Design Inspiration

GONZALO FLORES

2009-06-23T12:00:00.000-07:00

Gonzalo Flores lives in the countryside of a city named Patagonians´ Gate, Bahía Blanca, Argentina.

After graduating as an Animation Film Maker (Avellaneda Cinematographic Art Institute) and receiving his degree in Graphic Design (University of Buenos Aires), he embarked on his career as an Illustrator, concept artist and animator.

He has integrated the Art Department of several leader Spanish and Argentinean enterprises, as "Torneos y Competencias Sports"(TV network), "Telefe" (Film and TV Production Company) and "Arbol / Promofilm " (film and TV Production Company), designing and performing concepts and animation works. He has been a part of several important productions, including animated features for TV, both for the Latin American and International market.

Over the next sixteen years, he has amassed an interesting portfolio with special emphasis on fantasy, science fiction, iconic designs, characters, creatures, costumes, cultures, environments and technology.

He is also a Fine Artist and his paintings have been displayed in England, Italy, Spain and Argentina in exhibitions organized by The National Academy of Antique and Modern Art of Italy (Accademia Nazionale d’Arte Antica e Moderna d’Italia), the European Community of Art Critics, A.C.E.A.’S (International Federation of Fine Artists), the Society of Wildlife Art (S.W.L.A) of U. K., among others.

http://www.gonzaloflores.com

When did you first decide to become an illustrator? Was there a pivotal moment?

I´ve grown up among oils and brushes. Since I was a child, drawing and painting were my most important languages. Eventually I realized that my drawings could get life and movement and I fell in love with animation and the Disney universe. I dreamed of spending my life among these fantastic characters. But I think the pivotal moment in which I realized that these wishes could become real was when I was chosen among a lot of graphic designers to work for a leading TV Channel's art department. There I came to understand that I could make a living with my craft.

Who or what inspires you?

There are a lot of things that inspire me, but mostly I find inspiration in the process of drawing. There I find a way to understand the world, a way of knowledge. Drawing and painting from life reveals to me the beauty which is hidden out there. I also pay attention to what other artists are doing and I try to understand their way of seeing the world.

Where does your training come from? Self-taught? College/Art School?

I graduated from The Avellaneda Cinematographic Institute and I have a degree in Graphic Design from Buenos Aires University, Argentina. But I actually learned the method to understanding form and color from my professor Carlos Marchi. I studied with him for six wonderful years!

How do you keep "fresh" within your industry?

I try to find ways to improve myself in each work. Each illustration implies a challenge for me. Sometimes I research a specific type of light. And sometimes I experiment with composition and perspective. In addition I visit as many art exhibitions as I can.

What are some of your current projects?

Presently I’m working in a Star Wars RPG book and I have a project of my own: I’m working on a full color graphic novel. I’m in the very beginning stages of the project, designing characters and environments. I’m also planning a series of big oil epic paintings.

Which of your projects are you the most proud of? And why?

Definitely, the Star Wars covers I made in 2008. They were a huge challenge for me. I’m really happy with the results I reached on these covers!

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Oh yes! Fortunately there are always techniques and mediums to explore. I’m interested in getting deeper into watercolor technique, I love this medium and I want to improve my skills in dealing with it.

Any advice to the novice designer/ illustrator?

I think is important to keep in mind what Picasso said: this craft is 90% work and 10 % talent. Illustrators have to train themselves every day in several topics and use this knowledge to improve their expression skills.

What makes a designed piece or illustration successful?

Well is really hard to understand this matter. It’s a very interesting question. I think it’s a mix of a good technique and understanding of the medium we are using and a fresh soul reflected in that piece. Something like an old man and a baby living into the same person.

What do you do to keep yourself motivated and avoid burn-out?

I always try to set myself a specific goal to achieve and I keep my mind focused on that particular topic. I enjoy the challenge of getting into the language of painting the several materials that I have to work on: metal,leather, cloth, skin,hair.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

...I would work into the film industry, in the field of special effects.

And finally, what is the best thing on prime-time TV right now?

I’m so sorry but I don’t watch TV.

KAREN CALDICOTT

2009-05-11T06:30:00.000-07:00

Photo credit Matt Aarvold

Karen Caldicott is from England. She is a sculptor/illustrator, who lives and works in Upstate New York. Once upon a time she would ride her bike over the Williamsburg bridge to Manhattan to deliver illustration assignments that were strapped to her back. Now she is happy that the internet allows her to live in the middle of the woods, miles from any where. When not modeling clay heads for the likes of New York magazine, The New York Times, TIME and many other major US publications, she can be found gardening or gathering wood for her pot belly stove. She's a dab hand with the 2 chain-saws she owns and also with her pool cue, (eight ball being her preferred game). She misses her old pool table from her Brooklyn loft days but instead of riding bikes through the crowded cavernous NY streets, she rides through the corn fields and serene and windy lanes of Columbia County: horse country. She lives with 3 cats and has a nice boyfriend who visits from the big city.

http://karencaldicott.com/
http://littleclaybits.blogspot.com/
http://www.dripbook.com/caldicott/splash/

When did you first decide to become an illustrator? Was there a pivotal moment?

From my early childhood, once the realization set in that I wasn’t going to be a professional athlete or pop singer, I knew I’d end up being an artist of some kind. However it wasn’t until I received my first commission, (a book jacket), soon after graduating from the Royal College of Art, that it sunk in, that yes, I could make a living doing this thing I loved. Those days my work was very painterly and loose. I hadn’t much idea how it might be applied in the commercial world, so receiving that call for my first job was pivotal.

This was the late eighties, and obviously before websites etc. I would walk around London with a portfolio that was so large it would barely fit in the elevators. I carried the same book across the Atlantic and walked the streets of New York with it.

Who or what inspires you?

In my early college days I was very easily influenced, Philip Guston and Jean Dubuffet come to mind. My work went through all periods, shamelessly unsure of my own voice..... It took a while, but I got there in the end, I think.

Inspiration or ideas at least, comes from a whole manner of things: for instance, my daily walk through the woods to the top of the hill (I live in a very rustic, rural setting), or my trips to NY City and a ride on the subway.

If I had to name just one illustrator who’s surely an inspiration to a lot of us its Mr Christoph Neiman, his work is just so damn smart.

Where does your training come from? Self-taught? College/Art School?

On my sixteenth birthday, I left home and began what would become 8 years of stumbling, bumbling and in the end learning... something at least. Luckily, way Back then in the UK, the government paid students to go to college!

The first 2 years of the Loughborough foundation course were the most intense schooling of my life ( I often think how it might be wonderful to redo them) 10 hour days, drawing, drawing, drawing.

Some times drawing in rooms blacked out, the only light source on the subject (a naked body) being a single candle. Other times work would be ripped up and thrown out of windows, humiliation being the order of the day.

After “foundation” I moved to North London's Hornsey school of art, a fine liberal institution who's walls were the historic Alexander Palace, which sat on top a large hill surrounded by park land. Attendance however was not required, you were left to your own resources which was fun for 3 years.

Before moving on to the Royal College of Art in London for my Masters degree I took a year off traveling through-out Europe and Asia, all the time filling sketch book after sketch book.

How do you keep "fresh" within your industry?

I’ve gone through numerous reinvention's from simple line drawing to loose painting, it wasn’t until many years after college that I even began to investigate the possibilities of 3 dimensional illustration. Now I continue to keep my self fresh by constantly refining this process. Perhaps this Joey Ramone bust (for Rolling Stone 2000) illustrates how my process has developed over the years.

What are some of your current projects?

For the first time one of my clay busts is being transformed in to a bronze. Its been an exciting process and I’m now looking forward to producing many of my previous celebrity clay busts as limited edition bronzes.

Recently I've also been making clay objects and clay words, it’s not only portraiture that receives the plasticine treatment.

Which of your projects are you the most proud of? And why?

I would say the year long project for New York magazine was up to this date, the best job I ever had, thanks to (then) creative director Luke Hayman, I was commissioned to make a celebrity portrait in clay, weekly for a year.... more than 50 heads, each one in 7 or 8 different poses. A lot of clay! They ran as small spots that accompanied the listings pages at the back of the magazine, the characters would be seen enjoying a night out (dressed in evening ware) dining out (clay food props included) or just hanging out enjoying the city. Making a clay bust under such a tight deadline, pushed me to work very efficiently.

Are there any areas, techniques, mediums, projects in your field that
you have yet to try?

I'd like to be able to make these characters move and talk, I’ve delved in to stop motion claymation but I would like to take this much further, a short feature would be nice. I’d also love to get in to advertising; my heads would enjoy that!

Any advice to the novice illustrator?

Find your voice and then keep at it, never give up, push your self hard and then harder.

What makes an illustration successful?

It should stop you in your tracks, wow you, make you want to rip it out the publication and keep it in your cupboard, or at least provoke a Google search.

What do you do to keep yourself motivated and avoid burn-out?

No worries there, the thought of the alternative, a regular job, should keep any one motivated. I'm lucky in that I’ve never had one of those errrr.. 9 till 5 things, but I’ve come close!

Finish this sentence. "If I weren't an illustrator I would have been a..."

soccer player.” If I’d been a child of the 80’s instead of the 1880’s I could have been a contender.

And finally, what is the best thing on prime-time TV right now?

All things football... English premier league, champions League etc. If I lived in Europe this would be prime time tv viewing, as it is, my prime time occurs over breakfast or lunch.

Photo credit Matt Aarvold

JOHN MALLOY

2009-04-01T12:15:00.000-07:00

John Malloy is a commercial illustrator, fine artist, apparel designer, and comics artist/writer. Born in rural Pennsylvania to a cemetary caretaker and a coal-miner’s daughter, he began drawing cartoons and rock stars at around age 6. He later earned a background in painting with a highly skilled trompe l’oeil artist, and began a short-lived, albeit mildly successful career as an illustrator at 19 – working for alternative newspapers and Magic: The Gathering. In his early twenties, he authored and illustrated his very first graphic novel, “Amnesia”, which combined pen & ink, digital, and painted media. Shortly after its release, Malloy felt his work was too derivative of his influences at the time, and nearly gave up illustration and comics altogether. He worked as a graphic designer for Advertising Agencies, and spent a year as an art handler/truck driver, all the while painting and writing in his free time. In 2006 he came back to illustration by default, after starting work on a new graphic novel, “Channel One”, and a series of personal works as a means of pursuing a truly unique and personal style. Since 2007, his work has appeared in a variety of publications, including Business Week, Dazed & Confused, Faesthetic, Paste, and the award-winning hyper-culture magazine, Lemon. Preview pages from “Channel One” are on display at his website, http://www.johnmalloy.net, and he is currently seeking a publisher.

When did you first decide to become an illustrator? Was there a pivotal moment?

There have actually been a few pivotal moments for me. The first time was when I first got turned onto DC Vertigo comics and illustrator Dave McKean back in the 90’s, when I was a teenager. The big trend back then was heavily digital with a lot of Photoshop morphing and collage, and that kind of work was spilling over to editorial and advertising. It was really inspirational, but ultimately the heavy digital left me bored and unsatisfied. I wanted to do more work with a fine art aesthetic… something more personal and tangible, but still have my work be seen. Years later (2005-2006), I noticed a change in what could be done in the field in terms of detail, media, and the kind of gigs one could get as an illustrator. The line between fine art and illustration was blurring too. It hit me then that illustration could give me the best of all worlds in terms of opportunities to try new things, be creatively challenged, get exposure, and get paid.

Who or what inspires you?

For the most part everything, but more specifically my wife Amy, my Chihuahua Lucita, new music, comics, visits to the Whitney Museum in NY, and film.

Where does your training come from? Self-taught? College/Art School?

I went to a community college in PA where I had incredible teachers. One was a trompe l’oeil [super-realism] painter who taught me the basics of old master’s style painting, another was an art director for TV Guide back in the 60’s who gave me a great foundation in the ins and outs of what commercial illustrators do, from concept sketching to incorporating great design. Since then I’ve been self-taught via experimentation (and studying work) in painting, pen & ink, graphic design, and comics.

How do you keep "fresh" within your industry?

I think staying aware of what’s going on as much as possible is crucial for me, as well as staying on top of the infinite possibilities that lie ahead – and the limitless things I still want to try and do.

What are some of your current projects?

I’m currently working on 3 projects… the first is an album cover for the band, These United States. It’s the most detail I’ve ever put into anything commercial, and involves throngs of people in Chinatown hurling themselves into each other. Another is an editorial illustration for Paste Magazine about Booker T’s new album with Neil Young and The Drive By Truckers., whereI’m turning all of them into potatoes. I was also recently invited to do a piece as a reaction to an Asian artist’s work for Tiger Beer’s Tiger Translate Campaign and exhibition (http://www.tigertranslate.com).

Which of your projects are you the most proud of? And why?

I think for the most part I’m proud of everything I’ve done in the past 2 years.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I’d really like to incorporate more graphite and pencil, and try to get many of the effects I can pull off in Photoshop by hand instead.

Any advice to the novice illustrator?

Well if there’s one thing I’ve learned so far it’s that there is no one-way, how-to guide to getting the kind of work you love. Trust your instincts!

What makes an illustration successful?

In general I think if it conveys the right message, makes a certain logical sense to the viewer, utilizes metaphors well without being clichéd, and is both challenging and inspirational it’s good to go.

What do you do to keep yourself motivated and avoid burn-out?

Hiking/being around nature and visiting contemporary galleries and art magazine/indie comics stores.

Finish this sentence. "If I weren't an illustrator I would have been a..."

Graphic designer, oil painter, or if I stayed in the family business, a cemetery worker.

And finally, what is the best thing on prime-time TV right now?

Ooohh, that’s a tossup for me… Lost and the Colbert Report!

DAVID AIREY

2009-03-13T09:19:00.000-07:00

David Airey, a graphic designer from Northern Ireland, has been intrigued about brand identity since the 1990s, when he enrolled on his first design course. Having honed his skills working in the UK and the United States, he then made a conscious choice to specialise in logo design, where his passion lies.

Self-employed since 2005, David has amassed a global client-list, including the likes of Yellow Pages (Canada), Giacom (England), and Berthier Associates (Japan). He authors two popular graphic design blogs, www.logodesignlove.com and www.davidairey.com, and attracts more than 250,000 online visitors per month with approximately one million monthly page views.

www.logodesignlove.com
www.davidairey.com
www.logosdesigners.com

When did you first decide to become a graphic designer? Was there a pivotal moment?

When I was younger, I always enjoyed creative classes in school, so I thought it made sense to try for an A-level in art (A-levels are UK qualifications taken between 15 and 17 years of age). However, since I hadn't chosen art as one of my GCSE subjects (GCSEs are taken from 13 to 15 years of age), my school didn't let me. In fact, at the age of 15, they subtly 'advised' me it was better I didn't even return for A-levels, so I applied to my local college for a vocational qualification in art and design.

This new path in my life (choosing tech college over A-levels in secondary school) turned out to be one of the most rewarding.

So you could say that the pivotal moment was, after five years in secondary school, not being a good enough student to merit a return for the last two years. A blessing in disguise.

Who or what inspires you?

I'm inspired by many people, but it'd probably put you to sleep if I mentioned them all, so I'll leave it at my parents.

I was no saint as a youngster (though as I'm not yet 30, you could say I'm still just a pup). My mum put up with a lot, and it's a good thing I was able to keep some secrets. My dad has been running his own business in the tyre trade for decades, so I reckon I get the self-employment drive from him.

Nature inspires me too, and there are few things better than a walk in the hills or through forests. There's something to be said for feeling in awe of your surroundings. I can think more clearly about the important things in life when nature makes me feel small.

Where does your training come from? Self-taught? College/Art School?

I briefly mentioned my art and design course, and I spent four years studying that, specialising in graphic design. That took place in my home town of Bangor, Northern Ireland, and once complete, I then searched for a design job in Belfast.

No luck.

A couple of my friends were getting ready to move to Edinburgh, Scotland, for further studies, and they persuaded me to join them. So, off I went for an additional three years in education, this time earning my honours degree in graphic communications management.

Sandwiched between the final two years of my degree was a short spell working / interning just outside Pittsburgh, PA, for the Graphic Arts Technical Foundation. Good times. I remember them fondly, and met a lot of wonderful people.

Following a short time teaching English in Spain, and gaining a post-grad diploma in management, I returned to Edinburgh, where I began 'proper' full-time work.

To be honest, most of what I know today, in a design-sense, has actually been self-taught, because my passion for the subject seems to be ever-increasing. With that said, those first few years in education gave me a lot of social skills necessary for attracting, and keeping clients, so I'd not swap them for anything.

How do you keep "fresh" within your industry?

I think it's important to remain humble, and to see the other people you meet as a source of education. As a personal example, there are more than 15,000 comments left across my two blogs, and I've learnt an incredible amount from those who have been kind enough to take the time. That's one reason why responding to blog comments occupies quite a few hours of my working week.

There are also a few excellent design blogs to which I subscribe, and I normally have a daily check of Google's feed reader.

What are some of your current projects?

I'm redesigning the brand identity for a 7th generation French wine producer, Henri Ehrhart, and I'm working with Yellow Pages Canada to refine their 'walking fingers' logo.

Peachpit Press, a publisher in the US, wants me to author their first book on logo design, and of course I'm thrilled about that. The provisional completion deadline is towards the end of 2009, and I'll mention more about it on my blog in the coming weeks.

Which of your projects are you the most proud of? And why?

My favourite project, without doubt, has been the launch and growth of my personal blog. Had it not been for its success, I'd not be where I am today — knowing a fantastic group of people across the globe, and working with some wonderful companies.

