Six N. Five is a design collective based in Barcelona that churns out brilliantly sophisticated and sleekly minimalist creations. The brainchild of Andy Reisinger, 26, and Ezequiel Pini, 30, Six N. Five was formed in Buenos Aires three years ago and recently made the move to Barcelona. Specializing in set design and 3D printing, the collective’s modern and entrancingly future-forward aesthetic has attracted clients such as Bloomberg, Uniqlo and Verizon. As a huge fan of Six N. Five’s design, I was delighted to hop on a Skype with Andy last week and learn more about his and Eze’s creative process.
Can you tell me about the name Six N. Fave and how you came to form the collective?
In the beginning, we liked the name because we had to make a name that would fit for all of our work. We didn’t put want to put our names together — we didn’t want to call ourselves Andy and Eze, so we put Six N. Five. It’s not meant to be something like five plus six is eleven… we really liked the numbers and how it sounds, so it worked.
How did you and Eze meet, and what drew you both to digital art?
I’ve worked with digital since I was fourteen — I’m from the 90’s, so I was almost born with a computer. I’ve been playing with photoshop since I have memory. Then, I started to work with 3D, and here we are. Eze was a Taekwondo fighter; he went to North Korea to compete many years ago. But later, he stopped training because he wanted to dedicate his life to digital media and that stuff.
We met each other because we working in studios where the owners were friends. I had seen Ezequiel one or two times before we joined together, but we never spoke. Then, I went to work to see something in Madrid, and he came too. So, we started something there. We went back to Buenos Aires for there years, where we grew a lot as a studio. And we moved here to Barcelona a year ago.
Could you tell me a bit about what the creative culture is like where where you’re from in Buenos Aires?
It’s full of designers. I think it’s because education is free at the big university, which is called the University of Buenos Aires, so everybody goes because they like to learn and want to learn. They spend a lot of time doing work. It’s a super tiny budget for each month. 60 to 70% of the professors there are not paid, I think, but they do it because they like it and want to contribute to the university. It’s not the best panorama, but it works. I think it’s one of the best universities in the world because of this. And because of the level, it’s really cool. I think you have a lot of information there and the designer and architects from there are super high level compared to a lot of universities in Latin America.
How does the design scene in Buenos Aires compare to Barcelona’s? How are you enjoying working in Barcelona so far?
Well, we are closer to a lot of places where a lot of things are happening. Buenos Aires is full of great designers and artists, but its too far for the people that never went out from US or EU.
Can you tell me a bit about the creative process at Six N. Five?
It depends on the project, we almost have the same skills, me and Eze. We are switching all the time — in design, when you get stuck and it’s difficult to continue, we try to switch that. I’ll give the thing I’m working on to Eze, and he’ll give what he’s working on to me. So, that’s a way of solving that. That always works. That’s part of our process, then we talk a lot about things — about concepts. Then, we have another kind of a process, where when we are bored of talking or thinking, we start to experiment — playing with shapes or something, and then something comes up. Then, we create a concept or something. We use a lot of techniques to get things done.
How would you describe your aesthetic?
It’s cool. I think it’s a good mix between art and design. We are not too formal, so we can do what we want in terms of concepts and humor.
I absolutely loved the work you guys created for Bloomberg Pursuits magazine’s spend issue. Can you tell me a bit about what the project was like?
Thank you! Actually, that kind of work is our favorite kind of work — to be set designers. So, for that project, we made 3D sketches, super rough sketches, in order to get an idea of like, where are the shadows going to be, and if the shadows will be soft or hard, and what the size of the set will be. We sent these rough renders to the photographer who was working in the project, because with these sketches of the light and light intention, she already had everything she needed for shooting the project — so, she got back with us with photos… We also had a lot of freedom on this project. That was great because we proposed things that were crazy and the client was like, yeah that’s cool, great. So, there were no problems there. When you’re given freedom, it’s the best because the works get better and better. It’ s something that will appear on Pinterest and on blogs. And that’s the point for the brand and the designer.
Can you also tell me a bit about your work for Uniqlo?
That project was a little bit weird. A friend of us, Ben Willet, was living in NYC and he comes up with a contact from Uniqlo who wanted to work with us. So Ben traveled to Buenos Aires and we have made the whole project there. We shoot the products and we integrate them in 3D environments.
Growing up, who were some of your favorite artists? How have they inspired your work?
Well, I think they are a lot. Each day you have something new to see. A lot of people creating and sharing stuff, so its complicated to name all of them. But for sure, Stefan Sagmeister, Chris Labrooy, Serial Cut, Zeitguised…
Who are some of your favorite visual magazines?
We really like butdoesitfloat.com.
Going forward, what are your goals as artists in 2017?
We have 2 goals — one goal is trying to work more outside the computer, so we are working with 3D printing. We are working on creating things digitally and getting these things out. We bought a 3D printer. If we start working with that, and start to print little pieces to make something bigger, that would be cool because it would be nice with our look, lighting and set-up. We are also trying to work a little more with animation. We’ve been working with animation since the early years — we were animation directors. So, we switched to make brand stuff, because we really didn’t want to spend a lot of hours with the rendering and flickering. But, now, I think it’s good because all the renderings are really good and you can see in real-time the animation. So animation will not cause problems like it would have five/six years ago.