SALT.TV managing director Aziza Bhatia draws raw parallels between production and childbirth, exploring how the beautiful chaos of both requires a village
Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.
In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Aziza Bhatia, EP and managing director at SALT.TV.
She reflects on her 25-year career in independent production, navigating the lack of maternity support within SMEs and the stark financial realities of raising a family on statutory pay. Here, she explores the raw parallels between the “beautiful chaos” of raising teenage girls and the grueling but deeply rewarding process of bringing a creative campaign to life, reminding us that both take a village.
Please take what I say with a pinch of salt.. but as a mum, EP and MD of SALT.TV I’ve learnt a few things over the years about juggling the world of advertising with the beautiful chaos of raising children and have noticed some similarities.
All I have ever known is the world of production, and by default, working in SMEs. My 25 year long career has been with one foot in each of these camps. When it comes to having a baby, neither camp is particularly progressive. Maternity leave is not commonplace in SMEs. It’s very much a case of what the business can afford and with an industry so heavily invested in young, up and coming talent, full time roles are hard to come by, let alone maternity packages. I was one of the majority, relying on the government statutory maternity weekly pay of £130 (as it was then) to help me buy nappies. Better than a kick in the teeth I thought.
To me personally, producing ads is much like the process of giving birth. Endorphins take over and the pain is far too easily forgotten. The late-night client calls, the exhaustion, the budget ‘can we even afford this? To the team wide wonder as to ‘when on earth will this all be over?’ But the light at the end of the tunnel is, the result, the baby… And I don’t mean the KPIs. It’s the material product and the act of production that makes it all worthwhile.
Production teams and production crew are like family. If we are lucky enough to get through the ups and downs of a production, we are on an all-time high, together. Celebrations when you win a job, celebrations when you wrap a job, with a rather painful bit in between! Making an ad is much like raising a child, it takes a village. It’s a hugely emotional experience, at the end of which, you are just grateful to have been given the chance. The people involved make you raise your game, as your kids do.
Now, however, as a 49 year old woman and mum of two teenage girls, I see things differently. I get so much back as a mum and EP. Both lines of work continue to be hugely challenging and the juggle of both simultaneously can oftentimes take you to the brink.
But at the end of the day, I know that I am SO lucky, despite all the odds, to be doing what I do. The stressful moments are made up for by the beauty of what we have made and the massive pleasure of being around those amazing humans who helped us through the hard times.
Childbirth is a leveller in the same way as creativity is a leveller. It’s in those times of sheer basic need that we are all equal, that we all reach out to ask for help or to help without being asked. And I hope that we do more of that in life generally, especially now.
In this instalment of the series, Victoria Azarian, fractional CCO and brand strategy partner, reflects on how leading with intuition – not rigid ambition – shaped her journey through creative leadership, adoption, single motherhood and redefining success
Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.
In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Victoria Azarian, fractional chief creative officer and brand strategy partner.
Victoria reflects on a career guided by instinct, curiosity and creative courage. From leading award-winning AI work to challenging outdated norms around motherhood and adoption, she shares how intuition shaped her most meaningful choices. Her story is a reminder that redefining success on your own terms isn’t naïve – it’s powerful. Especially when it makes space for presence, care and long-lasting impact.
I never had a plan. No five-year plan. No 10-year vision. No carefully plotted ladder for my career or my life.
Maybe that sounds naïve. For a long time, I worried that it was. Everyone else seemed to know exactly where they were going. Married by 30, kids by 32, executive creative director in six years. That wasn’t me.
What I had instead was a sensitivity to feeling. I knew when something felt right and when it didn’t. I followed the work that energised me, the rooms where I felt most alive, and the people I admired and who admired me, not just for their creative output, but for shared values. They weren’t just coworkers. They were supporters. Friends. Allies.
“I followed the work that energised me, the rooms where I felt most alive”
Over time, I learned to recognise the difference between those who were truly in my corner and those who were simply benefiting from my effort. I was deeply trusting early on, and that trust was sometimes misplaced. But those moments became my greatest teachers. They sharpened my intuition and taught me to listen more closely to my instincts. Learning to trust my gut became my greatest strength.
Early in my career as a young creative director, success was conventional: big account, bigger title, a seat on a Cannes Lions jury, more money. I was one of only a few women creative leaders on the biggest account at the agency, surrounded mostly by men. It felt lonely, outside the boys’ club. Sometimes the doubt was loud and direct. “Women suck at design”. Other times it was quieter, framed as a “just checking in,” as if to measure my effort rather than support it. Yet, there was one leader who truly saw me. He took me under his wing, offered guidance when I needed it most, and spoke up for me in rooms I wasn’t in. I’m forever grateful to Lou for that support.
Either way, belief from others or even from myself wasn’t always there. Perhaps because I didn’t fully trust myself yet, and they sensed it. I learned to push anyway, stepping forward before I felt ready, trusting that confidence would follow action.
“I learned to push anyway, stepping forward before I felt ready, trusting that confidence would follow action.”
When the best briefs didn’t land on my desk, I took the ones others passed on. When my ideas were ignored, I made a point of getting them seen. I found my voice and with it, made both the work and me harder to overlook. I was once told by the CEO of a big agency, in a global leadership meeting, that I asked too many questions. It was embarrassing, and I felt small, but I didn’t let it show. I understand now that those questions were how I learned, challenged assumptions, and ultimately became the leader I am today.
