In this feature, we dive into the world of vibrant and mystical art by chatting with Helena, NERDs illustrator, whose colourful, detail-packed work is nothing short of mesmerising. From the early days of experimenting with digital tools to exploring a mix of styles and influences, Helena’s journey is a whirlwind of creativity and discovery. We sat down with Helena to talk about how she’s evolved her unique voice and how she embraced the thrilling opportunities of modern art spaces. Helena’s story has blown us out of the park with her incredible examples of different art eras she went through and we hope her story helps you find and refine your own artistic flair as well as see how this kind of style can be applied commercially.
How would you describe the work that you do?
Floral, full of fine detail, packed with endless symbolic elements, cosmic, portraiture, colourful and bright.
How did you gravitate towards the particular medium you work in?
By accident! My preference is for oil painting or graphite, but in the early days of doing commissioned work I realised that it was much more time effective to draw on a digital tablet for pushing creative boundaries – when everything is in layers it’s much easier to move around elements and try new ideas without risking losing hours repainting. It also makes alterations and revisions much quicker when working with clients.
And when you started developing your creative skills and styles, what were your inspirations and influences?
It was such a melting pot of so many influences that I find it hard to single them out, though art nouveau as a general style played a very large influence in helping form my initial handwriting. Photo collage also played a part in my inspirations, along with simple face sketches, baroque catholic sculptures and art, cosmic/spiritual art styles and beautiful flowers.
How has your style evolved over time – and can you talk to us about some of the stylistic experiments or avenues you’ve explored over the years?
I’ve been experimenting with art since I could hold a pencil! My parents were very supportive of my love for art and creativity, and I’ve done works in sculpture, japanese style manga, watercolours, landscapes, portraits, animals…the list goes on! The only things I’ve not tried are some of the more technical digital art forms such as digital 3D rendering or animation.
And was there any one particular moment or project that really crystallised your understanding of what your style is or should be?If so, can you tell us about it?
I took six months off from my previous career to focus on art while living in Vietnam, and having that time to spend 12 hours a day every day painting really helped me hone in on a personal style.
I’m trying to grow my art to explore emotion a little more, along with deeper themes and meanings rather than focus on aesthetics. AI art has really changed the current landscape for art, and I think the natural step forward is to create art that has a real human edge to it that is immediately recognisable.
From NFTs to the metaverse, there are more spaces for your work to show up – what are your thoughts on the impact, challenges and opportunities brought up by these spaces? And do they influence how you think about your style (ie. is there pressure to adapt or change your style to fit these new digital frontiers – or is it kind of exciting?)
I’m an extremely optimistic person, so I always like to find the positives in a new situation or space and find ways to use it to my advantage rather than complain about change. There are always challenges that arise, however these often are the roadblocks we need to grow and become better. Good art often comes from being pushed rather than being complacent.
Working in the commercial sphere, is it more important for an artist to have a distinct brand or style? What’s the balance between having a distinctive voice and being able to accommodate the visual language of the brand/campaign?
Yes I think so, I think having a brand approach you because they know the style that you are able to deliver ensures a smooth process with expectations met on both sides. It’s important however to grow your style over time and not become stagnant – art is ever moving and it’s easy to become left behind if you never grow.
What projects have you worked on recently that you feel were a really satisfying marriage between a brand and your own style? What was it about these projects that made them really interesting to work on?
I’ve been working on a lot of Romantasy book covers lately, and I find that my work lends itself really well to this genre. I’ve also had some very enjoyable interior artwork projects for astrology or spiritual based calendars which lend themselves well to my more cosmic/detail based style.
In celebration of World Photography Day, we sit down with our Photographer Manos Chatzikonstantis to dive deep into one of his most cherished projects: Salt of the Earth. Authored by Carolina Doriti and published by Quadrille, this book is a vibrant exploration of Greek cuisine and culture. Manos shares insights into the creative process and techniques that shaped this unique project. From the initial concept to the final shoot, discover how personal heritage, innovative lighting, and minimalist design came together to bring this culinary journey to life.
