DSGN

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is a design magazine for the younger creative mind. Don’t think of this magazine as a formal textbook, think of it as inspiration to guide you on your quest for the perfect design career. There are

what you want; Live, Learn and Follow. Live is all about how to help you live your life creatively. From what design items you just have to have to cre-ative cities across the country, this category will give you suggestions to keep your life always inspired.

Learn is here to teach you. Don’t worry, it’s not like school, it’s interesting. We teach you how to organize your studio, ace your presentation and how to become a business proffessional.

Follow is our way to show you who to keep your eye out for in the design world in order to stay inspired. We fea-ture different designers that are meant to inspire, teach, and show you where you can go with your career.

LIVE. LEARN. FOLLOW. ENJOY...

DSGN

RETRO IS BACK.

WWW.NIKE.C0M

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CONTRIBUTORSDesign is the search for a magical balance between business and art;

art and craft; intuition and reason; concept and detail; playfulness and

formality; client and designer; designer and printer; and printer and

public. Live vicariously through this process.

Eric Norton Motion &Animation

What artist inspires you?

Dermot O’Conner. He does a lot of vector, flash and AE animations that are gorgeous.

Stephanie SchulzEditorial & Publication

What magazine inspires you?

I love DSGN but, the fashion and style of vogue really connects with me.

Daniel Held Posters &Advertising

What photogra-pher inspires you?

Ansel Adams.His passion for natural landscape comes through his photography.

NameFavorite fieldof design

Question

Answer

Micaela ClarkeBook Design &Editorial

What book inspires you?

How to be a Graphic Designer Without Losing Your Soul by Adrian Shaughnessy.

Samuel WillgerBranding &Logos

What architect inspires you?

Frank Lloyd Wright.His innovations in planning as well as his expressive use of materials.

ART DIRECTOR

10 BEST CITIES FORCREATIVE MINDS

GIVING A GOODPRESENTATION

MEET: TAD CARPENTER

BUSINESS READY

WHERE TO LIVE IF YOU WANT A

GREAT LIFE WHILE DESIGNING

WHAT TO DO IF YOU DON’T

WANT TO MESS UP

KANSAS CITY’S OWN

DESIGNER/ILLUSTRATOR

AVOID LOOKING LIKE AN

IDIOT. CARDS, DRESS,

PORTFOLIO13

07

09

42

TABLE OFCONTENTS

BLOCKS AND BARRIERSSQUELCHED CREATIVITY,

AND HOW TO FIGHT IT

73

FEATURES

LEARN

LIVE

LEARN

FOLLOW

LEARN

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ON TRENDING

$HIT TO GET

CREATIVE HEALTH

THEN AND NOW

HOMOGENIOUS DESIGN

DESIGN LUST. BUY SHIT,

WHY NOT?

TIDY WORKPLACE, AND

HOW TO IMPROVE IT

THE EAMES GUITAR

45

12

18

56

UP AND COMINGKEEP A LOOKOUT

85

DEPARTMENTS

TABLE OFCONTENTS

LIVE

FOLLOW

LEARN

LEARN

LIVE

BECAUSE WE ARE CERTIFIED!

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3. COCKTAILS POSTER

Pop Chart Lab

$30.00

popchartlab.com

cocktails breaks down 68 drinks

into their constituent parts. Fol-

low the lines to see where spirits,

mixers, and garnishes intersect

to form delightful concoctions.

2. WORLD MAP

These Are Things

$99.00

shop.thesearethings.comThe original modern world map.

Each map is printed by hand in

the USA. Silkscreened in four

colors. Measures 20” x 30”.

1. MODULAR FISH HOTEL

$40.00

urbanoutfitters.com

a classy aquarium that lets you stack to maximize

space. Amass several Fish Hotels to create a great-

Features a square glass bowl surrounded by a

paintable plastic facade with windows.

1 23 4 5

6

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Impress your friends with some designer swag.Get ‘em while its hot.

$hit to Get

5. LITTLE PRINTER

BERG Cloud

$80.00

bergcloud.comLittle Printer lives in your home, bringing you news,

puzzles and gossip from friends. Use your smart-

phone to set up subscriptions and Little Printer will

gather them together to create a timely, beautiful

mini-newspaper.

7. TEN 100C COLOR SET

Gene Hurwitt

$16.00

fab.comPrismatic and pure, AMAC’s transparent M Se-

ries Plastic Storage Containers offer a wide range

of storage options. This suite of ten comes in a

spectrum of colors and is perfect for gifts (and gift

cabinet or jewelry. Featured in MoMA’s permanent

design collection.

8. SERPENT SHELVES

Bashko Trybek

$40.00

bashko-trybek.comSer pent is a mod u lar shelving sys tem which gives

the user an oppor tun ity to choose the desired

dimen sions of the shelf. It also allows to com bine

4. PHONE HANDSET

Native Union Pop

$35.00

urbanoutfitters.comHello! Old school handset for your iPhone, iPad, Black-

Berry, Macs...anything with a 3.5mm jack. Soft-touch

hands free. Includes an easy one-touch button for an-

swering on the phone itself.

6. ZINC LETTERS

Anthropologie

$18.00

anthropologie.comAvailable in letters A-Z. Matte metal spells under-

stated elegance. Measures 8” x 5”.

8

7

NEVER HIDE

! " # # $ % &' ( % )!"#$%&'!()*

As a designer, you naturally spend a lot of time in front of your desk. The first time you see your workspace each day you should have a good emotional response, because it represents you as a person. Not feeling that excited about your work-space? Well let’s give it a try at improving it. It doesn’t take as much effort as you think, and it surely pays off. There are several things you can do to start feeling happier with your workspace. This will also positively affect your produc-tivity, so you’re killing two rabbits with one bullet. Here are some tips that I hope you will find very helpful.

LEARN CREATIVE HEALTH AND HABITS

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Tidy Workspace7 tips on how to improve your workspace.

7. BUY A QUALITY CHAIRI would also suggest investing in a good quality chair. I’m not say-

ing that you must spend hundreds of dollars on it, but make sure that

you can sit on it for hours without experiencing discomfort. Choose

one with wheels on the bottom to get around your desk more easily.

3. PERSONALIZE YOUR SPACEAfter making sure your desk space is clean, feel free

to personalize it. That doesn’t mean overcrowd-

ing the place all over again! Just add a bit of your

personality and include elements that inspire you

and make you smile (it could be artwork, photos

that you enjoy). The idea is to make the workspace

a place that is friendly, in which you feel comfort-

able and it should also represent you. It’s a good

idea to make room, maybe on a wall near your work-

space, for a project of yours that you are particu-

larly proud of. It will be a nice reminder about what

you can do if you put your mind into it and focus

on the task in hand– motivation is always welcomed!

6. ORGANIZE YOUR THINGSUse shelves, boxes, cabinets or whatever you like best to store your

a timely, unstressful manner. You might consider labeling the contain-

ers you choose to keep the things in. This way, you will know exactly

where to put something back after you use it, and exactly where it is the

next time you’ll need it, which will ultimately save you time and effort.

