Joe Duffy: Reflecting on his contentious debate with Tibor Kalman 28 years ago

At the 1989 National AIGA Conference, Tibor Kalman took the main stage and talked about what was wrong with design. He then proceeded to point the finger at an ad Joe Duffy and Michael Peters put in “The Wall Street Journal” as an example of bad design. Duffy, who was in the audience, was stunned and completely caught off guard.

It was unprovoked and unfair, to say the least. After the onstage debacle, Duffy called for a session in which he could respond to Kalman. It was perhaps too little, too late. Kalman’s wrath had already gone viral, or as viral as things could go in 1989. So, Print magazine’s editors invited the two to sit down in their New York office, with Steven Heller as moderator, and published the debate. It’s recently resurfaced online, so I wanted to talk to Duffy today, 28 years after the fact, to get his take on it. Kalman, of course, passed away in 1999, and was feisty til the end.

Duffy is still designing, but his son and daughter—who are his business partners—are mostly running the show at his Minneapolis-based office. He prefers to paint as much as possible.

Tell me what happened at the conference?

Tibor was a different guy. I was in the audience. We knew one another, at least by reputation back then. I think I was on the national board of AIGA at the time. He knew I was going to be there. He took it upon himself to tell the audience all the things that were bad in design, and as a summation he projected this full-page ad that I took out with Michael Peters and said, “Now here is a perfect example of what’s wrong with design,” or something like that.

It was a cheap shot, to say the least. It was like this 12 year old boy on the playground that was jealous, basically.

Read the rest of the interview here.

Yo Santosa: Putting her Branding Experience to Work in Her Entrepreneurial Endeavors

You know how when you see something new and say, “Gee, I had that same idea. I could have done that.” But you didn’t? Most of us say that, but we never act on it. Meet Yo Santosa. When she puts her mind to doing something or filling a niche that hasn’t been filled, she goes for it.

Santosa, who has called Los Angeles home for 13 years, was born in Indonesia and raised in Singapore, before emigrating to the U.S. at age 17. She graduated from Art Center College of Design, just four years later. In 2006, she opened her branding agency Ferroconcrete, where she helped her first client, Pinkberry, grow from one store to a global brand with more than 200 stores worldwide.

She’s taken that branding expertise and created her own start-ups in vastly different categories. In 2013, she launched Commodity, a fragrance company with a mission to make fragrance personal (it has been featured in GQ, Fast Co., Esquire and W Magazine), and in September 2014, she founded and published the first issue of LA Downtowner, a cultural publication for Los Angelinos looking for fun, food, and fashion.

Here Santosa talks about her entrepreneurial drive and the realities of wearing so many hats at once.

What is the meaning behind the name of your agency? 

Ferroconcrete is another term for reinforced concrete, which enabled the building of bridges and multiple-story buildings. It’s a metaphor for building brands into skyscrapers. But that’s the long answer. The short one; simply, I love concrete. Read the rest of the interview here.

Save

Robert Smigel: The Man With the Dog Puppet Fist

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.

A Duo of Glitschkas

Von Glitschka has been in the logo trenches for more than 20 years. His illustrative logo solutions are as varied as his clients—from 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.

Save

Scott Dadich: The Making of the Netflix Series, “Abstract”

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.

Save

Save

On the Road with Aaron Draplin

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.

 

Fred Dekker: Life at 24 Frames Per Second

Forget what you’ve heard from Old Blue Eyes about making it in New York. Hollywood is the veritable make or break town for filmmakers. If your movie’s a hit, everyone wants a piece of you and your next project; if your movie bombs, you’re down and out in Beverly Hills. The phone stops ringing, and people you thought were your friends suddenly have no time for you.

Fred Dekker has experienced both the highs and lows as a screen writer and director in his 30 year career in filmmaking. In the late ’80s he co-wrote (with Shane Black) and directed the now cult classic, Monster Squad, about a bunch of kids fighting a gang of monsters led by Count Dracula. Though it didn’t achieve box office success, it’s since gained momentum among its core audience of geeky guys, who are now in their 30s and 40s.

In the early ’90s, Dekker was hired to direct his first big budget studio movie, Robocop 3. Unfortunately, the movie flopped, and in one fell swoop, his directorial career was over. Kaput. Done. Fizzled. He has not directed a movie since.

But this is a comeback story, ya all! The kind of story Hollywood banks on. Dekker didn’t crawl in a hole and give up. Hell no! He’s been quietly and steadily working as a writer for television productions, and he’s currently working on his biggest project to date—the latest Predator movie—with his old friend and collaborator, Shane Black.

Here, he talks about the challenges and myths working in La La Land.

Although Monster Squad didn’t achieve box office success at the time it was released in 1987, it has since become a cult classic. Has that ever surprised you?

“Surprised” isn’t quite the right word since the turnaround happened over a long period of time—it just took a while for it to find its audience. On one hand it’s very gratifying, but there’s also some melancholy, because had the movie done well when it opened, I would have made a lot more movies since then. So, despite the huge fan base it has today, my career definitely suffered … and those are years I’ll never get back. Read the full interview here.