When I led teams, I didn’t dictate. I didn’t judge. I guided. I coached what I learned to share knowledge. I gave people space to explore and grow on their own, leading with kindness. Together, we did work that was brave, thoughtful, and meaningful.
I experimented early with AI for a tech brand before it was familiar or safe. A thinking dress that went on to win multiple awards and is now on permanent display at The Henry Ford Museum of Innovation. That led to bigger questions of how to scale an idea. As a systems thinker, I helped create a living, AI-driven sculpture at Mobile World Congress imagined as the final chapter of Gaudí’s Sagrada Familia, developed alongside historians and architects devoted to preserving its legacy. That thinking evolved into a cognitive dance party that raised an AI-powered sun at dawn, responding to the movement of the crowd.
Each experience was different, but together they taught me something essential: how to translate complex technology into something people could feel, participate in, and remember. I wasn’t chasing awards or trends. I was following curiosity and in doing so, I created some of the work I’m still most proud of.
Through all this, my then husband and I adopted a baby from Armenia, the home of my ancestors.
I didn’t have a strategy for how motherhood would fit into my career. I just knew I wasn’t willing to disappear. At that time, many women were encouraged to “just take a break.” I didn’t have that option. There was no adoption policy. No paid time off because I hadn’t physically given birth. No health insurance for my family. I was terrified.
Once again, I let my intuition lead.
Everything about that moment required trust. Trust in myself, trust in my voice, trust that doing the right thing would matter even if it wasn’t easy. HR offered no solutions. Either take unpaid leave or quit was the advice. They assumed I wouldn’t return.
That was when I understood something clearly for the first time: intuition wasn’t just how I made decisions. It was my way forward.
My intuition told me this wasn’t fair and that staying silent would only reinforce it. When I finally spoke up, voice shaking and palms sweating, my creative leader, Andy, responded in a way I hadn’t expected. He didn’t just help me in that moment; he changed the policy to include all adopted children, setting a precedent for those who came after. It was bold and kind and I am forever grateful to him for this. It reminded me that progress often begins by listening inward and that speaking up can create change far beyond yourself.
After I returned to work a few years later, life shifted again.
Divorce. Single motherhood.
No shared logistics or emotional load. Just me and an extraordinary nanny who became a second mother to my daughter. Together, we found a rhythm. It wasn’t perfect but what part of motherhood is?
There were nights I brought my daughter into late edits and weekend sessions. She sat under my desk with a blanket, a bag of Polly Pockets, sometimes watching ‘Little Bear’ on her iPad. She was quiet. She was safe. She was with me.
Someone reported me to HR. I kept doing it anyway.
Children don’t learn resilience from perfection. They learn it from presence. My daughter saw what I did. She understood the responsibility of being there. She listened to conversations and debates she didn’t fully understand at the time, but they stayed with her. Those moments informed how she thinks, how she listens, and who she is today.
Around that same time, I raised my hand for a newly acquired brand no one else wanted. Period products. An Incontinence brand. What I used to shorthand as “everything below the belt.” I worried it might derail my career. Instead of avoiding discomfort, I chose to face it, and built a team that felt the same, bringing deeply stigmatized categories into the open with honesty, empathy, and boldness.
I brought my daughter into that mission with me. She stood beside us as we spoke openly about bodies and cycles, about something half the world experiences and too often learns to hide. There was pride in that moment. And a quiet sense of rightness.Years later, that work still echoes through the industry. It challenged norms and made people uncomfortable in the ways that matter.
In parallel, I kept growing too. Intuitively, I knew that chapter was complete not because something was broken, but because something else was calling.
After 15 years at the same agency, that calling led me into experiential work as a chief creative officer. Live experiences. Super Bowl moments. Music. Immersive brand worlds. I moved into a sunlit office in Tribeca and thought, I made it. It felt like a scene from ‘Working Girl’.
“I moved into a sunlit office, I made it. It felt like a scene from ‘Working Girl’. Two months later, the world shut down.”
Two months later, the world shut down. It was February 2020. Covid hit
Live experiences disappeared overnight. We pivoted to digital, rebuilding in real time and learning faster than ever. It was devastating and transformative.
By the end of 2021, the holding company decided live experiences were no longer essential. And set to dissolve the experiential company. I had to carry out massive layoffs for people I had never even met. The energy shifted. I felt horrible. I was offered a role at another of their agencies, but my gut told me it wasn’t right. While safe and familiar, it was misaligned.
Then, exactly at this time, a call came from a colleague from years ago.
“I need you. You’re the only one who can do this.”
It wasn’t about rescuing something broken or stepping into familiarity. It was an invitation to build, this time from the inside. To move in-house to expand an in-house agency. I felt excited because it was unknown. It gave me the chance to bring everything I’d learned about creativity, leadership, and integration into a place where I could be involved early in shaping the product itself, not just the marketing output. It was like a billion-dollar startup, fast-moving, ambitious, and new territory for me that made it both daunting and energizing.
When I stepped into the role of head of creative at an in-house agency, I arrived confident and was quickly humbled. I didn’t know what I didn’t know and the best advice came from one of the marketing leads Kait, “Listen to learn not to solve the problem alone”. I took it to heart, because it was the opposite of the agency world I’d come from where we were hired to solve the marketing brief immediately.
Creativity expanded again. I learned how to create demand for something that didn’t yet exist, how to build social currency before launch, and how to sell products out in weeks. For the first time, I felt a different kind of pride, standing in Target, seeing something tangible on the shelf, knowing it existed because of decisions we made early and with care of the consumer.