2. ORGANIZE YOUR BOOKSIts a great idea to develop a library of reference

material for you to refer to when you are in need

of some inspiration. However, if this collection of

books is strewn accross your desk, with different

books all over the place and unorganized, it doesn’t

help all that much after all. Try putting all of your

reference material in one location and establish a

5. CLEAN YOUR HDD AND DESKTOPClean up your hard drive too. For example, how many times have

you realized your desktop is full of unnecessary icons? It’s hard

-

less things and you know it. Make some time and make sure

-

4. USE YOUR RECYCLE BIN It’s a good idea to have a recycle bin near your seat so you

can just throw anything there, instead of letting it pile up

everywhere. Just always make sure you do not throw

away food leftovers in it and forget them there for days in

a row, a stinky workspace is not inspirational! Using plas-

tic bags for lining the recycle bin will make it easier to empty.

1. UNCLUTTERIt’s impossible to get a good daily vibe from your

workspace when it is overcrowded and messy, so

-

ical environment. Surely there is stuff you should/

need to get rid of. Just make sure you don’t throw

sketches that you haven’t developed into prac-

tical ideas yet. They might come in handy some

don’t use that often or in a box under your bed.

Norman Rockman

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FOLLOW LOOKOUT

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Keep a LookoutFresh new faces in the design world.

For Jonathan Calugi, doodling has evolved into an

abiding aesthetic. The affable Italian taps into his

childhood experiences rather than any formal training to

create everything from playful fonts to winsome T-shirts,

all on display at his website, Happy Lovers Town.

Calugi’s work often fixates on intricate, obsessive

p a t t e r n s a n d e c c e n t r i c

geometric forms that emulate

trippy wallpaper motifs. They

can be found on products

from the fabric purveyor Bon

Bon Kakku, and his schematic

diagrams are tailor-made for

clothing lines like Noodle Park

Kid. “Jonathan’s illustrations

create detailed worlds that lend

themselves to multi layered

s tory te l l ing ,” says Adam

Flanagan, a senior designer at

160 over 90 who selected Calugi to participate in the

De’ Longhi Artista Series, in which 10 designers laser-

etched their own creations onto Perfecta espresso

machines. “His illustration gives the user something

“Calugi’s work often fixates on intricate, obsessive patterns and eccentric geometric forms that emulate trippy wallpaper motifs.”

Steve Dollar

NAME: Jonathan Calugi

AGE: 26

HOMETOWN: Pistoia, Italy

WEBSITES:happyloverstown.eu/loverstownbehance.net/lovers

new to discover with each cup.” In the artwork,

letters and words are playfully hidden behind faces,

raindrops, and ears. “It’s like ‘Where’s Waldo?’”

Calugi’s fonts, which are given vividnames like Umma

Gomma and Disco Fat, sport a roly-poly, neohippie

vibe that offers an unconditional,

childlike hug. He has a pattern

called “Bears Are So Bad,” and

his T-shirts carry their own brand

of innocence too: one slogan,

in soft, curved, hand-drawn

letters, reiterates the designer’s

philosophy, “Spread Love No

War No Lawyers Be Freedom.”

“When I create a letter, I think

about that letter as a complete

world,” he explains. “And when I

write a word, I think of the word

as an entire universe. When you write with love, you

can write many things inside each and every letter.

One letter can speak more than an entire book.”

A LITTLE MORE INFO

SOME CLIENTS:NikeComputer ArtsAppleHeinekenGoogle

MOTTO:“Less is More.”

Prius CThanks to its high mileage, this city-friendly, stylish Prius is affordable, while being fun and eco-chummy at the same time.

avai lable spr ing 2012

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TOYOTAmoving forward

STAY SWEAT FREE FOR YOUR NEXT PRESENTATION

Tricks you should know in order to look good the next time you speak in front of a group.

| 21

LEARN PRESENTATION

We plagiarize only the very best.I have just assembled in one place many “gems” accumulated over the years. In particular, some of the regular sources I have found strong in this type of information include: Sales and Marketing Strategies, Presentations Magazine, Tom Hopkins; The Art of Selling, and others. Of course the wis-dom from these sources originated in many other places.

The Rule of Tell ‘emTell ‘em what you are going to tell ‘em, Tell it to them, and then Tell ‘em what you told them.

The translation: Start with an introduction; includ-ing an “agenda” or set of goals for the presenta-tion, provide the content; information and sum-marize the presentation.

Last is first– Conclusion slideOne researched “fact” of present-ing that has been around for a while is that most people attending a presentation will “remember” no more than five key points. What has not been confirmed is what are the key points? Ideally, the presenter should have a list of the five most important points/concepts/facts that should be remembered. The attendees should list the five they remember.

Now, what is the correlation? Is your message getting across? Or are they remembering minor points and miss-ing your key ideas? It’s bad enough that they will only remember five points, my own theory says you and they will not consider the same things important– what if they remember only one point that you think is important.How to get your audience to remem-ber what you want them to?

HOW TOPRESENT

A REFRESHER FOR THE PROFESSIONAL.

Many of you reading this article have been communicating effectively for years. Please consider this a refresher. We have tried to assemble many tips on presentations, in the hopes that some will trigger old knowledge, others may be new to you.

When you finish reading this, we like to think that your next presentation will go perhaps a little smoother or a bit better, by virtue of our reminding you about some things that you already “knew.” We are pretty confident that next presentation won’t go any worse.

THE STRUCTURE

5 key facts are the most that any presenter should use.

Use the truth to get your point across.

THERE IS NO PRESUMPTION HERE TO “TEACH YOU” HOW TO BE GREAT

Nancy Goldberg

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Start with the last slide! That’s right, when you are ready to create your presentation, forget the details for a minute, forget the presentation’s organization, instead of that:

Write out your conclusion or summary slide first! It should emphasize the most important points you plan to make. Once you have visualized those points, it’s relatively easy to build your presentation around them.

Curious, it comes back to the Rule of Tell ‘em. Even the brilliant people in your audience may need your help in deciding what you believe is most impor-tant. Help them out!

KISS - Keep It Simple Stupid

There are numerous ways to apply this ancient ad-age. The bottom line is that the more complicated you let things get, the more trouble you can expect:

Rehearsing the presentationThere’s something to be said for winging it:“Forget It!”

To present the most professional image, you need to know your presentation. It’s OK to occasionally leave the main “script” but, wandering presentations that lack focus, or those too dependent on working from notes, or long pauses to compose your thoughts are never acceptable.

Rehearsing the presentation includes more than just going over what you will be saying. Rehearsing includes the entire presentation. Use the same tools too. If you are using slides, or a projector, and have access to the room you will be presenting in, rehearse there. Using a remote mouse and laser pointer for the presentation, a microphone? Rehearse the presentation with these devices.

Don’t memorizeRehearsing is one thing, committing the presentation to memory and performing it by heart, is not the way to go. You need to present, not recite, a good presentation should have some soul.

But use your notes very sparinglyToo much time spent reading notes may convince your audience that you are unprepared.

Dress for successSome say you can never overdress for a presentation. Others will dis-agree. Our own belief is that other factors come in to play, particularly how you handle yourself in the situation. Humor and how formal your presentation is will impact whether you are “over” presented. But ev-eryone agrees you should never underdress. How to determine what is appropriate? Worst case: Ask people. It’s all part of doing it right.

