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You know, if everybody loves your work,

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you're playing it much too Dave,

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the type could have been a little

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stronger. Red's a difficult color. It's

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almost too strong. They had some issues

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on this about readability. I said, "No,

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what do you mean? What's the problem?"

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If your friends love it, your family,

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everybody loves it. It's probably not

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great. I hate to tell you.

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Uh, you need some detractors. You need

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some uh some people not liking it.

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And then you're probably on to

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something.

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I have a degree in sociology. I taught

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it in uh high school for a number of

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years and then one summer discovered

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this thing called graphic design. I was

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26 before I heard the term graphic

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design. So when I decided I wanted to

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give up my lifelong teaching job, my

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parents of course thought I was crazy

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and I thought about I said, "Well,

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something tells me I need to do this."

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And so I did. Holy [ __ ] everything

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shifted. David Carson radically

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transformed the world of graphic design.

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Carson turned graphic design into a

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cultural force. He unzipped typography

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and let it be wild.

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His bold, visceral work challenged and

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upended the field, making him a design

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hero or villain.

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The readability thing has gotten way

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overplayed, and his rule-breaking

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approach inspired a whole new generation

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of designers. I hope they're just

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motivated to push their work in a new

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direction.

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The last decade, maybe more, there's

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been kind of a shift to some real

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generic, I think, kind of boring

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graphics. We've taken a lot of the uh

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excitement out of the field, and that's

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not where we want to be. At its best,

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graphic design can express what the

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heart is trying to say. It's the feeling

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we get from looking at something. And

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I'm hoping this class can help bring

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back some of the craft and the

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appreciation to detail and get back to

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more individual uh more meaningful and

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and better work. We're going to be

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looking at graphic design, typography,

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photography.

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We'll examine collage making, the

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process of logo making. I'm also going

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to bring you a small version of a

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workshop I give frequently around the

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world.

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The best design comes when you put

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yourself into the work. A large part of

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it is learning to trust your own

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intuition, something we all have, but we

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don't always use. Your uniqueness can

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actually be used in such a great way in

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this field of graphic design or arts or

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creativity. And that's what gives you

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the advantage over anybody else's.

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Nobody else is you.

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I'm David Carson and this is my master

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class.

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as a designer, if you're going to make a

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living from this field, you're you're

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going to have to work with clients.

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Sometimes people say to me, they say,

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"Well, you've got all this fun, you

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know, cool surf rock and roll stuff, but

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I've got real clients." And I say,

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"Well, no, I have real clients, too.

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It's just a different set of

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restrictions and challenges really is

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the way to look at them. It's its own

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skill really working with clients and

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they're all different. See it as a

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challenge and say, "Okay, I'm going to

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do something that works for them, but

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I'm still happy with as a designer." And

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then it's a win for for both sides.

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The brief is is extremely important.

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That's almost all you have sometimes to

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start to begin with. And in general, a

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brief is what the ad agency and the

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client agree are the goals for the ad or

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the campaign or what you're working on.

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You know, who is this client? What are

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they trying to say? What are the

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benefits of the product or the service?

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What uh who is their audience? That's

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where your ideas are going to come from.

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You read that brief, you look at all

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that info and right away your mind will

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start thinking about, oh, maybe this

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image or that or I even this font or or

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something. But it gets it gets the

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wheels spinning as opposed to just say,

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oh, I'm going to look for some new cool

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ideas today. It's like, no, read that

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brief. Read it well and what do you get

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from that? What are you seeing? What are

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you feeling? And then then begin to

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work. So, it really starts there.

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Besides the brief, which which is so

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critical, you also on your own need to

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find out about the history of the

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company that may not be in the brief,

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their their previous work, previous

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logo, previous branding. Um, I think

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it's important to see what their

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competitors are doing to find out what

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your audience is is seeing and how can

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you improve on that or how can you not

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alienate their existing customers while

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bringing in some new ones. And that's

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that has a lot to do with your research

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in terms of uh who are they? Who's their

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competitors? What are the other products

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doing? What is this demographic of

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consumer seeing? How can I not just add

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to that clutter, but actually elevate it

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and and do it in a unique way that's

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still true to who they are as a company,

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as a brand, as a as a a service,

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whatever it is. And then it's a matter

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of letting your design mind go to work.

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Once you have the elements that you

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think are valid elements based on that

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brief,

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I encourage you to to follow the brief

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and do what they need. Cover that stuff,

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but then push yourself and and show the

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client that they they they we have to

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give them more more um credit sometimes

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than we do. Just like the the consumer

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as well, they're used to seeing better

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stuff and more experimental and they're

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probably not going to be shocked by too

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much. This was Amtrak trains in America

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and they came to me and said, "Well,

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could we could we get a map of where we

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go?" I said, "Okay, what about this?"

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And they said, "Well, can we have some

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of the cities where we go?" I said,

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"What about these two?" I picked like

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the weirdest ones. I thought they went

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to Cheyenne and El Paso and a bunch

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more. And they said, "Well, no, I we we

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really need to show the cities we go

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to." I said, "Okay, there they are." And

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they surprisingly were kind of okay with

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this. They didn't like the star, so I

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had to take the star out. And if you

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look at these cities, this is the final

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one. They they don't line up with

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anything. And these just go up on the

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right. And I thought it it works. You

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know, I figure if you're on the train

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and you're reading the train magazine,

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you should know where you're going. Um,

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so maybe the map's not that critical at

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that point and have some fun with it and

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maybe it sends a good message about the

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the new Amtrak or the new train system

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that would do something like this and

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and yeah, this is what they went with.

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But again, if you don't show the client

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the more outdoor stuff, they can't pick

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it. So, with this client, Audi, they had

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a car that they wanted to reintroduce to

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a slightly younger audience, even

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specifically a surfing, beachgoing

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audience, that you could throw your

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stuff in the back of this car. I like

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the dual meaning they came up with in

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this headline. They are the way ahead

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and they're also way ahead of the

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competition. There's something kind of

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nice there. And I try to when I can use

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photos I've taken and I would encourage

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you to do do the same. and try to

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integrate things that you've noticed and

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photographed and kept. So, the photo I

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took in the Caribbean, this girl on the

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swing and just kind of fun and

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irrelevant. And the same with the kind

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of messy imagery. There's a hint of the

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maybe a beach scene in the blue there

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and these kind of black lines. I'm not

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sure where that came from. The three I

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actually took that off of elevator I got

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off of. And then when I present, I

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present a wide range of things. So if

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they were thinking that was too crazy, I

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want to show them something that's maybe

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a little more technical or mechanical

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looking. Anyway, some of the actual

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gears and things on the car. And you see

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the car is actually very tiny up there

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on the right. But I present a wide range

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of things to let them to see where

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they're leaning and what they're liking

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and then go in and fine-tune ones

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they're liking. I'm very comfortable

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with that.

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There's a horrible trade in Australia

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and other places in the world where they

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chop off the fin of of sharks to make

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soup, make expensive soup, and they

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apparently chop them like all their fins

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off and then they so they can't swim and

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they they float to the bottom and it

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takes like 3 days to die and it's a

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pretty horrific thing and people aren't

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really aware of it outside of of that

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world. But as a designer, how do you

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make people sympathetic to sharks? And

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you know, we're only used to seeing them

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menacing photos of of the of the fin

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coming at you and and all these things.

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And

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I can just quickly show you. So, this

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was a starting point with the shark

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campaign. And we're just describing the

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fins a little bit or the different types

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of sharks. And so, here they are in

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their kind of still ominous position of

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up like we're used to seeing them. And

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then I thought, well, this is this is

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kind of an information poster where

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you'd have to be right there to read it

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or get it. Here you see that font I'm

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liking kind of edgy. And here's this fin

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as represented in just a graphic mark.

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And so now that I've introduced this fin

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cut off, well, maybe to experiment with

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the size relationships.

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And I thought and you know, still this

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idea of how many they actually killed

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was in my mind. So I thought, okay,

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maybe multiple, maybe three.

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At some point, it was a little thing,

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but it turned out, I think, to work good

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is I just turned the fin around. And

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it's less menacing going down. So now

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I've added some type and some shapes in

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here. But the basic starting point was

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the fin, which you see on the bottom

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left, going down instead of up. And the

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red maybe a hint of what's happening.

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They're chopping these things off. and

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then a mixture of upper lowercase and

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size of font. So I went here. I thought,

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well, I'm going to turn these fins

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upside down and show that there's a lot

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of them. They It's a crazy amount every

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year that these sharks are killed. So by

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turning them upside down, doing it in

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watercolor, and still you have the hint

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of red without being gory, I thought,

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okay, this is getting closer. There's a

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lot of these fins. And then I thought,

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you know what? I I really believe my

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work works best simple or complicated.

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And when it's in the middle, it's just

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not working uh as well or as effective.

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So, if I'm going to show a lot of fins

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to represent the number of the sharks

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that are killed, I need to really go

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there. Okay, that maybe gives you more

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the sense of the absurd number of these

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animals that are killed for soup.

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But then, you know, like sometimes you

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can it can have the opposite effect when

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you go in this direction. I think

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sometimes the magazine covers or openers

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and they'll have like eight great photos

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of of whatever. And so they show all of

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them. And the effect is that they all

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take away from each other. They have no

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impact. And maybe that's the case here.

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So I finally decided, no, you know, busy

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at first is kind of shocking, but then

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it grows old pretty quick. Uh, so maybe

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I need to just go here and just show one

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fin. And this is what they ended up

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with. And you see the logo there and

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just kill the fin trade was a saying.

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But but I think the simplicity here and

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the fact that they're all slightly

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different helped the campaign a lot. So,

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as especially as if your students are

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new going into the field, you want to be

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able to you have to be able to tell the

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client why you did something and not

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because it looked cool. If I said,

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"Well, just cool shape. I like it."

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You're not going to sell those. You need

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to be able to explain the work on some

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level. And and so pretty much on selling

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this idea, that's I would have said what

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I just told you. It's just well there's

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a fin in there and it's turned around

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and I think there's a hint of of cutting

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off the limbs and and that's why so it's

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not just arbitrary. You won't be able to

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explain away a bad design, but if you've

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got a good one and there's reasons for

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it, you have a much better chance of of

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selling it.

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in the late uh '9s I guess in America,

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Microsoft was kind of getting a bad rap

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and they were kind of the first and the

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biggest and they were seen as by a lot

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of people as too competitive and out to

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take over the world and there was a lot

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of negative feeling towards Microsoft.

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One of the things we wanted to do and

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they wanted me to do specifically was

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see if we couldn't soften their image a

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bit through through design and through

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type use. And what a fascinating concept

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you know my degree is in sociology. So

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this whole idea how can design help

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soften the image of this company. I

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remember coming from New York um where

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my studio was and and I remember even

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saying that I had had all they called to

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see if I was ready and I said yeah I've

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got all my fonts and and they said

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somebody whoever said fonts well

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Microsoft has a font which was basically

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like a thick Helvetica kind of thing

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that they had rounded some edges and

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called Microsoft Gothic I think. So, you

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know, I could have said, "Well, screw

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that. I got all these cool fonts." Or I

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thought, "Wow, that's interesting. This

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would be the first time I've restricted

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to using one approved font." It's like,

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whoa. And they want me to be human, help

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humanize them and do all these things

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like, but I I saw it as a real

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interesting challenge. So this campaign

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ended up of course using their font as I

283
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had to but in unusual ways for them

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especially at that time maybe even today

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but combining upper lower case italic

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with nonitalic spacing issues dealing

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with each word kind of separately and

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try to through the use of design and

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type humanize them a little bit and

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that's what you can do as a designer.

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Take a font that you're given or or a

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very basic one and use it in ways that

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somebody else wouldn't. That's the

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challenge and that's the fun part and

295
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that's that's what we did here. And then

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I was also able to they wanted images

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from the software and partly because

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when I started dealing with them I

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couldn't get the backgrounds to go

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clear. I thought oh jeez it was early

301
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and a lot of times that was a problem.

302
00:12:23,839 --> 00:12:26,320
It's long since been solved, but when I

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was trying to get isolate an image and

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um finally I just put them into the

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layout with these kind of jagged uh

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00:12:33,440 --> 00:12:36,320
weird white shapes and explained to them

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that I thought that was helping humanize

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and blah blah blah and and they stayed

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in, but it was just a result of me not

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being able to get rid of them. But but I

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do think they they work. And so the

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message is not love us, we're friendly,

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we're good. But it's like no, but

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hopefully you get a feeling that they

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Microsoft has a little sense of humor.

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They're they're a little more human than

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we thought and they're not only out to

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take over the world and and some of

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that. So again, a really hard thing to

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measure, but these went in all different

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languages all over the world,

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billboards, uh, bus shelters and ads in

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magazines and and I have to think it in

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in some way it helped soften their

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image.

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This idea of of small victories is

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something that I I come across and I

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think all designers do. You know, how

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much will a client let you do what you

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really want? And so this is some work

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for bows. For them, it was starting to

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be a big deal where type touch type. It

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wasn't all lined up. Just little things.

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And it became about little victories.

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And some of the work was was okay. Um,

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you know, it was a very simple new

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remote they had. And so, of course, it

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wanted to be a very simple ad to help

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bring that idea out. And this might be

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one of the ones I'm most pleased with.

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They had never started a title with a

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lowercase letter. They had never had

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words touch each other, which had been

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done for quite a while at this point.

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But more importantly, they'd only used

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white males in their advertising. And

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this wasn't that long ago. For me, this

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became about small victories and maybe

349
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in this case a pretty big victory. Uh

350
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that that not only some experimentation

351
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with the type, but being able to get

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away from white male only in ads, solid

353
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design, but what we accomplished is was

354
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more important.

355
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In a lot of my recent work, I've been

356
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using more collagebased imagery when

357
00:14:45,040 --> 00:14:47,839
that feels right or feels correct for

358
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what it is we're working on. And that

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00:14:49,839 --> 00:14:52,079
was the case in this recent work for the

360
00:14:52,079 --> 00:14:56,639
whiskey brand Mallen. So, it wasn't so

361
00:14:56,639 --> 00:14:58,800
much a matter of me looking at at this

362
00:14:58,800 --> 00:15:01,040
particular client and saying, "Oh, they

363
00:15:01,040 --> 00:15:03,600
need collage." It was like a combination

364
00:15:03,600 --> 00:15:05,279
of them coming to me because they'd seen

365
00:15:05,279 --> 00:15:08,240
some of that. and then me spending time

366
00:15:08,240 --> 00:15:10,959
at their distillery in Scotland and the

367
00:15:10,959 --> 00:15:13,199
things that struck me were the nature

368
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and the handsonness of the people from

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the from the whiskey tasting to the

370
00:15:19,600 --> 00:15:22,320
patching the casks. I mean it's very

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human uh hands-on work. So I really felt

372
00:15:26,160 --> 00:15:28,320
when I presented some ideas that well

373
00:15:28,320 --> 00:15:30,720
collage makes sense for this particular

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00:15:30,720 --> 00:15:33,600
client and they had been pretty uh

375
00:15:33,600 --> 00:15:35,519
conservative. I think they would they

376
00:15:35,519 --> 00:15:37,760
would agree with in their advertising

377
00:15:37,760 --> 00:15:39,839
for quite some time and their branding

378
00:15:39,839 --> 00:15:42,399
and I just know there's there's a room

379
00:15:42,399 --> 00:15:45,440
for for a little more hands-on human

380
00:15:45,440 --> 00:15:47,600
kind of interaction and so collage seem

381
00:15:47,600 --> 00:15:49,759
to fit pretty well and it's pretty

382
00:15:49,759 --> 00:15:52,800
abstract. Um we we did a series of them

383
00:15:52,800 --> 00:15:55,920
for uh for the holidays and uh this

384
00:15:55,920 --> 00:15:57,759
particular one is just using their name

385
00:15:57,759 --> 00:15:59,360
and my name and the fact that we're

386
00:15:59,360 --> 00:16:01,759
working together and helping reintroduce

387
00:16:01,759 --> 00:16:04,079
them uh to some people or introducing

388
00:16:04,079 --> 00:16:07,040
them possibly for the first time and in

389
00:16:07,040 --> 00:16:09,360
addition to the Macallen work I was

390
00:16:09,360 --> 00:16:12,000
fortunate to get asked to work on a John

391
00:16:12,000 --> 00:16:16,399
Cold Train box set using collage.

392
00:16:16,399 --> 00:16:19,839
I was on the road. I was in Amsterdam.

393
00:16:19,839 --> 00:16:21,920
But to me, it's it's not so much where

394
00:16:21,920 --> 00:16:24,480
you are, it's your mindset and what

395
00:16:24,480 --> 00:16:26,160
you're working with and your ways of

396
00:16:26,160 --> 00:16:28,880
working. So these covers were all done

397
00:16:28,880 --> 00:16:32,320
on the floor of the Zoku Hotel in

398
00:16:32,320 --> 00:16:34,560
Amsterdam. So if you're doing collage or

399
00:16:34,560 --> 00:16:36,320
you're doing what you call personal

400
00:16:36,320 --> 00:16:40,000
work, um uh people are wanting that more

401
00:16:40,000 --> 00:16:41,839
than ever. you know, this whole movement

402
00:16:41,839 --> 00:16:43,920
to kind of feel there's a human behind

403
00:16:43,920 --> 00:16:46,240
the work that plays really well to

404
00:16:46,240 --> 00:16:48,880
individual artists and graphic designers

405
00:16:48,880 --> 00:16:51,519
who who do your own kind of thing uh on

406
00:16:51,519 --> 00:16:53,440
the side. Maybe, you know, there there

407
00:16:53,440 --> 00:16:55,600
there are places for that, probably more

408
00:16:55,600 --> 00:16:59,759
than there's been in quite a while.

1
00:00:06,960 --> 00:00:09,360
You know, editorial work has has its own

2
00:00:09,360 --> 00:00:12,559
kind of advantages. And early in my

3
00:00:12,559 --> 00:00:15,280
career, I was drawn to magazine design,

4
00:00:15,280 --> 00:00:19,359
which is graphic design,

5
00:00:19,359 --> 00:00:21,439
whether it's the image or the type or

6
00:00:21,439 --> 00:00:24,160
the white space or the whole layout. How

7
00:00:24,160 --> 00:00:27,439
can I reinforce what I've just read

8
00:00:27,439 --> 00:00:29,279
through color, through texture, through

9
00:00:29,279 --> 00:00:32,399
shape, through my choices?

10
00:00:32,399 --> 00:00:37,559
That's when design can be so powerful.

11
00:00:43,760 --> 00:00:46,320
It's always been, and it may be more

12
00:00:46,320 --> 00:00:49,120
than ever, hard to get somebody to jump

13
00:00:49,120 --> 00:00:51,920
into a gray page of type. And that's

14
00:00:51,920 --> 00:00:54,000
some of your job as a designer is to

15
00:00:54,000 --> 00:00:56,480
help with that and help them get in.

16
00:00:56,480 --> 00:00:58,239
Otherwise, they may miss a a great

17
00:00:58,239 --> 00:01:00,320
article or some important information.

18
00:01:00,320 --> 00:01:03,840
And so, if you're not dealing with the

19
00:01:03,840 --> 00:01:06,159
type in the body copy, then could be a

20
00:01:06,159 --> 00:01:08,400
real disservice to the writer because

21
00:01:08,400 --> 00:01:10,479
their information doesn't get read and

22
00:01:10,479 --> 00:01:12,720
to the reader who misses this important

23
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information.

24
00:01:14,240 --> 00:01:16,560
In this article, it was on the techno

25
00:01:16,560 --> 00:01:18,400
dancing

26
00:01:18,400 --> 00:01:21,600
and uh this is some imagery I was

27
00:01:21,600 --> 00:01:24,560
provided and it just seemed to lend

28
00:01:24,560 --> 00:01:26,880
itself to some experimentation with

29
00:01:26,880 --> 00:01:29,600
movement or or shapes of these columns

30
00:01:29,600 --> 00:01:31,840
of type. So, two columns on the right

31
00:01:31,840 --> 00:01:34,400
are touching or almost that's not a big

32
00:01:34,400 --> 00:01:36,960
deal. I just feel the white space and

33
00:01:36,960 --> 00:01:38,960
the movement in here. And I just can't

34
00:01:38,960 --> 00:01:40,720
see any reason why you would take this

35
00:01:40,720 --> 00:01:43,119
and let the computer make those three

36
00:01:43,119 --> 00:01:46,960
columns even flesh left the same space.

37
00:01:46,960 --> 00:01:48,640
Everyone's like, "Oh, that's deadly.

38
00:01:48,640 --> 00:01:52,240
That could be screaming don't read me."

