InPrint Magazine
INSPIRING ARTISTS AROUND THE WORLD
OCTOBER - DECEMBER www.inprint-mag.com
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OCTOBER - DECEMBER 2012 InPrint Magazine inspiring artists around the world FOUNDER AND EDITOR-IN-CHIEF Elo | elo@elodesigns.com
GRAPHICS AND LAYOUT Elo | elo@elodesigns.com
GRAPHIC DESIGNER KING ARTHUR | king.e.arthur@gmail.
PROGRAMMER EDUARDO GARCIA | eds.nett@gmail.com
CONTRIBUTORS - WRITTERS KIMON FOUNDOULAKIS | kimon@eckacreative.com RICK BYRNE | rick_byrne@hotmail.com
PUBLISHER InPrint Magazine media
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ABOUT INPRINT MAGAZINE
InPrint Magazine is published bi-monthly. InPrint Magazine is a professional magazine for the arts industry - design, illustration, fashion, literature to show contemporary visual arts to a wide variety of audience. Subscriptions and distribuition is free to qualified individuals. Single copies may be obtained from publisher for $0.99. All the works published in InPrint Magazine are property of the respective authors.
INPRINT MEDIA
Copyright Š2012 InPrint Magazine, Inc. Some rights reserved. No parts of this periodical may be reproduced without written permission of InPrint Magazine. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. If you have any questions contact InPrint Magazine at (619)630-5735 San Diego, California.
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MESSAGE FROM
THE EDITOR
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Art creates culture. Culture shapes values. Values determine the future.
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The fascination of art has to do with time. Visual art is the quickest of all serious cultural forms to make its full nature clear to the beholder. It’s worth dwelling on the rapidity of art. It is conventional, in the moralizing rhetoric of the critic, to say Rembrandt repays a lot more time than most works of art – you can look at his pictures for a lifetime and still find new depth in them. But what if this is not the most important thing about great art? What if it’s the instant effect that matters? So it’s not always true that great art takes a long time to appreciate and instantaneous art is shallow. In fact, some of the most revered paintings can be appreciated much more quickly than video art – which has, as I’ve already conceded, brought narrative time into the gallery. Why is time-based art so popular? Does it seem more important because it takes up time? Personally, I agree with Leonardo da Vinci. The most magical thing in art is the instant and complete image. “LOVE ART AND LOVE INPRINT MAGAZINE AS MUCH AS WE DO”
Elo
(FOUNDER & EDITOR-IN-CHIEF OF InPrint Magazine)
LAST ISSUE
InPrint features the best artists around the world in this first anniversary issue
CONTENT JULY- SEPTEMBER 2012
OUR
READERS
READERS INSIGHTS Incredible art and incredible graphic design, that is what comes to mind when I think of Inprint Magazine. Everything is relevant, fresh and of interest. Which is what you want out of a publication like this! This past issue has turned a corner with its design, layouts and titles, giving the pages and content punch & balance. The artist’s portfolios kick ass and the interviews deliver all the rest! Lou Patrou - NY The design of the issues themselves (and their always interesting covers) provides an easy and inspiring read. Igor - Italy I like how InPrint Magazine also showcases top art works, though not as much as other popular magazines such as Print or Communication Arts, with feature articles and their design annuals. Design Observer
Brilliantly made . InPrint Magazine is the revolution of magazines greetings from Brazil Ana Pacheco - Brazil The InPrint Magazine offers valuable visial insights and suggestions that designers can put to use in the business and creative ends of their work Mark Edens - NY Inprint focus on a particular category and showcase the best (according the last magazine issue ) Anniversary Issue. These issues are great keepers to flip through when looking for some creative inspiration. Jaques katazina - Paris InPrint Magazine showcases up-andcoming designers, artists and illustrators and I love the green idea. keep up the fantastic works and designs Anna - Spain
CONTRIBUTORS IN THIS ISSUE: A French native, Kimon Lakis is a cross-disciplinary Graphic Designer who proudly describes his aesthetic style as “bold and clear”. He draws much of his inspiration from the bare-boned yet intricate nature of people, objects and structures found in their most natural state.
78 Poetica Films is a creative initiative formed by Fernando Campos, with a focus on video and films, as well as other disciplines. It is a creative outlet and a platform for collaboration with like-minded brands and artists looking to explore storytelling and digital video design. - PoeticaFilms.com
Kimon is a graduate of the Ecole Superieure de Publicite in Paris, France where he has acquired a strong understanding of Advertising and Design principles. He is happy to share his knowledge of the industry as a contributing Writer for Inprint Magazine.