Photo credit: Greg Swales
And then came a harder truth. The role soon required super-commuting between New York and Boston three-four days a week. At that moment in my life, when my daughter needed steadiness more, I knew it wasn’t sustainable. Letting go wasn’t easy. There are still moments I wonder if it was the right choice. But at the time it was.
Some people choose to stay in one type of place and hone one craft. I respect that deeply. I’ve always preferred to explore.
Joan Didion once wrote, “I’ve already lost touch with a couple of people I used to be.” I understand that now.
“I’ve already lost touch with a couple of people I used to be.” — Joan Didion
Today, I work directly with brands as a Fractional Chief Creative and Brand strategy Partner. I build creative strategy through execution, partnering with CMOs, marketing leads and teams to create work that works.
So how do I measure success?
Not by titles. Not by popularity or awards. Not even by money, although money doesn’t hurt.
Success, for me, has always been doing what feels right. Now that my daughter is in college, I have more freedom and deep gratitude for how far we’ve come. When you lead with integrity and choose care over fear, goodness follows. Opportunities follow, sometimes slowly, sometimes in unexpected forms. And once I learned to trust my intuition fully, it became my clearest way forward.
For a story about my adoption journey ‘Three Little Stars’ Available on Amazon.
That belief sits at the heart of NERD Productions and the woman who founded it, Milana Karaica. In an industry that often struggled to reflect the diversity of the world it was speaking to, Milana set out to create something different: a space where creativity is shaped by many voices, backgrounds, and experiences.
Over the years, NERD has grown into more than a production company. It has become a community, a support system, and a platform for artists who might not have otherwise been given the opportunity to be seen or heard.Through HER Vision, HER Voice, and HER Future, Milana Karaica reflects on the beginnings of NERD, the values that shaped it, and the legacy she hopes to leave for the generations that will follow.
Part I: HER History
1. Before starting NERD Productions, what was the gap you saw that others weren’t acknowledging in the industry and thus gave you the idea to create NERD? What did you experience personally that made you want to build something different?
I think having grown up in advertising, it was a real eye opener that we live in such a multicultural and diverse city. It’s one of the most diverse cities in the world, yet the advertising industry was the least diverse thing that I’d ever experienced. People generally tend to come from the same social and economic backgrounds, same ethnicity, same experiences, which doesn’t make for a very healthy or very interesting storytelling. If we all align and have the same thinking, it’s very difficult to craft something that is extraordinary or stands out or has a wide appeal. And since we’re advertisers and need to be talking to a range of audiences on an authentic level globally, it never really made sense in my eyes that the industry was that way.
If you come from a different background, ethnicity, or sexual orientation, anybody that didn’t fit those stereotypes, it’s very difficult to break into the industry. The doors would simply close before they’ll even manage to set their foot in.
For me, starting NERD was something quite revolutionary – I wanted to create a space where opportunities were open for everyone, regardless of your circumstances, your background. I wanted a workplace where people feel safe going into work, where they feel that they can come in and just be their actual selves. I wanted to create that space, but I also wanted to bring a diverse experience and diverse storytelling and techniques to the table. I think that’s when craft really wins – where we can make things that stem from experiences all over the world. And you know, that’s also something that feels very London to me. It feels very fresh and unique. Years later, after having built NERD, we are continuously working on how we present ourselves and being forward thinking, trying to stay relevant as much as we can by constantly asking ourselves questions like “What is the future going to be like? Who do we need to talk to now? What’s next?” It never really stops. I think having been here for just over nine years – ten years this August – it feels like just by being ourselves, we’re doing something right.
2. How do you build something that doesn’t just survive, but shifts culture?
Just by being my authentic self. You know, for me, as the mama hen of NERD, I think it’s always really important to just encourage everybody as much as I can to be themselves, to be authentic, and to be open. It’s also about being inclusive and tolerant. I think when you attract a group of people from many different beliefs and backgrounds, you also have to employ this kind of feeling of safety but tolerance towards other people’s beliefs and know how they feel because it might be the complete polar opposite of the scale.
At NERD, we’re here to open each others’ minds and teach each other, and work in collaboration. We’re always crafting and creating, and I think it’s important for us to build strong bonds and support each other and really elevate one another so I do my best that everyone at NERD feels that. There’s a lot of learning and support here. It’s almost like a little creative support group.
3. What conversations happen internally at NERD Productions that audiences never see?
I think we have a lot of conversations – hypothetical ones. Most importantly, it’s about every project that we do and every project that comes in, it’s always kind of taking a step back and seeing how we approach each project in the best possible way. We also talk about who’s the right person for every project, how we help each person, and how we can encourage collaboration in the best ways possible.
I love bringing young talent on board too – it’s important to see how they’ll fit into the puzzle, how we can help elevate them, and how we can create more opportunities for them. I think there’s a lot of conversations that we’re always having about how to improve and how to push boundaries further.
4. How do you create systems that support women and underrepresented creatives long-term, not just for one campaign? What policies or internal practices you’ve built at NERD are you most proud of?
At NERD, we don’t really have any policies outlined where people need to tick boxes when there’s a project. When we want to do something and we want to do it with meaning, things have to come from the heart and not from a piece of paper.
5. What conversations in the industry are still uncomfortable but necessary?
Well, I think cultural shifts are the one thing that always affects us massively. For example, when we had the #MeToo and #BlackLivesMatter movements, you would not believe the amount of outreach that we had for underrepresented artists, directors, and illustrations – especially women and black people.