39
00:01:52,240 --> 00:01:53,680
Okay, this one's just playing with

40
00:01:53,680 --> 00:01:55,439
letters. It's actually a pretty basic

41
00:01:55,439 --> 00:01:58,479
font here. The word wedge is called the

42
00:01:58,479 --> 00:02:01,200
wedge people. Has a E at the end of it,

43
00:02:01,200 --> 00:02:03,040
but I've dropped it down to become the E

44
00:02:03,040 --> 00:02:05,439
in people and still seems to kind of

45
00:02:05,439 --> 00:02:07,759
work. So, I'm intrigued by that type of

46
00:02:07,759 --> 00:02:09,840
thing. Just hopefully makes it more

47
00:02:09,840 --> 00:02:11,920
interesting and promises to the viewer,

48
00:02:11,920 --> 00:02:13,440
this might be worth your time. There's

49
00:02:13,440 --> 00:02:16,480
something going on here. This is Super

50
00:02:16,480 --> 00:02:18,879
Chunk and another band. And I've also

51
00:02:18,879 --> 00:02:20,959
realized I could take the words super

52
00:02:20,959 --> 00:02:22,879
and actually reverse it out of the body

53
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copy creating chunks of type. I found

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that kind of interesting. So, it doesn't

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wrap around the word super. The type

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there simply disappears, but you still

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got to gesture the article.

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00:02:35,920 --> 00:02:38,560
Here's a very simple layout for Tony

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Hawk and Beach Culture magazine. I'm

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just playing off the squareness of the

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illustration where there's actually some

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nice movement, but uh that against the O

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in his name and hopefully some reference

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of maybe wheels or movement or or

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skateboarding in that and uh the by

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line, the X there is plays a big part in

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this arrangement. If you take it out,

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the the spread isn't working. So they're

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all elements and that's that's what you

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do as as designers.

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Contents pages traditionally I haven't

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put page numbers on them but with this

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issue of Surf Portugal I decided you

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know what I'm going to really go with

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the page numbers. So here they are very

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big and they were actually what you

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would uh where the articles appeared. So

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for instance, this is the article on

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page 92 and the page number becomes a

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very important graphic element and I

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think adds to the spirit of not only the

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layout but the the whole magazine and

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and their audience in a sense. So this

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would have been page 76. So contents

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page photo by Albert Watson, amazing

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photographer and no page numbers. I just

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list things in order that they appear

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and I think people kind of go through

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magazines from the back anyway. So, and

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another contents page, another great

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photo by Albert Watson. I've always

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thought the the main thing I want to

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accomplish with a cover is is to

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get somebody to pick it up. I want to

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00:04:08,799 --> 00:04:11,200
get somebody's attention on the news

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stand. I don't want to list everything

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that's in the issue politely down the

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side and maybe down the other side. I

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want them to react to it. Whoa, what

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what's going on here? The cover lines

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showing what's in the issue. The fourth

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line down happens to be Tony Hawk, the

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world famous skateboarder and uh at the

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time just beginning, but his name is

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upside down. So that's not a big deal,

106
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but maybe some of his fans or people

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following skateboarding hopefully got,

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you know, he was famous for some of his

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upside down tricks. And so it's just a

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matter of not automatically uh doing

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your work, but but really paying

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attention to the details. Here I' I've

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decided to after kind of a crazy cover

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on the issue before, go pretty simple

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and pretty clean. This is a photograph

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by Anton Corbin submitted for an article

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in the magazine. But when I saw this and

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I knew we were doing a kind of end of

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summer issue, I thought, "Oh, that's

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perfect image for end of summer." And it

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became the cover. So every cover and

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every page a whole new design

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assignment, which makes all the

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magazines I worked on a lot more work,

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but it also makes them a lot more fun to

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work on and I think allows it to end up

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at a more interesting place than if we'

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simply drop things in.

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You shouldn't use the always go to the

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obvious word to highlight. This was

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about a book called The Fear Project.

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Talks about all the things this guy has

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tried and he was afraid to do and how he

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conquered them. And at some point I

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realized, wo, look what happens when I

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make fear really small. And maybe maybe

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by making fear smaller than the it's

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actually becoming a little more fearful

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in a way. There's something there. It's

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not maybe that direct, but uh and at

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some point I landed on on what you've

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seen. And for me it's kind of foroding

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or fear somehow in there. So I think the

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the bigger message is don't be

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restrained to the obvious choices and

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well of course fear would be the big

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word and you'd probably make it big and

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black and fearful but not automatically.

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surfing Portugal. I did some covers and

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the the thing here is a 25 year

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anniversary and that's what it says in

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that type in in the towards the bottom

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there are those two shapes and

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originally I would have had that in the

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middle because that's where it seemed to

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want to go and I think with this

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audience and the subject matter it's

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fine that the type is down touching the

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black and not perfectly centered in

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between those two shapes. I'd like to

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encourage you to not put things where

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they seem to want to go. Don't put them

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in the obvious place. Maybe there's a

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more interesting place that only you

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would would find and not the obvious

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one.

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00:07:09,840 --> 00:07:11,680
You know, people used to say early

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issues of of Ray Gun, oh, you can't read

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any of that, or oh, it's illegible. Of

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course, it's not. Readability has so

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much to do with what you're interested

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in reading. And with that audience, some

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of the more extreme experimentation

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probably helped them

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identify or like the magazine even more.

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Was it unreadable? No, of course not.

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00:07:34,000 --> 00:07:37,599
Um, was it a science medical journal?

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No, it was skateboarding and surfing and

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rock and roll. And luckily, I was

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fortunate to be able to take some of

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that mindset and and move it into some

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client work. So legibility alone doesn't

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00:07:51,759 --> 00:07:53,919
guarantee communication.

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You know, there's a saying we have,

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don't judge a book by its cover. And I

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say, "No, that's so wrong. If the

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designer's done their job, you can judge

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a book by its cover. It means they've

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read it, they've gone through it, they

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understand it, and they show it in the

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cover. So this whole idea, oh no, don't

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judge a book by its cover." No, no. If

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the designer's done their job, if you've

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done your job, yes. So it's easy to say,

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"Oh, yeah. Trust your intuition. That's

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great. But but it's um you know,

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00:08:21,360 --> 00:08:22,960
everybody has it. It's a matter of

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trusting it and listening to it. My

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00:08:26,000 --> 00:08:29,120
father was a test pilot in America. And

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at that time, of course, precomputer,

201
00:08:31,919 --> 00:08:33,919
pre- everything, they would the

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00:08:33,919 --> 00:08:35,440
government would make a new plane and

203
00:08:35,440 --> 00:08:37,279
and they'd say, "Go see if that one

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flies, would you?" I remember my dad

205
00:08:38,959 --> 00:08:40,399
telling me they were they were finding

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that they were often blacking out at a

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00:08:43,760 --> 00:08:47,600
certain altitude and angle and speed.

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00:08:47,600 --> 00:08:49,600
He realized that if he started screaming

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00:08:49,600 --> 00:08:51,360
at the top of his lungs, he would stay

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awake. So, he told the other pilots, "At

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00:08:53,279 --> 00:08:55,120
this degree or this angle, start

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00:08:55,120 --> 00:08:57,760
screaming, you won't pass out." So,

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00:08:57,760 --> 00:09:00,720
that's a long entry into uh some people

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00:09:00,720 --> 00:09:03,120
tell me, "Oh, I see why you take chances

215
00:09:03,120 --> 00:09:05,440
in graphic design. Your your dad was a

216
00:09:05,440 --> 00:09:09,120
test pilot." And I say, "Uh, I don't I

217
00:09:09,120 --> 00:09:11,040
don't think it's the same thing. I mean

218
00:09:11,040 --> 00:09:13,600
some of these decisions I have to make

219
00:09:13,600 --> 00:09:16,560
between like say serif versus sand serif

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00:09:16,560 --> 00:09:19,680
and you know not real life threatening

221
00:09:19,680 --> 00:09:22,640
stuff. So why not take some chances? Why

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00:09:22,640 --> 00:09:24,800
not put some of yourself into the work?

223
00:09:24,800 --> 00:09:28,600
Why not push yourself?

1
00:00:07,120 --> 00:00:08,880
The first assignment we looked at who

2
00:00:08,880 --> 00:00:11,040
are you and then we looked at how's your

3
00:00:11,040 --> 00:00:13,120
life going and now we're going to look

4
00:00:13,120 --> 00:00:15,920
into the future. Where do you want to be

5
00:00:15,920 --> 00:00:19,640
10 years from now?

6
00:00:24,080 --> 00:00:25,920
Okay. How many would want this future?

7
00:00:25,920 --> 00:00:26,560
Me?

8
00:00:26,560 --> 00:00:27,119
Yeah.

9
00:00:27,119 --> 00:00:29,359
One, two, three. All four. Well, that's

10
00:00:29,359 --> 00:00:30,880
interesting. Why?

11
00:00:30,880 --> 00:00:33,360
It's uh really optimistic. The use of

12
00:00:33,360 --> 00:00:35,920
color and u the message

13
00:00:35,920 --> 00:00:38,000
the texture of the paper sort of like

14
00:00:38,000 --> 00:00:41,680
being on top and sort of wrinkled makes

15
00:00:41,680 --> 00:00:44,079
it seem like there's room for mistakes.

16
00:00:44,079 --> 00:00:45,360
That's interesting. Okay.

17
00:00:45,360 --> 00:00:49,200
And don't take life too seriously maybe.

18
00:00:49,200 --> 00:00:49,760
Okay.

19
00:00:49,760 --> 00:00:53,440
Willing to just keep on keeping on.

20
00:00:53,440 --> 00:00:56,399
Yeah. It's pretty hard not to focus on

21
00:00:56,399 --> 00:00:59,199
the type. You know, it's repeated here.

22
00:00:59,199 --> 00:01:02,160
May this may have been a bit a bit

23
00:01:02,160 --> 00:01:05,680
literal. Anybody not want this future?

24
00:01:05,680 --> 00:01:07,439
You can trade it for yours. This is

25
00:01:07,439 --> 00:01:09,680
guaranteed. Yours is unknown. This is

26
00:01:09,680 --> 00:01:12,159
for sure. If you pick it, would you go

27
00:01:12,159 --> 00:01:13,040
with that?

28
00:01:13,040 --> 00:01:13,760
No.

29
00:01:13,760 --> 00:01:14,880
No. Why not?

30
00:01:14,880 --> 00:01:17,040
And not for no reason. Just I want my

31
00:01:17,040 --> 00:01:18,880
future.

32
00:01:18,880 --> 00:01:20,799
No. I'm sorry. You have to take this

33
00:01:20,799 --> 00:01:22,880
future.

34
00:01:22,880 --> 00:01:24,560
They didn't tell you at the beginning of

35
00:01:24,560 --> 00:01:25,600
class.

36
00:01:25,600 --> 00:01:26,799
What else? Is there anything? I mean,

37
00:01:26,799 --> 00:01:28,479
it's clearly happy, but is there

38
00:01:28,479 --> 00:01:29,600
anything else there?

39
00:01:29,600 --> 00:01:31,600
The sentence keep on. Okay.

40
00:01:31,600 --> 00:01:33,360
Does it seem like they're not happy all

41
00:01:33,360 --> 00:01:34,240
the time?

42
00:01:34,240 --> 00:01:34,640
Okay.

43
00:01:34,640 --> 00:01:36,560
They're willing to keep on fighting. I

44
00:01:36,560 --> 00:01:38,320
wouldn't say it screams happiness. I

45
00:01:38,320 --> 00:01:39,600
would say it's a balance.

46
00:01:39,600 --> 00:01:41,520
Good. I would agree. And the black is

47
00:01:41,520 --> 00:01:43,600
certainly contributing to that.

48
00:01:43,600 --> 00:01:46,399
Um and and so is this actually. It's not

49
00:01:46,399 --> 00:01:49,600
a super happy kind of thing. Yeah. And

50
00:01:49,600 --> 00:01:51,119
then I and then I think and then I think

51
00:01:51,119 --> 00:01:53,040
we I don't know that we get farther.

52
00:01:53,040 --> 00:01:54,640
Let's find out whose is this.

53
00:01:54,640 --> 00:01:56,479
This is mine. Okay. How how are the

54
00:01:56,479 --> 00:01:57,360
comments?

55
00:01:57,360 --> 00:01:59,920
I think that more than it being like

56
00:01:59,920 --> 00:02:01,920
about me, I sort of made it, you know,

57
00:02:01,920 --> 00:02:04,000
to me, I think this is like my take on

58
00:02:04,000 --> 00:02:06,079
like a little self-help poster. It's

59
00:02:06,079 --> 00:02:09,360
like a hang in there, but on a different

60
00:02:09,360 --> 00:02:10,080
level. But

61
00:02:10,080 --> 00:02:12,000
so you took a little more of a which

62
00:02:12,000 --> 00:02:14,640
which I like that kind of a mental uh

63
00:02:14,640 --> 00:02:16,800
evaluation where what might be going on

64
00:02:16,800 --> 00:02:18,800
as opposed to in the mountains or the

65
00:02:18,800 --> 00:02:20,400
city or the river or something like

66
00:02:20,400 --> 00:02:23,520
that. So I I like that. Um, and again,

67
00:02:23,520 --> 00:02:24,959
none of these can be right or wrong.

68
00:02:24,959 --> 00:02:27,200
They're just sending different messages.

69
00:02:27,200 --> 00:02:29,760
I will say I think the type could have

70
00:02:29,760 --> 00:02:31,680
been a little stronger. It's almost too

71
00:02:31,680 --> 00:02:33,519
literal. I get it and then I you kind of

72
00:02:33,519 --> 00:02:36,000
move on. So, if we were to rework this,

73
00:02:36,000 --> 00:02:38,080
I'm feeling it's kind of placed there

74
00:02:38,080 --> 00:02:39,680
and maybe there's there's so many

75
00:02:39,680 --> 00:02:41,599
interesting shapes and angles. Maybe

76
00:02:41,599 --> 00:02:44,000
there's some other way we could explore

77
00:02:44,000 --> 00:02:47,200
and make it feel less of kind of tapped

78
00:02:47,200 --> 00:02:49,680
on in the middle there. You're free to

79
00:02:49,680 --> 00:02:52,560
agree or disagree. You're free to agree

80
00:02:52,560 --> 00:02:53,680
with me.

81
00:02:53,680 --> 00:02:54,800
I think it's a good point.

82
00:02:54,800 --> 00:02:56,959
And I might even say when you get up

83
00:02:56,959 --> 00:02:59,680
close says keeping on. Maybe that's all

84
00:02:59,680 --> 00:03:02,239
it needed. This is pretty nice. This

85
00:03:02,239 --> 00:03:04,000
feels like it deals with the rest of the

86
00:03:04,000 --> 00:03:07,440
collage. This doesn't so much. Good. So,

87
00:03:07,440 --> 00:03:08,879
let's look here. How many would want

88
00:03:08,879 --> 00:03:09,760
this future?

89
00:03:09,760 --> 00:03:12,480
I'm not sure. It's kind of mysterious.

90
00:03:12,480 --> 00:03:14,640
I'm attracted to it, but you know, the

91
00:03:14,640 --> 00:03:17,040
use of color, the orange and the yellow.

92
00:03:17,040 --> 00:03:18,800
So, yellow and orange. Is it happy?

93
00:03:18,800 --> 00:03:21,040
Less happy. was a different kind of

94
00:03:21,040 --> 00:03:23,360
something about the hard edge and a torn

95
00:03:23,360 --> 00:03:24,080
paper.

96
00:03:24,080 --> 00:03:25,680
Yeah, it's kind of serious even though

97
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it's

98
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serious. Yeah, I would agree. It's like

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00:03:28,000 --> 00:03:29,840
it's wanting to be happy. Yeah,

100
00:03:29,840 --> 00:03:31,680
but it's not certainly not this yellow

101
00:03:31,680 --> 00:03:32,080
happy.

102
00:03:32,080 --> 00:03:34,159
Like the whole thing feels very intense.

103
00:03:34,159 --> 00:03:36,159
That's interesting. Yeah, we have a a

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variety of elements and they're all

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about equal weight. So, your eyes not

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even sure where to go. And what do we

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think about the type? What's going on

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00:03:44,720 --> 00:03:45,360
there?

109
00:03:45,360 --> 00:03:47,599
Very mysterious. Yeah, maybe it's the

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two u same letters cuz you can't see the

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00:03:50,799 --> 00:03:52,159
rest. I don't know.

112
00:03:52,159 --> 00:03:54,319
I'm tempted to look behind it, but

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00:03:54,319 --> 00:03:55,840
that's not how we're seeing it. So, I

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00:03:55,840 --> 00:03:58,640
can't do that. This one might need some

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more type or some more information.

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00:04:00,640 --> 00:04:01,760
Okay. Who's is this?

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00:04:01,760 --> 00:04:02,560
Yeah, this is me.

118
00:04:02,560 --> 00:04:04,159
Okay. How are the comments?

119
00:04:04,159 --> 00:04:06,959
Well, it says order behind there. I hit

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00:04:06,959 --> 00:04:09,439
it with a blob of chaos.

121
00:04:09,439 --> 00:04:10,879
Yeah. So, the green is an O.

122
00:04:10,879 --> 00:04:12,799
Yeah, the green is an O. I also thought

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00:04:12,799 --> 00:04:15,760
of it as something that was balancing.

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So, I see green as a sort of like a wise

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color.

126
00:04:19,359 --> 00:04:21,199
Green is a wise color. Yeah. Oh,

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interesting. And I really like the

128
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phrase that came before in the other

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assignment when someone said um

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predictable chaos.

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Trying to be a little chaotic, but it's

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also kind of orderly. So, it's it's in

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that direction for sure.

134
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So, I think that's where I want to be in

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10 years. I want still want some chaos,

136
00:04:38,800 --> 00:04:41,040
but hopefully I'll be a little bit

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wiser.

138
00:04:42,160 --> 00:04:44,080
Nice. Okay. Okay. Well, I think it gets

139
00:04:44,080 --> 00:04:46,240
better with that explanation. Maybe

140
00:04:46,240 --> 00:04:47,840
there's some ways that we could have

141
00:04:47,840 --> 00:04:50,479
gotten more from that or of what you

142
00:04:50,479 --> 00:04:51,280
describe.

143
00:04:51,280 --> 00:04:52,320
Yeah, I agree.

144
00:04:52,320 --> 00:04:53,840
Well, I can't, like I say, I can't say

145
00:04:53,840 --> 00:04:56,880
no. That's the wrong future.

146
00:04:56,880 --> 00:04:58,720
Okay. What do you see there?

147
00:04:58,720 --> 00:04:59,600
Peaceful.

148
00:04:59,600 --> 00:05:01,759
I see a window. Obviously,

149
00:05:01,759 --> 00:05:03,280
I'm getting a waves from it.

150
00:05:03,280 --> 00:05:05,600
Is there motion in here?

151
00:05:05,600 --> 00:05:07,199
Yeah.

152
00:05:07,199 --> 00:05:08,240
What direction?

153
00:05:08,240 --> 00:05:11,280
Oh, good point. I would say to the left.

154
00:05:11,280 --> 00:05:12,240
I would say to the right.

155
00:05:12,240 --> 00:05:13,120
Really? Yeah.

156
00:05:13,120 --> 00:05:14,479
Wow.

157
00:05:14,479 --> 00:05:16,560
Did they use type?

158
00:05:16,560 --> 00:05:17,120
No,

159
00:05:17,120 --> 00:05:19,280
it doesn't appear that they did. So, I'm

160
00:05:19,280 --> 00:05:21,919
curious to hear about that. Okay. Whose

161
00:05:21,919 --> 00:05:22,639
is this?

162
00:05:22,639 --> 00:05:23,520
That's mine.

163
00:05:23,520 --> 00:05:25,039
Okay. What can you tell us?

164
00:05:25,039 --> 00:05:28,160
I see myself in 10 years just being more

165
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calm. It's more mental than physical. I

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00:05:30,880 --> 00:05:33,280
guess it's quite literal using the

167
00:05:33,280 --> 00:05:36,080
window. So, I was not finding the

168
00:05:36,080 --> 00:05:37,680
solution to use type

169
00:05:37,680 --> 00:05:40,639
in in that communication. Well, I like

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00:05:40,639 --> 00:05:43,520
the thinking on that. He said basically,

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00:05:43,520 --> 00:05:46,800
screw the rules.

172
00:05:46,800 --> 00:05:48,880
I thought maybe there was a T or

173
00:05:48,880 --> 00:05:50,960
something in there. I still would have

174
00:05:50,960 --> 00:05:53,039
liked to seen now you incorporated a

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00:05:53,039 --> 00:05:55,199
little type in there just just kind of

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the challenge, but but a great start.

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00:05:58,320 --> 00:06:00,000
Maybe a little too literal on the

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window. Maybe there's ways to hint at a

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window.

180
00:06:02,639 --> 00:06:05,440
Okay. Well, I say overall we're not bad

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00:06:05,440 --> 00:06:08,080
place to be in a decade or 10 years.