Project Data
Book: Salt of the Earth Author: Carolina Doriti Published: March 2023 Publisher: Quadrille Art Direction and Design: Claire Rochford Editor: Stacey Cleworth
The book “Salt of the Earth” is one of the projects I’m particularly fond of. It’s a book about food and a sense of place for a London publisher. I had previously worked with this publisher on an extensive project shot across Europe, Asia, America, and Africa for an established author, which established a strong sense of trust.
What was about the initial brief that intrigued you?
They approached me to discuss a project of a first-time author, a young Greek chef and writer. The idea was to do a book about off-the-beaten-track Greek recipes, in a fresh style, using a bright palette of colour. Having Greek heritage, for me, that was a special project to embark on!
What were your first steps when it came to breaking down the brief and formulating your ideas?
I suggested a minimal approach, with few elements, where the background surface would give the tone and shadows would be active styling elements. I imagined a book in a style influenced by contemporary photography where colour and light would be used to frame the food and simultaneously define a Mediterranean space of quaint beauty and simplicity.
And what were the ideas and influences that you wanted to bring together?
The images by the old master Herbert List were certainly an influence, the colour work by Alex Webb and Constantine Manos, and maybe even architectural photography utilising lines, shadows and vanishing points.
Tell us about the location or setting – where did you shoot and why there?
As the author is based in central Athens we had to shoot there. Fortunately, she had a spacious flat with good light and we transformed a small part of it by the terrace into a studio. Surfaces had to be built, painted and plastered in various sizes. Fabrics were carefully chosen and crockery was sourced from Athens’ flea markets and garage sales. We had a travel budget and were able to head out to an island relatively close to Athens for a few days to get some location shots.
Initially, we did a 2-day shoot to establish the style and streamline the process of working together. The client was happy and we had very valuable feedback from the art director for the rest of the production. I believe that everyone involved must be on the same page and understand the situation and needs of the other parties.
Tech specs – what did you shoot on? Any interesting elements in the lighting or lenses that we should know about?
I used a combination of natural light and a large cine light to manage the shadows. While Greece is known for its sunny weather, the sun doesn’t always cooperate, especially on a seasonal project with multiple shoots. To maintain consistency in the lighting style, I relied on this setup throughout.
I shot with a 50MP Canon 5DS to ensure high-resolution files for cropping while keeping the equipment flexible and transportable for location shoots. Most of the shots were taken with 50mm and 90mm lenses. For some location shots, I used Fujifilm cameras due to their compact size and excellent color rendering. The food shoot was done tethered, and as usual, I worked with Capture One for real-time grading and colour correction before diving into more detailed edits later.
When considering the final shots, why this particular shot over any of the other takes?
Most of the shots were done in more than one version to give the designer space to work and choose the ones that matched best with the layout.
What is it about this project that stays with you? What made it different from anything else you’ve worked on?
The shoot was great fun and totally delicious too (the perks of shooting food!). The author was an absolute pleasure to work with and, as we both loved the style of the book, the inspiration level was very high.
Milana Karaica founded NERD Productions, a diversity and inclusion led creative production company representing a wide range of hand-picked directors, illustrators and photographers. NERDs craft animation, illustration, live-action, mixed-media, and photography for feature films, TV, digital, social, editorial and everything in between.
What was your first experience of leadership?
After being a runner for a while, I landed a cool new job – office manager at a busy production company in Soho. Sounds like quite a boring job if the title is anything to go by BUUUT.. I had a team of amazing runners to help me pull off the most random, eccentric production tasks as well as incredible parties, team bonding trips and sometimes even the most bizarre requests.
No day was ever the same, no task was ever the same. It meant always being on your toes, continuously learning, meeting new talented people and partying like it’s 1995 every single day!
How did you figure out what kind of leader you wanted to be – or what kind of leader you didn’t want to be?
This job meant that I had to interact with producers and EPs on our day to day.. They had their crew, I had mine and we had to come together to make a job happen.
It was here that I first got the real taste of amazing leaders and also simply horrific ones too.
There were those that were kind, polite and open to sharing their knowledge with others on the team regardless of their social background or what role they played in production.
On the other hand, you had those that would talk to people like they were dirt on the bottom of their worn-out trendy Converse trainers!
