In the early ’90s, the graphic design landscape was undergoing a dramatic shift. Desktop publishing was in its infancy and everyone was making it up as they went along—some better than others—while trying to keep up with the new technology and software. Then in 2000, the dotcom bubble burst, and in 2008 the worst recession since the Great Depression hit. Many studios weathered the storm, while others simply closed shop.
Here, we talk with the survivors of the past few decades, many of whom have reimagined their careers, and in some cases, started new vocations altogether. Read the rest here. (Poster design by Modern Dog.)
Herman Miller is the master modern furniture maker with eclectic, ergonometric products for home and office. For more than 100 years, the company has enjoyed economic highs and weathered economic lows. No one better captured these highs and lows than Steve Frykholm, former vice president of creative design, who for three decades told the tale of Herman Miller through stunning annual reports.
Among the finest ever made, Steve Frykholm’s annual reports for Herman Miller are far more than summaries of financial data; they are stories of people and the products they make. Frykholm demonstrated his love for the men and women of Herman Miller with annual reports that swept awards and became collectible. Today, these books stand as text book examples of design at its best: human connection through creative courage, audacity, ingenuity, and flawless execution. “It was never just about me,” he reminds, “I was surrounded by talented men and women who brought these books to life.” Humility is perhaps the least acknowledged secret to success—and longevity.
Now (sort of) retired, bearded, and bespectacled, Frykholm contracts with Herman Miller as spokesman for the company’s design and culture. Speaking at the the 2017 Hopscotch Design Festival in Raleigh, NC, he did what he has done his entire career: he left the audience wanting more. Afterwards, we contacted him to ask him if he’d share more detail that time in Raleigh did not permit. Below, more of Steve Frykholm’s fantastic stories. Read the rest of the story here.
They Draw & Cook is the internet’s largest collection of illustrated recipes created by artists from around the world. Founded by Nate Padavick and Salli Swindell, the site features more than 7,200 recipes, and it grows each day. They’ve since published more than a dozen books with recipes from the site, and one The Most Gorgeous Cookbook Ever, features 30 recipes by artist Ohn Mar Win. Swindell says, “We LOVE receiving illustrated recipes from Ohn Mar Win! Her illustrations always capture a mood and vibe that would be really hard to achieve with a photograph.”
Win who’s based in the UK, has been an illustrator and designer for 20 years. She teaches classes for Skillshare on drawing and watercolor techniques. Here, she shares five tips to help you get started on your own illustrated recipe.
Before beginning a project, I always collect lots of reference photos and create a mood board. This helps me to see many angles of the image—in this case, figs—and shows the variances in colors. I often use Pinterest for broad references, but if I need something more specific, I’ll use an image library like Shutterstock. Read the rest of the article here.
Going to a design conference always brings anticipation and excitement, as I look forward to meeting and engaging with creative people, learning new ideas, and seeing great design. I was in desperate need of some inspiration, and Hopscotch Design in Raleigh, NC, was the perfect antidote. Raleigh is a thriving hub of design and cultural experiences. The number of locally owned restaurants and bars is impressive for a city of its size, and they’re all within walking distance of each other, so if you can’t get into one — which is typical, because of the delicious offerings — you can go a couple doors down and sneak a bar stool. It’s a fantastic backdrop for a design conference.
Hopscotch Design was conceived by Matthew Muñoz and Jonathan Opp from New Kind to merge with the annual Hopscotch Music Festival. Design inspiration by day, music by night. It doesn’t get any better. Now in its fourth year, they’ve managed to harness the best local talent and bring in folks from around the country who are doing incredible things in the design spectrum. There were six different venues within walking distance, so we weren’t stuck in an air-conditioned conference center the entire day. The weather was beautiful, so it was a welcoming way to explore Raleigh and get a little exercise between sessions. Read the rest of the post here.
In the last three decades we’ve witnessed the demise of cassette tapes, the rise and fall of CDs, and the near end and now re-emergence of LPs. And through it all, Jeff Kleinsmith, creative director at Sub Pop Records, has pivoted at each turn, adapting and changing with the times.
He started at the Seattle-based record label when bands like Nirvana and Pearl Jam ruled the airwaves. Not only was the music transitioning from hair bands to grunge, but the way music was played and packaged was changing dramatically, and it still is. Here, we talk to Kleinsmith about how his job has shifted and transitioned over the years, and what it’s like to work with musicians on their albums.
You’ve said that working in rock n’roll is a dream job some days and some days it’s the same as any other in-house gig. Tell me a little about that.
Well it’s funny. I do talks and I teach students, and I always get asked if this is my dream job. It is a dream job. I still feel that way after 23 years, frankly! But, I have to laugh at the notion that all we do is design album covers and go to rock shows. We’re doing a ton of behind the scenes stuff like creating very specific digital marketing tools or designing shrink wrap stickers, or editing catalog pages for a distributor. I think that’s not what these students are thinking of when they ask about the music industry. They’re thinking of Nirvana or Father John Misty covers or something. But that’s actually a pretty small part of our day-to-day job—creating the cover that is. Look, we deal with meetings, and last-minute crap, and clients not liking our mockups, just like anyone else. It’s the same stuff you would complain about if you were in a corporate job. Read the rest of the interview here.
As a guy who rose to popularity for his crude album cover designs for bands like Nirvana, Soundgarden, The Sonics, and Mudhoney nearly three decades ago, Art Chantry is still trying to figure out the design world. In fact, he’s adverse to most design these days and resists technology as much possible. The man prefers to work with his hands, manipulating materials, images, and type in a way that the computer just can’t do, in his opinion.