182
00:06:08,080 --> 00:06:09,600
Let's go over here. How many would want

183
00:06:09,600 --> 00:06:10,720
this future?

184
00:06:10,720 --> 00:06:11,840
I'm curious about it.

185
00:06:11,840 --> 00:06:12,400
Me, too.

186
00:06:12,400 --> 00:06:14,080
Curious about it.

187
00:06:14,080 --> 00:06:15,039
How come?

188
00:06:15,039 --> 00:06:17,440
Because of the bright colors and the

189
00:06:17,440 --> 00:06:20,160
shapes, it feels very positive and

190
00:06:20,160 --> 00:06:23,280
exciting. But then the dot dot dot, it

191
00:06:23,280 --> 00:06:25,600
makes me a bit scared like I don't know

192
00:06:25,600 --> 00:06:26,319
what's coming.

193
00:06:26,319 --> 00:06:28,319
So, does it change the poster much if I

194
00:06:28,319 --> 00:06:29,520
could cover that up?

195
00:06:29,520 --> 00:06:33,120
Maybe. But it's still um exciting.

196
00:06:33,120 --> 00:06:35,600
I feel it's pretty animated as well.

197
00:06:35,600 --> 00:06:37,360
like you kind of feel the movement in

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00:06:37,360 --> 00:06:37,680
it.

199
00:06:37,680 --> 00:06:38,639
I would agree.

200
00:06:38,639 --> 00:06:40,960
Okay, that's not easy to do. Can you

201
00:06:40,960 --> 00:06:43,120
imagine this as a real poster somewhere?

202
00:06:43,120 --> 00:06:44,720
Yeah, but I still don't know exactly for

203
00:06:44,720 --> 00:06:45,840
what.

204
00:06:45,840 --> 00:06:48,240
Okay. Well, no, I could for sure, but I

205
00:06:48,240 --> 00:06:50,080
would tend to agree with you. Yeah, we

206
00:06:50,080 --> 00:06:51,759
probably need a little more information,

207
00:06:51,759 --> 00:06:53,680
and that's something to work on in

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00:06:53,680 --> 00:06:55,680
general. I mean, I still work on it is,

209
00:06:55,680 --> 00:06:57,600
you know, incorporating type into a

210
00:06:57,600 --> 00:07:00,240
great image and and making it stronger.

211
00:07:00,240 --> 00:07:01,840
Does it look like it was thought about

212
00:07:01,840 --> 00:07:03,280
or just done quickly?

213
00:07:03,280 --> 00:07:03,919
Thought about.

214
00:07:03,919 --> 00:07:05,840
Yeah, thought up. Why would you say

215
00:07:05,840 --> 00:07:06,240
that?

216
00:07:06,240 --> 00:07:08,479
The details you see is a mirroring

217
00:07:08,479 --> 00:07:10,880
image, but they're not equal. You see

218
00:07:10,880 --> 00:07:13,680
the craftsmanship. It's cut out, glued,

219
00:07:13,680 --> 00:07:16,080
straight lines. I would agree with that.

220
00:07:16,080 --> 00:07:17,039
Whose is this?

221
00:07:17,039 --> 00:07:17,360
Mine.

222
00:07:17,360 --> 00:07:19,199
Okay. What can you tell us?

223
00:07:19,199 --> 00:07:22,479
Um, it actually says grow on the bottom,

224
00:07:22,479 --> 00:07:24,240
but I placed it so that you could also

225
00:07:24,240 --> 00:07:27,280
read it as row because to me that both

226
00:07:27,280 --> 00:07:29,759
means like moving forward and like

227
00:07:29,759 --> 00:07:32,000
growing as a person. Maybe the blue was

228
00:07:32,000 --> 00:07:33,840
supposed to represent hopefully my

229
00:07:33,840 --> 00:07:36,560
professional life like going upwards and

230
00:07:36,560 --> 00:07:39,520
then the orange and yellow is like the

231
00:07:39,520 --> 00:07:42,479
happiness and the personal life going

232
00:07:42,479 --> 00:07:44,000
and the dots they were supposed to mean

233
00:07:44,000 --> 00:07:45,440
like you don't know what's

234
00:07:45,440 --> 00:07:46,639
like continued or

235
00:07:46,639 --> 00:07:48,720
yeah cuz it's the future I don't know

236
00:07:48,720 --> 00:07:51,360
yeah very strong you know if I had said

237
00:07:51,360 --> 00:07:53,280
for these assignments so get some

238
00:07:53,280 --> 00:07:56,160
colored paper and do a nice collage okay

239
00:07:56,160 --> 00:07:58,160
none of these in my mind would have

240
00:07:58,160 --> 00:08:00,160
become as interesting or good but

241
00:08:00,160 --> 00:08:01,680
because there had some personal

242
00:08:01,680 --> 00:08:03,520
information that had some meaning to

243
00:08:03,520 --> 00:08:05,840
you. They ended up in a place there's no

244
00:08:05,840 --> 00:08:07,919
other way you could do that. You know,

245
00:08:07,919 --> 00:08:09,840
this you have total freedom and very

246
00:08:09,840 --> 00:08:11,840
little at stake. Now, the trick is going

247
00:08:11,840 --> 00:08:13,440
to be to get some of that into your

248
00:08:13,440 --> 00:08:15,120
other work, steal some of that

249
00:08:15,120 --> 00:08:17,120
uniqueness.

250
00:08:17,120 --> 00:08:19,120
I hope with these exercises you realize

251
00:08:19,120 --> 00:08:22,479
that design has a lot of functions.

252
00:08:22,479 --> 00:08:24,720
Before somebody starts reading, does it

253
00:08:24,720 --> 00:08:27,360
intrigue them? Does it send a message

254
00:08:27,360 --> 00:08:29,120
that's consistent with what they're

255
00:08:29,120 --> 00:08:31,360
going to then read or experience or

256
00:08:31,360 --> 00:08:32,959
hopefully walk across the street and

257
00:08:32,959 --> 00:08:34,959
read the small print on that poster

258
00:08:34,959 --> 00:08:38,080
because you intrigued them. I hope you

259
00:08:38,080 --> 00:08:40,800
had a chance to do these at home and I

260
00:08:40,800 --> 00:08:43,039
really hope that you're encouraged to

261
00:08:43,039 --> 00:08:44,800
push yourself a bit. Put some of

262
00:08:44,800 --> 00:08:48,160
yourself into the work. Experiment more.

263
00:08:48,160 --> 00:08:49,839
Hopefully you got some of that from the

264
00:08:49,839 --> 00:08:54,680
class. So, thank you.

1
00:00:05,120 --> 00:00:07,120
I think if I didn't take risks, if I

2
00:00:07,120 --> 00:00:09,040
played it safe, we wouldn't be here

3
00:00:09,040 --> 00:00:12,040
today.

4
00:00:19,279 --> 00:00:22,320
So, we've looked at who are you, how's

5
00:00:22,320 --> 00:00:23,600
your life going, where are you going to

6
00:00:23,600 --> 00:00:27,359
be in 10 years? Okay. And now that would

7
00:00:27,359 --> 00:00:29,679
lead to this little closing exercise.

8
00:00:29,679 --> 00:00:32,399
So, just at the top of your page, I'd

9
00:00:32,399 --> 00:00:34,000
like you to just we'll title this

10
00:00:34,000 --> 00:00:35,840
lifeline.

11
00:00:35,840 --> 00:00:38,800
And then I'd like you to simply draw a

12
00:00:38,800 --> 00:00:41,120
line across your sheet, leaving some

13
00:00:41,120 --> 00:00:43,840
room on each end. Now, on this end, put

14
00:00:43,840 --> 00:00:46,800
an X, this will be your birth date. And

15
00:00:46,800 --> 00:00:49,920
then on this end, I'd like you to put

16
00:00:49,920 --> 00:00:52,399
how old you'll be and what year that

17
00:00:52,399 --> 00:00:56,440
would be when you die.

18
00:00:57,840 --> 00:01:00,399
Okay. Now, I'd like to come in with a a

19
00:01:00,399 --> 00:01:03,600
third X. And that one will be today's

20
00:01:03,600 --> 00:01:06,880
date, but put it in perspective where it

21
00:01:06,880 --> 00:01:10,400
should fall on that line.

22
00:01:10,400 --> 00:01:12,479
I'd like you to take a few moments here

23
00:01:12,479 --> 00:01:14,960
and and simply stare at this line. Just

24
00:01:14,960 --> 00:01:17,040
We're not used to seeing our our life

25
00:01:17,040 --> 00:01:18,799
like this, but just just stare at it

26
00:01:18,799 --> 00:01:23,159
quietly for a few seconds.

27
00:01:24,400 --> 00:01:26,000
What What were some of your thoughts as

28
00:01:26,000 --> 00:01:29,600
you just looked at your lifeline?

29
00:01:29,920 --> 00:01:32,640
How short I've lived. How short you've

30
00:01:32,640 --> 00:01:34,320
lived. Okay. How about you?

31
00:01:34,320 --> 00:01:36,640
How bad I am at math.

32
00:01:36,640 --> 00:01:39,600
How bad you are with math. Okay.

33
00:01:39,600 --> 00:01:41,600
Also,

34
00:01:41,600 --> 00:01:43,200
yeah, how short I've lived as well.

35
00:01:43,200 --> 00:01:44,720
How short? Okay.

36
00:01:44,720 --> 00:01:47,680
Okay. This is jarring. Yeah. I feel like

37
00:01:47,680 --> 00:01:49,200
I've already gone through a lot and now

38
00:01:49,200 --> 00:01:50,399
I'm just like, well, there's a lot left

39
00:01:50,399 --> 00:01:52,720
as well. Um I don't know what it's going

40
00:01:52,720 --> 00:01:54,560
to be like, but you know. Exactly. A lot

41
00:01:54,560 --> 00:01:56,159
left. That's mostly it.

42
00:01:56,159 --> 00:01:58,079
Okay. Okay. How about you?

43
00:01:58,079 --> 00:01:59,840
Yeah, the same. I thought more of like

44
00:01:59,840 --> 00:02:02,880
how much is left than how young I am.

45
00:02:02,880 --> 00:02:03,439
Okay.

46
00:02:03,439 --> 00:02:04,240
Yeah.

47
00:02:04,240 --> 00:02:05,920
And how old are we going to be? How old

48
00:02:05,920 --> 00:02:07,119
will you be when you die?

49
00:02:07,119 --> 00:02:08,000
90.

50
00:02:08,000 --> 00:02:08,479
90.

51
00:02:08,479 --> 00:02:08,800
Yeah.

52
00:02:08,800 --> 00:02:10,479
I said 85.

53
00:02:10,479 --> 00:02:11,360
105.

54
00:02:11,360 --> 00:02:12,400
Wow.

55
00:02:12,400 --> 00:02:13,440
105.

56
00:02:13,440 --> 00:02:14,400
80 something.

57
00:02:14,400 --> 00:02:17,680
The purpose of this is is to not to end

58
00:02:17,680 --> 00:02:19,840
on some negative note or anything, but

59
00:02:19,840 --> 00:02:22,800
hopefully to realize the only thing we

60
00:02:22,800 --> 00:02:24,959
know for sure, nothing's guaranteed. The

61
00:02:24,959 --> 00:02:27,840
only thing we know for sure is this is

62
00:02:27,840 --> 00:02:29,920
gone. Okay? You're not getting that

63
00:02:29,920 --> 00:02:34,000
back. Um, and we don't know exactly when

64
00:02:34,000 --> 00:02:36,400
this is coming, but it is coming. And

65
00:02:36,400 --> 00:02:38,480
when I taught sociology, the there's a

66
00:02:38,480 --> 00:02:40,480
big study where they interviewed people

67
00:02:40,480 --> 00:02:42,080
on their deathbed really in nursing

68
00:02:42,080 --> 00:02:44,080
homes, try to find out what in their

69
00:02:44,080 --> 00:02:47,120
life did they regret doing and see if

70
00:02:47,120 --> 00:02:48,560
there were some patterns and things. And

71
00:02:48,560 --> 00:02:51,120
what they weren't expecting to find is

72
00:02:51,120 --> 00:02:54,160
that very few people regretted things

73
00:02:54,160 --> 00:02:56,720
they had done in their life. But almost

74
00:02:56,720 --> 00:02:58,959
unanimously they regretted the things

75
00:02:58,959 --> 00:03:00,959
they hadn't done. It was everything

76
00:03:00,959 --> 00:03:02,959
from, you know, why didn't I take that

77
00:03:02,959 --> 00:03:05,360
job? Why didn't I move? Why didn't I ask

78
00:03:05,360 --> 00:03:07,599
her to dance? You know, what was I

79
00:03:07,599 --> 00:03:10,080
thinking? So, if there's things you want

80
00:03:10,080 --> 00:03:13,120
to have accomplished by this point, what

81
00:03:13,120 --> 00:03:15,760
are you doing now to ensure they happen?

82
00:03:15,760 --> 00:03:18,720
Okay. If you're hoping they happen in

83
00:03:18,720 --> 00:03:21,360
here, well, good luck. But if there's

84
00:03:21,360 --> 00:03:22,800
some things when you get here, you want

85
00:03:22,800 --> 00:03:24,640
to be able to say you did this and this

86
00:03:24,640 --> 00:03:26,959
and this and you don't regret the things

87
00:03:26,959 --> 00:03:30,159
you didn't do. So, it's it's a positive

88
00:03:30,159 --> 00:03:32,000
note, even though it's it's odd. We're

89
00:03:32,000 --> 00:03:33,920
not used to looking at such a thing, but

90
00:03:33,920 --> 00:03:36,159
I hope you'll hang on to this. And then

91
00:03:36,159 --> 00:03:38,959
I hope you do this at home. It's it's I

92
00:03:38,959 --> 00:03:41,280
think uh worthwhile to kind of stare at

93
00:03:41,280 --> 00:03:43,840
and cuz the only thing, like I said,

94
00:03:43,840 --> 00:03:45,519
this is for sure. And if you're just

95
00:03:45,519 --> 00:03:48,239
hoping stuff works out, good luck. But

96
00:03:48,239 --> 00:03:50,319
but you don't want to get there and and

97
00:03:50,319 --> 00:03:52,560
have these things that you didn't do

98
00:03:52,560 --> 00:03:56,000
kind of haunt you.

99
00:03:56,000 --> 00:03:57,360
You know, one of the things that makes

100
00:03:57,360 --> 00:04:00,319
this exercise, I think, powerful is just

101
00:04:00,319 --> 00:04:03,200
it simplicity. Take it as a positive

102
00:04:03,200 --> 00:04:05,360
thing. It is going to end, but wow, look

103
00:04:05,360 --> 00:04:09,720
how much time I have left.

104
00:04:11,200 --> 00:04:13,040
And that's exciting. That's unwritten.

105
00:04:13,040 --> 00:04:16,000
And you can write that. You will write

106
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that regardless, but you should write it

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in a way that you won't regret not

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doing.

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Thank you for your participation. Yeah.

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Thanks.

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Thank you.

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Thank you.

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Everybody has intuition. It's not a

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matter of of teaching people to have it,

3
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but it is a matter of

4
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teaching yourself maybe to listen to it

5
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more. If you can become a aware that

6
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it's out there and it's important and it

7
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usually has good answers for you to to

8
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listen to it and and utilize it as a

9
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design tool.

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For this part, I'll be showing my work

11
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and explaining why it looks the way it

12
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does.

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Let's go.

14
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But the point is to show you that

15
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there's a reason what sometimes appears

16
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chaotic or random is almost never the

17
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case. graphic design has gotten pretty

18
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conservative and automatic and I think

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has lost a lot of the rebelness is that

20
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a word rebellioness

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that word there aren't as many rebels um

22
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in graphic design and it's gotten so

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clean and sanitary and so I think for

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the profession to stay kind of vital or

25
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or important that we still need somebody

26
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says oh says who why not why can't I do

27
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this Because a big part of design is to

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get somebody to want to come into your

29
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store, to pick up your book, to click on

30
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your site, to walk across the street and

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read the fine print. You know, if you've

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done your job as a designer, people will

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do that. They'll want to do that. I have

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an example here. This was a window

35
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display for a store in a shopping mall.

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And they had some issues on this about

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readability,

38
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but I think this in a boring shopping

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mall window display would have gotten

40
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people's attention and maybe they stop

41
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and maybe they they look in the door,

42
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but we'll never know. They it never came

43
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very close to being accepted, but I

44
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think a bit of a missed opportunity.

45
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I was asked by a hotel in in Amsterdam

46
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to come up with some the numbers for the

47
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floors. You know, we see here the word

48
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to, but it says nothing. That's

49
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nonsense. That doesn't say anything in

50
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any language, but we all read it. And

51
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you know, really the word is an image.

52
00:02:24,560 --> 00:02:25,920
And maybe it's more interesting,

53
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especially getting off the elevator in a

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hotel that's trying to be kind of hip

55
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and current and fun. And of course, you

56
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get it right away. I am trusting my own

57
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judgment and intuition on that. I know

58
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it's a three. I know it's a four. I know

59
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they're all readable even though I say

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it's not a word. Okay, this works really

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good. The I and the X are shorter and

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the I in the middle. The five was pretty

63
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great, but this is maybe even better.

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People looking at existing things and

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using them in new ways. Sounds kind of

66
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trit, but but I think that's a big job

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of the designer. It's get people looking

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again, noticing again. I'm never without

69
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my phone. And if I go for a walk in a

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new city or something and I don't have

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my phone, I have to go back because I'm

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going to see something, some shape, some

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texture, some color, it registers. And

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then I'm doing a layout and somehow I

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think that works this way into your

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work. What we're seeing here is just

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something that caught my eye. And this

78
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is a shape, color, texture. It's not to

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copy them exactly, but it it registered

80
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as something that your mind sees that

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somebody else might not have seen. So,

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here there's a nice field of of blues

83
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and grays and whites. And kind of how I

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start my collage work is gathering

85
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things in groups of color combinations

86
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that I think could go together.

87
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This is my kind of humor. I just love

88
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this. I I forget where I saw it posted,

89
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but one alert accordion and then the

90
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little things just say no thanks.

91
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There's no number or anything, so

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somebody stops and and reads it. No, no,

93
00:03:57,439 --> 00:03:59,040
I don't. And they take it and put it in

94
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their pocket. Anyway, just absurd, but

95
00:04:02,480 --> 00:04:04,400
great. And you know, I love this kind of

96
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thing on a couple levels. Somebody took

97
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the trouble, number one, to design this,

98
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number two to print them, number three

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to wild post them around the city one

100
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night. And there's no other message on

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there other than it says, "Holy shit." I

102
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love that energy that somebody took the

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time to to do that. and and get it out

104
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there for no obvious advantage or

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reason. Okay, guy's got a great hand

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lettering and it's pretty clear. I I

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think I get this message and then I saw

108
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another sign saying basically the same

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thing. Both don't want you to dump

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there, but here's a little different

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approach. So, you know, which one would

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you dump in front of? Would you dump it

113
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here or there? They say the same thing

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basically, but a very different message

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largely because of the design.

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So, I saw this at an airport. I thought,

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"Wow, I'm just not really sure this is

118
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I'm getting a real good feeling of

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security with with with this company.

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It's it's the letters are taped up with

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blue tape." So, stuff again that catches

122
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my eye. If you have a friend that has

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one of these, just solve it for them.

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4x4 is 16. But I love the idea of

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somebody coming in in the morning to get

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in their truck and what the it's 16. 4x4

127
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is 16. So part of my my whole approach

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is just noticing things around you,

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noticing things in your environment. And

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and I this is just one little example in

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my world. Normally I would ask if

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anybody can tell what this is, but it's

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going to be pretty hard to hear you

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there at home uh wherever you are. Uh so

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you know maybe what is this? It's kind

136
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of interesting shape. Here's another

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one. There's something kind of familiar,

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but not really about it.

139
00:05:47,520 --> 00:05:50,800
Okay, I'll show you where it came from.

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So, something I see every day. This is

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my actual laptop. And somehow I must

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apparently I use AS and E quite a bit

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and a bit D uh cuz they're just worn

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away, which I I just find really

145
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intriguing. When does that happen? You

146
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don't you don't see it. doesn't come off

147
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on your finger, but somehow that wears

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away, like stone uh stairs that are

149
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woven down. But the point is, use your

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environment. See things that nobody else

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sees. That's really where where you want

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to be is bringing what only you can

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bring to a project because nobody has

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your background, your upbringing, your

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parents, your whole life experience.