It was painful to watch, listen to and simply be in the same room with. Even though I had only little say at that point in my career, I often clashed with those individuals, perhaps even when the situation didn’t involve me at all as I just could not stand unfair treatment! I knew I wanted to be different from them. I did my best to be supportive but straight up at the same time, both with the ones who were mistreated and the ones that were favoured.
What experience or moment gave you your biggest lesson in leadership?
Being a young EP and getting so ahead too quickly for my age! In my eyes I had the right to be there due to my relentless work energy and never saying no to a random all-night task or an unexpected challenge. With that came the need to prove myself though, to my peers whom I left behind, to older colleagues and specifically those that didn’t like me for many personal or subjective reasons – like being too young, too ethnic, or just for being from Croydon!
I worked day and night. Missing family gatherings, birthdays – doing conference calls at funerals… yes, I did that! However, with the recognition and praise came the ego as well. There was a point where I started to care too much about myself and the unfair treatment I was getting, even in this position and actually forgetting that so many others had it the same or worse, but had much smaller voices than I did.
Did you know you always wanted to take on a leadership role? If so how did you work towards it and if not, when did you start realising that you had it in you?
I think three weeks into my first job in the industry I knew I would run a production company one day. Not because I wanted to lead, but because it really pissed me off how things were being managed from a clique and classist point rather than based on merit of hard work and talent.
When it comes to ‘leadership’ as a skill, how much do you think is a natural part of personality, how much can be taught and learned?
You can learn anything if you push yourself hard enough and don’t limit yourself with your perceived weaknesses. That’s at least what I grew up believing. As I was becoming more and more heard, I started getting told by everyone that the biggest part to my leadership success is my diplomatic and tolerant personality – and that’s something you can’t learn or practice easily.
I feel like you have to really believe in what you preach and be passionate about it, because people can always tell when you’re not being authentic.
What are the aspects of leadership that you find most personally challenging? And how do you work through them?
I hate having to let people go! It’s never nice to have to let someone go so I always try to empower people to see why they may be better at something else or be more suited to another adventure. It’s not fair to keep people on if they are not the best version of themselves as they are wasting their own time too, not just yours.
Have you ever felt like you’ve failed whilst in charge? How did you address the issue and what did you learn from it?
We all fail! Sometimes you don’t notice a team member is down and struggling with something, be it personal or work related. Sometimes you don’t initially pay enough attention to a problem or an unusual friction between team members. I believe it’s all a part of the process and if we couldn’t learn and improve continuously in our industry, I would just quit! It simply means it’s got to the point you don’t care enough anymore.
In terms of leadership and openness, what’s your approach there? Do you think it’s important to be as transparent as possible in the service of being authentic? Or is there a value in being careful and considered?
I think honesty is the most important element of any successful relationship. We value this in our personal relationships so why not in our work collaborations? I’m not saying to share your every thought and worry, but to bring transparency while coming up with suggestions is always appreciated whichever side you are on.
As you developed your leadership skills did you have a mentor, if so who were/are they and what have you learned? And on the flip side, do you mentor any aspiring leaders and how do you approach that relationship?
I have had a few people to look up to over the years and some of those have let me down which is always devastating, while others inspired and motivated me more than I expected. I mentor a lot of young and up and coming talent and always treat those as friendships and close relationships. You really have to get to know a person to be able to see their strengths and weaknesses and how to help them get to be the best they can be. It’s a big responsibility!
How important is your company culture to the success of your business? And how have you managed to keep it alive with increases in remote and hybrid working patterns?
As a company that represents diverse talent, we have been a global company since our first day. Working remotely has not really meant that we have had to change a thing about how we craft. Our company culture is the only reason I started NERD, so it is the key to what we do, how we do it and why – every day!
What are the most useful resources you’ve found to help you along your leadership journey?
There is currently no space in my life to attend all the events I want and to spend endless time on self improvement and self discovery. I simply start and end my every day with thoughts of gratitude, reminding myself of all the things I pulled off that day, who I helped elevate and who I made smile…. I gently thank my stars and my path for all the passionate and creative people as well as my family.