For those designers out there who run static websites, I highly recommend starting a blog. Search engine optimisation aside, the community aspect is, for me, the biggest single benefit.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Hundreds. Thousands perhaps. That reminds me of a saying I once heard:

"Beware of the man who says he has twenty years’ experience, when what he should be saying is he has one year’s experience repeated twenty times."

I've a lot of experimentation ahead of me, and will happily try anything once (within reason).

Any advice to the novice designer?

Never stop learning. This should be easy if you have a passion for design. Be humble, too. No-one likes a cocky git, and if you ever see or hear me being overly big-headed, you're fully welcome to throw a slap my way.

What makes a design successful?

Where logo design is concerned, it should be a number of things:

* Appropriate (for the business it represents)
* Distinctive (to increase customer recognition)
* Practical (so it works across a wide range of media)
* Containing one message (saying too much will dilute the idea)

What do you do to keep yourself motivated and avoid burn-out?

For motivation, I hope to start a family in the not-too-distant future, and my wish is to give my children the start in life that I've been afforded. We all know that 83% of statistics are rubbish, but I reckon this one isn't too far away from the truth: if you have change in your pocket, you're richer than 70% of the people on earth.

My parents have given me a strong foot-hold in life, and should I be fortunate enough to have my own kids, I want to do the same for them.

Avoiding burn-out? I love to travel. Experiencing different cultures is a great eye-opener, and although it's been a while since I caught a train from London to Beijing, or walked through the temples of Angkor, I do plan on taking a decent break once the book project is complete.

Finish this sentence. "If I weren't a designer I would have been a..."

Sky-dive instructor.

And finally, what is the best thing on prime-time TV right now?

Nature's Great Events (David Attenborough)

STEVE DOUGLAS

2009-03-08T21:04:00.000-07:00

I've been a professional graphic designer for the better part of thirty years. I've been an illustrator, magazine art director, a publisher, photographer and freelancer. Most people have no clue who I am, but many are aware of my company, The Logo Factory - a small design studio based just west of Toronto that specializes in, well, logos. Lots of logos. My 'story' has been linked with TLF for such a long time now, and reflects the ups-and-downs of "who I am", it's probably worthwhile if I tell you a little about the colorful history of my studio rather than some biographical puff-piece.

I had the original idea for The Logo Factory in 1993 as a last minute idea to save another failing business that I was attempting to run - a small sports magazine that I published, wrote, laid out and was the only photographer for. Previous to that I was a 'real' magazine art director (11 years) as well as their staff photographer, but lost my job due to internal bickering with a new editor. Specializing in logos made sense - I had always been good at designing them (the old fashioned way) but I came up with The Logo Factory idea too late (this was long before the internet - I was going to use mailing lists of newly opened businesses). The magazine was hammered by the early 90's economy and failed, leaving me with over $60,000 in debt (I did not incorporate), 3 months behind in my mortgage, and my marriage in ruins. In was at this point I began to learn Macintosh-based design. Previous to embracing Apple and Adobe, I had tinkered with desktop publishing on the Amiga platform, and used it to offer freelance design services, as well as publish 3 issues of my own magazine. I'm not entirely 'self-taught' - I'm a classically trained illustrator, attending the Sheridan School of Visual Arts in the late 70's, but for college students of the time, computer assisted illustration was something more suited to the cover of a Scientific American 'future technology' issue.

After my publication went belly-up, I went to work for a 'Marketing Company' as their 'Art Department'. I used my Amiga equipment, software, light tables, drafting tables, etc. Complete rip, but I needed the money to save my house. After 9 months of that, they owed me $8,000.00 - my debts were still piling up and I simply couldn't finance their art department anymore. I managed to recoup about $5,000 but the business relationship was finished.

I moved back into a home based office and went the freelance route. Shortly thereafter, my marriage collapsed. As did my Amiga (enter my trusty Macintosh). I managed to scrape up a few freelance gigs, design and a few book photography jobs (photography in those days paid very well). I starting sending resumes and flyers to local studios, agencies and magazines. Out of frustration (and if I remember correctly, after a few pints) I sent out a flyer that basically said - "If I can't Quark it, Illustrator it, or Photoshop it #*@*$# it!" . Funny thing was that at this point, I still didn't know Photoshop. The Amiga software Pro-Draw was almost exactly the same as Illustrator, but Photoshop was unrepresented. The Amiga bitmap-software Brilliance sucked. The flyer was so ballsy that I got a call from a local advertising agency, Crunch Inc. Communications - to help with some overload work (a pool supplies catalog). The owner liked me and I was asked to stay on. Between my work there, and efforts at home, I managed to get a real handle on Photoshop and Illustrator. The pay wasn't great, so I was always on the look-out for freelance gigs, and my experience with illustration helped me land a few high-profile jobs.

One of them was a job the City of Toronto website (they wanted me to create an illustrative image map like the old Apple e-world) and when I was interviewed they asked me if I knew HTML. I had never heard of it. In fact I had never heard of the internet at all. As part of the gig I was invited to spend two days surfing this thing called the web. That was end of 1995. I knew then that this 'triple w' thing would be big (Bill Gates didn't).

At my day gig for Crunch!, we landed a job for a show called Futurcom - a 'high tech' (for the day) display at the Canadian National Exhibition - and as a 'perk' I got free tickets for me, my new lady Sue, and my kids. We journied to the EX and went to see my work (icons, banners, etc) at Futurecom where one the exhibitors - a company called Interlog - were selling domestic dial up Internet access (2400 baud). Sue (who's now my wife) convinced me to get home internet access (she even had to put it on a credit card as I didn't have one). Part of the home access was a free 10 meg web site, and I posted a small web site (5 or so pages) that featured ALL my work. Illustration, photography, graphics, layout, and....logos. I set up an image map like the one I had built for Metro and called one section The Logo Factory (after the 93 idea). The other sections were The Library, The Gallery, Web Design 101 and The General Store. I then created the factory icon based on the house I was living in. That would later become the logo for The Logo Factory Inc.

I started getting requests for logo design from all over the world - the first was for a drum and bugle corp in California called The Black Knights. Right away I saw a business opportunity. In those days search engines were easy to manipulate and I had figured out how to get my site to #1 on EVERY directory (there also wasn't any one else doing what I was doing). I quit my day job, revamped my site (concentrating on logo design and The Factory motif) and began building the business in earnest. I couldn't copy anyone as there was no-one to copy, and I flew by the seat of my pants, making it up as I went along. There was no online credit card forms in those days - everything was by check - and business began to boom thanks to regular deliveries by Federal Express. There wasn't a day went by that I didn't get at least one request for a proposal. Then it become two. Then three.

In 1997, my site was banned by the Infoseek search engine (I had gotten carried away with keywords) and I had to quickly register a web address. I originally registered Logofactory.com, but let it expire because I wanted to be 'The' Logo Factory (despite some of the grammar problems it causes).

I officially incorporated the company and registered thelogofactory.com in March of 1998. At the same time, I made the dreaded mistake of taking on a partner (an old business associate and friend). That arrangement ended up as many do, and I had to wrestle control of The Logo Factory from him (almost giving myself a heart attack in the process) . I never recovered the money that was lost, but I managed to get the entire company (I promised him I wouldn't sue). The old studio was in his offices so we had a week to vacate. We moved into my new house (complete with designers) and turned the place upside down. Bodies, computers and Ethernet cords everywhere. It might have cost me my relationship with Sue if she wasn't, as she always is, so understanding. After 6 months of working from my house, we found a new office (our present location) - a two storey job just west of Toronto with reception, kitchen, etc. I started to hire staff and at one point (just before 9/11) had 7 designers working for me.

Since then, I have hired over 20 people full-time. We now have a staff of five, though some old staffers are on call for when things get busy. We bill $400 - $2500 for logo design projects depending on what the client is after and how long we spend. We do not use clip art, pre-fabs. etc. We try to do the best we can. Each and every day.

Thanks to The Logo Factory, I have a lovely wife, I now live in a nice house, my children are looked after and my staff are fairly content. From time-to-time we've been criticized by designers on everything from our pricing (a reflection of reality I'm afraid) to our name. That's all part of it, I guess. While a "logo factory" has some negative connotation with designers now, it didn't have when it was developed in the "pre-internet" days. It seems to resonate with our market too. At the end of the day, I'm kinda proud of where we came from and what we've managed to accomplish over the years. We were online before Google, Logoworks, Logo Design Guru or any other of the logo design companies you'll find on the internet today. I might go as far to say we were one of the first, if not THE first to hang a 'logo design' shingle on the internet. We've had mostly ups. We've had some downs. But everyone that works at The Logo Factory, and everyone that's worked with us in the past, all have/had one thing in common - a love for design. We could do things cheaper, or faster, but then we wouldn't be as proud of our little company as we are now.

http://www.thelogofactory.com/

When did you first decide to become a graphic designer? Was there a pivotal moment?

When I was a kid, I was pretty decent at drawing. My father encouraged me to draw. He's a fairly gifted illustrator himself - not professionally, he was always a blue collar union guy - and he saw whatever talent I have early on. I remember him spending hours on the living room floor watching me draw album covers (12" vinyl of course. Frank Sinatra was his his favorite crooner, so I drew A LOT of Frank Sinatras). I was always dreaming up weird things - robots were my favorite - and drawing them in pseudo-sketchbooks, or on poster sized boards that my mom brought home from work. I often got in trouble in school for doodling in my school books - I was raised in Belfast, Northern Ireland and the teachers were incredibly strict - and I was sent to the headmaster's office more than a few times for defacing my notebooks with monsters and mechanical beings. When we moved to Canada, the schools were much more lenient than those in Ireland and I became a very lazy student. I did just enough work to get by in academic classes (and to keep my marks high enough to avoid final exams), but never really put in any effort. I wasn't interested in sports and I really sucked in gym. I only gave it my all in art class. I was an 'art nerd' I guess, always hanging around the art department and taking extra classes that I didn't even need for credits. My art teacher - Miss Carlson (who I also had a terrible crush on) - recognized some talent in me and took me to life drawing classes at night (something that wouldn't happen these days) and she encouraged me to stay involved. Think she wanted me to be an art teacher - I remember her telling my parents that if I just "settled down" I could become one. I loved everything about art. Creating it. Reading about it. Learning about art history. I remember one of my art history essays - I basically called Any Warhol a hack who was conning the entire art world - caused a ruckus in the art department. While Miss Carlson loved it and gave me an A+, the head of the art department took a "who is this little punk to question the great Andy Warhol?" stance which caused a little bit of a commotion. The essay wasn't entered into some contest because it was deemed too "controversial". I was always a bit of a shit disturber - something which still manifests itself in my blog from time to time. Almost everything I was in too related back to art. I loved band logos - Yes, KISS and Rush were my favorites - and I practised getting the angles of the K and S just right. I could rattle off a perfect KISS logo in my sleep. I festooned my bedroom ceiling with a 4 foot Yes logo (by one of my favorite artists - Roger Dean). My first professional 'gig' was a logo contest - ironic, huh - when I picked up $100 (a lot of money back then) for designing my high school's radio station logo. Wasn't much of a radio station - they played music over the intercom system at lunch time - but I remember the thrill of seeing my winning entry 6 feet tall on the cafeteria wall. Don't have a copy, but the logo was an ambigram (was a mirror image that could be flipped and still read correctly) and considering the name was "Chinguacousy Radio" not a small feat. I loved logos way back then.

I also toyed with the idea of being a cartoonist - I was pretty good and modeled my style after Jack Davis (from the old MAD magazine) - but at some point realized that cartooning was a design niche inside a niche. I did a ton of cartoons for a couple of yearbooks (though I must admit to completely ripping off the little cartoons by Sergio Aragones, also featured in the margins of MAD Magazine) and was asked frequently to illustrate flyers for dances, parent-teacher nights and open houses. The one constant was my dream to someday own a "commercial art studio" (what we called them in those days) and I always planned to go to art college after high school. Which I did, signing up for the Illustration program at Sheridan College (world famous today for producing world-class animators) where I learned the basics of the trade. No, there wasn't a pivotal moment per se - I wanted to be a 'commercial artist' for as long as I can remember. Designing logos was always something I was pretty good at. I wanted to be an illustrator, but clients kept coming back with "yeah, your illustration stuff is nice, but we need a new logo".

Who or what inspires you?

Gonna sound sappy, but my wife Sue. She met me when I was at my worst, at a time when I was broke and out of work. We've been through some horrible times (some very recently) but she's always managed to prop me up while maintaining a grace and poise that, to be honest, I can't often muster - especially when under pressure. While I tend to get a little bitter and angry, she's always there with her gentle kindness and an optimistic word. If I could rewire my head, I'd like to think more like she does. I don't understand why she puts up with me, but I'm thankful she does. In terms of professionally, I get inspired by people with apparent enthusiasm about design - people like David Airey who's love for design is infectious. I find Jeff Fisher inspiring - his self-promotion is brilliant and I admire how he's turned himself almost into a 'rockstar' to younger designers. Von Glitschka is certainly someone who's inspirational - I don't understand when the cat sleeps, if he ever does - and I've never seen anyone who gives to the graphic design community like he does. I first met Von over at the HOW design forum, and we didn't like each other very much - it was during some hundred page 'hack designer' flame war and we got into it. Really into it. After lengthy back and forths and a personal e-mail from me, Von posted a public apology and offered to wear any avatar I designed - I created a Hillary for President design - for two weeks as part of our 'making up'. That showed a really good sport, took a lot of class (not to mention a hefty set of balls) and I never forgot it. I got to know him a little better after that, and followed his exploits with great interest. If any young designer wants to see the consummate professional, or to learn something about illustration, they only need to look Von's way. One of the funniest dudes in the business too. I also have many graphic design heroes from the day - Roger Dean and Patrick Nagel to name just a few.

Where does your training come from? Self-taught? College/Art School?

Bit of both. As I mentioned before I took tons of night courses and went to college for illustration. Trouble is, that was old-school stuff - my trained 'skills' were in the use of rubylith, Bainbridge board, Letraset, stat camera, galley type, ruling and technical pens. When I entered the workforce as a junior graphic designer in 1980 (even back then there were very few full-time gigs for illustrators) desktop computers and desktop publishing were pretty well science fiction. Everything was done by hand on acetate overlays. As I mentioned earlier, my first exposure to computer illustration and design was at home through the old Amiga platform in the mid-eighties. My parents had bought me a Vic-20 when I was 14 and I never had any fear of computers. I loved tinkering on them and when I first discovered desktop publishing and design, I was in love. I remember there were two 'professional level' design programs for the Amiga - Pro Draw (pretty well a poor-man's illustrator) and Pro Page (similar to a very basic version of Quark) - and tooling around with them allowed me to understand the technical side of things. Fairly rudimentary stuff - only came with three fonts - but the basic principles (bezier curves, kerning, etc) still applied. I had a Laser Jet printer that needed a Postscript Interpreter cartridge to print anything, and downloading to the printer often took an hour per page. At the time it was state-of-the-art. I remember telling my old boss that desktop publishing was going to change the way design was done. He laughed at me, telling me that computers were a passing fad. That's how many looked upon computers as creative tools back in the day, so most "training" consisted of learning how to do things yourself. I used the Amiga loyally until about 95 (when it blew up) and I had to borrow money from my parents to buy a Macintosh. My first was a 6100/66 (the 66 referred to 66 megahertz processing power) and I had to, ahm, borrow Photoshop and Illustrator from buddies. In those days Photoshop took about 5 minutes to fire up, there were no layers, and only one level of undo. I stayed on top of the technology by reading books (the internet wasn't really in wide use) and by practising. Lots of practise. I considered going back to night school for some courses, but I seemed to adapt fairly quickly, so I never bothered.

How do you keep "fresh" within your industry?

My shop operates pretty well in a vacuum. We try not to follow design trends. In terms of the logo design niche, especially via the internet, competition has become fierce in the last few years. Anyone can set up a website featuring 'logo design services'. But the pressure on price has forced most online logo design companies to cut price and corners. It's a sad fact but most web-based logo design companies are charlatans. They either pitch out their work to logo design contests, use libraries of categorized logo templates or off-shore the whole lot to IT companies in developing nations. There's a couple of large IT companies in Pakistan that own a huge number of logo design company 'fronts' with matching websites. Nothing wrong with that per se, but the lengths they go to pretend they're based in North America is incredible. Postal drop boxes and remote office phone numbers. All to boast $99 logos with unlimited revisions on as many different sites as possible. Marketing logo design on the internet has become solely about Google rankings and cut-throat pricing. The level of design quality is secondary. Or worse. At my shop, we've always avoided these tactics - all our designers are in-house and we try to present as 'traditional' an approach to design as possible, even when working with remote clients. We've always pushed hand-holding clients through the process and open communication with their designers throughout the project. We could be more profitable if we followed our competitor's example, but we'd lose the one thing that we need - control over our work. Now, the price point we're competing against - as are all graphic designers - is free. Design contest sites - sometimes referred to as 'crowdsourcing' (which they're not) where designers submit their design work for free in the hope of getting paid. That's a tough thing to compete against. But it's not impossible. What we do at The Logo Factory is study these business models, identify the weaknesses and pitfalls, and try to be everything they're not. That gives us some real goals to set and we can constantly strive to improve our product, our delivery and our interaction with clients.

What are some of your current projects?