THE BASIC RULES

New technology is wonderful, but don’t break in new equipment 15 minutes before the presentation is supposed to start.

Keep your presentation focused on the message. Don’t get carried away with special effects and bling.

Whatever you do, don’t have rented equipment scheduled to arrive 10 minutes before you speak.Check out everything in advance. Then check it again.

TED talks are a great way to see excellent presentations.

LEARN PRESENTATION

A general rule, every “slide” deserves at least 10 seconds, and none rate more than 100. If you find yourself spending several minutes on one slide, consider breaking it up! (We’re not suggesting this as a firm rule, but a good guideline. Obviously, some charts or graphics may take several minutes to properly present.) Then again, perhaps they could be better as multiple “slides.” If you are done with a “slide”– lose it. Don’t leave an image up for your audience once you move on to other points.

Pace yourself– don’t go too fast, or too slow.

AESTHETIC

THE PERFECT PRESENTATION

CONTENT

DELIVERY

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The Presentation ToolsSlides, LCD and DLP Projectors, Laptops, LCD panels, Video, Multimedia, Sound, Laser Point-ers, Lapel Microphones, Overheads, Photo-quality printers, Posterprinters... There are a great many presentation tools available to you as a presenter. Determine your communication needs, the presen-tation environment, and select the right group of tools to get your message across.

Creating Support MaterialsGreat, you have put together the killer presenta-tion of all time. You looked good, your audience reacted positively. It couldn’t have gone better, so what’s wrong?

They go to brief their superior, after two questions, it becomes apparent that they have the concept. Unfortunately, it also becomes apparent that they don’t have any specifics. Why? No or poor docu-mentation/handouts.When all the other pieces of the puzzle are in place, don’t limit the staying power of your mes-sage, by providing it without the right support.

The Naked AudienceIt’s been said that most people, including a great many executives, fear presenting to large groups even more than they fear death.If you are that nervous going into a presentation, one old technique we’ve heard before:

Get out there, look around, close your eyes for a moment, and picture the people in the front row, either naked or in their underwear (depending on your moral fibre). Either way, it is said to have a relaxing, almost humorous effect.

The person who said “there is nothing to fear, but fear itself” has never had his computer crash right in the middle of a presentation, his overheads all fall on the floor, her slide tray still be in the over-head compartment....

Pick one (or two) people easily visible to you, and “speak” to them. Oh, be sure to also observe others, but concentrate on just a few. This may or may not solve your “audiencophobia” but it will keep you in touch with your audience, and provide you with some feedback.

Make eye contact– don’t wander around the room, don’t look down. Wandering can be a sign of nervousness, while looking down, may be taken as “trying to figure out what’s next”. (Remember– you’re the speaker– you’re supposed to know.

Lose the computer– that is– don’t hide behind it. Get a remote mouse and get back up in front of the group, where you belong, as presenter, leader, moderator, and communicator.

Deferring questions, following up:Depending on the nature of the meeting you are presenting at, it may be appropriate to field questions during the presentation. In some cases it will be proper to answer the question on the spot, in other cases, you may be addressing that point later, or want to cover it later on or after the meeting. You are the best judge of how to handle it.Retain control of the flow of the presentation. Where appropriate de-fer questions to later in the presentation or afterwards. It is perfectly acceptable to reply with: “I would like to address your question later on when I cover...” or “You and I can discuss that after the conclusion of the presentation...” or “Regretfully, I do not have that information readily available. Please meet me after the meeting, I will get your name... and get back to you next week.”

If you do defer any questions:Follow through as promised. Nothing will damage your credibility in the long run, more than not keeping your word.

Measuring Your AudienceHint: Snoring is a really bad sign!We have suggested you focus on only a few people in your audience. Are they attentive? What about body language– are they fidgeting or checking their watches? Taking notes? Taking naps?Seriously, it is for you to take note as to which parts of your presenta-tion are having an impact, and which are lost on your listeners.

Concentrate on your audience, not on your computer.

LEARN PRESENTATION

Don’t wait till the very last minute to work on your presentation.

We all know that few presentations are really finished and “in the can” even a couple of days before the presentation must go on. That’s even with best intentions.

Get an early start on your presentation. You will still be changing it at the last minute regardless.

It’s the knowledge stupid, not the graphicsThis is probably a corollary of KISS: The purpose of your presentation is in order to communicate ideas and information, not to dazzle people with fancy graphics.

When the session is over, you want your audience marching out discussing the ideas you set forth, not talking about the neat graphics, the special effects, funny sounds, etc.

Your Presentation Achieves Consciousness: or How to Make an Impression.

Your audience achieves unconsciousness.If you had to do it again, and again.You have the content worked out, you followed all the rules, everything you must have in the presen-tation– direction, focus, information, you should make sure the reinforcement is there.

Now what will make it even better?

EnthusiasmAbsolutely nothing will help your presentation more than communicating your passion and confidence. It doesn’t have to be an evangelical “Do you BELIEVE– I BELIEVE,” but the audience will rec-ognize your belief, and confidence, and it will add credibility to your message.

The Power of LanguageThe words you select will dramatically impact your audiences reaction to both your ideas and your effectiveness as a presenter.Your word processor has a thesaurus– learn to use it effectively. Use “power” and “command” words to get your audiences attention and to give the impres-sion of confidence and competence.A few examples: Instead of “I think you will agree” try “I am certain you will agree,” “I hope you will consider” vs. “I recommend you to consider.”Address your audience in second person. “You” is a very powerful word, generally audiences react much better to being addressed as “you” than in the third person as they. “As a participant, you will benefit” vs. “Participants will benefit.”

Not only should you put a thesaurus to work to find “better” words with more impact, but also to prevent excessive use of the same word over and over again. (Throughout this web site we have suffered from excessive use of the words need, requirement, and solution, even with the thesaurus, we enjoyed little relief, but still we probably reduced the use of “need” be 50%. Other than that, “requirement” and “requisite” make a more powerful impact.

HumorThe right amount of humor used judiciously, can go a long way to build rapport with your audience, and keep your audience interested and attentive.

As a rule, don’t tell jokes for their own sake, drop in your humor where it fits, relating to a point, or a break between sections. Small amounts of humor or an irreverent comment from time to time can go a long way to liven a presentation. Remember, a sleeping audience remembers little.

Don’t push your luck! Rehearsing your presentation in front of real people is a great way to test the “ac-ceptability” of your humor.

| 27

QuotationsAppropriate quotations can make a noticeable impact on your audience. It’s not always possible to find quotes that are directly relevant to your presentation, but it is often easy to find a series of quotes that complement or promote concepts that are part of your presentation. One presenter I know, in the multi-level marketing business, likes to put a series of quotes from computer “visionar-ies” including Thomas Watson (IBM), Ken Olson (DEC), Bill Gates (Microsoft)... in his presentations.

These quotes go back many years:

Thomas Watson (former Chairman of IBM, didn’t think computers would ever be popular.

Ken Olson (founder and former president o DEC) couldn’t figure out why anyone would want a computer at home.

