Karina Correa and I met four years ago when she was the Art Director at Ecko Red, leading up the graphics division for women’s apparel. Since those days, Correa has gone on to merge street trends with commercially salable designs for a whole array of creative arenas. In addition to several graphic design print projects, Correa’s successfully pursued an animation and film career, directing and producing David Byrne’s Forro in the Dark music video as well as her most recent passion project, Train of Freedom. This film is a feature documentary about post-war reconciliation in Kosovo presented through a journey in the country’s railway system. Check out our Q+A for a glimpse into Karina’s daily routine!

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PP: What websites and/or news sources do you generally start your day with-do you have a daily routine for news/blog/information consumption?

KC: My day starts with the impertinent BBC world service where I get my daily fix of reality. I keep it running all day long in the background. I don’t really have a daily site routine but I check regularly

• Nublu
• Nasty Gal
• WGSN
• Pattern Pulp
• O-Ze
• Planet Green
• Art Prostitute
• Prelinger Archives
• You work for them

PP: How did you discover your talent and how has it evolved over your creative career?

KC: I feel I’m still in the process of discovering my talents, I see it as a lifetime of learning, a process of trial and error… I discovered early on that I don’t like math and when it came time to choose a career I looked for creative fields. I started with Graphic Design, then continued with Animation and later Documentary Filmmaking. I think they all complement each other and have shaped what constitutes my body of work so far.

PP: Please explain your design process when approaching a new pitch or video project.

KC: My process begins with an emotion and an unclear image, a sense of color that won’t leave me alone, often times it’s triggered by music that will play in my head constantly. Most of my music video work has originated that way. During the course of a week those feelings will define the techniques and style of the piece which will lay out the story board process. Once the concept is “cooked” and clear, I put a team together and the production starts to roll.

PP: What is your preferred method of design and how is it incorporated in your final product?

KC: I’m much better in the computer, however my work is normally composed of a collage of techniques incorporating heavy handwork and recorded object manipulation.

PP: When is the last time you took a professional/creative risk? Please explain.

KC: Risk seems to be such a relative word…it immediately connects in my mind with projects that must likely wont result in any commercial or financial gain…I think I constantly take that road, especially since i keep moving from design to film and visual arts which makes it difficult  for people to catalog me.  I often invest in projects knowing that the retribution will be to my soul alone but I believe that is far more important that cash rewards itself. I mostly choose the projects and brands I get involved with based on what I feel is the right fit for me.  I enjoy collaboration and experimentation and strive to keep my independence alive.

PP: How do you incorporate commercial trends into your work and and is this a factor that drives your design?

KC: Commercial trends are the bread and butter of the fashion industry where I spend a large portion of my time. I try to find a balance and identify what can be translated into the work i do for a specific brand while still adding large amounts of originality. I’m lucky to be above all a visual artist.  I’m happy to snap photos of girls in the streets wearing my designs. I believe having more freedom to be inventive in product placement is the result of a growing acceptance of street art and street culture.