At any given point we've got dozens of logo and identity projects in house. All are equally important, so I'm hesitant to focus on one or another. In terms of my personal projects, I'm working on a logo design book - though I have been for years - and one day, I'll get around to publishing it. It takes a look at logo design from a utilitarian perspective without the hoity-toity window dressing. I've always looked at design as a business, so I think I can add that perspective to the mix. I'm also working on a couple of promising web based projects, one of them is a network for decent designers with a real handle on logos and branding. On most logo gallery sites, the bar of entry is moderate, and there's a very low signal to noise ratio. It's becoming more-and-more difficult to find decent designers on the internet, which is ironic because more-and-more people are turning to the internet to find one. I'd like to create a hub of the best logo designers around - not agencies or companies like mine - but soloists who are particularly adept at the niche. I'm also working on a series of videos, though I'm reluctant to even mention that due to the amount of time it takes. Probably be a few years before I'm ready to release those.

Which of your projects are you the most proud of? And why?

The project that I'm most proud of is a stupid black and white poster I designed back in the 80s for my favorite radio station CFNY and The Live Earl Jive Video Circus. - a road show for one of their DJs. I've had my work published in dozens of books and magazines, but that one really gave me a thrill. Not my best work, but I was a huge fan of alternative music, was a loyal listener to CFNY (now called the Edge) and it was a buzz to be part of 'the scene'. Another project that I'm particularly proud of was a Aldo Shoes ad cube project I developed while working at Crunch. It was this cool 3D cardboard puzzle that could be manipulated into many different combinations and shapes. Working out the die line on that project took two months (thank God for Obsessive Compulsive Disorders) and each cube had to be put together by hand. Was really impressive once built, but stupidly cost-prohibitive to construct. Luckily enough Aldo loved the pitch and told us "just go for it". At the shop, it's hard to say what project I'm the most proud of - there's lots of material that we've produced that I think to myself "wow - my studio made that". Our logos pop up in the weirdest of places. A few weeks ago, Sue and I were out for dinner at a local sports bar, UFC fights were on pay-per-view, and one of our logos showed up on some dude's ass. They were a sponsor of a fairly high-profile competitor and the logo had been silk-screened on his trunks. I got a chuckle out of that. When our logos show up in trade books - we just received word that one of our designs is to be featured in Logo Lounge's Master Series - I still get a kick. I can't take all the credit though - there's a whole bunch of people who are behind some of our best work - Steve Rodrigues, Leah Kampman, Paul Grant, Michael Cisco, Laurie Kennedy, Mark Kurtes to name but a few. I've added some of their logos to this feature.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I'm really interested in video and motion graphics, especially when applied to logos. I've pushed Flash and 3D Flash as far as I can, so I'd love to get into broadcast quality 3D animation. I've tinkered around with Lightwave (I originally got interested in New Tek's Video Toaster which ran on the Amiga platform and used Lightwave as it's animation engine) but haven't really had the time to master it. I keep promising myself that I'll start 'tomorrow'. I've been messing around with video editing using Final Cut. I've got it all figured out (I used my wedding video as my first project) but I haven't had the time to really learn to do it well. I like video - it lets me combine the things I dig - music, animation and design - into one moving piece. It's fun, but time consuming as hell. Alas, just don't have the time these days to really get involved. I've also become quite a fan of compsing my own music using Reason, Abelton's Live and a Korg keyboard.

Any advice to the novice designer?

Never stop sketching. Ever. If I have one regret it's that I don't sketch as much as I should and over the years I've become a little rusty. I've got several empty sketch books that I promise myself I'm going to fill up but realities of life keep getting in the way. While using tools like Illustrator and Photoshop are fantastic, there's nothing like hand-drawn sketches and illustrations. Nothing. Sketching keeps you sharp. Doodling helps you interpret things when you do use design software. From a practical point-of-view, many graphic design courses don't even teach drawing anymore - a shame really - and in a tough job market, being able to draw sets you apart. If I'm ever hiring a designer, I'll always favor someone who can draw over someone who can't. Software skills can be picked up fairly quickly. Learning to draw well takes years. And you have to keep at it or else you'll get rusty. The ability to draw is a decent advantage to have in the job search market.

Professionally speaking, I'd say to constantly up sample your skills. In general, the entry bar to graphic design has dropped significantly. Anyone can download a hacked version of Illustrator and call themselves a designer. The competition is fierce. Pricing and rates are being pressured downwards. The only real antidote is to learn new technology. I missed that boat a few years when CSS came along. I thought tables would always be cool. Now, I'm struggling to catch up and stuff that I used to do myself, I have to hire others to do. If you stay on top of the latest in technology, and even develop new skills like animation and/or video, you'll face less competition. Your value to your clients will be greater than some random low-priced designer they can pick out on the internet.

Also, keep in mind that you want this to be a career. Not a glorified hobby. Think really carefully about giving your art or design away for free. There's a ton of design contest sites which seem to popping up everywhere. They really concern me when it comes to the profession itself - especially for kids currently working their asses off in art school and college. If a designer or illustrator wants to have a career with any longevity, think long and hard before engaging in design contests or related sites (what graphic design organizations refer to as 'spec'). Not only are you doing yourself a great disservice in the here and now, you're stabbing your own future in the back. Design contests and spec sites are my bitch-de-jour and it amazes me that well-intentioned designers don't realize the 'bigger picture' effect that supporting them has. I understand - it's your art and it's your choice - just think very long and hard before giving away your talents for nothing. Design is a business. And giving design away for nothing isn't good business. I understand why the sleazeballs that run these sites do. Profit without expense. For the life of me, I can't understand why designers support them.

Risking sounding like "Dr Phil' I'd also suggest that designers and illustrators take any opportunity that comes along. And jump on it. When I had the opportunity to get involved in the internet in 1996, more or less on the ground floor, I almost passed because I didn't have a credit card. Sue insisted that I put the account on hers. We actually had a fight about it. And I caved. That simple $39.95 transaction changed my life forever, lead to the development of The Logo Factory and within a year I'd gone from being a few weeks away from home foreclosure, to earning a fairly decent living.

What makes a designed piece or illustration successful?

That's a tough question. I guess a truly successful project is one that both the client and the designer are equally proud of. I've seen projects where a client - with the purest of intentions - has butchered a brilliant design into something not so, ahm, brilliant with micro-tweaks and frankensteining bits and pieces from other proposals. I've seen mediocre designs, especially logos, that are seen by the client as 'over the moon' excellence. At The Logo Factory, a successful project is one that manages to work from the client, and the designer, point of views but ultimately, a successful design project - commercially speaking anyway - is one that the client embraces. In terms of logos, the design is their 'baby' - they'll be plastering it over business cards, letterheads and stationery, staff shirts and what have you. They have to live with it for years, while we're onto the latest, and greatest, thing. If they get invested into the design, then the project is a success.

What do you do to keep yourself motivated and avoid burn-out?

Good question. Though probably not the best person in the world to ask. I do get burned out. I do lack motivation from time-to-time. I think it's natural - especially in a business and trade that requires so much energy and self. My burnouts are (hopefully) short lived. When I get burnt out, I simply walk away. Ride my motorcycle. Play with the dogs. Got out to dinner with my wife. Trying to work through burnout is a zero sum gain. You won't produce good work and you'll end up doing things over once the cloud lifts. We all want to finish projects. We all want to jump on the next design. Designers are famous for burning the midnight oil and when they work at home (as I often do) don't get up from their workstation until fatigue has completely worn them down. Don't. As hard as it is, set schedules and schedule time off. Walk away from time-to-time. Doesn't have to be a three-ring circus - a walk in the park with the kids has an invigorating effect. And when you're with your friends or family, give them your all. Don't let the problems of the day, or that unruly client, bleed into your personal life.

Finish this sentence. "If I weren't a designer I would have been a..."

If I weren't a designer/illustrator I would have tried to become an astronaut. Seriously (though the space program in Northern Ireland was a little sketchy in the 60's). Throughout my life, and other than an artist, that's the only other ambition I ever had. I took a little sideline as a professional photographer at one point - specialized in sports - and was pretty good too. Photography was a high-ticket item in those days, and location assignments allowed me to see a lot of the world, on someone else's dime. Was only a passing phase though, and I eventually became bored. I remember my last 'photo shoot' - was shooting some local celebrity working out at a gym, and half way through said to myself - "this is my last time doing this". And it was. I still have the gear - non-digital SLRs, medium format Bronikas and a ton of Norman studio flash gear - but I haven't touched them in years. I picked up an 'idiot proof' digital camera a few years ago and I've had more fun, and taken more photographs, than I ever did with my pro cameras. More pictures of the kids too.

And finally, what is the best thing on prime-time TV right now?

Wow. That's a tough call. My never-miss shows are Dexter, Big Love, Battlestar Galactica (though it's become rather soap-operish as it winds down) and Flight of the Conchords. My guilty pleasures (don't tell anyone) are Rock of Love, and hurling obscenities at Bill while watching The O'Reilly Factor on FOX.

MENACHEM KRINSKY

2009-02-19T19:00:00.000-08:00

Some folks call Menachem Krinsky a designer he calls himself a visual thinker. Menachem is a print graphic designer who also twiddles around with photography and a tad of photo manipulation.

www.menachemkrinsky.com
http://www.flickr.com/photos/krinskymenachem
http://twitter.com/MKrinsky

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

Must have been when I was around fifteen, I got Photoshop on my home computer, and fell in love with it. Ever since then our love has just blossomed and grown deeper. I used to spend hours fooling around with the programs until I decided that maybe I can make some money doing something I love, and voila! My business was born.

Who or what inspires you?

Inspiration comes from anywhere and everywhere: Music lyrics, art, photography, movies, and those little designs on the backs of the ladybugs. Actually that last one maybe not as much as the others. Most of the time I walk around with a little light bulb tied to the top of my head and it tends to help me think of ideas.

Where does your training come from? Self-taught? College/Art School?

As of now I'm still all self taught, spent many long night hours trying to achieve certain looks and design techniques, I do think being self taught allows you to steer your creativity in any direction you want without being trained to think in a certain way. Although I do hope to be able to take a couple design courses in the near future.

How do you keep "fresh" within your industry?

I try everything. Nothing's off limits. When things are really low, I chat with other designers and try to rekindle the little inspirational sparks.

What are some of your current projects?

Well, I've recently relocated to Los Angeles, working with a really talented designer to open a design shop out here. We will be servicing all print related design, anything from logos/branding to billboards and theatrical posters. And I'm really looking forward to meeting and collaborating with some awesome new designers. Our website will be up and running very soon. You can take a sneak peak at www.visionaryflock.com.

Which of your projects are you the most proud of? And why?

I love 'em all. Nothing really stands out to me above from the others. They each have their own styles and uniqueness and most are targeted to specific audiences, so it's really hard to compare them with each other. If you twisted my arm, I'd have to say I really like some of the new photo manipulations I've done.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Of course, I can't wait to work on a huge billboard, or one of those giant posters that are like 20 stories high. I don't doubt that one day as I grow in my design skills that I'll get that opportunity.

Any advice to the novice designer/ illustrator?

I feel uncomfortable, considering myself a novice, and I still believe I have long ways to go until I can call myself a really talented designer. But I really think working hard, spending the long hours and simply not giving up until you are happy, will help you grow and become better and better and remember to always stay humble.

Today with the internet if you have any design questions or are looking to achieve a certain effect, there must be thousands of free tutorials online to help you out. Check 'em out.

What makes a designed piece or illustration successful?

I think it needs to have been both visually and mentally thought out to bring out its point in a great, creative way.

What do you do to keep yourself motivated and avoid burn-out?

We all have burn-outs every once in awhile. If something isn't working, I just shut it down for a bit and come back to it later. I always find it easier to work if I take breaks, it sort of gives me a fresh look at it every time I come back. Creativity is something you can't force on someone. An occasional espresso helps a lot, too.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

.... Hmm, hard to even imagine. I would definitely have some type of job in a creative field.

And finally, what is the best thing on prime-time TV right now?

Not a big TV watcher, I do enjoy seeing "The Office" every once in awhile.

DAVID PACHE

2009-02-15T21:00:00.000-08:00

Out of the box design, Swiss style.

David Pache is a creative consultant, a brand and identity designer in Switzerland that works with clients all over the globe to specially develop logos and more.

www.dache.ch

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

I realised that I had a great interest in art from an early age but this quickly was overtaken by graphic design and technical drawing. I liked how the application of geometry was so precise and measured. Still in many of my designs today I try to make them geometrically correct. The pivotal point though was when I finished high school and took the natural progression into design school because it was simply what I enjoyed doing. It introduced new technologies to me and this made me realise it was possible to make my living from this if I was dedicated enough. This is when I started entering online galleries and when my entries received positive feedback, I realised I had the audience I needed so I concentrated on developing my skills, increasing my portfolio and continued to build a following and eventually took the plunge to launch the website.

Who or what inspires you?

I mostly take inspiration from my surroundings, I focus on creating designs which are contemporary, innovative and unique, in line with the dache "out of the box thinking" philosophy. My other interests include music, sculpture, the suprematism art movement and the works of painters such as Picasso and Mondriaan from which I am often referring to for use of colour, lines etc. I intend to travel in the near future to increase my inspiration.

Where does your training come from? Self-taught? College/Art School?

A bit of both, whilst at design school, I used my spare time to develop my craft and really get into the online arena of logo design. 4 years in college can only represent a certain amount of acquired skills and one has to keep on learning. When I graduated, I finally took the plunge to create my own design studio increasing my client base and services.

How do you keep "fresh" within your industry?

I mainly try to take each concept as an individual. I focus on logo concepts and branding identities and ensure that my designs are simple yet in line with what the clients want. I often think I can take an over-simplified view of a concept but this is not a bad thing. You will notice in logos such as Think Once and Postbox, they are almost a literal translation of the name but this is what will give the designs their unique element. I also try to vary it up and not get stuck in a style. It is good for my thought process to be constantly changing my designs.

Which of your projects are you the most proud of? And why?

AfricanTradition is the logo which gives me the greatest pride, as it was one of my first projects. I feel I achieved a timeless piece which has proved itself by receiving multiple acknowledgements from the design community. It is a project which I am sentimental towards, as I feel it was the turning point of my career which evolved my work to the professional level which I was initially aiming for.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I have recently been editing some video clips from the camcorder and the editing software was something which I had not used since I was in college. I had forgotten how much I enjoyed the process. I never chose to pursue this area; however, I think if I could not be doing what I am doing now, being a film maker would be of great interest.

Any advice to the novice designer/ illustrator?

Really, I would give one important piece of advice which is, if you are a novice and looking to turn professional with your own business, do your homework and be as prepared as possible. Many young designers get into the industry on the back of a small handful of great logos but the business side is very different and it is a completely different thing to design logos for specific briefs and for a whole range of clients. It is tough at first as with any industry but with perseverance and a dedication to producing great designs, you will do very well. You have to love your job to succeed.

What makes a designed piece or illustration successful?

In terms of branding, it wholly depends on the client. Some clients will like a lot of control and some will even provide an idea for you to re-work. This is very limiting but necessary in some cases due to them knowing their clients and audience exclusively and can be helpful to give them what they are aiming for. Other clients however give you complete designer discretion and this is fantastic, you can be so creative when given just a few buzzwords and a sketchpad to brainstorm with. Creative freedom within boundaries are my favourite projects.

What do you do to keep yourself motivated and avoid burn-out?

I rarely get de-motivated however in these times, I remind myself that I am lucky enough to be making a success of my passion and it is this desire to succeed and have my work out their for public display which really keeps the thought process flowing. In short, I absolutely love what I do.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

For me, it has been clear since I was in my teens of which direction I was headed but if I had to choose another path, I guess any occupation which involved me exercising my creativity. I could definitely not do an office job. It would be too repetitive for me. I need the stimulation of variety.

And finally, what is the best thing on prime-time TV right now?

Well, I am a huge LOST fan :)

CARLOS ARAUJO

2009-02-13T19:00:00.000-08:00

My name is Carlos Araujo. I’m an illustrator currently located in Brazil. I've worked as a freelancer since 2006 and have done work for the editorial market and for the web as well. My work usually takes a whimsical approach, using silhouettes and high contrasted figures.

www.silbachstation.com
www.silbachstation.com/en (in english)

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

I worked as a graphic and web designer for about eight years and after some time I realized that the kind of projects that I really liked were the ones that required some kind of illustration… I enjoyed creating the illustrations so much that I decided to focus on being an illustrator.

Who or what inspires you?

I get inspiration from almost everywhere. It can be music, poetry, movies, comic-books…

Where does your training come from? Self-taught? College/Art School?

I’m mostly self-taught. (I went to design school but never finished the course...) Before working as a designer I did some comic books and for a brief time worked in the animation field (creating animation for TV ads) and I guess those experiences became a strong influence in my illustrations: A lot of them look like a scene captured from an animated movie. People say to me that my illustrations look like a part of a larger story.

How do you keep "fresh" within your industry?

Magazines and books about illustration are good sources of information. And the internet really helps me a lot. I try to get involved as much as I can, participating in discussion groups for example, and visiting illustration/art/design related web sites. Talking to and taking advice from fellow illustrators are two important things that I do as well.

What are some of your current projects?

Right now I’m working on a paper toy that I hope will be available at my web site before Xmas this year. I've done a paper toy before, it was a simple bookmarker that looked like play money, a currency called “Dollaritos” and the response was very good, people really liked it. This new one will be more of a 3d version of one of my previous drawings.

Which of your projects are you the most proud of? And why?

My favorite project was a big illustration (10 feet by 6,5 feet height) called “Cloud Station” that I did for a local business here in Brazil. Since I had so much space to work on I was able to add a lot of nice details that made the illustration very eye-catching.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I always wanted to work with sculptures in resin. I would love to experiment and make a three-dimensional version of one of my crazy vehicles designs, like the carrousel-bus or the mechanical-camel for example…

Any advice to the novice designer/ illustrator?

I thinkwhat's most important is to try to find and develop your personal voice, that thing that makes your work unique.

What makes a designed piece or illustration successful?