Bill Gates thought that 640K of memory would be enough for everyone. With the less than stellar credibility much of multi-level marketing is per-ceived to have, these quotes which are all “way off the mark” provide a cautionary tale that tells you that perceptions are not always right.

Better still, after the first couple of quotes, the audience is “looking” for more – they are having an impact on the audience.

Bottom line: Make your quotations relevant and interesting!

What is the difference between your audience and an elephant? The elephant never forgets– the audience occasionally remembers!

Art’s rule of five (Five presentation reminders in five categories.)

Five things to do: rehearseWhen rehearsing before a person, eliminate your overview and summary slide. Find out what they found interesting, memorable, confusing. Have them list what they thought was most important! Did they get your message?

Test all your equipment in advance of having any sort of presentation.

Rehearse using as much or all of the tools you plan use during the real thing.

Have a backup plan: What if your projector dies, computer crashes, slide tray still on the plane. What is plan B? (And did you practice it?)Introduction, Objective, Overview, Presentation

Five things for your audience to do1. Stay awake.2. Receive the information they seek.3. Get your message.4. Take away supporting materials that help them 5. Act on your information.

Five things to do when you are done1. Thank them!2. Make materials available.3. Make yourself available.4. Provide them with a method of reaching you.5. Get feedback– Find out what they thought.

disseminate the information you presented.

In January of this year, Artbistro published a

list of the ten best cities in America for artists

and designers to live in. The results might

surprise you as it’s not just a roundup of the

usual suspects and the list is notably heavy

on smaller cities. In creating the list, Artbistro

with vibrant art and design scenes and then

focused primarily on cost of living and other

economic factors.

10 BEST CITIES FOR

DESIGNERSTO LIVE IN

Population of each city

Ranking from 1 to 10 on best cup of coffee

Average Designer Salary$

LIVE 10 CITIES

Michael Sherbet

| 29

9. WASHINGTON DC

Maryland and the greater DC area pays its artists

and graphic designers well. It is not the cheapest

of art and treasures stimulating to their creativ-

ity. It certainly is a city that appreciates its artists.

Washington DC spends more percapita on art than

any other state or district. Mt. Pleasant Temporium is a small storefront in Washing-

ton D.C. which sells handmade crafts and wares by 30

different artists.

10. SEATTLE, WA

The home to many prominent corporate head-

quarters; including those of Starbucks, Nordstrom,

Microsoft and Amazon.com; Seattle is Washington

state’s largest city and the region’s major econom-

ic, cultural and educational center. While the cost

of living is a little on the high side, our #10 city has

a particularly supportive community for the arts.

Pike Place is located in Seattle where locals gather to shop

for all different kinds of bargins.

608,660

1st

65,000

LIVE 10 CITIES

$617,996

9th

68,000$

| 31

7. OKLAHOMA, CITY

Ranked by Forbes magazine as 2008’s most

recession-proof American city, Oklahoma City is

growth. Oklahoma’s capital city has managed to

hold steady with an impressively low change in

unemployment rate since the recession’s outbreak.

There is plenty of growth potential in the art and

The Womb Gallery’s painted exterior started with Brook-

lyn-based Maya Hayuk, who painted a rainbow of eyes

and mouths in a mural that wraps around the gallery. It

makes it impossible to miss in Oklahoma City’s industrial-

toned brick, stone and concrete downtown.

8. RALEIGH, NC

One of the nation’s top areas for overall growth,

Raleigh – Cary shines with expected job growth in

in the coming years. Our #8 pick is becoming a

preferred location for artists and designers in the

South. Its relatively low income to cost of living

the top tier.

Brooks + Scarpa Architects and Clearscapes Architecture

have designed the Contemporary Art Museum which is

located in Raleigh.

403,892

3rd

58,000$

579,999

8th

45,000$

6. LOS ANGELES, CA

2009 was a tough year for California. The reces-

sion hit the state hard but despite that it remains

one of the best-paid cities for artists and design-

ers. Artists, animators and fashion designers make

more here than 98% of the cities in the nation.

Living expenses have gone down in the past year

making it more livable. If you can brave the traf-

people need.

Winner of the 2010 Architecture Grand Prize Award, this

is the Police Department’s 50,000 square-foot headquar-

ters that features an open design and significant public

amenities, which include a nearly one-acre public park, a

400-seat auditorium and a rooftop garden.

5. SALT LAKE CITY, UT

Offering better employment conditions than most

other large cities, Utah’s biggest city boasts the

lowest unemployment rate boosting it right near

the top. Many designers are employed here per

capita for its growing tech industry. The cost of

living in Utah is reasonable and the access to the

outdoors is unparalleled. It is not an artist’s mecca

but it is growing in support for the arts.

Signed & Numbered is a gallery and frame shop in Salt

Lake City. Their limited edition art prints and posters are

signed and numbered by the artist, making each print a

valuable collectible.

LIVE 10 CITIES

617,996

6th

74,000$

403,892

4st

56,000$

| 33

3. SAN ANTONIO, TX

The second largest city in Texas, San Antonio has

one of the most solid salary to cost of living ratios

in the country and has seen the lowest change in

unemployment rate since the onset of the reces-

sion. Its projected job growth is extremely promis-

ing and consistently high performing, with plenty of

opportunity in art and design sectors. Famous for

its River Walk, the Alamo and Tejano culture, San

Antonio’s tourism also continues to thrive despite a

down economy.

The San Antonio River Walk is a public park, open 365

days a year. It is a network of walkways along the banks of

the San Antonio River, one story beneath approximately 5

miles of downtown San Antonio. Lined by bars, shops and

restaurants, the River Walk is an important part of the city’s

urban fabric and a tourist attraction in its own right.

4. BRIDGEPORT, CT

Bridgeport is a thriving multicultural city located

right on the water of Long Island sound in the

southern part of Connecticut. Its great location

and proximity to other cities such as New York and

Boston make Bridgeport a wonderful city to live

median salaries for graphic designers, architects,

and fashion designers.

Derecktor Shipyards has contracted with Statue Cruises,

a subsidiary of Hornblower Cruises & Events, to create the

first hydrogen fuel cell passenger ferry in the U.S.

136,405

2st

64,000$

1,351,305

10th

47,000$

2. NEWARK, NJ

Newark, New Jersey is a skip away from New York

City, the creative hub of the country. But it is a

bargain to live in compared to Manhattan’s cost of

living. Newark boasts top pay in the professions

of fashion design and graphic design. It has a rich

cultural heritage of its own. So if you want to be

close to the center of things but can’t quite afford

to do it in style, Newark is a great choice for you.

The Garden in the Machine is a building created by five

architecture students in Newark, New Jersey. It is a hous-

ing district for immigrants.

LIVE 10 CITIES

278,980

7th

64,000$

| 35

1. AUSTIN, TXAustin tops our list with robust projected job growth and one of the lowest chang-es in unemployment rate since the onset of the recession. The city has enjoyed a recent explosion of high-tech entrepre-neurism. Animators in Austin are some of the highest paid in the nation. A “best cities” list veteran, Austin’s our top pick again this year!Hamilton pool, as it is called, is located in Austin. It was

created naturally when a dome of underground caves col-

lapsed making this wonderful pool. Today visitors come

here on a daily basis.