156
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Everybody can buy the same software and

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do a reasonable

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uh newsletter, business card or

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something, but nobody can pull from who

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you are and use that. And I would

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encourage you not only in graphic

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design, but any field to to use that

163
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because something is an accident doesn't

164
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make it good. But it's a huge part of my

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process. Always has been. Unexpected

166
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things along the way. something falls,

167
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something gets stuck in a in a printer,

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something whatever. You got to be open

169
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to that stuff and aware of it. And most

170
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of the time it doesn't work. But every

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now and then something you weren't

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expecting happens in the process. It's

173
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like, wo, that's even better than I

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thought. When I started it was all paste

175
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up, art boards, uh, Xacto knives. And

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this is a very early work in beach

177
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culture. some of the first timer

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actually printing out a type from the

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printer, not having to send out for it.

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And this came back all messed up. And at

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some point, I thought, well, you know

182
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what? Maybe I'll just use it like this.

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And that's the case here. So, you can

184
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see the word mixed messages. I started

185
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to mix the font, uh, the MI and the X,

186
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and then you see another X, and you see

187
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two E's. So, that was my starting point.

188
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Well, mixed messages. I may I wonder if

189
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I could mix some of the the words or the

190
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letters of the title. Those are kind of

191
00:07:52,560 --> 00:07:55,120
interesting. Well, at this time in the

192
00:07:55,120 --> 00:07:57,199
whole process, I like to print it out

193
00:07:57,199 --> 00:08:00,160
and look at it and stare at it. So, with

194
00:08:00,160 --> 00:08:01,759
this, I had to print these four sections

195
00:08:01,759 --> 00:08:03,919
out cuz the magazine was oversized. And

196
00:08:03,919 --> 00:08:05,360
I would have put them on the floor cuz

197
00:08:05,360 --> 00:08:07,919
it had to come out in four pages. And

198
00:08:07,919 --> 00:08:10,080
I'm looking at it and I would have gone,

199
00:08:10,080 --> 00:08:12,639
"Oh, wow. That's that's even more mixed

200
00:08:12,639 --> 00:08:15,280
message. Look at that." And I'm sure I

201
00:08:15,280 --> 00:08:17,680
very carefully picked it up and maybe

202
00:08:17,680 --> 00:08:20,560
taped it together or something. And so

203
00:08:20,560 --> 00:08:22,639
the white line you see kind of coming

204
00:08:22,639 --> 00:08:25,280
down through the X's to the S and then

205
00:08:25,280 --> 00:08:27,680
going horizontally through the S and the

206
00:08:27,680 --> 00:08:30,000
A, that's the border of the smaller

207
00:08:30,000 --> 00:08:31,840
sheets of paper that wouldn't print,

208
00:08:31,840 --> 00:08:34,000
wouldn't bleed, but it became the whole

209
00:08:34,000 --> 00:08:36,159
layout cuz I thought it even reinforced

210
00:08:36,159 --> 00:08:39,120
this mixed message idea. So I think

211
00:08:39,120 --> 00:08:41,839
intuition in design is is actually one

212
00:08:41,839 --> 00:08:44,720
of the most important ingredients. Um

213
00:08:44,720 --> 00:08:48,000
it's something only you can pull from.

214
00:08:48,000 --> 00:08:50,240
Uh, everybody can use it, but

215
00:08:50,240 --> 00:08:51,600
everybody's is going to be different.

216
00:08:51,600 --> 00:08:53,920
That's, you know, it really does have to

217
00:08:53,920 --> 00:08:55,760
do with your whole life experience, how

218
00:08:55,760 --> 00:08:57,920
you were brought up, your parents, your

219
00:08:57,920 --> 00:08:59,760
everything. And somehow that influences

220
00:08:59,760 --> 00:09:02,560
what you see, your decisions on things.

221
00:09:02,560 --> 00:09:04,240
And you have to be able to listen to

222
00:09:04,240 --> 00:09:08,000
that in design to or probably a lot of

223
00:09:08,000 --> 00:09:10,959
fields to do great

1
00:00:07,279 --> 00:00:08,960
I'm interested in the various ways

2
00:00:08,960 --> 00:00:12,080
typography can can send a message and

3
00:00:12,080 --> 00:00:14,160
can communicate and some of it's through

4
00:00:14,160 --> 00:00:16,400
reading but not most of it. Most of it

5
00:00:16,400 --> 00:00:18,720
is the feeling we get from it and that

6
00:00:18,720 --> 00:00:20,400
really intrigues me and how can we

7
00:00:20,400 --> 00:00:22,880
emotionally affect people through the

8
00:00:22,880 --> 00:00:25,680
use of typography. It was, you know,

9
00:00:25,680 --> 00:00:28,240
William Burroughs once said that a word

10
00:00:28,240 --> 00:00:31,199
is an image. A word is an image. And I

11
00:00:31,199 --> 00:00:32,719
think that's how I feel about

12
00:00:32,719 --> 00:00:35,200
typography. It's an image. It also

13
00:00:35,200 --> 00:00:37,680
happens to spell something. But before

14
00:00:37,680 --> 00:00:39,920
that, it's sending a message and how

15
00:00:39,920 --> 00:00:42,719
it's arranged and how it's worked uh

16
00:00:42,719 --> 00:00:44,960
into a design or layout. And that to me

17
00:00:44,960 --> 00:00:50,039
is an excitingly powerful tool.

18
00:00:53,680 --> 00:00:55,680
We have a few things that we can use to

19
00:00:55,680 --> 00:00:57,680
help send a message and and I start

20
00:00:57,680 --> 00:01:00,079
really with the font choice. Don't

21
00:01:00,079 --> 00:01:04,080
overlook the message behind each font,

22
00:01:04,080 --> 00:01:06,159
what you get from that. They all have

23
00:01:06,159 --> 00:01:08,479
their own personality and you have to

24
00:01:08,479 --> 00:01:12,080
decide as a designer which one fits your

25
00:01:12,080 --> 00:01:15,040
particular project the best and doesn't

26
00:01:15,040 --> 00:01:16,799
simply

27
00:01:16,799 --> 00:01:20,880
uh carry the information. It'll help you

28
00:01:20,880 --> 00:01:23,840
um reinforce a message and and that can

29
00:01:23,840 --> 00:01:25,360
be

30
00:01:25,360 --> 00:01:27,680
well any anything really stability. It

31
00:01:27,680 --> 00:01:30,080
can be fragile. It can be quaint. It can

32
00:01:30,080 --> 00:01:32,320
be loud, you know, and without

33
00:01:32,320 --> 00:01:34,400
necessarily having to say that. And it's

34
00:01:34,400 --> 00:01:36,320
it's a subtle thing, but it's a huge

35
00:01:36,320 --> 00:01:39,119
part of the craft of graphic design. So,

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did you look at the space between the

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letters? Did you decide maybe it's a

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little elegant or classier if I open

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that up a tiny bit and maybe here I

40
00:01:47,759 --> 00:01:50,159
could go to a caps but that cap doesn't

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00:01:50,159 --> 00:01:52,320
feel right. Maybe I should make a tall

42
00:01:52,320 --> 00:01:55,600
condensed one that I can find. So make

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those decisions. A lot of it is just

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don't get lazy and yeah it's there. It's

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readable. It's okay. But that's not

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where you want to be. That's not where

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you're going to have the most fun doing

48
00:02:04,560 --> 00:02:05,759
it. You're not going to do your best

49
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work. So I would look at a of you know

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kind of the obvious categories of fonts

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bold thick serif sans serif

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itallic nonitallic the basic category

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see if something hits you there strikes

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you is feeling right for the message and

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the other information whether it's

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photograph or graphs or whatever you

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have and if you have a very unique one

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you can only use it usually once or very

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few times because then it becomes more

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about the font and everybody can use it

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and identify it. So I just stay away

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from anything that um feels too

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popular

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uh too common, too forgettable and after

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that it just has to feel right to you

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for that particular project, that

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particular client. And that's a

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subjective call but it's a huge part of

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your design process.

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This work early work for Armani was at a

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time when there was a ton of type faces

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00:03:12,720 --> 00:03:14,480
which we're kind of seeing again which

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is exciting. I thought well you know

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what rather than grab the newest coolest

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latest font I'm going to take an old

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existing font and a new one and combine

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them and that will be the look for

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Armani and it became their look for that

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year. So there's two fonts. There's an

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old one, a new one.

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Another example of very traditional type

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face with the serif, a newer font, and

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then also combining some italic and

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upper lower case. So just little stuff.

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And there's no right or wrong to this

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other than again when it feels right to

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you and dictated by the photo. So it's

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not only about picking the font, but but

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00:03:53,599 --> 00:03:55,920
how you use it. And maybe you can

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combine a couple. Maybe you go back in

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and change one word, one letter to a

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different font. Something that makes it

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yours. And maybe people aren't even

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00:04:06,560 --> 00:04:08,480
exactly aware why it's kind of

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interesting, but the fact that you did

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that and maybe one letter is a little

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bolder, but whatever whatever seems

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right to you, I would encourage you to

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make things your own. Have have some

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ownership that nobody else would do.

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00:04:26,560 --> 00:04:29,600
The tone set by hand lettering is is

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just all over the map. You know, it can

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be happy, it can be sad, it can be

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angry, it can be urgent, it can be calm.

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But what it's mostly is human and sends

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that message that a person was behind

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this. And some of the reason you should

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never use a font that is made to look

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like hand lettering. handletter it or

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get somebody that does to to do that.

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It's like kid art agency sometimes will

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use somebody in the agency to do a kid

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art ad and no, get a kid to do that. You

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can't beat that. And when I see hand

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lettering, the first thing I do is check

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two letters and see that they're

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different. Make sure it's hand lettering

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and not a computer font. I've always

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done some part of hand lettering and I'

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maybe kind of even gotten back to it

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more, but this was done with a

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watercolor pencil held up too high at

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the wrong angle and probably with my

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left hand and it says beach. The hand

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writing here contrasts nicely with the

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squareness of the photograph. the um

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juxtaposition of something very

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obviously human and a more formal

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portrait I think works together well.

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But because something's hand lettering

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doesn't make it good. It's still as

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subjective and intuitive as other types

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of graphic design, it has to feel right

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for what it's what it's working for.

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Here you have an article on the band

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Sonic Youth and the illustrator, he

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wrote on the right Sonic Youth. And so

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that was my influence in doing the title

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on the left. I thought, "Oh, there's

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something kind of nice in that hand

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lettering." And I took the hard copy of

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the article they actually gave me uh and

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wrote right over it with my left hand to

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make it even stranger. And uh fits in

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and that's very subjective, but um but

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pretty rewarding when you get it. And

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00:06:20,560 --> 00:06:23,039
again, I think its main message is

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there's a human behind this. There's

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some people involved here.

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At some point obviously the color is a

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huge part of of also reinforcing the

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message and sending it. I usually don't

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want to color to overpower the the

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design. It should complement it. In this

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particular case, you know, this is an

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article, songs in the key of life, where

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different musicians talked about songs

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in their life that when they heard them

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took them back to a different time or

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place or an event, you know, a love, a

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date, a kiss, a summer, a storm,

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whatever. So, the coloring here to me is

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maybe a little bit of all that, you

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know, the overlapping and the kind of

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dirty yellow. this place of melancholy.

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It's kind of hopeful but not not really

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happy or sad. So, this was a Channel

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Island National Park series of posters

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to get people excited about the park.

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You can barely see it there, but it says

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discover. And that's kind of what they

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want you to do with a national park and

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what I want you to do in the poster. And

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because it's an island, the the color

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reference is largely blues and greens

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and ocean related. The pink was largely

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because I'd never used pink like that

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before and found it kind of interesting.

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It offset the other blueish watery

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colors nicely.

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So, what I'm trying to do in a title,

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this is a very scary, cold, sharkridden

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place to go surfing. It's actually the

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first time it was exposed, a place

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called Mavericks in Northern California.

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the title pretty good title cold sweat

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but and I wanted to give it a not very

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friendly not very welcoming feel so it's

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been black it has the spacing the tea

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being the only one in white all that

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kind of hopefully adds to the feeling of

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what the article is about so that's the

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starting point for me read the article

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in in magazine work listen to the music

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look at any images and say okay what am

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I getting from that and what would that

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look like

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maybe because I didn't have the

199
00:08:35,200 --> 00:08:37,839
schooling. I I never used a grid, never

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00:08:37,839 --> 00:08:40,320
knew what they were and still don't use

201
00:08:40,320 --> 00:08:42,640
a grid or any kind of system. By the

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00:08:42,640 --> 00:08:44,000
time I did learn about them, I thought,

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00:08:44,000 --> 00:08:45,600
"Wow, why would you want to do that?"

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00:08:45,600 --> 00:08:48,399
Uh, you know, I always start maybe

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00:08:48,399 --> 00:08:50,959
because I started on art boards with a

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blank piece of thin cardboard, basically

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00:08:54,000 --> 00:08:56,560
a blank a blank page and start arranging

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00:08:56,560 --> 00:08:58,399
things to where they feel right and help

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00:08:58,399 --> 00:09:01,040
send the message I'm trying to send. So,

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00:09:01,040 --> 00:09:02,880
I did some work for a clothing company

211
00:09:02,880 --> 00:09:04,880
called Eddie Bower. I did this cover. I

212
00:09:04,880 --> 00:09:07,040
think it's kind of reasonable. And a

213
00:09:07,040 --> 00:09:08,800
couple ads, you know, this was again was

214
00:09:08,800 --> 00:09:11,120
a big deal for them to break up words.

215
00:09:11,120 --> 00:09:12,880
And then they did ask me to do some more

216
00:09:12,880 --> 00:09:15,120
of their catalog work.

217
00:09:15,120 --> 00:09:16,800
Um, and they showed me this and I

218
00:09:16,800 --> 00:09:19,040
thought, "What? I've never seen so many

219
00:09:19,040 --> 00:09:22,480
freaking guidelines in my life." And I

220
00:09:22,480 --> 00:09:24,000
couldn't I couldn't work with that. It

221
00:09:24,000 --> 00:09:25,680
was too much info. I took it all in.

222
00:09:25,680 --> 00:09:27,920
It's all part of the design. I have to

223
00:09:27,920 --> 00:09:31,920
to eliminate them. Um, I have to delete

224
00:09:31,920 --> 00:09:34,160
guidelines. You know, never snap to

225
00:09:34,160 --> 00:09:36,480
guides. That's a horrible command

226
00:09:36,480 --> 00:09:37,839
because you should be making those

227
00:09:37,839 --> 00:09:39,680
decisions. The idea that a computer sets

228
00:09:39,680 --> 00:09:43,200
that up is to me is just all wrong. This

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00:09:43,200 --> 00:09:45,680
is uh Wow. I think this is where you end

230
00:09:45,680 --> 00:09:48,160
up with boring design and boring

231
00:09:48,160 --> 00:09:50,399
designers and probably a boring

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00:09:50,399 --> 00:09:53,680
audience. So I would encourage you again

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00:09:53,680 --> 00:09:56,480
get you know never snap to guides. You

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00:09:56,480 --> 00:09:58,080
know when you start a page this is how

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00:09:58,080 --> 00:10:00,000
it should look. You're bringing your eye

236
00:10:00,000 --> 00:10:01,760
to it. You're not following somebody

237
00:10:01,760 --> 00:10:04,320
else's guideline guidelines. I mean come

238
00:10:04,320 --> 00:10:06,880
on. Um like training wheels or

239
00:10:06,880 --> 00:10:08,720
something. So this is how you need to

240
00:10:08,720 --> 00:10:11,040
start. You know never snap to guides.

241
00:10:11,040 --> 00:10:14,320
Never snap to guides. Never snapped a

242
00:10:14,320 --> 00:10:16,959
guy. I just can't say it. We want your

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00:10:16,959 --> 00:10:19,200
mind.

1
00:00:07,600 --> 00:00:09,760
Photography is a huge part of graphic

2
00:00:09,760 --> 00:00:13,599
design. In the photos you choose or in

3
00:00:13,599 --> 00:00:16,240
the sections of the photos you choose.

4
00:00:16,240 --> 00:00:18,800
That's where you can give some life to

5
00:00:18,800 --> 00:00:20,640
something that otherwise might be so

6
00:00:20,640 --> 00:00:23,199
perfectly focused and colored and

7
00:00:23,199 --> 00:00:27,279
balanced that it's totally forgettable.

8
00:00:27,279 --> 00:00:29,279
What hints can you take from the

9
00:00:29,279 --> 00:00:32,320
photography? A line, an angle, a white

10
00:00:32,320 --> 00:00:34,399
space, something that helped tie this

11
00:00:34,399 --> 00:00:38,680
together as as one piece.

12
00:00:46,000 --> 00:00:47,440
I think because I started on a

13
00:00:47,440 --> 00:00:49,360
skateboard magazine where we had very

14
00:00:49,360 --> 00:00:52,559
limited well like no budgets and photos

15
00:00:52,559 --> 00:00:54,640
just submitted by people in the office

16
00:00:54,640 --> 00:00:56,879
or skaters themselves which is a cool

17
00:00:56,879 --> 00:00:58,800
idea but it often didn't work. And so I

18
00:00:58,800 --> 00:01:01,440
was forced to kind of look at each photo

19
00:01:01,440 --> 00:01:03,520
and maybe find a section that I thought

20
00:01:03,520 --> 00:01:05,600
was more interesting. I'm going to go in

21
00:01:05,600 --> 00:01:08,320
and blow this section of the photo up

22
00:01:08,320 --> 00:01:10,560
and whoa that got really strong. That's

23
00:01:10,560 --> 00:01:12,720
really nice. And so I started working

24
00:01:12,720 --> 00:01:14,320
like that. And even if the skate

25
00:01:14,320 --> 00:01:17,600
photographer photography was good, then

26
00:01:17,600 --> 00:01:19,680
maybe again it was a major article or it

27
00:01:19,680 --> 00:01:22,080
was a cover article or you had six pages

28
00:01:22,080 --> 00:01:24,320
or eight pages and all I have are a

29
00:01:24,320 --> 00:01:26,159
couple good skate shows. Well, I want

30
00:01:26,159 --> 00:01:28,960
more atmosphere. So, it it got me

31
00:01:28,960 --> 00:01:31,439
searching for things but always within

32
00:01:31,439 --> 00:01:33,520
what I was given. So, maybe type got

33
00:01:33,520 --> 00:01:36,720
bigger, maybe this one little photo they

34
00:01:36,720 --> 00:01:39,840
thought would be used small, got bled,

35
00:01:39,840 --> 00:01:41,840
or any number of decisions like that.

36
00:01:41,840 --> 00:01:43,680
And I think I still kind of work in that

37
00:01:43,680 --> 00:01:45,680
way. People lay out magazines now and

38
00:01:45,680 --> 00:01:47,360
they leave a box for when the photo

39
00:01:47,360 --> 00:01:49,920
shows up. Say, "No, you can't just drop

40
00:01:49,920 --> 00:01:51,520
that in when it shows up. Let's look at

41
00:01:51,520 --> 00:01:52,880
that photo. Maybe it needs to be

42
00:01:52,880 --> 00:01:55,040
enlarged. Maybe it needs to be a bleed.

43
00:01:55,040 --> 00:01:56,560
Maybe there's a section of it that's

44
00:01:56,560 --> 00:01:58,240
more interesting." But the idea that you

45
00:01:58,240 --> 00:02:01,600
just drop it into a pre-arranged box is

46
00:02:01,600 --> 00:02:03,280
probably going to kill all the the

47
00:02:03,280 --> 00:02:06,280
impact.

48
00:02:09,920 --> 00:02:12,239
This is a really tight cropping which I

49
00:02:12,239 --> 00:02:14,000
like and I've done in a variety of

50
00:02:14,000 --> 00:02:16,480
sports from the skaters to the

51
00:02:16,480 --> 00:02:19,200
snowboarders to surfers and that's the

52
00:02:19,200 --> 00:02:21,440
case here. So I've cropped extremely

53
00:02:21,440 --> 00:02:24,560
close in on on this photo of 11time

54
00:02:24,560 --> 00:02:27,280
world champion Kelly Slater with the

55
00:02:27,280 --> 00:02:30,640
idea which see was was revolutionary at

56
00:02:30,640 --> 00:02:33,200
the time. Wow. I wonder if we could use

57
00:02:33,200 --> 00:02:37,200
this print media to get people to go to

58
00:02:37,200 --> 00:02:39,840
this new website thing, you know. Do you

59
00:02:39,840 --> 00:02:42,560
think do you think would that work? It

60
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basically says, so this is shot number

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five of a photo sequence of Kelly

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Slater. And if you want to see the the

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whole ride, go to this web address. But

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that's taking kind of two concepts. one

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that I like to crop and and uh severely,

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but this is probably even a little more

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severe because it had that other

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intention of of teasing people to want

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to go to the website where they would

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not only see the whole wave, the whole

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ride, but of course product information

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and and everything else. This was a

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publicity photo which we often used,

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which I hated doing because everybody

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else has the same photo, but it's free.

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And so this would have been a nice photo

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of PJ Harvey and I just thought, "Oh

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man, another PR photo. Everybody's gonna

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see the same photo. You know what? Maybe

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I could just crop in." So I ended up

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cropping in very closely and just her

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eye. And I think with the type became a

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more striking cover than her simply

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staring at the camera that the original

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PR photo was.