A good illustration tells a story. It sells an idea or product.

What do you do to keep yourself motivated and avoid burn-out?

Well, I love doing illustration so that’s keeps me motivated. To avoid burn-out the best thing for me is to stay away for a while from the drawing table. I go for a walk or play with my nephews.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

A chef. Or an octopus. Maybe an octopus-chef…!

And finally, what is the best thing on prime-time TV right now?

I don’t watch TV that much… I watched a couple of episodes of “Boston Legal”. It’s a good show.

SARAH LIPPETT

2009-02-07T08:03:00.000-08:00

Sarah Lippett is a freelance illustrator based in London. She created crayonlegs.com with fellow illustrator Duncan Barrett after they both graduated from the University of Brighton in 2006. Since then Sarah has had the opportunity to illustrate for numerous clients including Los Campesinos! Radio Times, The Guardian and Plan B magazine.

www.crayonlegs.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

I think I decided that I wanted to become an illustrator when I was about 17 when I realised I could actually get paid to draw the way that I do as I knew I could never be a painter! I was an obsessive drawer from a very young age and used to draw comic strips with my brother, making fun of our sisters. However, I think the pivotal moment was when my tutor on my foundation course invited me to go and see some illustrators talk about their work at the V&A. Listening to Sara Fanelli and Korky Paul in particular was an inspiring experience and I never gave up hope from that point!

Who or what inspires you?

Music is very inspiring to me. I listen to a lot of music and radio when I am working on projects/commissions so its a massive part of my life. Most always Animal Collective are my favourites, you can find something new in their records everytime you listen and they're brilliant live. I also love Mark Kermodes film reviews on BBC 5live, hes an inspirational character. But generally speaking - inspiration is everywhere, I could list and list and list and still wouldn't be able to get down everything I find exciting that makes me want to keep on drawing.. Drawing is my way of getting it all out of my head and out into the world. Just overhearing a comment can get the creative juices going!

Where does your training come from? Self-taught? College/Art School?

I graduated from the University of Brighton in 2006 and have been freelancing since then. Its a great University but I still feel like I'm constantly learning as every project/commission passes.

How do you keep "fresh" within your industry?

I think keeping updated within the industry as to what other illustrators are up to is important. Although I think even if no one liked my work anymore, I would still keep producing it, making my own magazines and hope that some folk still like what I'm up to.

What are some of your current projects?

I am currently working on a design for a medal for a gallery in Germany. Its a design to celebrate Handel the composer. I am also creating issue 2 of my crayonlegs magazine 'Tight Fit'. Its looking really great so far - I have the superb talent of Nora Krug, Jeff Lewis and Simon Wild so far.

Which of your projects are you the most proud of? And why?

I suppose I am most proud of my Los Campesinos! album cover for 'Hold on now, youngster...' It was such great fun to work on, and the double LP version has an etching on one of the vinyl of my characters running around, so you can only play one side. Its beautiful. The great thing about working with the band is that they gave me free reign on all the covers/merchandise/design, and rarely made me change anything. They're a lovely bunch too and good fun live.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I am interested in animation more and more, but its setting aside time to work on that side of things that's the trouble. I need to take some time out for a long period of time to focus on that element I think.

Any advice to the novice designer/ illustrator?

Get a website! I cant emphasise how important that is! And keep sending your work out - eventually they'll take note of you!

What makes a designed piece or illustration successful?

A successful piece of illustration works because it communicates. You may have the fanciest style going but if it doesn't communicate the point the illustrator has failed. Even when I worked on the Los Campesinos! project, I was communicating their style of music and if I had used dull colours and boring subject matter then it just wouldn't have worked. The artwork had to work hand in hand with the music.

What do you do to keep yourself motivated and avoid burn-out?

It helps working with my fellow crayonleg Duncan Barrett. We run our website together, promote our work together and communicate our ideas with each other. When we go through a bad drawing patch or go through a quiet period, we can encourage one another to keep going. I also think it helps creating personal work alongside your commercial work. It keeps your ideas fresh and your mind ticking creatively over during the quiet times.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

..post lady. Ive always liked the idea of riding my bike around during the early hours when theres no one around and delivering letters to funny characters. But since reading Post Office by Charles Bukowski, I've been a little put off! So perhaps I would choose something a little more obscure..like dog training!

And finally, what is the best thing on prime-time TV right now?

Gosh, I rarely watch television these days, just re-runs of Patrick McGoohans 60s television series The Prisoner - I'm an avid fan. Do they still have Spongebob Squarepants on T.V? I love that cartoon!

MARTIJN RIJVEN

2009-01-21T06:45:00.000-08:00

My name is Martijn Rijven, I was born in Rotterdam and after 34 years
of moving around to and living in various cities in various countries
I now run a one-man design/illustration/animation operation out of
Amsterdam under the name of BOLTgraphics. I am happily married to
Sandrijn. Turn-ons: cleanliness, apples and irony. Turn-offs: crystal
meth, pavement and irony.

http://www.boltgraphics.com
http://boltgraphics.blogspot.com
http://www.youtube.com/user/BOLTgraphics

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?
As is the case with most illustrators, I too have been drawing "ever since I can remember". So drawing was always there and I also knew I was going to end up in a visual / creative profession quite early on (either that or being a cook I seem to remember). When it came to choosing an education and 'a future' though, I realised I wasn't too sure about turning my hobby into my job. Out of fear of getting bored with it and being stuck without a hobby (so something to enjoy and to relax). So I chose to do typographic and graphic design which was sort of a parallel to art plus it somewhat limited my chances of me ending up a "starving artist"...

Who or what inspires you?

Approaching this question philosophically I would say: life. A more practical (and less lame) answer would be: For self-commissioned stuff it can be almost anything. Sometimes I make stuff just to try out ideas, for instance when I see something or notice how light can work in a specific way I think "ah so that's how that looks" and then I go into the studio and try to do it. Which then develops into work. Some other times it can be just a weird story or a thought that pops into my head. Even things that annoy me to death (and there are quite a few things I have to admit) inspire me in a way. For commissioned work it's usually (with some luck and somewhat depending on the job) research into the subject matter that inspires me the most. When I'm stuck for ideas I usually just hit the books.... well the Googles really. Reading into subject matter usually makes the images and ideas just flood in. Oh and looking at the paintings of the old masters in real life always gives me a nice feeling which makes me want to start producing stuff.

Where does your training come from? Self-taught? College/Art School?

My illustration is basically self-taught because even-though I went to arts college I did graphic/typographic design, there was hardly any focus on illustration/drawing/painting etc. Just the basics. When I got out of college I did some internships and quite soon after I went independent doing illustration and (limited) animation besides design.

In 2001 I did a short stint at House Industries in Wilmington, Delaware and that's where I met Chris Gardner. He showed me the basics of using a brush for inking and that really inspired me to develop my skill and style. So after that, illustration more and more became an important part of my business and it's been an ongoing struggle for improvement ever since. I think most, let's say 'serious' illustrators (and designers for that matter) are constantly looking to hone and improve on their skills. There's always studying and experimenting that comes with for instance new technical developments, new software or even just having a critical eye for what you (and others) make. So the training as such never really stops and in that respect I'd have to say I'm mostly self-taught...

How do you keep "fresh" within your industry?

To be honest I'm not sure what keeping fresh in the industry means. It try to keep an open mind and always try to improve at what I do. I don't really follow the trends, but I don't really focus on being and innovator either. I read books, study work (my own and other people's), practice, learn new software, go to shows, museums. I'm constantly, quite consciously, looking at stuff basically. Never really consciously worked at developing a style. That comes out automatically I think through the tools you use and the way your mind works. Besides that I also like to think the job dictates the look and feel of the work, so sometimes it becomes really graphic and 'flat', other times really colourful and flashy. I do what I do and let the industry worry about my freshness I guess.

What are some of your current projects?

I'm really focussing on animation at the moment. I have been doing little animations in Flash ever since it came out, but recently I've been getting into more 'serious' animation. Making it connect to music, getting more fluidity and depth into them. Also just honing the skills again. Illustration is something that will never go away but apart of the fact that animation is something I've always been interested in, I also think that with tv-screens and 'jumbotrons' replacing posters and billboards everywhere, it's a handy skills to have. Besides the animations I am chronically trying to finish typefaces I've been working for way too long.

Which of your projects are you the most proud of? And why?

The Adidas "Predator vs. F50" campaign I did for 180 Amsterdam in 2006 is definitely one that I'm very proud of. In that job I hand-drew the lettering for two different print campaign designs, that all had two pieces of lettering on them and all of this in 24 different languages, besides English, German, French etc. (all the big western ones) there were 3 different Chinese dialects, Japanese, Korean, Arabic, 2 Cyrillic, Greek... the list goes on. So it was a ton of work. With all kinds of exotic lettering, making it all work in the same styles, keeping the art directors at 180 Amsterdam (the ad agency that commissioned me) and all the local and global clients happy and still keeping the quality up as high as I could.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

For a while now I've been trying to get away from my Mac a bit more. I do most everything on paper apart from the colouring, but I've been looking to get some more texture and warmth in my colours and then you just have get your hand dirty. Computer generated stuff (texture brushes and the like) will always look like, well computer generated stuff... Then again I've also been looking to integrate more computer generated material like 3d stuff into my work. I guess more experimentation is needed in any case. As I wrote earlier I've been really concentrating on animation lately too. Trying to do what I do for print (combining illustration and hand drawn type) but then adding the dimension of time. Especially in typography I am looking for new interesting ways of adding time.

Any advice to the novice designer/ illustrator?

Hmm let's see, eat well, plenty of fibres, exercise, regular showers, wash you hands before and after dinner, no running with scissors, relax, don't worry too much about being cool or the next hot-shot Stefan Carson or James Biskup... Don't look too much to other designers / illustrators for 'inspiration'. You already are a designer so why not find out what architecture, photography, sculpture, nature, choreography, music could make you think of. I don't like these 'design-books' it seems to have cut design loose from other disciplines. Architecture, product design and graphic design (and illustration and even music for that matter) used to 'leach' off each other much more in the old days. Designers and creatives used to react more to what's going on around them.... but maybe that has also changed because of clients and their attitudes have changed. But I'm rambling and getting off topic....

Just a bit more advice to tie this one up: Keep an open mind don't limit yourself with the idea of having to develop a distinct style. Having a style can be very restricting. It could make you more recognisable for potential clients, but it can also badly limit the amount of clients that want to use your services.

What makes a designed piece or illustration successful?

The simple answer: when it does it's job. When it fulfils the brief and does what it is intended to do (inform, attract attention, warn, mesmerise whatever). A lot of people (both designers and clients) don't seem to get the difference between "beautiful" or "nice" and "good". Or "ugly /
boring" and "bad" because that's an important thing. The one thing is objective and the other is subjective. In the olden day (imagine the voice of grandpa Simpson here) clients wanted work that would set them up for a couple of years and were willing to cough up a nice bit of dough for it too so it had to be really good... nowadays that seems to have changed to clients just want something that looks 'cool' or 'fresh' for a couple of months for not too much cash. So that way when it's worn out and out of vogue they still have some cash left to have some new tat done up...

Ok that's a bit of a sour comment but that has happened to a certain extent, I feel. Now (to get to my point) the definition of a successful illustration or design has changed. Or to be more exact, I
believe there's now a difference between what clients would consider successful work and what illustrators and designers would think it should be. So to me I think it has to be good (in the old way). It has to tell the right story in the right way and although it also has to be somewhat pleasing to the eye the look of it still dictated by it's function. So function over form kids. Sorry for boring you.

What do you do to keep yourself motivated and avoid burn-out?

Keeping motivated and avoiding burn-out are 2 different things to me. To avoid burn-out I'll do anything that has nothing to do with making money. I like to do sports (although you might not think so by the look of me) I ride BMX, do aikido and go to the gym regularly. Sports are a great stress release for me. Besides that there's music. I play in a hardcore punk-band and I love to go see shows. Music really helps me get my mind off my work which in turn helps me have fresh
look when I return to it. The thing that motivates me to keep at it is mainly this internal kind of anger. It sounds really negative, but it's not, it's just the only way I can describe it. It feels like an urge to keep fighting. Not quite sure what the fight is for though. For independence I guess...just fighting out of fear for ever having to be stuck in a 9 to 5 life.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

I used to always say something like: "a patient on psych ward" But to be truthful I would have liked to be clever enough to be a biologist or a physicist. I've always been mesmerised by nature and physics. On vacations I sometimes spend hours just looking at clouds and weather especially when there are thunderstorms brewing) like a retarded monkey, just the look of the things.... fascinating.

And finally, what is the best thing on [prime-time] TV right now?

The off-switch.

JUNICHI TSUNEOKA

2008-11-03T00:00:00.000-08:00

Junichi Tsuneoka was born and raised in Japan and upon graduating Waseda University in Tokyo, he has arrived in US at the end of 20th century. After being a graphic designer for 5 years, Junichi has established a style often recognized as “California Roll Stylie,” the result of both visual and conceptual fusion of Japanese pop culture and U.S. urban culture. He founded STUDIO STUBBORN SIDEBURN to broaden his visual communication and to employ his visual language in art, illustration, and design. Junichi’s pieces are very unique, with highly communicative, assertive graphics, and contain clear signs pointing back to his strong design background.

stubbornsideburn.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

I wanted drawing for my job for a long time but I wasn’t exactly sure how. I had a one year exchange program when I was a Junior in college in Japan. I went to Southern Oregon University. I found graphic design class there. In Japan, normal 4 year colleges don’t offer any art classes (my major was English) so it was really refreshing. There I learned more than just to draw and I thought I had a hint of how to make career out of my artistic side of talent. Then while I was hired at Modern Dog Design, They encouraged me to use my own illustration into my design projects and they let me experiment a lot too.

Who or what inspires you?

I try to look at variety of stuff. For example, when I go to bookstore to look at magazines, I force myself to look at magazines like “Vogue,” stuff that I don’t usually look at. Same as music, I like to listen to Hip Hop, R&B type of sound but sometimes I force myself to listen to Classics. I am also word oriented person. I like to write down funny phrases (at least for me) like, “monkey business” or “when shit hits the fan” etc. This kind of phrases gives me inspirations sometimes.

Where does your training come from? Self-taught? College/Art School?

I graduated from Cornish College of the Arts.

How do you keep "fresh" within your industry?

I try to make something better than yesterday. I try to experiment to my own style. I try to look at as much as art around to get influences.

What are some of your current projects?

Logo for a music label, package design for a tea company, series of music posters, sticker illustration etc.

Which of your projects are you the most proud of? And why?

Screenprinted posters I have done. Screen printed posters are not produced by machine and there is some value to it.
When I get the posters in my hand, it is a sort of piece of art for me and I really like the quality of it that any other commercially produced print doesn't have.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I think there is a lot. Hopefully I can find my own field that no body tried yet.

Any advice to the novice designer/ illustrator?

Talent means "effort" in my dictionary. That is not something you were born with.

What makes a designed piece or illustration successful?

I would like to think if one can emotionally involve with the piece, that's a successful piece. To me, it doesn't matter if the piece makes you happy or angry.
I would rather piss them off than making them feel nothing.

What do you do to keep yourself motivated and avoid burn-out?

I try to have fun with any kind of project. I think there is a way to turn any boring project to a fun experience.
I try to remember I am doing something I enjoy and I like so much. It has never been difficult to think this way.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

...I would have been a comedian.

And finally, what is the best thing on prime-time TV right now?

"the Office"

BEN O'BRIEN

2008-08-12T19:53:00.000-07:00

Ben O'Brien (aka Ben the Illustrator), a Cornwall based illustrator, predominantly creating colourful ethereal landscapes for advertising and editorial. After graduating from an animation BA around 10 years ago, I went on to follow a dream and work in music videos, animating and directing for Skint Records, Sony Japan and Domino Records. I then became creative director of a small design/animation agency in London, where I got to learn a lot about different media and creative markets. I was also always doing illustration jobs on the side, then in early 2005 I had an epiphany and realised it was the illustration jobs that I really enjoyed, so I left my position in the agency and went solo, became 'Ben the Illustrator'. I now work alongside my wife Fi, who is often the creative mind (and usually the business mind) in a lot of our projects and products.

www.bentheillustrator.com - my regular site, mostly commercial illustration work
www.speakerdog.com - My illustrated character, more of an 'art' project, we take Speakerdog out for exhibitions and produce a variety of products
www.buybentheillustrator.com - Our online shop, posters, prints and plush toys a plenty

When did you first decide to become a graphic designer/ illustrator?

Drawing is all I've ever really done, since childhood, I always knew I wanted to be creative or some kind of 'artist' in life. At school it was often my only enjoyment, although I also have a great love for mathematics!?! I was studying at Central St Martins in the mid-90s when music videos where becoming incredibly exciting, with Spike Jonze, Michel Gondry, Hammer and Tongs all coming to light. So I went into animation, while always continuing to create a lot of illustrations. My career led me into animation quite heavily, music videos, kids tv and later, online animation projects. Until a few years ago I decided that my strongest skills were simply in illustration, and since then it's all been super!

Was there a pivotal moment?