790,390

5th

52,000$

LEARN BUSINESS READY

Business cards do one thing, and they do it mar-

velously well. That isn’t to say they’re monolithic.

“They are as personal as underwear,” Bierut says.

“Some like to sport something stylish or unusual.

Others are uneasy with anything other than some-

thing straightforward in plain white. Either way, as

the rest of the world goes virtual, the business card

will endure.”

Business Cards Try, if you can, to measure your online footprint. You likely have a few

email addresses, a Facebook account, maybe a website, a Tum-

don’t remember creating it and you’ve only logged on to respond to

requests from people you’ve never heard of. You also probably have

a business card. No matter how much of ourselves we incarnate in

ones and zeros, few of us seem willing to dispense with this relic of

be replaced by something digital today,” says Michael Bierut, a part-

ner at Pentagram. “Corporate brochures and annual reports: online.

Letterheads and envelope sets: email. Magazines and books: iPads.

However, sooner or later, you still need to meet someone face-to-

face, and at that moment, it’s nice to have a business card.”

Michael Silverberg

Simple and clean design with variation in typography and use of

individuals icon.

Great concept yet, not very functional to get in and out of wallet or

pocket. Also, if you are on a slim budget die cuts will cost more.

BusinessGraphic Designer

BUSINESS READY

DSGN Rating System

| 37

Michael Silverberg

Clean layout with a centered name, graphic icon, and clean and

concise contact information.

Could use more typographic color and hierarchy is lost with every

thing being in all caps.

BusinessWeb Designer

HELLOmy name is,


1

2

4

3

5

| 39

8

9

6

7

3. ILLUSTRATORChallanging to read yet, exciting

7. GRAPHIC DESIGNER

5. STUDIO Interesting die cut with QR code

9. TEXTILES Creative way of showing job pro-

2. MARKETER

card with nice positive and nega-

6. GRAPHIC DESIGNER

-

4. PHOTOGRAPHERCentered, stacked type on

8. LETTERPRESS -

1. GRAPHIC DESIGNERNon–traditional, horizontal, double

Thoughtful logo expressing indi-


The MOO Promise

We’ve never thought ‘satisfaction guaranteed’

was the most inspiring phrase. We’d like you to be

absolutely thrilled with your order. We take great

pride in the work we do here at MOO; our tagline is

‘We love to print’ and we really mean it.

About MOO / The MOO PromiseWhen we say “we love to print”, we really mean it.

the work that goes on behind the scenes. From the

paper to the packaging, the people and the press.

Pull up a chair and make yourself at home.

Which means...

Sometimes we’ll reprint your order, other times

we’ll give you a coupon to place a new order

yourself, for free. Ultimately, you’ll take delivery of

a brand new, correct order.

-

often. Like you, we’d much rather you received,

and were happy with, the things you ordered.

your money back.

Should you ever receive a MOO delivery which isn’t upto scratch,

please get in touch as soon as you can. Here’s what will happen next:

We’ll send you a quick auto response

email, just to let you know we’ve

received your message.

ResponseOne of the Customer Service Agents will

respond personally by the end of the

next working day often much sooner.

Solution

away. Occasionally one of our team will ask

you a few more detailed questions, just to

WE LOVE TO PRINT

1

2

3

We believe in the power of great design

Design is key to everything MOO does. Design helps us stand out:

from the clothes we wear, to the homes we live in, to the business

cards we use. Design tells a story about us and what we stand for.

But professional-quality design has traditionally been expensive or

out of reach for most people; we want to change this. We're passion-

ate about helping people of all abilities design the best looking and

highest quality print products: products that will help them or their

business look great. Our company vision is simple but ambitious:

“great design for everyone.”

| 41

Portfolios / What You Need to KnowA portfolio is a job seeking tool that helps to give employers a complete picture of who

the candidate is. Employers can be skeptical of the claims job seekers make on their

than a cover letter or resume can thus give the candidate credibility. While portfolios are

can use a portfolio to make a memorable impression over their peers (remember, in this

job market, the key is standing out!). Developing a great portfolio takes time, so do not

rush the process and make sure your portfolio is impressive!

Online vs. Print Portfolios

1 Bamboo $78.00

2 Acrylic $62.00

3 Aluminum $95.00

Online portfolios are an emerg-

ing trend however the impor-

tance of a print portfolio should

not be diminished. A candidate

can have a portfolio in both

formats, as they serve different

purposes. A print portfolio is

typically used during a face-to-

face interview, while an online

portfolio would usually be

viewed by an employer before

or after the interview. Career

experts suggest that job seek-

ers develop an online portfolio

after they have made a hard

copy portfolio.

Print portfolios should be kept

in a 3-ring binder with an orga-

nizational system such as tabs

or dividers and include a table

of contents. Online portfolios

can be in a variety of formats,

such as a website, a blog, or a

presentation on LinkedIn.

Regardless of the medium,

the most important thing to

remember is that content is

more important than design.

Over-designing a portfolio can

make it seem confusing or dif-

plays a role in how organized

and easy to follow the content

is. Likewise, online portfolios

must be easy to navigate.

See Blue Sky Portfolios for great

examples of online portfolios.

Also visit the EagleHire Network

and scroll down the homepage

on the left side.

1

2

3


PRACTICE MAKES PERFECT!"#$%&'()$'*#+,'-&$.%-

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

What did you like or dislike about your previous job?

What major challenges and problems did you face? How did you handle them?

What is your greatest weak-ness and strength?

Do you prefer to work inde-pendently or on a team?

What interests you about this job?

Why do you want this job?

What are your goals for the

How do you plan to achieve those goals?

What are you looking for in your next job?

Arriving for a job interview hot and bothered,

red-faced and sweating, is the last thing you want

a potential employer to see. How you dress for a

summertime job interview in a way that will keep

you cool but appropriately formal?

Look for a two or three button wool suit in gray or navy. Do not

wear black. A black suit looks like you’re attending a funeral or driving

a hearse. Wear a solid-white, light-gray or light-blue shirt, but keep in

mind that white looks good against all complexions and makes your

skin pop the most. Make sure half an inch of your cuff is visible. If it’s

not, your suit sleeves are too long. Your trousers should break slightly

at the hem.

What to Wear / Summer InterviewFor Him:

| 43

Keep it light in both fabric and color, but don’t wear a white dress or

suit. White is the least serious color and looks too casual. The lightest

you should go is cream. If the position is less corporate, you may

want to try mixing separates, like a solid sleeveless dress with a tai-

lored jacket in a brighter color or pattern. Look for a slim-notch lapel

to keep it modern. Don’t be afraid to toss the suit and wear a sharp

you can remove your jacket until right before your interview, so you’ll

stay cooler. A more classic skirt or pants suit paired with a pretty

printed silk blouse is also a lovely combination.