I think since the rise of the Trump administration, the tables have shifted again and anybody who’s a minority, queer, or a woman are being pushed and sidelined. It’s shocking how in 10 years we were able to gain so much progress but now we’re back to zero. That’s why it’s important for us to keep pushing these conversations because there are partners, agencies, and brands who are very much interested in promoting equality and diversity, especially for the talent that they use in these projects.
It’s always difficult having those conversations openly, honestly, and transparently, but it’s important that we do have them so that we don’t forget and don’t end up making the same mistakes again. There’s a reason we had those movements. We don’t want to be in a situation where progress was something that only happened for a few years and then it’s gone. I think it’s important for us to just keep pushing.
Part II: HER Voice
1. Has becoming a mother changed the way you define success? What emotions did motherhood unlock that now influence how you lead? How has motherhood softened or sharpened your leadership skills?
I think that’s a tricky question, actually. It’s definitely changed so many things for me personally and professionally, because I think being a mother kind of gives you a new perspective and outlook on life about things that really matter and things that are really important and why.
I’ve always had a great deal of empathy. But I think being a mother has unlocked another layer of that in me. Especially since, it feels like I always try to be fair in any situation.
It’s definitely sharpened some of my leadership skills in the sense of that I’ve learned to prioritize things that are of actual importance. I also think that sometimes I take things too seriously, and motherhood has been the thing that’s kind of given me a little bit of a shake and just be like “You know what you don’t have to take yourself so seriously! There are other things that are way more important than whatever this incident is that you’re thinking about.” Motherhood has definitely given me a wider scope and understanding on my priorities as a mother and as a leader.
2. What do you want your children to understand about who you are, beyond your work?
I think the one thing that my children do see a lot of is how much at NERD we all support each other and help one another flourish. There’s a lot of chats and conversations and debates that they’re exposed to, I think that’s a really nice environment for children to see that work doesn’t have to be work and that there’s like a strict separation – that if you do something that you love with the people who enjoy it, it can really be fun and something that you feel is a part of you.
I think my children do see that my work is a part of our lives very much because you know my whole family is kind of entangled into what I do. They see their dad endlessly supporting me and the work that I do, and I would really love that for them because I think there’s no reason why you can’t enjoy your job and the people that you work with.
3. Do you feel the industry allows women to be both powerful and maternal without penalty?
Absolutely not. I think that is the one thing that remains and that’s really sad.
In this industry, women are almost forced out at a certain age because once you have your first child, then god forbid you have the second one. Then, you have to take time out on moments when the kids are sick, when the family needs you. I mean, it’s just not physically possible to be 110% in being both a mother and working on your career.
However, this is why NERD exists and why I started NERD. To create safer spaces for women. We just need to keep pushing for us to see more progress and more support for women in this industry.
4. Is there a side of you the industry doesn’t get to see?
I wouldn’t say so. I think you really have to lead by example. So I think with me, it’s like what you see is what you get and I feel like it has to be that way. If I’m expecting people to present themselves as themselves, then I think I’ve got to be that way too. The good, the bad, the sweet and the ugly – all of it. Because that is what makes us human. And that’s what makes us different and unique to one another. And I’d like to believe that all my NERDs are like that, that we’re all such different creatures.
5. What fears do you still carry, even at this stage of your career?
I think fear of failure is the one thing that still holds me back even now. I think it’s normal for us to have those late night thoughts of like “Oh my god, what if all of this goes away one day” and that feels really scary. And I still get those thoughts even years later. But I think apart from that, I’m learning to accept that everything in life comes and goes, changes, shifts, and evolves.
Part III: HER Vision
1. What does the next chapter of NERD look like? Where is the company heading culturally?
I think for us, it’s being mindful of the many things that affect our company, especially things that focus on inclusivity and diversity. It’s always good to stay aware of what the cultural and political shifts are because those things directly affect NERD and the talent that we represent. We just have to shape, evolve, and shift ourselves accordingly.
2. What legacy systems are you building for people who will lead after you?
I think that’s something that has to come naturally. I think that my passions and desires might not exactly be the same as the next person who leads NERD. I think there has to be room to kind of shift and change with the new generations.
Obviously, if you’re already at NERD, you somewhat align with NERD’s ethos and our passions and advocacies. I think leadership is about looking inside yourself and asking yourself things like “What do I stand for? What do we stand for?” and then pursuing that. It has to be a fluid thing and that can’t always be a concrete answer. I think everybody’s passions and desires are very different. Sometimes we’ll align on some things and that’s okay.
I think NERD will have to grow with the people that lead it. As we grow, we will change and shift, we will learn new things and uncover new things we’re passionate about. Sometimes, those things can also get sidelined and something else becomes more important in that moment of time. My hope is that there won’t be such a challenging future for the people that will lead NERD after me. But if we do, I hope that they have it in their heart to recognise what is needed in the moment and to push against any barriers they encounter.
3. If you could give one piece of advice to the version of you who was just starting out, what would it be?
Not to take things so seriously, including myself. I think I do take things to heart very much, especially in the past. I feel like I had to fight everybody’s battles. That’s an overwhelming, unrealistic task to take on and put on yourself. I’m very much guilty of that. So I think it’s important to just learn how to walk before you can run.