In my life, there's been a few... Aged 6 or 7, Mr.Stevens history class, we were all told to draw a picture of any imagined scene from history, I started work on a piece involving pirates storming a beach, I remember being so keen to get the waves right and trees on the beach and hills in the distance. Afterwards my drawing became some kind of junior school masterpiece! That was when I decided that drawing was 'my thing'. Aged 11, my folks (who have always been very supportive) bought me a book about the work of Brian Cook, a fantastic British bookcover artist from the 1940s who used wild colours to paint scenes from countryside life, that book remains one of my favourites (it's on a shelf right behind me right now). Aged 16, my school art teacher (Mr John Dutfield, to whom I owe a lot), took us on a trip to The Tate Gallery (Tate Britain as it is now, before the Modern opened) where I saw 'Whaam!' by Roy Lichtenstein face-to-face for the first time and a room filled with four huge Gilbert & George pieces. I was overwhelmed by all, by the colours and the striking imagery, art had never felt so powerful. The most pivotal moment since was the day I realised I could make a living out of illustration work and it didn't have to be small jobs on the side of my position in a design/animation agency. I walked out of the studio, went home, sat on the sofa for two days drinking tea, feeling enlightened that I could actually pay the rent by doing illustration.

Who or what inspires you?

There are literally millions of artists... Brian Cook for his use of colour; Keith Haring for his boldness; most of the late 70s and early eighties graffiti artists from NYC (the Wild Style/Style Wars artists, especially Doze, Lee, Dondi, Seen, Skeme) for their pure guts and skill; Takeshi Murakami for his enthusiasm and ideas; other current artists and illustrators that inspire me include Paolo Arriano, Sauerkids, Phibs, Noferin, Jeff Soto, Airside, Thomas Campbell (and all those beautiful losers) and Alejandro Paul. Also, special mention for Harvey Ball, who designed the smiley face! I also find a lot of inspiration in the outside world, my wife and I like to walk a lot, take ourselves off on dreamy adventures! And finally music, lots and lots of music, The Polyphonic Spree, The Beatles, Adem, The Beastie Boys, I could list for hours!

Where does your training come from? Self-taught? College/Art School?

I loved art class at school, then I studied animation at college, but I think my illustration training is more self-taught. I developed my drawing style from simply sketching for years. I taught myself how to use Adobe Illustrator, which is now priceless for me in what I do.

How do you keep "fresh" within your industry?

I always keep interested in what's going on, what other illustrators are up to, I love sites like the Little Chimps Society for finding new illustrators, but I think my work keeps fresh simply because I'm always striving to do something better than I've done before. I really don't want to get too stuck in a rut or bored of what I do. Hopefully creating exciting work from the heart will keep things fresh and appealing to the industry.

What are some of your current projects?

I've a new exhibition opening up next week with my character Speakerdog, that's been keeping us busy. It's half new artwork by me, printed nice and big and half new plush toys made by Fi. For the exhibition we've also produced a bunch of new posters in our 'World Lovin Posters' range, that's one of our favourites things at the moments, producing posters, we use an eco printers, so they're all printed using vegetable inks on FSC certified paper, hence the 'World Lovin' Posters'. I've also been involved in a project for BBC and Fallon, questioning what culture is, it's been a great project, now launching online to coincide with the new series of The Culture Show. I'm also working on a couple of things for Computer Arts, who are always a pleasure to be involved with, such a great bunch of people producing a strong design magazine, and really dedicated to giving novices and professionals alike good worthwhile information and tutorials.

Which of your projects are you the most proud of? And why?

One of my favourite regular clients are Smart Cars, who I've been working with for a couple of years now, on an 'alternative ad campaign' throughout Europe. Last year I illustrated a landscape which they had printed wrapped all over a new Smart Car, for a big show in San Jose, California. Seeing my work taken onto that kind of medium is quite a thrill. I was also very proud when I was asked to do some work for design studio extrordinaires, Airside. I had been a huge fan of their work for some time, then I got an email from them asking if I'd come on board freelance and do some illustration work for them, it was a dream come true. When I finished the first piece for them and got the ok from them and the client, I couldn't quite put into words the pride, something I'd never really felt before.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Oil paint! I'd love to learn how to use oil paint, that's a real craft, a beautiful medium, one day I would love to take some time off and teach myself, maybe take my illustration left-field a little and craft my style with a brush in oils rather than using a Wacom in Illustrator. Saying that, I'm still today discovering new things I can do in Illustrator, it's such a deep program. As for projects, I would ove to do some bookcovers, like the great Brian Cook. Or perhaps go back into animation, but only as a background designer work with a team of really great animators, that would be very exciting.

Any advice to the novice designer/ illustrator?

Work hard, keep observing, keep exciting, try everything. A lot of young creatives pigeonhole themselves too early and don't have a go and at all the marvellous aspects of design, from type to portraits, products to animation, just indulge yourself in the wonderful world of design. I hear from a lot of students, which is always a pleasure, and I always see a lot of enthusiasm, however I think colleges/mentors/employers need to ensure that it can be a hell of a struggle to make it in the industry, not everyone graduates and gets that job at the design agency or gets picked up by a top agent. We all have to make sacrifices and really push to get somewhere, it's not easy. Saying that, it's worth the ride!

What makes a designed piece or illustration successful?

If it's commercial, for advertising or editorial etc, then the key is whether or not it does it's job, does it sell the product, or tell the story? If it doesn't then your client will tell you so. Design and illustration, although sometimes are simply just to be enjoyed, they frequently serve a purpose. when working on a piece you always have to keep in mind why you're doing it. It doesn't necessarily have to be colourful, or strong imagery, it doesn't have to appeal to everybody, but it needs to be perfect for it's purpose, whether it's to stand in an exhibition and excite people, or to grab people's attention regarding a serious cause or to sit quietly alongside a small article in print to back up a story. Design is functional, enjoy letting it function, let it function enjoyably.

What do you do to keep yourself motivated and avoid burn-out?

It seems to come quite easy to me, I enjoy illustration so much, I feel blessed to be able to spend my days drawing and Fi and I love thinking up new ideas for projects and products, our heart and soul is focused on creating new things, we excite ourselves with the possibilities. I'm also incredibly critical of my own work, and often hide away older work which I no longer enjoy, so I've never had to stick in the same area for too long. The design and illustration world is fairly fast-paced and exciting, you just cruise along naturally with it and you'll be fine.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Forest ranger! As a teenager I worked voluntarily with my local forestry rangers and tree-surgeons and loved it, if I hadn't followed this path I'd go back to making fences around conservation areas, sawing down pine trees to preserve the heathers and building big steps out of tree-trunks to prevent erosion.

And finally, what is the best thing on prime-time TV right now?

Anything with Hugh Fearnley Whittingstall growing vegetables and treating farm animals with a little love before he lights the fire and whips up a banquet of goodness.

STEFAN BUCHER

2008-05-15T18:32:00.000-07:00

Stefan G. Bucher --- pronounced SHTE-fawn BOO-ker, the G is silent --- is a Los Angeles-based illustrator, graphic designer and writer.
Most recently he is the creator and driving force of the online illustration and storytelling experiment http://www.dailymonster.com
In March HOW Books published “100 Days of Monsters” a book/DVD time capsule of the first 100 monsters.

http://www.dailymonster.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

There was never a pivotal moment. I can’t remember a time when it wasn’t clear that I’d be an artist. If I wasn’t born pen in hand then I didn’t waste much time after that. I didn’t necessarily set out to become either an illustrator or a graphic designer, or anything else for that matter. I just knew that I loved drawing and that I loved seeing my drawings in print even more. Every decision was based on getting more things printed. Fanzines, high school yearbook, selling ad designs door to door at 15. Next thing I knew I had a career.

Who or what inspires you?

I’m a fan of Ronald Searle, J.J. Sempé, Paul Flora, H.G. Rauch, and Ralph Steadman, of course. I think Wayne Coyne of the Flaming Lips knows how to have a good time as an artist, as do Ricky Gervais and Ben Folds. Randy Newman and Joe Jackson do, too, but Joe, in particular, seems cranky and I don’t need a role model for that. Also, it goes without saying that Bill Waterston and Matt Groening are gods.

Where does your training come from? Self-taught? College/Art School?

When I was growing up my dad volunteered at the Wilhelm Busch Museum for Caricature and Critical Graphics in Hannover, Germany, so I went to a lot of exhibits and always had catalogs around. That was the foundation. He’s an accountant and doesn’t draw, but one day he made a big X and a small x on a piece of paper and connected the corresponding end points --- voila! --- perspective drawing. I’m still dealing with that moment today.

Much later I got a degree at Art Center College of Design in Pasadena, California, which didn’t hurt, either.

How do you keep "fresh" within your industry?

I love seeing what everybody else is doing, and it obviously influences my work, but I never set out to keep up with a trend. I just do what comes into my head. I’m not very strategic.

What are some of your current projects?

We’ll see where the monsters will go. That’s obviously the big project of the moment. I have a few other books in the works, as well --- some as designer, some as author or editor. None of it’s ready for prime time yet, but keep an eye out, please. I’m also continuing my designs for the Echo Park Time Travel Mart. I design and illustrate all their products, and take care of all the store graphics, so that’s a fun gig that’s ongoing.

Which of your projects are you the most proud of? And why?

I’m most proud of the monsters, of course. It’s nice to see that something so personal and odd turns out to be so universal. I’ve never worked harder on anything or had more fun.

Are there any areas, techniques, mediums or projects in your field that you have yet to try?

I’m somehow completely afraid of painting. I’m so used to the control of pen and ink that Paint on canvas seems incredibly intimidating. I grew up looking at warts and all original drawings at the museum, so that seemed much more attainable. Now I get to see a lot of amazing contemporary paintings up close through my work with the art gallery L.A. Louver, and I’m starting to see how that might work. I think large format work is going to be next on my list.

Any advice to the novice designer/ illustrator?

Do what’s fun and don’t worry about it. Worry just slows you down --- it does me --- and it never really leads to your best work.

What makes a designed piece or illustration successful?

A successful piece gets the point across, but it’s not right until it’s also surprising in some way, and beautifully executed on top of that.

What do you do to keep yourself motivated and avoid burn-out?

Motivation isn’t much of a problem anymore. There’s too much work on my desk to worry about motivation. Burn-out gets to be problematic every few years, but then some external factor usually comes into play that forces me to take a little time off. Usually that external factor is complete physical exhaustion and a nervous breakdown, but hell... that’s the cost of doing business. It would be nice to slow down a little bit every now and again, but then the ideas have to get out of my head and onto the page to be real. I can always rest when the ideas run out.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

If I weren't a designer/illustrator I would have been a melancholy and slightly disheveled person wandering the streets, arranging leaves in perfect circles. Wait, then I’d be Andy Goldsworthy and I think he’s a genius, so I don’t want to put myself anywhere near that. I hope that I’d have learned to play piano, but maybe I’d be running an office-supply store. I love office supplies.

And finally, what is the best thing on prime-time TV right now?

Gotta go with Battlestar Galactica. Or John Adams --- which is very much like Battlestar Galactica, except with muskets, wigs, and Laura Linney.

JOHN MARTZ

2008-04-16T05:35:00.000-07:00

John Martz is a cartoonist, illustrator, and designer living in Toronto, Canada. He has done work for Yahoo!, CTV, Hallmark, Scholastic, Macleans Magazine, Chick-a-Dee Magazine, and others. He is also the editor of the popular cartooning and illustration blog Drawn!, a daily destination for thousands of creative individuals.

Blog: www.robotjohnny.com

Portfolio: www.johnmartz.com

Drawn!: www.drawn.ca

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

I think it was a pretty natural transition. I always knew I wanted to be a cartoonist, and I was lucky enough to have parents that always encouraged it. I think I read every book on cartooning from the local library at least three times.

One summer my mom enrolled me in a computer animation summer camp, where we learned to use Autodesk Animator ( http://en.wikipedia.org/wiki/Autodesk_Animator ) and it totally blew my mind. I can remember creating a bouncing ball using "squash and stretch" which I read about in that big Disney book The Illusion of Life, and the instructor asking how I knew to do that. I remember spending all my paper route money on buying the software; which was probably hundreds of dollars.

So I had been using the computer to create art since I was a young kid. When we upgraded to Windows 3.1 and got CorelDRAW, that's when I discovered the program could export artwork as TrueType fonts, and I began to design and create my own typefaces in high school.

Once in highschool, I eventually became the editor of the school paper, but to me the job was exciting not because of any editorial duties, but because I got to do the design and layout of the paper (and fill it with my cartoons).

When graduation hit, I had applied to college for both graphic design, illustration, and animation. I think I was hoping to go to school for animation, but I remember submitting my application in late, and not getting in, so the decision of where to go to school was sort of made up for me by my own carelessness, and I ended up studying graphic design.

Who or what inspires you?

My list of creative influences grows and changes each day, especially thanks to Drawn!, but some of my biggest influences are Charles Schulz, Jim Henson, Richard Scarry, MAD Magazine, Chuck Jones, B. Kliban, Jack Ziegler, the Marx Brothers, Woody Allen, Dr. Seuss, Rankin-Bass specials, Hanna-Barbera...

I'm also a bit of a bibliophile, and buy more books than I often have time to read. My bookshelves are loaded with design, cartooning, animation, illustration, and comics-related books. (library here: http://www.librarything.com/catalog.php?view=robotjohnny&shelf=list) There's nothing I love more than browsing a used book store and finding some hidden treasure.

Where does your training come from? Self-taught? College/Art School?

As mentioned above, I studied graphic design. Illustration-wise I'm self-taught, having read countless books on cartooning and animation as a kid, but I think my design education has been invaluable to my illustration career and that my skills as an artist are greater for having learned design principles and things like hand-drawn typography.

How do you keep "fresh" within your industry?

If by keeping fresh, you mean keeping up with trends, I'm not that sure I do. And I think that's a bit of a bad thing anyhow. I create for myself, primarily. I think creating, and reading Drawn! every day keeps my inspired and aware of what's going on with other illustrators and designers. It's natural to absorb and adopt from others, so I can only hope that what I create is a natural composite of my own aesthetics and everything else that inspires me.

What are some of your current projects?

My most recent fun project was for the Space channel here in Canada (think Sci Fi network). The channel is playing a marathon of superhero movies on Christmas day, and I was involved in creating all the promotional design and animation.

It was a lot of work, but an incredibly fun project in which I got to hand-letter all the type and create a series of animated illustrations in AfterEffects with Santa Claus as a superhero.

I'm also currently working on some more animated work for Chef Boyardee, for which I'm just providing the character design, and it involves kids and monsters, which is one of my favourite combos.

Which of your projects are you the most proud of? And why?

I don't know really. I recently completed a comics/illustration project which had me recreate my mom's 1968 high school yearbook as a series of drawings... It's about 80 pages consisting of over 1,000 mini caricatures. If anything I'm proud I even finished it! I'll be posting the entire thing online, and selling copies once my site relaunches in the new year.

I'm also pretty happy with my recent batch of warm-up drawings ( http://flickr.com/photos/robotjohnny/sets/72157602145380761/ ) since they are the result of pure doodling, and one of the most uninhibited creative things I've done in along while.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I'd love to try my hand at screen printing. I think my style and my love of typography would suit the medium quite well.

Any advice to the novice designer/ illustrator?

Never stop having fun. Once you stop having fun, it becomes a job, and jobs are boring. When things get boring or start stagnating, you're doing something wrong. Keep playing, keep trying new things, never stop doodling or experimenting.

What makes a designed piece or illustration successful?

My final year design teacher told me the secret to creating good design, which I try to apply to my illustration and cartooning work. He said, as long as you have two things -- contrast and dimension -- you can't fail.

Obviously there's more to it than that, but my work is consistently better when I keep that bit of advice in mind.

What do you do to keep yourself motivated and avoid burn-out?

I always have a sketchbook on the go, and need to draw in it constantly. It's also good to just get away from the studio for a bit. I'm writing this from a local coffee shop, but anything helps to just avoid the blahs of being at work all day long -- browsing a used book store, catching a movie, even just a quick walk with the iPod can help recharge my batteries.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Hmm... In high school I was fascinated by movie special effects, and watched all sorts of specials and videos on the behind-the-scenes stuff. Back then that stuff was hard to find because there weren't any DVDs with bonus features yet. And this was, of course, pre-CGI, so everything was a combination of matte paintings, animation, pyrotechnics, electronics, and puppetry which seemed like the most brilliant marriage of everything that interested me as a teenager.

And finally, what is the best thing on prime-time TV right now?

Boston Legal. Hands down.

NORM BREYFOGLE

2007-12-04T05:27:00.000-08:00

Norm Breyfogle has been a comic book artist for over twenty years, and is also an illustrator and gallery painter by trade, but he also loves to write. He may be best known in comics for his stint on DC Comics’ Batman and other Batman-related comics, which he drew for about six years (1987-1993).

Today, Norm continues to illustrate for various comics companies and other clients outside of comics. He can be reached via his website, through which he sometimes draws on commission, sells his past comics art pages, and interacts with his fans via his message board.

Norm’s website:
www.normbreyfogle.com

Norm’s Debut Art gallery page:
http://debutart.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

When I was 13 or so and taking private art lessons with the late commercial artist Andrew Benson, I decided one night that I should pursue art rather than science as my career, since I had this talent.

Who or what inspires you?

Beauty, reason, love, virtue, hope, etc. All the virtues are inspirations to me, as is art (of many and varied kinds, including music and literature). Good films, too. I also love Nature, and getting vigorous exercise.

And thinking of my best friends or a lover, and past postive experiences with them, can also inspire me.

Heck, I’m easy. I can even be inspired by Rudolph the Red-nosed Reindeer!

Where does your training come from? Self-taught? College/Art School?

Although I did attend college as an art major, I consider myself mostly self-taught, since nothing and no one can teach one to draw; one must actually practice drawing and always strive for improvement.

Any computer skills I’ve developed have been self-taught, since I graduated college just before the personal computer became ubiquitous.

How do you keep "fresh" within your industry?

I observe what others are doing in similar publications, I keep involved and in touch with my fans and peers electronically, I attend comic book conventions, and I keep working and getting published, slowly learning new skills as needed.

