client you have to compromise, fulfil their vision, but if their vision really doesn’t align with mine, I have in the past suggested other people to make their dreams come true! For example, I will not shoot fur. This has caused some friction in editorials, but I will stand by it.” Ash K Halliburton – Emirates Woman Fabrik: Would you like to offer a little bit more insight on the creative process? Ash K Halliburton: “FURIOUS RESEARCH, and scrolling through an endless screenshot/photo library. Trying to locate that ONE picture from when I was 17. Normally speak to client, speak to producer, laugh with producer about what they want for their budget… I’m kidding. I try to work with producer and client on the brief, and be open and honest about what’s achievable in the time and with the budget that’s been given. A lot of image exchange and late night chats… basically.” “If you are working for a client you have to compromise, fulfil their vision, but if their vision really doesn’t align with mine, I have in the past suggested other people to make their dreams come true!” Fabrik: Any interesting or fun anecdotes from your time working on projects, or from the reception of your work? Ash K Halliburton: “I was asked to design a giant furry vagina that you could climb inside. I asked if it was more of a cubby hole, a sofa space, or a shed. I meant it, these things are important if people are going to be ‘in’ them.” Ash K Halliburton – Vogue Japan | Bring me the cheque Ash K Halliburton – Vogue Japan | Lilyland Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Ash K Halliburton: “My tutor at university who stuck up for me – Jess Bugg. I was designing experiential concepts whilst at uni before experiential became a thing. One tutor said ‘I don’t get it’, ‘you will never make any money’… and Jess chimed in and said, ‘I get it, please keep going’. Jess was studying a PHD in The Body in performance. I loved her lectures, she made me feel normal, inspired and excited. It’s just a shame the other tutor was so closed-minded. I remember one lecture about a piece by Jess, she put various people of various backgrounds in a feathered ‘piece’ and filmed the way they reacted to wearing the piece. Everyone reacted very differently; dancing, swaying, shuffling… all based on their backgrounds and history. A reminder that we all see things differently.” Ash K Halliburton – Peng x Tre & Elmaz Fabrik: What are your plans for the future? Do you have any project that you’re currently working? Ash K Halliburton: “I am currently working on a few, but have two treatments for films that I hope to make in early 2019. I am also working with two inspiring young women, on a fashion film based around science, which is pretty exciting to be honest!” Fabrik: Any advice you’d like to impart on your craft to art directors, creative producers? Ash K Halliburton: “Understand that you are just as important as everyone else on set, it’s hard work, it’s very physical, but it is worth it when you get the ‘thank you’ from the client.” Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Ash K Halliburton: “I can upload a multitude of projects. It’s all very self-explanatory, takes me a few moments to update my website!” Ash K Halliburton – 13 Beaches | Dedicate Magazine Ash is using Canvas, a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. View Ash’s portfolio #### Beatrice Pegard View Beatrice’s Portfolio Beatrice Pegard-Ferry is a French-Australian writer and director. Beatrice’s aesthetic mixes surrealism and irreverence, always with a keen interest for art direction, choreography, and visual effects. Beatrice is a firm believer in sustainable filmmaking, which she applies to her creative process whenever possible, and provides green toolkits and advice geared towards lowering carbon footprint, sustainable film production and waste reduction. We got in touch with Beatrice to discuss her creative process and gain further insight about sustainable filmmaking. Here’s what she had to say: Grizzly Bear – Mourning Sound Fabrik: Hi Beatrice, we’re so pleased to have you as a Fabrik Hero! To begin, we’d love to for you to share a bit more about yourself in your own words? Beatrice Pegard-Ferry: “Hi Fabrik! I’m a director and screenwriter with a passion for butt shots, surreal imagery, absurdist theatre, road movies, female gaze cinema, abstract art, funny people, and all things wild.” Fabrik: You mention that you are a firm believer in sustainable filmmaking. Can you break down what this means, and share a bit more about how you apply this to your creative process? Beatrice Pegard-Ferry: “I think we cannot deeply care about the environment in our daily lives and not try our best to apply this in our creative practice. We are an intrinsic part of this vulnerable, yet interconnected and complex system and we are facing inevitable tipping points, that is dramatic points of no return. We are seeing this concretely on a global scale, with vulnerable environments and ecosystems collapsing in domino effect. With oscillation patterns and cycles getting shorter and more intense each time, look at Australia and its recurring mega-fires, bushfires so big that they are impossible to suppress, and now currently under the wrath of La Niña. The main conundrum is that most of us are hugely disconnected from how we live and how this impacts the environment. Change is possible and this must come from everyone and at every level. So why film? Well, the film and television industry wildly contribute to pollution and climate change over the world. Back in 2006, a report on the sustainability of Hollywood found that within metro Los Angeles, the Film and Television Industry made a larger contribution to conventional air pollution than the aerospace and hotel industries. You would think that things had changed for the better. But actually not. There are simple and practical things that we can take that can have an impact: waste management and disposal, energy efficiency, transportation, construction, etc.” Cats on Trees – Blue Fabrik: Could you tell us more about the Green Toolkits you provide for sustainable film production and waste reduction? Beatrice Pegard-Ferry: “Just email me and I’ll send it to you 🙂 But there are also amazing Toolkits everywhere: The Producers Guild of America PGA Green Unified Best Practices Guide is great. They also have covid 19 specific guidelines. Every director, producer, production company and crew can join the amazing team at Green the Bid. They collect and collate up to date research and information as well as links to vendors and crews in the area. You can join and access invaluable information and learn as you go. I highly recommend their website. BFA’s Screen New Deal is awesome as well.” Behind Cardi B’s Grammy Looks x Vogue “I think we cannot deeply care about the environment in our daily lives and not try our best to apply this in our creative practice.” Fabrik: What would your advice be to other Filmmakers looking to reduce their carbon footprint? Beatrice Pegard-Ferry: “I think the first step might be to voice your desire to shoot “green”. The second is to share information with your teams and work incrementally from project to project. I know that with covid, these have been challenging, but we have also realised that we didn’t need to fly everywhere all the time for shoots so that’s one small silver lining maybe? The next step is to find solutions and alternatives to provide eco-friendly transportation, craft, energy use, choice of location, water, and waste management. You can focus on various areas from pre- to post-production that you can monitor and manage with your production. The ideal situation is to have someone on set and at the production company dedicated to this: Lighting, Energy, Water efficiency, Resource recycling, Paper, VFX, Transport, logistics and communications, During the shoot on set, all departments to know they are to monitor their consumption and report issues, and so on. In pre-production and office: you can also promote the use of a green browsers such as Ecosia. The internet is a lot more polluting than we think. Printing set to a minimum and if absolutely necessary, also ask that it is done on recycled paper and two-sided. One that most productions now do (but that is not enough) is to provide reusable water bottles and sustainable catering with unprocessed, unpackaged local and/or organic food with reusable or recycled cutleries and ceramics. Waste triage and recycling on set is also essential, and composting is fun too. Ask your stylist and production designer to rent and use vintage as much as possible, keep construction to a minimum (or recycle/give them away) promote the use of low-volatile organic compounds (VOC) paints and FSC certified wood as often as possible, CFL and LED overhead lighting for props where possible, with set materials and props that cannot be rented to be later donated to organizations. The next thing to do is to track as much information as possible to calculate carbon emissions so that it can be possible to later offset what could not be mitigated. You can offset some of the inevitable waste emitted by the production by purchasing Gold Standard Verified Emissions Reductions (VERs) on projects, based on their social and environmental goals. VERs ensure that the offset projects contribute to sustainable development and are monitored with social and environmental indicators and ongoing stakeholder involvement.” H&M x Netflix – To All The Boys I’ve Loved Before “So why film? Well, the film and television industry wildly contribute to pollution and climate change over the world. […] the Film and Television Industry made a larger contribution to conventional air pollution than the aerospace and hotel industries.” Fabrik: You describe your aesthetic as a mix of surrealism and irreverence – What draws you to those themes and how do you feel they direct your work? Beatrice Pegard-Ferry: “I’m interested in the ultimate feeling of freedom and connection that cinema brings. It can transport you anywhere, in any kind of world and situation, physically, visually, emotionally. In a way I’m drawn to its escapist powers, how we can dig down in the subconscious, create anything that the mind can dream of. And I’m not so interested in logic in the creative process, I love work that breaks the rules, the codes the expectations. Breaking things apart and putting them back together a little differently. Humour is equally important to me. It’s a part of my character, or my character judgement. Why would you be serious when you can make someone laugh. It’s a great way to break the rules too.” Fabrik: Within your career as a Writer and Director, is there a particular milestone you feel most proud of? Beatrice Pegard-Ferry: “Being able to work with actors I love and admire (Clemence Poesy), being able to make music videos for bands I equally adore and admire (Grizzly Bear, M Ward), shooting my first big commercial campaign just before covid and being represented by productions companies I love!” Lidl – Steak Fabrik: What are your plans for the future? Do you have any projects that you’re currently working? Beatrice Pegard-Ferry: “I have two feature projects in the pipeline but it’s such a slow-moving process! And I’m imminently shooting two commercials.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Beatrice Pegard-Ferry: “I love that it is so easy to use. I was able to put together my website in one short day. The themes are great and super varied.” Beatrice uses Airdura, an immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles. With over twenty layouts to play with projects are perfectly presented and each portfolio is truly individual. View Beatrice’s Portfolio #### Benedict Spence Benedict Spence is an Emmy Award-nominated cinematographer who has built a diverse career across TV, drama, and commercials. We sat down with Benedict to discuss his unconventional journey, his creative approach to cinematography, and how he balances the demands of his career with personal life. Still from ‘The End of the F**king World: Season 2’, Cinematographer – Benedict Spence Fabrik: From shooting horror films with friends on 8mm to becoming a full-time DOP, you’ve had an unconventional path. What key moments or projects helped you transition from a hobbyist to full-time? Benedict: “I guess I came out of my hobbyist phase quite early on; I started working as a freelance camera operator in documentary, factual entertainment, and kids TV in the early 2000’s. It was a dream come true to be paid to travel the world and work with a camera on my shoulder. I had some amazing experiences and got to do some very fun things. My first ever paid TV job was operating on the BBC’s Blue Peter in 2002, I still remember the thrill of seeing my name on the credits at the end of the show. My first foray into proper TV drama was on Hollyoaks Late Nights (the racy one!) in 2012, which was a real trial-by-fire of fast decision-making but also I had carte blanche to be creative! Since then my biggest break has probably been Netflix’s The End Of The F**king World, which I shot the second series of in 2020. I was nominated for an Emmy award for my work on it, which was a lovely shock. Inside I like to think I’m still just a kid with a camcorder making my friend put a huge volume of ketchup in their mouth and pretend to be dead tho!” BTS: In-frame – Benedict Spence Fabrik: You mention never assisting and ‘doing things the wrong way’. How has that shaped your style and approach on set? Do you think it’s given you a creative edge? Benedict: “Yes I guess I came to where I am kind of sideways. I didn’t assist and I didn’t go to film school. It’s meant my career path has been gradual, and without any real guidance of how it should all work. I guess it means that any lessons I’ve learned, I’ve learned them the hard way (by fucking up myself, rather than being taught them!). I don’t think that’s a bad thing, and I don’t think it’s given me a creative edge, it’s just slightly different from the norm. I do think it’s given me a very solid foundation for my career.” Fabrik: You’ve worked on a wide variety of projects – from factual entertainment like ‘Pimp My Ride’ & ‘MTV Cribs’ in the early years, now to drama and commercials. How do you approach the different demands of drama versus commercial work? Is there one you feel more connected to creatively? Benedict: “The old factual entertainment days were brilliant fun. And I got to work on all sorts of shows, that many people watched and which made a real cultural impact. I worked hard, and so did my directors to push the boundaries on those shows. However they did not have space for the same kind of visual creativity that my jobs today give me. I’m very lucky to have moved into the world of drama, and commercials, where the visual part of a show is as important as the content (well, nearly). So yeah absolutely the demands I have now are far more creative. But my early days of fact ent taught me how to work fast, think on my feet, make use of the resources I have when shooting, and most importantly how to enjoy the job that I do with the crew I have around me.” Fabrik: For aspiring cinematographers, the journey can seem daunting. What advice would you give to those just starting out, particularly those without film school backgrounds? Benedict: “Wow yeah that’s a big one. I think it’s very hard to control one’s career; it’s taken me 22 years of working to get to where I am… And I feel I’m not even 1/2 way to an understanding of the craft of cinematography. The old saying goes that it takes 10,000 hours to become a master at something, so really my main bit of advice would be to get filming. Cameras are everywhere, as are the information resources. Far beyond what was available to me when I was young. So just start shooting things, on whatever kit you have (don’t get obsessed by the kit!). Start ticking off those 10,000 hours! Oh and watch some films… They are roadmaps to filmmaking. I think it’s important to understand that what a cinematographer does is a combination of technical and creative. Understanding the technical of camera, lenses and lights is vital. But what takes the time is learning the creativity of story telling, of harnessing light, bending it and manipulating its shape and colour and texture to help tell that story better. And doing it all without going into overtime on a shoot day!” Still from ‘This is Going to Hurt’, Cinematographer – Benedict Spence BTS from ‘This is Going to Hurt’, Cinematographer – Benedict Spence Fabrik: Your work on Netflix’s ‘The End of the F**king World’ earned you an Emmy nomination (congratulations) How did you approach the cinematography for that series, and what challenges or unique experiences stood out? Benedict: “I was lucky enough to inherit a wonderfully shot 1st series, which served as a good foundation for a 2nd! I tried very hard to inject my own look and style into the second series, which involved a kind of role-play… I tried very hard to do things simply, in a minimalist way, imagining that I was shooting an indie movie rather than a Netflix TV show. The 2nd series had a different plot line and a different setting so it was about embracing that and allowing that to guide the look and style.” Still from ‘The End of the F**king World: Season 2’, Cinematographer – Benedict Spence Still from ‘The End of the F**king World: Season 2’, Cinematographer – Benedict Spence Fabrik: You’ve been able to dip into both drama and commercial work throughout your career. Is there a specific project or genre that you haven’t yet explored but would love to work on in the future? Benedict: “Oh I’d love to do a science fiction show… I love science fiction, and I’ve never had the opportunity to shoot it. I’ll have one of those please thanks very much.” Fabrik: Many cinematographers have gear they swear by, do you have a particular camera or set-up that you gravitate towards? Benedict: “I shoot almost exclusively on ARRI cameras. Either the Mini LF or the Alexa 35. I love how they see the world and I feel my brain and eyes are attuned to their system, which makes lighting easier. They have highlight retention far better than any other camera on the market and yeah they just work. Lens wise I own a set of Zeiss Supreme primes, which are a workhorse spherical lens set which work for the majority of jobs. Occasionally I’ll need something more specialist or vintage, depending on the project.”   Fabrik: Your recent project, Eric on Netflix, has been highly anticipated. Can you share a bit about the visual approach you took for the show? Benedict: “Getting the Eric script was a dream come true. As a Londoner by birth, my only other favourite place is NYC. The story of Eric covers all parts of NYC of the 80s: family apartments, TV Puppet shows, police stations, seedy clubs, millionaires apartments, and even shanty towns built within the subway. The colour and texture of that world offered me the opportunity apply an amazingly varied pallete to a show that goes from great darkness to emotional highs. Throughout Eric I tried to light with character and story in mind. In the Lux Club; a place for 80’s revellers, but with a darker underside, I went with a red/blue combination to show the duality of that world. Or for Robert Anderson’s apartment, a cold hearted millionaire property developer, I selected compact fluorescent bulbs for his practicals, cool with a green spike, even in daylight lit rooms. They were period appropriate, character appropriate, and helped motivate a cold, unfriendly atmosphere in day interiors. From the start of the shoot I knew I didn’t want to mimic an 80s style of lighting. I wanted to shoot in a modern way, using modern camera and lighting techniques. However, I knew that Eric needed the feeling of something from the past. I worked closely with colourist Toby Tomkins to bring a texture to the look of the show, not just grain but halation, specs and a host of other little touches to realise the grit of New York City.” Still from ‘Eric’, Cinematographer – Benedict Spence Still from ‘Eric’, Cinematographer – Benedict Spence Fabrik: You’ve been invited to join the British Society of Cinematographers, a huge milestone, how has being a part of that community influenced your work or career, if at all? Benedict: “I was gently shocked that they let me in! I guess I’ve only been with them for just over a year, and I am still surprised about it. BSC cinematographers I guess have influenced me all my life through their work… I’m always shocked when I IMDB some of the older members and see that they shot some of the film I loved in my youth. I’m not sure if being a BSC member directly affects your career; I think your work still has to sell you. But it does feel very nice to be welcomed by a group of people who dedicate themselves to the craft, and see the same in you.” Fabrik: Cinematography can be a physically and mentally demanding job. How do you balance your work life with personal time, especially living so close to where you grew up with your family? Benedict: “Being a cinematographer is indeed a demanding job. From the micro of being on set for long hours, making fast decisions, leading a team, juggling the creative and technical at the same time, and dealing with the politics. To the macro; being freelance, being away for 9 months at a time on the bigger jobs, and trying your best to do good work in a crowded field! But that’s also which makes it such an exciting job, and what draws people to it as a career. It’s incredibly demanding but also incredibly rewarding. How do I balance it? Also hard, and it takes kindness and understanding from ones family and friends. And then it takes energy when you’re back from a job, and all you want to do is sit on the sofa and stare at the wall because you’re so exhausted. So yeah real talk; it’s fucking hard! But the true joy of creating an image, and the joy of telling a story keep you going and make it all worth while. And you get paid obvs. BTS: In-frame – Benedict Spence Fabrik: What made you choose Fabrik? Benedict: “Before Fabrik I used to manage and design my own website myself, it was a nightmare and very complex each time I wanted to updated it. When I found Fabrik I was thrilled. They had a great selection of themes, including some lovely simple minimalist options. The ability to create variations of those themes meant that I could still have a unique website, without any of the hassle. Fabrik: Thanks so much for chatting with us Benedict, we’ll keep a close eye on whatever’s coming next! One last one, what’s your favourite feature of Fabrik? Benedict: “The customer support. Honestly, they are great. Clear good advice, and they will do any little tweak I request incredibly quickly and efficiently.” Benedict uses Airdura, an immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles. With over twenty layouts to play with projects are perfectly presented and each portfolio is truly individual. #### Benjamin Whatley Benjamin Whatley is a US based Director of Photography shooting features, short films, commercials, and music videos worldwide. We got in touch to find out more about his work:Saks Off 5THFabrik: We’re so pleased to have you as our Fabrik Hero and to catch up with you. To begin, we’d love for you to share a bit more about yourself in your own words? How did you first break into the filmmaking industry?Benjamin Whatley: “I came up shooting Vérité documentaries that were more stylized in approach utilizing more narrative devices, bringing a visual language to these films. This led to working on branded content, which turned into shooting proper commercials and fashion spots. It’s very much a hustle when starting out; trying to find like-minded creatives to make films with. I’m always asking myself, who can I work with that is passionate about the same themes and ideas? always looking for this. Whose vision can I support because I relate to the ideas? I’m convinced that starting out in Vérité is best for a DOP. You are really forced to build up your eye and gut learning very quickly: lighting, lensing, composition, scene coverage, and most importantly empathy. There’s no second take in scene-based documentary work so it really has taught me how to make a decision quickly and feel good about it. Learning this from the real world and real experiences; it’s quite humbling.FluidFabrik: As a Director of Photography, tell us a little bit about the process of shooting a scene. How is the whole sequence orchestrated? What are the most difficult scenes to shoot?Benjamin Whatley: “Challenging questions because every project is truly different, demanding a different approach, but generally it all goes back to discussions with the director and really understanding their needs and wants. Based on that I make a game plan that works best within our limitations; whether that’s time, gear, etc. These initial conversations are everything because they allow me to be on the same page as the director when we are filming. Ultimately, though the first thing on my mind is direction of light, where does it need to come from and what can we use to motivate it or does that matter in a particular situation. The most difficult scene to shoot is always a scene where you’re fighting the location for a number of reasons. Usually, the idea itself is too ambitious for the space and you’re up against budget restraints. Having good locations is everything.”Grace Ives – “Lullaby” Official Music VideoFabrik: How closely do you work alongside the director? Do you have input? Or do you work to execute the director’s vision?Benjamin Whatley: “Every collaboration with a director is different and every project demands something different from my role. I’m always having to figure out new ways of playing my role that’s appropriate and best. But I’ve been quite fortunate to work with very collaborative Directors who really value my sensibilities and experience. Ultimately, I’m there to support the director’s vision and bring it to life, the best projects are the ones where we are both excited about the material and the ideas.”Vogue x Julia GarnerFabrik: Would you like to tell us more about your source of inspiration?Benjamin Whatley: “I know it’s a bit of a cliche, but I tend to pull inspiration from everywhere: Music, photography, books, art installations and sometimes just the randomness of things I see in the world. Randomness, like the dim lighting while out at dinner or a patch of light being reflected off a building in NYC – Looking for moments. It’s really just about being able to have an eye within these real experiences and “real life” work its way into your craft. More recently, I’ve been trying to source more just from memory, emotion, and experiences rather than images. I’m always trying to think; What have I not thought about before? How can I try to create that or express how emotional that lighting felt in a moment?”Fabrik: Your portfolio features an impressive body of work. You have worked on projects for brands such as, Saks, Vogue, Gucci, Nike and more. Do you have any milestone projects in your career so far?Benjamin Whatley: “Interesting question, but it all really starts to blend for me. It’s all a moving target, I’m wrapping a shoot and already thinking about the next thing. I’m truly happiest on set making something if I can keep doing that it’s really all that matters.”Hyundai GenesisFabrik: What’s the one piece of kit you cannot do a shoot without and why?Benjamin Whatley: “This is a tough one because I feel like I’m always compromising gear on projects. I would say a camera, lens, and tripod – What else does one need?”“It’s really just about being able to have an eye within these real experiences and “real life” work its way into your craft.”Fabrik: Do you have any advice for any newcomers to cinematography?Benjamin Whatley: “Learn to trust your eye and always keep developing it. It’s the one tool you have that’s uniquely yours. Learn to enjoy the ride, becoming a cinematographer isn’t something to be mastered; it’s more like something that grows and changes with you throughout life, that’s its beauty in the practice. Being a good cinematographer is less about making beautiful images and more about your relationships and working well with others on set, it’s really the experience you walk away with rather than the final image, who cares if something looks great if the experience was a nightmare. The best projects are the ones where you are happy with the final result, and you have good memories from making it.”PhotoFabrik: Can you give us insight on any projects that you’re currently working on?Benjamin Whatley: “Currently, I have a doc feature about to have its world premiere at SXSW this year. I’m very excited to watch it with an audience finally after spending 3 years making this on and off! Most recently just started shooting a new feature. Other than that, I am always doing commercials and music videos.”Bese – An Escaramuza StoryFabrik: Final question. What do you like most about Fabrik? What’s your favourite feature?Benjamin Whatley: “I love how clean and minimalistic the layouts are perfect for displaying work in various formats and aspect ratios. The operating system itself is very intuitive and very digestible.”Benjamin uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. View Benjamin's Photography Portfolio #### Bruno Militelli View Bruno’s Portfolio Bruno Militelli is a Fine Art Photographer based in São Paulo, Brazil, and is a contemporary visual artist who uses macro photography to present a unique portfolio focused on the processes, elements and experiments that permeate his creations. Between abstraction and figuration, Bruno Militelli captures nature in its finest details. With the macro photography as a stepping stone, the artist overcomes the limits of vision and enters the minutiae of each of the photographed objects. Precision and focus are guides to the process, the poetics of the work develops, with near laboratory techniques, from the uncovering of the particularities of nature that fail to be seen or even go easily unnoticed. Compositions made from the manipulation of objects, lights and colour enable sensible gaze and incite curiosity, Bruno portrays nature as abstract manifestation, transcending the materiality of the elements which it is composed of. We got in touch with Bruno to find out more about his work. Read what he had to say: Hydrophobic Fabrik: We’re so pleased to have you as a Fabrik Hero! To begin, we’d love for you to share a bit more about yourself in your own words? Bruno Militelli: “I’m Bruno Militelli, Brazilian and specialized in the field of macro photography. I started photographing in 2012 and since then I have been fascinated by creating abstract images. Curiosity has always been an important guide in my creative process, the craving to explore different processes, natural elements and scientific experiments is certainly my leading inspiration. It was through the macro photography that I was able to transform this inner desire into a form of artistic expression.” Fabrik: How did you start in photography? Was it always macro or did you shoot other styles of photography? Bruno Militelli: “Before I started on macro photography about for years ago, as many other photographers I know, I ended up exploring many different genres, there was a time that I really enjoyed doing night photography with long exposures, landscape photography has always fascinated me too, but as soon I got my hands on my first dedicated macro lens, I realized that there were so many opportunities to create incredible abstract images just through the observations of the small details from nature.” Water and Oil Fabrik: You focus on capturing nature in its smallest details, what do you love most about shooting in macro? Bruno Militelli: “My passion for macro photography has grown naturally out of the will to see nature up close, especially the incredible patterns and textures that are difficult to see with the naked eye, from many natural elements, like the veins from a dry leaf, feathers, crystals I bought on a store or maybe a shell I found on the beach. Over time I came to see my macro lens as a modern instrument capable of transporting me to a new and unexplored world.” Fabrik: What gets you inspired before shooting a project? Bruno Militelli: “Everything happens very naturally, there is always some initial stimulus that makes me think of an idea to be explored in macro photography, usually still very raw and that will need a lot of time and experimentation. From there I start researching the process and the elements that I will need, and how I will get and treat these elements to create the images that are in my head. Anything can serve as inspiration, from some object I find in nature, something I see on my Instagram feed or even the work of other artists, I’m always in observer mode. “ “…It was through macro photography that I was able to transform this inner desire into a form of artistic expression.” Agate Fabrik: Your work portrays nature as an abstract manifestation, transcending the materiality of the elements that compose it. What draws you to these themes, and in particular, abstraction and figuration? Bruno Militelli: “One of the challenges of macro photography is how it can be more than what it just depicts, how it can bring in other levels of understanding and suggestions of meaning. The classic macro photography style normally becomes too literal. So, by using a different and more creative composition, as I moved close and isolated the element in the frame, I’m able to transform the geometric shape and pattern of the object into my vision, my own viewpoint, taking the observer’s common sense of scale. By removing the context of the subject, my images become very abstract, putting the viewer in a position to speculate what it is they are seeing. The abstract forms in the natural world always fascinated me!” Fabrik: What are your favourite tools for the shooting process and the post-processing of your images? Bruno Militelli: “As the vast majority of my work is carried out in the studio, where I can control all the variables, my creative process depends a lot on the equipment, lighting, tools and other utensils that I have at my disposal to create my art, it took several years to assemble my work setup in the studio and nowadays when I have an idea I can execute it more easily. It’s funny that when someone from the outside discovers the amount of rattletrap and small utensils I keep, which apparently has no function, they end up thinking I’m a little crazy, like a frustrated science teacher, but everything at some point can serve to create something unique.” Bismuth Fabrik: What would be on your dream kit list? Bruno Militelli: “In fact, I am very satisfied with the equipment I currently use, if I were to make any upgrade, I would like a camera with more resolution within the ASPC Fujifilm system. For my macro approach the main equipment is the fixed macro lens, the XF 80mm f/2.8 from Fujifilm that I use in together with the X-T3 camera. Certainly, having a dedicated lens for macro photography is important to ensure a closer approximation of the object and image clarity. I’ve to say that this setup is perfect for macro shooting, the image quality really stands out. But the most important equipment is my Aputure LED panels, model AL-MX and AL-MC RGB! The quality of light is certainly the big difference in any type of photography, and in macro this is no different, these panels for being small, powerful and very practical, it has always been my inseparable companion for the creative process within macro photography, because it gives me a lot more control and possibilities to choose the ideal lighting type for each image. I actually have two of each of these panels at my disposal on my studio.” “…By removing the context of the subject, my images become very abstract, putting the viewer in a position to speculate what it is they are seeing. The abstract forms in the natural world always fascinated me!” Fabrik: Is there a particular photo or project of yours that stands out as your favourite? If so, what’s the story behind it? Bruno Militelli: “Yes, I have a particular photo that is called “Botanic Loop” and is part of my “Maracujá” collection, it was this photo that stood out in some international awards and brought a lot of recognition to my work. I believe that the great differential of this image was the perspective and editing I used to portray such a simple element of nature, bringing a totally unusual viewpoint on the morphology of the passion fruit tree. These intriguing structures of climbing plants, known as tendrils, are important parts that are used to fix in other branches and leaves, rolling these extensions and serving as support. I composed this photo and showed this subject in an abstract way to create imaginative experiences, inviting the viewer to get lost in the personal interpretation of these helical formations. The whole collection was edited in black and white because it only intends to explore the shape and texture of these spiral-shaped filiform structures which, at first glance, may appear to be man-made. I think this image can easily be mistaken for a spiral cable, a wire or even a pipe.” Botanic Loop Fabrik: What would you say are the five things you need to consider when taking a macro photo? Bruno Militelli: “Macro can be a very satisfying genre of photography. It can open a new world of almost countless creative possibilities, but for me the biggest difficulty in macro photography is sharpness and clarity, many times it’s problem that can put off newcomers and the experienced photographers too. The first thing you should consider that can become a problem when focusing on a macro subject is the short depth of field. As you are too close to the subject, the depth of field starts to be very shallow. Knowing how to use the manual focus on your lens will bring much more precision, it is not an advantage to depend on the ability of your camera to focus on the automatic mode, the system just can’t cope with the high magnifications that macro images require. The second thing is the magnification, because you are shooting a highly magnified image nailing focus can be hard, especially if you are hand-holding the camera, and sometimes with a too slow shutter speed for the level of approximation. In this case a slight movement backwards or forwards from the subject will easily turn the image to be almost totally out of focus. The third is the ability to use the camera’s features to your advantage, macro is a very technical style, so it’s important to know in depth the different functions and tools that are available and that will help you a lot to achieve a good result. The fourth thing is the type of equipment you are using, there’s not much to do to get around it, this style requires specific equipment ranging from the use of a specific lens, a tripod, a remote shutter release and a good light source. The fifth and last one is certainly the composition, that is still what will differentiate a good photo from a spectacular photo. The objective of macro photography is not only to capture small objects and details, but also transform the ability to record images into a form of artistic creation, learning the many types and rules of composition it will help to think out of the box. It’s significant to be technically good with a camera, but without an understanding of the intricacies of composition your photos might not be so inspiring.” Panapaná Fabrik: Can you give us insight on any projects you’re currently working on? Bruno Militelli: “I have so many project ideas going on, I’m currently enjoying working with several scientific experiments, I started to explore the crystallization of chemicals, polarization of light and even magnetism for example. I’m also working on a collection whose main object is circuit boards from older electrical and electronic equipment, I’m looking for these boards with people I know because everyone has old equipment at home that is no longer useful, so I take this opportunity to find out what’s underneath these carcasses and how I can use them to create futuristic images through my macro perspective. The cool thing that now with the possibility to exhibit this to the NFT world, and with the recognition of my work among collectors, I started to take these crazy ideas off paper to be able to present a peerless work to my new public on the web3. My objective is to show something totally unique in my presence in the NFT photography space, with a more graphic, modern, and conceptual identity within macro photography that I believe will resonate more with collectors. Space Invaders Fabrik: Why did you decide on a portfolio site for your work? And what other platforms or tools do you use to promote your work and expand your audience? Bruno Militelli: “Simply because my artwork is based on photographic series, I like to present the collections separately as individual projects, showing my work on a portfolio site was a big turning point on my career, putting together all my series as a portfolio gave much more credibility to my work, it helped my art to stand out and it kind of created a unique identity to me as a specialized abstract macro photographer too. Nowadays, in addition to my website, I also use Instagram and Twitter to promote my work and find my audience and collectors. I use these two platforms for very different purposes, Instagram I directed to promote my work to my audience in Brazil, where I sell my work as Fine Art prints for the domestic market, and Twitter to further my work in a more international way and mainly to show my work to NFT collectors, who are mostly active on Twitter.” “…Over time I came to see my macro lens as a modern instrument capable of transporting me to a new and unexplored world.” Crystalscapes Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Bruno Militelli: “I did a lot of research before choosing Fabrik, in fact I had already created a portfolio on another platform previously, but when I discovered and tested it for a few days I decided to change and started creating my new portfolio at Fabrik. I really like how easy and fast it is to include new collections on the platform, in a few minutes I can create a new project and put it online with the certainty that it will look gorgeous. I’m also a fan of the layouts available for the galleries, there are many customization options, and I must admit that visually these galleries are beautiful and extremely flashy. To this day, there is nothing I wanted to do in my portfolio site that Fabrik’s platform tools could not meet my needs.” Bruno uses Canvas, a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. View Bruno’s Portfolio #### Charlie Crane Charlie studied here, there and everywhere. Not at colleges but in random jobs and apprenticeships. Printing architects plans, filling trays with peat at a nursery. He worked for a bricklayer for a year who called him his apprentice labourer, because he was so bad at it, perhaps because he mixed cement in the shape of a flower just to wind him up. A barman, waiter, location scout and photographer’s assistant, Charlie was always listening; learning from others and discovering for himself. Charlie Crane Charlie Crane His professional career started off in photography, where his work has been exhibited at galleries on four continents, is held in museum collections and has won numerous awards throughout Europe and the United States. If you ask him, he’ll say his best work to date is his collection of stunning large-format photos collected under the title Welcome to Pyongyang, published by Chris Boot, which understandably received worldwide acclaim. Charlie Crane - Welcome to Pyongyang Charlie Crane - Welcome to Pyongyang Charlie Crane - Welcome to Pyongyang Charlie Crane - Welcome to Pyongyang Eventually he became frustrated with what he could achieve with a still image alone and made the leap to filmmaking. “Moving into directing felt like a fresh new chapter, one that I relish each day and enjoy more with every project.” “Everything I’d previously learned in photography started to make sense – like it had a purpose and was leading towards this. Moving into directing felt like a fresh new chapter, one that I relish each day and enjoy more with every project I take on.” Charlie Crane - Welcome to Pyongyang As a director he’s repped worldwide by Kucklehead, and has been well-awarded by the industry. Commercial work aside he’s also pretty chuffed at having his first short; Talgar the Hunter, accepted into over twenty festivals worldwide. Charlie Crane - Welcome to Pyongyang Charlie Crane - Welcome to Pyongyang Charlie enjoys talking about his process, and of course, we love to listen:“My approach is to first understand the heart of the idea and find clarity within that. When you know what you want to say, the rest starts to fall into place pretty quickly. The development and craft then have a place to evolve from and the process of collaboration can begin.”