For Her: REMINDERS:

Get ReadyStay Calm Be On TimeShow What You KnowFollow Up

Tie$12.99 – $16.99

Sport Coat$49.99 – $79.99

Shirt$14.99 – $28.99

Pants$39.99 – $49.99

Shoes$42.99 – $55.99

Blazer$28.99 – $48.99

Dress$23.99 – $35.99

Shoes$27.99 – $39.99

Necklace$14.99 – $20.99

Handbag$24.99 – $32.99

BLOCKS &BARRIERS

If it weren’t for certain blocks to creative thinking, I think most of us would be far more creative. Some of these blocks are found within ourselves, others are external. Entrenched habits, insecurities and a repressive environment can prevent us from making full use of our inborn creative abilities. The best coun-termeasure to “blocks and barriers” is recognizing these creativity-squelching forces, and mustering the

express our creative ideas and solutions in spite of these obstacles that are in all of our paths.

Let’s look at a couple sources of creativity blocks, and their countermeasures.

| 45

Habit

acquired patterns. Once learned, these habits are

tough to break, but that is just what we must do to

see clearly and create new possibilities. Recognize

these habit-related squelchers?

The ability to form habits and expectations is nec-

essary for survival, but when it comes to creativity,

habit can be a curse. When tackling a problem,

take a few seconds to ask yourself, “Am I respond-

innovative solution?”

Perceptual BlocksPerceptual blocks also originate in learning and

habit. Our accustomed way of perceiving things

interferes with the ability to see new meaning, rela-

tionships, methods or applications. Psychologists

describe this predisposition to perceive things in

certain ways. For example, based on symptoms

that seem familiar, a physician, scientist or execu-

tive may persistently misclassify a problem and

treat it incorrectly.

Once you get over a perceptual barrier and come

up with a creative solution, you may kick yourself

for not having seen it earlier.

Puzzle 1as the dying man looked at the ceiling and mumbled, “He did it.” They immediately arrested one of the wres-tlers. How did they know who was guilty?

Puzzle 2Remove six letters from ASIPXPLETLTERES. What word is left? (Answers on page 49).

to see a problem from different angles.

Rules and TraditionsFrom the family to the laboratory to the international corporation, all

social groups must have rules, regulations, policies and traditions to

guide personal and group behavior. Unfortunately, too often “guide”

actually means “restrict” or “inhibit.”

One tradition-based barrier stems from the status hierarchy. Lower-

status people are reluctant to suggest ideas to people in higher posi-

tions, due to insecurity and fear of evaluation. Likewise, higher-level

people frequently resist ideas that threaten the hierarchy.

Are they squelching your creativity?Gary A. Davis, Ph.D.

“We’ve never done it before.” “We did all right without it.”“It’s been done that way for20 years, so it must be good.”

A second tradition-based obstacle is the formalization barrier, the

degree to which rules and procedures are enforced. If group members

must comply strictly with procedures,

creativity will suffer.

Procedural barriers are policies and regulations, written or unwrit-

ten, that inhibit innovation. For example, are research administrators

promoted for their analytical skills, or their ability to foster a creative

atmosphere? Does planning tend to be short-term or farsighted? Do

decision-makers avoid expenditures that don’t produce an immediate

payback? Do they micro-manage the development of an innovation?

Consider these squelchers:

If a rule, policy or procedure restricts innovation, I’d suggest becom-

ing a revolutionary. Challenge the rule. Roger von Oech, author of A

Whack on the Side of the Head, recommends holding “rule-inspect-

ing” and “rule-discarding” sessions in your organization.

Cultural BlocksCultural blocks can be summarized in two words:

conformity pressures. It simply is uncomfortable to

be different, to challenge accepted ways of thinking

and behaving. We learn that it’s good to be correct,

logical and practical; to follow rules and avoid mis-

takes; and that “play is for kids.” Creativity requires

violating all of these norms.

Ever been told any of these before?

-

formers in their problem solving.

Emotional BlocksFamiliar emotions that can “freeze” our thinking in-

clude anger, fear, anxiety, hate and even love. Some

are temporary states, possibly caused by problems

-

blocks are chronic states of insecurity, anxiety and

fear of failure and criticism.

If you are upset, come back to the problem when

you can concentrate. Remember that innovative

thinking requires risk-taking and making waves; you

even failure.


“We can’t do it under the regulations.”“That’s not our job.” “It’s not in the plan.” “Let’s form a committee!”

“Don’t play around.”“Don’t rock the boat.” “Don’t step on any toes.” “It will offend.”

| 47

Remember when you were little and the best gift of all was a large

cardboard box? That box could be anything from a small family home

drawn lines in permanent marker and a wild imagination, we could go

anywhere and be anything. If you were given an empty box to play

back then?

As adults we tend to keep our imaginations locked in tightly controlled

boxes- in case of emergency break glass. We even set aside sched-

uled “brainstorms,” like it’s only appropriate to free our minds at a

happen if our imaginations come unglued? It is only by being creative

that we can create anything even remotely remarkable at all.

Like our writing muscles, our imaginations need regular attention

and exercise if it is to serve us well. It’s so easy to get stuck on rails,

always doing what we do, thinking the way we think, producing what

we always produce. Occasionally we need to break out of the norm

and expand our repertoire, think differently, and keep our imaginations

resembling that of a well-oiled machine.

Resource BarriersResource barriers, including a shortage of people,

money, time, supplies or information, seem an un-

necessary block to creativity. Innovation requires

such resources to a greater extent than routine

organizational procedures. If you are hearing, “It’s

not in the budget” or “We need more lead time,”

perhaps minor revisions to budgets, scheduling

or priorities would permit more effective work on

innovative projects.

Many of these blocks are subtle but effective

squelchers of imagination and innovation. Again,

the best defense is to be aware of these forces and

yourself see past the barriers, cultivate an attitude

of “creative discontent”- a belief that anything can

be dramatically improved.

One final thought about self-

squelching: If you believe

you are not creative, then you

will be right. But how can you

counteract these different

blocks? What can you make

sure that you do in order to

maximize your creativity?

Staying Creative 101

“Imagination is more important than knowledge.” —Albert Einstein

3 EASY TIPSOn Exercising Your Creative Muscles

Switch ModalityIf you tend towards the visual, attempt to think in terms of words and feelings. Writers habitually emphasize words so grab some crayons and draw instead. Logical left-brain people might spend time daydreaming to gain a fresh perspective, while intuitive right-brain people might try to solve a complex puzzle.

Change Your PerspectivePut yourself on the other side of an argument, or imagine yourself as a spectator. Even more wild, what would the world be like from the perspective of a small child, or even a paper

as interesting as your own.

Connect the DotsFind the connections between seemingly unrelated concepts, such as a cardboard box and copywriting. This helps develop further ideas and more in-depth concepts.

3

However, in order to properly understand how to be more creative, you must know what specific actions not to do in order to stray from the vast array various Creativity squelching Blocks and Barriers that you will face.

2

1


| 49

Answers to puzzles:

1. The other four wrestlers were women.2. Try removing S-I-X-L-E-T-T-E-R-S.

Whether you’re trying to solve a tough problem,

start a business, get attention for that business

or write an interesting article, creative thinking is

crucial. The process boils down to changing your

perspective and seeing things differently than

you currently do. People like to call this “think-

ing outside of the box,” which is the wrong way

to look at it. Just like Neo needed to understand

need to realize “there is no box” to step outside

of. You create your own imaginary boxes simply

by living life and accepting certain things as “real”

when they are just as illusory as the beliefs of a

paranoid delusional. The difference is, enough

people agree that certain man-made concepts are

“real,” so you’re viewed as “normal.” This is good

for society overall, but it’s that sort of unquestion-

ing consensus that inhibits your natural creative

abilities. So, rather than looking for ways to inspire

creativity, you should just realize the truth. You’re

already capable of creative thinking at all times, but

you have to strip away the imaginary mental blocks

(or boxes) that you’ve picked up along the way to

wherever you are today.