Debbie Millman: Design Matters & Beyond

Debbie Millman might be the nicest person in the profession. That’s not just my opinion—that’s a fact. I’ve heard that sentiment from many people over the years, and I’ve experienced her generosity firsthand. But don’t let that fool you. She’s no pushover. She’s a vocal proponent of using design and branding to create awareness and action for social causes she believes in. She doesn’t just sit on the sidelines observing the world, Millman gets involved and incites action in others. She’s a leader and a fighter.

Whether she’s teaching branding in the graduate program at School of Visual Arts that she cofounded in 2009 with Steven Heller, or interviewing someone for her popular Design Matters podcast, or fulfilling her dual roles as creative director/editorial director at PRINT magazine, she is immersed in the design community, speaking at events all over the world, and serving as an active board member of several organizations. She has also written six books, with more in the works. Her work clearly fuels her soul.

Millman recently left Sterling Brands, where she served as president of the design division for 20 years, working for some of the world’s largest brands. Here we talk to her about her career in branding, the surprise success of her podcast, and what’s next for this adventurous lady.

As someone who’s been immersed in branding for more than 20 years, how have your perceptions changed over the years about brand expectations and limits?

I find the role of branding now incredibly, incredibly exciting. I think that the ultimate goal of the discipline of branding is to reflect the culture in which the brand or the product or the company participates, which evokes a unique composition of sensory perceptions, which in turn create brand tribes. The extension of any one of these sensory perceptions impacts the way we think and act—and the way we perceive the brand or the product or the company. When these perceptions change, people change. I also think movements such as Black Lives Matter, is one of the most important movements to enter our cultural discourse in a long time. Design has finally become democratized, and these efforts are not about anything commercial. They have not been created for any financial benefit. Read the full interview here.

John Fluevog: Designing Unique Soles for More than Four Decades

John Fluevog has been crafting high quality, funky shoes for more than 46 years, yet he’s not a household name like Jimmy Choo, Jessica Simpson, or Steve Madden. Mainly because his shoes are not sold in department stores, and the designs are bizarrely unconventional. Let’s just say, when you wear a pair of Fluevogs, expect to get noticed. People either love them or they don’t know what to think of them, which is precisely what Mr. Fluevog has intended.

He’s kind of like the Tim Burton of the shoe design world. Like Burton’s films, Fluevog’s designs are colorful, over the top, and decidedly offbeat. He’ll never fit in, but that’s perfectly fine with him. It’s all part of his brand strategy. Fluevog has been creating “unique soles for unique souls” since 1970. The shoes aren’t just showstoppers though, they’re designed to last many, many years, constructed with high quality, eco-friendly materials. He lives his motto, “good soles leave small prints,” by specifying vegetable tanned leathers and water-based glues.

Fluevog’s mission is to bring his customers along for the fun and quirky ride. The Fluevog community, called “Flummunity,” encourages customers to submit shoe designs and create ads that reflect their own sentiments about the brand. There’s even a “Fluemarket” for buying and selling used Fluevogs. This brand strategy of involving his customers has paid off handsomely, as “Fluevogers” are repeat customers and tend to evangelize the brand mission. Every point of contact with the brand has been carefully curated from the online shopping experience, to the delivery of your product in a beautiful blue box, containing a custom shoe horn, Fluevog stickers, and sometimes a personal note from the person who shipped the shoes.

Here we talk to Fluevog about his brand’s unusual heritage, his inspirations, and staying ahead of design trends.

Did you have any training as a shoe designer?

I have been self-taught. I did not even take art in high school. In fact, I’m not sure I ever graduated from high school. I have never taken a shoe making course nor an art or design course, and have never done any post-secondary training. Art was not encouraged in my family. Music yes, art no. Read the interview here.

ludovika

Cindy Gallop: Building the Brave New World of Sex Tech

When Cindy Gallop introduced her social sex start-up concept to a live audience in 2009, she really had no idea what she was getting herself into. She unwittingly tapped into a huge global category, but found it damn-near impossible to get any backing—financial, technical, or social. It was a conundrum of epic proportions.

However, that did not deter her. In fact, if you tell Gallop she can’t do something, it will only strengthen her resolve to prove otherwise. This is a woman who likes to “blow shit up.” Her words, not mine. Having worked in business communications for more than 20 years, mainly with Bartle Bogle Hegarty as the founder and former chair of the U.S. branch, she now runs her own consulting business, as well as her start-ups If We Ran The World and Make Love Not Porn. She knows a thing or two about getting shit done and if you don’t like what she’s doing, then move along. She has no time for you.

This is not a story about sex. This is about one woman’s relentless pursuit to build an entire business category in order for her company and others like it to succeed, despite countless obstacles that would have deterred most sane people. Read the interview here.

“I am doing what I tell other entrepreneurs to do, which is when you have a truly world changing startup, you have to change the world to fit it, not the other way around.”