“I love making stories, but everything for me starts with an image, that’s what I connect to first and foremost. Whether its the beginning of a five year journey to have a book published, or a single day filming a commercial. The story and emotion always evolve from that first image in my mind.” “I love making stories, but everything for me starts with an image, that’s what I connect to first and foremost.” And you only need to take a look at his breathtaking spots for Ikea and American Red Cross to see how both story and emotion can be so perfectly entwined that the piece itself transcends the brand it was shot for and becomes a relevant piece of film in it’s own right. He continues:“What I strive to provide is a quality of work and craftsmanship that’s both current and long lasting. Making work is great, but making excellent work with purpose is far greater. Whilst a reasonable amount of my work is inherently transient I hope to leave a little in my wake that has meaning and influence.” Charlie Crane - Welcome to Pyongyang For his portfolio Charlie chose our Jute theme. Categorising his portfolio as Film, Photography and a looser Snapshot archive, Charlie’s body of work makes great viewing. Throughout his photography portfolio, with such a dense amount of material on show, Jute’s minimal, classic interface keeps out of the way of his visual content, conceding to the large format imagery with lightbox and block thumb layouts that allow it to breathe.For his film portfolio Charlie has chosen to singularly present each finished article with a simple laout that focusses the video to the top of the page.In closing we’ll let Charlie sum it all up:“As the production and consumption of both film and photography has reached an almost unimaginable speed, I believe that you need to do more than just produce work. You need to have something to say. An integral point of view that’s individual. One that people can connect to. Making thoughtful work that’s crafted and cared for with as little compromise as possible is what I do.” View Charlie's Director Portfolio #### Christopher Hewitt Double Cannes award-winner, Clio award winner and all-round celebrated talent Chris Hewitt is a self-taught film director with a background in photography, graphic design and animation. His films for Audi, Dunlop, Infinit and Intel lend gravity and composure to the brands and his dark, cinematic and provocative style builds a sense of energy and motion in his work, sweeping the viewer along into his slipstream. Christopher Hewitt Christopher Hewitt Chris’ work is often showcased and you’ll find him featured amongst the pages of Creative Review, Vice, Entertainment Weekly, VOTD, 1.4, and Pitchfork. Christopher Hewitt Christopher Hewitt Chris is using our Airdura theme, stripped down to its most minimal elements. Using the homepage as a full and complete listing of his recent work, he’s showing us only what he’s working on right now and the best of what he’s produced in the last couple of years. Christopher Hewitt Christopher Hewitt Christopher Hewitt By using Airdura’s project layouts he’s chosen a mix of Stacked and Slideshow options to tell a story through each project, or to mix disparate shots into a more cohesive theme.Following the longer-form project pages Chris uses his journal to further document his process visually and fill in the gaps behind the shoots.Most recently Chris is becoming more involved in his photography and is in the process of putting together a couple of collections of his work. Alongside his commercials and music video work he’s currently shooting his short film Tomorrow Today. View Chris's Director Portfolio #### Daniel Brereton View Daniel’s filmmaker portfolio “Growing up on the edge of the Lake District, I have always been drawn to both city and country, human nature and loneliness. I moved to London to study at art college and then proceeded to work predominantly as a music video director, before gradually moving towards telling stories through drama and documentary. I have now moved back to the North West of the country, where my work has taken on this blend of city and country, human stories and isolation.” We spoke to Daniel about his work, what inspires him and his next steps: “I am infinitely curious in people and human nature, and am drawn to all sorts of characters, people with weird hobbies, ordinary people, what it is to be normal, and then the characters that stand out in certain ways, like musicians. I think I am drawn to musicians as its something I do not have a grasp of, how they make music. I think it is the way they come from a different direction than me that is fascinating, and ultimately pulls me in that different direction.” Forever Dolphin Love – Connan Mockasin directed by Daniel Brereton Forever Dolphin Love – Connan Mockasin directed by Daniel Brereton Fabrik: You state that your work ‘has taken on this blend of city and country’. Is something that you look for in a treatment, or think about when you’re creating your own films, or is that something you like to suggest to the crew you’re working with? Daniel Brereton: “I think its something that has come naturally from spending 15 years in London and then moving away from the city to somewhere more quiet, and near the place where I am from. I am very proud of the place I grew up, and so am happy to show it off to people through my work. Having this sense of place is very inspiring from me and helps me create new ideas.” Fabrik: What do you look for in a script or treatment? And do you prefer to work to take on most of the roles yourself, or work with certain DoP’s, editors etc. that have a specific vision? Daniel Brereton: “I am often looking for something to grab onto, be that music, an idea, a sentence. And from there i can start to develop an idea. I like working with people who have their own ideas, I like collaborating. That’s why I work with musicians, as they have wonderful ideas that often can’t be realised due to budget/travel/logistics, but sometimes they can be made, and I’ve been fortunate to work with great people. Its the same for crew, I try and get people who are creative and come with their own ideas, its always hard to get every single person into it. I’m also conscious of trying to get more female representation in the crew, and different ethnicities, its something that is often hard to do, which says a lot.” “I am often looking for something to grab onto, be that music, an idea, a sentence. And from there I can start to develop an idea.” Tourist – We Stayed Up All Night directed by Daniel Brereton Fabrik: You have worked extensively in music videos having experimented with various techniques. Are you always on the lookout for innovative approaches and is the industry open to such forays? Daniel Brereton: “Yes because as a creative person I am always looking for whats around the corner, how I can do something better or different to what I’ve done before. I think my various approaches have become less diverse recently, as I have become focused on a certain aesthetic, and the experimentation comes within the best way to achieve that aesthetic.” Fabrik: Any interesting or fun anecdotes from your time on location, or from the reception of your work? Daniel Brereton: “Way too many, the sad ones stick with me most. Like having videos canned, and having diva artists that treat you like shit, obviously I can’t say who!” Fabrik: Any advice you’d like to impart on your craft to directors going into the field? Daniel Brereton: “Yes lots, but I think that my advice is different for each individual. I came across someone recently who thought that you had to go through ‘the chain’ to work your way up to what you want to be. I told them that’s bullshit and that they should just start making the work they want to make, just go for it.” “I came across someone recently who thought that you had to go through ‘the chain’ to work your way up to what you want to be. I told them that’s bullshit.” Vaccines – I Can’t Quit directed by Daniel Brereton Papooz – Trampoline edited and directed by Daniel Brereton Fabrik: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career? Daniel Brereton: “My short film, which I’m excited about, shot in the north west of England, and very much grounded in that area. It was a really tough film to make, but I’m proud of how it’s turned out.” Jay – directed by Daniel Brereton Daniel is using Tocuyo, a theme for creatives that want to introduce themselves as well as their work. With optional Cover layouts Tocuyo becomes truly immersive with a full-screen hero, thumb grids and an inline About content. Suited to medium-sized portfolios.  View Daniel’s filmmaker portfolio #### Dave Gibbons Dave Gibbons is a consummate artist. One of those annoying types who can draw anything without really thinking about it. After studying Fine Art in London he took up the ‘Invisible Art’ of Matte Painting when the technique involved painting on sheets of glass. Dave Gibbons Dave Gibbons Nowadays he creates digital matte paintings and concepts for film, tv and print working alongside leading directors and post production facilities internationally.Dave brings his keen observational eye to his work to create DMP’s either from scratch or that seamlessly extend live action plates into the realm of the extraordinary. His portfolio displays his artistic versatility from highly detailed photo-real, through to stylised work of any subject matter you can throw at him. Dave Gibbons Dave Gibbons Dave is freelance and has worked for numerous illustrious names including Electric Theatre Collective, The Mill, MPC, Screen Scene, Burberry, on campaigns and feature films across the board. He has recently worked on projects nominated for or awarded in the BAFTA TV Craft Awards, the VES Awards, the British Arrows Awards and Craft Awards.In his ‘spare’ time Dave teaches his toddler how to use a wacom pen and continues to practice and exhibit in the fine art world. Dave Gibbons Dave Gibbons Dave Gibbons Currently on location in New Zealand, ‘Day Ahead Dave’ is busy keeping his clients up at night. For his portfolio he’s using our Loden theme, with a dark colour scheme, which allows his high definition, hyper-detailed artistry to really ping with full-screen images and simple grid and slideshow layouts. Less words, more lush imagery. View Dave's VFX Portfolio #### Diana Neto View Diana’s Portfolio Diana Neto is a Photographer and Art Director based in Lisbon. She graduated from Lisbon Theater & Film School and since then has been working in several creative fields, from Photography, Art Direction, Advertisement and Fashion. The connection between humans and Nature is the essence of her work and is evident throughout her portfolio; the perfect marriage of environment, light and fashion. We got in touch with Diana to gain further insight about her portfolio. Here’s what she had to say: Diana Neto Fabrik: Hi Diana, we’re over the moon to have you as a Fabrik Hero! To begin, we’d love for you to share a bit more about yourself in your own words? Diana Neto: “My name is Diana but most my friends call me Di. I’m 25 years old and I’m currently based in Lisbon, in beautiful Portugal. I love my country and I’ve lived here most my life, even though I’ve also travelled quite a bit. I enjoy the simple things in life, like going for a walk in nature, listening to music, dancing and of course, taking pictures. The first camera I ever owned was my dad’s. He loved photography and I guess he passed that on to me.” Fabrik: You mention you have a particular interest in the connection between nature and humans. How do you encapsulate the essence of this within your work? Diana Neto: “Nature is where I heal. Whenever I’m feeling sad, unmotivated or anxious, a walk in the forest or a dip in the ocean brings my soul back to a good place. I believe most humans feel this way, and that’s because Nature is so pure and powerful. In my work as a photographer, I try to incorporate different elements, the sea, the sun, flowers, rocks, anything really. If I go on a nature walk and find a beautiful flower, I pick it up and use it on some portraits later. During a shooting, if I spot an interesting rock or branch, I incorporate the entire frame around it. The sense of stillness and connection to nature just come naturally to me because it’s part of who I am.” My Bed is Mother Earth – Parq Magazine Fabrik: During your career, you’ve worked within several creative fields, from Photography, Art Direction, Advertisement and Fashion. How do you feel each of these fields have shaped and defined the creator that you are today? Diana Neto: “I’ve been working as a fashion model before I started my career as a photographer. This helped me to become the artist that I am today, because I’ve been watching others work for so many years and picked up a lot of tips. After I finished college, I was working in Art Direction for commercials and this experience made me more aware of every element within the frame, color palettes, etc. As a creator I’m always interested in trying new ways of self-expression because that allows me to grow and incorporate more elements into my work. I like to keep an open mind and not restrict myself.” City Boy – Parq Magazine “As a creator I’m always interested in trying new ways of self-expression because that allows me to grow and incorporate more elements into my work. I like to keep an open mind and not restrict myself” Fabrik: Is there a particular milestone within your career as a photographer that you feel most proud of? Diana Neto: “Last year I got the chance to shoot an editorial for a really cool Portuguese Art Magazine, called Umbigo. We had a lot of models, the location was breathtaking and the whole team was lovely. In general, I’m proud of every project I make, even the ones I don’t particularly love, because they all represent me and my journey as a photographer.” Umbigo Magazine Fabrik: Would you like to offer a little bit more insight on the creative process and what gets you inspired before shooting a project? Diana Neto: “Inspiration comes unexpectedly, it’s a combination of every visual reference I have in my head. Sometimes I have a particular vision in my mind – the set, the model, the pose – and I try to bring the vision to life. Sometimes I just go to a shooting completely mind free and see what happens. It really depends. It’s important to listen to your gut and not try to copy others.” Fabrik: What are your plans for the future? Can you give us insight on any projects that you’re currently working on? Diana Neto: “I have a lot of projects that I’m looking forward to, but unfortunately, due to the current pandemic and the chaotic state of the world, they have to be postponed. So I’m currently trying to unlock new doors and try new things with my pictures, so I can be better prepared when these opportunities arrive. Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Diana Neto: “Your platform is so easy to work with. I personally enjoy the clean design and being able to manage my content quite quickly. Also the fact that you take interest in the creatives that use Fabrik to showcase their work is very welcoming, creates a sense of community and support.” Diana uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. View Diana’s Portfolio #### Edit Ballai View Edit’s Portfolio Edit Ballai is Concept Artist currently based in Florida, USA. Since her early childhood she loved to create imaginary worlds and spent most of her time writing novels and illustrating them. She is a visual storyteller, both fictive or based on truth and has been working for video game and animation studios worldwide. We got in touch with Edit to discuss her passion for creating fantastical landscapes and her ongoing project Rebirth. Read what she had to say: 2318: Rebirth, Part 1 Fabrik: Hi Edit! We’re so pleased to have you as our Fabrik Hero and to catch up with you. To begin, we’d love for you to share a bit more about yourself in your own words? Edit Ballai: “Hi there, thanks for having me! I am a concept artist, originally from Hungary, have been living in the Netherlands, and currently living in the United States. Art was always important part of my life, and it was absolutely supported from my family: my mother is an impressionist painter, and my father was a journalist in that time, so storytelling with either images or words was always natural for me. I wrote my first book when I was 10 years old, but later when I got my first computer at 12, I started to paint digitally, too. My two hobbies ran parallel for long time, but eventually the visual form of storytelling took over. I studied art in high school where I’ve learned to draw, sculpt and paint traditionally, along with digital art classes where I was introduced to Photoshop (which I already knew). I did have other education in digital art and a few online courses too, but mostly I am a self-made artist, who was lucky enough to meet the right people at the right time.” Inner Peace Fabrik: Ever since your childhood you’ve always had a passion for creating imaginary worlds. Could you tell us more about your source of inspiration? Edit Ballai: “As a kid, I always entertained myself with creating stories in my head. Probably had too much free time alone! Nowadays, the process is way more automated, and usually comes with an idea about “what if”. What if I had a female character who just woke up from dream-like state after 50 years? The main elements are usually derived from current life events but translated into metaphors, then I can start thinking of the details and the whole storyline. Because without story, I can’t work. Another source of inspiration, and way of setting the mood is listening to music. Most of the time I listen to movie’s original soundtracks for work, to reach the mood I want, because the soundtracks’ dynamics and energy get transformed into images in my mind and it works like an unlimited visual library. Today’s movie composers are the modern Beethovens and Mozarts and their music is incredible source of inspiration.” Valhalla: Photoshop Sketch Valhalla: Final Fabrik: Your concept art portfolio includes beautiful fantastical landscapes and sci-fi interiors. What’s your creative process for approaching designs? Do you sketch out scenes first? Edit Ballai: “The very first step is to find out the backstory. It gives so much life to the final piece. When you look at it, you feel like you’re in the middle of something and I’m so attracted to the storytelling part that I can’t skip this step. Once I have the concept in my head about what I want to tell, I create impressions within my mind about possible frame ideas. I spend usually a day or two just to gather some references; photos, mood and different lighting examples. I prefer to sketch a few thumbnails first, but sometimes I start in Maya right away, to build up the scene from primitive shapes just to get closer to the image in my mind. I like to start designing in 3D, because I can easily change the lighting, the angle, the placements of the elements, and since playing with composition is a big part in my creative process, I try to move to Maya as soon as possible. Once I’m happy with the overall composition, I can start modelling, and adding details until I can render the final version. The post-work always happens in Photoshop though.” Minneapolis Fabrik: You’ve worked alongside video game and animation studios worldwide. What are you most proud of within your career so far? Edit Ballai: “I do have my favorite projects that I’ve worked on. I was lucky enough to have a chance to work on exciting projects with some really talented guys in several studios in the Netherlands, Germany and in the US too. But my personal pieces are the ones that are really close to my heart. Interestingly, the favorite ones are those that tell a complete story through many images, which required several months of work on them – not to mention the preparation phase when I was just doodling storyboard frames, probably hundreds. One of them is a quite recent one, that I named ‘30 Years Later’ and it was a passion project, I made it from love. The whole project took almost 5 months to complete. It tells the story about the characters of the Last Of Us, what happened to them 30 years later, with complete storyline and environment shots too. It probably falls into the category of ‘fan art’, but in an interesting way. And the current one, that I’m working on is my absolute lovechild. It will probably take much more time than 5 months, especially since I’m already thinking on a sequel.” “…My personal pieces are the ones that are really close to my heart. Interestingly, the favorite ones are those that tell a complete story through many images.” 30 Years Later Fabrik: There has been a significant rise in women within the gaming industry but with it, a lot of controversy. Do you feel there is a gender gap within your industry? Edit Ballai: “The industry is still heavily male-dominated. I think female representation is still a problem: only 24% of those working in the industry are women, and for those already working in the industry, their gender may work against them, and they experience either bullying or harassment. Because we only can tell stories that we already know, a mostly male dominant developer team will most likely create games with male lead characters: it’s a fact that female character representation in video games is also lacking. Even if a game has female characters, they are often portrayed as a love interest, innocent or need to be rescued (by a male character). And why is that? According to sources, because “female protagonists wouldn’t sell. It has to be a male character, simple as that”. I can see some hope though. In the past few years, rising number of games launched, featuring female protagonists. I hope it’s going to be the beginning of a new trend. Aloy from Horizon Zero Dawn, or Ellie from The Last of Us Part II, or Kait Diaz from Gears 5. It does show some improvements regarding to the matter. Unfortunately, the whole problem is a loop. The lack of women in development roles and as lead characters in the games also means the female gamers will find it difficult to see themselves reflected in the main character. Still long way to go to solve this, but involving more women in the gaming development is a good start: it will likely lead more women into leading roles in the games.” 2318: Rebirth, Part 3 Fabrik: Tell us about your experience of selling your work as NFT’s? Do you feel this is a viable way to sell digital art? Edit Ballai: “I had some experience with selling NFTs, although I’m not too active on this field. I should invest more time in order to make it work, I think. I mint some pieces on few sites rarely, but I definitely don’t dedicate as much time for it as other (and successful) NFT artists do.” Fabrik: You’re currently working on an ongoing experimental series called ‘Rebirth’. Could you tell us more about the back story for this project? Edit Ballai: “The real backstory of this project is this: I had the base of the story in my mind since years, but the real reason why I started working on it now is because I needed to escape from the reality to somewhere else. I lost someone earlier this year unexpectedly, and I really needed something to focus on, something that helps me to carry on. This was one of the last projects I could have discussed with him, and he really encouraged me to start doing it. I told him that I want to present the frames with written parts, and maybe publish it eventually as an art book and he was truly excited about it. He never stopped bragging about me to his friends. Having an artist partner in my life was the biggest gift that I’ve ever received. Seeing now that my little project gets some response from the community really makes me happy and makes me feel like he is still around.” 2318: Rebirth, Part 6 Fabrik: What do you envisage for your ‘Rebirth’ project going forward? Can you give us any insight into the next chapters you’re working on? Edit Ballai: “I envisage that eventually I will finish it. There is a lot to tell still. I’m working on the story and the environment shots at the same time, it’s very time-consuming but also very rewarding as I have to see and imagine the storyline in my mind through frames. The story plays in the year of 2318, and is told by our female lead character, who has spent the past 50 years in a dream-like state, but has been woken up by some people from outside of the Institute where she has been kept. Slowly, we learn the story, as we discover her environment through her eyes, that will include lot of shots about the city, the houses where other people live, hideouts, and generally about the whole island, that I named Utopia. I can tell that she is already planning her escape from the island, but it’s not going to be easy. In the next few chapters, she will meet some new people who are willing to help her (or she just thought so? We will find out.) Having a protagonist who’s been asleep for so long, and her memories and dreams are sometimes mixed in her mind, gives me the opportunity to show dream-like shots, with some twist in the end. By starting with in-medias-res opening, I can only show some scenes about the Institute and the real nature of the facility and the circumstances of her awakening in form of flashbacks, but I leave those scenes to the very end to not reveal the point too early.” 2318: Rebirth, Part 4 Fabrik: What advice would you give other creatives looking to embark on a career within your field? Edit Ballai: “Be yourself. Following actual trends, or trying to satisfy everyone’s taste will not work. However, adding your own personality into your work – and not only personality, but your thoughts, your feelings and everything that is you – will make a difference. It’s part of the journey to find your own voice.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Edit Ballai: “I love Fabrik because it’s obvious it was made for artists. The simplicity and flexibility is my favorite part, that each project’s layout can be totally different, nothing is fixed, and everything can be changed within minutes. Second, the folks behind Fabrik really care about their people, and follow them along the way. See this article and agree with me!” Edit uses Tocuyo, a theme for creatives that want to introduce themselves as well as their work. With optional Cover layouts Tocuyo becomes truly immersive with a full-screen hero, thumb grids and an inline About content. Suited to medium-sized portfolios. View Edit’s Portfolio #### Elliott Wilcox View Elliott’s photography portfolio London based photographer Elliott Wilcox studied MA Photographic Studies at the University of Westminster. He’s been the recipient of several awards including a Judges Award at the Nikon Discovery Awards and a New York Photo Award. He also won a prestigious Lucie Award for the Discovery of the Year at the International Photography Awards. Elliot Wilcox He has exhibited internationally and in the UK. His first major series ‘Courts’ was part of the show ‘PRUNE – Abstracting Reality’ at FOAM Gallery Amsterdam with guest curator Kathy Ryan, editor of the New York Times Magazine. He was also part of the BBC’s documentary series – School of Saatchi. His artwork beat thousands of emerging art talents to the top ten artists and only photographer involved in the show. Elliott has had three major solo shows at the Bau-Xi Photo Gallery Toronto and dnj Gallery Los Angeles for his series, Courts and Walls. Elliot Wilcox Elliot Wilcox Elliot Wilcox He continues to develop his photographic practice and push the boundaries of his medium. Recently Elliot has been shooting for brands such as Urban Outfitters, Nike, Adidas and Umbro. “As a whole I am interested in people, their interests and what they enjoy doing for fun as well as the environments this encapsulates. I think I get a kick out of this the most as I like to see people happy. Sport and youth culture is at the heart of my work in one way or another and I am fascinated by people who have an obsession from skateboarding to fashion to football. This makes me tick and drives my own obsession to take photographs.” Elliot Wilcox We spoke to Elliott about his work and what drives him: FAB: What got you into shooting fashion stories in the first place, and what keeps you there? EW: “My initial interest in fashion developed working as photographer’s assistant. If I am brutally honest, I wasn’t interested in fashion from the word go, having come from a fine art background. I grew to appreciate the flexibility and freedom of fashion through my love of sport and shooting skateboarders. This wasn’t fashion in a traditional sense but offered me a chance to shoot a culture I was interested in and this is how I keep myself interested, photographing stories I have a passion for. My football fashion stories are perfect examples of this.” “If I am brutally honest, I wasn’t interested in fashion from the word go, having come from a fine art background.” FAB: Can you talk us through how the Soccerbible/Northern Soul shoot came about? Was the brief there already or was it a collaborative effort and outcome? EW: “I have been collaborating with Soccerbible for over a year now and I love their output. They are always pushing the boundaries of football culture and this is great!” “I was told that the theme of the next Soccerbible issue was Northern Soul. I thought this was brilliant with all the tradition in football and music so asked if I could shoot a story based on the theme for the magazine. Pete (the editor) was kind enough to give me the opportunity if I could produce a story in three days. I bit his hand off! The story was a massive collaborative effort between myself and stylist Robbie Canale. I came up with the idea of shooting a retro fashion story using classic football shirts in a men’s working club and Robbie developed each look which really defined the shoot. The outcome was a great success and Soccerbible’s use of the story for it’s limited edition cover was a true testament to that.” Elliot Wilcox Elliot Wilcox FAB: What sort of jobs do you prefer to work on? You’ve developed a sharper, bolder and more vibrant aesthetic as your shoots have continued. Is that something that appeals to you? EW: “I love the freedom of shooting editorially when you are left to your own devices creatively. I think this is when the best work really evolves as there are no boundaries to adhere. I’m drawn to colour and I think this is reflected in all my work.” Elliot Wilcox FAB: Do you prefer studio or location shoots? EW: “I love shooting both but if I had a gun to my head, I’d say location. I guess there is something special about being on location and never knowing how the light will fall. I have also learnt there is a lot of magic in accidents.” “Whilst working as an assistant for a well-known teabag company, the photographer convinced the model to put a chicken on her head for the shoot. Whilst shooting, the chicken went about sh**ing on the poor woman’s head and instead of helping her, he just screamed “That’s fashuun baby!”; I knew right then this was a world for me.” “That’s fashuun baby! I knew right then this was a world for me.” Elliot Wilcox FAB: What do you look for in a job, and do you prefer to work with certain brands and agencies? Is that a shared vision thing or just simply you know you can work together? EW: “Brands that offer the maximum creative freedom are the best but they need to trust you. Urban Outfitters are great for this and we have built up a strong relationship pushing the work. If a brand puts trust in me, I will always give 100% back.” Elliot Wilcox FAB: What is your favourite kit to shoot on? EW: “My Toyo 5×4 field camera.” FAB: Are you moving towards high concept fashion stories or do you prefer a much more normcore story? And where do you see yourself working in the future? EW: “Slowly but surely, I am interested but in the words of Richard Dryfus in What about Bob? “Baby Steps!” Right now I’m working on my next major series of artwork on sports halls, and I’m currently co-writing and directing a short film about football fans – but if I can make a living out of being a photographer, I’ll be happy.” Elliot Wilcox Elliot Wilcox FAB: Any advice you’d like to impart on our craft to photographers going into the field? EW: “Break the rules, don’t go to school and holiday forever; a homeless man once sung that to me and it stuck.” Elliot Wilcox “Break the rules, don’t go to school and holiday forever; a homeless man once sung that to me and it stuck.” Elliott is using Calico for his site, using Calico’s spotlight layout which allows him to create a distinct style through his cover images; person-focussed a sense of vibrancy and energy. The result is pastel clean; calm and relaxed. His photo stories play out in stacked layouts, allowing a linear story structure for the primarily portrait format.  View Elliott’s photography portfolio #### Esther Lalanne View Esther’s Portfolio Esther Lalanne is a visual artist living in London. She takes on illustration works as a freelancer, and directs animated short films and commercials. Focusing on the representation of bodies and identities, her playful and whimsical world takes inspiration in everyday life and relationships. Her love for animation brings her to create highly lively characters and a strong sense of movement and narration. We took the time to get to know Esther and this is what she had to say: Popshot Quaterly Fabrik: Hi Esther, we’re so delighted to have you as a Fabrik Hero. We’d love for you to tell us about yourself in your own words? Esther Lalanne: ” HEY FABRIK! Thanks so much for the feature. I am Esther Lalanne and I am a French illustrator based in London. I work as an illustrator for magazines and brands, and as a character designer and director for the animation industry. My work is mainly focused on characters, relationships and inclusivity.” bits and boobs Fabrik: You mention that you focus on the representation of bodies and identities, where is this inspiration drawn from? Esther Lalanne: “I’ve always felt frustrated with our all-white-cis-male world, and drawing has been a useful and proactive way of expressing myself and others like me. I want to depict a world where women, people of every race and sexuality can take up more space, and are free to exist without expectations or limitations. I believe that images have the power to influence real life.” bits and boobs “I want to depict a world where women, people of every race and sexuality can take up more space, and are free to exist without expectations or limitations. I believe that images have the power to influence real life.” Fabrik: Do you feel that the way you draw women and their bodies has changed over the last couple of years? Has there been any negative or positive shifts in censorship, acceptance or even trends that you think have impacted your work? Esther Lalanne: “The body positivity movement definitely opened a gap for feminist work and woman artists to fill. This is now a ‘trend’ with brands for sure, so I would say it has been lucky for my work as well. In the last couple of years I have been making an effort to do more research about inclusivity and how to include it in my work. Those beautiful and under-appreciated details make all the difference, like representing body hair and stretch marks. Social media communities have been a fantastic resource on my journey as well, pushing me to have a better understanding of the world and improving the way I represent characters.” Pride 2020 Fabrik: We love the fluidity of colour and the playful, whimsical worlds you depict. Could you give us insight into your creative process? Esther Lalanne: “I note on my phone moments of everyday life that I find absurd, funny or that I just need to show. When it feels right I sketch on my iPad, focusing on the best way to design what the character feels, then I work on the pose and the expression. Every now and then I create a new colour palette with the limited colours that I use. Last year I was obsessed with pink and blue haha. I would say that colours are the first thing I notice in an art piece, and to me the more vibrant the better. I want to create art that draws you in and makes you feel connected to the world they inhabit. “ bits and boobs Fabrik: Your project titled ‘bits and boobs’ is a series of lively characters, all oozing confidence within their own skin. Can you share the narrative behind these winsome illustrations and animations? Esther Lalanne: “This page is my personal journal, a place for all my characters to live, whether they’re from a brand film or a silly doodle I did on the toilet ;)” Dreamy Landscapes Fabrik: With such a comprehensive clientele, would you say there is a particular project that has had a lasting impression? Esther Lalanne: “One of the latest projects I worked on was for a virtual exhibition called ‘No Women No Peace’. Its objective was to strengthen peace, to empower and to support women’s rights. It’s probably one of my favourite projects so far. I had total creative freedom and the project wasn’t for profit, which is unfortunately quite rare nowadays. I prefer to work with clients who align with my convictions and values, and this was just perfect!” Fabrik: Are there any projects that you’re currently working on or in the pipeline for 2021 that you can share with us? Esther Lalanne: “I can say I have an upcoming collaboration with an ethical and conscious clothing brand, which is exciting! I am going to focus on my shop as well this year and produce more prints and ceramics vases (cheeky with pointy tits) –  You can shop my products here: https://www.etsy.com/uk/shop/EstherLalanne“ Life in Lockdown Part2 Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Esther Lalanne: “Fabrik is great to showcase my work, I love the fact that I can keep my portfolio up to date easily, upload new images and create new projects speedily too. In a heartbeat I can present my work and services to future clients and partners. Fabrik’s settings are super easy to adjust to my needs — my work is focused on images and I like that I can highlight my illustrations, keep the text informative but subtle and really show my personality.” Esther uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. View Esther’s Portfolio #### Evaldas Cesnavicius View Evaldas’ portfolio Evaldas Cesnavicius studied at the Gnomon School of Visual Effects in Los Angeles. After his time at Gnomon he continued working at digital film making. He’s spent time at design companies and freelanced across motion design and concept development leading studios such as: Trizz in Barcelona, Tendril in Toronto, ManvsMachine in London. Evaldas Cesnavicius – Nike Kevin Durant XII Evaldas Cesnavicius – Nike Kevin Durant XII Under his creative moniker Black Pixels, he showcases an outstanding ability to conceptualise, as well as playing and inventing new patterns and textures. His clients include Nike, Bang & Olufsen and Microsoft among others. His designs feature clean lines, impressive details and lighting techniques that make his style instantly recognizable. We caught up with him and here are his thoughts on art, work and future projects. Fabrik: Hi Evaldas and thanks for your time. Would you like to share a little bit more about you? Evaldas Cesnavicius: “Thank you for having me! I am 3d designer / art director with strong creative and visual taste. I am a well rounded generalist but i bring most value in the start of the project when I have freedom to create visuals as ideas for the full project. What I need is freedom and time and I will come up with tons of style frames that can be further developed into full shots.” Fabrik: Your work has taken you into the paths of graphic design, motion design, as well as product development. Which one is your favorite ? Evaldas Cesnavicius: “Mostly I consider myself as a motion designer but I am inspired by architecture, graphic design, fashion etc. Thats why I love what i do – it’s very universal.” “What I need is freedom and time and I will come up with tons of style frames that can be further developed into full shots.” Evaldas Cesnavicius – Bang & Olufsen with ManvsMachine Evaldas Cesnavicius – Bang & Olufsen with ManvsMachine Fabrik: Your portfolio features an impressive body of work. Do you have any favourites or milestone projects? Evaldas Cesnavicius: “In 2013 I worked as an art director for a first time. Project was for “Renuage” brandy done at Trizz Barcelona. Even though it was complicated project it came out great. in 2018 I was checking London to see whether I would like to live there. I stayed at ManVsMachine for couple of months working on the “Castello” cheese project. Even though I did not find London very attractive for family life, the project again, came out great. It was a bit unusual that cheese company is asking for a CG commercial, but we end up doing some amazing work. Evaldas Cesnavicius – The Art of Cheese with ManvsMachine Evaldas Cesnavicius – The Art of Cheese with ManvsMachine Fabrik: Your work involves highly conceptual work down to actual products. Would you like to tell us more about your source of inspiration? Evaldas Cesnavicius: “I started my career with Autodesk Maya and it’s not a great tool for a designer. I had very minimal tool set but I learned to get something from nothing. Now I work with Cinema 4d which is great for creative design projects. Inspiration? Well I always start with tons of references but you have to test things in 3D if the concept really works or not. People that inspire me are: M83, Joseph Kosinski, Dieter Rams, Yoann Lemoine, Space, Gmunk, Louis Kahn, Andrei Tarkovsky, Hans Vegner, Danny Yount, Christopher Nolan, Stanley Kubrick, Philip K. Dick, Kyle Cooper and David Fincher.” Evaldas Cesnavicius – Nike Earl with Korb Evaldas Cesnavicius – Nike Earl with Korb Fabrik: I have also noticed that your work spans across geographies and verticals. Is this something you actively pursue and would you like to share a little bit more about transitioning from one place to another? Evaldas Cesnavicius: “I studied in Los Angeles back in 2008, and after graduating, the economy went down – I did not hesitate and came back to Europe, where I started working at Korb, a boutique design agency. A few years down the line, I decided to start freelancing at studios around the globe.  At first I was traveling a lot, mostly in Europe, but in the past 5 years I noticed that companies do more work with freelancers remotely. It’s a great use of talent, as some companies do not want to over grow as it can be challenging to keep projects coming. Living in Northern Europe is tough in winter season with a lack of sun. So next year I am planning to move to Australia or somewhere similar with my family for 2-3 months. Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Evaldas Cesnavicius: “Studios that I work with, hire me for certain projects that fit my style. That’s the advantage of freelancing. When brand or product matches your style you can do your best. Yes, I know that sometimes designers are too bold about their work and they can get upset when the client wants something different. But I think that clients know their brand or product the best, so I always try to make more then one visual to choose from.” “Sometimes designers are too bold about their work and they can get upset when the client wants something different.” Evaldas Cesnavicius – Wooden Spores Evaldas Cesnavicius – Hyundai Brand Vision Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours ? Evaldas Cesnavicius: “I haven’t had the chance to work on movie / TV show title sequences before so that’s an area I want to explore some day. I am a fan of Patrick Clair that created the “West World” title sequence. Fashion is another area that really interests me. I have noticed that more fashion brands are hiring motion design studios for creative work so there’s an exciting opening there.” Fabrik: Can you tell us about what you’re working on right now and would like to share with the rest of us? Any related fields in the arts that you would like to explore or you are currently delving into? Evaldas Cesnavicius: “I am answering this question from Dubai as I am on holidays with my family. When I return there is very exciting project waiting for me with Tendril in Toronto for Hublot. Even on holidays, I find myself surfing Pinterest for references and writing down ideas that I have earlier in the day. You may think i am workaholic but this job is my passion.” Evaldas Cesnavicius – Roger Dubuis Evaldas Cesnavicius – Roger Dubuis Fabrik: Any advice you’d like to impart to those entering the field? Evaldas Cesnavicius: “Find what you are passionate about and working hard will come naturally. Be friendly to everyone, make contacts, and never stop learning! ” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Evaldas Cesnavicius: “Fabrik is very artist-friendly platform and it looks great on phone or desktop. When I work on a commercial project, I usually start by creating a hidden portfolio project on Fabrik and when I am done with the project I already have my project ready to publish as well. Each time I get an email from a producer and I have to share my work, I just press ‘publish’ and it’s done!” Evaldas Cesnavicius – Microsoft Office Evaldas is using Airdura, an immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles. With over twenty layouts to play with projects are perfectly presented and each portfolio is truly individual. View Evaldas’ portfolio #### Evelin van Rei View Evelin van Rei’s portfolio With a background in fine art and art history, and a first class BA (Hons) at the Cambridge School of Art, it was here that Dutch-born cinematographer and photographer Evelin van Rei fell in love with the aesthetic tradition of film. We spoke to Evelin about her work, what inspires her and her next steps: Fabrik: What would you like to be working on in the future? Where you’d like to see yourself working – Features? Commercial? Any specific genre? Evelin van Rei: “As a cinematographer, I’d like to have established a solid commercial reel, with regular and strong collaborators. Foremost, I’d love to be shooting narrative feature projects with visionary directors, challenge our perspectives, and push boundaries. Art-house, cult, drama, sci-fi, thriller, fantasy. As a photographic artist, I’d love to keep shooting and exploring, and publish my work in magazines, publish my own book(s), and exhibit globally.” Evelin van Rei Evelin van Rei Fabrik: Any advice you’d like to impart on your craft to directors and DOP’s going into the field, especially women? You are engaged in the #TimesUp dialogue and we would love to have your insight. Evelin van Rei: “The greatest lesson a woman should learn is that since day one, she already has everything she needs within herself. It’s the world that convinced her she did not. She does not need a hero. She’s her own. She does not need to accept being treated differently, being (sexually) harassed, assaulted or discriminated against because she is a woman. She can create her own reality; she can do anything she thinks she can!” “The greatest lesson a woman should learn is that since day one, she already has everything she needs within herself.” Fabrik: There is a narrative that connects your work as a cinematographer and that of a photographer. Do you embark in projects having a conversation between these two disciplines in mind? What is the process? Evelin van Rei: “Irrespective of creating still or moving images, for me, telling the story by inducing feelings and emotions lies at the heart of it. My instinct guides my visual expression as I strive for my images to have a clear point of view of the world. Images that carry a personality and a distinct style, as an artist might have their own voice.” “I love to capture life in an eternal and intriguing way, and foremost, I am a lover of art, and very sensitive to the aesthetic tradition of film.” “I am a lover of art, and very sensitive to the aesthetic tradition of film.” Evelin van Rei Fabrik: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career? Evelin van Rei: “A personal direction I’m embarking on that will serve not only my career, but also and more importantly, myself, is to prioritise and take responsibility for my physical and mental health. What if we recharged ourselves as often as we did our phones? I’ve just discovered Hologenic and Yumeiho therapy, as well as TRE (Tension & Trauma Release Exercises), which is fascinating. I am part of a community of young people, who practice mindfulness together, and volunteer with gardening at a local park.” Evelin van Rei It is Evelin’s enduring belief that a creator’s work should be intrinsically linked to the existing social context and world affairs. The perceptions and beliefs of equality, patriarchy, duress and mental health are present in her early works, and carve a path of self-discovery, change and awareness. She has been vocal about her support of the #TimesUp movement and is spearheading the conversation on the way the industry is exposing and discussing issues once considered as taboo. Evelin’s aim as an artist and creator is to cut through the red tapes with sensitivity and sensibility and shed light to once unspoken predicaments, perpetuated through complex and perhaps invisible societal webs over the course of the years. She has worked on commercial films for iconic brands such as Nike, On Running, Carling, Kent & Curwen, The National Lottery and Virgin Atlantic, and her work on the feature film ‘A Street Cat Named Bob’ has been recognized in the National Film Awards in 2017. Evelin is also prolific in the realm of short films, having received recognition at the BFI London Film Festival, and Underwire Festival among others. She is also the recipient of this year’s Frēsh18 Carbon Award in Cinematography and the Carbon Award in Portraiture photography. Evelin van Rei Evelin van Rei Evelin is using Canvas, a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format View Evelin van Rei’s portfolio Imagery © Evelin van Rei 2018. All rights reserved. No part of this page may be reproduced without written permission. #### Ezra Reverda View Ezra’s Portfolio Ezra Reverda is a Dutch Director of Photography based in Amsterdam specialising in commercials, fashion, beauty, lifestyle and fiction. Represented by Aim Creative Management, Ezra travels the world collaborating with brands such as Asics and IKEA. ⁠ We got in touch with Ezra to discover more about his creative style and award-winning international fashion film, Selenophilia, directed by Dorhout Mees. Read what he had to say: Commercial: EK 2021 Albert Heijn Fabrik: Hi Ezra! We’re happy to have you as a Hero! To start, would you like to share a bit more about yourself in your own words? Ezra Reverda: “Hi I’m Ezra Reverda, an Amsterdam based Cinematographer working on feature films, tv shows, commercials, fashion related projects and music videos. It all started with my mom taking me with her to all kinds of films when I was young. Italian black and white classics with Marcello Mastroanni, directed by Felini or films by Antonioni or Bertolucci, but also asian films such as; Raise the red Lantern or films from Wonk Kar Wai. It opened a new world and while I was already experimenting with photography I decided to move towards film. Working in a team, being socially challenged, the structure of prepping, shooting and finalising in post are aspects that I really love.” Fabrik: How would you define your style as a Director of Photography? Ezra Reverda: “After quite some years working as a Director of Photography I still find this a hard question to answer. Also because I adapt myself to every new project and find a new approach that fits best to this specific story. But to say something, I try to create powerful images with great respect for the actor or subject and the ideas of others. Lighting is a key element and I like to go as cinematic as possible.” Commercial: Eurovision Song Festival Fabrik: How do you encapsulate each director’s view of the story while still making sure to bring your own unique touch to the film? Ezra Reverda: “I think this comes automatically. While prepping a project one thing that is most important is to get in the head of the director and find out what is on his/her mind story-wise. Visualisation starts immediately after reading one sentence in a script but knowing what the interpretation of the director is, is key. So maybe you keep your own ideas a bit to yourself for the first session before you enter the dialogue where you also start explaining what you see interpreting a scene. While talking this over you automatically dive into shooting style. Both you and the director will bring in ideas watching stuff from other makers, talking about colours, angles, lighting, dynamics, technical stuff like lenses etc. This way your style blends in unnoticed.” Fabrik: Could you tell us more about your source of inspiration? Ezra Reverda: “Talking with other people, walking the streets, nature, traveling to other places, going to cinema or visiting a museum are sources of inspiration. I still remember that moment when I was young when suddenly my brain created some new sort of awareness in how I saw the things around me. It was a magical and also joyful moment where I began to develop an eye that likes to investigate and discover. These days when time can get limited you sometimes forget to just look around you with an open eye. When this happens to me I dive in one of the things I described above.” “I still remember that moment when I was young when suddenly my brain created some new sort of awareness in how I saw the things around me.” Fashion/Beauty: Selenophilia Fabrik: We’re keen to know more about your award-winning international fashion film ’Selenophilia’. What is the back story? And where did the initial idea stem from? Ezra Reverda: “This is not the first film I have made together with Dorhoutmees, the fashion designer I worked with on this project and who also directed Selenophilia. With every collection she designs, Dorhoutmees works with certain themes and ideas often poetic or mythical to support her vision, such as “The remembrance of water” or the Japanese word “Wabi Sabi”, that describes the beauty of imperfection and transiency. For Selenophilia she got inspired by the mythical creatures; the girl, the wolf, rabbits and the moon, that you can find in many stories, fairy tales, artwork and illustrations. I think the work of illustrator Chiara Bautistta got her eye in particular. She created images of a “rabbit girl and the wolf”. How this is interpreted is by the viewer and so is this with our version “Selenophilia”.” Fabrik: Your work spans across fashion and beauty to narrative and commercials. What are you most proud of in your career so far? Ezra Reverda: “I’m proud that I found my way in this business. From the moment I decided to move towards film, going to film academy, shooting lots of music videos when I started my career and now working on all kinds of wonderful projects. I really love my job and in particular the blend of different kinds of projects. But a really good story is what truly triggers me the most.” Fashion/Beauty: Selenophilia Fabrik: What are some important things to keep in mind in regards to lighting whilst working on-set? Ezra Reverda: “For me it is about getting it the right way, pushing it, making it bold, but always in a credible way. Lighting is such a powerful tool while creating images. What is there to be seen? It directs the eyes, it can be emotional, it creates beauty or plain horror. The collaboration with my gaffer is one of the most important aspects on set. Lighting is such a technical and also logistical activity. You want to talk about mood, characteristics, colours, what is needed to get this particularly shot or scene right. A good gaffer is your third and fourth eye that helps you translate the ideas to a technical approach.” Fabrik: Can you give us insight on any projects you’re currently working on? Ezra Reverda: “I’m prepping for a Netflix Original TV show that’s about the schizophrenia tendency of becoming somebody else online. A subject we’re all so familiar with these days.” Stills Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Ezra Reverda: “The intuitive setup that doesn’t need much time to understand and to adapt is the biggest plus. Before I used Fabrik I found it difficult to work with video content in an easy way. I also think that the structure and the design of Fabrik really supportx my work. It’s all about the images, the minimalistic and balanced layout and the use of a nice fonts just makes it professional.” Ezra uses Loden, a theme that focuses on making photos and video as large as possible. Loden is bold, and creatives who like to let their imagery do the talking will enjoy working with the simplicity of its layout and options. View Ezra’s Portfolio #### Gabriel Monteregge Gabriel Monteregge, a London-based photographer, skillfully merges their unique fantasy vision with compelling character-driven and narrative elements. Their work is instantly recognizable for its distinctive flair and creative approach. We recently had a chance to catch up with Gabriel to delve deeper into their artistic process and perspective. Fabrik: Hey Gabriel, thanks for taking the time to talk to us! We’re big fans of your work, how would you describe what you do? Gabriel: “To describe what I do I would begin to say I came from a storytelling background as a filmmaker and crossed into the world of lighting for photography. So after years of being a lighting technician, I began shooting primarily as a fashion photographer. I also can’t resist dipping in and out of some cinematography work.” Fabrik: One of the first things people will notice when they see your portfolio is your incredibly unique and refined style, have you had any major influences? Gabriel: “Thank you so much for your kind words about my work, in regard to major influences the main master I keep topping up on is the work of Yoshitaka Amano. The real sense of world-building, elegance and seduction in his work always draws me in and keeps me experimenting with the visual format. Besides him one of the most real-life major influences has been the photographer I’ve worked with the most who goes by Jaw Midnight. No doubt their style and boldness has impacted my own for the better. I’m forever grateful for the relationship we have and the fact we still get to collaborate to this day.” Fabrik: Did you quickly fall into creating work in this style, or is it something that emerged over time? Gabriel: “The style I work in has emerged over time and will continue to change. I feel like with each project comes an opportunity to experiment and extend your brushstroke or sense of style. It’s also nice to take the viewer out of what they’re so familiar with. There’s always a way to shock someone with a culmination in a visual piece that they have never registered before or in a long time. Personally I feel the more I look away from photos and into a lot more painting and illustrative work, I can see ways to test my style and add elements I’ve never considered. Fabrik: Do you have any standout projects or jobs you’ve worked on? Gabriel: “For me personally, I would consider my cover shoot with Bimini for tmrw mag a stand out piece. This is because the mag actually didn’t accept any of my own style/versions of the shoot. So, once I had compromised, it became this huge personal journey to edit those images and find myself in them after the fact the shoot went to print. After this experience of pure rejection, just finding that place where everything sat in my own world with its original intention just showcased to me really what this artform is all about. I just had to find myself in these images to move on, even if they weren’t the front cover or spread in the magazine.” Fabrik: What’s on the horizon for you (if you’re allowed to divulge)? Gabriel: “On the horizon for me, to be honest, should be more editorials building on short stories that are accompanied by short films. These are slices of narratives I’m able to tell and lean more into my fantasy-meets-horror world. Besides that I’m on the lookout for some more long-term projects with brands so that I can build up more long-form narratives. A campaign would be perfect to set a character of mine loose and give everyone more than just a slice of a story. “ Fabrik: What’s your favourite feature of Fabrik? Gabriel: “What made me join Fabrik was the easier learning curve applied to the site-building. The fact it’s tailored towards creative occupations means it’s super intuitive to navigate and format as a creative. Keeping things less dense and technical really helped me at a time when I needed all my work established as a portfolio in a short space of time for an affordable rate. “   Fabrik: What’s your favourite feature of Fabrik? Gabriel: “My favourite feature really is the style of layouts and formatting options that follow a real clean and minimal aesthetic. The main mission is to display my photos and videos so the fact that it’s easy not to overload the webpage with formatting options such as breaks or features is perfect.” Fabrik: Thanks for chatting with us Gabriel – lastly, any advice for budding photographers looking to pave a freelance career? Gabriel: “So the advice I would give would be to seek out assisting work with visual artists that you feel comfortable around. I feel like it’s important to avoid toxic environments so that you can keep on top of practicing and learning without falling out of love with the art form due to a toxic influence. This will help with the longevity of your working relationships. Besides this I would say it’s important to keep consuming your artform, and if you get bored of strictly looking at one, start looking at another to cross reference, e.g painting references for photo and video ideas are always out-of-this-world inspiring.” Gabriel uses Canvas, a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. #### Iness Rychlik View Iness’s Portfolio Iness Rychlik is a Polish-born photographer and filmmaker with a particular interest in historical drama. Despite her severe myopia, she has been dedicated to visual storytelling for over a decade. Iness graduated with First Class Honours in Film from Screen Academy Scotland. Set in Victorian London, her final-year film ‘The Dark Box’ follows an unhappily married woman, who pursues photography to escape from her oppressive relationship. ‘The Dark Box’ premiered at Camerimage, where Iness received a Golden Tadpole nomination for her cinematography. Most recently, she shot and directed two mini-documentaries about art for the BBC Scotland. Rychlik is recognised for her dark feminine erotica, which has been awarded and exhibited all around the world. She is fascinated by the idea of conveying sexuality and cruelty in a subtle evocative way. Her conceptual self-portraits provoke the viewer’s imagination, rather than satisfy it. Here’s what she had to share with us. “Isolation” by Iness Rychlik Fabrik: Hello Iness, we’re so delighted to have you as a Fabrik Hero! To begin, we’d love for you to share a bit more about yourself in your own words? Iness Rychlik: “I’m a Polish-born artist, who has been living and working in the UK for the past eight years. From a very young age, I have felt strangely drawn to both still and moving images. As a child, I would meticulously arrange my Barbie dolls to film them with my grandfather’s Sony camcorder. In my pre-teens, I took up a digital still camera – while I absolutely loved photographing my sisters in old second-hand dresses, I’m not sure if the feeling was mutual. Even at that early point of my artistic journey, I was incredibly inspired by the classic nineteenth-century novels and their screen adaptations. I moved to Scotland to pursue a Film degree, with a particular goal of focusing on period drama.” “Amber” by Iness Rychlik Fabrik: You mention you have a particular interest in historical drama. What era are you drawn to and how do you feel this reflects in your work? Iness Rychlik: “I’m fascinated by the nineteenth-century Britain, which is one of the reasons I had decided to study in Edinburgh – it is such a beautifully atmospheric and historical place. As my final- year project at university, I wrote, directed and shot my own micro-budget period drama. Set in Victorian London, ‘The Dark Box’ follows an unhappily married woman, who pursues photography to escape from her oppressive marriage. It is one of the most challenging and rewarding projects I have ever taken on. In my self-portrait photography, I often use antique garments or props to draw visual parallels between my experiences as a woman and the inferior female position in the nineteenth century. However, my work is above all personal and symbolic – I allow myself a degree of artistic license.” “[…]The thoughts I have been dealing with are hardly bright or cheerful, but art allows me to channel them in a productive and creative way. It also brings me solace in terms of coping with my hypersensitive skin disease.” Fabrik: What draws you to exploring and conveying themes of sexuality and cruelty? And do you explore those themes independently at all? Iness Rychlik: “My desire for self-expression is a driving force behind all of my photographs. The thoughts I have been dealing with are hardly bright or cheerful, but art allows me to channel them in a productive and creative way. It also brings me solace in terms of coping with my hypersensitive skin disease. Although often intertwined, I have created images that explore either sexuality or violence independently. For example, there is nothing erotic about ‘The Edge of Cruelty’, which is my response to the recent abortion ban in Poland. I wish more people understood that an exposed body part is not necessarily sexual – particularly in relation to some amazing pro-choice activists, whose performances involve partial nudity.” “The Edge of Subtlety” by Iness Rychlik Fabrik: ‘The Edge of Subtlety’ has become symbolic during the Poland abortion ruling protests; can you tell us more about your intents and message behind the image? Iness Rychlik: “This self-portrait is a direct criticism of the Constitutional Tribunal’s ruling, which imposed anear total abortion ban even for extreme fetal abnormalities. It depicts a sense of desperation and the dangers of a self-induced abortion, performed in a non-medical setting. The red blood stain forms the map outlines of Poland. I tend to express my ideas in a less explicit way, but in this case it was too late for subtlety. While I have been called shameless and disgusting, ‘The Edge of Subtlety’ has – quite incredibly – resonated with thousands of people. It is truly moving to see it being carried like a sign by the protesters in various cities in Poland and beyond.” “In my self-portrait photography, I often use antique garments or props to draw visual parallels between my experiences as a woman and the inferior female position in the nineteenth century.” “Wedding Night” by Iness Rychlik Fabrik: Could you share a bit more about your creative process? How do you shoot your self- portraits? Iness Rychlik: “It is a very time-consuming process, which involves multiple stages: from clarifying the idea, through prop-hunting and prop-making, extensive test-shooting, to the actual shoot and post- production. I work on numerous ideas at the same time – at the moment I have around six, all in the different stages of creation.” “The Dark Box” By Iness Rychlik Fabrik: With many of your works being exhibited all around the world, is there a particular milestone within your career as a photographer, artist and filmmaker that you feel most proud of? Iness Rychlik: “As a photographer, I consider the Dorothy Circus Gallery exhibitions in London and Rome to be a very significant milestone. As a filmmaker, receiving a Golden Tadpole nomination at Camerimage for ‘The Dark Box’ was a remarkable experience. I worked double shifts as a cleaner to fund my degree and this ‘overambitious’ student film. When I moved to London right after graduation, I continued to work in the service industry. I got the e-mail as I was on the tube, making my way to a ten- hour waitressing job. The realization that the long years of struggles and sacrifices in a foreign country have paid off was overwhelming. Somewhere between Hammersmith and Earl’s Court, I broke down in tears.” Fabrik: What are your plans for the future? Do you have any projects that you’re currently working on? Iness Rychlik: “I’m going to continue working on my self-portraits; I hope to incorporate filmmaking into my conceptual photography in the near future. It’s going to be a huge logistical challenge, but apparently I don’t enjoy doing anything on the easy mode.” “Mother Nature” by Iness Rychlik Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Iness Rychlik: “I love the selection of your templates, which makes it easy to make my portfolio look exactly the way I want it. What I also appreciate is your wonderful customer service; any questions are answered promptly, no matter how silly they might be.” Iness uses Canvas, a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. View Iness’s Portfolio #### Jason Koxvold Jason is a large format photographer and creative director based in Brooklyn, NY.Known for his pared-down visual approach and elegant sense of composition, his commercial clients have included Jim Beam, The Lincoln Motor Company, Emirates Airlines, Stoli, and the United Nations. His editorial work has been featured in magazines like Wired, Newsweek Japan, Slate, and National Geographic Traveler. Jason Koxvold Koxvold’s two major photographic projects each span several years: Everything, and nothing is an examination of global landscapes shaped by neoliberal growth; and BLACK–WATER (in progress) is a study on the cultural impact of permanent war, photographed in Kuwait, Afghanistan, and the United States. Jason Koxvold Jason Koxvold Jason Koxvold “I’m drawn to complex stories, represented in the starkest way; not the thing itself perhaps, but the reasons for it or the consequences of it. More and more I’m finding that these stories can’t be told in one image, so sequencing the images is a very important part of the work.” Jason Koxvold Jason Koxvold Jason Koxvold When not making photography and film, Jason can be found in upstate New York, building architectural collaborations and experimenting on the landscape. His most recent project, Hemmelig Rom, can be seen in the pages of Dwell and Gestalten.For his portfolio Jason chose our Airdura theme. His portfolio is neatly separated into personal, work and commissions; using slideshow and block layouts. Jason says: “I typically shoot on 4×5” film or medium format digital, and the images are best viewed large.” “I typically shoot on 4×5” film or medium format digital, and the images are best viewed large. Fabrik’s adaptive layouts give me the flexibility to display different kinds of work as cinematically as possible, regardless of the viewing platform.” Jason Koxvold Jason Koxvold With a clean type treatment Airdura’s minimal styling lets his photography communicate a story without the website getting in the way. View Jason's Photography Portfolio #### Jody Sargent View Jody Sargent’s artist portfolio Jody began her career with a first class BA(Hons) in video game design, a move to London, and first job role of junior environment artist at Headstrong Games. At Headstrong she worked on titles including House of the Dead: Overkill, Lord of the Rings: Aragorn’s Quest and Dancing with the Stars: We dance. A stint at Double Six Games, working on All Zombies must Die, and then a return to Headstrong to work on the wacky Rabbids Rumble. Jody then moved to Splash Damage as an environment artist on the free-to-play PC shooter Dirty bomb before landing her role at Rocksteady Studios. At Rocksteady Jody became a senior environment artist with a large role in Batman Arkham Knight, Arkham Knight downloadable content and finally on creating the thrilling batcave for Arkham VR. Jody Sargent We spoke to Jody about her move, her career, and what’s up next: FAB: Tell us about studying video game design, how did that happen? JS: “I’ve been working in the games industry for about almost 10 years and have loved games since I can remember. My first console was a Sega Mega Drive and by the time I was about 10 I got my Playstation and I just knew I wanted to make games! “I studied art, media and IT always hoping to find my way into the industry and then when I had the opportunity on a video game design course at Southampton Solent University I jumped on it!” Jody Sargent FAB: So video games are a long-standing passion of yours. What elements of game design appeal to you? JS: “Originally I wasn’t sure exactly what I wanted to make and although I was quite interested in characters it soon became apparent that environments were what I wanted to create. I love being able to bring someone in to a whole new world that I have designed and to be able to tell little stories about the world around you in clever ways.” “It soon became apparent that environments were what I wanted to create.” “My first industry job was at Headstrong games where I worked on “Lord of the Rings: Aragorn’s Quest”. I loved it, it was so creative and I got to create Rivendell and the Shire which was a dream.” “At Headstrong and its sister company Double Six I went on to work on “Dancing with the Stars”, “House of the Dead: Overkill”, “All Zombies Must Die” and “Rabbids Rumble”. I was so lucky to have so much variety early on. Many big AAA games now take around 3 years to make so trying my hand at all of these different styles was great and I improved fast.” “After this time I wanted to try a move to a bigger studio and moved to Splash Damage to work on a free to play shooter called “Dirty bomb”. I then moved to Rocksteady Studios, a dream job for me and worked on the AAA Arkham Knight.” Jody Sargent Jody Sargent Jody Sargent FAB: Tell us about the day-to-day of video game design here in London. JS: “One of my favorite things about this job is collaborating with such awesome and inspiring teams and that was definitely the case at Rocksteady. Whilst there I also created the Batcave for Arkham VR. I have to say VR is so exciting and still blows my mind. The first time I made a blockout environment and tried it in VR was a moment I wont forget, just creating this space and then actually being inside it is fantastic and really makes you see your work in a different and even more immersive way!” “The first time I made a blockout environment and tried it in VR was a moment I wont forget.” “Early this year I decided to take the plunge into freelancing which felt like the natural next step for me at this stage. I am currently working with some fantastic small teams and really enjoying the close relationship working with them and being able to create new worlds! “Aside from the lifestyle difference I also love the variety that freelancing brings me. I never know what the next job is going to bring and that is the most exciting feeling!” Jody Sargent Jody Sargent FAB: There has been a lot of controversy in recent years erupting from Gamergate and the traditional way women have been treated in the games industry. Although we’re a little removed here in the UK, do you feel a gender gap in your industry? JS: “I have felt the gender gap in that the studios I have worked for have typically had many more male than female staff. However one of the things that I do love about my industry is how diverse it is. I have been able to work with a lot of talented men and women from around the world, many of whom travel to other countries for work and I love that.” “However one of the things that I do love about my industry is how diverse it is.” “It would be great to have more women in games in general and I think it is starting to happen. It is really interesting to see what men and women both bring to the table in terms of ideas and just creating a different vibe in the office and I think that having more women in games will just continue to expand and diversify the industry even more.” Jody Sargent Jody Sargent FAB: In the move to freelance is there anything specific you look for in the projects you take on? Is there a particular type of work or genre you prefer? JS: “I really love variety and I love to learn new things so I don’t really have a type of work I look for in projects. I think that my personal works tend to be slightly fantasy/stylized but I actually like to take on projects where I might not have tried anything similar before. I like to get out of my comfort zone and keep things fresh! My two main freelance jobs at the moment couldn’t be more different so that is working out well! In fact that is one of my favorite things about being a freelancer, I never get bored and I never get too comfortable which is where I like to be.” “I like to get out of my comfort zone and keep things fresh!” FAB: Do you usually work with the same team on the projects you work on? Is working within a team a requirement, or do you generally work alone and submit your work as an individual? JS: “I really like to get involved in the teams I am working with. I have actually found working remotely really great as I find that I am more productive whilst I am also able to get involved with Skype and other software to collaborate and talk to everyone.” “As a games artist you really can’t be an island, especially I find with environment art as your work is so connected to other disciplines such as design and animation. When you are building a world it is not enough for it to look cool, it has to play well and the art and design need to work together. I also think that one of the best things about my job is the amount of awesome, creating people I get to work with on a daily basis, I learn something from everyone!” Jody Sargent FAB: Where do you cultivate and curate your references or inspiration from in general? JS: “Everywhere! I have a huge collection of art books, films, games, graphic novels and architecture/photography reference. I also love websites like Artstation that keep me in touch with what other artists are making. As an environment artist I also take a lot of inspiration from the places I visit. I went to Snowdonia to do a big reference collection/photogrammetry trip for one of my projects and a classic car show for another one!” “I think travelling and just generally being open to everything around you and trying to soak it all in is the best way to go, plus a bit of google image search at the end for the finer details! :P” “Travelling and just generally being open to everything around you and trying to soak it all in is the best way to go.” FAB: What would you like to be working on in the future; where you’d like to see yourself working? JS: “At the moment I absolutely love being freelance, it is so exciting being involved with some amazingly creative smaller teams and having that excitement of having new opportunities pop up at any time. I also have more time to invest in my family and in to my own art which is ;giving me some much needed rest time and preventing the dreaded burnout which I think is really important for me. That said there are so many amazing studios out there that make such awe-inspiring work so I can easily see myself going back in to AAA in the future.” FAB: Is now a good time to get into video game design? Are you working with people that allow you the freedom to bring your own aesthetic to your projects? JS: “Yes I think its a great time to get in to games, the technology is rapidly improving as it has been for a long time. The possibilities of what you can make and achieve are so exciting and things like VR are really finding their feet. I feel so lucky that I have had the opportunity to grow alongside such a young industry and love that I can look back only 10/20 years and say “wow look how far we have come”. In terms of being able to bring my own aesthetic, yes I can do that. I like to pick teams to work with that want to collaborate and who are as excited as I am about new ideas and ways to improve.” Jody Sargent FAB: Any advice you’d like to impart on your craft to creatives looking to move into the field? JS: “Yes, this is really a great career and you have to work hard to get to where you want to be. This will probably include a lot of out of hours work, learning and personal projects if you really want to develop your art and succeed and that is what it takes. However I think it is equally important to remember to not be an overtime slave. If you start to creep into burnout, take a breather, remember why you love art, make sure you spend enough time away from it with family and friends and sometimes just make art for fun too!” “If you start to creep into burnout, take a breather, remember why you love art.” FAB: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career? JS: “I can’t share any professional work at the moment but I am working on a few personal projects. A couple of these are smaller prop-based things just to learn certain techniques. I am having quite a lot of fun with photogrammetry and VR right now so I have been doing quite a lot of that. There will be a lot more to show soon so you will have to watch this space!” Jody Sargent Jody Sargent Jody is using Airdura for her site, kicking off with the Featured Blocks homepage layout. Creating a sort of stills showreel project as the primary focus of her portfolio she quickly gives her viewers an idea of what she’s worked on, and introduces her contact details for freelance work. Jody has created personal and professional portfolios to give each of her projects context. She doesn’t expressly link to those portfolios in her menu, but by presenting all of her work together viewers can get a quick feel of the scope of her work and style. Jody Sargent Her work is primarily video, but each video is backed up with stills; an important step in making sure the detail and realism of her environments are adequately illustrated. Jody is using Airdura’s Strip project layout to present her media in a linear stream, and each project is closed with notes on process and software used. The site contains an extensive bio page, including a resume of software and theoretical experience in her craft, her preferred skillset and her experience. Backing up the resume she has a page detailing her awards and achievements. View Jody Sargent’s artist portfolio #### Joel Knoernschild View Joel’s Portfolio Born in Southern California, Joel’s a mixed-race, half Japanese Emmy award winning film and commercial director who seeks to give a voice to marginalized individuals. His reach background both personally and professionally, has given him a unique maturity and compassion in documenting stories of community and identity and turning the spotlight to underrepresented groups of our society. His most recent work, “POSE: Identity, Community, Respect,” is a critically acclaimed documentary around the largest transgender cast ever assembled for television. It’s always fascinating sitting down to discuss with creators that are both technically and artistically eloquent. Here’s Joel, his story and his Hero Profile for your perusal and indulgence. Joel Kazuo Knoernschild – Rothy’s ‘Slide’ Joel Kazuo Knoernschild – Rothy’s ‘Slide’ Fabrik: Hello Joel, we’re happy to have you as a Hero! To start, would you like to share a bit more about yourself in your own words? Joel Knoernschild: “My full name is Joel Kazuo Knoernschild, Kazuo being my Japanese grandfather’s name meaning “peaceful man.” The last name is German, so I’m a hybrid.” Fabrik: The current state of affairs has upended the way filmmaking works. How do you navigate the situation? How do you approach and adapt to the new global context? Joel Knoernschild: “I really wish I had an answer to the current global climate and pandemic that we’re dealing with as creatives. I feel lucky that I’m quarantining with the film team that I typically work with, so we’re really powering through projects that we would have gotten to later in the year. I think having a team that you can trust and count on, health wise, is going to be a big part of moving forward on film projects, from a smaller perspective anyway, and utilizing technology like the Teradek Cube, outputting IP video deployment to any location. Things like that. But other than that, I’m just reading the health mandates that I’m getting weekly from different companies and seeing how this all pans out.” “I think having a team that you can trust and count on, health wise, is going to be a big part of moving forward on film projects, from a smaller perspective anyway, and utilizing technology like the Teradek Cube, outputting IP video deployment to any location.” Joel Kazuo Knoernschild – ‘Slow Down Time’ Fabrik: You have a long career path in documenting the path to identity and discovery around (often) ‘unseen’ social and ethnical groups, most recently with the acclaimed series POSE. Would you like to share a bit more about your work there? Joel Knoernschild: “POSE is one of those extremely special shows that I feel comes around once in a lifetime. For those who don’t know, POSE has the largest number of transgender actors on television. I feel extremely lucky to be able to work with all of the talented actors, directors, writers, department heads, and of course Ryan Murphy’s project(s) and tell their story about Community, Identity, and Family. It really is about a marginalized community that’s been suffering, and now being able to tell their story, authentically, and educating not only America, but the world about not only the transgender community, but the LGBTQ+ community who have been struggling to be seen and heard for so many years. It’s been a blessing.” My work has been documenting the show from a verité point-of-view and letting the community of POSE tell their story from a real and authentic place. I remember for season one, I met MJ Rodriguez who plays one of the leads “Blanca,” in Newark, and we just did a very candid walk and talk in a park. You could never do that now. She’s too famous, but seeing her passion and very candidly, hear MJ tell her side of the story from season one to now has been incredible. The footage is mixed media, so some is in color, some is black and white, and some is distressed 16mm.” Fabrik: When you’re working as a director is there anything specific you look for in scripts or treatments? Joel Knoernschild: “My hope is the commercial and narrative projects that I take on have a positive human side to them and improve people’s lives. My sister Katie Malia and I also have a web series called ALMOST ASIAN, (we’re half-Japanese) that explores the ethnic dichotomies and racial diversities prevalent in youth culture today through a comedic lens. The series polaroids, Katie’s personal and professional struggles as she awkwardly attempts to maneuver through life as a half-Asian mix. That’s been fun to explore and spin-off into other upcoming projects revolving around diversity.” Joel Kazuo Knoernschild – Nike & Bella Hadid ‘Inspired by Powerful Women’ Fabrik: Do you prefer studio or location shoots? And any reasons why that’s the case? Joel Knoernschild: “Honestly either one is fine, as long as it’s servicing the project in the best possible way. Studio, on location, cameras, lenses, lighting, they’re all tools, like a hammer or a saw. One’s better suited for the job.” Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Joel Knoernschild: “All the time, haha. That’s why it’s important to have a clear vision, whether it’s a treatment, deck, mood board / video to help convey the artistic approach beforehand. Lots of time well spent in InDesign… Honestly, I think it’s helpful to have push-back on creative, having to explain yourself or figure out a better way to creatively approach something. As an artist, you don’t want “yes people” around. You want people you respect who are going to challenge and cross swords with you, bettering the creative vision.” “As an artist, you don’t want “yes people” around. You want people you respect who are going to challenge and cross swords with you, bettering the creative vision…” Joel Kazuo Knoernschild – ‘Varmint’ Joel Kazuo Knoernschild – ‘Tastes Great’ Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Joel Knoernschild: “I can remember one experience on Nov 10th, 2012. It was the Stanley Kubrick exhibition at the LACMA, a weekend and extremely crowded. It was difficult to walk through the exhibition without being in someone’s way, so I somewhat hastily walked through it. As I was leaving, I saw Leon Vitali walking in. My mouth dropped. Leon Vitali who not only played Lord Bullingdon in BARRY LYNDON and was an extremely accomplished actor, he was also Stanley’s assistant for years, watched over Danny in the Shining, and casting director on Full Metal Jacket. I did a U-turn and walked back in, asking if I could be a “fly-on-the-wall” as he began walking through the exhibition with some of his friends. He graciously said “yes”and I was able to ask every Kubrick question I could think of, while this wealth of knowledge was graciously answering each question with a detailed answer. The best part was, people would stand around as he would talk about a film and one time someone asked how he knew so much. Leon pointed to a photo of him in the BARRY LYNDON section and said, “that is me.” They had no idea. It was incredible, and I will never forget how kind he was with his time. They made a documentary about Leon recently, called FILMWORKER. It’s great.” Fabrik: Are there any related fields in the arts that you would like to explore or you are currently delving into? Joel Knoernschild: “During the pandemic, my quarantine crew consisting of my sister, Director of Photography, Randy Wedick, and my girlfriend, who’s an amazing musician are putting the finishing touches on a short film revolving around dancers and how, as performers, they are dealing with isolation – one of the dancers is Beyoncé’s choreographer, another is on the cover of Beyoncé’s new album and dances with her on tour, another dances for Banks and Taylor Swift, so they’re all very accomplished, and I feel very lucky to document them. We went to their houses wearing masks and gloves, stood outside and shot them dancing and expressing themselves from 20’ away using only a 28mm and 135mm. It was really cathartic and therapeutic not only for them to dance, but for us to witness as they gave so much of themselves, which touched us all deeply. We shot it slow motion on a Red Helium 8K camera with Angenioux OptimoPrime Lenses, so it’s nice to see a piece shot during the pandemic that doesn’t look like an iPhone. We asked each dancer to send us a voice memo to use as VO, explaining how self-isolation and quarantine feels to them. It’s called “Slow Down Time.” Joel Kazuo Knoernschild – Puma ‘Cell Venom featuring: YBN Cordae’ Fabrik: Any advice you’d like to impart to those entering the field? Joel Knoernschild: “If you watch the Michael Jordan documentary “The Last Dance,” you see how incredibly hard he worked to achieve his dream. It’s probably going to take a lot longer than you expected to get to where you want to be, but enjoy the struggle, the honest passion projects you make early on, the camaraderie you build with your team as you evolve and struggle together. Become a PA, as you’ll recognize how to treat people down on set down the road. If you enjoy making films, nothing in the world is more fun. So sometimes, stop, look around and enjoy the ride.” “It’s probably going to take a lot longer than you expected to get to where you want to be, but enjoy the struggle, the honest passion projects you make early on, the camaraderie you build with your team as you evolve and struggle together.” Joel Kazuo Knoernschild – Sony ‘Tokyo Dance’ Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Joel Knoernschild: “I’ve built my own websites since the beginning. The early ones were from scratch, designing them in Dreamweaver, having to resize each thumbnail then the full-size versions in Photoshop with different file names, then uploading the html and images via FTP site. You really had to have a knowledge of HTML to build something interesting back then. The nice thing about Fabrik is it’s all automated. You don’t have to resize all of the images to be the same width for it to look nice. It just does it for you. The layout is great too, and easy to understand how to use and also look sleek. It very much streamlines my time, not having to spend half a day to upload a new project to the site. I can really do it in 5 to 10 minutes, and I’m done, able to work on upcoming projects.” Joel is using Jute a distinctive modern theme with classic typography and styling featuring full-width cover images, homepage layouts featuring a bottom-aligned menu and a responsive sidebar. View Joel’s Portfolio #### Jon Noorlander Growing up, Matt wanted to be a writer. So, filmmaking came a lot later in his life. We talked to Matt about his creative process and the path to his current short films.“When I was 18, I was booked to go travelling for six months or so but I had to postpone my trip by six weeks because of the tsunami in the Indian Ocean. I’d been working for four or five months and I’d saved just enough money for the trip but I’d quit my job already. So, in a bid to while away the days without spending too much of my hard-earned cash, I asked all my friends if I could borrow their favourite films to watch. It started as something I’d do in the evenings – a fun little project to open my eyes to new films and to understand my friends a bit better – but before long it became a bit of an obsession. After a couple of weeks, I ran out of recommendations and I just started watching anything, indiscriminately. At one point, I was literally watching four or five films a day, just anything I could get my hands on.” Charlie Crane With a career that began in documentary, Matt moved into short films and commercials, focussing on his affinity for locating the compelling in the everyday.