A focus group of 35 designers and creative individuals were given a survey and were asked which creative block they struggled with the most. All of the categories are legitamite creative blocks, this survey was designed to display which of the blocks were theorized as being the most prevalent.

Creating andEvaluating at the SameTime.

Fear ofAmbiguity.

Fear ofFailure.

Too MuchInformationto Deal With.

Lack of

in One’s Work.

56 %

62 %29 %

89 %

37 %

How do they do it?

THOMAAS, Photographer“Fortunately, I live in New York City which represents a limitless source

of inspiration for me. With its high level of diverse people, occupa-

tions, foods, art, economics and social status, and on and on, there is

much for my creativity to thrive on. Simultaneously, when you are sur-

rounded by such a high concentration of talented and eager artists

looking to perfect their craft, it motivates you to become better and to

always keep working. Everyone is constantly trying to be the best at

what they love. You really can’t ask for much more of a creative atmo-

sphere than that.”

CHRISTIAN JACKSON, Minimalist Illustrator“I don’t know if “staying creative” is necessarily something that I try

to do. When I have a creative idea it will nag at me until I give it some

attention. So I express it, then I move on to something else. Some-

times it works out in my favor (like this poster series) and some-

times it’s just nonsense. Perhaps the answer to your question is that

I am taking every idea that I have seriously. Nothing is too small be-

cause, in my mind, there is no such thing as a small idea, only ones

that have yet to be fully realized. I also give big props to the thriv-

ing design community. There is a lot to be inspired by out there.”

HERB WILLIAMS, Sculptor“Above all, I think, an active openness and curiosity, and a keen sense of

observation can play an important role in terms of creativity. These are

certainly qualities to develop in order to eventually break free and to better

express ourselves. There is so much information around us, to discov-

er and absorb. Remain open to your environment(s), this can provide a

multitude of creative options and provide answers that can serve as links

between different spheres of life and help create more interesting links.


| 51

...trying to be so perfect.

MEETTAD

FOLLOW MEET TAD

Our latest interview

takes us to Kansas

City, Missouri

home of Hallmark

Cards and the hip

illustrator/designer

Tad Carpenter.

DAN MOUNTFORD

| 53

Tad has the clarity of a designer with

the artfulness of an illustrator. His

work is whimsical, fun, and smart as

he uses a lovable style to create a

myriad of characters and illustrations.

In this interview, Tad discusses

some of his favorite aspects of his

process, and provides a glimpse into

his studio as well as something not

many folks know about him.

Where are you from originally?

I am actually originally from Kansas City, Missouri. I grew up in a sub-

urb of Kansas City on the Kansas side of the state line. Kansas City is

a city very near and dear to my heart. As for being a creative person,

it is really a special place to live. Per capita, it has a very large creative

community all doing wonderful things.

What are some of your favorite things about Kansas City?

The creative community is really amazing, and I am sure this can be at-

tributed to several things. The largest reason is Hallmark Cards’ world

headquarters is located here in Kansas City. Hallmark employs hun-

dreds of designers, illustrators, art directors, stylists, copywriters, pho-

tographers and many other creative minds. Over the years, all those

Hallmarkers plant creative roots here in KC. A lot of them not from KC

seem to really fall in love with this city. It is great for the KC creative

things too, many of which have ties to Hallmark in one way or another.

I am a good example of that, I have never worked at Hallmark but my

father, an illustrator and creative director, has been there over 35 years.

Another favorite is some of the food. Everyone knows Kansas City has

FOLLOW MEET TAD

| 55

great Bar-B-Q and that ain’t no joke. One of my fa-

vorite things about the fall in KC is football and BBQ.

The best BBQ in Kansas City is Oklahoma Joes; no

doubt, check it out when passing through.

Kansas City also has an amazing art museum, The

Nelson Atkins Museum of Art. It was recently reno-

vated and added on to. Renowned architect Steven

Holl, who did an amazing job maintaining the integ-

rity of the 75-year-old building and bringing it into

the 21st century, designed it. On a cold, winter Kan-

sas City day, there’s nothing better than heading to

I was lucky I guess. My father is an illustrator, so I

was always around it in one way or another grow-

ing up. I can remember drawing my entire life. As I

mentioned, he works for Hallmark Cards, so I liter-

ally grew up in the halls of Hallmark, which was an

amazing way to grow up. I met and was babysat by some of the most

amazing illustrators and artists as a kid. I have an Alfred E. Newman

drawing Paul Coker (Mad Magazine, Frosty the Snowman) did for me.

I always knew I wanted to be an artist of some kind but it was not un-

til I was a little older I realized that illustration and design was what I

wanted to do.

-

ing I did that really made a connection was when I was around 8 or so.

I entered a contest with the NFL’s Kansas City Chiefs to draw their sea-

son tickets. I drew this football player running for a touchdown with fun

hand drawn type on the jumbotron. I had so much fun working on the

drawing I can remember. When I won, the Chiefs sent a Chiefs player

to my school in his Ferrari and spoke to the whole school and awarded

me season tickets for the year. Plus, at one game that year they hon-

ored me at the 50-yard line at half time. It was an 8 year olds dream!

After that I thought to myself will people really give me stuff to draw for

them? If so, I was on board!

Did you attend a traditional art school? If so, what was

your experience like?

I graduated from the University of Kansas. I originally thought

I was going to attend an art school. I visited several and even

committed to one at one point. However, for me I really loved

the diversity of a University. The design and illustration pro-

gram at KU is really strong with talented people all over the

world thriving at their craft. Just like

most art schools, it was really in-

tense. I really did not go out much as I

was double majoring in both Graphic

Design and Illustration. Really glad I

did both. Also, within my last semes-

ter, I met my wife who was also a de-

sign student. She is one of the most

talented designers I have ever met.

So all in all, my art school/college ex-

perience was pretty great. I am lucky

enough now to be an instructor at the

University of Kansas as well.

Who or what are some of your

artists do you admire?

is an unbelievably talented artist and literally taught and still

teaches me things everyday. He is the largest reason I be-

publishing industry with clients like Simon & Schuster, Chron-

icle Books and Sterling Publishing. He illustrates books, and

growing up watching him do that really impacted me. I knew

that was what I wanted to be involved in. I tend to do work all

across the board ranging from gig posters, children’s books,

-

es are very much varied. As for illustration I am a big fan of

early Golden Books so artists like Mary Blair, JP Miller, Rich-

ard Scarry and Aurelius Battaglia among others. A lot of my

work becomes character driven so I

love the illustration work of artists like

Charles Addams, Paul Coker and Jim

Henson. I tend to always turn to clas-

sic masters in regards to design and

illustration. People like Paul Rand,

Saul Bass and Alvin Lustig. As far as

contemporary artists, I love the work

of Noah Woods, Calef Brown, William

Joyce, J Otto Siebold, Chip Kidd and

Chris Ware.