4. What conversations are just beginning that will define the next decade?
I don’t know about that one. I think we’re in a strange place where the world is very ugly at the moment. And, you know, there’s so many yucky things happening. I think it’s very difficult to kind of see through that right now. And I think it is time just to kind of stop, see what we can do personally and how we can personally contribute to make society a better place and make our industry a better place. That’s all that we’re in control of right now, really. I think everything else at the moment feels so uncertain otherwise so it’s really difficult to give a concrete answer for that.
5. When everything you’re building outlives you, what do you hope remains?
Kindness. That’s the one thing that I feel is at my core. I hope that one day when I’m retired and you guys are running NERD, and it’s doing its own thing and its shifted and changed with the times that there are people that will kind of be like, “Oh, I remember Milana. She was so quirky and like, you know, she pushed for me when no one else did.”
I like the idea of being in people’s corner. I think I’ve been very fortunate to have my family, my partner, and my close friends because they were in my corner against all odds – you know, we made it and we’re here.
It’s nice to be able to be that person for others when no one else is.
Building NERD was never just about starting a company. It was about creating a culture where people could show up as their full selves, where creativity could thrive through collaboration, and where the doors of the industry could open a little wider for those who had long stood outside them.
As Milana looks toward the future, her hopes remain grounded in the same values that started it all: curiosity, courage, and kindness.See more from Milana Karaica and NERD Productions on nerd.productions
NERD Productions award-winning illustrator Amanda Lanzone is renowned for her vibrant and playful visual style. Her work combines art and pop culture together creating images that not only feel original but represent the zeitgeist. She has created art for brands such as Universal Music Group, Converse, The New York Times, The New Yorker, Vice Media, Cosmopolitan. Providing her distinctive style to some of the most renowned brands on the planet.
We recently caught up with Amanda to discuss her creative process and how pop culture influences her art style and how growing up in the Big Apple influences her work.
New York is an incredible place for creativity and a hive for pop culture. How much do you think growing up there has influenced not only your work but how you approach art in general?
I think growing up in New York has influenced me in countless ways, and that definitely includes my art. Having access to so many things my whole life must have something to do with the way I think, and I pull from my life a lot when I create. There’s pop culture, but then there is also subculture, which is what I am into. I think it gives my approach a certain energy and honesty. I really enjoy making work about things that matter to me, that involve my personal experiences or things I think are cool/clever. You really never know where inspiration is going to strike, I see the beauty in things around me. I have definitely taken a photo of trash in the street because I liked how the colors looked next to each other, and used it for reference later.
Inspiration can come in many different forms, could you tell us what has recently inspired you? (e.g. books, commercials, film, music, fashion).
I have an eclectic list of inspiring things I’ve been enjoying lately. I’ve been reading old manga and playing a lot of DDR. Recently, I finished restoring a dollhouse I found on the side of the road, so I’ve been inspired by old homes and things of the past and the way they used to be made. I think it’s good to work on analog activities when I need to relax, so I’ve been making crafts and practicing cursive handwriting which feels very romantic. I’ve been watching runway shows and revisiting some of my old favorite movies with gothic themes. I love extreme music. I listen to a lot of different genres of metal, rock, hardcore, and hard electronic, etc. While I have been listening to a lot of the same music since I was a teenager, I’ve recently been diving deeper into the subgenres, whether it be from 20 years ago I missed or the new bands coming out now.
In relation to the above question – Your work feels very pop art inspired and wondered whether the New York art scene from the 1960s such as Andy Warhol and The Factory influenced you in any way?
I am pretty nerdy about artists/art history and that time period is no exception. I can definitely say the more I learned about Andy Warhol, the more interesting the whole production became. He was truly a pioneer with a lot of range, I am always amazed at how much he has accomplished as an artist. I always wonder what it must have felt like to be an artist in New York at that time, I’d imagine it was pretty wild.
When working on a commercial brief how do you adapt your style to match with the requirements of a brand/client?
This is all about balance and each project has its own spectrum of creative freedom so it can vary each time. When someone hires you, it’s usually because they like what you do which is a good start. I try to retain my own standard and way of doing things, while also keeping in mind any guidelines or preferences of the client. Some projects have a lot of guidelines, and some have very few. Guidelines are like a fun challenge, getting a prompt and putting my own twist on it is so enjoyable to me. It’s a good way to get something truly unique. While every situation is different, I want it to be something I am proud of.
As well as an illustrator you’re also a professor at the School of Visual Arts, what’s the best advice you give to your pupils who want to make a career as artists?
I get this one a lot, and the answer might not surprise you. I know NEVER GIVE UP and FOLLOW YOUR DREAMS sound like obvious answers. It’s important to really think about your goals and working very hard really matters. It takes a lot of growing and love. Even when you start to feel uncomfortable, you need to keep going and trying. Giving up is honestly the worst thing you can do. While it’s not for the weak, it is all very possible if you care enough. I really want to encourage my students to have this mindset, it’s the mindset that made it happen for me. Everything matters, and so does believing in yourself and your work. When it’s something you really love, it’s all worth it.
It’s that time of the year again where the cheap tinsel comes out and Mariah Carey gets defrosted to haunt every Christmas playlist in existence. At NERD Productions we have a global roster who all spend the festive period in different ways so we wanted to cap this year out with catching up with some familiar faces to discuss Christmas and New Years traditions and memories, so grab the mince pies and mulled wine and enjoy.