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Bark was a paddle board company in uh

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California. And like I often do,

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starting with the skateboarder magazine,

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I'm I'm given a a photo and you would

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have seen the whole paddleboarder here.

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And I thought, nah, it's okay. I've seen

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this a lot. And then, oh, well, this is

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kind of interesting. As I start cropping

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in, get a little more dramatic. And

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there's a hint of going into the

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brochure into the magazine on the right.

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And hopefully it does that. So, I want

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people that don't know this company to

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be intrigued, to want to know more. And

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hopefully this starts to send a good

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message about the company that maybe

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they're they're experimental, they're

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current, they do things in a different

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way. There's a lot of messages your

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design sends.

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So, just some mood stuff inside the

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catalog. I think it's nice when the

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client doesn't demand you always show

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product. And then I really like this

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tagline, keep paddling. It just applies

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to everything. Keep going, keep

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paddling. And the original photo was a

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lot bigger again. And then here the

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guy's kind of leaving and you just see

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the foot and there's just something

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where I think it got stronger. So, so be

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aware of the entire

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wholeness of of what information you're

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given, especially in photography. And

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can you make it better with your eye as

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a designer? That's why you were hired.

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This is a page from uh Beach Culture

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magazine and uh it's a little bit about

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the cropping and it's also about found

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art and using things that maybe weren't

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intended. And when the photographer for

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this article, uh, the singer Lyall Love

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it, uh, actually sent me all the

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official shots. So, well, perfectly lit,

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all above, all the expected stuff. Um,

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and they were fine and they were focused

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and they were, and somewhere in the

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package, I found this little test

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Polaroid that I don't even know if they

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knew they sent. And in that test

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Polaroid, the singer Lyall Love it, he's

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standing on his X that had been taped on

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the ground for his spot to be standing.

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And it's that, you know, silver duct

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tape, but his boots are right on right

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in uh behind the X where he's supposed

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to stand for his photo shoot. And it's a

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little Polaroid in amongst all these

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perfect shots. And I just thought, "Oh,

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that's so cool. Look at the way he's

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standing. Look at those boots. Look at

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the pants. It just it just seemed to

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fit. It just seemed to say so much about

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him and and maybe the experience and and

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later you still get a shot of him and

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you see his face and all that. And so

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this article talks about what's all this

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noise about. So I'm interpreting that

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title a little bit, but I just just love

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this photo. And I I actually posted it a

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year ago or something cuz I'd run back

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across it and uh and I saw a message

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from Lov It himself to the photographer

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saying, "I love this shot. How come I

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never saw it?"

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You know, so it's not the obvious choice

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for the opening photograph, which of

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course makes it the obvious choice.

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You know, don't go always for the

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expected one. With this one, I read the

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interview, which is always the starting

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point for me. I have no other place to

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start on an article. Sometimes editors

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are surprised. What? You read the

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article. You have to read the article

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and you have to look at all the material

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and you have to listen to the music.

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That's that's where you get inspired.

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This photo was was another publicity

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photo. And I read the interview and the

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guy was was super negative in the

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interview. He hated interviews. He hated

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magazines. Yeah. Just like kind of a

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downer interview. And at some point I

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decided, you know what? I'm just going

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to use this picture upside down

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and that's what I went with. So this is

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early work for Burton Snowboards. I

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developed this bar logo for them. And

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then at the time it was a big deal to

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break up the logo. You didn't break up

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logos, much less change the size and the

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color. They showed me all these these

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photos of of people doing the obvious

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tricks in the air and things. And there

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was just this one real photo of the guy

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looking back at the camera. He's going

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across a a lake that's half water still.

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And then I just thought, "Wow, that's

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just so cool." And it showed the jacket

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and the gloves and the product pretty

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well. And I had to argue for this one

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cuz I really wanted another high air

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photo, but I thought, "No, there's

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something real about the way the guy's

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looking back." And then this one, I just

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I thought that I cropped the guy out and

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just used a shadow. I thought it was

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more interesting. He probably wasn't

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real happy and his parents, but hey, I

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got the cover. Wait a minute. What's

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this? It's your shadow, man. It's your

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shadow. It's cool. So, this was an

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action uh what do they call it?

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Adventure Lifestyle magazine when they

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came to me and wanted to start this and

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and they were calling it Adventure

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Lifestyle. And I said, "Oh god, that's a

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corny title, Adventure Lifestyle." At

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some point, I said, "I don't know, call

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it Blue or something, but but not

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Adventure Lifestyle." So, this was the

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first cover. Of course, I I don't never

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going to make the word Blue. That would

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be way wrong. And I had this photo of

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photographer Laura Lavine had sent me

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many years earlier as a contact sheet

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for Beach Culture magazine and I

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couldn't find a use for it. And it was

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all these kids diving and swimming and

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jumping. I thought, "Wo, this is so

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cool. This is I didn't crop this. This

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is how she had gotten it." And uh I I

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circled it, put it away, and it would be

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I don't know four or five years later

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when this opportunity came up for this

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magazine. And I thought, "Ah, I've got

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that one image." And was able to track

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it down and her down to get the

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original. And I I think it I think it

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sends a nice message about this new

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magazine

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with the Nest Nails cover. I didn't just

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say, "Oh, this looks cool. Oh, this

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looks cool together." I mean, I think

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they got there, but um but there was

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some meaning that came out of the

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lyrics. This was the cover of The

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Fragile and it's a photo I had taken

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actually on another video shoot. I got

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down in the in the bushes in Austin,

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Texas and uh took it into the uh local

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photo shop. The guy called me back the

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next day when I was supposed to pick up

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the film. He said, "Uh, listen, I got

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some really bad news. We have a new

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person here and and he used the wrong

253
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chemicals and the film is ruined." I

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said, "What?" Cuz I knew I had had some

255
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cool stuff. And he goes, "No, no, it's

256
00:10:18,240 --> 00:10:19,920
okay. Good news. we're going to give you

257
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a roll of free film. I say, "No, no,

258
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that doesn't do it. Those were very

259
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important pictures." And he said, "Well,

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I'm sorry, but we will give you a roll

261
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of free film." I'm just just so bummed

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out. I pretty much demanded it. Well, at

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least show me what you got. He No,

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they're they're ruined. I I can't even

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show I want to see what you got. And I

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went down to the place and he brought

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out this this plastic bag with these

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photos and this was one of them. And I'm

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looking through these going, "These are

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freaking great. This is amazing." And of

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course, I'm going, "Yeah, I see what you

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mean. Yeah, you really screwed up.

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Where's my free film?" Um, but the point

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is, that's what you're seeing here.

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That's what became the one of the covers

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00:11:00,320 --> 00:11:02,800
of the CD. I mean, I've cropped it and

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00:11:02,800 --> 00:11:05,360
stuff, but somebody else's screw-up that

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00:11:05,360 --> 00:11:07,519
they weren't even going to show me uh

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00:11:07,519 --> 00:11:10,079
became the cover of this of this top

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00:11:10,079 --> 00:11:12,399
selling album. And so, there's something

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00:11:12,399 --> 00:11:14,320
about being open to things you're not

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00:11:14,320 --> 00:11:16,079
expecting. And I wasn't expecting this

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00:11:16,079 --> 00:11:17,920
this tone. I mean, now you could do it

284
00:11:17,920 --> 00:11:20,079
in and a program or something, but these

285
00:11:20,079 --> 00:11:22,240
were analog photos and this is how they

286
00:11:22,240 --> 00:11:24,640
look. And they were various shades of of

287
00:11:24,640 --> 00:11:27,839
messed up, but some got so much better.

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00:11:27,839 --> 00:11:30,320
And uh I doubt the guy ever knew that.

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00:11:30,320 --> 00:11:32,000
But last day before these were going to

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00:11:32,000 --> 00:11:34,959
be printed all over the world, Trent uh

291
00:11:34,959 --> 00:11:36,079
said to me, he goes, "You know, I've

292
00:11:36,079 --> 00:11:37,440
looked at these. is I looked at this

293
00:11:37,440 --> 00:11:40,079
cover and I looked at the back cover and

294
00:11:40,079 --> 00:11:41,920
you know the back back cover kind of

295
00:11:41,920 --> 00:11:45,519
irritates me but I like it at the same

296
00:11:45,519 --> 00:11:47,519
time and that's a lot truer to the

297
00:11:47,519 --> 00:11:50,560
music. So I think we have to swap them.

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00:11:50,560 --> 00:11:52,720
So at the last possible moment he

299
00:11:52,720 --> 00:11:54,399
swapped the front cover for the back

300
00:11:54,399 --> 00:11:57,279
cover and picked his second favorite one

301
00:11:57,279 --> 00:11:59,120
because he thought it was truer to the

302
00:11:59,120 --> 00:12:01,040
music even though it wasn't his

303
00:12:01,040 --> 00:12:02,560
favorite. And I thought wow that's

304
00:12:02,560 --> 00:12:04,959
that's pretty strong. I I like working

305
00:12:04,959 --> 00:12:06,800
with somebody that has that kind of

306
00:12:06,800 --> 00:12:08,720
beliefs. These are not just cool random

307
00:12:08,720 --> 00:12:10,399
photos. When I listened to the lyrics

308
00:12:10,399 --> 00:12:12,079
and read the lyrics, there's a lot of

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00:12:12,079 --> 00:12:14,639
water reference in these. A lot of water

310
00:12:14,639 --> 00:12:16,160
reference. And and that's kind of my

311
00:12:16,160 --> 00:12:17,440
starting point here. The top is a

312
00:12:17,440 --> 00:12:19,839
waterfall. The bottom is kind of like

313
00:12:19,839 --> 00:12:21,279
you don't know what you're looking into,

314
00:12:21,279 --> 00:12:23,519
but it's actually just a closeup I took

315
00:12:23,519 --> 00:12:26,720
of a seashell. But both water and sea

316
00:12:26,720 --> 00:12:29,600
references, which the album has a lot of

317
00:12:29,600 --> 00:12:32,560
as well. And that led to another album.

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00:12:32,560 --> 00:12:34,959
The next album was Live. This was done

319
00:12:34,959 --> 00:12:36,959
right around the time of 911. And I

320
00:12:36,959 --> 00:12:39,040
think it's influenced kind of the gray

321
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and bleakness of the work. I took the

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photos and I discovered I had a bomb

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shelter I didn't know about in my

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backyard and climbed down in there and

325
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and took some photos and just I I often

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thought it reflected the times we were

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living in and maybe even made it a more

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striking cover.

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And so push yourself, experiment, and uh

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try things you haven't tried before. And

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that's when it remains fun and exciting.

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There are a lot of board designers out

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there, but you don't want to be there.

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And the good news is you don't have to.

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This is a workshop I've given all over

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the world to show that design can

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communicate before somebody starts

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reading.

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I've gotten together a small group of

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international students. I hope you'll

7
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try these at home as well. So for the

8
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first assignment, I've asked the

9
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students to only using the letters of

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your first name and only black and

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white, arrange them in such a way that

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we'd get a pretty good sense of who you

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are.

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Well, welcome. Now, all of these are

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going to be sending messages. What we

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want to look at, is it the right

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message? And if it's not, that's fine.

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We're going to show that it's impossible

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to not communicate. And even the ones

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that may not be right are still

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communicating. And that's what we want

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to look at today. And then they'll their

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next assignment will grow on this one.

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They'll be given a lot uh a different

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assignment and a little more freedom in

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a sense. And then the third one will

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wrap them all together. For this part of

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the assignment, the students did not see

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what each other were working on. So I

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think that brings a kind of a freshness

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to it. Let's go here for no particular

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reason. What kind of person is this?

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Experimental maybe

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experimental person.

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I would say dreamy person.

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Dreamy open. Experimental. Dreamy. Open.

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But then there's like a big uh dark

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area. So there's some darkness in there

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as well.

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Some darkness in their life.

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Okay. Look at that already. Just in in a

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30 seconds we go. Oh, they're

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experimental. Oh, some darkness in their

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life. Oh, they're What was the other

45
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one?

46
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Open.

47
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Shortly open. Okay. So, right away we're

48
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making these decisions and this is black

49
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ink on paper and and so that's really

50
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interesting. What else? What hit you

51
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I could say about it. Someone who's

52
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trying to make connections for sure.

53
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Somebody's trying to make connections.

54
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Okay. And I think what we want to do and

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we want to do in the artwork as well is

56
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try not to get too literal. And then

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that

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I want to feel that as much as we see

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it. If that's what they're trying to

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say, there's probably a way to do that

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that's maybe not quite so literal. So,

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something to keep in mind as we go

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forward. What else? Is this a a shy

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person?

65
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Yeah.

66
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Mysterious person.

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Mysterious.

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Yeah.

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Overthinker, maybe.

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Overthinker.

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Yeah.

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Yeah. There's a lot going on.

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So, if you're doing a poster and it

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turns out that these are right, we don't

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want to say an overthinker. Who's

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mysterious? No. We want to feel that.

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And then you can work those words in.

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but they wanted to be reinforced with

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what they're feeling when they first see

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it. All right. Well, let's find out who

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who's is this.

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Um, okay. How were those comments?

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Pretty good. Yeah, I was um surprised

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about the like the darkness thing cuz I

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think that um the element in front like

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it's less noticeable to me. Maybe

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because I've spent more time looking at

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it, but I thought it was interesting and

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the overthinker comment. I like that for

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this.

91
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Okay. What did you hear that was totally

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wrong?

93
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I don't know about mysterious. Okay.

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But on some level, yeah, maybe.

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Okay. Well, and since you did it, in a

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way, you can't escape that you're you're

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you and you made these decisions and

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there were a lot of decisions.

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All right. Well, what I what I enjoy

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about this this starting in this place

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is in a way, you know, we have four

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personalities here and we have them up

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here, too. And what we're trying to

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decide are they meshing and how they're

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communicated. And I think we're we're

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going to see a mix or not, but so

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overall, this sounds like it was fairly

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accurate.

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Yeah. Okay. But we got a lot of

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discussion out of this black ink on

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white paper. So I'm I'm happy to hear

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that. Let's go. Well, let's let's let's

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go here. What kind of person is this?

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Same as the other person?

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No. No.

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So you were given the same assignment,

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same restrictions. Do any of these look

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alike?

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No.

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Definitely not. And that's something to

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keep in mind as we go forward that if

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you're given the same assignment for a

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logo or branding or something, even

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though it's the same um topic you're

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working on, they should all look

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different for how you see the situation.

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Okay. What do you suppose the floor of

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the back seat of their car would look

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like?

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Clean. Yeah. Very clean.

131
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Very clean. Okay. So, right away, even

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something as abstract as that, we're

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making decisions on.

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Yeah.

135
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It doesn't matter. right or wrong, it's

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that you got that. And that's the power

137
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of just these marks. What else? Is this

138
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a friendly person?

139
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Yeah, I would say a friendly person

140
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because of the white space.

141
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Yeah. And the lines, they're kind of

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like white space.

143
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Yeah. The lines are bit rugged.

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What else would you Would you want to

145
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know this person?

146
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Yeah. Yeah.

147
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Would you be afraid to meet this person

148
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at 3 in the morning in an alley?

149
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Uh,

150
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no. I think it's fairly neat and like

151
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polite, I guess.

152
00:05:01,199 --> 00:05:03,040
Polite. Okay. Okay. So, we're not

153
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getting, you know, we got a pretty dark

154
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place in this one. Maybe that's

155
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a little literal again, but I think it's

156
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not only that. There's nothing spooky

157
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with that's a bad word, but with the

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with the background too, the gray, but

159
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um Okay, so we're gotten pretty

160
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friendly. We don't mind meeting him at

161
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at 3:00 in the morning in an alleyway.

162
00:05:20,080 --> 00:05:22,800
This This is a pretty feel-good piece.

163
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It feels energetic but at the same time

164
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like it

165
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it's got sort of a like mixture of like

166
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a traditional take but then like a very

167
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unique spin to it.

168
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So like still feels like someone who's

169
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like pretty clear.

170
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Yeah.

171
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But still interesting in their own way.

172
00:05:41,520 --> 00:05:43,840
Okay. Okay. I would agree with that. I

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like how it leads off. You know, there

174
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were some real distinct decisions made

175
00:05:47,520 --> 00:05:48,479
here.

176
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I'd say there's definitely confidence

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there.

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That's a nice one. We haven't heard yet.

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Confidence. I I would agree with that.

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Is it a loud confidence or kind of quiet

181
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confidence?

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Loud.

183
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Yeah, I would say loud because the text

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is so big.

185
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Yeah,

186
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it might be both. It's very organized.

187
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Um it's not solid black, which would

188
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have been a whole different message.

189
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Mhm.

190
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Um but I think overall they've all been

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pretty descriptive. So normally with a

192
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bigger class, so who's is this?

193
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Who in the world did this one?

194
00:06:23,840 --> 00:06:25,520
Um, okay. Yeah.

195
00:06:25,520 --> 00:06:26,160
Can you tell us?

196
00:06:26,160 --> 00:06:27,360
Yeah, it's pretty obvious it's me.

197
00:06:27,360 --> 00:06:28,400
How are the comments?

198
00:06:28,400 --> 00:06:31,360
Um, it's u pretty spot on. I'm I'm

199
00:06:31,360 --> 00:06:34,639
fairly open, but maybe of the first

200
00:06:34,639 --> 00:06:36,400
impression I don't look like it.

201
00:06:36,400 --> 00:06:37,919
That's interesting. I think that kind of

202
00:06:37,919 --> 00:06:40,000
comes through. Open, but maybe first

203
00:06:40,000 --> 00:06:41,919
impression is it's kind of bold. It's

204
00:06:41,919 --> 00:06:43,199
not really welcoming.

205
00:06:43,199 --> 00:06:44,000
Yeah.

206
00:06:44,000 --> 00:06:45,919
As a as an image. Some of these others

207
00:06:45,919 --> 00:06:47,280
we're going to find are a little easier

208
00:06:47,280 --> 00:06:50,080
to kind of get into in a sense. Although

209
00:06:50,080 --> 00:06:52,960
the the bleeding off does allow us in.

210
00:06:52,960 --> 00:06:54,400
We're not trapped in there. So that's

211
00:06:54,400 --> 00:06:54,880
interesting.

212
00:06:54,880 --> 00:06:56,720
And you might think the edges are kind

213
00:06:56,720 --> 00:06:59,840
of rough, but they are soft. So at first

214
00:06:59,840 --> 00:07:01,919
maybe you think they're rough, but

215
00:07:01,919 --> 00:07:03,360
they're soft when you get to know me.

216
00:07:03,360 --> 00:07:05,919
The edges are rough, but he's actually

217
00:07:05,919 --> 00:07:07,919
kind of soft. Does anybody see that in

218
00:07:07,919 --> 00:07:08,400
here?

219
00:07:08,400 --> 00:07:09,280
Yeah, now.

220
00:07:09,280 --> 00:07:10,800
Absolutely.

221
00:07:10,800 --> 00:07:12,960
Absolutely. Anything in here that was

222
00:07:12,960 --> 00:07:14,319
totally wrong?

223
00:07:14,319 --> 00:07:16,800
Big personality.

224
00:07:16,800 --> 00:07:19,360
Yeah, in a way. Maybe in certain

225
00:07:19,360 --> 00:07:20,400
situations, but

226
00:07:20,400 --> 00:07:21,840
more on the quiet side or

227
00:07:21,840 --> 00:07:23,039
Yeah, I would say so. Yeah.

228
00:07:23,039 --> 00:07:27,120
Okay. I I love the part about you um

229
00:07:27,120 --> 00:07:29,599
maybe look kind of difficult at first,

230
00:07:29,599 --> 00:07:31,199
but once you get to know you, it's

231
00:07:31,199 --> 00:07:33,280
actually kind of a soft person. And so I

232
00:07:33,280 --> 00:07:34,720
think that comes through really well.

233
00:07:34,720 --> 00:07:36,560
All right.

234
00:07:36,560 --> 00:07:39,520
Okay. Good. Let's go here. What kind of

235
00:07:39,520 --> 00:07:41,199
person is this? What hits you

236
00:07:41,199 --> 00:07:42,160
immediately?

237
00:07:42,160 --> 00:07:42,960
Fun person.

238
00:07:42,960 --> 00:07:44,160
Yeah.

239
00:07:44,160 --> 00:07:45,759
Oh, two people right away. Fun. So, this

240
00:07:45,759 --> 00:07:48,000
one's communicating pretty well. Mhm.

241
00:07:48,000 --> 00:07:48,720
What else?

242
00:07:48,720 --> 00:07:51,120
I want to say like a sort of a critical

243
00:07:51,120 --> 00:07:52,400
or creative thinker.

244
00:07:52,400 --> 00:07:53,440
What makes you say that?