What are some of your current projects?

I’m pencilling and inking the interiors and covers of the on-going monthly title The Danger’s Dozen, published by A First Salvo. The first issue will be sale in December of this year (‘07), and we’ve already got six issues in the can.

Every now and then I also do an illustration outside of the comics millieu via my London representative, Debut Art.

I really enjoy creative writing in my spare time, too, though I’m not trying to publish much of it yet. Much of my writing can be found on my website, although I’ve also written the better part of a novel and 1300+ haikus, which I’ve not posted there.

Which of your projects are you the most proud of? And why?

My poetry, short prose stories, and my prose novel are that of which I’m most proud, and they’re also what I enjoy working on the most. This is probably so, I suppose, because it’s all work that’s coming straight from me, with no commercial interests or editorial oversight interfering with the creative process.

In my career as a visual artist, the projects of which I’m most proud include Metaphysique (my creator-owned six-issue graphic comics story from ten-plus years ago, published by Malibu Comics), a few Batman projects and particular Batman-related issues for DC Comics (for instance: The Birth of the Demon, and Batman Dreamland), Prime (Malibu Comics), and all the Anarky issues (DC Comics) .

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Oh, heck, yes. I’ve still not mastered much of Photoshop at all. I only use it at present mainly for scanning and sending my work, though I’ve learned a few other manipulations. I tend to learn what I need to when I need it.

Any advice to the novice designer/ illustrator?

Learn to draw and how to use other traditional mediums, and master computer skills. Put your ego on the back burner when interacting with all professional contacts. Possibly find an agent to rep you, if you feel uncomfortable repping yourself at first. Most of all, follow your bliss, i.e., pursue a path with heart, do what makes you happy (unless you’re psychotic, of course; in that case, turn yourself in).

What makes a designed piece or illustration successful?

Aesthetically? I’d say real quality lies in the correspondence between what the artist intended for a piece of art and the actual effect that the art object has on others. Obviously this contains an in-built subjectivity, but since we’re all arguably more similar than we are different, quality in art is relatively objective, although many can still disagree over any particular example.

What do you do to keep yourself motivated and avoid burn-out?

Exercise, eating right, an occasional party, and planning neat things for the future.

And writing.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

“... scientist, philosopher, or writer.”

And finally, what is the best thing on prime-time TV right now?

I really couldn’t say. However, some of the things I personally like to watch on TV include The Daily Show with Jon Stewart, South Park, Countdown with Keith Olbermann, old movies, Star Trek, and various science and history programs.

TIM FRAME

2007-11-21T06:30:00.000-08:00

Tim Frame has over 20 years of experience in graphic design and visual communications. His broad range of experience includes the design of corporate identity systems, retail graphic programs, environmental graphics, as well as advertising, packaging, and publication design. Tim formed his own studio in 2000 and now works almost exclusively for other design firms and agencies. He also teaches graphic design at Cedarville University in Cedarville, Ohio.

www.timframe.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

I'm not sure that the term graphic designer existed at that point in time, you have to remember that this was "back in the day." I believe they were called commercial artists back then. Anyway, it was actually as the result of an art class in high school: the teacher gave an assignment to design and illustrate an advertisement. It wasn't until then that I realized it was a career possibility.

Who or what inspires you?

Mostly the work of other designers and illustrators, both past and present. I'm not necessarily referring to just individuals, but their work. There's a lot of older stuff I've found here and there, you have no idea who designed it, but the work is amazing. I collect a lot of old "stuff" milk caps, beverage labels, magazines, catalogs, children's books, travel decals, etc. Mostly stuff from eras when everything was illustrated and lettered by hand. I'm inspired by design and designers in other disciplines as well. On a much grander scale, I'm always inspired by the work of the creator of the universe (God). Not just the unique designs and amazing beauty, but also the level of detail that can be found in all of His creation.

Where does your training come from? Self-taught? College/Art School?

I've always loved to draw, so I guess you could say I taught myself to a very limited degree. In college I majored in Art with a concentration in Commercial Art (remember, this was "back in the day"). I also did a year of grad school just to build my portfolio. I was actually torn between design and illustration, because I loved and wanted to do both. Although I do remember after having my first logo assignment in college thinking it would be cool to just design logos. I think one of the main things I came away from school with was a love of typography. I don't think it was as much an influence from school as it was from discovering the work of Michael Doret. His work still inspires and amazes me.

How do you keep "fresh" within your industry?

For me it's making time to pursue the things that inspire me. I think working with and around other designers also keeps you fresh. Seeing what others are doing and the exchange of ideas and learning from their practice(s). It's also one of the disadvantages of being a solo act.

What are some of your current projects?

I'm doing some sports logo concepts for Disney's marketing group and a redesign of the logo for HOLLYWOOD.com

Which of your projects are you the most proud of? And why?

I'd have to say that a lot of the work that I'm most proud of has never seen the light of day. Either options that a client decided not to proceed with, or concepts that are still just a rough sketch on paper. An example would be a couple of logos I did for Ironhead Athletic. It's an example of what I consider to be some of the best work I've ever done, but the client decided to hire another designer and move forward with their mark. Another example would be the logo and T-Shirt concepts that I did (unsolicited) for the Dennis Miller Radio show.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I want to develop some ideas I have for a couple of lines of T-shirts. I've got a few done for my "Motor Skills" line. I also have a name and concept for a web site that would be used to promote these: www.touristees.com. I would also pursue producing some silkscreen and letterpress work if I had the time.

Any advice to the novice designer/ illustrator?

There are no shortcuts to success. You need to continue to educate yourself through your own efforts of exposure and experience. Solicit feedback from those who are successful and more experienced. Take on projects that will give you more experience in areas that you want to pursue, even if they're not paying ones. Do whatever is necessary to become a good communicator, because that will have as much influence on your success as your design/illustration skills.

What makes a designed piece or illustration successful?

If it communicates the concept clearly in unique fashion and resonates with the audience that it was intended for.

What do you do to keep yourself motivated and avoid burn-out?

I go back to the things that inspire me. It seems like there's less and less time for that. With teaching full time, I feel like I'm not spending as much time designing as I would like, so the burn-out aspect is more related to trying to maintain/manage two careers rather than being burned out by doing too much of one thing.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Homeless, destitute person. Probably a musician, though I have no natural talent that I'm aware of, which would result in my being homeless and destitute. I really love music and have a great respect for those who have such talents.

And finally, what is the best thing on prime-time TV right now?

I can't really say I follow any of the shows in prime time, I'm still anxiously waiting for one of the networks to make a TV series out of the ROCKY movies.

CHRIS GARDNER

2007-10-29T05:39:00.000-07:00

Chris Gardner is a lifelong east coaster who can't wait to live in a place where there's no snow. He's the illustrator for House Industries and loves it to death, although he wishes House was located in Hawaii instead of Yorklyn. Chris cut his teeth back in the day as a comic book artist working for DC Comics, he worked all night, slept all day and lived on microwaveable tuna noodle casserole and Coca Cola. He now has a beautiful wife and son who've made him as happy as any man could ever hope to be. And he still loves the tuna noodle casserole.

chrisgardnerart.blogspot.com

When did you first decide to become a graphic designer/ illustrator?

Somehow I always knew that I wanted to draw for a living, it's just been a part of me for so long, my family was (and still is) incredibly supportive and encouraging, I really never thought of any other options. Well, there was a small blip in time (maybe 9th grade) where I wanted to be an electrician because I thought it would be cool to have my own van, but I snapped out of that in short order and grabbed my pencils and ink bottles again. - meaningless factoid of interest - Chris Gardner has no idea how to program a VCR, or operate a minimally complicated electronic device, but he has driven a van and thought it was cool.

Was there a pivotal moment?

Back in high school I met my buddy Tom Lilly, he had some real art skills and proceeded to kick my tail. That hadn't happened to me before and it struck a chord, I decided that I'd better get to work and turn it up to eleven! - Spinal Tap reference alert! - That may very well have been the event that caused me to become a student of the craft as opposed to being the guy that simply rode his ability without pushing it further.

Who or what inspires you?

This really is a tough question, I could write for a month trying to convey who and what, so I'll have to boil it down to the absolutes... my mother, she's the strongest person I know, period. All through my young life, she taught me the important things, and as far as the art goes, she passed down her talent and made sure I had all the art supplies and support I ever needed. My wife and son are the most beautiful things I'll ever lay my eyes upon, and they inspire me infinitely. - I Love you guys :) - Working at House Industries with the super talents there inspires me. Walt Disney, Robert Fawcett, Mark Schultz, Alphonse Mucha, Gil Elvgren, Gustav Klimt, Rene Gruau, John Singer Sargent, Bernie Fuchs, Rankin/Bass, Superman, Charlie Harper, Charles Schulz, Enrico Marini, Chris Ware, James Jean, Norm Breyfogle, N.C. Wyeth, Frank Frazetta, Joe Kubert, Mary Blair, I could go on and on...

Where does your training come from? Self-taught? College/Art School?

Self-taught, although it helps that some skills run in the family. My main means of improving was to study and observe everything that I could get my hands on, I studied artists past and present to try and decipher what made them as good as they were. I got my work in front of pros any chance I could and listened to what they had to say, the critiqing that you'll get is invaluable. Take that criticism and use it to improve your work, it's a fantastic thing. I incorporated all of that information into my art as best I could and learned a hell of a lot along the way. No matter how far you progress in your career, there's always someone or something to learn from, it's all there in front of you if you take the time to look and listen.

How do you keep "fresh" within your industry?

I try to stay in the fridge, at the factory recommended settings, maybe a little Saran wrap from the waist down... it pinches, but whatcha gonna do? After all that nonsense, I try to draw what makes me happy, and continue learning the craft.

What are some of your current projects?

The never ending list of illustrations to complete at House Industries keeps me pretty busy, I guess that's sort of like one huge project. The clothing venture that we're undertaking at House is a lot of fun, see House33.com. - plug - plug -. I'd really love to squeek out a little time to do some comic book stuff, I'm a complete Super Hero nerd at heart.

Which of your projects are you the most proud of? And why?

Probably my body of work at House Industries, I've been there just about 10 years now and I'm pretty proud of that. And the Batman comic logo re-designs, because... well, it's freakin' BATMAN man! ZAPP!!

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I really want to take a crack at oil paints someday. As we speak, I'm using my mental powers to try and get Daniel Adel to volunteer to teach me, I don't think it's working at all though...

Any advice to the novice designer/ illustrator?

I kind of eluded to it a few questions back, I think that the most important thing by far is to be able to accept criticism. Get professionals or teachers or peers to look at your work and give their thoughts. Especially pros, they've been through the fires, more often than not, they're going to be able to hand you these amazing pieces of information that they've collected along the way, it's pure gold. I broke in as a comic illustrator WAAAY back... when they actually did the lettering on the boards with a real pen!

...and my favorite thing on earth was to go to comic cons and show my illustrations to everybody I could find, I'd ask them to tear it apart, not to pull punches, I can't tell you how much I learned by doing that, by having an open mind. It's the single most advantageous thing that I ever did to take those steps from aspiring artist to professional artist. That was one of my favorite, and most exciting times in life.

What makes a designed piece or illustration successful?

I think it needs to tell the story clearly, it's all about conveying the message.

What do you do to keep yourself motivated and avoid burn-out?

See list of inspirations above... I'll grab something by any one of those people and dig in. Maybe get out to a favorite diner and grab a cup of coffee. There's no avoiding the burn-out at times, you just have to push through it, taking comfort in the knowledge that it happens to all of us.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Surgeon. I'm absolutely amazed by the medical field, it's just unbelievable when you think of the things that can be done nowadays, and what lies ahead we can only imagine. Or... a chef, It would be awful nice to hang out in a stocked kitchen, chopping vegetables and making great things to eat, I love watching the cooking shows, I could watch those all day long, especially the ones with tuna noodle casserole. Or...I'm telling you man, add a good 60 pounds of pure muscle and another 12 inches to me and I swear I coulda been helping my Philly Eagles win the damn Super Bowl! ...grumble...

And finally, what is the best thing on prime-time TV right now?

I don't watch much, if you're doing the art thing professionally you don't have a lot of time, well actually, you don't have ANY time but I'll sneak out to the couch with my wife and watch "House" sometimes, the good cooking shows are nice to see, and I'm always there on Sundays watching the Eagles. And if you can catch "Gardening by the Yard" on HGTV, hosted by Paul James... that's a great show, the guy just makes me happy, I don't know why, he just does, check it out. Thanks for the interview!

MICHELLE WHITE

2007-10-20T12:00:00.000-07:00

Hello, I'm a freelance illustrator, fine artist, photo retoucher, designer... hack sewer all in the name of getting sadness out so that I can be free to be happy. I'm the loud half of rottentuna design studio. We're all about having fun and talking to the world visually.

http://rottentuna.com/
http://rottentuna.blogspot.com/

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

Yeah...strange, driving over the Howard Franklin Bridge in 1991 at dusk...right there, the previous 5 years blended together in one extended beach party and all I wanted was to do something constructive I thought I could really get passionate about and possibly excel at. So I went to art school...safe choice, huh? That said, I have drawn pictures my entire life.

Who or what inspires you?

I'm incredibly inspired by illustrations being created during the late 60s through late 70s. For example, Jack Unruh, Tom McNeely, Burt Silverman, Barron Storey, Robert Cunningham, Skip Lipke, Alan Cober, Herb Tauss to name a few. I'm crazy for linework, limited color.. or even better, no color at all. I love architect's handwriting, blueprints and Mark Rothko. I also love to drag my sketchbook and dog (Banjo) to the bar.

Where does your training come from? Self-taught? College/Art School?

I received my BFA in Illustration from Ringling College of Art and Design.

How do you keep "fresh" within your industry?

I'm not sure I do. I really do my own thing. Only one voice is your voice. Now my design work is an entirely different story. I will forever kill myself attempting to be fresh in design. I need to spend hours pouring over magazines and websites. Therefore, I'm much happier illustrating.

What are some of your current projects?

I'm embarking on a new body of paintings, determined to refine my clumsy painting style. I've also just completed a kokeshi doll for a show in San Diego next month. Aside from that, working on illustration, design and photo retouching projects as they pour in.

Which of your projects are you the most proud of? And why?

Funny, I'm never proud of anything once it's done. I find it difficult to look back on a project and not pick it to death. I am honored that I had the opportunity to work as an editorial staff artist for several newspapers around the country and as a designer for CNET. This has given me quite a diverse range of skills running from print to web, tackling illustration, design and infographics. I left the safety of the 9 to 5 last year to pursue a career as a freelance illustrator full time, I'm pretty proud of that.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I would like to get a better handle on animation and bring some of these crazy characters to life. Aside from that I simply need to keep improving and developing my painting and drawing skills.

Any advice to the novice designer/illustrator?

keep pushing and stay focused, be prepared to spend the rest of your lifedeveloping your skills. there is no reachable destination, just a never ending winding path. Oh and art school's expensive... make sure you're really really passionate about this.

What makes a designed piece or illustration successful?

by successfully conveying the intended message to your viewer with an innovative approach and inspiring communication or provoking a response from your viewer, aside from ... confusion.

What do you do to keep yourself motivated and avoid burn-out?

I just keep plugging away. I keep motivated by the fear of having to give up and do something else for a living...even on a rough day, this is still the best job on earth.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Pilot or I would sail the seas.

And finally, what is the best thing on prime-time TV right now?

funny, I'd like to say I'm too smart to watch... NOT TRUE. I've been sucked into Project Runway and Top Chef each season and I'm always amazed by the designer's/chef's creations. Oh, and I like Jackass!

CHRIS PARKS

2007-10-07T22:33:00.001-07:00

A native of Kansas, Chris Parks has parlayed his insider knowledge of culture, business, and demographics, as well as his studies in design and sculpture into a successful career. Co-founder of the design boutique, UP Design Bureau, Parks specializes in identity development and illustration. Formerly with Wichita's Gardner Design and Insight Design Communications, he now serves as senior art director of Wichita's Greteman Group.

www.updesignbureau.com
www.gretemangroup.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

Circa 1976, in first grade, sitting on the playground, I barely remember drawing pictures of super-heroes for my classmates. I wasn't till years later, while standing in line at the liquor store, I was approached by a strange guy asking me if I was Chris Parks. Cautiously I replied "yes". He then proceeded to pull out his wallet and take out a tiny, old, folded-up piece of notebook paper. What he unfolded was a drawing of Spider-Man I had made for him in first grade, that he had been keeping for nearly twenty-years.

Who or what inspires you?

My design peers. Von Glitschka and Paul Howalt are couple who "wow" me. Von for his passion for good design, solid illustration styles, his crazy amount of self-promotion and his willingness to help and share with his design colleagues. Paul for having such a clean and fun style that is always consistent. Rian Hughes is another one. I have not had the opportunity to meet him, but his logo / masthead work for DC Comics is just amazing. He has my dream job. I was feeling very "Rian Hughes-like" when Classic Media asked me to redesign the Underdog logo for merchandising tie-ins.

Where does your training come from? Self-taught? College/Art School?

I studied design and sculpture in college. I was hired away early while in school and never finished. However a lot of my real world training came from different design shops I worked for. I tried to walk away with the best attributes of each and apply them to my own take on things.

How do you keep "fresh" within your industry?

It is very hard too. There are a lot of great things going on in design and illustration. It is tempting to ride trends that appear fresh, but in the end I strive for solutions that I hope stand-up over time. One thing that helped me, was to incorporate my illustration into my design work. It seemed like for years, you where either a designer or an illustrator. In my neck-of-the-woods Logos had to be clean and corporate and illustrations were just editorial or for spot applications. When I began freelancing and eventually opened up my own shop, I was amazed at how many non-traditional "illustrative logos" I was doing.