“I started out shooting and editing my own films and when the project calls for it, I can still see huge value in stripping a crew down to it’s bare bones to achieve something that feels unfiltered. I love working on commercials where the structure around you and the team of people that you’re working with tends to be much bigger. There’s a spirit of collaboration that comes with it and it’s a system only works if, creatively-speaking, everyone pulls in the same direction. Especially with documentary though, and especially at the beginning of a project when a lot of the focus is getting to know people and understand how best to tell their story, I really like to work on my own or with a few key people.” “I can still see huge value in stripping a crew down to it’s bare bones to achieve something that feels unfiltered.” “There’s a freedom that comes with that way of working that allows you to concentrate on what’s in front of you and adapt.” Matt Houghton Matt Houghton Currently repped by Pulse Films, and an award-winning filmmaker, Matt has had short films screened at festivals around the world. His latest short film Dear Araucaria, made in partnership with The Guardian, won the Audience Award at Sheffield Doc/Fest 2015. The film is a touching short about the life and work of the much-loved British crossword compiler John Graham, who was best known by his pseudonym ‘Araucaria’.Talking about the film, Matt says:“I read an article in the Guardian about John’s story and I was so taken with it that I ended up spending the whole day reading and listening to interviews about him.”“I do the occasional quick crossword (badly) but in truth I’m not really a crossword person. What I am very interested in, though, are ideas surrounding community, especially communities that form organically and informally. I read loads of testimony from people on blogs and forums about how John’s crosswords had affected their lives. There are some incredible stories of people who have grown up with Araucaria crosswords and, having never met him or even heard him speak, they had a clear sense of who he was. I was fascinated by the idea that over time a sense of personality could emerge from the black and white squares of a crossword and that this was something that in some ways connected a whole group of people. Dear Araucaria was my way of exploring that idea.” Matt Houghton Matt Houghton Matt Houghton Matt Houghton Getting into Matt’s process, he shares his thoughts about filmmaking:“I find that for me the creative process always starts on paper. I often find myself writing a synopsis or fleshing out a project outline very early on. I think in many ways it helps me to distill my ideas down into something concrete before ripping it all up and starting again. For me, creativity is a split-second of inspiration followed by hours and hours of development; the trick seems to be in identifying which split-second of inspiration to pay attention to.” “For me, creativity is a split-second of inspiration followed by hours and hours of development.” “Anyone who’s made a short film knows how taxing they are and the production was blighted by the usual woes. But in truth, the biggest challenge for me personally was finding the right way to tell John’s story. Form and structure are very important to me and with Dear Araucaria I made a conscious choice not to force either early on. I was really keen to let the form emerge organically and, after chatting with John for a number of hours over a few weeks, it became clear that the structure of the film itself should be informed by crosswords.”“I also felt strongly that if we were making a film that blurred the lines between fact and fiction that, as much as possible, the aesthetic of the film should be inspired by John’s life. We tried to be as faithful to this as possible, using old photographs and John’s personal accounts to inform art direction, locations and casting.”“So, the solvers you see in the film are real solvers rather than actors, the scene of John walking through the fields was shot a stone’s throw from his house, the girl and boy playing John and his sister were cast against childhood photographs, etc. This aspect of the film is something that I’m proud of but the realities of making it happen definitely put more strain on an already stretched production.”The film was well received, picking up official selections and wins at an array of festivals including Hotdocs, Kinsale, Latitude and Sheffield Doc/Fest.Matt’s using our Calico theme for his site. He’s reduced his portfolio down to his most important work; allowing his homepage to act as his entire portfolio list. Using Calico’s spotlight layout he’s provided focus to the work he really wants you to see, and backed it all up with a very simple bio page. He’s kept his typography short and beautifully neat, using Baskerville throughout. With a light monochrome palette the site becomes a masterpiece in minimalism, allowing his calm, uncluttered visuals to maintain focus, and fortifies the sense of maturity and gravity in his work. Matt Houghton Matt Houghton Matt Houghton To close we asked Matt what he’s up to in 2016, and where he sees his career and interests heading from here on.“Alongside my commercial work, I’m currently developing two short films. One is a sports documentary about a pair of twin athletes and the other is a scripted piece that plays with ideas of memory and time. I’m also in the research phase for a feature documentary that I’m really excited (but can’t say too much) about.” Matt Houghton Matt Houghton “I’m becoming increasingly interested in making films that play with story structure and that blur the boundaries between fact and fiction. Documentary will always hold a special place for me but recently I’ve been looking to combine this fact-led starting point with an interpretative visual approach. I’m finding more and more that my documentary work is being influenced by my fiction work and vice versa.” View Matt's Director Portfolio #### Joseph Nile Lau View Joseph’s portfolio British born Joseph Nile Lau is a filmmaker and photographer. He’s also the founder and creative director in the newly founded, Article Dept., a multi-faceted creative atelier. Joseph’s work has graced the Bible of fashion WWD, as well as WGSN, Highsnobiety Magazine and most recently in Highsnobiety’s anticipated book, ‘The Incomplete Guide To Street Fashion and Culture’ by Gestalten International Publishing House. He has also captured a growing list of some of the most sought-after brands such as, Carhartt WIP, New Balance, and Vetements to name a few. Joseph Nile infuses subtle moody nuances, using colour and light to invoke a heighten sense of raw emotional attachment and story into his distinct imagery that can be found across his body of work. You’ll probably see Joseph around with a camera in its hands, capturing the urban life in all the corners of the world. From Japan to his native Britain, he’s seeking to uncover all the possible narratives behind each frame. We caught up with him inbetween destinations to discuss work, plans for the future and how he approaches street culture. Joseph Nile Lau – Ghosts Joseph Nile Lau – Ghosts Fabrik: Your portfolio features some of the most sought after brands and clients. Do you have any favorites or milestone projects? Joseph Nile Lau: “I’m very humbled I get to work with these brands and it’s always exciting to see what they have to say with their latest pieces of work and that let’s me build a narrative around it. One of my favourite shoot was with Carhartt WIP, it’s a brand that I’ve been enamoured with for such a long time so when opportunity presented itself it was one of those moments. Another one that comes close was shooting Douglas Dare; not only was he the sweetest, his vocals was beautiful to hear live.” Fabrik: We love how you’re always on the move – being a nomad. How does this affect the creative process? Any memorable moments/anecdotes from your trips? Joseph Nile Lau: “Being able to make work into travel and using that opportunity to capture moments in time lets me analyse what I’m trying to say, creatively. I’m a firm believer in storytelling and in taking risks when you’re trying to translate your thoughts into any type of visual language. I’d like to think the audience is able to feel or take something away when they look at a piece of my work. I was in Shanghai and Tokyo this year, it was my first time in Japan and not knowing the language in either cities often puts me in situations that start off as awkward and end up making friends for that moment, which is nice.” “Being able to make work into travel and using that opportunity to capture moments in time lets me analyse what I’m trying to say, creatively.” Fabrik: Do you have any system for your travels? Do you go where your work takes you or have a masterplan about places and countries to visit and see? Joseph Nile Lau: “Work is one of the main factors that takes me on my travels so it works in my favour, I generally don’t like to plan too much on the things I get to see, I’m not a huge fan of predetermination and anticipations. That brings me to the idea I’ve had for a while and that’s, “how do I capture movement and life in a still image?”, and then it gets into a rabbit hole and philosophical from there. Currently I have a few vague ideas where the next countries I want to visit and work in so I’m working on that this year. And as for if I have any system for my travels, I travel as light and minimal as I can. I find it it’s the best way to achieve the most out of the moment.” Joseph Nile Lau – Ghosts Joseph Nile Lau – One Week Joseph Nile Lau – One Week Fabrik: Highsnobiety has shaped modern street culture and has elevated street-smart ethos to sought-after status and has attributed subcultural elements to luxury brands. Would you like to share a bit more about your role in that reciprocal movement? Joseph Nile Lau: “I’ve been reading Highsnobiety since Y2K and other websites such as NOTCOT. They were the sites I would frequent every day back then. Fast forward to current day, I’ve been shooting with Highsnobiety for a while now, and I’ve seen them grow and shape the street fashion culture exponentially. Because I’m looking for a story or emotion, [street culture] has helped me capture something different and push the narrative to a new direction. I’ve always been part of this sub-culture and, personally, it helps me understand it and know where it’s going to go rather than repeating what’s already been done. That’s the challenge. But of course there’s always the shots you need to create to balance it out. It’s nothing less than amazing to be part this street culture movement and to do that with my photography, it’s liberating.” Fabrik: On that theme, we’ve seen that street photography occupies your personal feed. What do you seek to find in a fleeting frame such as that of street photography? Joseph Nile Lau: “The streets is where I get to be the most curious. It may sound odd but I’m not particularly interested in capturing beautiful scenery when it presents itself. It would feel like I’m cheating as it wouldn’t represent something meaningful to me. When I’m roaming in a new environment, I’m levitated towards the local areas because that’s where you begin to get a sense of the life that inhabits it. When I’m new to my surroundings I find solitude in that and I apply it across my work.” “The streets is where I get to be the most curious. It may sound odd but I’m not particularly interested in capturing beautiful scenery when it presents itself.” Joseph Nile Lau – Overdose Paris – White Trash Joseph Nile Lau – Carthartt WIP Joseph Nile Lau – Adidas Fabrik: How do you pick the scenes? Do you go around and look for the perfect cinematic scene or try to transform them into something of cinematic quality? Joseph Nile Lau: “That’s a good question. There’s a preconceived notion that I go hunting for cinematic places but I’m the polar opposite, the majority of it is they happen upon discovery and emotional tendencies. I try not to search for cinematic scenes, (you’ll know when you see one) because it becomes a restriction and I don’t encourage myself into that position to only search for those type of scenes, any scene can have some sort of cinematic beauty to it as long as it resonates with you and that’s the important part.” Fabrik: Portraits can be particularly challenging. Could you share a bit more about the process? What do you ask your subjects? How do you bring their personality out? Joseph Nile Lau: “When it comes to portraiture I tend to it in the same way as I shoot street and fashion photography and that’s not to put too much pressure on the subjects. I like to be casual, it lets the subjects be comfortable and you can see that it comes through naturally. Of course sometimes it’s harder but not impossible, and in some cases when they’re famous and surrounded by an entourage. In such cases, you only have a short window of time to understand and listen to someone for them to trust you and let their guard down. I try not to be routined and make it a Q&A session for them, I want to make real conversations or at least one where profanity will crop up in the middle of one. It just depends on who’s the first one to say it and that’s when you know everyone is at ease and it marks the beginning of the personality coming through. Luckily for me, I’ve worked and shot with some very talented and nice people and it’s much thanks to them.” Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Joseph Nile Lau: “There’s been times when you feel some clients are on the same page as you creatively when they’re presented with ideas. Sometimes, when it comes to finding space for an artistic approach that pushes the brief slightly, they don’t like it and they want exactly what you’ve presented with the mood board. That’s highly disappointing.” Joseph Nile Lau – Highsnobiety – Jammer BBK Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Joseph Nile Lau: “I can’t pinpoint one influence on my career, it’s been made up of bits here and there. I’ve always looked towards fiction books to inspire me and it helps to paint pictures in my head, piecing them together – which is what I do and practice, be it in photography or film. I admire Rob Chiu and Chris Hewitt’s work which I resonate with, they always manage to create something special and it’s always a treat when they put new stuff out.” Joseph Nile Lau – Maya Li Fabrik: Can you tell us about what you’re working on right now and would like to share with the rest of us? Any related fields in the arts that you would like to explore or you are currently delving into? Joseph Nile Lau: “I started a multi-faceted company called Article Dept. it’s still its infancy, and it’s an idea that I’ve sat on for a while that I hope to do some interesting things with it in the space of films, music and printed publication. When it eventually grows, I’d like to work and represent other creatives, so don’t hesitate to get in touch.” Fabrik: Any advice you’d like to impart on your craft to art directors, designers going into the field? Joseph Nile Lau: “Be genuine.” Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Joseph Nile Lau: “The service at Fabrik is probably one of the best I’ve encountered and the team does an incredible job with it. The ease of use, customisation, and themes are plentiful and presented beautifully.” Joseph Nile Lau – Highsnobiety – Ian Connor Joseph Nile Lau – Blood Brother Joseph is using Fabrik’s Airdura theme, an immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles, offering over 20 layouts to suit your needs and portfolio expectations. View Joseph’s portfolio #### Kirstie McNulty View Kirstie’s Portfolio Kirstie McNulty is a freelance Fashion Photographer working across the UK specialising in photography for fashion brands, TV advertising alongside portraits and personal projects. We got in touch with Kirstie to find out more about her editorial and fashion work. Read what she had to say: Jayley Fabrik: We’re so pleased to have you as a Fabrik Hero! To begin, we’d love for you to share a bit more about yourself in your own words? Kirstie McNulty: “Kirstie McNulty, single lady, living in sunny Manchester, England, as a freelance Fashion Photographer. No this isn’t a single ad… this is myself in my own words! I love living in Manchester, it has been the precipice for many new waves of creation over the years and to move here from the North East of England was very exciting for me. I have now lived here for over 20 years and it is definitely a place to call home. Being a freelance fashion photographer puts me in a creative set of friends and colleagues that has been so fruitful, culturally, socially and learning with such talented people can only bring out the best in you. The rest is just being nosey and you should probably reach out to me directly for any further enquiries.” Ether Drift Fabrik: When did you realise photography was something you wanted to do? And what drew you to fashion and editorial photography? Kirstie McNulty: “Being young and unsure of what I wanted back then I simply worked to have fun but knew I wasn’t fulfilling my potential. I then happened to work at a company that sold a fuji S1 pro and I decided photography could be an interesting career for me. A guy I worked with sold me my first camera, a Minolta SLR, and off I went shooting everything and anything. With my newly created portfolio I found a job as an assistant photographer at a small studio, working in still life. From this point I had arrived within my creative industry and my journey began. I met an amazing friend, who helped push me forward to one of the biggest studios in Manchester at the time. There I learnt on the job, working in the best and busy studios on a variety of still life photography sets. However I knew my heart was in fashion so I started shooting my friend as a model and pitched to move over to the fashion studios. Then I started working with different crews travelling the world working with fashion brands. Eventually showing my editorials shot in my own time I was promoted to photographer. Determination is everything.” Reflection Fabrik: Where do you find inspiration before shooting a project and what fuels your creativity? Kirstie McNulty: “Everything is inspirational depending on how you view it. Music, Films, Art, Family and Friends. We live in a world where our senses are constantly bombarded with images and ideas. It is how you take that information and then create something out of it.” Fabrik: What photography equipment do you use and why? Kirstie McNulty: “I use Canon, as I always have and feel comfortable and familiar with it. It does exactly what I want it to. I use the basics of the camera and have little interest in the detail of technical equipment, other than it is very good at its job. I feel a bond with my camera, if I used the same camera from someone else it wouldn’t feel right. Short answer but it is as simple as that!” Essie Fabrik: Do you personally have a love for fashion? And if yes, how would you describe your style? Kirstie McNulty: “Yes of course I love fashion, I grew up in the “SuperModel” age. It was exciting, fun and so unattainable it was otherworldly. We had programmes such as ‘Absolutely Fabulous’ to teach us it’s all just a bit of fun in a multimillionaire industry kinda way! Fashion is self expression and everyone no matter how much money they spend can create something interesting and unique. I myself have an adventure for patterns, fun and a light hearted feel to the clothes I wear. Comfort is key. My aim for the future is large kaftans and comfortable shoes.” “Being a freelance Fashion Photographer puts me in a creative set of friends and colleagues that has been so fruitful, culturally, socially and learning with such talented people can only bring out the best in you.” Reverie Fabrik: Your portfolio shows a diversity of locations both outdoors and on-set/studio, how do you adapt your technique for the different light? Kirstie McNulty: “It depends if it’s editorial or a fashion client and needs to have consistent lighting. Obviously each job will have its possibilities and restrictions. Before every job I have a brief dictating the mood and style for the shoot including a mood board. From there I can start to decide what lenses I will use, what the location is like and what available lighting will be to hand and what other added lighting I may need to combine to achieve the look. All of this naturally has my style and ideas of interpretation of the brief which is why the client has chosen me. I’m lucky to have clients that trust my instincts. However: I think Rankin said it best in his book titled “Making it up as I’m going along.” Jayley Summer Collection Fabrik: Do you prefer shooting with natural light outdoors or in a controlled studio environment? Kirstie McNulty: “It would have to be natural light. If I could get away with that all the time it would be my preferred style. But playing with light and adding flash or another constant light can be so rewarding and have beautiful effects. I love trying to show a slanted and slightly make-believe feel to my photography. Maybe because I like to live in a day dream.” Fabrik: Is there a particular milestone within your career as a photographer that you feel most proud of? Kirstie McNulty: “I would have naturally said: My first job to shoot on location overseas, I have worked many times in beautiful locations as an Assistant Photographer. But my first big shoot overseas as a photographer in Palms Springs was a fabulous experience. The environment of going away for two weeks with an amazing team, bonding and creating images felt very privileged indeed. However, recently I have been involved in some more personal work collaborations with poets and dancers which I have felt a real connection to. The work has actually been more impactful on my life. And is now shaping how I would like to see my photography in the future.” “I love trying to show a slanted and slightly make-believe feel to my photography. Maybe because I like to live in a day dream.” Black Luxe Fabrik: What are your plans for the future? Can you give us insight on any projects that you’re currently working on? Kirstie McNulty: “I’m actually learning some new skills i.e. video and video editing. Something I am starting to offer clients, the creative output from this will be exciting. Also a project I am currently working on is collating my work, to create exhibitions highlighting my experiences in certain areas of my life. For example, I have a lot of journalistic photographs throughout the pandemic, of a clubbing era, house parties and general family photos. All which have beauty and the right to be put out there. I look forward to where this leads me as there is a lot to get through.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Kirstie McNulty: “My favourite feature is how easily I can change the design/format of my website. Every so often you need to shake up and redefine your work, add new and take out some old maybe. But to be able to change the format without having to do much more than choose layouts, makes me feel in-control of my brand. It is very easy to use and the results are beautiful.” Kirstie uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. View Kirstie’s Portfolio #### Lauren Sick View Lauren’s Portfolio Lauren Sick is a writer and director, known for her music video work with artists such as Chromeo, MØ, Foster the People, A-Trak, American Authors, El-P, Vampire Weekend, A$AP Ferg, Anderson East, and Pentatonix. She recently directed the first teaser trailer for MGM Studios’ biopic RESPECT, starring Jennifer Hudson as Aretha Franklin. Lauren grew up in the dark woods of suburbia, screening inappropriate horror movies at slumber parties. A lover of horror and genre filmmaking, she was a creative collaborator on the feature film SCARE ME, starring Josh Ruben, Aya Cash, and Chris Redd, which premiered at the Sundance Film Festival in 2020. A multifaceted director, Lauren’s work spans both the narrative and branded space, having grabbed the attention of clients such as New Balance, Nike, Garmin, Fendi, FADER, Nasdaq, Soulcycle, and Beats By Dre. The spot she directed for Zola.com provoked international attention when the Hallmark Channel removed the ad for its depiction of a lesbian wedding. The piece (since re-instated on the network) was written about in the New York Times, The Hollywood Reporter, Variety, Rolling Stone, and Deadline, and was parodied on Saturday Night Live. We sat down for a chat on creativity, vision and what’s next. Lauren Sick (New Balance) Fabrik: Hello Lauren, we’re happy to have you as a Hero! To start, you like to share a bit more about yourself in your own words? Lauren Sick: “I am a New York-born, LA-based filmmaker with an affinity for horror, National Parks, Turner Classic Movies, and astrology.” Fabrik: The current state of affairs has upended the way filmmaking works. How do you navigate the situation? How do you approach and adapt to the new global context? Lauren Sick: “I think the key to all of this is to remain positive. Being on set these days means a lot less crew members than we’re used to, so taking the time to budget for these new parameters to ensure everything is accomplished safely is really important. But I personally love working with a smaller, more intimate crew. Because of the time and safety restrictions, shooting during Covid feels a bit like shooting on film – everyone needs to be super dialed in, working hard to make sure each and every shot is the best it can be. In that way, I think these hard times can create a bond of trusting, intimate focus that we might not always achieve on bigger jobs. When not shooting on set or remotely, I’m taking time to read, watch movies, be in nature, and write. I am developing two feature ideas and trying to shop another one. When the world is this unpredictable, it’s always important to concentrate on the things you can control!” “I think the key to all of this is to remain positive. Being on set these days means a lot less crew members than we’re used to, so taking the time to budget for these new parameters to ensure everything is accomplished safely is really important. But I personally love working with a smaller, more intimate crew.” Lauren Sick (MØ + Foster The People) Fabrik: When you’re working as a director is there anything specific you look for in scripts or treatments? Lauren Sick: “I look at scripts in two different ways. The first is assessing it the way you would any great story: Is it engrossing? Am I excited to see what happens next? Am I invested in the characters? Does the plot make sense? Does it move me or make me question something about the world? The second question I ask myself is can I see it? Can I visualize the words on the page and how I would approach the material? Does it elicit imagery that I can elevate and put my stamp on? How can I take all of the interlocking pieces to form a visual language? This translates to music videos and commercials as well. What’s at the heart of this story, and how can I tell it within 60 seconds? What kind of narrative excites me the most, knowing I’ll be using this particular song as my score?” Fabrik: Do you prefer studio or location shoots? And any reasons why that’s the case? Lauren Sick: “I actually started my career in the art department, and although my earlier years were spent creating sets, I much prefer to work within an actual location and enhance it, versus trying to create an authentic look from scratch. You just can’t replicate some of the unique details you can find in the real world. Shooting on location can also inspire interesting blocking or camera positioning that you might not have thought about in a more controlled environment.” Lauren Sick (Graduate) Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Lauren Sick: “The relationship with clients is (hopefully) a respectful and collaborative one. The best thing to remember when you have differing opinions is to pick your battles. It’s taken me a couple years to recognize, “Okay, if the agency art director really objects to some piece of wardrobe that isn’t vital to a character, I can change her top from purple to blue.” But when it comes to my cast, finding the right location, or fitting certain set-ups into our day, those are the things I will stand firm on. When you’re working with smart, experienced people, they will know that they hired you for a reason and trust the process.” Fabrik: Your work spans across music video, branded content and biopics. What are you most proud of in your career so far? Lauren Sick: “I feel like the work I’m most proud of is yet to come! I’m always pushing myself to expand and push further with every new opportunity. Having that metaphorical carrot dangling in front of us at all times feels like the only way to survive a creative life. (For me anyway.) I live for the potential of what’s next.” Lauren Sick (Deep Water) Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Lauren Sick: “I watched The Shining at a sleepover party in 4th grade (my brilliant idea, much to the vexation of the parents of all girls involved) and I think it wormed its way forever into my subconscious. I am always drawn to and writing stories about paranoia, familial and relational strife, and slow descents into madness, laced with a dark comedic sensibility. There have been plenty of films that have influenced me (too long to list here), but I don’t think any other film hit me in quite the same way at such an impressionable age. I’ve also always loved the work of Gregory Crewdson. His images have such a haunting quality with striking attention to art and production design. In terms of contemporaries, I think Jordan Peele is in a category all his own. Ari Aster is a wicked genius, anything Hiro Murai touches is gold, and I am dying to see the new film Zola from the phenomenal Janicza Bravo.” “I feel like the work I’m most proud of is yet to come! I’m always pushing myself to expand and push further with every new opportunity. Having that metaphorical carrot dangling in front of us at all times feels like the only way to survive a creative life. I live for the potential of what’s next.” Lauren Sick (Rita’s) Fabrik: Are there any related fields in the arts that you would like to explore or you are currently delving into? Lauren Sick: “Just writing, re-writing, and more writing.” Fabrik: Any advice you’d like to impart to those entering the field? Lauren Sick: “I think the best advice I can give (that I still need to give myself often) is don’t be afraid to fail. Know that nothing is perfect. Know that everything you set out to make will be slightly different from how you imagined it, often for the better. Remember that you work in a profession where people will always have a subjective opinion of your work, and there’s nothing you can do but put your best foot forward and have confidence in your own voice.” Lauren Sick (Respect Trailer) Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Lauren Sick: “I love how user-friendly the site is and the fact that all templates are customizable. I feel like the designers crafted something truly intuitive. And the customer support at Fabrik is insane! Always so responsive and helpful. It feels like they have a personal relationship with every one of their users. It’s a very cool community.” Lauren is using Tocuyo a theme for creatives that want to introduce themselves as well as their work. With optional Cover layouts Tocuyo becomes truly immersive with a full-screen hero, thumb grids and an inline About content. View Lauren’s Portfolio #### Lea Hjort Mathiesen Born in Copenhagen to two idealistic hippies, Lea is the oldest of three. She grew up in a co-housing environment where the whole community would prepare and share meals – and have a big common dinner every night. Lea Hjort Mathiesen Lea Hjort Mathiesen Lea Hjort Mathiesen “My father is a painter and when I wasn’t out bruising my knees I spent my childhood meticulously painting the same tower over and over again. I remember checking in with it every morning from our kitchen window. This was my favorite tower in Copenhagen. I loved how it spiraled it’s way into the sky with it’s external staircase. This combination of patience, obsession and moulding the same material over and over again is something I’ve kept with me.”Aged eight her family relocated to Berkeley, California – a time spending afternoons getting lost in the bamboo forest in her family garden, swirling around public pools, merry-go-rounds and gazing at the thousands of lights from her window overlooking the Bay Area. This early adventure kickstarted what would become a steady tradition of cross-atlantic traveling between Denmark to what she considers her second home, the U.S.The year before entering high school, she made use of her creative skills in more than one way and created her own job. Her first role was establishing her own dance company at age fifteen, where she would give dance lessons to more than 60 children each week.“I spent my childhood dancing and listening to music. As much as I like to express myself through images, I’m deeply inspired by music and sounds. I treasure my close collaborations with composers and sound designers and often bring them in at an early stage, even before shooting. There’s nothing like sound that can feed the imagination.” “I spent my childhood dancing and listening to music. As much as I like to express myself through images, I’m deeply inspired by music and sounds.” It was while doing fieldwork as part of her studies in Anthropology and Journalism, Lea found herself wandering off the academic path and instead choosing film as the mean to portray the lives she encountered. Lea Hjort Mathiesen She decided to make the move across the Atlantic to start film school in New York. First a Summer at Tisch School of the Arts, then a year at The New School as a Fulbright Student, where her graduation film The Renovation was conceived. When talking about her first film she says:“How I went about making my first film? I basically stood outside Jim’s house in Brooklyn every day for three weeks and waited for him to come out while pretending to be detective Sydnor from The Wire, leaving a tower of small handwritten notes in his mailbox. Finally after three weeks, he re-surfaced and he explained he’d been away in Maine hunting for that particular month of the year. I was grateful he said yes to making the film, despite him being a hermit for the past two decades before I knocked on his door.” Lea Hjort Mathiesen Lea was announced ‘Emerging Filmmaker’ at the esteemed Gen Art film festival in New York where the film premiered alongside Harvey Keitel and Marissa Tomei. The Renovation was awarded Best Documentary in Oregon and broadcast nationally in the U.K. Lea still keeps in touch with Jim, who’s blossomed since the film came out and now engages much more with the local community. Lea Hjort Mathiesen Following her graduation Lea went on to intern with Loki Films in a small office on the Lower East Side and to work all kinds of different jobs as a cinematographer – from DP with Al Gore in his office on One Bryant Park to dragging cables in the basement of the Rockefeller Center. She was about to enter the visa process to stay permanently in New York when she was admitted to the director program at the National Film School of Denmark. An elite art academy program that only admits six people every other year, it was a chance she had to grasp.From its long line of internationally acclaimed graduates, the program is known to have bred ‘The Danish school of Documentary’, a style of documentary characterised by cinematic aesthetics and strong personal narratives. It’s founder and mastermind, Arne Bro, is known as an innovator of ‘Creative Documentary’ who spearheads workshops for Sundance Institute and around the world. Lea Hjort Mathiesen It was during her four years in this program she got to develop the signature film style that’s so prevalent in her work today:“For me, documentary goes beyond the present and the past. If documentary means portraying life as we know it, why limit ourselves to strictly portraying to outside world? Why not include the rich inner life, we are all equipped with in the shape of our memories, fantasies and our dreams?”In 2012 Lea was awarded the Danida World Images Grant, allowing her and Swedish co-director Carl Olsson to make a short documentary in Kenya about two night guards protecting the white upper class in an embassy neighbourhood of Nairobi. Night Shift went on to premiere at FIDÉC / Brussels Short Film Festival and has since been selected to be part of the film collection at Aeon Film. Lea Hjort Mathiesen Her next film Malek Means Angel was part of an intercultural exchange program between Denmark and the Arab world titled ‘One (wo)man, One camera, One month’ permitting a filmmaker one month to shoot a film single-handedly. Up for adventure again, she flew to North Africa with nothing but a return ticket and her equipment tucked in a carry-on.Lea tells us about her time working on the film:“I moved in with a local family, family Boukhari, who opened their arms and their home to me. With a tip from mother Latifa, I stumbled upon a fencing team in a worn-down basement in a working-class neighborhood of Tunis. Here I found Malek – and let myself journey into a world of girls, fencing and arabic love songs for the next 5 months, until the film was cut and ready to screen.” Lea Hjort Mathiesen About having filmed in some of the more challenging places with considerable risk of safety, Lea says:“The adventure is what drives me. I feed from traveling, meeting new people, cultures and habits. I’m an explorer at heart and I always meet people with an open face. I’ve learned that trusting strangers can enrich your life tremendously.” “I’m an explorer at heart and I always meet people with an open face. I’ve learned that trusting strangers can enrich your life tremendously.” Malek Means Angel went on to premiere at the world’s leading festival for documentaries; IDFA in Amsterdam. It has been widely celebrated at festivals around the world and has won numerous awards.Lea’s graduation film Øde Ø (My Desert Island) was broadcast nationally in Denmark in June when it came out and was, very unexpectedly she says, selected as nominee for a Robert Award, selected by the Danish Film Academy. She’s currently working on her first film after leaving the National Film School together with producer Sara Stockmann of Sonntag Pictures, which is currently in development with support from the Danish Film Institute. Lea Hjort Mathiesen Lea gave us some insights into what fuels her as a director:“I’m a very hands on filmmaker, I’m involved in everything from writing and conceptualising, to the actual production. I love digging into every little detail to actually explore and to test out and to turn around and to try different ways. But in order to not work the life out of it, I need the part that challenges that desire to control. This is what fascinates me about documentary – you never know what comes next”.“I define myself as a documentary filmmaker in the sense that my motivation starts in reality. And then my imagination starts playing along. It starts with something that I wasn’t prepared for, or something that I could never have thought out or something that I could never have written.”“The curse and the gift is the uncertainty of documentary, as the stakes grow higher, the risk of failing grows deeper. You don’t know if you actually end up with a film until the very last moment. Oftentimes, this requires making uncertainty your friend.” Lea Hjort Mathiesen Though early in her career, Lea has made award-winning films on various different continents. Apart from her film in Copenhagen, she’s flying back to the U.S. to research a new film later this Spring. But there’s one thing that charaterizes them all, she says: “I always make films about people. The people, they are the film. Without them and their autonomy, I have nothing.” “I always make films about people. The people, they are the film. Without them and their autonomy, I have nothing. I take one step, they take one step, and without their step, there’s no movement. It’s like a dance. When people want to dance with you, you’re able to make great films.” Lea Hjort Mathiesen Lea Hjort Mathiesen For her portfolio Lea chose our Calico theme. She’s used the Spotlight layout to focus on the six films she wants you to see, and has put the rest of her portfolio in a separate Collaborations portfolio. Each of her films is supported by a series of stills that extend the mood and feel of each film, and help to create a feeling of ownership and unity across her entire portfolio. Behind her film work she’s included a press section covering recognition for her work, and a short bio.Seen as a complete collection of her work, her audience are invited to lose themselves in her world; a world that merges her own story with the stories of the people she seeks out and whose stories she wants to share with you.In closing we’ll leave the last word with Lea:“I aspire to make films where the form is as exciting as the content. Some of life’s most poetic moments happens in our daily lives. If narrative film is wrapped with aesthetic care and cinematic ambition, why should it be any different for documentary? At the end of the day, we’re communicating through cinema and the film has to move us, in order for an audience to feel something.” View Lea's Director Portfolio #### Liam Woolmer-Thompson View Liam’s Portfolio Liam is a director whose incredibly refined style is born of a wide range of influences. As a person with a bag of tricks, we couldn’t resist digging through it for a peek: Fabrik: Can you remember some of your earliest influences? Liam: “I can’t really tell how much my early obsessions are showing up in my current work, but back in the day, I was all about those early 2000s anime vibes. And I don’t mean the usual suspects – I’m talking Cowboy Bebop, Outlaw Star, Perfect Blue/ anything by Satoshi Kon (you can definitely spot this one in the Kulture Klub / Funhouse music videos), and anything had a sense of optimism and crazy surrealism/ color, like Tengen Toppa Gurren Lagann…Funny twist, though – my first attempts at actually creating something were all mimicking early youtubers who’d animated MapleStory sprites from the MMORPG. I’d basically rip sprites from the game, edit them in photoshop and animate them in flash.. When first getting into music videos I was absolutely hooked on Hiro Murai’s collaborations with Childish Gambino. The whole concept of taking one idea and just pushing it to the absolute max really resonated with me.” Tally Spear – Fun House Fabrik: Where do you find inspiration now? Liam: “As for what gets my creative juices flowing now, it’s all about the people around me. I’m an extroverted person and I thrive on connecting with other directors and crew members, getting a feel for what makes them tick and how they approach their craft. A big chunk of my skills comes from teaming up with fellow directors and weaving their techniques into my own bag of tricks. These days, I’m getting inspiration from wherever I can. Sometimes it’s from watching music videos on mute while the track I’m doing a video for is in the background. Pinterest and ShotDeck are like my secret weapons. Director wise; Anton Tammi’s directorial work on their music videos is insane, and you can definitely spot the unmistakable influence of Wong Kar Wai in my stuff. Oh, and manga panels.. I read manga like water so I’d be lying if I said it wasn’t a huge influence on me – from Takehito Inoue to Naoki Urasawa, Fujimoto Tatsuki, Hayashida Q… Then finally obviously music itself, the music these creatives make, the music I consume everyday. it’s a part of me. “ Fabrik: How would you describe your style? Liam: “I’m trying my best for this liminal dream- like style, I feel like the editing and editors I work with like Shen Adam – contribute to this speedy flashiness that’s probably coming from the anime influences. I find it hard to linger on a shot unless it’s for a reason. In my work, I believe that colour and lighting play a significant role. I strive to incorporate colours that effectively amplify the emotions at play in the song. Honestly describing my style is hard because I feel like I’m still trying to find it. “ Lucy Tun – Kulture Klub Lucy Tun – Another Week Fabrik: Your portfolio features a lot of collaborative work with artists and the music industry, how did you come to be involved with that? Liam: “Following the lockdown, my desire to connect with others grew stronger. I would attend concerts and events solo, approaching artists with the intention of forming friendships and fostering collaborations. I came to the realisation that life is about ‘chasing the conversation’ and the stories shared by others. Meeting new people truly ignites the passion within me and it took a lot of time for me to realise how happy it makes me. Luckily, my day job back then was at a Music Brand called Focusrite, so I got to team up with artists on various projects. I love asking people about their lives, especially when it comes to their music. It simplifies the toughest part of chatting with strangers – getting the conversation started.” Sidders – Paper Kisses Fabrik: If you could shoot a music video for any artist out there right now, who would you pick and why them? Liam: “Got to be Joji – Firstly i’ve followed him for years and secondly I think his current videos are that fever dream aesthetic that I’m aiming for also I think it would be hilarious.” Lucy Tun – Another Week Fabrik: Do you prefer to direct on smaller or larger scale budget projects? Liam: “No. one’s going to say no to a bigger budget – however, the smaller budgets i’ve worked with have always forced ingenuity. “ Di Vincent – Near Miss   Fabrik: What are your plans for the future? Can you give us an insight into any projects that you’re currently working on? Liam: “Looking ahead, my future plans revolve around continuous creation, relishing the creative journey, and forging connections with like-minded individuals. Currently, I have another video project in the works with Lucy Tun, and I’m gearing up to pitch ideas to various commissioners, expanding my presence in that realm. My ultimate objective is to connect with new artists, delve into their creative motivations, and translate their stories into compelling videos.” Tally Spear – Fun House Fabrik: Final question – what made you decide to set up your portfolio site with Fabrik? Liam: “It was just so simple to make my content presentable and aesthetically pleasing. Everywhere made me jump through hoops whereas Fabrik seemed like it was all about content first. It’s user friendly without making it necessary to have any sort of background when it comes to website building.” Liam uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. #### Lluís Murúa View Lluís’ portfolio Lluis Murua, born and bred in Barcelona, was never constrained by geography. His work as an editor has brought him all over Europe as well as the United States working with artists such as Sia and Katy Perry. His editing style is known for fast cuts and the combination of animation and regular footage, creating captivating visual landscapes that provide multiple layers to storytelling, as well as innovative approaches. We sat down with him and asked him everything about his work and this is what he had to say. Snails – Waffle House. Edited by Lluis Murua Fabrik: Hi Louis and thanks for your time. Would you like to share a little bit more about you? Lluis Murua: “I’m Lluis Murua, born and raised in Barcelona. At one point I thought that mastering my craft was going to be a hard life choice. But after being a parent of twins, the meaning of hard was turn upside down. Getting my twins at school, with the right clothes and shoes, and on time… That is hard!” Fabrik: Your portfolio features an impressive body of work from film to commercial to music videos. Do you have any favorites or milestone projects? Lluis Murua: “Fortunately, I’ve worked with some of the best directors in Spain and it’s difficult to pick a project above any of the others. But I will always have a special place in my heart for the directors who gave me the chance and trusted me when I was starting. Alan Masferrer for his music video “Love is a Lonely Dancer”, Ernest Desumbila for his work “KOTA”, and Nur Casadevall for her lovely fashion films such as “How to be a Mermaid”. I’m extremely thankful to have had the chance to work with such creative directors right from the begging.” Nur Casadevall – How To Be A Mermaid. Edited by Lluis Murua Fabrik: Would you like to tell us more about your source of inspiration? Lluis Murua: “First of all my mum and dad 😄Also, it’s obvious why you need to watch movies and listen to music. Most of my peers get inspired from those two disciplines. But I’d also like to acknowledge the influence of comic books. I grew up always wanting a new comic. I didn’t know at that time, but comics teach you a lot about style and rhythm – double pages for the pauses, a few short and small draws for the fast cuts and so on… I think I’ve learned how to tell stories from them, and I’m still in love with them. If I could recommend a couple, I would suggest Blacksad, A taste of Chlorine, Pyongyang and Le gourmet solitaire. “I didn’t know at that time, but comics teach you a lot about style and rhythm – double pages for the pauses, a few short and small draws for the fast cuts and so on… “ Antony & Cleopatra – Love Is A Lonely Dancer. Edited by Lluis Murua Fabrik: How do you start a project – any project for that matter? How do you know when you are done and there’s nothing more left to edit ? Lluis Murua: “I always try to start editing without overthinking too much. Even if I am not sure what they want or how they want it. I like to get my feet wet as soon as possible, start creating in order to beat the fear of the empty timeline. I never try to do the best edit possible at the beginning, it doesn’t work for me. I prefer to keep editing even if I think the edit is not as neat as I’d wish for. I will revisit it, imagine new approaches and re-work the edit at a later time. And then, when I think I’ve done my best is when I lockdown the picture. Obviously, I will never know if there’s a better way, I just need to be happy with what I’ve done.” “I never try to do the best edit possible at the beginning, it doesn’t work for me. I prefer to keep editing even if I think the edit is not as neat as I’d wish for.” Katy Perry – Harleys in Hawaii. Edited by Lluis Murua Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Lluis Murua: “There are a lot of people who hire you for your creativity and then, they just want to make what they envisioned. If it is a commercial, I try to show them a proposal, but if they only want me to follow their lead, I try to make it as good as I can, charge my fee and let it go. At the end, it’s a job.” Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Lluis Murua: “I started as an assistant editor and have learned from all the editors with whom I’ve worked with. They all taught me not just the techniques, but also how to behave in an edit suite. I’ve learned a lot from those directors that work in a very specific field (animation, storytelling,…). Because when you’re young they know way better than you, and it’s great to try and absorb as much as you can. And because I am huge comic book fan, I will mention 3 artists who taught me through their books about how to tell a story: Juanjo Guarnido, Moebius and Jiro Taniguchi.” Mugler: Alien. Edited by Lluis Murua Fabrik: Can you tell us about what you’re working on right now and would like to share with the rest of us? Any related fields in the arts that you would like to explore or you are currently delving into? Lluis Murua: “Try to find what aspect of the creation fits you better. Most of us want to be directors at the beginning, because we think it’s the creative position, and the only one who gets to tell stories. But once you study and work, you realize that there are a lot of ways to write a story.” “Most of us want to be directors at the beginning… But once you study and work, you realize that there are a lot of ways to write a story.” LSD – Audio. Edited by Lluis Murua Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Lluis Murua: “The simplicity. For one side, Fabrik’s aesthetics is absolutely gorgeous and I love it. And for another side, it’s incredibly easy to post your new work and refine every aspect of your website. ” Lluís is using Poplin, an incredibly versatile and straightforward theme with lots of layout options to help you to find a unique style for your website. With a focus on simple thumbnail grid layouts, creatives with lots of projects will find this theme useful. View Lluís’ portfolio #### Malte Rosenfeld View Malte’s Portfolio Malte Rosenfeld is an award wining cinematographer. Born in Hamburg, he grew up in Ireland, before moving to Berlin and later Lodz to study cinematography at the Polish National Film School before settling in London. He shot his first feature film ‘Little Wires’ in the last year at Lodz which was awarded among many awards the Jantar for ‘best cinematography’ at Koszalin FF. In London he established himself in commercials and winning a Kinsale Shark for the cinematography of ‘Malle – Prepared to get Lost’ He continues to work on selected features films with strong director collaborations. The film ‘Papagajka’ directed by Emma Rozanski premiered at SXSW and the Netflix Original ‘Close’ was the third feature film with director Vicky Jewson. He recently completed the film ‘It will be fine’ ( ‘Jakos to Bedzie’ ) with long time collaborator director Sylwester Jakimow. With roots in photography, lighting and documentary films the emphasis in all his work is character portraiture and visual story arch to support and carry the story. We reached out to get to know Malte and find out what he’s been working on. Malte Rosenfeld Fabrik: Hi Malte and thanks for your time. Would you like to share a little bit more about you? Malte Rosenfeld: “Very glad to be here. I am a cinematographer living in London – born in Germany, brought up in Ireland, studied cinematography a the Polish National Film School in Lodz, before moving to London 10 years ago. My parents were photographers so I kind of grew up in the studio. On the way to being a DP I worked my way up through the lighting department and documentary films, before going to film school.” Papagajka Fabrik: A cinematographer is responsible for bringing the director’s vision into our screens. How do you plan the scenes and are there any particular visual treatments you’re looking to find in a scene or script? Malte Rosenfeld: “For me it is very instinctive. The first read of the script is just to immerse myself in the story. The second read, I start taking notes on the script, this could be references to images that come to mind, sketches of framing, marking sections of text that I see as turning points in the story. Then I start to map out the visual narrative of the film based on notes, I add references of painting, photography, sketches and research. I keep adding until the visual narrative has a complete arch – beginning, middle and end with key points of the story. Usually some of the characters have their own visual arch, which runs parallel to the main one. They cross and interact. What I look for in a scene is emotion. That it moves me. Whether it is an emotional and dramatic scene – the turning point for the character and the intimate connection with actors at that moment or a small detail shot, that sums up the story. I need to feel what the scene is about, where the emotion lies. I can then feed that back into the image. I have always worked very close with a director – In prep their vision becomes ours. Stills Fabrik: Have you ever had any difficulties pushing your creative and artistic approach? Malte Rosenfeld: “Not really. I always work very close with the director. So while I have starting point for an approach it is worked and reworked together with the director so it becomes one. Even if I pitch for a project and I have a complete visual concept for a film before I even meet the director for the first time, this gets then reworked and in the process changes, sometime entirely, sometimes a lot of my original ideas remain.I never feel I have to push my approach. It is about finding the visual language together in prep and once that has been set everything else falls into place. Changes that arise during the shoot have solutions with are based on the conversations and common references worked out in prep.” Billy Lockett – ‘Every time you are high’ Fabrik: What would you like to be working on in the future? Where you’d like to see yourself working – Features? Commercial? Any specific genre? Malte Rosenfeld “I will always balance both features and commercials. I feel there is so much I want to bring to the table in both. In commercials it is the sometimes very complex technical execution and the demands of executing a very specific look that fascinates me. Features are a different game. It is the creation of an entire world in which the story takes place – wether it’s a single location studio flat or dozens of locations in several countries. It all has to be part of a singular vision in which all the pieces aline. It’s complex and requires a lot of prep with the director and working with the other department heads to bring the directors vision to the screen. I am not really drawn to any genre in particular. It is the depth and complexity of human emotions that draw me to particular stories, regardless of the genre.” Stills Fabrik: Can you think of a shot, either throughout your career or in the last few years, that has been particularly challenging and was very satisfying when you completed it? Malte Rosenfeld: “Oh there is many. On one hand it is the technical ones, like big night exteriors or complex camera moves, but the memorable ones are the true portraits. Those moments when a shot is set up, action is called all comes together. The connection with the actor, the performance, the framing, the lighting, the set, it all blends together for a few moments and represents the story of the film with this single shot. That’s magic.” Close “Those moments when a shot is set up, action is called all comes together. The connection with the actor, the performance, the framing, the lighting, the set, it all blends together for a few moments and represents the story of the film with this single shot. That’s magic.” Fabrik: Would you like to share a bit about your latest projects or anything new you’re currently working on? Malte Rosenfeld: “I have just finished post on the film ‘It will be fine’ with director Sylwester Jakimow, which I am really exited to come out. It the story of 3 men in their forties, who want to get out of the gridlock of their life and it is not working out. It is essentially a portrait – of the three protagonists, the people in their lives and the society that surrounds them. It’s different from my previous work and perhaps the piece of work that is most ‘mine’. I’ve been taking a lot more stills lately and picked up my 6×7 Pentax again to shoot portraits. I have a project I am shooting in black and white 6×7, which I might turn into a book.” Stills Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Malte Rosenfeld: “I prepped a project last year that never happened, which had a lot of references to the photography of Alex Webb. They are very composed, graphic landscapes of light and shadow with characters sometimes completely silhouetted agains a front lit textured background. This was going to serve as a metaphor for the protagonists being trapped in the world that surrounds them.” Fabrik: Any advice you’d like to impart to those entering the field? Malte Rosenfeld: “Learn the craft, have a plan, don’t rush, find your own voice and never stop learning.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Oh it’s great – it just works especially with all moving image and the service is excellent, on the very rare event that it is needed. Malte uses Jute, a distinctive modern theme with classic typography and styling. Full-width cover images, homepage layouts featuring a bottom-aligned menu and a responsive sidebar. Expansive, beautiful imagery is shown off with great layout options. View Malte’s Portfolio #### Margo Mars View Lief Lief is a female-led creative content studio, promoting & celebrating inclusivity, creating new culture-defining work with exceptional uniquely diverse filmmakers. Led by Margo Mars; one of the most respected and well-known creative executive producers, the studio represents, discovers and nurtures the most diverse talent across the board. Margo has previously managed two global commercial production companies and her mission is to cultivate innovative and imaginative approaches to working and nurturing the careers of filmmakers. Mars’ body of work has won numerous awards, including D&AD, British Arrows, Campaign, MVA, VMA, Kinsale, SHOTS and Tribeca X, as well as the Grand Prix at Cannes Lions, Golds at the Clio’s and LIA. Her films have been funded by Tribeca Studios, The BFI x Doc Society, The Guardian and Lush Film Fund. Here’s what she had to share with us. ‘Quick Slice’ Lily Baldwin Fabrik: Hi Margo and thanks for your time. Would you like to share a little bit more about you? Margo Mars: “I’m the founder of Lief, a creative content studio which I founded in 2017. I have been producing short form content (commercials, music videos, films, documentary) in London since 2003, and always found myself most drawn to creativity from lesser heard voices. I’m the only production company in Europe as far as I know who represents 15 women filmmakers, out of the total 17 underrepresented creators that make up the Lief pride.” Fabrik: In the past you have successfully managed two global commercial production companies and worked with the world’s leading brands and creatives. What made you take the leap and start your own business? Margo Mars: “I wanted a genuine home for unique exceptional talent that falls through the cracks in traditional production company models. I wanted no-compromise for that vision, of a genuine diverse roster of self-expressive, truly artistic talent. I’ve always had the desire to forge my own path in the world and it was time to make that a reality!” “I wanted a genuine home for unique exceptional talent that falls through the cracks in traditional production company models.” ‘4th Wave’ Savanah Leaf for Tribeca Studios Fabrik: Part of running a production company is being clear in its offering. In advertising’s increasingly fluid landscape how do you ensure that? Margo Mars: “You trust your instinct and build with a clear style. Lief are all about style in all its incarnations, not just aesthetic style, but the ability to recognise style in how a theme or story is explored.” Fabrik: What is the most unexpected skill you bring to your job? Margo Mars: “A great bulls**t radar coupled with an instinct of what’s got integrity, is fresh and positive.” ‘Mushrooms’ Elisha Smith-Leverock for Nowness Fabrik: Let’s talk talent. You have a knack for scouting and recruiting promising talent and taking it under your wings. What are the qualities you’re looking for in an emerging director or creator? Margo Mars: “Passion and genuine desire to create something real for audiences. Talent who can tell stories that can compete with the best of entertainment.” Fabrik: Tell us about five turning points in your career: education, successes, failures, diversions. How did you dust yourself off and move onwards and upwards? Margo Mars: “My education was a real mix, I trained to be a dancer, attended drama school, and then flipped to a very serious business degree at Erasmus University in Rotterdam. All of these courses were abandoned early for the school of life – I don’t see those as failures though, I had to find my own path! Facing disappointment and picking yourself up is a daily thing, I think as soon as you realise that, you’re not ever knocked by it when it happens.” “Facing disappointment and picking yourself up is a daily thing, I think as soon as you realise that, you’re not ever knocked by it when it happens.” ‘LoveTrue’ Alma Har’el for Netflix Fabrik: Any advice you’d like to impart to those entering the field? Margo Mars: “Surround yourself by mentors, people who care. Don’t let go of your vision. Work hard and then even harder. Have a vision. Express yourself. Be inclusive, be open, have fun.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Margo Mars: “It’s SO user friendly and looks high end. Every aspect of the website is touched on, which means any template can become personal and show our style. Also love the customer service, I always get answers instantly in a very clear way. You are truly helping creators be creative!” ‘What Do You Know About The Water and The Moon’ Luo Jian Lief is built using Poplin, an incredibly versatile and straightforward theme with lots of layout options to help you to find a unique style for your website. With a focus on simple thumbnail grid layouts, creatives with lots of projects will find this theme useful. View Lief #### Matt Houghton Growing up, Matt wanted to be a writer. So, filmmaking came a lot later in his life. We talked to Matt about his creative process and the path to his current short films.“When I was 18, I was booked to go travelling for six months or so but I had to postpone my trip by six weeks because of the tsunami in the Indian Ocean. I’d been working for four or five months and I’d saved just enough money for the trip but I’d quit my job already. So, in a bid to while away the days without spending too much of my hard-earned cash, I asked all my friends if I could borrow their favourite films to watch. It started as something I’d do in the evenings – a fun little project to open my eyes to new films and to understand my friends a bit better – but before long it became a bit of an obsession. After a couple of weeks, I ran out of recommendations and I just started watching anything, indiscriminately. At one point, I was literally watching four or five films a day, just anything I could get my hands on.” Charlie Crane With a career that began in documentary, Matt moved into short films and commercials, focussing on his affinity for locating the compelling in the everyday.“I started out shooting and editing my own films and when the project calls for it, I can still see huge value in stripping a crew down to it’s bare bones to achieve something that feels unfiltered. I love working on commercials where the structure around you and the team of people that you’re working with tends to be much bigger. There’s a spirit of collaboration that comes with it and it’s a system only works if, creatively-speaking, everyone pulls in the same direction. Especially with documentary though, and especially at the beginning of a project when a lot of the focus is getting to know people and understand how best to tell their story, I really like to work on my own or with a few key people.” “I can still see huge value in stripping a crew down to it’s bare bones to achieve something that feels unfiltered.” “There’s a freedom that comes with that way of working that allows you to concentrate on what’s in front of you and adapt.” Matt Houghton Matt Houghton Currently repped by Pulse Films, and an award-winning filmmaker, Matt has had short films screened at festivals around the world. His latest short film Dear Araucaria, made in partnership with The Guardian, won the Audience Award at Sheffield Doc/Fest 2015. The film is a touching short about the life and work of the much-loved British crossword compiler John Graham, who was best known by his pseudonym ‘Araucaria’.Talking about the film, Matt says:“I read an article in the Guardian about John’s story and I was so taken with it that I ended up spending the whole day reading and listening to interviews about him.”“I do the occasional quick crossword (badly) but in truth I’m not really a crossword person. What I am very interested in, though, are ideas surrounding community, especially communities that form organically and informally. I read loads of testimony from people on blogs and forums about how John’s crosswords had affected their lives. There are some incredible stories of people who have grown up with Araucaria crosswords and, having never met him or even heard him speak, they had a clear sense of who he was. I was fascinated by the idea that over time a sense of personality could emerge from the black and white squares of a crossword and that this was something that in some ways connected a whole group of people. Dear Araucaria was my way of exploring that idea.” Matt Houghton Matt Houghton Matt Houghton Matt Houghton Getting into Matt’s process, he shares his thoughts about filmmaking:“I find that for me the creative process always starts on paper. I often find myself writing a synopsis or fleshing out a project outline very early on. I think in many ways it helps me to distill my ideas down into something concrete before ripping it all up and starting again. For me, creativity is a split-second of inspiration followed by hours and hours of development; the trick seems to be in identifying which split-second of inspiration to pay attention to.” “For me, creativity is a split-second of inspiration followed by hours and hours of development.” “Anyone who’s made a short film knows how taxing they are and the production was blighted by the usual woes. But in truth, the biggest challenge for me personally was finding the right way to tell John’s story. Form and structure are very important to me and with Dear Araucaria I made a conscious choice not to force either early on. I was really keen to let the form emerge organically and, after chatting with John for a number of hours over a few weeks, it became clear that the structure of the film itself should be informed by crosswords.”“I also felt strongly that if we were making a film that blurred the lines between fact and fiction that, as much as possible, the aesthetic of the film should be inspired by John’s life. We tried to be as faithful to this as possible, using old photographs and John’s personal accounts to inform art direction, locations and casting.”“So, the solvers you see in the film are real solvers rather than actors, the scene of John walking through the fields was shot a stone’s throw from his house, the girl and boy playing John and his sister were cast against childhood photographs, etc. This aspect of the film is something that I’m proud of but the realities of making it happen definitely put more strain on an already stretched production.”The film was well received, picking up official selections and wins at an array of festivals including Hotdocs, Kinsale, Latitude and Sheffield Doc/Fest.Matt’s using our Calico theme for his site. He’s reduced his portfolio down to his most important work; allowing his homepage to act as his entire portfolio list. Using Calico’s spotlight layout he’s provided focus to the work he really wants you to see, and backed it all up with a very simple bio page. He’s kept his typography short and beautifully neat, using Baskerville throughout. With a light monochrome palette the site becomes a masterpiece in minimalism, allowing his calm, uncluttered visuals to maintain focus, and fortifies the sense of maturity and gravity in his work. Matt Houghton Matt Houghton Matt Houghton To close we asked Matt what he’s up to in 2016, and where he sees his career and interests heading from here on.“Alongside my commercial work, I’m currently developing two short films. One is a sports documentary about a pair of twin athletes and the other is a scripted piece that plays with ideas of memory and time. I’m also in the research phase for a feature documentary that I’m really excited (but can’t say too much) about.” Matt Houghton Matt Houghton “I’m becoming increasingly interested in making films that play with story structure and that blur the boundaries between fact and fiction. Documentary will always hold a special place for me but recently I’ve been looking to combine this fact-led starting point with an interpretative visual approach. I’m finding more and more that my documentary work is being influenced by my fiction work and vice versa.” View Matt's Director Portfolio #### Matthew C Hart Matthew C. Hart is a film editor based in New York and London.A dual-national, Matthew spent his childhood in Spain, Germany and England and likes the outdoors perhaps more than a film editor should. He loves breath-hold diving, speaks Japanese, and has developed an interest in the more adventurous side of women’s fashion. Matthew C Hart His somewhat incredible filmmaking career began with assistant editing on feature films and working for post production companies in London. He then edited a mix of documentaries for the BBC and Channel 4, and developed his interest in narrative films by putting some independent films and shorts under his belt. Matthew C Hart After moving to New York and an inspirational stint working with Noah Baumbach and his editor Jen Lame on features Frances Ha and Mistress America, he’s relentlessly pursued editing feature films. Matthew C Hart When listening to Matthew speak about his work it’s pretty clear why that works for him;“I love editing films with unexpected or poetic edges. The trap is that editing is often talked about like a formulaic endeavour; “Cut on action.”, “Don’t cross the line.”, “Enter a scene late, get out early.” While these are great rules, I try to avoid a purely logic based approach. Life is about sex and death and random events, and I think films need to surprise us as much as they need to pull us into a story.” Matthew C Hart How he sees his role in the filmmaking process also gives us an insight into how he helps craft an intimate and close connection between the film and the viewer: “I love working with directors who understand editing as the third stage of the writing process.” “I love working with directors who understand editing as the third stage of the writing process. When our egos are left outside, each film becomes this incredible learning experience for both of us. I’ll never flat out say to a director “No, that won’t work” or “That’s a bad idea”, because editing is one of those activities where things that shouldn’t work often do. Moving a scene 20 minutes earlier than where it was written, or radically changing the story arc of a character can sometimes elevate, or even save a film. Each film is like learning from scratch again. Which is kind of a nightmare but keeps things interesting!” Matthew C Hart Matthew recently cut ‘Don’t Worry Baby’ starring Robert Magaro & Chris McDonald before editing on ‘Frank and Lola’ (with Michael Shannon, Imogen Poots) for Brooklyn’s Parts & Labor Films.His Most recent short “Actor Seeks Role” (Alex Karpovsky, Dylan Baker) has just started it’s festival run and won the IFF Boston Grand Jury Prize, and the Hammer To Nail film contest, and was featured on The New Yorker, Short of the Week, NOWNESS, NoBudge, and Indiewire.Living in New York and working on features has also opened the door to more work editing commercials. His previous clients include Dior, H&M, Dickies, NY&Co, and Cointreau. Expanding his already capable skillset he’s also just directed and edited a music promo for ‘Vaults’ on Virgin Records. Matthew C Hart Matthew C Hart Matthew C Hart Upcoming projects include a commercial with heavy sound design and graphical elements for Toyota and a lyrical narrative spot set on the Italian Riviera for Sleepy Jones.For his cutting portfolio Matthew chose our Jute theme. His body of work is split into two portfolios, showing off his commercials and narrative work. For his projects he’s using Jute’s Gallery layout, allowing him to focus his video-led project media full-width and backing videos up with stills from each project. View Matthew's Editor Portfolio #### Max Boerman View Max’s Portfolio Max Boerman took a calculated leap of faith: While fresh out of university he packed his bags and decided to jump across the pond and follow his dreams in the city that never sleeps – New York City. Having graduated with his master’s in Architectural Engineering from Delft University of Technology in the Netherlands, Max took a job at architecture and design firm Archi-Tectonics in Manhattan, New York. Exposure in an international setting and the scalability of projects gave him the opportunity to conceptualize and draw winning architectural designs across the globe. Here, we talk about the process of learning, unlearning, working with clients, pushing the boundaries and ultimately breaking a few things along the way. Qianhai landmark 前海地标设计 Fabrik: Hello Max, we’re happy to have you as a Hero! Would you like to share a little bit more about you in your own words? Max Boerman: “I’m an architectural designer, graduated with a degree in Architectural Engineering at the Delft University of Technology. I have a passion for smart, innovative, sustainable and research driven design. I have worked at Fokkema & Partners Architects in Delft, and at De Beeldenfabriek digital visualization and 3d modelling, in Rotterdam. Currently I’m at Archi-Tectonics architecture and design firm in Manhattan, New York – a very smart, forward-looking company, on the lookout for the most innovative ideas. I have professional experience as a lead designer in large international architectural design projects, interior design, home renovations, product design, digital and parametric modelling, prefabrication techniques, prototyping, graphic design and creating digital visualizations. I have worked on multiple award submissions – I was recently named winner of the PLAN award in the category “Sport & Leisure” with the 2022 Asian Games project – as well as international exhibitions, and publications in books and magazines.” Qianhai landmark 前海地标设计 Qianhai landmark 前海地标设计 Fabrik: Your portfolio features an impressive body of work. Do you have any favorites or milestone projects? Max Boerman: “It was an amazing experience to work on the project for the Asian Games in Hangzhou, China. This is a competition our office won in 2018 and included a mile-long park, two stadiums, a shopping mall, a fitness center, visitor center, and underground parking. I was one of the main designers on the project, so I was part of the team that worked on conceptualizing the buildings and I collaborated with some of the most talented engineers to dissect the structural systems of both stadiums. We also created a fully parametric diagrid facade for one of the stadiums together with our consultants. The project is being built right now, and it’s surreal to see it come to life through photos and drone footage” 2022 Asian games sports park (winning proposal) Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Max Boerman: “Most clients I’ve worked with are great. But I have had a taste of it in some ways. Architects and designers can sometimes act based on aesthetics they love or a concept they are completely convinced of. But clients can have a more practical approach to the design, because they’ll be the ones using it and they may also be afraid of the added complexity, time and cost. Working with a smart team, and collaborating with consultants at an early stage in the process can help reduce a lot of issues and prevent you from trying to make a design actually buildable in the end.” “Clients can have a more practical approach to the design, because they’ll be the ones using it and they may also be afraid of the added complexity, time and cost.” Fabrik: Architect – Designer – Visualizer: Which one of these “hats” do you identify with most these days? Max Boerman: “That’s a very good question! All three, because what I do includes all of them and that’s what I love. But if I had to choose, I would go with “designer”, just because it’s more holistic. I think the term “architect” insinuates building large structures, whereas “visualizer” may imply someone bringing the ideas of a designer to life. I resonate with all of those aspects of the job. Designer is maybe more vague or nuanced, but the truth is that I love to create things and objects, ranging from product and interior design to houses, public buildings and parks. I don’t have that much experience yet, but so far I’m just very grateful that things I have (co)designed are actually getting build.” 2022 Asian games sports park (winning proposal) Fabrik: How would you describe the evolution in your work from when you began until today? Max Boerman: “I think my professional career still has a long way to go, but looking back to my days as a student to today, there has definitely been some change. Working in a firm allows room for broad collaboration in the designing process, compared to working alone as a student. But it’s also the nature of the process that has changed. Right now it’s very research driven and at Archi-Tectonics, we’re always trying to innovate and to avoid getting influenced by great references out there; something that did occur to me as a student – and to a lot of students for that matter. Also I am not afraid to design something ugly. This is an evergreen principal. A lot of times, while working on very rough first ideas, designers want to achieve immediate appeal. But this doesn’t have to be the case and can sometimes stand in the way of unexpected new ideas, which still end up being beautiful.” “Designers want to achieve immediate appeal. But this doesn’t have to be the case and can sometimes stand in the way of unexpected new ideas, which still end up being beautiful.” Shenzhen museum of natural history 深圳自然历史博物馆 Fabrik: What is the most unexpected skill you bring to your job? Max Boerman: “Not sure about the skill, but I learned about myself that I actually like working with clients, and creating something that they love. I am the lead on a design project of a residence in Queens in New York where the clients are amazing to work with and it’s very fulfilling collaborating closely together and helping them realize their dream. I must say, I’m very lucky, because they’re the sweetest people you can imagine.” Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Max Boerman: “There’s so much. I love futuristic movies, such as Blade Runner 2049, that constructs this fantastic Utopian world in incredible detail. The visuals are simply amazing. As an architect, a designer and a visualizer, it checks all the boxes. I find it fascinating to experience the visions of different artists, discover how they think the world will look like in the future as well as how social events influence the built environment. I think architecture and society are closely related. Global incidents shape structures. Look at how global warming forces architects to design different types of buildings, but also COVID-19; will cities, offices, restaurants and spaces in general change because of this pandemic? As far as mentors are concerned, Winka Dubbeldam, the principal in our firm has shared with me an incredible amount of knowledge, for which I’m very grateful. It doesn’t occur everyday to get an offer to work at such an incredible firm, rubbing shoulders with such a talented and accomplished architect and designer, while still being fresh out of school. Winka looks at the car industry for inspiration, because it has evolved in such a smart way, with so many products coming together in different layers, and all designed using technology and even robots. She’s innovation-driven and she has a remarkable knowledge of the history and evolution of our craft. Truly inspiring.” “Look at how global warming forces architects to design different types of buildings, but also COVID-19; will cities, offices, restaurants and spaces in general change because of this pandemic?” Shenzhen museum of natural history 深圳自然历史博物馆 Fabrik: Can you tell us about what you’re working on right now and would like to share with the rest of us? Any related fields in the arts that you would like to explore or you are currently delving into? Max Boerman: “There are several projects in the pipeline at the moment. One is the residence in Queens I mentioned before, that is giving me a lot of practical knowledge of working closely with clients, with contractors, visiting the construction site, applying for permits… Another one in the works as we speak, revolves around the design and production of a meditation pod a client in Japan. Meditation is very big in the country and the other countries, especially now with COVID-19. People want a private space in their house for some “me-time”. Unfortunately, the project is under embargo right now, as there is a patent pending. But it was a completely different scale than the one I am used to working with; it was at the level of product design. There is a lot of attention to detail from a user’s experience perspective: how do you want to sit, how much space does a person require while meditating, should it be completely closed off, or does that become claustrophobic? How does one enter? And how can it be beautiful work, all while being affordable to allow production on a large scale?” Shenzhen museum of natural history 深圳自然历史博物馆 Fabrik: Any advice you’d like to impart to those entering the field? Max Boerman: “Let me share something stemming mainly from my own experience going abroad and designing in a professional environment so far: Don’t necessarily do what’s conventional or expected from you. When graduating, I could have applied for jobs at firms in cities in The Netherlands, but I chose to go abroad and wanted nothing more than to work in New York City. This wasn’t easy because so many talented people are looking for jobs over here. Obtaining a visa was an added burden, but I went ahead and did it anyway, it paid off and has been amazing so far. It’s not only about being surrounded by the culture and the people, but also the fact that design firms here have this attitude that anything is possible. So much is happening here, so many exciting developments. One day you’re designing apartments, and the next you’re working on a stadium. Not sure if this would have happened while staying in the Netherlands, but it feels like working New York offers an abundance of opportunity and permission to break a few rules and place yourself firmly in the picture. This is the sort of attitude that made us win the Asian Games project. Don’t copy what’s already out there or do what’s expected, but come up with something new. Be bold and daring.” “New York offers an abundance of opportunity and permission to break a few rules and place yourself firmly in the picture.” New York townhouse Fabrik: What do you like most about Fabrik? What’s your favourite feature? Max Boerman: “What made me chose Fabrik for my digital portfolio was the clean and minimalistic style, the selection of templates as well as the ease of use. I’m pretty good with digital software, but web building is not one of my skills. The fact that Fabrik offers these very simple and clear templates to showcase your work in a professional way is great; also, the technical assistance was helpful and fast.” Max is using Poplin an incredibly versatile and straightforward theme with lots of layout options to help you to find a unique style for your website. View Max’s Portfolio #### Maxx Burman Los Angeles based Matte Painter and Art Director Maxx Burman works across film, television, video games, commercials, and design.Maxx’s matte paintings have been featured in the films such as Godzilla, Iron Man 3 and Her, in shows including Game of Thrones, The Walking Dead and House of Cards. His video game credits include Call of Duty, League of Legends, and Dark Souls. His commercial clients include Nike, Lexus, T-Mobile, and Samsung. Maxx Burman Maxx Burman At just18 Maxx started his career at Zoic studios, where he apprenticed under matte painting legend, Syd Dutton. “I really love Escapism. When I was a kid, I’d spend hours and hours in video games, just exploring the different levels, and I was mesmerized by how games and film could transport you to another world. Pretty early on I realized I wanted to create those worlds. That idea, of creating a place for people to escape to, for them to experience the feeling of awe and wonder, that’s what keeps me doing this.” “I typically shoot on 4×5” film or medium format digital, and the images are best viewed large.” Since then, Maxx as worked on over 150 projects with studios such as Digital Domain, MPC, Sony Imageworks, Psyop, Blur, The Mill and 20+ other studios.  Maxx Burman Maxx Burman Maxx Burman Maxx Burman “I work from home now, and I have pretty great set up. I use a 27” Cintiq, and custom built PC. The software is always changing, and there are so many different tools for matte painting and concept work out there. I’m always trying new techniques and software, but my main staples are Photoshop, Nuke, Maya, and Keyshot.” “I am especially attracted to jobs that are unique in style or content, that allow me to create something new and different.” “I am especially attracted to jobs that are unique in style or content, that allow me to create something new and different. If I just finished doing a fantasy world, I want a scifi or apocalyptic next. I need to constantly be changing things up. The team is incredibly important as well. I always prioritize working with teams that are pushing themselves, trying to created the best work out there, and who have fun while doing it. That gets me excited.” Maxx Burman We wanted to squeeze some impart some advice and wisdom from Maxx on his journey, and what he believes are the most important steps on his path so far.“Don’t pay attention to what everyone else is doing. Don’t compare yourself to others. Everyone is on their own path, and everyone has their own influences in their work. Spend your time and energy on being the best artists you can be, pushing yourself, and finding your own way.” Maxx Burman Maxx founded the visual effects boutique Skyward VFX in 2014. The studio quickly gained a reputation for executing high-concept cinematic work. Projects completed in Skyward’s first year included cinematics for E3, superbowl commercials, a VES winning episode of Game of Thrones. One of the Skyward’s project was Far Cry Primal, where Maxx had the opportunity to work with designer, director, and visionary – Patrick Clair. Maxx later joined Elastic as Clair’s art director, where he lead teams behind title sequences such as Hbo’s Westworld and Netflix’s The Crown. Maxx Burman “At this point in my career, I’ve tried almost every medium, and I’ve worked with all the VFX studios I wanted to work with. The big blockbuster titles aren’t too important to me anymore, working with great people is. In the future, I’d like to get more hands on with art department or working one on one with directors to help design and realize their vision.” Maxx Burman Maxx Burman Maxx is currently focusing his time on his own project; Sleep Tight, a video game set to release this year, and his first solo art show, Disconnect. He also takes on freelance matte painting and design projects that are too exciting to pass up.