245
00:07:53,440 --> 00:07:55,120
Just the sort of fun perspective and

246
00:07:55,120 --> 00:07:57,520
clearly looking for more than their uh

247
00:07:57,520 --> 00:07:59,120
might be to see for others.

248
00:07:59,120 --> 00:07:59,440
Yeah.

249
00:07:59,440 --> 00:08:01,039
Yeah. A lot of sense of humor. A good

250
00:08:01,039 --> 00:08:01,840
sense of humor.

251
00:08:01,840 --> 00:08:03,759
Experimental like with all the different

252
00:08:03,759 --> 00:08:05,280
styles of every letter.

253
00:08:05,280 --> 00:08:07,039
Would you say this person is organized

254
00:08:07,039 --> 00:08:08,160
or unorganized?

255
00:08:08,160 --> 00:08:10,160
Organized in her own way, but probably

256
00:08:10,160 --> 00:08:11,280
unorganized.

257
00:08:11,280 --> 00:08:13,199
Okay. Organized in their own way.

258
00:08:13,199 --> 00:08:15,120
I think it's thought out. I don't think

259
00:08:15,120 --> 00:08:16,800
that it's organized, but I think that

260
00:08:16,800 --> 00:08:18,879
like the strength is in how chaotic it

261
00:08:18,879 --> 00:08:19,440
is.

262
00:08:19,440 --> 00:08:22,160
Okay. I would say there is a certain

263
00:08:22,160 --> 00:08:24,080
order to this and a certain

264
00:08:24,080 --> 00:08:26,800
organization. And so if as we go

265
00:08:26,800 --> 00:08:28,560
forward, we're kind of if we were able

266
00:08:28,560 --> 00:08:30,960
to redo this, I'd probably want it

267
00:08:30,960 --> 00:08:32,800
pushed even further. And that's what you

268
00:08:32,800 --> 00:08:34,959
do as a designer. You notice things that

269
00:08:34,959 --> 00:08:37,039
other people don't. What do you think

270
00:08:37,039 --> 00:08:39,519
the What can I say here? How about the

271
00:08:39,519 --> 00:08:41,760
top drawer? Or if they have a chest of

272
00:08:41,760 --> 00:08:43,360
drawers in their room, what what what

273
00:08:43,360 --> 00:08:45,040
does the top drawer look like when you

274
00:08:45,040 --> 00:08:46,080
open it?

275
00:08:46,080 --> 00:08:47,120
A lot of stuff.

276
00:08:47,120 --> 00:08:48,240
A lot of stuff.

277
00:08:48,240 --> 00:08:49,120
Yeah.

278
00:08:49,120 --> 00:08:50,560
Is it organized?

279
00:08:50,560 --> 00:08:50,880
No.

280
00:08:50,880 --> 00:08:52,160
No. No.

281
00:08:52,160 --> 00:08:54,240
When I say it's definitely one of those,

282
00:08:54,240 --> 00:08:56,399
we're deciding what their drawer looks

283
00:08:56,399 --> 00:08:59,519
like and we're not even debating it.

284
00:08:59,519 --> 00:09:01,200
Who's is this?

285
00:09:01,200 --> 00:09:02,240
It's me.

286
00:09:02,240 --> 00:09:04,080
Okay. How How were those comments?

287
00:09:04,080 --> 00:09:07,040
Um, very spot on. Like all of them.

288
00:09:07,040 --> 00:09:09,440
Very spot on. All of them. Okay. Class

289
00:09:09,440 --> 00:09:13,160
dismissed. That's it.

290
00:09:13,360 --> 00:09:15,839
So, it's communicating a lot even though

291
00:09:15,839 --> 00:09:20,399
it's simply her name. Um, what else?

292
00:09:20,399 --> 00:09:24,640
Uh, my top drawer is definitely messy.

293
00:09:24,640 --> 00:09:27,040
And full of stuff. I'm a collector.

294
00:09:27,040 --> 00:09:27,920
You're a collector.

295
00:09:27,920 --> 00:09:29,120
I'm a collector.

296
00:09:29,120 --> 00:09:30,880
Does anybody think that comes through?

297
00:09:30,880 --> 00:09:32,560
Yeah, cuz you like couldn't decide which

298
00:09:32,560 --> 00:09:34,640
one was nice. All of them.

299
00:09:34,640 --> 00:09:37,839
I think for sure she's a collector. But

300
00:09:37,839 --> 00:09:40,000
but But we didn't get that. And you

301
00:09:40,000 --> 00:09:41,519
know, maybe there's even a way we could

302
00:09:41,519 --> 00:09:44,160
have gotten more into that. But but what

303
00:09:44,160 --> 00:09:45,440
else?

304
00:09:45,440 --> 00:09:47,839
Um

305
00:09:47,839 --> 00:09:49,440
I like that you said I was a fun

306
00:09:49,440 --> 00:09:53,519
character. Um I want to agree on that.

307
00:09:53,519 --> 00:09:55,279
Um

308
00:09:55,279 --> 00:09:58,560
and also I am organized and then

309
00:09:58,560 --> 00:10:01,120
disorganized as well. So, I think the

310
00:10:01,120 --> 00:10:03,200
comments you made about it being very

311
00:10:03,200 --> 00:10:06,880
organized and thought through, but also

312
00:10:06,880 --> 00:10:09,200
messy made like perfect sense.

313
00:10:09,200 --> 00:10:10,880
Sounds like we were pretty close. Well,

314
00:10:10,880 --> 00:10:13,279
you said spot on. I can't really do

315
00:10:13,279 --> 00:10:15,600
better than that. And again, somebody

316
00:10:15,600 --> 00:10:17,279
that just walked in might say, "Well,

317
00:10:17,279 --> 00:10:18,800
what what are they talking about?" No,

318
00:10:18,800 --> 00:10:20,720
just somebody's name or somebody ink or

319
00:10:20,720 --> 00:10:22,079
just like, "No, they're all

320
00:10:22,079 --> 00:10:24,000
communicating a lot." And we're finding

321
00:10:24,000 --> 00:10:26,560
pretty accurate. Not not totally, nor do

322
00:10:26,560 --> 00:10:28,399
they have to be, but I think that's

323
00:10:28,399 --> 00:10:30,000
pretty interesting. So let's let's go

324
00:10:30,000 --> 00:10:32,560
over here. What kind of person is this?

325
00:10:32,560 --> 00:10:33,600
Smart.

326
00:10:33,600 --> 00:10:34,079
Smart.

327
00:10:34,079 --> 00:10:34,880
Organized.

328
00:10:34,880 --> 00:10:36,880
How many would say organized? Yeah.

329
00:10:36,880 --> 00:10:39,120
Okay, everybody. So that's pretty clear.

330
00:10:39,120 --> 00:10:40,959
Structured uh and dynamic.

331
00:10:40,959 --> 00:10:43,279
Structured, organized, dynamic. That's

332
00:10:43,279 --> 00:10:44,480
pretty strong stuff.

333
00:10:44,480 --> 00:10:45,680
Clean.

334
00:10:45,680 --> 00:10:47,680
First time we've heard that. In what

335
00:10:47,680 --> 00:10:48,720
way? What do you mean?

336
00:10:48,720 --> 00:10:50,480
Like the top drawer is probably very

337
00:10:50,480 --> 00:10:52,959
clean.

338
00:10:52,959 --> 00:10:54,720
I got you on that top drawer thing,

339
00:10:54,720 --> 00:10:56,720
didn't I?

340
00:10:56,720 --> 00:10:59,839
Okay. organized and clean. Okay. Okay.

341
00:10:59,839 --> 00:11:01,680
Is this a friendly person?

342
00:11:01,680 --> 00:11:02,720
No.

343
00:11:02,720 --> 00:11:04,560
What's making you say no? There's a lot

344
00:11:04,560 --> 00:11:06,640
of white space. That's usually a kind of

345
00:11:06,640 --> 00:11:07,920
a positive thing.

346
00:11:07,920 --> 00:11:10,160
I would say because it's so structured,

347
00:11:10,160 --> 00:11:12,640
but it sounds more of a serious sort of

348
00:11:12,640 --> 00:11:14,079
idea than a friendly.

349
00:11:14,079 --> 00:11:15,440
Like building on that, it just kind of

350
00:11:15,440 --> 00:11:16,720
feels like it might take like a little

351
00:11:16,720 --> 00:11:18,320
bit of time to get through.

352
00:11:18,320 --> 00:11:18,800
Okay.

353
00:11:18,800 --> 00:11:20,079
At first. Yeah.

354
00:11:20,079 --> 00:11:21,920
Might take a while to get to know them.

355
00:11:21,920 --> 00:11:22,320
Yeah.

356
00:11:22,320 --> 00:11:24,480
Um I I would agree with that. It's kind

357
00:11:24,480 --> 00:11:28,079
of uh is it a shy, quiet person?

358
00:11:28,079 --> 00:11:29,360
Yeah, I would say so.

359
00:11:29,360 --> 00:11:30,800
You would say so. That's interesting

360
00:11:30,800 --> 00:11:32,720
because it's so bold on on these

361
00:11:32,720 --> 00:11:33,839
strokes. What makes you say that?

362
00:11:33,839 --> 00:11:36,480
Yeah, I would say that because it's so

363
00:11:36,480 --> 00:11:38,480
uh there's so much white space on it as

364
00:11:38,480 --> 00:11:39,279
well.

365
00:11:39,279 --> 00:11:40,880
So, I feel like the person is a bit

366
00:11:40,880 --> 00:11:42,720
taking a back, but then it has the

367
00:11:42,720 --> 00:11:46,800
contrast of the the big black um blocks.

368
00:11:46,800 --> 00:11:48,240
I think that's really interesting to

369
00:11:48,240 --> 00:11:50,399
have something so bold and yet get shy

370
00:11:50,399 --> 00:11:51,760
out of it.

371
00:11:51,760 --> 00:11:53,360
I agree with that. The use of whites

372
00:11:53,360 --> 00:11:54,160
space

373
00:11:54,160 --> 00:11:54,480
Yeah.

374
00:11:54,480 --> 00:11:55,839
indicates that

375
00:11:55,839 --> 00:11:57,920
all this white space is absolutely as

376
00:11:57,920 --> 00:11:59,760
important as the black and you know the

377
00:11:59,760 --> 00:12:01,839
shape around letters and in letters and

378
00:12:01,839 --> 00:12:02,720
all of that.

379
00:12:02,720 --> 00:12:04,160
I know it feels like the white space

380
00:12:04,160 --> 00:12:06,639
also says to me like leaving a lot um

381
00:12:06,639 --> 00:12:08,160
left unsaid.

382
00:12:08,160 --> 00:12:10,399
Okay. Leaving a lot unsaid. That's the

383
00:12:10,399 --> 00:12:12,320
first time we've heard that.

384
00:12:12,320 --> 00:12:13,200
Yeah.

385
00:12:13,200 --> 00:12:14,880
Makes you want to know more which is

386
00:12:14,880 --> 00:12:16,880
very powerful stuff. You want people to

387
00:12:16,880 --> 00:12:18,399
want to know more. If you know if you

388
00:12:18,399 --> 00:12:20,480
tell them everything really simple they

389
00:12:20,480 --> 00:12:22,079
lose interest. You know, you there's a

390
00:12:22,079 --> 00:12:23,680
danger in going too literal. It's like,

391
00:12:23,680 --> 00:12:25,920
okay, I get it. What's the big deal? And

392
00:12:25,920 --> 00:12:28,639
that's a huge part of graphic design.

393
00:12:28,639 --> 00:12:30,399
Okay, who's is this?

394
00:12:30,399 --> 00:12:31,680
Mine.

395
00:12:31,680 --> 00:12:32,959
How are those comments?

396
00:12:32,959 --> 00:12:34,160
Uh, pretty accurate.

397
00:12:34,160 --> 00:12:34,720
Pretty accurate.

398
00:12:34,720 --> 00:12:37,120
Yeah, like uncomfortably accurate.

399
00:12:37,120 --> 00:12:38,959
Completely accurate. Well,

400
00:12:38,959 --> 00:12:40,720
like I love uh days that I have

401
00:12:40,720 --> 00:12:42,560
everything planned from when I wake up

402
00:12:42,560 --> 00:12:45,680
to I go to bed and I'm really organized.

403
00:12:45,680 --> 00:12:47,519
My house is kind of minimalistic and

404
00:12:47,519 --> 00:12:50,320
very clean. the house is minimalistic

405
00:12:50,320 --> 00:12:51,760
and clean. Does that kind of come

406
00:12:51,760 --> 00:12:53,440
through in there? I would say

407
00:12:53,440 --> 00:12:55,120
absolutely.

408
00:12:55,120 --> 00:12:57,519
If this was a book cover about her life

409
00:12:57,519 --> 00:12:59,920
or about a lecture she's giving, it's

410
00:12:59,920 --> 00:13:02,079
certainly in the right direction. We got

411
00:13:02,079 --> 00:13:04,160
some really interesting diversity.

412
00:13:04,160 --> 00:13:06,480
Again, same exact assignment, same

413
00:13:06,480 --> 00:13:08,959
materials, and none of them look the

414
00:13:08,959 --> 00:13:11,040
same. That's the power, a little bit of

415
00:13:11,040 --> 00:13:13,120
the power of what we do and work on. And

416
00:13:13,120 --> 00:13:15,120
then something to keep in mind, well,

417
00:13:15,120 --> 00:13:16,560
yes, I may have said this and put all

418
00:13:16,560 --> 00:13:18,079
the right information, but what are

419
00:13:18,079 --> 00:13:19,920
people feeling when they first see it?

420
00:13:19,920 --> 00:13:22,399
And am I reinforcing that? Did anybody

421
00:13:22,399 --> 00:13:24,560
do have a couple that they couldn't pick

422
00:13:24,560 --> 00:13:25,279
from?

423
00:13:25,279 --> 00:13:26,720
Uh, I did.

424
00:13:26,720 --> 00:13:27,680
You did.

425
00:13:27,680 --> 00:13:30,560
Is it Andy? Can we see it?

426
00:13:30,560 --> 00:13:32,320
All right. So, let's see. You know, is

427
00:13:32,320 --> 00:13:34,480
this is this the same person?

428
00:13:34,480 --> 00:13:34,720
No.

429
00:13:34,720 --> 00:13:35,120
No.

430
00:13:35,120 --> 00:13:35,839
No.

431
00:13:35,839 --> 00:13:37,680
Very different approach.

432
00:13:37,680 --> 00:13:41,120
So, I I I I'm very intrigued by that.

433
00:13:41,120 --> 00:13:42,959
Very different messages.

434
00:13:42,959 --> 00:13:44,959
There's more mystery, I would say, and

435
00:13:44,959 --> 00:13:47,279
the more black one on the on the right

436
00:13:47,279 --> 00:13:47,760
side.

437
00:13:47,760 --> 00:13:49,680
I would agree. I'm much more curious

438
00:13:49,680 --> 00:13:51,519
about this. This I almost get too much

439
00:13:51,519 --> 00:13:53,519
information and like you said, so

440
00:13:53,519 --> 00:13:54,480
literal.

441
00:13:54,480 --> 00:13:54,880
Yeah.

442
00:13:54,880 --> 00:13:57,519
But that's really intriguing.

443
00:13:57,519 --> 00:13:59,600
Maybe mysterious, but more it's like I'm

444
00:13:59,600 --> 00:14:01,279
going to have to go further to find out

445
00:14:01,279 --> 00:14:02,880
information. So, I'm going to have to

446
00:14:02,880 --> 00:14:05,920
check out that movie or, you know, go to

447
00:14:05,920 --> 00:14:08,000
pick up the book, whatever it's doing.

448
00:14:08,000 --> 00:14:10,320
But it's that's pretty powerful. So,

449
00:14:10,320 --> 00:14:12,399
okay. Well, again, I didn't want to I

450
00:14:12,399 --> 00:14:13,600
don't want to imply any of these are

451
00:14:13,600 --> 00:14:16,160
right or wrong, but it's very intriguing

452
00:14:16,160 --> 00:14:18,560
how accurate they were and especially

453
00:14:18,560 --> 00:14:20,560
the areas that you weren't trying to be

454
00:14:20,560 --> 00:14:22,320
accurate about and still came through

455
00:14:22,320 --> 00:14:25,040
cuz it's you. So, we looked at the most

456
00:14:25,040 --> 00:14:27,920
basic form of communication uh in our

457
00:14:27,920 --> 00:14:30,240
field, black and white and although we

458
00:14:30,240 --> 00:14:33,279
got some gray in um and you weren't able

459
00:14:33,279 --> 00:14:37,120
to use any other ingredients that can be

460
00:14:37,120 --> 00:14:39,360
really powerful. Anybody want to guess

461
00:14:39,360 --> 00:14:40,800
what those might be?

462
00:14:40,800 --> 00:14:42,079
Colors.

463
00:14:42,079 --> 00:14:45,120
Color. Absolutely. So, color for sure.

464
00:14:45,120 --> 00:14:47,120
And now you have no restrictions for

465
00:14:47,120 --> 00:14:49,680
texture. For this next assignment, I

466
00:14:49,680 --> 00:14:51,760
want to get a sense a pretty good sense

467
00:14:51,760 --> 00:14:56,079
of how is your life going right now.

468
00:14:56,079 --> 00:14:58,240
And when I say now, it it could be

469
00:14:58,240 --> 00:15:00,480
today, it could be this week, but no no

470
00:15:00,480 --> 00:15:02,160
broader. Just in your life right now,

471
00:15:02,160 --> 00:15:04,320
how are things going? And we want to be

472
00:15:04,320 --> 00:15:06,240
able to

473
00:15:06,240 --> 00:15:08,720
get that without being told what it is

474
00:15:08,720 --> 00:15:10,639
and and with nothing to read.

475
00:15:10,639 --> 00:15:11,279
Okay.

476
00:15:11,279 --> 00:15:12,480
Okay.

477
00:15:12,480 --> 00:15:14,160
So, if you're at home watching or

478
00:15:14,160 --> 00:15:15,680
wherever you're watching, I hope you'll

479
00:15:15,680 --> 00:15:18,000
you'll do the assignments as well. So,

480
00:15:18,000 --> 00:15:19,839
we want to look specifically at the

481
00:15:19,839 --> 00:15:23,199
power of color, shape, texture to send

482
00:15:23,199 --> 00:15:25,440
messages. All right. Well, thanks. Great

483
00:15:25,440 --> 00:15:26,720
work. I think we're off to a good start

484
00:15:26,720 --> 00:15:29,120
and I'm anxious to see the next two

485
00:15:29,120 --> 00:15:32,839
phases of this.

1
00:00:10,800 --> 00:00:14,880
A logo is an image just like a word is

2
00:00:14,880 --> 00:00:17,199
an image. And a logo is something we

3
00:00:17,199 --> 00:00:20,720
want to recognize from a I think from a

4
00:00:20,720 --> 00:00:22,480
distance that people want to put on

5
00:00:22,480 --> 00:00:25,680
their hats, on their t-shirts, and

6
00:00:25,680 --> 00:00:28,000
certainly their website and maybe their

7
00:00:28,000 --> 00:00:31,119
expensive car, too. But it's it's

8
00:00:31,119 --> 00:00:33,120
knowing something about the company,

9
00:00:33,120 --> 00:00:34,880
their audience, and going in and

10
00:00:34,880 --> 00:00:38,320
representing it in a way that uh people

11
00:00:38,320 --> 00:00:41,760
notice, people remember that separates

12
00:00:41,760 --> 00:00:44,000
them from their competition. Are they

13
00:00:44,000 --> 00:00:46,800
experimental? Are they conservative? Are

14
00:00:46,800 --> 00:00:49,600
they, you know, whatever it is. Um, and

15
00:00:49,600 --> 00:00:51,600
without getting too literal, I think the

16
00:00:51,600 --> 00:00:54,000
more literal the logo gets, the less

17
00:00:54,000 --> 00:00:56,480
interesting it is. If you're a coffee

18
00:00:56,480 --> 00:00:58,480
shop and you show kind of a far away

19
00:00:58,480 --> 00:01:01,199
nice shot of a coffee cup, well, that's

20
00:01:01,199 --> 00:01:03,680
okay. That's probably what a lot of them

21
00:01:03,680 --> 00:01:05,600
do. But maybe there's a more interesting

22
00:01:05,600 --> 00:01:08,240
angle. What is the coffee cup see? Maybe

23
00:01:08,240 --> 00:01:10,560
that's a cool angle. What does you see

24
00:01:10,560 --> 00:01:12,159
if you're looking down at the coffee

25
00:01:12,159 --> 00:01:14,240
cup? What do you see if you come inside

26
00:01:14,240 --> 00:01:17,680
to it? What does the coffee machine see?