What are some of your current projects?

Lots of logos right now. I'm all over the place. From high-end luxury clients to progressive government initiatives.

Although I should really be wrapping-up my birth announcement for my new son, baby Otto. (Lucky Otto Parks born 07-07-07)

Which of your projects are you the most proud of? And why?

Logo Lounge is one. Maybe not the most proud of, but definitely the most challenging. Basically it was an opportunity to design for designers, which is tough thing to do. Design types are generally opinionated, arrogant and fussy. The Logo Lounge online resource and book series had to remain visually neutral, while letting the works submitted be the hero. Also because of my initial involvement with Logo Lounge, I have been able to meet a lot of great designers across the country.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I would love to further explore typography. I do alot of custom lettering, wordmarks and logotypes, but have never gone full-blown and developed a typeface family. Again, Rian Hughes and his Device Fonts (the cool typefaces that show-up at Veer) is very inspiring. Also I follow the designer urban vinyl, plush and paper toy movements. If things ever slow down a bit, I would love to experiment in one or more of those areas.

Any advice to the novice designer/ illustrator?

While-in or just right out-of school, bring your design or illustration skills to your local community. Showing student work to prospective employers is fine, but there is no substitute for real work in the community, being consumed by real people. There are plenty of musicians, bands, charitable causes, ma-and-pa shops out there that are in terrible need of your services. Most could never pay realistic design studio or ad agency rates, so they go without. They may not be able to pay for it, but it presents an opportunity for you to put some real work in your portfolio. Often there is a large amount of creative freedom in this approach, which is helpful in establishing yourself and your style early on.

I did this once to a scooter shop, selling vintage Vespas and Malaguti's. Basically walking in and (nicely) telling them that their logo and signage sucked. Instead of telling me to %&@#-off, the owner agreed and he was instantly game. He was small time and did not have any kind of budget to throw at this re-design. To my son's delight, we traded for a vintage Vespa to cover the initial design services. We continued our relationship and as he grew, his budgets grew and not only did he become a fun, full-paying client, but it went on to open more doors with some awesome clients.

Another bit of advice is to meet and interact with as many designers as you can. Design types like to collect all kinds of crap. They also like to collect or befriend like-minded design peers. Some designers tend to keep to themselves and I've never understood why. Get on the HOW message board, frequent AIGA events or participate in design conferences. It is amazing how many designers will collaborate or farm-out work to colleagues. And best of all they tend to be awesome clients.

What makes a designed piece or illustration successful?

For me it is when I can walk away from a project, spend several days doing something else, come back to it, and still get excited by it and fell like it was a good solution.

What do you do to keep yourself motivated and avoid burn-out?

I have not figured this one out yet. I've heard taking vacations is one way, but I have not had one of those in quite a while.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Super Villain.

And finally, what is the best thing on prime-time TV right now?

The Colbert Report!

KATHY WELLER

2007-09-30T20:06:00.000-07:00

My name is Kathy Weller. I'm an illustrator, a graphic designer, and pet portrait artist. I have one 'day job' and three 'the rest of the time' jobs. By day, I am Senior Graphic Designer + Illustrator, Sales + Marketing, at Boston.com. I've been there over 9 years. I've done online ad packages for clients tiny and huge (Cingular, Coors, Macy's), and tons of marketing promotions and contest branding - fun stuff! But 'the rest of the time' stuff, I dare say, is even bigger fun: I am an independent illustrator, graphic designer, and pet portrait artist. My illustration work is focused in the children's market and gift/stationery markets. I just completed my first children's book (illustrator), "The Months: Fun With Friends All Year 'Round", which is on store shelves and at your local Amazon now! I do freelance design, too - usually web design, and logos for local companies. Last but not least, I began doing pet portraiture in 2004. It's so much fun, and very gratifying work! My pet portrait work has garnered positive notices from The Boston Globe, The National Post, PamperedPuppy.com, Life magazine, and has appeared in Modern Dog magazine. I am a member of SCBWI and GAG. I live in Cambridge, MA and am happily married with two pugs.

Web sites:
illustration work: www.wellerwishes.com
pet portraiture: www.petartgirl.com
design work: www.kathywellerdesigns.com

Blogs:
illustration: www.wellerwishes.blogspot.com
pet portraiture: www.petportraitblog.com
my day job design work: www.whatidoatworkallday.blogspot.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

When it comes to drawing, there was not a pivotal moment at all. I just always drew. I always identified with drawing so viscerally, it has always just been an innate part of me. There were other things that I wanted to do throughout the course of my childhood (actress, fashion designer, chef, opera singer) but it was never an “art vs. another goal” type of a situation. My drawing as a regular function of my being was as omnipresent as a body part. That sounds a little gross, but it’s true. But I always felt that I was really lucky, because while I would witness others search for something to connect with in life, something to do that was theirs, I always had my drawing. I never felt that sense of longing that was so palpable in others who were searching to find ‘it’, because, for me, ’it’ was always there.

Regarding graphic design, it is amazing that I even became a designer and carved out a career as one. I was a late-bloomer. Growing up, I related to it on an aesthetic level, but I wasn't sure that I would ever have the capacity to do it. I loved to look at design books and I identified with the creative aspects. But design was kind of like this fascinating, mathematical, exotic world with a different language and customs. I admired design, but held it at a distance instead of aspiring to do it. Ultimately, early on, I had rejected the idea of becoming a designer for three reasons. First was my inability to wrap my brain around the fundamental technical aspects, which, in retrospect, I think had more to do with a lack of confidence than anything else. Second, I rejected it on the basis that I noticed that so many illustrators seemed to do graphic design 'to pay the bills', as if practicing design was an afterthought, not a main goal. I didn't understand the symbiotic relationship between the two back then. Thirdly, my dad was a very successful graphic designer and illustrator (Don Weller), and following behind someone so decorated in a particular field is a hard thing to wrap one's mind around, especially when you are so young and unsure. My dad and my step-mom, who is also a great designer, ran their own art and design studio out of their home when I was growing up. When my sisters and I would stay with them in the summer, we were immersed in commercial art and design as a lifestyle. So I had a lot of early exposure for sure.

In the end, if my creative brain was a jigsaw puzzle, graphic design turned out to be an integral piece of the puzzle that I never noticed was missing, until the day I finally found it. Now, my design brain informs just about everything creative that I do.

Who or what inspires you?

Ack!! Loaded question!! It’s hard to pinpoint specific things without sounding contrived. It’s also hard to put into words the process of inspiration. (That would take a book!) I could rattle off some names of artists who I definitely find inspiring, but then I think that sort of pigeon-holes the whole idea and question of what is inspiring. Let's see: Things that I don’t know the answer to really inspire me, because I love to go hunt down the answers to my own questions. Some random things: Foreign (to me) cultures and far away places. Dogs, cats and animals, and insects. Kids. Plant life - flowers, cactus, palm trees are favorites. Sea life. Patterns. Colors. Space, stars and planets. Mexican art, folk art, outsider art. Street art. Photography (looking at it, not doing it myself). Hello Kitty, Sanrio, cute stuff in general! Beautiful architecture and beautiful cities. Symbols of all kinds - I'm a nut for symbols. My husband and my dogs, of course. Other people's dogs and cats!! There is much, much more, but this is going long!

Where does your training come from? Self-taught? College/Art School?

I went to school at the Art Institute of Boston and then at the Massachusetts College of Art. I majored in 2D Fine Arts, because all really wanted to do was just focus on my artwork 24/7, and it was easier for me to do that as a painting major than if I was an illustration major. I've always been pretty obsessive about doing my artwork. I am much more well- balanced these days. I've now learned that the trick is to obsess productively, and to compartmentalize it well! I do feel more like a graduate of the School of Hard Knocks, though, than of anything else. When it came to art specifically, I was always an excellent student. In terms of being well-rounded, I was never a very good student. I don't think being an uneven student means anything except just that. Some people have a talent for learning better in some formats than others, and if you are not so good at learning in a given format, it doesn't mean you're any less intelligent, or have any less to offer. In the end, I have a huge respect for school, but school gives you some of the tools, not all of them. You are the ultimate craftsperson. I have a huge respect for people who forge their own paths, follow through on their goals they set for themselves, and who share their hard-won knowledge with others.

How do you keep "fresh" within your industry?

I read a lot of magazines and books. I network with other artists and talk with them! I view other artists’ and designers’ work all the time, as a fan and a supporter. In my day-to-day life, I pay attention and am aware of art and design around me in daily life. It's really just a part of my lifestyle, to go around analyzing things visually. ;)

What are some of your current projects?

I just completed doing some greeting card illustrations which will be sold at a major mass-market retailer. I am really excited about them. As illustrators, a lot of the time, we ride that fine line between doing work that we love the end result of, and of doing work that pleases the AD. To that end, I am really proud of the illustrations! To top off the experience, the AD I worked with was great. He really knows his market well, and was a pleasure to work with.

My brand new book! It’s just out now (Fall 2007) - my first children’s book as illustrator! I am so proud! You only have one first book, and I am definitely making the most of this ‘first’. It’s called “The Months: Fun With Friends All Year ‘Round”. The text is a classic poem written by Sara Coleridge. Since my author is deceased, the promotional duties are left to the publisher’s marketing department, and - ta-da! - me. I’ve been doing everything I can to get the word out about the book: built the web site, blogging, promotional mailings. I'm now even toting my book around and walking into bookstores to chat with children's book buyers! I plan to do some book signings and would love to do some promotional activity-based events as well. The book is available at Amazon, BN, the rest of the usual (online) suspects. The book has good distribution channels, so it is available for bookstores to order, and I hope they do, but that's up to the individual buyers. So if you are interested in flipping through the book, please ask for it by name at your local bookstore. I am hoping lots of libraries pick it up as well and am doing what I can do in that respect, too.

Which of your projects are you the most proud of? And why?

Let's see...I can digest this better in terms of accomplishments I'm proud of, instead of individual projects:
I started my own greeting card business about 12 years ago. I didn’t know the first thing about the greeting card business, or anything about business in general, for that matter. It was just something I was driven to do. So I let the drive take over and just learned on the fly, the entire time. The cards didn’t make us rich (laugh), but I gained so much from the entire experience of doing everything myself. Interacting with potential buyers in the role of a salesperson, ordering supplies, doing all of the production work and bookkeeping - it was trial by fire. By the time my next full-time job came along, I had my cards in nine specialty stores in the Boston area. That experience marked a major turning point for me, in a self-discovery kind of way. Something else lasting came out of the cards, too: my Funny Bunnies characters were born, and so was the name of my business (Wellerwishes).

More recently, I am really proud of my new book “The Months". I promise, there will be many more proud projects to come, though!! :)

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I absolutely plan to write and illustrate children's books in the future. I love writing, and I love words!

As for illustration and traditional art mediums, I've tried a lot of them, both 2D and 3D, so I can't say that I'm really burning to try any mediums that I haven't tried already (although I'm certainly always open to trying new things!). Many of the mediums I've tried were on a whim, and I ended up really enjoying them! It's fun to see how your creative style comes out in different mediums. My mainstay, though, has always been 2D art. I used to use a lot of acrylics and pastels, way back when, but my 'signature' traditional medium for a long time now has been Rapidograph pen and watercolor. It's a medium that kind of picked me. I tried to get away from it a little bit, but I gave up, because it really kept after me! :)

Regarding digital illustration, I've been doing illustrative design for some time now, but I didn't have an actual digital illustration 'alternate' to my traditional illustration working style until pretty recently, and I am really loving it. It's sort of a mix between gouache and pastel, but not as messy. I have a Wacom Cintiq, which is a big drawing tablet/monitor combo, in which you draw directly on the monitor screen, which sits up like a canvas on an easel. It is heaven!!

In terms of doing sales & marketing web design, I started using Adobe Flash again this year after a four year lay-off. Previously, me and Flash had a really dysfunctional relationship, and we broke up. (It was an ugly break-up). But now, amazingly, we are back together again, frolicking in a field of daisies, flying a kite together, having picnics. It's been good so far!

Any advice to the novice designer/ illustrator?

YES!!! :)

Do not be afraid to ask questions. People do not expect you to know everything off the bat. They just expect you to make your best effort.
Be honest on your resume. If it needs help, give yourself some projects which you can use on it and in your portfolio, and do volunteer work in your field. Both will only help your resume/portfolio, and your profile.
Be as flexible as you can with people and their requests. You're in the customer-service business.
Learn the business side of things. It's for your own good!
Strive to build foundations for long-term relationships with people.
Keep up with trends within different segments of the illustration marketplace, even if it's not in your particular niche. Trends simultaneously bleed into many segments of the industry with regularity.
Attend conferences, IF AT ALL possible.
Put out the best work you can, and on the timeline you promise.
Be nice! :)

What makes a designed piece or illustration successful?

Keeping the main purpose of the piece in mind is paramount. Then, everything else builds off of that. Once those parameters are set, you can go have your crazy fun within them. Aesthetic and design decisions all grow out of the purpose so I won’t go into that, but suffice it to say that the composition should be elegant, the palette should be stunning, the line work exceptional, and the entire thing should be sprinkled with lavender-scented fairy dust!!

What do you do to keep yourself motivated and avoid burn-out?

All I have to do is think about what my main goals are. What do I want to accomplish and what is the time-frame in which I want to accomplish it in. In that way, motivation is really not a big problem for me.( I do have a lack-of-sleep problem, however!) Having a full-time day job really forces me to maximize my time. My main problem at the moment is not having enough of it.

I am always working on something, whether it be an illustration project, a promotional mailer, updating one of my sites, working on pet portraits, or freelance design work. I am an avid list-maker (and list- checker-offer). Those odd times when I am not keeping a to-do list usually end up being my most unproductive periods.

I sketch a lot. I always have my sketchbook with me. It’s kind of like carrying around a little extra brain. It’s really where all of my illustrations begin (and a lot of other ideas). When I’m stuck, there are times that I make myself draw something, even when it’s really the last thing I feel like doing. Sometimes, I just need to break through that little 'empty' block, and come out of it the other side. That really doesn’t happen very often though, thankfully. I think because I make sure to draw regularly. (I think the blocks occur more for me when I don’t draw enough.)

My workflow is a bit different too. Since I have three concentrations, I get to jump around, and that's a mentally refreshing way to work.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Ack! I never had a plan B. I don't know what I would do, and I don't really want to think about it! ;)

And finally, what is the best thing on prime-time TV right now?

I love Survivor, but I’m a Survivor geek and I am aware of the fact that everybody doesn't share this, so I would not subject anyone to the idea that I think it’s the most original thing on TV right now. For the masses, Lost. I loved Arrested Development, and still mourn its demise.(Good thing for DVD!) I also love Dexter, Project Runway, The Office, Top Chef, The Amazing Race, No Reservations, and last but not least, Dr. G, Medical Examiner. I love TV!!

RIDD SORENSEN

2007-09-23T21:39:00.000-07:00

Director and Designer Ridd Sorensen studied at Capilano College in North Vancouver, British Columbia. Upon graduation in 1999 from the Commercial Animation program, Ridd began his career in the Animation Industry working at Vancouver's proclaimed Atomic Cartoons Inc., where he has been employed for 8 years. Ridd has directed, animated, and designed on numerous projects for Cartoon Network, Warner Brothers, Walt Disney and Nelvana, as well as many commercials, music videos, and feature films. Currently Ridd is the Senior Director for the acclaimed Cartoon Network/Teletoon series 'Atomic Betty', for which he was nominated for a 2005 Gemini Award for 'Best Direction in a Children's or Youth program or Series'.

http://www.riddsorensen.com
http://www.bigcitycartoons.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

Well, like most people answer, I've been drawing all kinds of characters since I was a wee lad. It wasn't until I discovered animation school that I realized I could make a career out of it, so I went for it. I love traditional animation but it's tedious and I don't have the patience for it, so I concentrated on character and BG design.

Who or what inspires you?

Right now I'm hooked on old ads and product design from the 50s and 60s. I can't get enough of that stuff. Recently I've been getting into 18th century Japanese woodblock art. I might start experimenting with my own interpretations of that style next. It has a lot of cartoony elements to it that I really like.

Where does your training come from? Self-taught? College/Art School?

Well, as a kid I learned a lot from the invaluable book 'How to draw Comics the Marvel Way' by John Buscema. My dad bought it for me when I was like 11 and it lit a fire under me. As I grew up I just kept drawing and drawing. Mostly comic stuff and caricatures of my friends. I never really stopped drawing, so when I applied to animation school it wasn't too hard for me to get in because I submitted a big portfolio with a lot of different stuff in it. In college I had classes in Traditional and Computer Animation, Layout, Life Drawing, Storyboarding, Design and Screenplay writing to name a few, and I spent ALOT of time there - 12-16 hours almost every day.

How do you keep "fresh" within your industry?

By seeking out projects that I know I will enjoy doing. It gets pretty depressing drawing something you don't want to day after day, and it can really burn you out. So, even if I am stuck on one of those kinds of projects I seek out other ones that will keep me happy and creative. And if there's nothing out there I'll work on my own stuff for my blog or whatever.

What are some of your current projects?

Well, I just finished designing a website for a pretty bigshot musician. He's a big animation fan and the site turned out killer. I can't say much more about it, but I'll probably post some designs for it on my site once I get permission. I'm also doing a ton of freelance work for Hasbro right now, who are wonderful to work with. Most of the stuff I'm doing for them is concept design for some animated series that they want to pitch, so I basically can do whatever I want. Every artist's dream! We're also wrapping up season 3 of Atomic Betty right now, which I am the Senior Director for. Then there's all the unfinished show ideas I have in the works that need attention... It's been a busy but great year so far!