ALICJA JASINA
“In Poland, Christmas Eve comes with a quirky tradition: twelve dishes on the table (one for each apostle), which makes the dinner both chaotic and magical. We also always set one extra place for an unexpected guest – a stranger who might knock on the door, because no one should be alone that night. No stranger has ever appeared… but we’ve always had plenty of friends to fill the space.
Another tradition is sharing opłatek, a thin sacred wafer similar to the communion host. We break off pieces and exchange personal wishes one-on-one. It’s a surprisingly emotional ritual.
The evening is always cozy and joyful, and it inevitably ends the same way: my uncle gets tipsy, launches into family legends (including pre-war stories about my grandmother), and then grabs his guitar – he can play anything by ear. He moves from traditional carols to all kinds of songs, improvising based on who’s visiting. Last year, when my Colombian friends joined us, he made up “Spanish” lyrics that sounded convincingly Spanish… but absolutely weren’t. The guests were delighted anyway, so I guess that’s what matters.”
KULAY LABITIGAN
“We enjoy the old-school card giving. It is simple but heartfelt. My husband and I normally create and print our own bespoke illustrated Christmas cards. We set a weekend in December to sit down, reflect together, and write our Crimbo cards by hand one by one to send to our friends, family, and loved ones. It is a beautiful tradition to reflect back on the amazing year and remind us that there are just way too many things to be grateful about.”
AHMET ILTAS
“I grew up in the Freiburg–Bad Krozingen area of Germany, and every New Year’s season, the town seemed to change color overnight. The streets would light up, decorations stretched across the buildings, and enormous Christmas trees appeared in the town squares. For us kids, it all felt like a giant amusement park.
One of my strongest memories is of a small wooden hut beneath the big tree in the square. It was actually just a stall selling souvenirs, but we had declared it our secret headquarters. I remember one freezing evening when we challenged each other to touch a metal bell and see who could keep their hand on it the longest. I won, but my hand stayed frozen shut for ten minutes afterward. At that age, pride definitely outweighed pain.
We would wander through the decorated streets, past colorful windows and towering Christmas trees, carrying our hot chocolates and trying to spook each other with silly games. Even today, whenever I see New Year’s decorations, I’m taken back to that giant tree, the metal bell that nearly froze my hand off, and those winter nights when we disappeared into the fog and laughed as only children can.”
VIKTORIIA TELFER
“I am originally from Ukraine and Christmas is a little different there compared to the UK. First of all we celebrate on the night of 6th January, as my family is Orthodox. Traditionally, there should be 12 dishes on the table for the apostles, and my grandparents always prepared specific foods such as sweet barley (Kutia), fish, chicken, with the feast kicking off as the first star appeared. We also prep various Eastern European salads which we would then eat for breakfast too 🤣.
New Year’s Eve is also very important and is largely influenced by Soviet traditions rather than religion itself. One thing remains the same, though: it’s always a big feast, and everyone loves to dress up, photo proof below…
I have very warm memories of the holidays in Ukraine, but since moving to Scotland, I no longer celebrate Christmas on the 6th, as I’m not religious. I now fully follow the British holiday calendar and absolutely love Christmas Day on the 25th with my Scottish family. We either go out for a Christmas meal or enjoy a roast at home. One thing is certain, though, everyone is spoiled with gifts. We still write Christmas lists and make sure Santa brings a present for everyone, no matter their age or behaviour…”
It’s been a tough year for the industry but still a great year for creativity and craft, new friendships and collaborations ! No matter how you celebrate, we wish you a Merry Christmas and Happy New Year!
World Disability Day, officially known as the International Day of Persons with Disabilities (IDPD) is observed annually in December. It is a day to raise awareness about disability issues and to promote the rights and well-being of people with disabilities. A chance to promote and celebrate their achievements and contributions to society.
Advertising can be a platform to showcase and educate people on raising awareness on people living with disability. NERD Productions is lucky enough to have talent on the roster who have worked on projects that promote and help us think differently on the topic.
One of Arcade’s most recent projects for AS Apple Autism Awareness shines a light on children living with autism. The film is a celebration of togetherness and represents the spectrum showcasing children from different backgrounds who live with the condition. Autism can affect people differently with symptoms appearing in early childhood. It can affect people differently providing distinct strengths and weaknesses and can often be a very misunderstood disability that isn’t always visible or clear. Arcade’s film shows these children are no different from other children; they have the same desires and ambitions to play and discover. Arcade applies welcoming visuals and a playful colour palette that matches with the tone and message of the film.
Emmy award winner and stop-motion artist Hayley Morris crafted a thought provoking short film Undone which was inspired by her grandfather which devastatingly captures the debilitating nature of Alzheimer’s disease. Hayley’s hauntingly melancholic film expresses so much without words, instead utilizing abstract imagery and soundscapes that conjures up a sense of isolation and sadness. Stop-motion allows a sense of tangibility that adds emotive power to the film with touch playing a huge role within the narrative.
Ahmet IItas worked with Cochlear to produce a captivating piece of animation that shows the struggles and disconnect those who suffer from hearing issues face on a daily basis. Ahmet uses sweeping transitions and a clever use of colour that showcase how Cochlear hearing implants can provide comfort and connection back to those who need it.
Ahmet’s handcrafted approach to the animation style lends to the themes of togetherness and human connection that we can sometimes take for granted. It also allows the audience a chance to view things from the perspective of someone living with hearing loss and how that can impact everyday life.