27
00:01:17,680 --> 00:01:19,439
And then in doing that, you can hint

28
00:01:19,439 --> 00:01:21,600
that, hey, this is no, this this coffee

29
00:01:21,600 --> 00:01:23,759
shop's kind of different or this is

30
00:01:23,759 --> 00:01:25,520
worth checking out or this is not your

31
00:01:25,520 --> 00:01:28,240
typical blah blah blah. It's it it can

32
00:01:28,240 --> 00:01:31,680
send a message that that there's a lot

33
00:01:31,680 --> 00:01:33,439
that hopefully is then followed through

34
00:01:33,439 --> 00:01:35,360
when you go into the store, when you go

35
00:01:35,360 --> 00:01:38,880
on their their site. Um, but you can

36
00:01:38,880 --> 00:01:40,799
hint at that. You can intrigue people.

37
00:01:40,799 --> 00:01:42,400
You can give them a good feeling about

38
00:01:42,400 --> 00:01:45,119
that brand. This particular company

39
00:01:45,119 --> 00:01:47,920
didn't want something too crazy or too

40
00:01:47,920 --> 00:01:50,159
out there. And to be honest, like a lot

41
00:01:50,159 --> 00:01:52,240
of them, they didn't really know what

42
00:01:52,240 --> 00:01:54,320
they wanted and they wanted just some

43
00:01:54,320 --> 00:01:56,960
ideas. At some point, playing with this

44
00:01:56,960 --> 00:01:58,719
particular logo, I realized, well, the

45
00:01:58,719 --> 00:02:01,520
magic seaweed. So, the W, I could just

46
00:02:01,520 --> 00:02:03,759
use the M and turn it around. So, it

47
00:02:03,759 --> 00:02:06,640
helps give some continuity to the logo.

48
00:02:06,640 --> 00:02:08,640
And then the S, something as simple as

49
00:02:08,640 --> 00:02:11,120
just turning it on its side to me

50
00:02:11,120 --> 00:02:13,280
emphasized a bit of the motion of

51
00:02:13,280 --> 00:02:15,440
surfing or waves. There's just something

52
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there and stayed very readable. One of

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their requirements is they needed the

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name on there because people weren't

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sure if it's two words or three words,

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but I think it works as part of the

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whole logo. If you took any of that

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away, it wouldn't work quite as well. So

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the word is actually touching the

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letters. It's just clean. It's simple.

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It's a nice font. I I think it works and

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it's held up pretty well. In terms of

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ways of working, I often still think,

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okay, are people going to want this on

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their shirt, on their t-shirt, on their

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coffee mug, on their and if they do, you

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probably stumbled upon a pretty good

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logo. So, with the Sea Skins logo, I

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knew that it's a crowded field and these

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wets suits that they're off and on are

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traditionally black and there's a lot of

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them and they're maybe far away in the

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in the ocean or foggy day or or

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whatever. And how can you get yours to

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stand out?

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You know, simplicity is is hard to do

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sometimes uh with with real impact, but

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it's uh it's a it's a great way to work

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if you can accomplish it.

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I did a political logo for the mayor of

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Charleston, South Carolina some years

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ago and um they said but he's getting

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pretty old and we're kind of afraid he

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might after

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100 years he might not win this next one

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and what do we do? Riley, Joseph P.

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Riley III that who was running for

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reelection and I said well Jesus you

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know if you're trying to get younger

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people and you got Joseph P. Riley the

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third vote. It's like they're going to

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get it. We're a little concerned. This

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guy's getting too old. And so what I

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suggested and they agreed to it is we

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took that that they were getting ready

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to launch and just turned it into Joe.

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And of course now with with the recent

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politics that doesn't seem like a big

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deal, but but it but it was at that time

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for this particular candidate. And we

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put it in green which may be a little

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easy but just circle and said Joe. So it

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I think it helped I hope humanize this

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person Joseph P. Riley III. You can vote

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for him or you can vote for Joe who kind

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of understands you and knows you. And so

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again it's really hard to quantify those

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things but but it is important but it

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can also have a negative effect too. And

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I for me personally, I think we we saw

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that a little bit with the the Hillary

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logo, which if you remember was just an

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H with an arrow. And as a designer, I

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look at that and think, "Oh, it's kind

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of uh it's kind of cold and kind of

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sharp and kind of not inviting me in,

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not very friendly." Well, these were all

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the qualities that that people didn't

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like about Hillary Clinton. And this

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logo, in my mind, represented all of

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those things. It was distant. It was

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kind of cold. It was very hard edge.

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Like, you know, it didn't help humanize

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her to people who didn't didn't like

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her. And it would be naive to think that

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affected the the outcome. But but it

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certainly didn't help. But as a designer

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and someone who works in that area, I

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think, oh no, we could have we could

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have uh done something with that.

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it works for you to go right to your

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screen. Do that. The screen has become

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the sketch pad of today.

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The thing for me, I find that I want to

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do a lot of logos, a lot of ideas early

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and give the client a lot of options.

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One of the things that allows me to do

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that is that I work in primarily in a

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very basic page program. This is a

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program called Cork Express that some of

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you may remember.

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The name of this company is Lab 78. I've

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picked a font that I think could work,

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could be visual but clear. Then I'll

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start moving things around. Here I'm

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realizing I don't have all the letters.

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Although what strikes me that seven

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could maybe work as an L.

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I'm just trusting my own instinct in a

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way. When does it feel right? I don't

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mind if it takes you a minute. I think

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people actually enjoy to something to

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figure out. It's it's a thin line

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between figure something out and pissing

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them off. I'm seeing here this seven

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isn't working so well. So,

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oh well, maybe I'll mix things up a

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little bit like that. So, maybe I break

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things up with a Serif A. And of course,

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we're looking at it in black and white

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as I think all logos need to work first

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in black and white. They need to work

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small, tiny, they need to work huge. And

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once I've got one approved or that I'm

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really happy with or the client's happy

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with, then I'll go in and start

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exploring color. That to me comes after

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the basic arrangement in just black and

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white. You can see the idea there. So,

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this was a group out of Los Angeles

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called Erase the Hate. The starting

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point for me would be to go in and take

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the main letters or words in the logo

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and just start setting them in different

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fonts that I think could work. You know,

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this idea of erase, you have to be

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careful on things that are uh cliche and

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so erase the eight so you erase the

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words. It's like you could still do

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that. There's ways to do it. So here's

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one with some bits maybe starting to be

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erased.

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There's something nice here. Maybe he's

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not erasing. It's It's got a little

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different feel. Nice.

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So, I'm moving these by eye and hand. I

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don't like to use the buttons on the

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computer to incrementally move them

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over. I think you should be able to do

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that with your eye as a designer. And

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also some of the reasons I don't use

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grids or any kind of system with that.

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Maybe it needs to be a little over

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there. Or maybe it should break that

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probably had no chance. But you know,

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they can't pick the more experimental

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out there stuff if you don't show them.

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So, put it in there. Again, I want the

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client to see all these options. I would

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encourage you to show a lot of ideas.

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The Dolly Museum in in St. Petersburg

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was a really fun assignment and logo to

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work on. And the last thing I'm going to

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do is some kind of expected dripping

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letter, but hopefully there's an

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attitude that is consistent with Dolly.

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And here's some of many, many I would

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have showed them. They ended up going

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with something pretty close to the blue

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one. Yeah. So, it's a very basic type

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face, but it's how you use it as a

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designer. It's rare that a font alone is

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going to solve anything for you. It's

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how you put it to use. When you bring

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motion to your type, that's the last

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phase of it. I don't design it thinking

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this is going to move. I solve it as a

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stationary logo. And once that process

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is gone through, client's happy, you're

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happy, then it becomes the next kind of

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fun stage really. Where was the viewer's

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eye before this type came in or is there

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a natural sequence for them to keep

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reading? So, it's a whole new set of

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problem solving in a sense, but you

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already had form, color, shape, but now

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you've got movement, which is huge in

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provoking emotion. And it's pretty fun,

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pretty exciting. And the whole way it

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comes together.

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Logos.

1
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What is most important to you? Is the

2
00:00:16,560 --> 00:00:20,080
work most important or is where you live

3
00:00:20,080 --> 00:00:22,320
the most important?

4
00:00:22,320 --> 00:00:24,960
That will influence your decisions

5
00:00:24,960 --> 00:00:27,039
whether you know it or not. So if work

6
00:00:27,039 --> 00:00:29,760
is the most important thing to you, go

7
00:00:29,760 --> 00:00:33,120
to where that work is. If you want to do

8
00:00:33,120 --> 00:00:35,120
Hollywood movie posters, you probably

9
00:00:35,120 --> 00:00:37,120
need to go to to Hollywood. If you want

10
00:00:37,120 --> 00:00:40,160
to do only record work, maybe you need

11
00:00:40,160 --> 00:00:43,040
to be in New York. Maybe you want to do

12
00:00:43,040 --> 00:00:45,120
country music posters and go to

13
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Nashville or or something, you know,

14
00:00:46,800 --> 00:00:49,440
figure that out. If the work is not what

15
00:00:49,440 --> 00:00:51,680
drives you, then your decision is where

16
00:00:51,680 --> 00:00:53,600
do I want to live? and you say, "Well, I

17
00:00:53,600 --> 00:00:54,960
want to live by the beach or I want to

18
00:00:54,960 --> 00:00:56,399
live in the mountains." Well, that's

19
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fine. Then you go there, or you want to

20
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live wherever in a little town in the

21
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Midwest. Um, and you find what work

22
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there is. You you pick up what you can,

23
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but it's a fundamental decision you're

24
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going to make whether you know it or

25
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not. What is really driving you

26
00:01:15,439 --> 00:01:17,840
terms of workspace? I think you have to

27
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make what works for you a priority. And

28
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for me, and I think a lot of you, I've

29
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just gotten so comfortable on my laptop

30
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that I pretty much can work anywhere. I

31
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work on planes. I work on the beach in

32
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the Caribbean. I work in my apartment in

33
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Amsterdam. It I guess the only thing

34
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that's really consistent is I have to at

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some point isolate myself and really

36
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concentrate. When I work in my apartment

37
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in Amsterdam, I don't have internet in

38
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there for the very reason that I don't

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00:01:48,720 --> 00:01:50,960
want to be distracted by it. And I can

40
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do that during the day and I can go to

41
00:01:52,720 --> 00:01:54,880
my places where I work and and some of

42
00:01:54,880 --> 00:01:59,040
the the work share places even. But if

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I'm really concentrating and I know I

44
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need to, then I don't have I turn off

45
00:02:04,240 --> 00:02:06,000
the Wi-Fi

46
00:02:06,000 --> 00:02:08,640
and just don't be disrupted. You know,

47
00:02:08,640 --> 00:02:11,120
your work environment has so much to do

48
00:02:11,120 --> 00:02:14,319
with your work. If you're working

49
00:02:14,319 --> 00:02:16,480
away on something and and maybe the

50
00:02:16,480 --> 00:02:19,120
night janitor walks by and says, "Oh,

51
00:02:19,120 --> 00:02:21,200
you're you're putting that there." And

52
00:02:21,200 --> 00:02:22,640
you go, "Well, yeah, why?" No, no, I

53
00:02:22,640 --> 00:02:24,239
just I just wondered. And they keep

54
00:02:24,239 --> 00:02:26,080
going, "Well, that stuff registers. You

55
00:02:26,080 --> 00:02:27,840
know, people in your office go, you're

56
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going to make that blue."

57
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And you know, there there's something

58
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for some early collaboration, but at

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some point, you got to trust yourself.

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00:02:35,840 --> 00:02:37,920
And hopefully that's why you were hired

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and that's where the best work comes

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from. Committee design never gets great

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work. It can get solid work and okay

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work and it's rarely horrible because

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you got enough people weighing in that

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it's like reasonable but I don't I don't

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want to live there. So I would encourage

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you at some point in the process after

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you've had the meetings and you've read

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the brief, you know, isolate yourself in

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a place you enjoy working, maybe get

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00:03:04,640 --> 00:03:07,840
your favorite music on and just and

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00:03:07,840 --> 00:03:09,840
that's when I get in kind of my zone and

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00:03:09,840 --> 00:03:11,680
all of a sudden 3 or 4 hours are gone

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and I just and the best work comes out

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of

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you could be the best designer in the

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world, but if nobody sees the work um

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it's going to be difficult there. There

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good chance they won't find you. So, you

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00:03:29,840 --> 00:03:32,799
have to actively promote yourself and

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whether that's one of the various social

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media programs. I mean, it largely is

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today, but you've got to get in front of

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other successful designers or other

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magazine designers or other website

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designers. I did that. I I sent out to

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people I read about issues of the

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magazine. I entered the competitions and

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at some point I started getting some

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acknowledgement and it just added to

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work and clients and allowed me to keep

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doing what I love doing. And it may be

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more than simply going to the obvious

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social media programs. Maybe there's

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some other inroads to a client or to a

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decision maker or something. So look for

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those because you also obviously can get

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lost in the maze of Instagram and some

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of the others. And as much as they can

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help you, you can also get lost there.

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And so be creative and and how you get

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your work in front of people because

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that's how you continue to get to do

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what you enjoy doing. Got to have the

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ability. It won't matter if if you

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don't, but if you do and you feel it,

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you feel this is your thing. Just help

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people to see it.

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The spec debate is a big one in graphic

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design and um and there's a lot of uh

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strong emotion on both sides and I have

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to say I

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uh I totally believe in spec. Um if you

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got an opportunity to get a lot of

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freedom and really experiment and little

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or no money, I think it's worth it. I

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still think it's worth it. I think it's

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been worth it my whole career and I

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still do it actually. Wow. Well, what's

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this project? Is it good for the

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environment or people? Is it just fun?

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Is it going to be seen all around the

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world? There's a lot of factors and I

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have no problem with that. If somebody

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wants you to do like grunt work or or

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just lay out endless catalog and there's

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no thinking or something and they don't

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want to pay you, that to me doesn't make

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any sense. Only you can decide that. If

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you feel you're being taken advantage of

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and you don't you're not going to do

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that, well that's fine. Don't. But I

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would encourage you to look at the

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opportunity. Does it give you a lot of

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freedom? Push you as a designer. People

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are going to see it. May may bring you

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more work. It's worth a shot.

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The second assignment, let's see what

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happens if we add color.

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Color is a huge message sender and

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emotion sender. I want to get a sense of

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how things are going in your life right

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now. using only color, no letters, no

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words. And just a little peak of the

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power of color in your design.

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Let's start here. And what do you

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think's going on in this person's life

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right now?

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It seems a bit chaotic.

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Yeah, agreed. Yeah,

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I think so. There's a certain amount of

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organization here. It's not out of

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control chaotic.

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There's opposites involved that are

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playing off each other with the colors

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and with the textures.

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How do you think that would manifest?

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Maybe some emotional highs and lows

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lately.

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Okay. Having some highs and lows lately.

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All right. What else is this person

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happy or sad right now?

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It's kind of hard to tell.

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Yeah, the color seems happy though.

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Generally, orange and especially lighter

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blues are happy colors. They're

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festives. Why? Why? What's keeping us

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from that?

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Just sort of this rough energy.

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And what's making you say rough energy?

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Maybe the nature of the brush strokes.

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Yeah, the scribble

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doesn't seem like it was done

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delicately. It feels like it was done

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with a lot of energy.

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And what about the way these things are

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cut out?

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They seem ripped more than cut out.

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Would this indicate to you maybe things

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are going smoothly or maybe not so

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smoothly?

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Not so smoothly. uh because of the edges

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and u how it's like she said ripped

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instead of cleanly cut.

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It makes a big difference whether you

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cut something out or you put it on a

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grid or you tear it. It sends a very

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different message overall. How many

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would say they they'd want this going on

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in your life right now?

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I don't know about that.

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Why not?

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I think the lack of predictability like

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it makes it interesting but it also uh

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is a little bit like nerve-wracking.

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Yeah.

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Okay. So, is this person like in a

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really bad place this week?

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Not if they know what to do with that

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energy. I think

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I don't think we can say, "Oh, having a

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horrible week." Okay. If think if it was

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dark reds and dark blue and some other

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colors. Whose is this?

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This is me.

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How are those comments?

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Um, really true.

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Really true.

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Yeah. I' I've been feeling both happy

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and sad and stressed.

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Happy and sad. I think that comes

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through.

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Yeah. And stressed and juggling.

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stressed

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um many things.

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Yeah.

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Was anything completely wrong that you

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heard?

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No.

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No. So they were right on. So this is

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communicating a lot and pretty

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accurately from from our comments. So

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the only thing we I could add to that is

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that when you did go in with a you know

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this was a a book cover about your life

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or a poster about a talk you're giving

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with the right words and the type this

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becomes very powerful. Okay. Well, let's

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switch.

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How many would want this week to come?

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It just seems formed and kind of happy.

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I see some positivity in there in the

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use of colors and how they interact with

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each other.

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So, there's some energy there that

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Yeah, positive energy.

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I think the blue would be sort of like

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trapping in the yellow. And because it's

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a square,

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I feel it's really confined and maybe

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some pressure. What's intriguing is

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what's normally not a very open kind of

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expressive situation in terms of you

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have a rectangle inside of a rectangle I

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would say even inside of another

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rectangle which can be kind of

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um restricting in a way but but there's

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this is funny because it has a border

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but it still feels like there's there's

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movement in and out.

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Um how many would would say I don't want

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that week. I don't want that going on.

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Seems like a good week. Seems like like

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it sounds really bad, but plant fun.

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Like the lines are free, but they're

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within the box.

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How many would want to know more about

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this if you saw it as a poster or maybe

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a book cover or

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Yeah, because I feel the movement. It's,

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you know, exciting.

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Okay. Some excitement. He feels the

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movement. A very different type of

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movement than we saw here. But I would

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agree. There's something intriguing and

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nothing's totally out of control. and

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it's still contained even though there's

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a lot going on. So, who's is this?

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It's mine.

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And it's sometimes I I really don't

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know. It's like there's only four

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people. You should know.

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But okay, how were those comments?

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I wasn't sure if people were going to

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read it more as positive or not. So, I

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Yeah,

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we definitely got more positive than

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negative for sure. And that would be

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largely the color. Imagine if this was

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in black,

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you know, and any other color. Mhm.

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Did anything you hear was totally wrong

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or

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um Yeah, maybe how often like positivity

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or happiness was mentioned because um

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like it's been a very like lively and

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vibrant time more than a happy one

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necessarily.

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Huh.

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Yeah.

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The difference between lively and

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vibrant versus happy. That's

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interesting.

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That's tricky.

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What else?

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And I mean the framing I chose that

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specifically to communicate trying to

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keep things organized while a lot is

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going on. So, a little bit overwhelmed,

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but still kind of, you know, keeping it

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together.

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Yeah, definitely keeping it together

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with a lot a lot going on. Okay, nice.

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We'll come down. Well, no, I'm going to

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go over here actually. How many would

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want this going on in your life right

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now?

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I'm not sure.

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Okay, that was unanimously. We're no

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takers. I'll keep my week. Thank you

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very much.

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Why is that?

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The gray of O of course the color. Look

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at the Look where we just came from. I

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mean these two and then very distinctly

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different color range that is sending a

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very different motion. And what else?

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Very balanced shapes in there. It's

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harmonizing kind of pretty well.

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I'm really happy to see that they broke

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out of the square a bit and then you had

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that option. So I think that's a nice

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design touch and way of thinking that

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let them do that.

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I think the pop of colors either I can't

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decide if it feels more hopeful or more

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ominous.

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That's a really good good observation. I

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mean, we have bright orange. That's a

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happy color. We have some yellow in

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there. We have some white. Why aren't we

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feeling happy?

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Maybe it's too organized or too

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Well, it's very organized. Absolutely.

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And what's happening to that happy

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00:06:47,280 --> 00:06:48,560
orange, yellow?

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It's very confined.

201
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It's confined and overtaken by grays and

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similar colors. So the the overlying

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takeaway is a darker kind of color thing

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and what message that sends. How many

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would want to know more?

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Oh yeah, for sure.

207
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I'm very intrigued. Do you think does

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this feel like a very personal piece? Do

209
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you think they thought about this one?

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I feel so. Yes,

211
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I'd say absolutely. There I don't I

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don't get it. I'm kind I want to know

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more. I want I need some more

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information. And uh and I don't think

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this is something you quickly Oh geez, I

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got 10 minutes. I got to have that

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ready. Bof. No, it doesn't feel like

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that, you know, and the amount of time

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you put into something is often directly

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related to the amount of time somebody

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will spend with it. So, if you spend 10

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minutes get something out the door,

223
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probably when the audience or whoever

224
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the client even sees that, their

225
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reaction is going to be about the same.