Chantry is an outspoken critic of modern design and designers, but despite that, he’s being honored as a 2017 AIGA Medalist. The irony hasn’t been lost on him. It just goes to show that good work is good work, and you can be welcomed into the club even if you’re an outsider with a bad attitude. Even he couldn’t believe it when he received the call from AIGA.
Here he talks about what’s wrong with design today, his hoarding habits, and why he’s such a pain in the ass.
Do you like design today?
That’s a loaded question. I do like SOME design done today. But, frankly, I look at old design, not new design. Old design, pre-computer design—when the IDEA was the coin of the realm. I look at contemporary design annuals and see this incredibly high level of mediocrity. Page after page of beautifully rendered (crisp and clean) design that all looks the same. About every 10 to 20 pages one piece will pop out like a huge sore thumb. At first you can’t figure out why. Then you realize it’s because it actually has an idea being presented. Most graphic design today is not really design. It’s decoration. Graphic decoration. It just has to look nice, or pretty, or cool. It has to fit in to a very high standard of production values that only computers can give you.
Any design work that doesn’t look exactly like your ‘comp’ is pounded down like a nail that sticks up. Ideas are erased so fast in an environment like that. These are all things that I try to avoid in my work. Strangely, ideas are all I have to offer any more. Computers don’t have “idea” buttons (yet).
Read the rest of the interview here.
News coverage of the 2016 Presidential Election was overbearing and underwhelming. Late night television provided some of the best comic relief, but one of the greatest characters taking on the election was Triumph the Insult Comic Dog, aka Robert Smigel, in “Triumph’s Summer Election Special 2016,” on Hulu.
Smigel has had his hand up Triumph’s ass for 20 years, after debuting on Late Night with Conan O’Brien. As Smigel stands out of the camera’s view, Triumph openly pokes fun at people on the street—whether at Star Wars premieres or political rallies—often inciting laughter and sometimes hostility. Either way, it’s always comedic gold.
Here, we talk to him about his election specials last year with his cigar-smoking puppet, and how he prepares for these events.
Where did Triumph’s voice originate and why the cigar?
My mom’s parents, aunts and uncles were all from Russia, so I heard that accent all the time as a kid, and always imagined dogs would talk that way. I really don’t know why dogs, as opposed to other animals. I’ve said in the past that maybe it’s because they have the same wide-eyed wonder as a turn of the century Russian immigrant arriving on Ellis Island. … “Loook at all of dees!” Yes, it’s horrible, or at least horriblish. But I was 8. Read the rest of the interview here.
Von Glitschka has been in the logo trenches for more than 20 years. His illustrative logo solutions are as varied as his clientsfrom local brewers, pubs, and mechanics to national artisanal brands, sports monikers, and software companies and no doubt you’ve seen his work right here at LogoLounge over the years. We’re thrilled to have him as one of our esteemed judges for LogoLounge 10. In addition to designing logos, he also does lettering, patterns, characters, and icons, and he has authored and illustrated several how-to books on creating vector-based art.
Although he’s done quite well on his own all these years, he took on a partner of sorts last year when he hired his daughter, Savannah, as a full time designer and illustrator after she completed the two year design program at Chemeketa Community College. Here we talk to him about going from a solopreneur to working with his daughter.
Was it an easy transition?
While she was going through school, I’d hire her on a freelance basis to work with me on some projects, and it worked really well. She helped in the exploration on the Dungeons and Dragons brand mark I did, and she helped me create all the art for my Take and Make book.
Read the rest of the interview here.
If you haven’t yet watched “Abstract: The Art of Design,” which features eight extraordinary designers, practicing different disciplines, then set aside a day for an inspiring binge-watching experience. The making of the series is as complex and beautiful as the people portrayed. Executive producer Scott Dadich discusses the two-year journey to make the series, and reveals some of his favorite moments in the process.
While working on the series, Dadich was still deeply entrenched as the Editor and Creative Director of Wired
magazine, which boomed under his leadership. He tripled the publication’s reach on social media and increased traffic to the website by 50 percent. Wired
also earned ten Webby Awards, more than 50 Society of Publication Designers medals, a James Beard Foundation Award, and four National Magazine Awards for design. He recently left the magazine after more than a decade, to start Godfrey Dadich Partners
with Patrick Godfrey.
Here, the bearded and bespectacled 40 year old talks candidly about the process of creating Abstract
—from conception to delivery—and the delicate balance of filming people in their environment without disrupting the creative process. Read the interview here
Aaron Draplin needs no fancy introduction in this part of the logo hemisphere. He has rocked the design world in the last year, surprising even skeptics, with his bestselling book Pretty Much Everything, which details his work and reveals much about himself–the man behind the big beard.
As a judge for this year’s LogoLounge competition, we wanted to catch up with him and get the highs and lows of his whirlwind book tour last fall, in which he visited 24 cities in seven weeks. And he’s going to do it all over this spring.
Give me a little background on this whirlwind tour … was it all for the book?
For the book…and for SURVIVAL. Well, mainly the book. Do graphic designers go on book tours? They do now. I wanted to take the whole story of the book to the people. I mean, why not? The book wasn’t supposed to happen in the first place, so why not tack on a 34-show, 7-week tour to the whole mess? And we did it, and, pulled it off with flying colors. All in an orange van. So proud of the whole thing.
When did you find time to actually work?
I didn’t have a lot of projects going on the tour. That freed up my nights. But when things popped up, I’d just work late in the hotel room. Or get up early and do a morning shift before we got rolling. Wherever you can find the time, you know? Might be at lunch, with my laptop open in some restaurant, suckin’ off their Wi-Fi to send a file.
Read the rest of the interview here.