“I’m finishing up my first art show, Disconnect, which I think finally captures my style and my ability. I’m going to continue to do personal work like this, but also continue to pursue working with great directors and art departments who want my style and influence in their projects.” Maxx Burman Maxx is using Calico for his portfolio. Calico’s spotlight layout brings his featured projects upfront in a magazine feed format that gives an instant feel of his work and his style. His portfolio is split into Worlds and Designs; the former carrying all his matte painting and environment-focussed output. His Designs portfolio carries a more varied selection of his work on titles, commercials and content. Most of his projects include video backed up with stills, allowing him to highlight his direct input into the projects. View Maxx's Design Portfolio #### Michael Fueter Michael grew up in a family of artists. His uncle is a novelist of Europe-wide fame, his grandmother one of Switzerland’s most famous actresses and his grandfather has founded Switzerland’s biggest production company, later to be run by his father. During school Michael was engaged in photography and made Super-8 films. With the pocket money he earned from editing films for his dad, he bought his first drum kit. Michael Fueter Michael Fueter After graduation Michael spent his time gigging and recording; both as a drummer and a singer, until he had nightmare one night in which he caught himself playing in a hotel band at age sixty, and decided to start working in the film industry.Starting off in the camera department, he soon turned director. Since then, he has shot for clients such as Mercedes-Benz, BMW, Audi, Renault, Mazda, Switzerland Tourism, Carlsberg Breweries, COI, Swisscom, AXA, Credit Suisse, Swiss Post and many others. Michael Fueter Michael Fueter His commercials have won over a hundred awards at festivals including Cannes Lions, Epica Awards, Eurobest, Cristal Festival, Art Director’s Club New York, New York Festivals, Klappe Germany, Art Director’s Club Germany, Art Director’s Club Switzerland, EDI Switzerland. He is member of the Art Directors Club Switzerland (ADC) and of the Director’s Guild of America (DGA). Michael Fueter Michael Fueter Michael is using our Calico theme, which gives his video content plenty of space to breathe. Each of his films are supported by a series of still images, making for a very engaging and dramatic portfolio of work. View Michael's Director Portfolio #### Milica Golubovic View Milica’s portfolio Earlier this year, we partnered with Ello to launch an initiative to support new talent, through a series of grants aimed at helping them advance their art and craft. Three winners were amongst the first recipients of the grant and we are more than happy to catch up with them and take a closer look at what inspires them and the process behind the work. Milica Golubović is a visual artist and illustrator. She creates poetic digital imagery with focus on atmosphere, color and texture, and draws inspiration from nature, the Mediterranean seaside and everyday life in general. She has exhibited solo and participated in over 70 group exhibitions, both local and international, and has received multiple awards for her illustration work. Her work has been covered in a variety of press outlets, including Fubiz, DesignSponge and IllustrationAge among others and she is the recipient of multiple international awards. Milica Golubovic – Psychologies Magazine In our interview we had the opportunity to discuss about the stimuli that affect the creative process and the ability to persevere and pushing the creative agenda, even when we don’t have everything figured out completely. Fabrik: Milica and first of all congratulations on your win. Any plans on how you’re going to be making the most out of the Grant? Milica Golubovic: “Thank you very much! Winning the Grant was very important to me since at the time the application was closing I was not in the best place in life and up until the last call for applying I wasn’t sure I’d manage to participate. Luckily, I did. It’ll surely be a good reminder for me to always go forward and push things further regardless of the circumstances. It confirmed once again that the best time is now, and it will always be. As for the plans on making the most out of the Grant, I’ll surely invest it in production of my work, but I’m yet to decide in which particular project. “ Milica Golubovic – Psychologies Magazine Milica Golubovic – Certain women – Human After All Fabrik: Would you like to offer a little bit more insight on the creative process and the thoughts behind illustrating a concept? Milica Golubovic: “In general, there is one aspect of the process that is the same for any kind of illustration work, and it can be summed up in 4 stages: playing around with the elements and composition by making thumbnails, rough sketches, detailed drawing, and, finally, coloring.  However, there’s another aspect of creative process, which is a bit different, and it depends on whether it’s a personal or commissioned piece I have to work on. The latter includes working as a part of a team, because often there are many people involved in every step of the decision making. The final outcome is almost always a result of a collaborative work. Personal projects, on the other hand, give more freedom in both conceptual and executive sense and are always good for experimenting, but I like doing commissioned work because it can be challenging and consequently meaningful, too. It can sometimes be a transformative process.” “Personal projects give more freedom in both conceptual and executive sense and are always good for experimenting, but I like doing commissioned work because it can be challenging and consequently meaningful, too.” Milica Golubovic – Kabinet Brewery Milica Golubovic – Kabinet Brewery Fabrik: What is your favorite piece of work in your portfolio? Why did you make it? Milica Golubovic: “It’s the first one I made when I made a decision to get into the process of finding my own illustrative style. It’ll always be dear to me because it was the start of what I’m doing today. I have a few more favorites, among them the ones I unfortunately can’t share due to the NDAs. My favorite pieces are always the ones that have challenged my working process and brought something new to my work.” Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Milica Golubovic: “That was happening more often in the beginning after finishing my MA studies, when my style wasn’t defined yet. I was applying and getting jobs mostly in the field of children’s publishing, however I didn’t have defined style, and I wasn’t really prepared for everything that came along with that. The level of miscommunication with ADs was high and I felt it wasn’t going to work out in the long run and that I needed to change something. So I did. Often it’s the hard times and struggles that, once lived through with awareness, lead us to new and better experiences. Things are different now. My starting position is better and I’ve learned how to communicate with the clients. Good, respectful and honest communication is the basis for any kind of relationship.” Milica Golubovic for Armuseli Milica Golubovic for Armuseli Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Milica Golubovic: “It’s always hard for me to pick just one influence. I think that everything we see, read, listen to, every new experience, travel or conversation we have, shapes what we are and how we act and react in life. Subconsciously, it all reflects on our work. It’s not easy to be motivated all the time and I admire every artist who manages to do what he or she feels that needs to be done and is consistent in it. If I am to name one project which I admire, but it’s not mine, the first which comes to my mind is “Hypnopompic” by Kustaa Saksi, the project through which he turned his chronic suffering of severe migraines into a beautiful span of woven works.” “Everything we see, read, listen to, every new experience, travel or conversation we have, shapes what we are and how we act and react in life.” Milica Golubovic – Psychologies Magazine Fabrik: What are your plans for the future? Do you have any project that you’re currently working? Milica Golubovic: “Making plans too far into the future gives me a bit of an anxiety and there’s always a pressure that something needs to be done because, well, it’s all planned and calculated. My approach now is taking one step at a time when it comes both to life and work. I’m feeling more relaxed now even if things don’t go the way I planned. New day, every day. New chance to do better, and to be better. Currently, while adding last touches to some ongoing editorial work, I’m working on visual identity for a film festival which will take place this summer in North Macedonia. It’ll be held on the beach by the Lake Ohrid, so I have a very inspiring setting to work from. Coming from Kotor in Montenegro, a small old town on the Adriatic coast, I have a special connection with places by the water. Also, I’m in the process of preparing material for my new personal project. I’ll post more info about that on my Instagram page very soon.” Fabrik: Final question: What do you like most about Fabrik? What is your favorite feature? Milica Golubovic: “I like that it’s very easy to set up and to manage it. My favorite feature is the ability to put the same project into different sub-categories / sub-portfolios. From the start I had the impression that there are real people behind Fabrik, which proved with every next step during the set up process.” Milica Golubovic – Iris Apfel Milica Golubovic – Frida Kahlo Milica is using Airdura, an immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles. With over twenty layouts to play with projects are perfectly presented and each portfolio is truly individual. View Milica’s portfolio #### Myrthe Mosterman View Myrthe’s Portfolio Myrthe Mosterman is always chasing the perfect light. Be it golden hour or a very specific point of view, her imagery paints a whimsical yet totally naturalistic picture, accessible yet out of reach. It’s not moody, it’s evocative. With an impressive portfolio of work and flagship campaigns under her belt, Myrthe has had the chance to work with brands such as KLM, McDonald’s, Volkswagen and collaborate in acclaimed feature and short films. Her constant curiosity drives to always seek the best angle, light and treatment for a narrative to come to life. Here’s what she had to share with us. KLM – 100 years Fabrik: Hello Myrthe, we’re happy to have you as a Hero! To start, you like to share a bit more about yourself in your own words? Myrthe Mosterman: “After completing my Masters in Film Studies at the University of Amsterdam, I decided to apply at the Dutch Film Academy to study Cinematography; the best decision of my life. I live in Amsterdam with my son and husband, but also travel the world, meeting incredible people to help them visualize their stories. Currently I am working on a feature film and in between films, I shoot commercials. My style is poetic and naturalistic, with a good eye for lighting.” Weeën (Labor) Fabrik: The current state of affairs has upended the way filmmaking works. How do you navigate the situation? How do you approach and adapt to the new global context? Myrthe Mosterman: “We are now maybe on the brink of a second outbreak and it is hard to tell how things will go. Luckily, at the moment the film industry is back on track in The Netherlands, with new safety rules and distance regulations, testing actors and crew, but earlier this year my work was on hold for about three months. In a way that was a special period of my life, focussing on the things that matter most to me, spending time with my family and taking care of friends and family. I was lucky not to get affected by the virus and I have picked up shooting commercials again. Now I am preparing a feature film that was written and funded during the pandemic, taking into account the current social distancing reality. It is written for a small crew. Hopefully we will start shooting in the next couple of months. “[…]my work has been on hold for about three months. In a way that was a special period of my life, focussing on the things that matter most to me, spending time with my family and taking care of friends and family.” Fabrik: They say that people will never forget how you made them feel and I think that cinematography has this quality to create emotions. Is there anything specific you look for in scripts or treatments to evoke emotions? Myrthe Mosterman: “As a cinematographer, the most important things are listening and communicating, because you have to visualize somebody else’s ideas. I have to get to know what a director wants to tell their audience and try to find the best way to do so – making the audience feel and experience the emotions on screen. I have to get inspired or touched by the narrative myself in a way, to transfer that feeling to the frames I make. At the end of the day, I love the way editing and sound lifts the images to a higher emotional level. Of course I put a lot of myself into my work, as my eye is seeing the world in a personal way and as such I show people the way I am feeling about things. I also cherish the very intimate connection with actors. You are getting so close and they are very vulnerable so they have to trust you completely and immediately.” De Dag dat mijn Huis Viel (The Day my House Fell) Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Myrthe Mosterman: “When doing commercials everybody has different points of view and it is a diplomatic job. You try to make all parties involved as happy as possible, without giving up on creativity. My main creative struggle is about color and lighting: clients often want everything to look bright and happy. They sell a brand to their target audience, but I like to tell a story in a cinematic way as much as possible, battling for the most visually interesting locations, framing, lighting and colors. But it is a great feeling when everybody is on the same page, making a great commercial. “ “My main creative struggle is about color and lighting: clients often want everything to look bright and happy. They sell a brand to their target audience, but I like to tell a story in a cinematic way as much as possible.” Osmo – Coding Jam Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Myrthe Mosterman: “I admire a lot of cinematographers and directors and get inspired daily with the things I see around me. Especially when I am traveling, new places give me great vibes and I capture my best frames in unknown settings. Some of my favorite films are the ones Rodrigo Prieto shot with Alejandro Iñárritu, especially the older ones as Babel and Biutiful. But every time I am at the cinema I am impressed with new films I see and find it difficult not to compare yourself all the time. I like photography as well, although I mostly use it as a reference point when commmunicating with a director and during the inspiration / mood boarding phase of a project. I love the work of photographers as Greg Girard, Todd Hido, Stephan Vanfleteren, Evgenia Arbugaeva as well as the If You Leave platform showcasing new talent.” Fabrik: Are there any related fields in the arts that you would like to explore or you are currently delving into? Myrthe Mosterman: “Photography is an art form very close to cinematography, so it is something I love to explore. Going to exhibitions, book stores, online and on Instagram – half of the time I am looking at creating a new interpretation of the world around me.” Fabrik: Any advice you’d like to impart to those entering the field? Myrthe Mosterman: “When working creatively, I think many of us suffer from the imposter syndrome, that awkward state of mind that tells you you’re really not adequately skilled or successful and that one day others are going to find out you are not that good at all. I think in these times it is very difficult to stop comparing yourself to others. It is important to find and trust your inner voice and just do whatever you think is right. At the same time however, it’s all about respecting the people you work with. Film making is something you never do on your own, so communication is key and you have to find a way to share your ideas and personality in a way that people want to work with you.” Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Myrthe Mosterman: “During the lockdown I had time for things that normally stay on my to-do list, so I decided to make a new website. With the help of Jiro Bosma, a fellow filmmaker, who built my website, I was mixing up all kinds of ideas and examples, and we found my favorite design at Fabrik. I love the fullscreen images at the homepage and I am very happy with the end result.” Myrthe uses Loden, a theme that focuses on making photos and video as large as possible. Loden is bold, and creatives who like to let their imagery do the talking will enjoy working with the simplicity of its layout and options.. View Myrthe’s Portfolio #### Nabil Nezzar Nabil Nezzar’s career began in France, and has spanned Australia, New Zealand and most recently Belgium. His client list is just as varied and international as his history and artistic range. Nabil has worked in many fields over the years, including fashion, products and portraits in watercolour, pencil and gouache for some of the world’s most recognisable brands. We got in touch to find out more about his work. Read what he had to say: Portraits Fabrik: We’re so pleased to have you as a Fabrik Hero! Tell us a little about yourself and what initially made you want to become an Illustrator or Artist? Nabil Nezzar: “In my earliest memories, I’ve always been holding a pencil in my hand, drawing anything that could come from my mind at any time of the day. It’s more than a hobby; it’s a need. I decided to do degree in Graphic Design. I also took evening classes in painting and drawing during my time there. During 2013, my career took a sudden turn when I started sharing my illustrations online (Behance). As a result, I began getting attention from all over the world so quickly. In two months, I was commissioned by Fabergé to work on my first large project. My career as an illustrator began then and there.” Dada Chapel Distillery Fabrik: Can you remember some of your earliest influences? Nabil Nezzar: “Rosendo Li, who was my former art teacher and is also an incredible Peruvian artist. In an effort to inspire me, Rosendo used Nazca Lines to teach me the complex technicalities of line drawing.” Fabrik: How do you like to define your illustrative style? Nabil Nezzar: “The pieces in my body of work explore the tension between bold, elegant, traditional, and timeless elements.” Ted Baker Fabrik: What can you tell us about your creative process? How do you find inspiration and plan your work? Nabil Nezzar: “There is as much variety in my artistic range as there is in my client list; So the field I’m working in determines what I do. I strive to make my portraits realistic, but they aren’t exact replicas of the actual models. Whenever I paint a portrait, I try to capture an emotion and personality. My preferred method of drawing them is with a colour pencil on thin satin paper. I apply a very thin layer of watercolour as a base, so that the pencils are in contact with the pigments rather than the paper.” Caade Fabrik: What media and techniques do you use to create your illustrative art? Are there any that you would like to experiment with? Nabil Nezzar: “Depending on the subject, I use coloured pencils, watercolour, gouache, graphite, and acrylic (rarely). And it’s pretty much been just me and my studio for the past couple of years working and experimenting with new mediums. Paper folding/cutting is something I’m very interested in; adding a creative dimension and interaction to my drawings, and I also have been exploring engraving and moulding as new forms of work.” “Whenever I paint a portrait, I try to capture an emotion and personality.” Alexander McQueen Fabrik: How do you feel your personal work impacts and influences your commissioned work? Nabil Nezzar: “Both of them are connected to one another. My commissioned work is usually based on one of my personal pieces. That’s how my career began. I have recently added my (modern)-etchings to my portfolio. Prior to that, I had practiced almost every day for two years until I mastered my technique. After that, I started getting commissioned projects from companies such as Montblanc and Alexander McQueen.” Montblanc Fabrik: Your illustrations have been featured by many international brands including Ted Baker, Smirnoff and Montblanc. Do you have any milestone projects in your career so far? Nabil Nezzar: “Among them are: Patek Philippe; with whom I have worked for over 9 years, and whose work I have exhibited at the Saatchi Gallery in London. Patek Philippe For Easter, I collaborated with Fabergé on a large scale thaumatrope that was displayed at Harrods featuring my illustrations. Fabergé at Harrods Child Focus, the Belgian Center for Missing and Sexually Abused Children, and I collaborated this year to create an illustrated and interactive reminder to ensure these children are never forgotten. In terms of emotional slant, this was the most challenging project I have ever worked on. Child Focus Recently, I collaborated with Alexander McQueen for the launch of their new book (which came out last September). I have created an entire set of illustrations based on the beliefs the late designer held.” Alexander McQueen Fabrik: What are your plans for the future? Can you give us insight on any projects that you’re currently working on? Nabil Nezzar: “I have been making a collection of drawings in a circa 17th Century style, with a rather naive and innocent approach, describing my experience as a child living in a devoted religious family. The illustrations are drawn on a book that resembles a bible, which I find very accurate, although a bit controversial. I am also exploring these drawings further through painting and sculpture.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Nabil Nezzar: “Fabrik is the only website I’ve seen that truly understands what artists need in terms of showcasing their work. This format is so simple and allows me to let my artworks speak for themselves. My favorite feature of the template I’m using (Calico) is the landing page! Elegant and simple. And I’m currently learning how to create an online store using the Ecwid tool – still a long way to go.” Nabil uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. #### Nanu Segal Nanu Segal is an award-winning cinematographer based in the UK. She is passionate about storytelling, and how images can be used to underpin narrative. For Nanu, collaborating with unique directors to create the perfect visual tone for each piece of work is an endlessly rewarding process. Nanu Segal Nanu Segal Since training as a cinematographer at the NFTS in the UK, Nanu has shot a range of feature films, from art house (All Good Children, Song of Songs), to genre (Donkey Punch, The Children), as well as numerous short films which have collected many awards from film festivals across the globe (Cannes Cinefondation Award/BAFTA/Rhode Island). Alongside her narrative work, Nanu shoots commercials for companies such as Rattling Stick, Gorgeous, Smuggler, MJZ and Moxie, to name but a few. Nanu Segal Nanu Segal Nanu’s work has taken her all over the world, from her home turf of London, to the US, South America, Africa and all through Europe. It is the process of shooting and film-making itself that inspires Nanu: she wants to keep developing and to stay curious. Nanu Segal Nanu Segal Her cinematography conveys a beautiful kind of quiet calmness; wide night shots and stillness are common themes, but it is when filming people that Nanu’s passion for her craft is revealed. Her calm, lingering and supportive style puts you right alongside her subjects, following as close as possible without intruding; a truly masterful talent. Nanu Segal Nanu Segal Nanu uses our Loden theme, with it’s full-screen homepage layout giving her cinematic images the large format exposure they deserve. Alongside her short films and commercials you’ll find a section of glorious high-res stills. View Nanu's Cinematography Portfolio #### Natalie Piacun View Natalie’s make-up artist portfolio   London based make-up artist Natalie Piacun started her journey studying at the Session School for Hair and Make-up. Continuing to grow and develop her skill she worked closely alongside industry luminaries for four years, building a strong network and a great client base across the board in fashion, runway, advertising, celebrity, music and TV commercials. Natalie Piacun Her clients include, Valentino, Alexander McQueen, Hobbs and M & S and has worked on editorials such as Tatler, Marie Claire, Harpers Bazaar, Nylon, Rollacoaster and Wonderland. We spoke to Natalie about her work and what drives her: FAB: Tell us about the beginning of your career; were you working with people that allowed you the freedom to bring your own aesthetic to your projects? NP: “At the beginning of my career it was all about keeping your head down and learning from the best by assisting on fashion shoots, shows, referencing for jobs and aiding and designing make-up looks for new projects. I was very driven to forge a career as a make-up artist from the get-go, however, it certainly wasn’t easy – often working really long hours, unpaid and alongside some powerful characters in the industry. Persistence and dedication got me though it, it really does pay off.” “Persistence and dedication got me though it, it really does pay off.” “Nearly ten years down the line and I wouldn’t change a thing, those years made me who I am and taught me everything I know. I’ve traveled the world shooting in some amazing locations and worked with some incredibly creative and inspiring souls along the way. Many of whom have become my dearest friends and closest allies.” Natalie Piacun Natalie Piacun FAB: Do you usually work with the same team on the projects you’re booked on? NP: “I’m currently represented by Untitled Artists in London and Los Angeles with a fantastic client base, both regular and new. Everyday is different, sometimes I work with completely new teams and often with old. It’s really down to the clients choice but with shoot days being a quick turn around we are always circulating and bumping into a friendly face along the way.” FAB: Where do you cultivate and curate your references or inspirations from in general? Online, out in the street, editorial, anything like that? NP: “I am continuously inspired by my industry on a daily basis; seeing many new productions of work across the board from directors to stylists, to fellow make-up artists and more. There’s never a dull moment and always something impressive being created. With every new client comes a new set of inspirations, referencing process and team, which is what keeps us ticking and ignites passions and flare. From cinematic referencing to art, music and photography – the ideas are endlessly thought provoking and compelling.” “With every new client comes a new set of inspirations.” “I find inspiration from a wide variety of subjects such as vintage and new magazines, online referencing banks such as Trunk Archive, photographers, designers, books, music, art galleries and cultural influences. Inspiration in all things is endless – there is a silver lining to everything.” Natalie Piacun FAB: Is there a particular type of work you prefer – fashion, commercials, celebrity? NP: “As a make-up artist, I‘m creatively drawn to Fashion Editorials in particular as the make-up design has more room for imagination and is often well thought out, and an integral part of the team and process which comes together to create a flawless and stylized piece of imagery.” “I shoot regularly for some of the worlds most established publications such as Britain’s most loved Tatler – one of my favourite clients to date always working with extremely imaginative teams in an open, respectful and friendly environment. Going to work with such clients is part of what I love most about my job. I’m very fortunate to work with truly talented and open people which just adds to the creative freedom and overall group input.” Natalie Piacun FAB: Any interesting stories from your time on shoots, and what would you like to be working on in the future? NP: “From joking around with Ronnie Wood telling him ‘these hands cant work miracles’, to shooting the Dallas Cowboy Cheerleaders on the beaches of Mexico, working at London, Paris and Milan Fashion Weeks, and shooting through the night for Stormzy’s Nego Duppy Video. My career to date has been beautifully complex, hard work, extremely long hours but nothing short of the most amazing experiences with the most incredible people along the way. I look forward to seeing what the next ten years will bring.” “My career to date has been beautifully complex.” “In the future I hope to be continuing to work with amazing talented teams, creating iconic images and driving social, cultural and global awareness through fashion. I am currently developing and in technical trials for a new beauty app, which is really exciting and I hope to be a great success and an industry game-changer. Watch this space.” Natalie Piacun Natalie is using Jute for her site with feature layouts introducing her work across her homepage and portfolio areas. Her portfolio is organised into genres; Editorial, Commercials & Music, Celebrity and Menswear; splitting up her body of work helps viewers and prospective agencies find the work most relevant to them. For her projects, Natalie uses Jute’s stacked layout with scans directly from publications. Large format images  communicate the quality and perfection in her craft, making for an engaging and elegant portfolio of work. Her portfolio is backed up with a blog that features her preferred cosmetics; the tools of her craft, alongside a less structured format of shoots and editorials that she’s working on. View Natalie’s make-up artist portfolio #### Neels Castillon View Neels’ Portfolio Neels Castillon is a Paris based film director and artist. Named one of the 2018 Young Guns by the ADC/One Club for Creativity, Neels has built a reputation directing visually rich and emotionally engaging films in challenging environments. He has directed award-winning shorts, music videos, feature documentaries and brought his love for creative challenges to top brands including Lacoste, Hermès, Nikon or Puma. He is represented worldwide by the Rildey Scott Creative group and he co-founded Motion Palace a creative studio, producing original content for brands, agencies and the arts. Neels Castillon Fabrik: Hi Neels, we’re so pleased to have you as our Fabrik Hero and to catch up with you. To begin, we’d love for you to share a bit more about yourself in your own words? Neels Castillon: “I’m not very talented to speak about myself… but in a few words I’m a film director and photographer living in Paris. I co-founded a creative studio called Motion Palace and we’re very lucky to make a living working on interesting projects with great people.” Fabrik: As a director is there anything specific you look for in scripts? What draws you to a project? Neels Castillon: “I’m very curious and I love my job as I have the opportunity to discover new things everyday. I think what draws me is the originality of the idea first and what I will learn whilst doing it. It could be travelling, experimenting new technics, meeting challenging artists. Let’s say between two projects I will definitely choose the one that will be harder to shoot with a smaller team very far away than the big commercial in studio.” 間 MA — The Space between all things Fabrik: When scouting for a film location, what aspects must you take into account? Where has been your favorite location to shoot? Neels Castillon: “It’s more of a subjective feeling depending on what kind of emotion you want for the visuals. I look for something unique that hasn’t been filmed a thousand times. I take into account the colors, the lights, the landscape but also the feasibility in terms of production (cost and security). I have been to so many incredible locations it’s impossible to choose.” Fabrik: Your portfolio features an impressive body of work from branded content to music videos and documentaries. Do you have any milestone projects in your career so far? Neels Castillon: “Almost every project I put on my Fabrik website is a milestone in a way. I do a lot of different projects but only the best end up on my website, if I find it good enough to be saved for the memories :D” Lacoste Fabrik: Would you like to tell us more about your source of inspiration? Neels Castillon: “This is a vast question: books, films, nature but first of all, people. I realize that most of my projects are the result of meeting great people, ones that inspired me to build an idea especially for them. That’s why I’m always happy to collaborate with new artists; Musician, dancers, actors, athletes, writers, etc. because I’m not very interested in myself but more in portraying others.” Jalousie “I look for something unique that hasn’t been filmed a thousand times.” Fabrik: You have worked with brands including Lacoste, Hermès, Nikon, and Puma. Has there been any challenges whilst working on-set or pushing your creative and artistic approach to clients? Neels Castillon: “I learn everyday on how to pitch an idea to get the client trust your vision.” Fabrik: You are founder of Motion Palace, a Paris-based creative studio working in collaboration with the Ridley Scott Creative Group. What sparked the idea behind the creation of Motion Palace? Neels Castillon: “Ariane Cornic, my co-founder and producer asked me to create this studio few years ago. I was very happy freelancing and pretty inexperienced to start a company but I trusted her. Now I realize it was a very good choice because it’s a wonderful tool to make projects happen. You don’t have to wait or to chase anyone. When you have an idea and a solid team it’s way easier to make things happen. Now we have the trust of top clients, agencies and a tv channel, it’s a very good place to be. Our relation with the Ridley Scott creative group is pretty new since last year but it expands a lot the creative opportunities and the production possibilities. I love the team – We are cooking some great stuff with them. Stay tuned!” F Major Fabrik: Can you give us insight on any projects that you’re currently working on? Neels Castillon: “That is top secret 🙂 All projects have big NDA now, but I can say we are working on a worldwide campaign for a famous brand that will take one year to be done. We are still improving the rebrand of the French Channel France 5 and we’ve been invited to make an art project in the US and in Russia but like everyone we’re waiting for covid to be over to make this happen.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Neels Castillon: “I love the simplicity and the design. It’s a perfect tool to show your portfolio to the world without being an expert in web design.” Neels uses Airdura, an immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles. With over twenty layouts to play with projects are perfectly presented and each portfolio is truly individual. View Neels’ Portfolio #### Nicolae Negură View Nicolae’s Portfolio Nicolae Negură is a Romanian illustrator and artist currently based in Lisbon, Portugal. He completed a graphic arts degree and masters at The George Enescu National University of Arts from Iaşi, Romania. His practice as a digital illustrator shifted to mixed media illustration and painting, helping him cover a diverse range of creative areas such as advertising, print, and editorial, urban art, press illustrations, or fantasy art, among others. Nicolae’s work is a combination of strong and garish colours with a rough ink trace that resembles vintage comics. It speaks about people and about the different experiences of humankind, from banal stories of daily life to dreams and feelings. We caught up with Nicolae to discover more about his creative process and the inspiration behind his illustrations. Here’s what he had to say: Skateboard Artwork for Street Surfing Fabrik: Hi Nicolae! We’re so pleased to have you as our Fabrik Hero and to catch up with you. To begin, we’d love for you to share a bit more about yourself in your own words? Nicolae Negură: “Thank you all at Fabrik so much for featuring me. My name is Nicolae Negură and I am a Romanian illustrator and artist based in Lisbon, Portugal. Until a few years ago, I used to introduce myself as a digital illustrator. For a long time, I had been featured and also worked as a digital illustrator, although I was always mixing traditional media with digital media. Currently, I prefer working with an assortment of mediums so I’ve incorporated more techniques in my work such as acrylics, watercolors, markers, etc. My work reminds people of vintage comics, pop art, and days of nostalgia. Keeping always the same expression, my work made use of many creative fields like advertising, editorial, packaging, painting, and urban art.” Fabrik: How did you become an Illustrator, and what led you to begin creating illustrations for advertising, print and editorials? Nicolae Negură: “I studied Graphic Arts at George Enescu Fine Arts University from Iasi, Romania, where every year one of our main courses was illustration. Although our focus was mostly on children’s book illustration, I think with my dissertation project it became clear to me that I was closer to advertising and editorial illustration than any other forms of illustration. After uni, I was working as a part-time graphic designer and freelance illustrator. Then, when I moved to Lisbon, I decided to dedicate myself exclusively to illustration and mural painting. I’ve always been drawn to pop culture, pop art, and more mature subjects in art. I guess this has contributed to my opting for these genres of illustration, such as advertising, editorial, poster. etc., where I could really feel like myself and enjoy what I was doing.” Nada / Nothing Fabrik: You work with a combination of strong and garish colours with a rough ink trace to resemble vintage comics. Could you tell us more about the inspiration behind your illustration style? Nicolae Negură: “Besides really liking how a brush full of ink feels on the paper when tracing, and the details it adds to my pencil drawing, the inspiration behind it goes to vintage comics, pop art, and urban art. Having now again reflected upon my work, I’ve always been attracted to the illustrative part of comics and this became visible in my style over the years of my art practice. The strong colors are due to my oil painting studies and the adoration for pop-art. More exactly, the paintings of Andy Warhol and Roy Lichtenstein, which also used vintage comics or elements as a stand-alone artwork. Adding to all this is street art. It’s youthful and fresh representation became all incorporated into my visual representations.” “I’ve always been attracted to the illustrative part of comics and this became visible in my style over the years of my art practice” Fabrik: You mention that your illustrations speak about people and the different experiences of humankind, from banal stories of daily life to dreams and feelings. Could you give us insight into your creative process? Nicolae Negură: “My work as a subject shifted a bit from my early years to the present time. When I started, I was more interested in speaking about my experience and influence that soap operas, superheroes, cartoons, movies, and everything pop culture had upon me and around me. But in the end, it was always about people and representing them as it still is now. At the moment, my personal work speaks more about feelings like anxiety, solitude, happiness, and love loss between others. There is always something to add to these experiences as this process is still happening for me and everyone around me. So in that sense, inspiration is not difficult to find as you can find it everywhere. I’ve been asked several times about who these people are that I represent and never knew exactly how to answer such a question. I guess they are or could be, everyone. Although I use photo references of myself or people I know, I always try to distance myself as much as possible from any reference. Even if people would be flattered by being represented in my work, it is not my main focus. It is only the expression and gesture of those people that I use to express a concept or a feeling.” Random_Things “…Inspiration is not difficult to find as you can find it everywhere” Fabrik: Originally from Romania, how has living in Lisbon, Portugal, reflected within your work? Nicolae Negură: “Besides being inspired by the city, the lovely weather, nature, and the people, I feel as though my career as an illustrator started here. I’ve been given plenty of opportunities here and had collaborations that helped me expand my portfolio and feel appreciated for my work. I started painting murals by applying to open calls for local artists. Within the first year, I already had two street art paintings visible to the public. This had a clear reflection both in my work style and artist status as it led to me being more noticed and appreciated as an artist.” Fabrik: Your art has been featured in international publications and exhibitions. Do you have any milestone projects in your career so far? Nicolae Negură: “There have been a few and I am looking forward to more in the future. One has been featured in Lürzer’s Archive 200 Best Illustrators 2016/2017 and the other one was creating beer label illustrations for a local brewery called “Dois Corvos”. It felt really nice to have people recognize my work because of these labels which could be found in most of the local supermarkets.” Nada / Nothing Fabrik: Can you give us insight on any projects that you’re currently working on? Nicolae Negură: “Yes, right now I am working on a book project that consists of the paperback cover illustration and several inside page illustrations. It is in early development as I’m still working on the drafts that will be presented directly to the author. On the side, I am working on a personal project that consists of several acrylic portraits on paper and canvas, and a few other paintings of landscapes and other objects. These are based on reflections and ideas collected in the periods of quarantine we had these past two years. “ Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Nicolae Negură: “I like that most of the features on Fabrik are very user-friendly and I find it very easy to upload and manage my projects. The themes fit my work perfectly and add a very good and professional touch to my portfolio.” Nicolae uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. View Nicolae’s Portfolio #### Nikita Popkov Nikita Popkov is a Cinematographer from Riga, Latvia. He has a passion for Kodak motion film and experimental visual. We took the time to get to know Nikita and learn more about his work. Read what he had to say:Fabrik: We’re so glad to have you as our Fabrik Hero Nikita. We’d love for you to share little bit more about you? How did you first get involved within the filmmaking industry?Nikita Popkov: “Since childhood, I was in love with professional lighting and video equipment. That was something very expensive and access to it was limited. It attracted. I could observe the spotlights at concerts where my parents took me. Most often, all my attention was on the ceiling where the equipment on trusses were mounted.At school, my hobby was lighting, I already had some kind of spotlights of my own. In the 8th grade I met my future friend Nastja. Her parents were into photography and gave her a camera for her birthday. By the way just then, the revolution in the world of digital video filming began and DSLR photo cameras began to shoot pretty decent cinematic video. Together we started shooting some first videos for ourselves and for the school. Now she has become an architect in Scotland, and I continue to make videos.”ELLIE GOULDINGFabrik: How would you describe your style of cinematography?Nikita Popkov: “I love experimenting and be in constant search. Trends change, vision too. I would not really like to work in the same style all the time. Of course this often confuses producers and directors. It is always more convenient to choose a director of photography with some special style, as it would be calmer and clearer. But I always want something different.Sometimes I find my old works, looking through them I notice that the feel and style were completely different and now I would shoot it completely differently, or some videos that seemed terrible to me then might like it now.”ELLIE GOULDINGFabrik: Where do find your source of inspiration?Nikita Popkov: “Inspiration can come from anywhere. The question is the required amount of this inspiration. If the project really turns you on and is interesting, then it will be easier for inspiration to come from any little things. If the project is less successful or I’m just in the search of ideas, then I try to be inspired by music, people, travel, loneliness. I love to collect art books with photos and drawings. This often helps to find the right ideas. I can disappear in the bookstore for a few days.”RICHARD QUINNFabrik: Can you tell us more about your creative process – from the beginning of an idea to the point of production?Nikita Popkov: “Of course it all depends on the project. Most often I work as a director of photography in tandem with a director. And for me this is the most comfortable position. The process of creation takes place in a team. In this case, I can pay more attention to the technical side. If the project is completely mine and I do it partly as a director. (I don’t have many such projects and as a rule they don’t make much sense, but more just visual and fashion.) I try to set tasks for myself that would be interesting to try. Independent projects are always passion for me. I have several friends on the team with whom I share my options and everyone adds their own comments to remove or add ideas. We write a script with a small selection of references and then the project moves into the production stage.”EXPOFabrik: You mention having a lot of love for Kodak motion film and experimental visuals. Could you delve into this a little further?Nikita Popkov: “Oh yeah! My first experience with film was in Moscow. This was unusual for me. Before shooting at 16mm, I really liked the clean image, as digital as possible. But after my first passion project on film, my vision completely changed. I really liked the texture and details in the film. The process itself was also somehow more romantic and responsible.”