-

signers, was work for friends bands

and album art for bands. I think music

and design have a natural connection

-

ing hired by Hallmark Cards while I was still in college to do

some line art illustrations for an Australian greeting card line

gigs I got. Crazy to think almost 10 years later I still work with

GETTIN’ JUICED!> Wakes up and heads to the gym

“ If I don’t, I don’t feel like myself, kind of a curse and a blessing all wrapped up in one. I come home, take a shower and head to the office.”

“As an illustrator, my largest influence is actually my father. He is an unbeliev-ably talented artist and literally taught and still teaches me things everyday.”

— Tad Carpenter

6:00 AM

A DAY IN THE LIFE OF TAD“Play at home, play at work, play as much as you can. When we are doing something we love we tend to do our best work.”

FOLLOW MEET TAD

v

| 57

DINNER BREAK> Dinner with the wifey and hangs out for a little while

> Watches Dexter, Sunny in Philadelphia or 30 Rock

> Goes on a walk in the Rivermarket, which has lots of

restaurants and shops

“We try to get out and do something in the evening as often as we can since we both sit and design all day.”

OFF TO WORK> Begins to work on one of

many projects

> Switches over to another

project in the afternoon

BACK AT IT> Usually ends up working

into the night

“Most weeks I put in quite a few hours but feel so lucky to being doing what I love. It never feels like work.”

8:30 AM 6:00 PM 9:00 PM

How would you describe your creative process?

I sketch a lot. I carry with me most of the time a Canson 5.5x8.5 sketch-

out composition and layout. I have a whole row of these sketchbooks

from over the years. I never throw one out because if I ever hit a wall

that never materialized. Typically after I feel comfortable with an idea or

thumbnail in my sketchbook I move to a lose sheet of paper to draw a

slightly tighter drawing of what I am working on.

I use the tighter drawing as a road map once I hop into the computer.

My hand creates a lot of the textures, lines and type, so I will draw and

color and color theory so I play with several color versions prior to mak-

Your work features various characters, from people and robots to

animals and monsters. What do you enjoy drawing the most?

I love character design. I try to as often as possible when appropriate

for the project to include characters of some sort. I love to draw all

forms of creatures from animals and birds to people and robots. But,

I have to say I really love drawing and creating monsters or abstract

creatures. I love to create objects and creatures that don’t really ap-

pear in everyday life. When using a monster or beast of some sort in

an illustration all preconceived notions that a more

traditional person, animal or object may have just

disappear. They can stand for anything or anyone.

Any sex, race, creed, and nationality it is wide open.

As fun as they can be visually they can be an even

more powerful vehicle for getting your point across.

How do you know when a project is complete?

I design pretty innately so I use that to try and judge

when a project is complete. I also when working do

lots of variations of a particular piece. Color studies,

type studies, composition variations etc. I can then

look back at the options and make a pretty solid de-

cision on which is the strongest and when and if I

am completed.

What is one thing people don’t know about you?

As a child I loved Alex P. Keaton from Family Ties.

Even dressed like him. Wore a tie, sweater vest and

carried a leather brief case to kindergarten and 1st

grade. I went to a public grade school.

FOLLOW MEET TAD

| 59

You illustrate posters for a lot of bands.

What 3 albums would you recommend to a fellow illustrator?

That is so hard to narrow it down to just 3 albums. I can say that when I

work I really like to listen to upbeat, positive almost fast music. I feel like

they help me stay on pace for what I am trying to get done for the day.

So, the albums I would say are really great work albums are:

BEATS BY TAD

Carpenter created a 4 poster series for

Conan O’Brien’s 2011 Summer concert

series. This series which aired on his TBS

show, featured Ke$ha, Edward Sharpe,

KT Tunstall and Pitbull.

PAUL SIMON

Graceland

TALKING HEADS

Once in a Lifetime

EDWARD SHARPE

& THE MAGNETIC

ZEROS

Up from Below

You can check out Tad’s work

at www.tadcarpenter.com

You can check out Tad’s work at www.tadcarpenter.com

FOLLOW MEET TAD

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| 63

Eames Guitar

surprise, it's because they're inspired by actual design prin-

interview spotted by Core77 on

I was not interested in designing and building another knock-off guitar; -

-

body and also roll away where you do not want it to hit you, all while

Musical styles come and go but electric guitar designs—not so much. Any design

-ed cookie-cutters is met with contempt. Cars and toasters have been updated to

why haven't guitars?

Herman Miller Eames Lounge and Ottoman

the top grain black leather upholstery

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| 67

On TrendingWhat happens when graphic

design turns homogenous?

Homogenized. Between twitter, designspi-ration, dribbble, and ffffound, it’s easier than ever to stay connected and see what other designnners (catch that?) are making. An endless supply of inspiration is pushed on to us so that we can learn from these efforts and glean lessons that better our own work. Man, wouldn’t it be great if it worked out like that? Instead, judging from the amount of “me-too” design work, most people’s search for inspiration never extends be-yond a computer monitor. This has led to a design movement that values rehashing aesthetics from a bygone era rather than pushing design forward in a meaningful way.

Figuring out why everything looks like this isn’t very difficult. First of all, it looks good. Secondly, it features elements that are pretty easy to emulate; texture, MCM Hellenic (or Trade Gothic!), an earthy color palette and other arbitrary elements. Lastly, everyone wants their work and effort to be validated. If someone makes something similar (but not too similar!) to what you’ve made, it legitimizes your creation, so bam, you like it. You don’t just like it, you retweet it, you share it, you heart it, you reblog it. Chances are it clicks with other people, so they make something that resembles it. Those people, in turn, partake in the same liking/sharing/retweeting flurry that you initiated. Behold, the birth of a trend.

Unfortunately, this movement has been solely defined by aesthetics and a yearning for the tangibility largely lost in today’s computer-generated graphic design. What’s the need for everything to look like it was made in 1964? Is there any conceptual basis? Is it because, before the advent of computers, there was more of a craft to design? The computer is here to stay. Embrace it. It’s a tool that lets you do amazing things in a fraction of the time. You may also utilize it to put a fake texture on everything you make, but that’s not genuine. That has no purpose.

If the current trend of making everything look aged is a response to the cold, pixel-based reality of designing on a computer, is reverting to a past really the best way we can handle this? Is a regression to safe territory really the way to push design forward?

Alex Griendling, a designer out of sunny California weighs in on why its odd that design is all starting to look the same.

I’m no Walter Gropius, I don’t have a solution; I’m merely trying to address the need for one. I’m wor-ried that in our pursuit of instant gratification and praise from our peers we are sacrificing one of graphic design’s most appealing aspects: 10 de-signers can solve a single problem 10 different ways. It’s easy to forget that when 10 designers are solving 10 problems a single way.

If we can’t abandon our fruitless chase after the next flavor of the week and focus our efforts on some-thing larger, we’ll continue spinning our wheels in the tired and tread upon ground of mid-20th century aesthetics. We are young, capable and connected. If we can’t light a fire under our own collective asses, I don’t know who will.

You can check out Alex’s work atwww.alexlikesdesign.com

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