Do you have anything so say or any suggestions? Let us know email editor@inprint-mag.com
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CREATIVES IN THIS ISSUE
InPrint features the best artists around the world in this issue
CONTENT OCTOBER - DECEMBER 2012
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25 INTERVIEW
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68 INTERVIEW
GLOBAL
RESOURCES
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JESSE TREECE SEATLE- USA
COLLAGE ARTIST Jesse Treece is a collage artist living in Seattle, Wa. whose work screams of the simple, yet ever complex, interpretations of both the mundane and whimsical facets of life. He’s somehow managed to mix both the regular and absurd, beautiful and disturbing and put them into images that you find you could get lost in for hours.
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ADVERTISE WITH US WHAT IS INPRINT MAGAZINE? InPrint Magazine currently has over 20,000 page views per month. You can email us for more specific Google Analytic statistics. Our goal is to show contemporary visual arts to a wide variety of audience which attracts readers from USA, Europe – UK, Spain, France, Germany, Italy, Australia and the rest from all over the world!. InPrint is a bi-monthly online magazine. The author’s intention is to publish the works of modern designers, fine artists and illustrators. All the works published in InPrint Magazine are property of the respective authors. WHY SHOULD I ADVERTISE? We cover major facets of artistic news, events and installations making sure our readers become industry insiders through reading our publication. Our feature writers cover industry topics from top to bottom including technical areas of creative, prepress and print. Our regular commentators are recognized experts in their fields bringing knowledge, depth and passion to the page. The latest technology is unveiled and reviewed with insights from topics on design, prepress, print, bindery, sales and marketing. Fresh ideas will inspire, inform and energize you. WHAT WE OFFER: Our distribution list is constantly updated ensuring your advertising message will be read by the key decision makers in the printing and graphic arts industry. In a sea of competitors, we are a lighthouse of value. Our distribution list is always kept current. Every one of our readers is a potential client for your services whether creative, prepress, print, bindery, or software. InPrint Magazine is published 6 times per year and boasts the most reliable schedule in the market. We deliver on time, everytime. High-quality service and very competitive advertising rates make Inprint Magazine the best value on the market today. WHO SHOULD I CONTACT? You can contact our editor chief Elo @ sales@inprint-mag.com or info@inprint-mag.com. You can also advertise on InPrint website. Contact us for special multi-issue offers!
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ORRIE GAINES RICHMOND- USA
PHOTOGRAPHER Orrie Gaines is best known for Fashion Photography in the Richmond, Virginia area. He has been shooting for the last 3 years working with many people from around the world. Orrie has a unique style setting his self apart from other photographers with his high energy on set in order to create stunning images. Orrie was born in Philadelphia, PA and was raised around Art and Fashion once he was able to mix the love of The Photography Art Form with Fashion. Orrie is currently working with upcoming models helping them build their portfolios. In the future he would like to see his work on the pages of High Fashion Magazines. He would also like to build a team in order to land major campaigns for well know clients in the fashion industry. You can see more of his work at www.OrrieGainesPhotography.com
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LAURINDO ARTIST - ILLUSTRATOR
INTERVIEW 27
FEATURED COVER
LAURINDO FELICIANO
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To be honest and maybe cruel: The secret for the entire creative field is: don’t give up, If you really want it, you have to do it by yourself. If it is necessary sleep less and stop wasting your time on internet or watching bullshit on TV
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LAURINDO FELICIANO - ARTIST | PARIS
In: Tell us a little bit of who you are as an artist.
because you were in an Art School for 4 years. I’m not talking about artistic technics or aesthetic repreI’m an artist and illustrator, who was sentation, but about a primal necesborn in 1980 in Belo Horizonte Bra- sity to show how you see and feel zil. I have not a classic artistic grad- things. This is very personal and uation but I graduated in product involves subconscious and strong and interiors design. I’ve been living feelings. I spent my childhood drawin Paris, France for almost 10 years. ing all the time and I always knew that art was the path that I wanted In: When did you know you where to follow, but being an artist is probably a research for a whole life. an artist? What do you think an artist is now that you have been In: Your work deals with images one for many years? have a very unique style. Please This is a very deep and controversial explain what you are trying question. Joseph Beuys used to say to communicate. that everyone is an artist. I agree but people don’t know that all their ar- My collage work are the visual tistic potentialities are not exploited. responses to some obsessions that I For me you just can’t wake up in a have since I was very young, and I morning and say: today I became an think it will never ends. I don’t think artist and you are not an artist just that I want to communicate an only
thing; actually I don’t like to explain my works. I love semiotics, so I think that each work means something different, with several levels of conception. I like to let people see and feel they own vision and I’m always surprised by their interpretation. In: How has your work evolved over the years from when you where beginning? My work evolved a lot, I think that it is becoming very personal but I’m never pleased. Collage artists can use very similar elements and I’m trying to find my own language mixing different medias. In: What is your favorite medium to work in? Have you always worked in this media? If not, why did you switch?