226
00:07:39,440 --> 00:07:41,840
So, okay, if you've really spent some

227
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time and thought about something, the

228
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work's going to be stronger and and

229
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people overall will feel that and

230
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they'll they'll get that. That's why I

231
00:07:49,440 --> 00:07:51,039
want to know more about this and all of

232
00:07:51,039 --> 00:07:53,039
these really. I could tell they weren't

233
00:07:53,039 --> 00:07:55,199
and I've done enough workshops that I I

234
00:07:55,199 --> 00:07:56,479
can tell they weren't quickly done on

235
00:07:56,479 --> 00:07:59,280
your way to class.

236
00:07:59,280 --> 00:08:00,479
Okay. Who's is this?

237
00:08:00,479 --> 00:08:01,759
It's mine.

238
00:08:01,759 --> 00:08:02,879
How were the comments?

239
00:08:02,879 --> 00:08:05,520
I chose the colors because I just chose

240
00:08:05,520 --> 00:08:07,919
samples of colors that I have in my

241
00:08:07,919 --> 00:08:10,720
storage which are like water paints that

242
00:08:10,720 --> 00:08:13,039
I have actually in my house which I felt

243
00:08:13,039 --> 00:08:15,919
were the actual colors of my life

244
00:08:15,919 --> 00:08:17,919
instead of buying bright colors that I

245
00:08:17,919 --> 00:08:18,720
don't use.

246
00:08:18,720 --> 00:08:21,199
Okay. Okay. Good. Good. And I tend to

247
00:08:21,199 --> 00:08:24,160
plan my weeks on Sunday. So

248
00:08:24,160 --> 00:08:25,599
you plan your week on Sunday.

249
00:08:25,599 --> 00:08:27,440
Yeah. So I guess it is really planned.

250
00:08:27,440 --> 00:08:28,000
Yeah.

251
00:08:28,000 --> 00:08:30,080
Okay. I think that kind comes through.

252
00:08:30,080 --> 00:08:31,039
Yeah.

253
00:08:31,039 --> 00:08:32,959
And then like the little black uh

254
00:08:32,959 --> 00:08:36,399
triangle pit thing is a bit of anxiety

255
00:08:36,399 --> 00:08:38,719
and stress that I have on some days.

256
00:08:38,719 --> 00:08:40,240
It's not that big. It's just

257
00:08:40,240 --> 00:08:41,760
okay. There might have been a way we

258
00:08:41,760 --> 00:08:43,519
could have felt that a little more than

259
00:08:43,519 --> 00:08:45,200
this is doing. So again, these aren't

260
00:08:45,200 --> 00:08:47,839
right or wrong, but um but that's a

261
00:08:47,839 --> 00:08:49,680
that's a pretty strong concept. There's

262
00:08:49,680 --> 00:08:51,680
still some little anxiety even in this

263
00:08:51,680 --> 00:08:53,760
overall organization and planning the

264
00:08:53,760 --> 00:08:55,760
week in advance. I love the fact that

265
00:08:55,760 --> 00:08:58,320
she used colors from her house that that

266
00:08:58,320 --> 00:09:02,399
mean something to her. Um, and what did

267
00:09:02,399 --> 00:09:04,000
you hear that was totally wrong

268
00:09:04,000 --> 00:09:05,920
about the colors being bland because

269
00:09:05,920 --> 00:09:09,200
they're like balanced and content to me.

270
00:09:09,200 --> 00:09:12,320
Okay. Okay. Content. Content. Yeah. So,

271
00:09:12,320 --> 00:09:14,720
so we didn't we didn't we didn't get to

272
00:09:14,720 --> 00:09:16,160
contentment. And I don't know if it got

273
00:09:16,160 --> 00:09:19,440
too busy for content with too many lines

274
00:09:19,440 --> 00:09:21,760
and the the rigid borders. So there

275
00:09:21,760 --> 00:09:23,200
there there would be ways we could

276
00:09:23,200 --> 00:09:26,080
soften this a bit to maybe be more

277
00:09:26,080 --> 00:09:29,360
accurate. Um what else? Other comments

278
00:09:29,360 --> 00:09:31,279
that stuck out to you.

279
00:09:31,279 --> 00:09:33,200
Uh the bright color.

280
00:09:33,200 --> 00:09:34,399
Well, that would be that's the one I'm

281
00:09:34,399 --> 00:09:36,080
most curious about actually.

282
00:09:36,080 --> 00:09:38,080
Uh that's my pregnancy which makes me

283
00:09:38,080 --> 00:09:38,800
really happy.

284
00:09:38,800 --> 00:09:39,920
Oh well congratulations.

285
00:09:39,920 --> 00:09:42,480
And my otherwise normal life I guess.

286
00:09:42,480 --> 00:09:45,440
Uh, I would have liked us to have gotten

287
00:09:45,440 --> 00:09:47,279
that a little bit more to be a little

288
00:09:47,279 --> 00:09:49,279
more expressive. Maybe there's a way we

289
00:09:49,279 --> 00:09:51,120
could have felt, oh, there's something I

290
00:09:51,120 --> 00:09:52,320
think there's something really positive

291
00:09:52,320 --> 00:09:53,519
or exciting

292
00:09:53,519 --> 00:09:56,000
go or going on just like the anxiety

293
00:09:56,000 --> 00:09:56,959
that could have been a little more

294
00:09:56,959 --> 00:10:00,880
expressive, but certainly intriguing. So

295
00:10:00,880 --> 00:10:05,200
great. Um, let's go down here.

296
00:10:05,200 --> 00:10:07,040
How many would want this week?

297
00:10:07,040 --> 00:10:08,160
I don't know about that.

298
00:10:08,160 --> 00:10:09,279
You're not sure?

299
00:10:09,279 --> 00:10:09,920
I don't know.

300
00:10:09,920 --> 00:10:11,440
Why not? Why not? It's happy colors

301
00:10:11,440 --> 00:10:13,200
again. We've got red, we've got circles,

302
00:10:13,200 --> 00:10:15,360
we've got orange, we got a lot of white

303
00:10:15,360 --> 00:10:18,399
space. That should be pretty happy.

304
00:10:18,399 --> 00:10:19,760
But it kind of feels like it's falling

305
00:10:19,760 --> 00:10:20,800
off edge, though.

306
00:10:20,800 --> 00:10:22,240
Falling over edge.

307
00:10:22,240 --> 00:10:24,160
Yeah, like the orange is the edge.

308
00:10:24,160 --> 00:10:26,720
It's a sharp edge. And it goes off the

309
00:10:26,720 --> 00:10:28,880
page, so you have no idea what's down

310
00:10:28,880 --> 00:10:31,519
there.

311
00:10:31,519 --> 00:10:33,519
Okay. Okay. And this one's maybe a

312
00:10:33,519 --> 00:10:35,760
little tricky not to read literally.

313
00:10:35,760 --> 00:10:37,519
Feels a bit lonely.

314
00:10:37,519 --> 00:10:39,200
Lonely. Interesting. That's the first

315
00:10:39,200 --> 00:10:41,120
time we've heard that. It seems like

316
00:10:41,120 --> 00:10:43,360
it's kind of central, but there's

317
00:10:43,360 --> 00:10:45,120
something like messing with it.

318
00:10:45,120 --> 00:10:46,480
I think that's really strong

319
00:10:46,480 --> 00:10:48,320
interpretation. Yeah.

320
00:10:48,320 --> 00:10:49,920
Something something missing.

321
00:10:49,920 --> 00:10:50,720
Mhm.

322
00:10:50,720 --> 00:10:53,120
Who's is this? You think I would have

323
00:10:53,120 --> 00:10:55,120
figured it out? Uh, how are those

324
00:10:55,120 --> 00:10:55,760
comments?

325
00:10:55,760 --> 00:10:57,279
Um,

326
00:10:57,279 --> 00:10:59,760
there's a, you know, positivity going

327
00:10:59,760 --> 00:11:01,920
on, but at the same time, I feel a lot

328
00:11:01,920 --> 00:11:04,560
of tension um this week.

329
00:11:04,560 --> 00:11:06,640
Positivity and tension. I think that

330
00:11:06,640 --> 00:11:08,399
comes through really well.

331
00:11:08,399 --> 00:11:08,880
Mhm.

332
00:11:08,880 --> 00:11:11,600
Um, the loneliness. Um, interesting

333
00:11:11,600 --> 00:11:14,320
comment. Um, been doing a lot of work,

334
00:11:14,320 --> 00:11:15,920
so I guess. So,

335
00:11:15,920 --> 00:11:17,839
anything you hear that was totally wrong

336
00:11:17,839 --> 00:11:20,240
or that we missed?

337
00:11:20,240 --> 00:11:23,920
No, I mean I mean it's not that dark. I

338
00:11:23,920 --> 00:11:25,839
mean, they they said they didn't want

339
00:11:25,839 --> 00:11:28,079
the week, but it's just a challenging

340
00:11:28,079 --> 00:11:28,720
week.

341
00:11:28,720 --> 00:11:30,480
Challenging. I like the word challenging

342
00:11:30,480 --> 00:11:32,480
because I didn't get overly negative. I

343
00:11:32,480 --> 00:11:33,839
didn't think, oh, I don't want to go

344
00:11:33,839 --> 00:11:37,120
there. So challenging is kind of a nice

345
00:11:37,120 --> 00:11:39,279
uh and then the isolation comment I

346
00:11:39,279 --> 00:11:41,200
think is is is nice too and and you

347
00:11:41,200 --> 00:11:42,160
backed it up.

348
00:11:42,160 --> 00:11:44,480
Yeah. So overall pretty

349
00:11:44,480 --> 00:11:45,920
pretty accurate. Okay. So we've

350
00:11:45,920 --> 00:11:47,600
communicated a lot and I hope you're

351
00:11:47,600 --> 00:11:49,440
watching it at home or in your own

352
00:11:49,440 --> 00:11:52,079
studio. We'll we'll experiment with with

353
00:11:52,079 --> 00:11:54,480
the same type of things and using color

354
00:11:54,480 --> 00:11:57,120
that has some meaning to you and and

355
00:11:57,120 --> 00:11:59,120
arranging in such a way that that you

356
00:11:59,120 --> 00:12:01,920
feel it's representing your your week,

357
00:12:01,920 --> 00:12:04,079
your life right now with with no words

358
00:12:04,079 --> 00:12:08,639
at all. We got a lot of from these. Um,

359
00:12:08,639 --> 00:12:10,639
great. Well, I'm really happy with the

360
00:12:10,639 --> 00:12:13,839
the result. Okay. So, now for the third

361
00:12:13,839 --> 00:12:17,200
version, you have no restriction. You

362
00:12:17,200 --> 00:12:19,440
can add type, you can add color,

363
00:12:19,440 --> 00:12:23,680
texture, shape, uh size. It's wide open.

364
00:12:23,680 --> 00:12:26,000
Okay. And this is when in theory they

365
00:12:26,000 --> 00:12:28,240
should get the best because you have no

366
00:12:28,240 --> 00:12:30,880
restriction. You can add type to these,

367
00:12:30,880 --> 00:12:32,959
but it's tricky sometimes, like I said,

368
00:12:32,959 --> 00:12:35,519
to add a type and not somehow lessen the

369
00:12:35,519 --> 00:12:37,360
effect. So that'll kind of be your

370
00:12:37,360 --> 00:12:40,560
challenge. I want to see, but more

371
00:12:40,560 --> 00:12:43,360
importantly, I want to feel where you

372
00:12:43,360 --> 00:12:46,000
see yourself in 10 years.

373
00:12:46,000 --> 00:12:47,600
push yourselves, have some fun, remember

374
00:12:47,600 --> 00:12:49,600
what we've done. And great work today.

375
00:12:49,600 --> 00:12:51,279
Very, very happy. And and those of you

376
00:12:51,279 --> 00:12:54,880
at home, your stuff is really good, too.

377
00:12:54,880 --> 00:12:59,320
Okay. All right.

1
00:00:10,240 --> 00:00:12,800
In the last two years, I've started kind

2
00:00:12,800 --> 00:00:15,360
of rediscovering uh collage work and

3
00:00:15,360 --> 00:00:17,600
it's been really invigorating to get out

4
00:00:17,600 --> 00:00:19,840
from behind the screen and work with my

5
00:00:19,840 --> 00:00:21,600
hands.

6
00:00:21,600 --> 00:00:23,680
I'm happy to say some of this work is

7
00:00:23,680 --> 00:00:26,800
starting to work its way into client

8
00:00:26,800 --> 00:00:30,400
work. People are really reacting

9
00:00:30,400 --> 00:00:32,239
strongly to things that feel like

10
00:00:32,239 --> 00:00:36,520
there's a human behind the work.

11
00:00:39,360 --> 00:00:41,280
Some of these new clients, they were

12
00:00:41,280 --> 00:00:43,120
drawn to something of mine they'd seen

13
00:00:43,120 --> 00:00:45,680
and thought, "Maybe that could work."

14
00:00:45,680 --> 00:00:47,680
So, if you have your personal side of

15
00:00:47,680 --> 00:00:49,840
artwork or something you're doing,

16
00:00:49,840 --> 00:00:52,399
there's very often a place you can use

17
00:00:52,399 --> 00:00:55,399
it.

18
00:01:00,320 --> 00:01:02,800
The starting point for me is is usually

19
00:01:02,800 --> 00:01:05,199
by some color combination of something I

20
00:01:05,199 --> 00:01:08,000
think could work color-wise. And so I

21
00:01:08,000 --> 00:01:11,439
start to see some things. This red's

22
00:01:11,439 --> 00:01:14,560
probably too bright. And um I don't want

23
00:01:14,560 --> 00:01:16,799
anything too literal. I don't want you

24
00:01:16,799 --> 00:01:19,200
to be able to see like there's a boat

25
00:01:19,200 --> 00:01:20,640
here and that sort of thing because

26
00:01:20,640 --> 00:01:22,880
that's not the message.

27
00:01:22,880 --> 00:01:25,439
But I'm drawn to some type

28
00:01:25,439 --> 00:01:28,560
possibilities. And

29
00:01:28,560 --> 00:01:30,720
there's something I'm liking about this

30
00:01:30,720 --> 00:01:32,640
red thing that's starting to happen.

31
00:01:32,640 --> 00:01:35,200
It's not quite working yet. And that's

32
00:01:35,200 --> 00:01:37,360
often why I'll have a couple going at

33
00:01:37,360 --> 00:01:39,280
the same time. Here, I'm going to get a

34
00:01:39,280 --> 00:01:42,240
little blue thing going.

35
00:01:42,240 --> 00:01:44,320
I might find something interesting. And

36
00:01:44,320 --> 00:01:47,759
so I I want to cut it out. But what

37
00:01:47,759 --> 00:01:50,880
often happens, the thing I think I'm

38
00:01:50,880 --> 00:01:54,000
cutting out for

39
00:01:54,000 --> 00:01:57,520
is okay. But what's even better, oh, is

40
00:01:57,520 --> 00:02:00,840
what's left.

41
00:02:02,719 --> 00:02:04,640
I don't want to be able to read anything

42
00:02:04,640 --> 00:02:07,520
or I don't want a straight edge.

43
00:02:07,520 --> 00:02:09,920
I like using white on white and the back

44
00:02:09,920 --> 00:02:12,080
of something. Sometimes it gets a nice

45
00:02:12,080 --> 00:02:14,160
texture

46
00:02:14,160 --> 00:02:16,160
and you don't want to be too too

47
00:02:16,160 --> 00:02:18,480
precious about it as you kind of get

48
00:02:18,480 --> 00:02:21,879
what you get.

49
00:02:22,640 --> 00:02:26,239
And I'll just go some blue. Some nice

50
00:02:26,239 --> 00:02:28,800
type here happened.

51
00:02:28,800 --> 00:02:33,160
That's kind of something nice going.

52
00:02:34,959 --> 00:02:38,160
Red's a difficult color. It's almost too

53
00:02:38,160 --> 00:02:40,319
strong.

54
00:02:40,319 --> 00:02:42,400
Maybe we could bring some more type into

55
00:02:42,400 --> 00:02:45,599
this one. Now there, a little hint of

56
00:02:45,599 --> 00:02:48,640
the color is pretty nice.

57
00:02:48,640 --> 00:02:51,680
And maybe a hint of another letter over

58
00:02:51,680 --> 00:02:54,319
here. Now, this one's getting close.

59
00:02:54,319 --> 00:02:57,519
It's not quite there. Maybe an

60
00:02:57,519 --> 00:03:01,360
unexpected little hint of some color.

61
00:03:01,360 --> 00:03:03,120
That's getting better. Little color

62
00:03:03,120 --> 00:03:07,840
here. That was actually a nice accident.

63
00:03:07,840 --> 00:03:11,560
I looked on the back.

64
00:03:11,680 --> 00:03:13,599
So, when they get into final position,

65
00:03:13,599 --> 00:03:15,840
there's usually been a lot of minor

66
00:03:15,840 --> 00:03:19,440
minor tweaks, and that's something only

67
00:03:19,440 --> 00:03:24,280
your eye will see or notice.

68
00:03:24,879 --> 00:03:27,599
If you have source material that's good

69
00:03:27,599 --> 00:03:29,280
or that you like, you're going to have

70
00:03:29,280 --> 00:03:33,879
better results. That's the bottom line.

71
00:03:36,000 --> 00:03:37,920
Maybe some unexpected. There's a little

72
00:03:37,920 --> 00:03:40,480
too sameness here. I need something a

73
00:03:40,480 --> 00:03:43,720
little bolder.

74
00:03:44,080 --> 00:03:46,560
The best work comes if if the individual

75
00:03:46,560 --> 00:03:49,360
pieces have some significance to your

76
00:03:49,360 --> 00:03:51,519
life, to your existence. So, I'm trying

77
00:03:51,519 --> 00:03:52,959
to add something to this red thing

78
00:03:52,959 --> 00:03:56,680
that's not quite working.

79
00:04:04,159 --> 00:04:06,239
Maybe turn something over and get rid of

80
00:04:06,239 --> 00:04:11,000
so much color that's distracting.

81
00:04:13,200 --> 00:04:16,160
Something there. Maybe

82
00:04:16,160 --> 00:04:18,799
it's gotten a little better.

83
00:04:18,799 --> 00:04:21,359
Oh, there's something. You know, this

84
00:04:21,359 --> 00:04:24,160
red one has never been working. So,

85
00:04:24,160 --> 00:04:26,080
maybe it just wants something really

86
00:04:26,080 --> 00:04:29,080
simple.

87
00:04:34,400 --> 00:04:36,800
That's probably my favorite right now.

88
00:04:36,800 --> 00:04:39,120
It's got some white space.

89
00:04:39,120 --> 00:04:41,919
That one might be done. These guys are

90
00:04:41,919 --> 00:04:43,919
close. They're screaming that there

91
00:04:43,919 --> 00:04:46,320
there's a good collage in here. I

92
00:04:46,320 --> 00:04:49,040
haven't unraveled it yet. So, I'll just

93
00:04:49,040 --> 00:04:52,080
add some texture with the white on

94
00:04:52,080 --> 00:04:54,400
white.

95
00:04:54,400 --> 00:04:56,080
Oh, now this got better right away

96
00:04:56,080 --> 00:04:58,639
because it got simpler. And maybe the D

97
00:04:58,639 --> 00:05:01,440
and the yellow is too strong. So, I

98
00:05:01,440 --> 00:05:05,440
might try to break that up a little bit.

99
00:05:05,440 --> 00:05:07,280
Maybe we'll just move this one up a

100
00:05:07,280 --> 00:05:09,840
little. And maybe it'll something will

101
00:05:09,840 --> 00:05:12,400
move and it'll get better. Oh, that's

102
00:05:12,400 --> 00:05:16,199
already kind of interesting.

103
00:05:19,199 --> 00:05:21,120
They're all starting to work. So I would

104
00:05:21,120 --> 00:05:23,440
usually look at them from a little

105
00:05:23,440 --> 00:05:26,680
different perspective.

106
00:05:29,280 --> 00:05:32,000
Well, you know, I used to say collage is

107
00:05:32,000 --> 00:05:34,800
new to me, but in some ways I've I guess

108
00:05:34,800 --> 00:05:37,120
I've almost always done collage. I

109
00:05:37,120 --> 00:05:40,400
really was arranging things still by eye

110
00:05:40,400 --> 00:05:45,360
and by hand. But in terms of physically

111
00:05:45,360 --> 00:05:47,280
doing it like I have, that's new and

112
00:05:47,280 --> 00:05:51,039
it's it's refreshing and it's uh it's

113
00:05:51,039 --> 00:05:53,520
fun. And I'm always photographing them.

114
00:05:53,520 --> 00:05:55,600
And when I go to photograph it, I'm

115
00:05:55,600 --> 00:05:58,400
becoming much more aware of light source

116
00:05:58,400 --> 00:06:01,600
and realize the effect of having shadows

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that the paper does. And they're not

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fake shadows. They're real. Because if

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you're always on a screen, you don't

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have that.

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And the last thing I do, very last, is

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paste it down.

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And they always move slightly. Sometimes

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they get better. And when it feels right

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to you,

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it is.