“I love experimenting and be in constant search. Trends change, vision too. I would not really like to work in the same style all the time.”RICHARD QUINNFabrik: Your portfolio features an impressive body of work. Do you have any milestone projects in your career so far? Nikita Popkov: “Thank you! I hope they are still ahead. But, of course, sometimes some works become more recognisable. Such work was an on-air promo for EXPO in 2017, a short fashion video for a young designer Nikakibi in 2018, a fashion musical film for Richard Quinn in 2021.”Fabrik: Do you have any insights, tips or advice for people starting out in the world of cinematography?Nikita Popkov: “Everyone in this industry has their own path… Some of my advice? Experiment more, try to find your individuality. Be prepared for a long absence from work – find a hobby that will delight you in these moments. Try to be in a big city to get more contacts and connections. Keep your portfolio in order. Make a website, just Instagram is not enough. In addition, often Instagram simply does not work. The website portfolio has helped me out a lot.”YOUNG & BEAUTIFULFabrik: Would you like to share a bit about your latest projects or anything new you’re currently working on?Nikita Popkov: “I usually keep a secret what I’m working on at a particular moment. But one of the last works was – a music video for Ellie Goulding “Easy Lover”. Directed by Sophia Ray. We filmed 3 days in Bulgaria with Partizan production and 4th element production. It was a great process.”Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature?Nikita Popkov: “Fabrik was recommended to me by director Egor Abramenko (http:// www.egorabramenko.com). I immediately liked the convenience with which you could choose a template, by the way, it was very suitable for posting video works. I am very pleased with the site’s support service. If I needed something urgently, they responded very quickly. Additional customisation is always possible free of charge through the support team.”Nakita uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. View Nikita's Portfolio #### Oliver & Hans View Oliver & Hans artist portfolio Hailing from Denmark and the Republic of Korea respectively, Oliver & Hans began collaborating in 2007, launching their first website together in 2016. The artist duo makes art that uses a range of media including painting, collage, print and installation. Their work encompasses a visual language embedded in a process of formal abstraction – investigating the construction and subsequent deconstruction of form. Through this process the themes, forms and motifs of their work are built up and re-worked over time. With each iteration new works are formed in which the dialogue is in a constant state of flux. Oliver & Hans Oliver & Hans Concerned with intimacy, memory, and obsession, their work is characterised by it’s signature graphic style; portraits, outlined in thin lines and pared down to their most basic details, are hallmarks of there visual style. Drawing on a contemporary visual language from computer graphics to road signs and billboards, Oliver & Hans creates landscapes and portraits in an instantly recognisable signature style defined by a stripped-down vocabulary of schematic lines and blocks of colour. Interested in the ways reality can be represented and reflected, Oliver & Hans often reduce iconic subject matter (like close-up portraits, landscapes, and the body in motion) to simple geometric forms, typically rendering faces as a series of piercing dots and lines. Oliver & Hans Oliver & Hans We spoke to Oliver and Hans about their process, inspiration, and plans for the future: FAB: Building faces, or masks, with symmetry is a continuing theme in your work. Does this derive from a desire to explore emotion, character, or expression, in people? OH: “Before making the mask series we researched Rorschach art by artist – Andy Warhol, H.C Andersen, Henri Matisse and William Morris. The Rorschach technique helped us to discover the spiritual and poetic quality of repetition in our work.” “The pattern of our work of art is equal to the form of a piece of music.” “It became a dogma rule for how we build up the layout for all the masks. The pattern of our work of art is equal to the form of a piece of music. We like to achieve the same effect of a good melody. A catchy melody makes you smile and keeps looping in your memory.” “The mask collages represent distinctive personas that we are meeting in the real world. The mask collages consist of many layers. The depth of these layers illuminates many faces of a single persona.” FAB: Where do your sources come from? Do you have specific mediums, cultures or periods of history that you take inspiration from? OH: “Our sources come from old sketchbooks, postcards, found objects and history photo books that we buy in local flea markets.” “We are using our differences of nationality, culture and history as a DNA in our work.” FAB: Looking at your portfolio it seems your work has moved from found media – collage pulled from published sources, to more graphic pieces that you’ve generated from scratch. Is that an evolutionary phase-shift in your process or is it an experiment? OH: “We always pursue in defining new directions in art. It’s always been the code in our work that we mix the analogue and digital working methods. The mask collages are made from years of collected ideas, solid paper to cut and paste, and then scan, redraw, print and transcribe it to graphic art pieces.” “You are right – it’s an evolutionary phase-shift in our process that the work is becoming more graphic. We think of it as an important illustration of modern art innovation. Digital media is part of the creative process – we can make quick changes to the artworks and send it back and forth to Seoul/Copenhagen using web online spaces.” “Digital media is part of the creative process.” Oliver & Hans FAB: Do you use stock illustration in your collages? It looks like that might be part of the comedy of the pieces; a sort of evolution in the found media you use – and forms some of the message your expressing in your work. Is that what’s happening or am I just looking to hard into it? And does that help you control the vast amount of possible inputs (and outcomes) of the process of creating work from disparate shapes and media? OH: “The used imagery for the mask collages are inspired by stock illustration, pictograms and symbols. We are using bold graphic metaphors, because we consider that this visual language interconnects to a broader audience. This visual language is recognisable and therefore the viewer gets attracted to it right away.” “At first glance the art looks easy and simple to decode, after a closer look you realise all the layers of information. You can compare the mask collages to a stuffed duck! – full of spices and various tastes. The exciting thing about art is – the explanation of a given art piece can be fixed, but the viewers interpretation of it can be very different.” “You can compare the mask collages to a stuffed duck! – full of spices and various tastes.” FAB: What would you like to be working on in the future? OH: “Our dream for the future is to collaborate with some of the leading print workshops in Europe and Asia. The plan is to exhibit these prints. We like our work to be associated with style and of course, humour.” FAB: Any advice you’d like to impart on our craft to digital fine artists going into the field? OH: “Follow your interests and communicate it through your art. Team up with creative people that share the same interest and obsession.” “Collaborating with others help you ask lots of questions about what approach to life you want.” Oliver & Hans FAB: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career OH: “Right now Hans is collaborating with Kawalabo lithography printmaking workshop in Japan. Hans and Kawalabo are producing limited edition mask prints. Oliver is working on drawing new clipart for the summer project 2017.” “Life is short, Art is long!!” Oliver & Hans Oliver & Hans use Canvas for their site with thumbnail grid layouts that allow easy viewing of each piece in each of their series of work. Lightbox layouts for projects open up to allow their viewers a glimpse into the detail and intricate nature of the works whilst at the same time allowing each piece to be viewed independently.  The artists back up their portfolio with a blog that reveals the behind the scenes work on their pieces. Featuring video of their experiments and their installations and shows, the blog serves as an excellent document of their process, and of their world. View Oliver & Hans artist portfolio #### Oliver Curtis View Oliver’s filmmaker portfolio Oliver Curtis BSC learnt his craft as a cinematographer in documentaries, music videos and short films for the Arts Council of Great Britain and the BFI. It was for the latter that he lensed his first feature ‘Madagascar Skin’, directed by Chris Newby.  Other features soon followed along with high profile television work, including the acclaimed BBC TV series ‘Vanity Fair’ directed by Marc Munden, for which he was nominated for a BAFTA award. He also directed numerous documentaries for Channel Four and BBC TV, including ‘Trotsky’s Home Movies’ and a portrait of the great Italian director ‘Gillo Pontecorvo: The Dictatorship of Truth’, along with programme related articles published in The Observer and The Listener magazines. In 1996, Oliver became one of the youngest cinematographers ever to be invited to join the British Society of Cinematographers (BSC). He continues to plough a distinctly idiosyncratic path as Director of Photography on feature films as diverse as Clare Kilner’s ‘The Wedding Date’, Frank Oz’s ‘Death at a Funeral’ and Joanna Hogg’s ‘Unrelated’, as well as experimental gallery-based installations such as Gideon Koppel’s ‘Borth’.  He has also worked with high profile brands and clients in hair, beauty and FMCG commercials, working for Pantene, L’Oréal, Well, Palmolive, Rimmel, as well as Coca Cola, Sony, Guinness, Canon, Cadbury’s and EON. Ferragamo – Mert & Marcus shot by Oliver Curtis Perrier-Jouet – Journey shot by Oliver Curtis Apart from his work in feature films, Oliver remains prolific in the world of photography, too. Quite prolific, and busy indeed, he granted us a little bit of his precious time to ask about his thoughts and anecdotes from the centre of the action! Fabrik: You have worked across different genres – documentary, commercial, feature film- and have done so with great success. Do you have any preference or would you like to focus on a specific one in the future? Oliver Curtis: “My work in film and photography is almost wilfully diverse.  I’m just drawn to compelling stories and ideas, whilst the medium itself is almost a secondary consideration. ” Fabrik: Would you like to share a little bit more about your work on photography? I’ve noticed you are equally enthusiastic about the artistic approach – from the impressionistic London Conversation to the naturalism of Half Ton Hospital. What is the creative rationale behind capturing the perfect frame? Oliver Curtis: “My photographic practice varies enormously in style and subject, but what I think unifies it is an interest in depicting the unexplored. And by that I don’t necessarily mean exotic landscapes that haven’t been photographed before, but more capturing the familiar from an unfamiliar or unexpected point of view. The Volte-face project encapsulates this – turning my back on some of the most photographed places on the planet to record the view no-one else is looking at. In contrast to this, London Conversation depicts familiar views in my own town in a deconstructed, abstract way rendering the everyday as a series of textures and impressions.” Olly Murs – Years & Years shot by Oliver Curtis Fabrik: Any interesting or fun anecdotes from your time on location, or from the reception of your work? Oliver Curtis: “The Volte-face project took four years to complete. My aim was to visit as many of the most visited and therefore photographed places on the planet and discover a view at each of them that revealed something new and unexpected. In every instance I hoped to reflect some aspect of history, ancient or recent, that one might associate with that particular site.  Occasionally, my take would be very personal, reflecting my mood or thoughts at the time (at Buckingham Palace, for instance). In other situations, a composition would present itself (such as the Lincoln Memorial in Washington DC) which seemed to engage in a really specific way to the history of that monument.  These visits would typically take 3 to 4 hours, but one or twice I would return multiple times over a period of days until I found a shot which seem to encapsulate my feelings about the place.” “My photographic practice varies enormously in style and subject, but what I think unifies it is an interest in depicting the unexplored. And by that I don’t necessarily mean exotic landscapes.” Christ the Redeemer, Rio de Janiero, Brazil shot by Oliver Curtis Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Oliver Curtis: “Andre Tarkovsky’s film ‘Mirror’ has been the most influential film in my life. Despite being a very personal piece of work, it draws the viewer into its collage of dream, memory and fantasy. It is so luminous that the cinema screen seems to glow from within. The final shot, where the camera drifts inexorably away from the characters into a forest, seems to perfectly encapsulate how memories of childhood become increasingly distant and elusive over time. ‘Mirror’ is the purist kind of cinema in as much as it couldn’t exist in any other medium.” “Andre Tarkovsky’s film ‘Mirror’ is the purist kind of cinema in as much as it couldn’t exist in any other medium.” Fabrik: Any advice you’d like to impart on your craft to DoPs and photographers going into the field? Oliver Curtis: “The best advice I could give is to build relationships that last. In my experience, most filmmakers want to rely on someone they know well and whose instincts are aligned to their own. I would also encourage new practitioners to be aware of inclusivity and diversity in their crewing and collaborations. The film and television industry has made great strides in this area but still has a long way to go.” Palmolive – Waterfall shot by Oliver Curtis Love and Death on Long Island shot by Oliver Curtis Fabrik: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career? Oliver Curtis: “On a photographic front, my next project is one much closer to home.  Instead of looking at distant lands, my new subject lies within one mile of my own home in London.  Nevertheless, I am looking for scenes that somehow connect the viewer to diverse lives and cultures that have randomly coalesced in adjacent houses in one area of the city.” In conjunction with his work as a cinematographer, Oliver continues to produce stills photographic work for major broadcasters as well as generating his own projects for exhibition and publication. His first solo exhibition VOLTE-FACE premiered at London’s Royal Geographical Society in Sept 2016. A book of the project is published by Dewi Lewis Publishing. “I would encourage new practitioners to be aware of inclusivity and diversity in their crewing and collaborations. The film and television industry has made great strides in this area but still has a long way to go.” Death at a Funeral shot by Oliver Curtis Oliver is using Poplin theme, an incredibly versatile and straightforward theme with lots of layout options to help you to find a unique style for your website. With a focus on simple thumbnail grid layouts, creatives with lots of projects will find this theme useful. View Oliver’s filmmaker portfolio #### Prateek Vatash View Prateek’s design portfolio You may know Prateek Vatash for his critically acclaimed work during this year’s Frēsh Awards, including ’36 Days of Type’ and ‘Gliteratti Dynamite’. The truth is that his body of work features an impressive blend of elements, taken from his interests in typography, geometry, occult, architecture, neon, and retro-nostalgia. His style exudes contrasts, often mixing 2D and 3D visuals, in a vibrant and bold manner that aims to inspire and excite others. Smooth curves, rich texture and a broad prism of colours converge in Prateek’s work to create resplendent visuals that balance between illustration and reality. Based in Bangalore, India he draws inspiration from the world’s occults, the glorious 80s and architecture. Here’s his hero profile. Prateek Vatash – Spaces Project Fabrik: Your work is highly regarded and has a strong photo-realistic element to it. While this would appear to be one of the main premises of 3D design, have you ever considered how a physical representation of your work would look? Prateek Vatash: “Thank you! It would absolutely be a dream to actually be able to visit and physically experience my work. At some point in the future, I would love to actually work with big empty spaces, transforming and working on them the way I would digitally. A couple of people had suggested that I could also possibly try an interactive approach through Virtual Reality, so that’s also definitely something I’m curious about.” Fabrik: There are strong architectural and retro elements in your work, which is uncommon in 3D design where futurism and surrealism are prevalent. Would you like to tell us more about your source of inspiration? Prateek Vatash: “I’ve always had an interest in spaces, architecture, and buildings. In fact, I think I would have been an architect, if not a designer/artist. I had also wanted to become an environmental concept artist when I was in art school, which I had to let go because I changed my focus more towards graphic design and illustration. In that way, a lot of inspiration just comes around from the places I visit, and things I interact with. I’m also fascinated by retro-futurism, and 80s pop music. So I guess elements from all these areas culminate in my work in some form or another.” Prateek Vatash – Illustrations (Volume 1) Fabrik: Both your personal and commercial work feature a resplendent collection of forms and shapes of all kinds. Have you ever had any difficulties pushing your creative and artistic approach to clients? Prateek Vatash: “Often times, clients have approached me based on a certain style that they liked from my portfolio. In that case, it makes it easier to work towards an outcome, because I have a visual direction in mind to start with. I always love to take up new challenges, so it’s also fun when a project brief requires doing something I’m not too familiar with. It’s worth it in the end to push boundaries, and come up with something completely new and unexpected. The uncertainty of not knowing the outcome is also very exciting, and I look forward to it.” Prateek Vatash – Illustrations (Volume 1) “The uncertainty of not knowing the outcome is also very exciting, and I look forward to it.” Fabrik: Would you like to offer a little bit more insight on the creative process? Prateek Vatash: “I generally start with a rough sketch of the idea I have to visualize. Depending on the complexity of what I’m trying to create, it could require the use of multiple software, starting with basic outlines in Photoshop, then working out details in Illustrator, and then finally adding dimension through 3D software. Sometimes I also jump into creating something straight away, without a fixed goal in mind, and improvise on the go. It’s fun to come up with visually diverse results that way by trying out new things.” Fabrik: Will you let us peek into your digital toolbox? What software and plugins can you not live without? Prateek Vatash: “My primary software for 3D is Cinema4d, which I use along with several render engines (Mostly a mix of VRay, Cycles4D and Physical) depending on the requirement. Irrespective of that, I can absolutely not live without Adobe Photoshop and Illustrator. These two, in particular, have helped form the foundation of all the work I have created. Over the years I have created a collection of custom brushes, actions and presets for both, that boost my productivity a lot. I have also created several workspace templates for all these software, which are very helpful and allow me to switch the work palette easily depending on the task at hand.” Fabrik: Any interesting or fun anecdotes from your time working on projects, or from the reception of your work? Prateek Vatash: “I find it interesting how certain artworks are perceived in different ways by different people. I also really enjoy interacting with others on social media, and love to hear opinions and suggestions about my work. That has helped me push my own boundaries of what I create. I truly appreciate the audience and the support that I have received from them over the years.” Prateek Vatash – Illustrations (Volume 2) Prateek Vatash – Illustrations (Volume 2) Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Prateek Vatash: “One of my biggest role models in life has been Madonna, and I think her work has influenced me the most. Her career has always been so awe-inspiring, and I love how she has always reinvented herself so many times. As an artist, I feel it’s so important to keep trying new things, both in and out of one’s comfort zones, and she is probably the best example of that. That’s something that has stuck with me, and I strive to keep reinventing and moving ahead with my work. Many of her early-2000s albums still heavily influence my work in terms of the art direction, colors, and the mood.” Prateek Vatash – DLTD-Scenes Magazine Fabrik: Any advice you’d like to impart on your craft to art directors, 3D designers going into the field? Prateek Vatash: “Do the work that you’re happy with, feels right to you, and something that you connect with. It’s very easy to get carried away by trends and things that are popular, and doing things very similar to that. I think the true magic happens when you inject every bit of your personality into the work you create. At some point, I also realized that if you make stuff just to make others happy, it doesn’t really work. If you’re being yourself, the world WILL notice for sure.” “I think the true magic happens when you inject every bit of your personality into the work you create.” Prateek Vatash – DLTD-Scenes Magazine Prateek is using Canvas, a feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. View Prateek’s design portfolio #### Raquel Villa View Raquel Portfolio Raquel Villa is a visual artist deeply inquisitive about uncommon behaviours and physics; a recurring theme in her digital work. Originally from Madrid, and currently based in London, her research-driven practice investigates digitally simulated systems that speculate with unconventional physics. By using movement and altered physics to interlace all her interests, her work results in a play of scale and perception, zooming between intricate details and sweeping compositions in scenes that blend her architectural background with organic fluidity. Slow, deliberate animations coexist with swift, agile motions, infusing her work with surreal speculation and magic realism. Her work has been exhibited in cities including London, Berlin, Stockholm, Madrid and Buenos Aires, for festivals and exhibitions such as MUTEK AR, Softer Digital Futures, MMMAD Festival and Untitled Project Space, among others. Besides participating in panels and talks, she has been involved as a seasonal lecturer at Ravensbourne University in London and has given lectures and workshops at the Higher Technical School of Architecture in Madrid. Over the past four years, she has been working as a senior designer at XK studio, using Houdini as her main software to conceptualise ideas for the digital medium with brands such as Google Deepmind, London Symphony Orchestra, Apple, Nike, etc. Previously, she graduated from architecture at the Higher Technical School of Architecture in Madrid (ETSAM), already having worked in a blend of design and motion projects related to architecture and scientific research on the side. We got in touch to find out more about Raquel’s work: Flooded Fabrik: Hi Raquel, we’re so pleased to have you as our Fabrik Hero. Tell us a little about yourself and what initially drew you to making art? Raquel Villa: “Hey! I am Raquel Villa, a 3D artist with a deep curiosity about the intersection of strange behaviours and physics. What has always drawn me to art is probably the playful aspect of it and the learning by doing. At school, I was fascinated with a subject called technical drawing, which blended artistic freedom with technical constraints. To me, that was the perfect balance – the ability to play and learn freely, but with rules to make it work. Later, while studying architecture in Madrid, I tried using 3D for a project, and that fascination and obsession re-emerged. I realised that what I loved about architecture was building hypothetical and fantastical worlds that still had logic, digitally rather than in real life. This led me to become more deeply invested in 3D and motion and naturally departed from the traditional architecture path and delved more into this full digital industry while still somehow completing my studies. Currently, I am based in London, where I am thrilled to be working at XK Studio as a 3D designer, surrounded by an incredibly talented team and working on exciting projects!” Braided time Fabrik: How do you like to define your artistic style? Raquel Villa: “When it comes to style, I believe the thing I am most passionate about is developing pieces that combine the pursuit of making something visually beautiful and surprising, with the technical challenge of achieving it. I also enjoy exploring strange behaviours that heavily rely on physical properties, resulting in unusual movements or assemblies. Since the result of this combination of elements is often not very realistic, I tend to experiment with materials and colour palettes that evoke other worlds, such as exploring with the use of more saturated colours or exaggerated textures to create a personal interpretation of materials.” Fabrik: Could you give us the back story behind your alias ‘Baghmeh’? Raquel Villa: “The story behind this name is actually a bit silly! It comes from when I started exploring with 3D – the truth is that I had such a strong impostor syndrome that I couldn’t post anything without saying and thinking bagh or meh! Still happens a bit today, so I guess that’s why this name is still hanging around.” Digital hike Fabrik: You mention you have a deep curiosity on the mixture between strange behaviours and physics. Can you delve into this further and explain how it inspires your work? Raquel Villa: “Currently, one of the things that bring me the most happiness is designing with simulations. It is particularly fulfilling for me because it allows me to tap into my intuition, which is something that I find super important to cultivate. I find immense pleasure in discovering unexpected and strange behaviours by working within a predefined set of rules that would have never anticipated what you can see on your screen! Therefore I am super inspired by processes that enable this way of learning, being it a VFX software, real-time game engines, or cooking with weird ingredients!” Tangy lemon tart Fabrik: Tell us more about how you experiment and explore processes through movement and simulation? Raquel Villa: “At the moment, I am using Houdini as my main 3D tool. Houdini has a powerful and robust simulation system that not only allows you to play with accurate physical parameters but also offers the ability to completely reinvent the physics world if you’d like to. Still today, I think it’s amazing that you can do this! By combining this flexibility with a design approach, you can direct these physics taking into account the composition or shapes that you are driving them toward, which can lead to beautiful and surprising images and movements.” Light weights Fabrik: How do you feel your style evolved through the years? Raquel Villa: “I think that as I’ve developed over the last years, my approach to style has evolved directly proportional to the level of control I had over my work. In the early stages, I viewed style as something to experiment with and explore, resulting in sometimes a confusing aesthetic or an unclear concept. There is nothing wrong with that, and I love things that make one feel confused! But now I see style as a tool to consolidate the mood and identity of a project and connect with a particular world. As a way to conceptually engage even more with what the project is trying to convey. That said, I always try as much as I can to keep experimenting style-wise with different softwares, studying new techniques, compositions or lights to try to find something new and fulfilling.” “I see style as a tool to consolidate the mood and identity of a project and connect with a particular world.” Other viruses Fabrik: Do you ever try to convey a message through your work? Raquel Villa: “One aspect that brings me great joy is to see different people interpreting and imagining different things from my work, without me getting in their way – I enjoy that it can let the other person have a say in what they see. I am particularly drawn to the fine balance of creating something abstract, yet still keeping a core meaning or structural sense, so that it is not purely conceptual art, but also not having a direct message. On the other hand, I am driven by the technical approach of my work, and finding something that is technically challenging for me, absolutely tickles my curiosity. So I guess that my goal and message are to create something that I have never seen before and maybe that sparks something weird and beautiful in someone else, similar to how the work that I admire inspires me.” All eyes Fabrik: If you had one tip for aspiring artists what would it be? Raquel Villa: “Do personal projects! They will help you to know yourself better and that’s the most important thing there is, in my opinion. They allow you to understand how you react under certain constraints, what you profoundly like and connect with, what makes you truly feel passionate, and what ignites a spark. These experiences are invaluable learning processes that will stay with you forever, helping you in unexpected ways. And the best thing is that the connections and projects that you develop through your personal work will often lead to something exciting!” XKR_001 PATCH Fabrik: What piece of your work are you most proud of? Raquel Villa: “That is a hard one! I always try to treat the projects that I am currently involved in with a lot of care and love, so it can be tricky to look back and choose one! If I’d really had to choose one, I’d say it would be XKR_001 PATCH, a research project done at XK Studio. This project means a lot because, for almost a whole summer, I was super lucky to be able to purely dive in and develop at XK Studio this very research-based exploration of doing all the crazy things we could imagine to a sneaker. The sneaker is like the holy grail in motion design, with so many famous shots that broke all the standards a few years ago and still are being copied. At the studio, the approach was to break all the rules from commercial and product-based workflows and stress test the sneaker in all the weird ways possible, thinking of new narratives or shots we have never seen before. Being able to think like this and make time and develop such a heavy experimental project in the studio was like a luxury and a gift.” Structural randomities Fabrik: What are your plans for the future? Can you give us insight on any projects that you’re currently working on? Raquel Villa: “At the moment, the future looks a bit busy with all the new things that are in the environment that spark so much energy! I am very curious about exploring an approach that involves more prototyping and interactive reactions. Thinking not only about real-time digital interaction but also getting out of the screen for a bit and trying out different processes that can lead to new and riskier aesthetics.” Fabrik: Final question. What do you like most about Fabrik? What’s your favourite feature? Raquel Villa: “I chose Fabrik to build my first-ever website showcasing my digital work and still today I am using it! Back then it allowed me to focus on my work which was something that helped me to take a lot of pressure off and I still value that immensely. Besides, it transmits a strong feeling of care and curation of their community and their templates, being visually clear and tasteful but allowing a wide functionality and an extremely fast response.” Raquel uses Calico, a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. View Raquel’s Portfolio #### Rob Chiu Rob Chiu is a London-based filmmaker whose subtle visual style infuses everything he shoots. His work is characterised by a strong photographic quality with close attention to composition, typography and editing. Rob Chiu Rob Chiu Impeccably crafted, his commercials are confident and assured, often displaying a keen ear for innovative sound design on top of pure, atmospheric drama. His commercial work includes films for McLaren, Peugeot, Audi, Nike, Jaeger LeCoultre, Center Parcs and The French Marines.  Rob Chiu Rob Chiu When speaking about his commercials, Rob says; “My work nearly always begins from a narrative point of view. What are these people doing, why are they here, where are they going, how do they feel? Even if it isn’t as clear on screen as it is with a narrative film the background to all of the characters is something that I like to set in place for my commercial projects.” Rob Chiu Rob Chiu His recent foray into music promos has already seen him working with renowned producer Jon Hopkins and film composer Craig Armstrong while his continuing personal work has moved into longer form film-making with the ‘Division of Gravity’, being a beautifully shot study of love and despair within a relationship, and it’s right here that Rob likes to be: “I get to try out new ideas and to try and push things a little bit further than what I would be able to do with a commercial.” “I just began in music promos since the beginning of this year and have found it to be really liberating. You can basically propose whatever idea you want and then if you are lucky to win it then you get a small budget to see out your idea. I love working in this medium purely for this reason. I get to try out new ideas and to try and push things a little bit further than what I would be able to do with a commercial where you have a lot of responsibility to the client and the agency. That’s not to say that you have no responsibility to the artist or record label but you are given a lot more freedom to experiment. They are nearly always open to this and is something they actively look for in a director.” Rob Chiu Rob has also turned his technical skills to digital formats with most notably the Philips ‘Obsessed with Sound’ project for Tribal DDB Amsterdam. This unique interactive experience used sound, film & data visualisation to let the viewer single out individual orchestra musicians playing a specially composed track. The film picked up Gold at Cannes Cyber Lions, a Yellow pencil at D&AD & Gold at The One Show among others. So, what’s next? Well, 2015 has seen new representation and a whole new set of opportunities:“I’ve been working with Iconoclast and Standard Films a lot recently and am doing some exciting work for them. I recently finished a commercial for Peugeot which turned out really nice and a great one for McLaren through VCCP in London. I also have a couple of other projects in post production which I look forward to sharing. On a personal side I have a feature film project in the very early stages of development and I hope to be able to get that off the ground ASAP!” Rob Chiu Rob Chiu Rob Chiu For his film portfolio Rob chose our Airdura theme. His body of work is split into four portfolios; showing off his commercials, music promos, narrative work and photography. With a portfolio of varied media formats, Airdura’s layout choices allow him to focus his film projects with the fullscreen slideshow layout whilst presenting his photographic content in a lightbox layout. Airdura’s image-focussed design lets the project content do the talking and he’s using Fabrik’s sub-portfolios to make specific sub-portfolios for each client, which lets him present the client underneath each project. View Rob's Director Portfolio #### Ross Hogg View Ross’ Portfolio Ross is an award-winning animation filmmaker from Scotland. His work focuses on creating dexterous, hand-crafted animation using a variety of materials, celebrating the vibrancy and physicality of the medium. We had a chat with Ross to find out how he juggles professional work, personal work and being a Dad. Fabrik: Thanks so much for chatting with us Ross, we’re huge fans of your portfolio! Tell us a little bit about yourself and how you got started out. Ross: “Thanks a lot! I’m really pleased you like my work! I didn’t start out with a real plan to become an animation filmmaker. I sort of gravitated towards it when studying illustration at The Glasgow School of Art. I suppose I always knew I wanted to focus on building a career that involved drawing somehow, but I had no fixed idea of how that would look (or if it would be possible). I began teaching myself animation towards the end of my degree and then graduated with two short films, which luckily for me got screened at international short film festivals. That experience introduced me to a whole world of independent animation and short film (and the people who make it), and it’s a world I still try to be a part of as much as I possibly can.” Fabrik: How would you describe your style? Ross: “I don’t think I have a set style as such. My approach tends to change and respond to each individual project I’m working on. My work is often quite handmade, using traditional animation techniques and, as each project can be quite process led, the work tends to take on different visual languages or aesthetics. I am really drawn to animation that embraces a sense of physicality or tactility so my work usually tries to celebrate that side of filmmaking whenever possible.” Fabrik: You’ve created work for Scottish music royalty such as Frightened Rabbit & Biffy Clyro, how did that come about? Ross: “Yeah – they were really fun projects to work on. For the Biffy Clyro video, I worked with a director called Oscar Sansom (Forest of Black). We’d done some work together in the past and had fun, so when this project surfaced during lockdown I knew it would be a fun one to be involved with. For the Frightened Rabbit video, that came about just via email (I had long admired their work so was pretty taken aback when they got in touch asking to meet about a possible project). We met and discussed possible concepts and ideas for the track – I ended up pitching a vague idea surrounding working with found 16mm home movies and using that as a base to create a loose animated narrative, the obvious issue being that I wouldn’t know what would be on the film rolls until after buying them which was a risk. It was so refreshing to hear Scott, Grant, Andy, Simon and Billy just getting behind it and saying that’s what made the project more exciting. A really unusual sense of freedom when making a music video for such a prominent band.” Fabrik: How do you balance illustration & animation as both a hobby and a profession? Ross: “That’s a tricky one. I think I tend to get really obsessive about certain things and find them all consuming, and then when they’re finished I try and take breaks to reset. Maybe not the most healthy way of doing things but it feels to me like it might be the only way when the work is as labour intensive. A sort of all or nothing approach. It’s even more tricky at the moment as I work 3 days a week as a lecturer at The Glasgow School of Art and I have a 2 and a half year old daughter who keeps me busy. So finding time to draw/animate for pleasure is extremely challenging. It’s something I’m definitely working on though!” Fabrik: When it comes to professional work, would you say that you adjust your style to meet client’s needs, or do clients come to you for your style? Ross: “It’s probably a bit of both. Clients normally contact me in the first instance because they like something I’ve done before, and then I’ll try and adjust and find ways to get the most out of what the idea is. I always like trying new things to keep the process as fresh as I can so it feels worthwhile or valuable.” Fabrik: Do you have a favourite project or series that you’ve worked on? Ross: “Ohh that’s tough. I think all of the jobs/projects I have on my website are things I really enjoyed working on. I think any project that has been largely self-funded or def-initiated are always really gratifying looking back, purely because of the effort that had to go in to just get it made. The projects that have been collaborations are definitely some of my favourite as you can share that feeling of accomplishment with someone, which is always much more enjoyable and less isolating.”   Fabrik: Are you a pencil and paper or a stylus and tablet sort of person? Ross: “I try to do a bit of both. I used to pretty much solely work on paper and make everything as physically as I could, but after getting a cintiq pro a few years ago I began really enjoying drawing digitally. The whole feeling of drawing digitally became much more immediate and echoed how it feels to draw on paper more closely, which definitely wasn’t the case before as it all felt really detached to me.”   Fabrik: What are your plans for the future? Can you give us an insight into any projects that you’re working on or have coming up? Ross: “I have a new personal short animated film I’ve been working on for a while which I’m keen to get over the line, but getting time to do it between working and running about after my 2 year old daughter (an agent of chaos) is proving extremely difficult! Here’s hoping I can finish it in the not too distant future…” Fabrik: Final question – What do you like the most about Fabrik? Why did you choose us? Ross: “It was just so simple to make my content presentable and aesthetically pleasing. Everywhere made me jump through hoops whereas Fabrik seemed like it was all about content first. It’s user friendly without making it necessary to have any sort of background when it comes to website building.” Ross uses Poplin, an incredibly versatile and straightforward theme with lots of layout options to help you to find a unique style for your website. With a focus on simple thumbnail grid layouts, creatives with lots of projects will find this theme useful. #### Scott Balmer View Scott’s portfolio Earlier this year, we partnered with Ello to launch an initiative to support new talent, through a series of grants aimed at helping them advance their art and craft. Three winners were amongst the first recipients of the grant and we are more than happy to catch up with them and take a closer look at what inspires them and the process behind the work. We kick off the series with Scott Balmer, the talented illustrator and one of the three recipients of Fabrik’s Artist Grant for 2019. Scott is an illustrator who is currently based up in Scotland, United Kingdom. He sees himself as a person who solves problems of the visual nature and has being doing so since graduating from Duncan of Jordanstone School of Art & Design. Whether it be towering monoliths or conceptual spot illustrations, no illustrative design problem is too small. He has produced artwork for numerous clients and galleries from around the world, from Magazines to Newspapers, Conceptual works to Books. Whether it is vectors or stylised drawn illustrations, Scott has made artwork for many different uses. Scott Balmer – The Waiting Room Fabrik: Hi Scott and first of all congratulations on your win. Any plans on how you’re going to be making the most out of the Grant? Scott Balmer: “Thank you, it was a really nice surprise to be selected and to be part of the Heroes community. I am really grateful to have been selected and given this grant, I have some big plans for my Fabrik website that I’m looking forward into implementing in the not too distant future. I haven’t decided on what to do with the grant yet. I debated about picking up the new iPad pro but the one I’ve got is still fine and gets the job done. I may look in to a new Cintiq but again the one I’ve got is fine but whatever materials I use the grant for, it is very much appreciated.” Fabrik: When you’re working as a director is there anything specific you look for in scripts or treatments? Scott Balmer: “I start off by doing very small quick thumbnails trying to capture the general concept of whatever I’m currently working on, I tend to not be too precious with them as I am more interested in capturing the gist of the idea which to me, is more important. Then I move to selecting the ones that could be taken further and, if it is for a client, I produce a rough version of these thumbnails to present the direction I am going with the artwork. Once feedback has been given, it’s straight to making the final illustrations. I usually work digitally as it makes it easier when it comes to alterations -if needed- as it is the best practice to make sure that edits can be easily done without disrupting the artwork as a whole. I tend to let the artwork sit a bit when I think it is done, something like the next day or a handful of hours if it has a deadline. Doing so gives you fresh eyes to see what may need to be touched up or changed before saying that the work is finished, indeed.” “I tend to let the artwork sit a bit when I think it is done, something like the next day or a handful of hours if it has a deadline. Doing so gives you fresh eyes to see what may need to be touched up or changed before saying that the work is finished, indeed.” Scott Balmer – Prog Fabrik: What is your favourite piece of work in your portfolio? Why did you make it? Scott Balmer: “This is really difficult as I’m more of a finished-this-let’s-move-on-to-the-next-project kind of person and there are certain elements in my artwork which I feel they really bring the work to life. So I can’t really say for certain what piece is my favourite as they all have a certain quality to them which I like. Though if I had to pick one it would probably be the vector based version of WestWorld as it was a little experiment distilling as much information into the artwork while using as little detail as possible. It may just be an android cowboy holding a smoking gun but it really pops with its bright bold colours and it’s a very simple design.” Scott Balmer – Westworld Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Scott Balmer: “Not really, but that doesn’t mean that it has been all plain sailing as this was a learning experience, especially when starting out and trying to guess what potential concept a client would go for. When it comes to creating my work, I am more of a “let’s do this” kind of guy, going head first into making the final. Of course that isn’t something that can be done in realms of making something for a client, as they usually want to see what it may be. This has made me adapt how I work a bit to help convey my ideas to the client. I tend to give full colour roughs these days with the iPad pro, which has helped me make this process more in line with what is expected of me when it comes to presenting my ideas over to other people who hire me.” Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Scott Balmer: “I love to be on location whenever I can, contending with the ever unpredictable real world. The real world somewhat forces you to react. I think it’s true to life and can often provoke more natural moments on screen. Also, it tends to be cheaper. That said as we all know you can create some really beautiful considered stuff in a studio!” I’d say that out of everything that has influenced me and my work, that Tetris is probably the one that has left a lasting impression on me. Sure I can see some folk possibly scratching their head over something so basic as a video game based on clearing falling blocks, but to me the game means more than that as it really is about managing where to put these blocks. Tetris is a game about spacial awareness and, in some ways, it isn’t really that different from arranging the composition of an image. Since you are basically moving things to make them fit together in a visual manner, the goal is pretty much the same in that you are trying to make everything fit together with the shapes and resources given to you. It’s visual problem solving plain and simple.” “Tetris is a game about spacial awareness and, in some ways, it isn’t really that different from arranging the composition of an image. Since you are basically moving things to make them fit together in a visual manner, the goal is pretty much the same […] It’s visual problem solving plain and simple.” Scott Balmer – Work Experience – Tes Scott Balmer – Work Experience – Tes Fabrik: What are your plans for the future? Do you have any project that you’re currently working? Scott Balmer: “Work wise I’m going to see about if there is any interest in my work in sectors like publishing. It would be nice to do something like a picture book, might be interesting to see about an app or game, possibly even a board game. As for personal work, I usually don’t do large projects, though I might see about putting something together if I can find the right subject matter to base it on. I’ve still got a few exhibitions to do, so there is that as well.” Scott Balmer – Journey to the Centre of the Earth – Jules Verne Art Show Scott Balmer – Game changing ideas for 2019 – BBC Focus Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Scott Balmer: “I really like the simplicity that Fabrik offers in its tools. It’s also laid out well and easy to find things which is great since I pretty much jumped all in and had a play about with the tools to get familiar with what Fabrik has to offer. I think my favourite feature is that it gives you options when it comes to colour, beginning with the few colour selections to get you started while also allowing you to completely customise them to your hearts content.” Scott Balmer – Brokeback Mountain Scott is using Fabrik’s Calico theme – a magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. View Scott’s portfolio #### Shaun James Grant View Shaun’s photography portfolio London-based director and photographer Shaun James Grant grew up in Sheffield, starting his journey wanting to be the next Bruce Davidson or William Eggleston; he’d take his 1970’s Minolta SRT01 everywhere with him in an effort to capture poetic human moments, and he wasn’t bad at it. However it soon became quite frustrating not knowing when these moments would present themselves. He struggled with a lack of control and would get nervous about leaving the house without his camera unless he missed the perfect shot.  Shaun James Grant “I was constantly distracted and a little obsessed. It affected my relationships with people a little. The best way I can describe it is, you know how people are obsessed with Facebook or Twitter? I was obsessed with the world. I was present and absent in the same space. It wasn’t for me.” “I was obsessed with the world. I was present and absent in the same space. It wasn’t for me.” Photography for Shaun had started as a way to occupy himself between filmmaking projects – he’d be restless if his head wasn’t looking down the barrel of his next moving image shoot. For Shaun shooting stills is quite a recent thing, especially working with film. He picked up his first film camera at the beginning of 2016; a little Nikon AF point and shoot that he purchased to take away with him for a winter break. He immediately felt involved with the texture and soul of film, and and hasn’t let go since. It allows him to be really present in the moment, forcing him to be really considered. Shaun James Grant “The thing I immediately took away from that experience is that I wanted to create candid work that felt like i was capturing a moment in time, something that people could relate too. I just needed to do it on my own terms, in a way that felt natural but was in some way preconceived. I think a lot of that has to do with the way I direct, I’m not one for just going out there and seeing what we get, there has to be at least some form of a plan then if it goes out the window on the day at least I know what it is I’m trying to take away from it.” Shaun James Grant For Shaun filmmaking and photography have created a relationship within themselves. His experience working as a director allows him to form comfortable relationships with his subjects fairly quickly, which evokes a sense of trust that allows for intimacy, thus creating emotive pieces. In turn, photography has equally made him a more efficient filmmaker;, giving him more foresight in compositions, setting the moody yet attractive tone that’s work is known for.  Shaun James Grant We asked Shaun about his technique – how he approaches shooting and where he’d like to take his craft: FAB: When you’re working as a director is there anything specific you look for in scripts or treatments? Do you consider your film work generally more reportage in style? SJG: “Strong characters and good story are always key regardless of whether its music promo, shorts or even online content. You need a good starting point, something to build on. For music promos I tend to challenge this by communicating with an artist or label in order to gain a strong understanding in what it is they are actually trying to say, I think that’s really important. It doesn’t need to be a strong statement as such but in order for an audience to believe in your work you must be able to really understand it yourself. I tend to challenge the projects that come to me with idea’s but no real purpose, I don’t like to be cool for the sake of being cool as it tends to result in a short lived thrill rather than something that can stand the test of time. Some of the best conceptual work out there really connects with an audience because most likely it came from a place that the artist felt something about.” “You need a good starting point, something to build on.” Shaun James Grant FAB: What sort of jobs/shoots do you prefer to work on? SJG: “I’m really enjoying working in music at the minute and expect I’ll be doing so for some time to come, its a good space to really grow as an artist and figure out what makes you tick.” FAB: Do you prefer studio or location shoots? And any reasons why that’s the case? SJG: “For narrative work (both promos and shorts) I try to stay on location as much as possible, I like to give the subjects as much of the real world to operate in as possible, keeping things tangible so they can really immerse themselves in the work. I’m definitely a realist, even in the most abstract of settings. I like things to come through the lens as opposed to made by the computer, partly because I’m just not that good at it, I don’t have the patience for things I can’t see.” Shaun James Grant Shaun James Grant Shaun James Grant “For live performance work I tend to stay in the studio for more control, although with that being said I’ve got a few exterior shoot ideas that I’d love to put into practise for the right artist.” FAB: What would you like to be woking on in the future (where you’d like to see yourself working?) SJG: “I want to spend more time in narrative and it’s definitely my intention to do so in the future. Nothing else gives me the same feeling than just working on a good script and great actors. Also I’d love to do some more fashion stuff, bring my photography to life a bit more and I think this could be a good way to do it.” “I want to spend more time in narrative and it’s definitely my intention to do so in the future.” Shaun James Grant FAB: Any advice you’d like to impart on your craft to photographers going into the field? SJG: “Don’t be afraid to make mistakes. What’s important is you get out there and actually do something, nobody can take that away from you. Also, be true to yourself, do the work you want to do and believe in and people will believe in it too.” “What’s important is you get out there and actually do something, nobody can take that away from you.” FAB: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career. SJG: “I’m writing a feature that i’m really excited about, its early days but the first draft is coming along nice, would be great to be shooting that next year. Long road ahead but I’m ready for the challenge.”  Shaun James Grant Shaun is using Calico for his site, splitting his work into distinct film and photography portfolios. Upfront Shaun is using Calico’s spotlight layout which allows him to create a distinct style through his cover images; person-focussed with lots of space. The result is a clean style that leans comfortably towards his personal aesthetic; calm and relaxed. His film projects are accompanied by stills; giving an immediate linear sense of the work. His photography projects carry through the Spotlight layout, creating a visual story for each project.  View Shaun’s photography portfolio #### Shaun James Grant View Shaun’s photography portfolio London-based director and photographer Shaun James Grant grew up in Sheffield, starting his journey wanting to be the next Bruce Davidson or William Eggleston; he’d take his 1970’s Minolta SRT01 everywhere with him in an effort to capture poetic human moments, and he wasn’t bad at it. However it soon became quite frustrating not knowing when these moments would present themselves. He struggled with a lack of control and would get nervous about leaving the house without his camera unless he missed the perfect shot. Shaun James Grant “I was constantly distracted and a little obsessed. It affected my relationships with people a little. The best way I can describe it is, you know how people are obsessed with Facebook or Twitter? I was obsessed with the world. I was present and absent in the same space. It wasn’t for me.” “I was obsessed with the world. I was present and absent in the same space. It wasn’t for me.” Photography for Shaun had started as a way to occupy himself between filmmaking projects – he’d be restless if his head wasn’t looking down the barrel of his next moving image shoot. For Shaun shooting stills is quite a recent thing, especially working with film. He picked up his first film camera at the beginning of 2016; a little Nikon AF point and shoot that he purchased to take away with him for a winter break. He immediately felt involved with the texture and soul of film, and hasn’t let go since. It allows him to be really present in the moment, forcing him to be really considered. Shaun James Grant “The thing I immediately took away from that experience is that I wanted to create candid work that felt like I was capturing a moment in time, something that people could relate too. I just needed to do it on my own terms, in a way that felt natural but was in some way preconceived. I think a lot of that has to do with the way I direct, I’m not one for just going out there and seeing what we get, there has to be at least some form of a plan then if it goes out the window on the day at least I know what it is I’m trying to take away from it.” Shaun James Grant For Shaun filmmaking and photography have created a relationship within themselves. His experience working as a director allows him to form comfortable relationships with his subjects fairly quickly, which evokes a sense of trust that allows for intimacy, thus creating emotive pieces. In turn, photography has equally made him a more efficient filmmaker, giving him more foresight in compositions, setting the moody yet attractive tone that his work is known for. Shaun James Grant We asked Shaun about his technique – how he approaches shooting and where he’d like to take his craft: FAB: When you’re working as a director is there anything specific you look for in scripts or treatments? Do you consider your film work generally more reportage in style? SJG: “Strong characters and good story are always key regardless of whether its music promo, shorts or even online content. You need a good starting point, something to build on. For music promos I tend to challenge this by communicating with an artist or label in order to gain a strong understanding in what it is they are actually trying to say, I think that’s really important. It doesn’t need to be a strong statement as such but in order for an audience to believe in your work you must be able to really understand it yourself. I tend to challenge the projects that come to me with idea’s but no real purpose, I don’t like to be cool for the sake of being cool as it tends to result in a short lived thrill rather than something that can stand the test of time. Some of the best conceptual work out there really connects with an audience because most likely it came from a place that the artist felt something about.” “You need a good starting point, something to build on.” Shaun James Grant FAB: What sort of jobs/shoots do you prefer to work on? SJG: “I’m really enjoying working in music at the minute and expect I’ll be doing so for some time to come, its a good space to really grow as an artist and figure out what makes you tick.” FAB: Do you prefer studio or location shoots? And any reasons why that’s the case? SJG: “For narrative work (both promos and shorts) I try to stay on location as much as possible, I like to give the subjects as much of the real world to operate in as possible, keeping things tangible so they can really immerse themselves in the work. I’m definitely a realist, even in the most abstract of settings. I like things to come through the lens as opposed to made by the computer, partly because I’m just not that good at it, I don’t have the patience for things I can’t see.” Shaun James Grant Shaun James Grant Shaun James Grant “For live performance work I tend to stay in the studio for more control, although with that being said I’ve got a few exterior shoot ideas that I’d love to put into practise for the right artist.” FAB: What would you like to be working on in the future (where you’d like to see yourself working?) SJG: “I want to spend more time in narrative and it’s definitely my intention to do so in the future. Nothing else gives me the same feeling than just working on a good script and great actors. Also I’d love to do some more fashion stuff, bring my photography to life a bit more and I think this could be a good way to do it.” “I want to spend more time in narrative and it’s definitely my intention to do so in the future.” Shaun James Grant FAB: Any advice you’d like to impart on your craft to photographers going into the field? SJG: “Don’t be afraid to make mistakes. What’s important is you get out there and actually do something, nobody can take that away from you. Also, be true to yourself, do the work you want to do and believe in and people will believe in it too.” “What’s important is you get out there and actually do something, nobody can take that away from you.” FAB: Anything you’re working on at the moment that you can share, or any sort of personal directions you’re embarking on that serve your career. SJG: “I’m writing a feature that I’m really excited about, its early days but the first draft is coming along nice, would be great to be shooting that next year. Long road ahead but I’m ready for the challenge.” Shaun James Grant Shaun is using Calico for his site, splitting his work into distinct film and photography portfolios. Upfront Shaun is using Calico’s spotlight layout which allows him to create a distinct style through his cover images; person-focussed with lots of space. The result is a clean style that leans comfortably towards his personal aesthetic; calm and relaxed. His film projects are accompanied by stills; giving an immediate linear sense of the work. His photography projects carry through the Spotlight layout, creating a visual story for each project. View Shaun’s photography portfolio #### Ula Pontikos Polish-born Ula Pontikos is a graduate of the National Film & Television School in London. An incredibly talented cinematographer, she’s represented by LUX Artists here in Europe and by UTA in the US. Ula Pontikos Ula Pontikos Her first feature ‘Weekend’ premiered at SWSX in March 2011 and became an instant hit, scooping the coveted Audience Award. By the end of the year the film had picked up over 20 international awards including two BIFAS and two Nominations at the London Critics’ Circle Awards It also appeared in many critics ‘Best of 2011’ lists, including The New York Times, The Chicago Tribune, The Telegraph, The Independent, Film Comment, Sight and Sound, Indiewire, Salon, Slate Magazine, AV Club and Total Film. Ula Pontikos Ula Pontikos Ula Pontikos Since then Ula has gone from strength to strength, winning the Sundance Cinematography Award in 2014 for her second feature ‘Lilting’ (Hong Khou’s directorial debut). The Hollywood Reporter said of her work in the film – “Ula Pontikos’ cinematography shows an eye for serene compositions, using the vintage wallpaper of the old folks’ home or the wintry landscape that surrounds it to add visual texture.”As well as features, Ula has worked with some of the finest writers and directors in television drama to tell bold and innovative stories, including 2012’s ‘Run’ (written by Daniel Fajemisin-Duncan and Marlon Smith for Channel 4 and directed by Charles Martin), 2014’s ‘Glue’ (written by Jack Thorne for E4 directed by Daniel Nettheim and Ollie Blackburn) and ‘Game’ (directed by Niall MacCormick). Most recently she’s worked on the new eerily plausible prime-time sci-fi drama ‘Humans’, directed by Sam Donovan, which won Channel 4 their highest viewing figures for an original drama in more than a decade. Ula Pontikos Ula Pontikos ‘Second Coming’, Ula’s most recent feature starring Idris Elba and Nadine Marshall, and directed by Debbie Tucker Green, again won praise for Ula’s keen eye, this time from Mark Kermode, who highlighted Ula’s work in The Observer saying: “Moving from the tight confines of the family home to more expansive verdant exteriors, cinematographer Ula Pontikos keeps her focus tight, lending a dreamy expressionist edge to the interior lives of these complex characters.” In 2015 in recognition of her work Ula was invited to join the British Society of Cinematographers. Ula Pontikos Ula Pontikos Ula chose Loden for her portfolio site which allows her rich cinematography plenty of room to shine. Breaking her site up into three portfolios for Drama, Commercial and Promo work she has carefully curated her body of work to present her portfolio as a seamless journey through her catalogue of films. The careful, expressive eye for detail she so perfectly lends to her cinematography is reflected here, making for a beautiful and engaging portfolio viewing experience. Truly wonderful work. View Ula's Cinematography Portfolio #### Us Us are Christopher Barrett and Luke Taylor. They met while studying at Kingston on the BA Graphic Design course. The duo’s first successful collaboration came in the form of a music video for Thom Yorke as part of the D&AD student awards, winning 1st place. In late 2007 they formed Us, a multi-disciplinary design studio, the focus of which then moved towards directing & moving image work. US US US US 2011 saw them receive the award for Best New Directors at the UK MVA’s and Best Urban video for ‘Numbers In Action’ which also received a MOBO nomination. Their teaser film for Benga’s new album, has received accolades highlighted from Creative Review, Shots and The Reel. The sculpture created in the film has also been bought by Soundcloud. Their excellent join the dots promo for Foals was also a Vimeo ‘Staff Pick’. US US US Commercially, Us have directed work for Honda, Talk Talk, McDonalds and The Sunday Times through Grey, London. The latter has recently been included in the Saatchi & Saatchi New Director Showcase, won the Young Director Award for Best Broadcast Commercial and picked up a Bronze Lion at the Cannes Advertising Festival.Chris and Luke are part of Fabrik’s founding team and here they’re using a customised version of our Calico theme for their site. They’ve kept things minimal throughout, splitting their portfolio into Commercials and Music Videos. Simple cover image layouts let the work speak for itself. Each project is accompanied by a series of stills which gives the project page a distinctive look within their portfolio. View US's Director Portfolio #### Vincent Taylor View Vincent’s Portfolio Vincent is a Los Angeles based professional colourist for film and television. He has an award winning background as a cinematographer working in music videos, commercials, documentaries and film, so we got in touch to find out why he chose to work in colour: Tiger King S2 Fabrik: So you majored as a Director of Photography and you’re an award winning cinematographer, why did you make the move to professional colourist? Vincent Taylor: “I’d been working as a cinematographer for a number of years when I decided I needed to take a break and work out what it was that I really wanted to do. In the midst of that searching an opportunity came up at a post house that I’d worked with for years and they were interested in the idea of training a colourist who had come from a cinematography background. It was a match made in heaven and I never looked back!” Merpeople Fabrik: How would you describe your style? Vincent Taylor: “My style is simple in so far as it stems from that of a storyteller first and foremost. That is a crafty way of saying that my style is not fixed and will always adapt to what the story needs.” Jeen-Yuhs: A Kanye Trilogy Fabrik: As a colourist you’ve worked on some major projects – how much of your work is your own style, and how much of it is dictated by others? Vincent Taylor: “That is a fantastic question and the answer varies hugely depending on the type of project and who is involved. If it is a dramatic piece such as a film or a TV series then the filmmakers will certainly have a direction in mind in terms of the look but then it becomes very collaborative from that point onward which is incredibly satisfying. Commercials can be a little less of that approach because more often than not I will be given exact references that I am asked to subscribe to – there is wiggle room in that of course and, hopefully, that collaboration can still be there but you need to be prepared to let that go if the client wants you to be more of a button pusher than an artist. Either way of working results in giving what the client needs for the given project.” United 2021 Olympics Team Fabrik: For the more tech conscious out there, what’s your set-up? Do you have a go to software/hardware? Vincent Taylor: “The project will often dictate the broad brushstrokes of this, is the project HDR? Is it projected? There are constantly numerous variables in my industry but the constant needs to be what you’re looking at. Is the monitor broadcast quality, is it calibrated, and has the projector’s white point been read and calibrated? I’ve worked with a great deal of different software and hardware options for colour over the years from the days of lacing up the film for telecine on an Ursa, C-reality, or Spirit telecine chain and operating early Resolve 2K panels, Lustre, Pogle and Baselight panels. Currently, I am back in the seat of a freelancer life so I’m blowing out the cobwebs in my brain and getting back into using Davinci Resolve which, for a freelancer, seems to be the weapon of choice.” Fabrik: Is there a particular milestone in your career that you feel most proud of? Vincent Taylor: “Not specifically but I am grateful to have come from film days and to had the experience of working in a linear grading suite. Don’t get me wrong, the toolsets of today are incredible but I feel that to have had the foundations of training that I had in working with film has taught me so much and continues to serve as a backbone for what I am doing today. “ Dionne Warwick: Don’t Make Me Over Fabrik: What are your plans for the future? Can you give us insight on any projects you’re working on or have coming up? Vincent Taylor: “It’s a touchy subject at the moment as I’m still licking my wounds after being motivated to move on from my last company due to downscaling. As a result, I am throwing myself into the fires of a freelancing lifestyle and having to get my head around the tax and legal challenges of running a business. So, as far as projects coming up I’ve got nothing locked in just yet and am counting down the days until the writer’s strike, and potentially actors’ strike, has come to an end.” Toyota Running Wild Fabrik: Final question. What do you like most about Fabrik? Why did you choose us? Vincent Taylor: “It’s easy. I hope this isn’t read as a negative thing but I just don’t have the time or the patience to fumble with a way to build a website. In addition to that, I found (very quickly) that the result with Fabrik didn’t just give me a website, it actually gave me a website that looks really beautiful and represents who I am and what I do. On top of that, if I need to update things – which I do constantly – I can do it with very little effort and next to zero downtime. One last thing I wanted to add; the communication and support from Fabrik has been wonderful, it’s the icing on the cake that I am so grateful for.” Vincent uses Loden, a theme that prioritises image and video size over all else. This is a theme for creatives who like to let the imagery do the talking. #### Vinicius Naldi View Vinicius’ portfolio Vinicius Naldi is a multidisciplinary Art Director, designer and most recently director. For the past decade he has worked for the creative industry’s most coveted and renowned agencies in New York, Los Angeles and London.  An impressive array of clients and awards after, among them Google, Apple, Netflix and Dreamworks, Vinicius enters a new era, where design, art and filmmaking come together to usher new perspectives, higher purposes and address the challenges usher by the digital era of data. We had the chance to catch a moment with Vinicius and discuss his latest plans, including the state of the industry obsessed with throughput and not always critical thinking. Here’s what he had to say. Vinicius Naldi – Ghost In The Shell Titles Vinicius Naldi – Ghost In The Shell Titles Fabrik: Your portfolio features a vast array of commercial and film work. Do you have any favorites or milestone projects? Vinicius Naldi: “It’s always tricky to talk about your own work. I’ve always been very critical and hard on myself. I can humbly say that my work has a unique approach when it comes to elevating the visual sensibility of a project. I tend to push design and creative as if each frame is part of a moving sequence and I love to convey emotion with lighting and framing. Having worked with The Mill, one of the biggest visual effects houses in the world, for the majority of my career I developed an eye for fresh aesthetics. To me, every project needs to be visually stunning, there is no space for less than that. We were constantly working with directors and clients that had an extremely high taste in design so I became very aware of what works and why. I just finished directing an art film for The Alzheimer’s Association. As a Director, this was a big milestone for me. This was a self-initiated project that I needed to make for my soul. After many years doing mainly commercial work, I wanted to show who I am as an artist and contribute to a beautiful cause. In this film I had to work with the clients not just in writing the story, but also in making a director’s treatment, pitching it to them, casting, getting all the team and finances together. The biggest challenge was crafting the right perspective for such a delicate theme like the Alzheimer’s disease. The idea of memories and how much we are bound by time – especially nowadays- is something that inspires me a lot.” Fabrik: Would you like to tell us more about your source of inspiration and the creative process? Design and Art Direction has universal application but individual appeal, how do you work towards creating something that is functionally and aesthetically consistent? Vinicius Naldi: “A lot of things are missing soul these days. My inspiration comes from people I admire and their unique perspectives in life. I became very thirsty and sensitive for meaningful work in the last couple of years. My creative process is strongly based on stills. The way that light is used and the intention behind each project are things I notice right away. In that sense, I spend way too much time on Instagram these days. I decided to transform my personal account into my very own vision board using personal work and images that can help support my beliefs. As a very spiritual person, I tend to like visuals that convey higher perspectives, imply movement or suggest a deep emotional connection with the viewer. Intention is a huge thing in my career. It melts my heart to watch a piece of film or photography with a meaningful, well-told story behind it and to see the consequences of it in real life.I love cinematography as well and I’ve been pushing to collaborate with clients and Directors of Photography who share the same passion.” “Intention is a huge thing in my career. It melts my heart to watch a piece of film or photography with a meaningful well-told story behind it and to see the consequences of it in real life.” Vinicius Naldi – Flint Town Titles Vinicius Naldi – Flint Town Titles Vinicius Naldi – Flint Town Titles Fabrik: Can you share a little bit about how inspiration flavours your work; for example there are direct nods to landmark title sequences like Ridley Scott’s Alien and David Fincher’s The Girl With The Dragon Tattoo. Is this you, the agency or the client?  Vinicius Naldi: “For the work I did with Andrew Proctor and Paul Mitchell at The Mill for Rupert Sanders, the director of Ghost in the Shell, one of the design explorations ended up having a similar color look, since the logo emerged from a dark liquid, so we quickly realized that it needed a different look. The movie opens with the famous shelling sequence and we needed something not as distracting for a logo reveal. After a few rounds of designs, the end result is based on a more timeless approach that used light, keeping the main typography as the hero graphic element. The colors and subtle textures are also referenced from a shot after that sequence when Major is being scanned, awakening.” Fabrik: Do you feel that as your career evolves you’re more able to influence the source material of your work and celebrate the industry you’re part of? Vinicius Naldi: “With so many online influencers and bad content being blasted all over daily, I feel that it’s harder nowadays. Also, the whole industry is more than ever blurring the lines that once separated each discipline. I am in the process of finding a stronger voice. I believe my work is more clear and intentional nowadays.” “I am in the process of finding a stronger voice. I believe my work is more clear and intentional nowadays.” Vinicius Naldi – The North Face – Apex Flex Rain Vinicius Naldi – The North Face – Apex Flex Rain Fabrik: Have you ever had any difficulties pushing your creative and artistic approach to clients? Vinicius Naldi: “I did when I used to work at The Mill. The constant process of pitching against other studios was a source of frustration for me a young passionate designer. We put so much effort and time into projects, to get rejected for reasons that most of the time had nothing to do with the creative work. I had to learn how to separate my eagerness for beautiful work and be more professional. That is one of the reasons why I got disappointed with Motion Design. To me, motion design work has no meaning and can be super shallow depth, most of the time. What I mean with that is that motion designers are not trained to be thinkers, but just doers, and I am strongly against that culture. I have a degree in Visual Communications from Senac, a really special college in Sao Paulo, Brazil. The program was new and teachers were one of the best in the world, true artists, and I am really glad I was encouraged to be a thinker, to apply Design thinking in each task we were given straight from the start. A bit unconventional for a college, but totally worth it. Going back to the shallowness of motion design, I often see super talented people posting daily renders on their Instagram profiles, getting better at render techniques and all aspects of 3D work, which is awesome. But seeing that so often makes me think that it lacks story and meaning. These young talented artists are not thinking on the impact of their work most of the time. They are not developing a story, making it hard for them to see the bigger picture in our industry. I want them to know that companies love that, they don’t want you to be a thinker but a doer instead, especially for artists that come to work in the US under a work Visa, like H1B or O1. Nowadays I’ve been trying to collaborate and work with clients I can relate to, reaching out and presenting my ideas directly. I never had a problem with social interactions, so I’ve been using that to my advantage.” Vinicius Naldi – Nike – Mercurial Superfly V Fabrik: The rise of digital has created a new branch in arts which deals with data visualization and real time mapping. In your experience, how can we apply aesthetics when it comes to presenting cold hard facts? Vinicius Naldi: “My first experiential project was done while working at The Mill, in LA. I still remember noticing when clients like Google, Nike, Lexus and Apple, started bringing work that wasn’t purely TV commercials anymore, but revolved around crafting experiences. I saw a huge amount of 360 videos, virtual reality and augmented reality projects come in and I suddenly saw the motion graphics industry trying to find other medium of expression. Ever more often, numbers in a spreadsheet are used to drive graphic visuals these days – sometimes it’s real time data. It is the era of interactive digital design for the physical space. Earlier this year I moved to NYC to work with Rare Volume, a design and technology studio, where I am really seeing the power of combining high level design with creative code. Working with clients such as museums and collaborating with architecture firms allowed me to craft more meaningful visuals, since data has an educational and experiential purpose. In my experience, when it comes to crafting a story using real data, you can’t hide the truth. Data is the story, you can’t hide it behind pretty graphics. That’s why it is even harder to make the experience pleasant visually. The possibilities are mind blowing. Companies and brands like Nike, Samsung and some museums like the 9/11 Memorial in NYC, are already on the edge of applying real time digital experiences to their stores and headquarters. Nike for example, just opened a huge new store in Manhattan full of digital experiences where high level design thinking was applied to support the interaction between customer and it’s online platforms.As designers we should still create beautiful visual experiences but I think it’s super important to be aware of the message behind. “The medium is the message” like Marshall McLuhan would say.” “Working with clients such as museums and collaborating with architecture firms allowed me to craft the more meaningful visuals, since the data (story) has an educational and experiential purpose.” Fabrik: Is there any piece of work, be it a film, a song, a painting, that has left you with a lasting impression or any mentors you have encountered throughout the span of your career? Or any work you admire, but it’s not yours? Vinicius Naldi: “I had a few mentors whom I consider crucial for who I am as an artist so far. My college teachers in Brazil where Ernesto Bonato and Cecilia Consolo. They were the first persons I met, living as true artists, applying life principles to drawing, engraving, photography, installation and urban intervention for more than 25 years. After I moved to the US, I encountered a few people that really shaped my career intentions. One of them is Chris Do from Blind and The Futur. As a Designer at Blind I could already see how his approach was shifting the company to new frontiers in the realm of online education. Manija Enram and Paul Mitchell are definitely people I relate to in multiple ways, especially when I have to take creative decisions. Manija is a master in typography and an immigrant as I am. Her passion and commitment to design is contagious and I became contaminated the first day we’ve met. Paul is a brilliant director who inspires everyone around him. His fearless attitude towards creative creates a safe environment to be around. Manija also has a sharp eye for typography and is a brilliant creative director. I am also super inspired by the work of cinematographers like my friend Jeremy Snell, a super talented and inspiring guy who does tons of collaborations with charities like Charity Water, besides commercial work.” Vinicius Naldi – Lexus – ES Vinicius Naldi – Lexus – ES Fabrik: Can you tell us about what you’re working on right now and would like to share with the rest of us? Any related fields in the arts that you would like to explore or you are currently delving into? Vinicius Naldi: “I am currently working on design development for a few real time projects. More specifically, one of them will be commissioned to one of the biggest museums in NY that will open its doors in 2019. I am currently working on a personal short film on personal development. Since I started practicing Kundalini yoga, I became way more aware of my goals in life and what I want to achieve in my career. I am currently trying to understand how can I blend my passion for cinematography/film with my graphic design background in this world of Digital Experiences.If you’re reading this and have any advice please get in touch, I’d love to talk with other creatives about where our industry is going.” Vinicius Naldi – Infiniti – Manifesto Fabrik: Any advice you’d like to impart on your craft to art directors, designers going into the field? Vinicius Naldi: “Go outside. Fail. Try as hard as if your life depends on it. Close your eyes. Feel it. Smell it. Don’t be a douchebag. Don’t be a basic bitch. Give your best. Work with people you believe. Speak your truth, even if it hurts. Tell a story.” Fabrik: Final question: What do you like most about Fabrik? What’s your favourite feature? Vinicius Naldi: “I love Fabrik templates and how easy it is to manage our ever-changing content. I think the platform has evolved a lot and I love how beautiful and elegant it is. Definitely want to keep adding more content related to not just film and photography, but real time video playing in the near future and push its capabilities.” Vinicius Naldi – Emergen-C Vinicius is using Fabrik’s Airdura theme, an immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles, offering over 20 layouts to suit your needs and portfolio expectations. View Vinicius’ portfolio ### Themes #### Airdura Airdura An immersive and slick theme that couples gorgeous typography with full-width imagery and unique block styles. With over twenty layouts to play with projects are perfectly presented and each portfolio is truly individual. Start with Airdura Voile project layouts Slideshow Stacked Spotlight Split Random Offset Lightbox Airdura in use by our community Raphaelle Tinland Commercials & Music Director Milica Golubović Illustrator Blackbox Production Company Rui Vieira Director & Photographer Nicholas Bennett Director of Photography Ricardo Mingacho Filmmaker & Photographer Ivan Hugo Photographer Mike Bothe Colorist Maria Jose Contreras Editorial Designer Patrick Fileti Filmmaker Neels Castillon Director & Photographer Hugo Dominguez Designer #### Calico Calico A magazine format theme with unique homepage layouts and several project layout options geared towards presenting longer-form projects and blog posts. Creatives with lots of projects will appreciate Calico’s customisation options. Start with Calico Calico project layouts Gallery Lightbox Slideshow Stacked Spotlight Split Video Calico in use by our community Cable Magazine Artist Evgenia Chuvardina Illustrator David Vanadia Illustrator Mark Jackson VFX Artist Maxx Burman Matte Painter Drei Film Production Studio David Gibbons Matte Artist Absolute Post Post House Peter Eszenyi VFX Supervisor Rory McLean 3D Artist Juan Carlos Pagan Designer Akshay Tiwari Procedural Designer #### Canvas Canvas A feed-style theme featuring a sidebar and layout options aimed at providing more control over the placement of text and images. A great choice for portfolios that require images to be displayed uncropped or in portrait format. Start with Canvas Canvas project layouts Slideshow Stacked Spotlight Split Galley Video Lightbox Canvas in use by our community Solal Cornuau Editor Dietmar Rudolf Sculptor Erlend Westnes Director Karent Urrego Stylist Prateek Vatash 3D Artist Raniya Mansoor Artist David Barr Director Christian Van Duuren Photographer Kuva Filmmakers Super68 Motion Graphics Designer Lucy Freeman Makeup Artist Lauren Sieczkowski Filmmaker #### Coburg Coburg A magazine format theme that introduces Fabrik’s Scatter layout. Beautiful typography and styling frame your project content arranged with bordered containers.​ Start with Coburg Coburg project layouts Gallery Lightbox Slideshow Spotlight Stacked Video Coburg in use by our community Eva Schinkelshoek Model Cat & Owl Films Production Studio David Grennan Cinematographer Ariel Palanzone 3D Designer Carmen Player Producer Evelin van Rei Director of Photography Blind Pig Motion Graphics Studio Rocket Juice Editors Ana Van Aerden UX Designer Realtra 3D Visualisers Ed Hanbury Editor Mathis Frezouls Director of Photography #### Jute Jute A distinctive modern theme with classic typography and styling. Full-width cover images, homepage layouts with a bottom-aligned menu and responsive sidebar. Expansive imagery shown off with great layout options. Start with Jute Jute project layouts Gallery Lightbox Slideshow Stacked Split Jute in use by our community Davide Mardegan Photographer Georgi Banks-Davies Director Shyan Tan Director of Photography Nick Griffiths Director Heather Vida-Moore Artist Edward Chase Masterson Motion Director Peter Marsden Director Rapheal Halloran Writer & Director Florian Kaltenbach Filmmaker Nicolae Negura Illustrator ESPI Director John Scully Creative Director #### Loden Loden Bigger is better with Loden; a theme that focuses on making photos and video as large as possible. Loden is bold, and creatives who like to let their imagery do the talking will enjoy working with the simplicity of its layout and options. Start with Loden Loden project layouts Lightbox Slideshow Stacked Video Justified Loden in use by our community Ninian Doff Music & Commercials Director Ezra Reverda Director of Photography Ula Pontikos Cinematographer Kate Hardie Writer & Director Nosey Aromatics Company Neil Gordon Cinematographer Jurgen Lisse Cinematographer Tom Walsh Director Tobia Sempi Cinematographer Marshall Boel DIrector of Photography Myrthe Mosterman Cinematographer https://www.trix.pt/ Production Company #### Poplin Poplin An incredibly versatile and straightforward theme with lots of layout options to help you to find a unique style for your website. With a focus on simple thumbnail grid layouts, creatives with lots of projects will find this theme useful. Start with Poplin Poplin project layouts Gallery Lightbox Slideshow Stacked Video Poplin in use by our community Christopher Sabogal Director of Photography Annomann Production Company Lisa Stockham Ceramic Artist Joshua C Fry Cinematographer James Buck Director of Photography Esther Lalanne Illustrator Julia Hanisch Graphic Designer Samuel Kerr Illustrator Caroline Gold Artist Maria Ray Johansson Artist Willy Waltz Producer Ben Fordesman Director of Photography #### Tocuyo Tocuyo For creatives that want to introduce themselves as well as their work. With optional Cover layouts Tocuyo becomes truly immersive with a full-screen hero, thumb grids and an inline About content. Suited to medium-sized portfolios. Start with Tocuyo Tocuyo project layouts Lightbox Slideshow Stacked Video Tocuyo in use by our community Hidden Sound Composer Jean-Bernarde Adoue Photographer Samuel De Maré Artist Tim Arnold Documentary Filmmaker Shaun James Grant Filmmaker Rob Potter Photographer Magnasoma Digital Artist Natalie Piacun Makeup Artist Sam Page-Jones Producer Aljoscha Hoffmann Colorist Sjoerd Poelman Architect Trizz Creative Studio #### Voile Voile Let random be your guide and make your site truly unique. Includes advanced homepage hero options. Start with Voile Voile project layouts Slideshow Stacked Spotlight Split Random Offset Lightbox Voile in use by our community Valkyr Content Studio Tim Jarvis Graphic Designer Eleonora Vergnano Photographer Tim Arnold Documentary Filmmaker Shaun James Grant Filmmaker Rob Potter Photographer Magnasoma Digital Artist Natalie Piacun Makeup Artist Sam Page-Jones Producer Aljoscha Hoffmann Colorist Sjoerd Poelman Architect Trizz Creative Studio