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My favorite medium is collage and drawn mixing medias like: Acrylic, tape, pencil and wax crayon. I started drawing but it was natural to me to bring other elements in my Artwork. To create my images I don’t use just one technique or process, not anymore. For a lot of my works I start hand-making and then I use Photoshop. I think that this is a wonderful skill, but a great work needs more than this. It needs a lot of research and a big sense of composition. The first and probably the most important thing is the quality and the originality of the images that I will use in my collage process.
an adult here and each street of Paris all your efforts in building your caand these beautiful lighting inspire reer. If you feel that you work is not me all the time. good enough, don’t stop at that, in the future you will see the natural In: What do you think of the artist evolution of your works. There’s no community in Paris? big young artists, everyone need to develop their personal visions of I don’t have an opinion about that. the world. Things will turn around, Maybe because I can’t identify an maybe slowly, but they will. artist community, but lot of different artists working in their own way. In: If you could be anything other I have some artists friends living in than an artist, what would you be? Paris and I think that they could have the same vision as me. A cook, a music journalist or a language teacher. In: What is your family background? Were there any artists or In: What upcoming series, creative types in the family? projects, shows etc do you have coming up? In: Do you draw on memories from Not really artists, but people with having grown up in Brazil ,or from some interesting visions of the I’m always working in a lot of singuphotographs of events, individuals world. I lost my parents at a very lar projects. Recently I start to work and locations? young age but they used to incite me with a film Collective called “Les to read a lot, love culture and arts. Films de la mémoire” where I’m For sure I’m inspired by my memo- My mother was a fashion designer certainly learning a lot of new excitries and places and things that I’ve and my father was a cinephile and ing things. I would love to work in lived, and I love Brazil and all those passionate by the early electronic collaboration with two brilliant artmassive culture as background, but music. I couldn’t explain how we ists: the French collage artist Eloïse I’m inspired mainly by nature, ani- have been influenced by their ideas: Oddos and the Brazilian artist Ana mal behaviors, life x death and nos- my twin sister became a photogra- Helena Tokutake, but is always hard talgic images. In some cases I have pher and my little brother bought a to find time to do things together. my artwork ready in my head, but video club. usually I have inspiration before to start to work. A picture, a film, or In: What advice would you give something that I found reading emerging artists who want to show Laurindo Feliciano a book. and be part of the scene? In: How moving to another country has affected your work if at all?
To be honest and maybe cruel: The secret for the entire creative field is: don’t give up, If you really want it, Not only my work but my personal you have to do it by yourself. If it is life has been affected by this coun- necessary sleep less and stop wasttry. France have a very special place ing your time on internet or watchin my heart and I don’t know if a day ing bullshit on TV and replace all I will return to Brazil or move to an the things that make your life an another country someday. I became ordinary person and concentrate
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JEAN MAURICE LYON - FRANCE
ILLUSTRATOR Jean-Maurice Damour is a French illustrator based in Lyon, France. After learning digital imaging basics in a visual communication school in Paris, I have developed my skills by working in different positions as graphic designer and photo-retoucher between Paris and London. In addition to my extensive photo-manipulation abilities, over the past 4 years I have developed my own talent as digital artist. I have mainly cultivated a lyrical style with an ethereal or surreal mood, sometimes in black and white and sometimes with the use of vibrant colors. I believe that design should first be beautiful, as human beings naturally like beauty. I strongly believe that design is not only about style but should also be useful, therefore enabling an effective and efficient communication of the client’s message. Finally, design should be innovative if possible. Overall I consider that good design should strengthen life and be optimistic.
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ORLANDO AROCENA NEW YORK - USA
ARTIST-DESIGNER Orlando Arocena is an artist and graphic designer who works in traditional and digital mediums.After graduating from Pratt Institute, he drew his way through Europe, co-founded Uptown Arts, and discovered he had a knack for digital commercial communications. In addition to a 15-year track record of delivering creative solutions for some of the world’s most recognizable brands he has established himself as a non-conventional vector illustrator who explores cultural iconography, pop culture, and speculative narratives. In addition to commercial endeavors, he is presently collaborating with New York City art organizations such as Republic Worldwide and The Fountain Arts Fair. You can see examples of this work at http://www.behance.net/orlandoarocena
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MARLENA BUCZEK POLAND/USA
ILLUSTRATOR Marlena moved to the US from Poland in the early 90’s. Her body of work includes posters, commercial graphic design, and paintings. Her posters have been printed in various publications and have been exhibited globally in different countries including the US, China, Germany and Russia.