Which of your projects are you the most proud of? And why?

I really like how the website I mentioned above turned out. He wanted a style that is right up my alley design wise. Because of that I really enjoyed the whole process from start to finish, and am pretty happy with the end result. I think the thing I'm most proud of though is 'Big City Birds', one of the shows I created that Atomic Cartoons jumped in on and produced a 3 minute short for. It's extremely cool to create characters and see them come to life. I think the only thing that'll top that is the day I see it on TV (fingers crossed!).

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I'd like to try out voice acting, and maybe have my own line of t-shirts and other apparel.

Any advice to the novice designer/ illustrator?

Well it depends where you're at with everything, but the most valuable thing for me was working under an extremely talented group of designers and learning from them. I learned a lot in school, but not nearly as much as my first year on the job with these guys. If you can get an internship or job with folks like this, take advantage of it!

What makes a designed piece or illustration successful?

Your own level of satisfaction with the end result.

What do you do to keep yourself motivated and avoid burn-out?

I draw inspiration from other people's work a lot. Especially this day in age when killer talent is just one or two clicks away. Sometimes if I'm having an 'off' day, I'll spend most of it going through books or other reference and absorbing it all. Usually after I'm done I'll pick up the pencil and get my groove back.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Rockstar

And finally, what is the best thing on prime-time TV right now?

HBO

ROD HUNT

2007-09-17T21:34:00.000-07:00

I¹m a London based illustrator/designer working in Adobe illustrator & draw my inspiration from humour, retro graphics & contemporary culture. My clients include: Arena, BBC, British Council, British Airways, Computer Arts Magazine, FHM, Maxim, Orange, Sunday Times & Tescos.

I'm also currently deputy chairman of the Association of Illustrators.

http://www.rodhunt.com

When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?

I was always a prolific drawer when I was a kid, but didn't consider being an illustrator until I was 17. Originally I was planning on pursuing Biochemistry & horticulture, & was studying A level Biology & Chemistry, & also A level art just for fun, but as all the art lessons were timetabled against Biology I had to fight the school to be allowed to do it. I ended up doing A level art course in my own time & only went to 3 art lessons in 2 years! Anyway, failed my Chemistry end of year exam miserably & wasn't really enjoying it anymore. I realised I was not cut out for it, & as I spent all my time drawing, art college beckoned.

Who or what inspires you?

Comics were my big love as a kid, especially 2000AD, & that fired my imagination & inspired me to draw.

Things that inspire me, in no particular order: Edward Hopper, comics, 2000AD/Judge Dredd, pulp fiction covers, sci-fi, Terry Gilliam, Tim Burton, robot toys, retro 50's/60's/70's advertising & graphics, architecture, animation, film, Mad magazine...

Where does your training come from? Self-taught? College/Art School?

I went to art college, first to Bournemouth & Poole College of Art & Design for a 1 year foundation course. Then Anglia Polytechnic University (now Anglia Ruskin University) in Cambridge for my degree.

How do you keep "fresh" within your industry?

I try to keep progressing my work by doing self initiated projects & using them to experiment with new ideas & techniques.

I've also been contributing to various exhibitions & projects this year, including the InkThis "Dreams & Nightmares" exhibition http://www.inkthis.co.uk & My Brand Project http://www.my-brand.com

Doing shows & projects gives me interesting briefs to work on with complete creative freedom!

What are some of your current projects?

I've recently completed a 2m x 5m Interactive environmental display for the new Lightbox Museum & Gallery in Woking, UK, designed by Marks Barfield, creators of the London Eye. It's been a huge & involved project with lots of design problems to solve, & very challenging working actual size on the most detailed piece I've ever done.

http://www.thelightbox.org.uk

Which of your projects are you the most proud of? And why?

The Change the World 9 to 5 book cover for We Are What We Do has to be one of my favourites recently. A fun project that stretched me creatively. I've also adapted the cover for the Irish edition's cover & for a pull out poster for the German Edition.

The cover was also showed as a 3m x 5m wall installation at Dermalogica's flagship London Kensington store earlier this year.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Animation & film are on the agenda when I find the time. It seems like a natural progression.

Any advice to the novice designer/ illustrator?

Try to get your work seen by as many people as possible & never be afraid to show people your work. You maybe the best designer/ illustrator in the world, but if no one sees your work, you won't get commissioned.

Perseverance. It can take quite some time to get really established.

Join the Association of Illustrators (AOI). http://www.theaoi.com They're constantly campaigning to protect all illustrators rights, & if you need advice on pricing commissions, contracts, promotion, etc, it really pays to get help from the experts.

What makes a designed piece or illustration successful?

For me illustration is about communication & entertainment, so if a piece gets the message across in an original & entertaining way, it's been a success.

What do you do to keep yourself motivated and avoid burn-out?

Get the work/life balance right. It can be difficult being freelance, as often with the work, it's all at once or not at all. Having a studio has help me with that as I can shut the door at night & go home. Also working in a studio environment means you get to see people regularly & avoid the isolation of working at home.

Working on other projects outside of commissions keeps me fresh too, whether that's self initiated projects, exhibitions, or just for fun.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Biochemist striving to create the first animal/vegetable hybrid. No wait, I think I've draw that at some point...

And finally, what is the best thing on prime-time TV right now?

Battlestar Galactica. It's in a league of it's own.

TY MATTSON

2007-09-12T15:44:00.000-07:00

Ty Mattson is the principal of Mattson Creative in Orange County, California. Specializing in identity development, Ty has created award-winning projects for local and national brands - including Coca-Cola, Pepsi, Hasbro and Maroon5. His work has appeared in numerous design publications such as Print, HOW and Logo Lounge.

http://www.mattsoncreative.com

When did you first decide to become a graphic designer/illustrator? Was there a pivotal moment?

I'm not sure it was one moment in time, but probably more of a general movement. Since as early as I can remember I was drawing and creating visually. I studied fine art as much as I could in high school and started drawing line-art and type for T-Shirts (by hand!). I remember the first time i went to Kinko's and made glossy color copies of a party invitation and thinking it was really cool. In college I started to study design and really loved it. Book covers, corporate identity, packaging...I became aware that all of these things were designed by someone - that was probably the moment, if there was one. I remember looking through a Print Magazine Regional Design Annual at a friend's apartment. It blew me away! I poured over every page. That's what I wanted to do.

Who or what inspires you?

I think inspiration is one of the most important aspects of what I do. I have to be inspired in order to create anything good. Early on though, there were some very specific things. I was really impacted by combination of books and illustration, and later by music and packaging art. To me there was no distinction between the two. I remember reading "The Phantom Tollbooth" by Norton Juster and being equally inspired by the book and the illustrations by Jules Feiffer (especially the map that is on the inside and back cover...Amazing!). I was also really into books by John Bellairs. All of his covers were illustrated by Edward Gorey. I actually would read any book that he illustrated the cover of. All my early drawings were influenced by him. There was also a film called "The Adventures of Baron Von Munchausen" that was so imaginative and formative for me. Later, I remember getting "Achtung Baby" by U2 and spending hours looking at the booklet - designed by Steve Avril and photographed by Anton Corbijn. Now, there are lots of different types of inspiration for me - but I think the most powerful type is usually connected to the idea of "story".

Where does your training come from? Self-taught? College/Art School?

I have a degree in graphic design from the school of art and architecture at the University of Michigan. I learned an incredible amount as an intern for Perich and Partners Advertising in Ann Arbor, and then at my first job after college in a design agency in California.

How do you keep "fresh" within your industry?

Keeping fresh...well I'm always looking at the design publications and the work of my peers - guys like Paul Howalt (http://www.tactixcreative.com/), Von Glitchka (http://www.glitschka.com/) and Don Clark (http://www.invisiblecreature.com/main.php) always blows me away!

What are some of your current projects?

I'm working on a website for a residential community south of Boston that is going to be a really innovative online experience. I'm doing some brand development for a developer called The Collective. They are building some progressive attached housing that is environmentally sustainable and they are really great to work with. There are a couple of logos in the next two weeks as well.

Which of your projects are you the most proud of? And why?

I think I am most proud of the work I did for a company called Simply Youth Ministry - because I had the opportunity to design everything. The name, logo, website, catalog, products, product packaging, trade show environment. When you get to control all of these touchpoints, it's really exciting.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I'd love to do more photography.

Any advice to the novice designer/ illustrator?

Look at CommArts, and the Print Design Annual and LogoLounge. Work as an intern in an agency that you admire. Learn as much as you can, and do as many projects as you can. You can't really just decide to study design and be great - you need to be passionate about visual communication to begin with.

What makes a designed piece or illustration successful?

It will inform, involve and inspire it's audience.

What do you do to keep yourself motivated and avoid burn-out?

Good question. I try to rest and refuel by getting away - traveling. But this is a pretty all-consuming career for me...we'll see.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Youth Pastor.

And finally, what is the best thing on prime-time TV right now?

Well, I'm addicted to "LOST" - my wife and I rented season 1 and went on a telebinge and watched the whole thing within 24 hours. Right now we're watching "Mad Men" on AMC and it is really amazing. The art direction is incredible. Last night we watched the MTV VMA's and it was awesome!! Hamish Hamilton is a genius.

WALTER KRUDOP

2007-08-25T21:36:00.000-07:00

When people ask me what I do, I say I tell stories with pictures. They stare at me with a puzzled look and I then break down say I’m a graphic artist. That always seems to satisfy them. The truth is, I want to say I’m an illustrator, designer, animator and author. That’s a mouthful at a dinner party, so I’m toying with the title graphic storyteller. I’ll work on it.

Website: http://www.walterkrudop.com

When did you first decide to become an illustrator? Was there a pivotal moment?

As a kid, I wasn’t sure how artists made a living. I knew I liked to draw and I knew I wanted drawing to be part of my job. But it wasn’t until I saw Alphonse Mucha’s swirling posters that I realized there was something between being a fine artist and a draftsman. Later I realized I could incorporate my love of storytelling and illustrating in children’s books and I was hooked.

Who or what inspires you?

I’m a huge fan of old photographs and movies. A flickering film of a trolley, or a photo of a stoic Civil War soldier, I love that kind of thing. Two particularly favorite photographers that come to mind are Alfred Stieglitz and Dorothea Lange. Also, I’m a sucker for a good “little guy makes it big” story.

Where does your training come from? Self-taught? College/Art School?

One of the unique things about New York City is the number of great design schools. It’s one of the main reasons I moved to NYC from Austin. I could pick and choose the classes I wanted. So I did and studied illustration, design, animation, filmmaking and screenwriting at the School of Visual Arts, Parsons and New York University. A huge nod has to go to the online 3D tutorials I’ve been studying lately, as well. There’s so much to learn with technology continually changing.

How do you keep "fresh" within your industry?

I keep up with what’s out there, magazines, websites, anything that has to do with design and digital arts. I also keep my designs and art fresh for myself by continually going back to graphics that interest me, namely old advertisements and photos.

What are some of your current projects?

Currently I’m working on an animated short, a proposal for a longer film and design work for a corporate conference.

Which of your projects are you the most proud of? And why?

There’s a special place in my heart for my first children’s book, Blue Claws. It’s about crabbing with my grandfather. It was my first real paid gig and somewhat of an homage to my grandfather.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I’ve recently been itching to get into puppetry. It has a lot of similarities to animation.

Any advice to the novice illustrator?

Find out what you like. Then do it and remember to keep learning and looking along the way for more things to like.

What makes a designed piece or illustration successful?

For me there are two levels, the first being mastery of technique. I love looking at a beautifully rendered piece or a dead-on design choice. The second is that transcendent quality art is capable of, a piece that evokes a feeling.

What do you do to keep yourself motivated and avoid burn-out?

I start to feel a little out of sorts if I’m not working on something creative, so I’m normally very motivated to work on my projects. Not that I don’t have my down times. In those moments I head over to the Metropolitan Museum of Art, a real lifesaver for me. Burn-out is something I deal with on a daily basis. That’s a tough one. Sometimes projects seem insurmountable and it feels like a Herculean effort to even put pencil to paper or more recently hand to mouse. In those times, I get on my bike, put on my headphones and pedal around the park till exhaustion sets in.

Finish this sentence. "If I weren't an illustrator I would have been a..."

Musician.

And finally, what is the best thing on prime-time TV right now?

When it comes to TV, I’m a true dork. I love anything to do with UFOs and Barbarians, and I hate to admit I’ve taken a liking to the couple of survival shows that are out there at the moment. Geeks rule!

DANIEL M. DAVIS

2007-08-16T07:51:00.000-07:00

My name is Daniel M. Davis, and I'm an illustrator-designer. I’ve worked as a farmhand, baker, lowly screenprint artist, web designer, and small-press publisher.

I’m messy, which means that I’m more likely to do my work digitally these days, as opposed to getting acrylic paint all over the kitchen walls/floors/table/child.

I love mythic stories, interesting characters, foreign cultures, vintage colors and a good corndog.

Currently I live in Phoenix, Arizona, where I’m slowly building a tiny vector empire.

My websites:
www.steamcrow.com
www.klawberry.com
www.caughtcreatures.com
www.magicskull.com

When did you first decide to become a graphic designer/illustrator? Was there a pivotal moment?

I’ve been drawing and creating my whole life, but it hasn’t been until the last few years that I really decided to become an illustrator. I attended Comic-Con 2004 and decided then and there, that now was the time to just start doing it.

Instead of waiting for clients or “being discovered”, I’ve decided to build my own career by illustrating and self-publishing indie kid’s books. It’s exactly what I want to do, and well, now I’m doing it.

I’ve been a graphic designer for something like 14 years now, and I feel like I’m finally ready to make things happen by kicking myself in the butt.

Who or what inspires you?

I get to meet a lot of great illustrators, and really, just about all of them inspire me. Especially the Indy guys and gals. I can really relate to them, their challenge, and their hunger for success in addition to simply loving their works.

People like Ryan Claytor. Rhode Montijo. Chris Bishop. Michel Gagne. Martin Hsu. Kevin Dart. Brian Taylor. David Coleman. Jamie Baker. Ben Walker.

I also dig established illustrators like Steve Mack. James Jean. Alphonse Mucha. Ragnar. Tony DiTerlizzi. Arthur Rackham. Bob Staake. Meomi. Alberto Ruiz. Cory Godbey. Steven Silver. Mike Mignola.

Where does your training come from? Self-taught? College/Art School?

While I picked up a thing or two in college (art history and drawing classes), I’ve learned just about everything I know on my own.

It’s definitely faster to go to a good design school, but since I didn’t have the mentorship to find such a thing, I’ve just had to wing it and learn as I go. You can learn a great deal on your own if you stay inquisitive, passionate, and motivated. I’m not saying that I’m all of these things, but I do try.

However, if I could do it all again, I’d go to a great design school and save myself 10 years.

How do you keep "fresh" within your industry?

I “devour” good design and illustration like spicy Indian food. Be aware of the big players out there, but also watch for new and upcoming talent. Learn from them all, and be inspired by their great work. Watch Drawn.ca like a hawk, and participate in illustration forums like thedrawingboard.org. Always try new stuff, and know yourself. If you can draw deeply from your own life experiences, it can be an easier path to unique art.

What are some of your current projects?

Well, I’ve just finished my second book, “KlawBerry”, and I’m just waiting for it to be shipped. It’s a modern folktale about a cute little monster-girl on a quest to find her stolen eye. Vector artwork, with rich textures and vintage colors, I’m pretty happy how it turned out.

Right now, I’m in a “create KlawBerry stuff” mode. I’m sculpting a maquette of her, designing prints, stickers, t-shirts, a plush doll and stuff like that.

I’ve also written a draft of my next book “After Halloween” which is a Halloween alphabet book. I’ve just started to illustrate that. It should be a fun project to do this time around, since I love Halloween so much.

Which of your projects are you the most proud of? And why?

For me, finishing a huge project (like a book) is where it’s at. I’ve spent years starting projects but not finishing them, and finding that I wasn’t making the kind of progress in my career that I wanted. Now, with a wee bit more maturity, I see the value in simply getting stuff done.

That said, self-publishing “Caught Creatures” and “KlawBerry” are two massive victories for me and my micro-company Steam Crow Press. Having something of quality that is finished really gets people’s attention, and let’s them see your full potential.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Oh sure, if I just had the time.

I’d love to do everything, but I’ve found that with my limited time and attention span, vector + raster is the medium for me. If I painted, it would look just like what I vectorize. However, the painting would take 2 weeks, and the vector would take 2 hours. I’ve got too many ideas; I need to get them out… FAST.

Any advice to the novice designer/ illustrator?

If you commit to a project, finish it. Don’t beat yourself up if you haven’t achieved “perfection”. That will come with years and years of finishing projects. Just get stuff done.

What makes a designed piece or illustration successful?

I’m always trying to infuse my work with more emotion and story. At first, I’d just try to make stuff that “looked cool”. But now, I’m really concentrating on trying to evoke a bit of emotion out of my readers. Am I succeeding at it in every piece? Surely not, but I’m really focusing more and more on these two things, the more that I do.

What do you do to keep yourself motivated and avoid burn-out?

Well, I have a day job sitting in a beige cube for 40 hours per week. For me, this is like gasoline laced with gunpowder, poured on a sasquatch who was being lowered into the crater of Mt. St. Helens. It keeps me spunky and hungry for something more fun and creative.

My son is also a vibrant form of inspiration… he and I go goblin hunting sometimes, which is nice.

And finally, what is the best thing on prime-time TV right now?

The Office. My Name is Earl. Lost.

Though, I do really miss Firefly.

I try not to watch too much TV these days, as I barely have enough time to get half of what I need to get done.