Ahmet “The Cochlear ‘Connection’ project drew attention with its emotional depth and refined artistic approach, setting itself apart from the conventional advertising line of the medical device industry. The animated film tells the meaningful story of reconnecting with the world through the implant, addressing the isolation caused by hearing loss. The primary goal of the project was to emphasize the meaningful change in the user’s life rather than simply describing the functionality of a medical device in a dry manner.
In line with this vision, a sophisticated aesthetic was adopted, featuring traditional brush strokes and artistic stylization, distinctly setting it apart from other medical ads in the sector. The narrative conveyed the emotional transition, from the world becoming abstract and pale during moments of hearing loss, to the restoration of sound and the world becoming clear and colorful again with the implant, through powerful metaphors.”
Ahmet IItas – Cochlear Hearing Implant available here
If you’d like to see more from NERD Production click here
Halloween is here and for all you horror freaks out there, turn the lights off, sit back and relax or cower behind a cushion in fear because we’ll be taking a deep dive into these spooky films by NERDY Orca & Arcade director teams.
Arcade provides endless Halloween spookiness with their latest animation for Apple bringing a playful and wicked sense of energy to the table. We’ve also been informed no vampires were harmed during the making of the film!
Ed and Nelly over at Orca have done a few projects over the years for the scariest holiday of the year. Including their delightful deranged ‘Halloween’ short that creates a sense of dread and unease in what can be described as an existential chase sequence.The animation style is reminiscent of prime Cartoon Network if it fused with the unsettling body horror of John Carpenter’s The Thing which is to say it’s pretty messed up…
Here’s what Orca had to say about the film – “We wanted to create something for halloween and thought about those nightmares you have when you’re running from something and you can’t seem to get away – that was the starting point. For the imagery itself we didn’t take influence from anything in particular, we just started drawing and came up with this monster which we found quite funny/ terrifying. We then filmed video reference for the animation as this is always really useful for timing and capturing acting decisions that you might not think about when drawing. For the background we wanted to continue on this dream/nightmare train of thought and created a barren desolate place where you would always be able to see the monster chasing you.”
Another ghoulishly horrifying project Orca worked on was for a show within a show for the fifth season of the BBC and HBO show “Strike”. The animation is inspired by point and click video games. Perfectly blends Orca’s trademark style with the themes and atmosphere of the programme.
Orca discuss the creative process working on Strike – “At the beginning, the main point of reference was the artwork of Jan Pieńkowski, however as we developed the look further (with production designer Hugo Cuellar) we moved away from pure silhouettes as we wanted to show the character’s expression and all the details of the heart character. The use of shadows, silhouetted shapes against a marbled sky carried through though, which we think works really well. For the video game sections, we looked at video chat games such as Club Penguin and then wondered how they would look with a more gothic twist. It was also important for the plot that we referenced a real section of Highgate Cemetery, which proved a really rich source of inspiration when it came to the types of architecture and foliage we included in the background art.
Working with the client, (Bronte films, the production company that makes the Strike series), was really fun and super collaborative.”
Ed and Nelly shared the films that scared and influenced them. Ed: “I was particularly scarred by Nightmare on Elm Street, which I saw when I was 14. It really stuck with me and I definitely had that in mind when we created our first Halloween microshort.”
Nelly – “The Exorcist is one that really disturbed when I was young (and still does) – it’s so scary, but also grotesque and incredibly uncomfortable to watch. It must have influenced something on a subconscious level!”
In this instalment of the series, head of social and integrated communication at Havas shares her experience of becoming a single mother in a city away from her family, and how building a daily rhythm with her son has helped her grow in her life and career.
Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.
In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Davitha Tiller, head of social and integrated communication at Havas.
Davitha shares her experience of becoming a single mother while leading in one of the industry’s most demanding sectors – with no family nearby, no fallback, and a young son relying on her. What followed was a journey of emotional extremes: fear, liberation, exhaustion, growth. And, ultimately, pride.
From the challenges of raising a child alone in New York City to the structural support of working under strong female leadership, Davitha’s story is one of extraordinary resilience – and a powerful reminder that motherhood, in all its forms, can shape more empathetic, grounded leaders.
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IT WASN’T THE PLAN, BUT IT’S MY PATH.
I will never forget my first official day as a single working mom.
I was standing in the kitchen of the apartment my 11-month-old son and I had just moved into following my difficult separation from his father. After a long day of meetings, pitching and thinking; I had put him to bed, and now it was time to make myself dinner. But before I could so much as reach for a pan, a wave of emotion hit me – an overwhelming cocktail of debilitating fear and exhilarating relief.
There was the fear of the road ahead. The relentless logistics. The loneliness. The unknown. And at the same time, there was this liberating sense of reclaiming control – of knowing that, for better or worse, I was back in the driver’s seat of my own life.
How am I going to do all of this?
The sleepless nights. The childcare arrangements. The all-day meetings. The after-work mom mode. The after-mom-mode work mode. The co-parenting conflicts. The tiredness. The confronting reality of knowing that you’re staring at your greatest support system in the mirror.
And yet – alongside all that – came the longing to be the best mom I could possibly be. To stay healthy, strong and active. To nurture friendships. To make new mom friends. To help my son make his first friends. To sign him up for extracurriculars. To travel the world for work and for fun. To eventually, maybe, date again.
Being an expat single mom in a place like New York City, with no family nearby and a sole custody parenting arrangement, while working a demanding leadership job in our fast-paced industry, is its own level of hard. And being a stubborn Taurean who doesn’t easily accept help certainly didn’t… well, help.