What I do make the time for is to follow and chat with fellow leaders and founders.
Real people with real experiences and journeys beat any theoretical resource for me personally.
Social media is one of the most fast-paced areas in the advertising and marketing world. From the big personalities running the platforms to the rapid adoption of new tech and formats to the constant flow of hot takes and lively discussions, there’s never a dull moment.
We chatted with our own social butterflies at NERD: Viktoriia, our PR Manager, and Margaux, our Social Media Manager. These talented ladies are the ones behind everything you see from NERD Productions online. Whether it’s a big PR feature, a daily story, or a fun get-together reel, they’ve got it covered. We caught up with them to talk about their expertise, what inspires them, and the essential tips you need to thrive in this industry.
What’s the most significant development or trend shaping the social space right now?
M: Short-form videos and community building are essential. Platforms themselves are the ones pushing creators to post more short-form videos by adding features such as templates, trends, transitions, and audio syncing to make short-form videos easy and fun to edit. On the other hand, community building has become an important channel for brands that want to stand out and stay authentic. A good example would be Rhode and their NYC Summer Pop-up Event, which many fans flocked to because of pop-up exclusive products and a themed event.
V: One trend that I feel is quite new this year is the even greater focus on community. With Threads launching last year and community channels on Instagram, brands and influencers can now connect with their audiences on a deeper level. You can never expect all your followers to be there, but those who are, are highly engaged. Just by looking at how REFY or WE ARE TALA do it, you can feel like a part of the brand with their feedback sessions, community trips, events, and more!
Every platform functions so differently – and the way they function evolves there’s a lot of fun to be had on social, from shoppable live streams to AI filters – so where are you finding the most satisfying or exciting creative opportunities right now (and can you give an example of a campaign that demonstrates that)?
M: I love how Instagram’s stickers have evolved, especially the ones used for Instagram Stories. You have many creative possibilities not just through aesthetics but also through functionality such as being able to add a link, a location, share a profile, add music, and so much more. There isn’t exactly a specific campaign to demonstrate it but I see brands and people using it every day on Instagram. That being said, watch out for our latest film for Instagram that is coming to you in September!
V: I totally echo what Margaux just said. A strong community focus is where you can tap into your audience and boost creativity. I’m a big fan (or victim) of the TikTok shop and how it seamlessly integrates with content. They have created a smooth shopping experience and customer journey from a TikTok video to a purchase. It’s not only effective for marketing but also a great creative outlet for marketers and social media creatives to capture attention.
What does ‘craft’ mean to you in a social context?
M: To me, it means to continuously experiment and to strengthen specific skills. Social media is ever-changing, the algorithm is always changing, the platforms, and the trends. There’s always something new to learn — the learning never stops.
V: ‘Craft’ in social media, for me, means the art of creating engaging and meaningful content that resonates with our audience. It is about all parts in one – visual content, captions, stories, comment interactions and ALSO how your content strategy flows between different platforms.
Social media has been accused of driving polarisation and spreading misinformation, while others call it the marketplace of ideas. Whether or not that’s the whole truth, it is certainly shaping discourse and is one of the key venues for culture war-ish behaviour. What’s your take on the role of social media in society and what responsibilities do brands and individuals working in social have?
M: As brands, it is our responsibility to uphold the philosophies the brand believes in. AtNERD, for example we support under-represented talent, so LGBTQIA+ community, female talent, minorities and more. We are always consistent with our support towards them may it be online or offline, on set, in production, in post production etc. It goes the same way for any cause or advocacy we choose to support. Whether you are a production company or agency, it is our responsibility to spark!
V: That’s why it’s called Social Media! I firmly believe that once you post something on social media, you accept that it will receive public reactions, both positive and negative. It is up to you how you react to it. If someone wants to protect their views, they should use private accounts or close friends’ stories. It’s unrealistic to expect only positive feedback. I personally use social media for inspiration, new fitness and travel content, and to see what my friends are up to. I curate my feed and follow only those who inspire me, avoiding politics. From a brand perspective, a brand should stick to its core values and prioritise customer well-being. As Social Media Managers, we nurture our community but can’t control what everyone else does on social media.