The non-stop nature of it all was terrifying. And, honestly, some days it still is. But even in the darkest moments, I held onto one belief: that eventually, it would get easier. And it did.
To my own surprise, I wouldn’t change a thing about my journey.
Because what I’ve learned is this: just like writing, or riding a bike, once you get the hang of single working mom life, it becomes second nature. And in doing so, it reveals a level of vulnerability and resilience you might never have known you had.
I’ve always been a creature of habit, someone who believes that structure is the antidote to chaos. So I approached life with my son like a military mission – building a daily rhythm so reliable, both he and I could follow it with our eyes closed. That structure became my lifeline. It still carries us through.
And through it all – just as research so often shows about children raised by single mothers – my son has become the most loving, flexible, perceptive, and emotionally intelligent little man. He lights up my life every single day, and together, we make a pretty great team.
And speaking of teams; I am immensely grateful to work for an agency with a strong female leader at the global helm, where offering people the flexibility and support to navigate their personal circumstances isn’t an exception – but the cultural norm.
Over the years, I’ve come to wear my “single mom” title not as a burden, but as a badge of honour.
It wasn’t the plan, but it is my path. It has made me who I am. And today, I can finally say it: I’m proud of her.
NERD Productions are ecstatic to announce that Orca will be joining the roster, bringing with them a vast ocean of creativity and imaginative wonders. The animation studio fronted by creative couple Ed and Nelly are renowned for producing 2D, 3D, mixed-media and motion graphics. Working with huge clients and brands across the years like Netflix, HBO, Disney+, BBC, Sony, Deliveroo, and GQ. Crafting fantastical stories with rich and colourful characters that leave a lasting impression.
A power couple in every sense, united by their love of telling stories, meeting at the NFTS they would go on to collaborate and create together as a force of nature, operating and mastering the art of 2D, 3d animation, mixed media and motion graphics. Crafting innovative commercials, music videos, short films and documentaries, the pair bring their to every project they touch.
Orca on joining NERD Productions – “We’re really delighted to be joining the roster at NERD – we’ve admired the projects being created there for a while now and are thrilled to be represented by a production company that shares our values and approach to the work. The ethos of collaboration at NERD is very much in line with ours too, so we’re incredibly excited to start making things with them.”
“Orca have mastered the art of creating vivid and colourful worlds brimming with charisma and character with a truly whacky and imaginative brand of filmmaking. At NERD Productions we love artists who know how to take their audiences on a journey, so Orca felt like a natural fit for us and we honestly can’t wait to get started. Ed and Nelly are wonderful people who share the same passion for telling distinctive stories as us.” – Milana Karaica, Founder & Producer of NERD Productions.
Take a peek behind the scenes of Ed and Nelly’s creative process and you’ll find it’s super serious work..
Take a dive into Orca’s brilliant body of work here.
Sharon Liu is many things, a talented animation director, music video maker, illustrator and an avid GIF maker. In the latest edition of Getting down and NERDy! We caught up with Sharon to discuss her creative process and her adaptability to shapeshift between different creative mediums.
Everyone loves a good origin story, so let’s start from the beginning. How did you get into animation?
It’s funny that my interest in animation only started on my foundation course at UCA Farnham. I was never really an anime or comics fan when I was a kid. However I’ve always been into painting and during my foundation course I discovered that animation is not just ‘cartoons’, it can be painterly and experimental too. I would say that was the turning point for me.
Over the years Sharon has perfected her animation style and brought her distinctive vision to the world of commercials, working on campaigns for the likes of Boot, The Climate Coalition and RAM Trucks.
The Very Hot Snowman for The Climate Coalition display’s Sharon’s hand-drawn aesthetic in beautiful fashion, giving the piece a storybook quality that pulls on your heartstrings and with the voice talent of a certain Britpop icon the whole thing feels cosy but poignant.
What would you say is the major difference between illustration and animation director?
I guess as an illustrator I can spend more time focusing on the tiniest details, and as an animation director I have to focus on the bigger picture/ overall feel/ narrative. I realised that good animation might not necessarily contain one single frame that would work well as an illustration and a good illustration might not necessarily work as a frame of animation either.
Sharon is also a master of creating mixed media, blending her trademark animation style with live action, which you can see in full swing with her music video ‘Its Like That’ for pop royalty Mariah Carey.
You experiment with many different methods, is there anything you haven’t tried yet that you’d like to explore as an artist?
There are far too many methods I would love to try, I believe anything can be turned into animation under the camera! At the moment I’m trying to figure out a way to animate/control water!
As a fellow avid GIF maker I’d love to know what you like the most about creating GIFs?
GIFs are short and sweet. It’s a documentation of my visual diary and it allows me to play with different materials and explore outside my comfort zone without any pressure.
Do you think GIFs can be used to tell narratives and what do you think it adds to your work?
Same as all other art forms, GIFs can be used to express narratives but a strength of GIFs is their versatility to be used in the digital world, including their ability to show moving images instantly without pressing play! It’s hard to think what GIFs add to my work as GIFs are my work. So instead I would rather say creating GIFs has brought me different kinds of work opportunities, a colourful portfolio and 704 million views on GIPHY.
What kind of creative projects appeal to you the most as a creative?
As I’m getting older and more experienced, working with people that I like is far more appealing to me than the nature of the project. Luckily good people tend to work on good projects too!