How do you balance traditional PR efforts with social media strategies, and can you share an example of a campaign where both elements were successfully integrated to amplify the overall impact?
M: I think PR and social media go hand in hand. Both channels are crucial for gaining or receiving information about a brand. For example, I might see a social media post about a project and be led to its website, where I find more content to explore. Another example is receiving a newsletter and clicking on their social media links. It’s always a good sign when a social media account is consistent with newsletter content and is regularly active.
V: At NERD, our marketing strategy is based on storytelling and collaboration. Everything we do in PR has its voice on social media and usually, it continues the story. Whenever we do a PR feature, you will always find it on our socials and all of our PR will always link back to social. As a production company, all of our work is visual and it is only fair to use all of our media outlets to show it off harmonically.
Inevitable AI question! How are you applying AI in your day-to-day role and what have been your key insights/observations about the best way to approach it in the campaigns you’ve worked on (feel free to share examples)?
M: At NERD we embrace all new tools that can help us achieve our best work, however we pride ourselves in our authentic voice and creations so we use AI to do the heavy lifting where needed and leave the creative, juicy part for our talent . For example, I usually use AI as a research tool. If I want to know about why a certain trend is trending etc. Sometimes, I use it to learn what are good hashtags to use for a certain topic in the week. It makes my work faster because I feel like it assists me a lot when it comes to brainstorming and thinking of how to strategize my content more effectively. It’s like a booster that helps me think faster and therefore I can use my time to put the pieces together much easier.
V: I am not too clued up on all things MidJourney etc, but I am a big fan of AI when it comes to checking my punctuation and grammar. I also use AI for concept generation with prompts sometimes. It is great for helping me brainstorm and pushing me into things I might’ve missed, although it is all about prompts and how you talk to AI.
When you’re not working, what social platforms and content do you personally enjoy engaging with and why? What creators, influencers and social communities do you love?
M: I’m always on Pinterest and Instagram, and I’m also on X and Reddit a lot. I love looking at aesthetic photos on Pinterest, it calms me so much. On Instagram, I interact with the same content that I do on Pinterest. I’m mostly in the vintage fashion, beauty, crochet, and pottery communities so it’s very coquette. I love creators like Garbo Zhu because she’s both a fashion and pottery girl.
V: I have a few personal accounts, travel, fitness and photography, and on each of them I get different content. I like creating content in my free time and I can say I live and breathe social media and digital space in general. Right now, my TikTok feed is full of Wimbledon and Mallorca because I am going on holiday and tennis has just been on ! My Instagram is always full of castles and Scotland content because that’s the kind of content I create as well as more lifestyle bits and bobs like outfits and coffee. Honestly, I love it!
What advice would you give to people who are looking to get into social, whether as creatives, strategists or producers?
M: Experiment with your accounts, and you’ll start having an analytical approach towards social media. It’s about what cover image or thumbnail works, it’s about what clips reel people in, it’s about what time you’re posting, it’s about how often you’re sharing, and so many more. Then you’ll learn that even if there are so many different businesses out there, we’re following algorithms set by the makers of the platform. That’s the time you’ll learn that hey, I can do this to pretty much every account I’ll handle – you just have to make a few tweaks here and there like curating content to a certain audience or community. It’s fun to look at it with an analytical approach like it’s an experiment you’re trying to improve over and over again.
V: I got into social media organically, starting by sharing my photography on Instagram. This led to opportunities in PR, social media, and photography. I ended up at NERD thanks to Billelis, who introduced me to Milana (NERD founder and EP), and I met Bill through social media too!
My advice is to start your social media account in a specific niche, whether it’s fitness, cooking, comedy, or something else close to your heart. You’ll find your community. Treat social media like your favourite game, tracking views and likes. Discover what content works and why.
Follow your favourite brands to learn their strategies. Personal experience is crucial for landing your first role or internship. For producers, social media is great for inspiration and industry connections. As a creative, sharing your work on social media is essential—many of our talent at NERD have strong social media presences, which helps attract clients. I firmly believe social media will help you if done right.