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58 STUDENT
Student Under The Spotligth
JAIME ANDREWS I
was born in Durham, North Carolina and moved to Apex, North Carolina at the age of 10. I attended Savannah College of Art and Design in Savannah, Georgia from 2004-2008 to receive my BFA in Animation. I interned on Robot Chicken for a short time, became a graphic arts director for a local company and would do small commercial works for various studios between time I was considering returning to school to further my education. As of now, I am currently a first year graduate student at NC State, attending for a degree in Art and Design with a concentra-
tion in New Media. As an artist and designer, I want to blur the line between the two as best I can; bringing aesthetics for the sake of fine art and the constructive commercial aspects of design together in harmony. As a lover of mixed media in my illustration, I find that the commercial possibilities and audience for such a thing are somewhat limited in the design world. This is especially true with film and animation work. As I work with both illustration and animated media, I am constantly trying to create great storytelling techniques to match with unique visuals that everyone can enjoy
and relate to. I will often times resort to a more traditional style when I’m starting a project, then progress to creating minor changes to create a slightly more modern/design oriented look. I plan to continue working on traditional forms and styles of illustration and animation in hopes that they’ll find their way into the mainstream, creating pieces that people can connect with on a wider scale. Jamie Andrews
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GLOBAL
RESOURCES
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History of Graphic Design Structural Packaging: Design Your Own Boxes and 3D Forms Making and Breaking the Grid Designing Brand Identity PSDTUTS
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STUDIO CONOVER 69
IS ALL ABOUT CONTEXTURE
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I was drawing 007 logos, Monkees logo and mimicking Time Magazine covers in my class and I didn’t realize that I was a graphic designer already.
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STUDIO CONOVER
DAVID CONOVER
STUDIO CONOVER STANDS ITS GROUND ON AN EVER-CHANGING DESIGN INDUSTRY PHOTOGRAPHY: KING ARTHUR In: What is your company’s aesthetic and philosophy? Contexture… The reason why I say contexture it’s because it has been the word we’ve been using in relationship to the work we do. My wife and I own our business since 1985, and we have grown into a niche where she is the heading of the department that works with architect builders and developers for exterior design and texture is a very big amount of that work because you have to deal with color and texture, and we work for manufacturers of building products: Stones, bricks, roof tiles and everything, but we are also a big believer that context is just as important as the beauty of it too. That is why we always try to make sure that our designs will look their best and that they will also strategically align to the goals that we set ahead of time. So, when you talk about context and contexture, it is
interested in working with clients and translating those goals that we set to our team and discuss what the components are going to be. I work with my team telling them the ideas the clients want us to bring to life, the physical side of it, but I do not guide them as an art director. In: How much are you personally Specifically saying: “I want this eminvolved in the design process of blem here or this photography over there”. But I still look at the works your company’s works? that are the exploration of my designers. And then, I get involved in I’m very involved in the overview some tweaking. I will say: “Maybe and strategy level, but I don’t get this would be a little better if the into the point that I have to pick font were a little bigger”. I actually typefaces, or a composition on a page. I don’t do that anymore!. do a rough overview, and then I go away to do other things. Then Although I do enjoy that aspect of I come back to the final results. I design, I’d rather have the designers that work for me to handle that don’t micro manage it all the time. I because I believe they have a better micro manage at certain times, but I kind of go away from it. Because intuition and are more aware of I want to empower my designers to what is current, what is appropriate for that particular project in make their own decisions. But I still make some decisions because it’s regards to the physical look of that specific artifact. I’m much more our company, and it is going to be great because, CON is the beginning of the three letters of our company and texture has a lot to do with the work that we do. When we are designing for manufacturers, we try to think ahead to incorporate those elements to our designs.
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in our portfolio for quite sometime. In: What has been the most memorable design venture you have been involved in? The most memorable was a company called “Eldorado Stone” that we got as a client back in 1996 . We have been working with them for a number of years. My wife was doing a research on housing products she was working on at that time, and she found this small franchise company that builds stones. We found them and we had a dialog going on. One thing led to another. We then worked on an eight-page brochure for them. So, they continued on and we got more involved with them to the point that we worked with them on trade shows, graphics, packaging and website design.
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studio conover crew
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I’m very involved in the overview and strategy level, but I don’t get into the point that I have to pick typefaces or a composition on a page. I don’t do that anymore
In 2000, they decided to buy all the other franchises and turned into a nationwide brand of their product line. We are thankful that we were “the key” to rebrand their company and relaunch them nationally. I’m happy that our works were very successful that they continued to grow as a national brand and became either number one or number two in that particular product they manufacture today. In: What was your initial motivation to become a designer? The Monkees logo, (laughs).. And actually painting the name of my first band in the front of our drums. I had no idea in the early 60’s what graphic design was. As a matter of fact, when I went to college, I didn’t know what graphic design was. I
DAVID CONOVER
didn’t know what a logo was. I didn’t have any of that vocabulary. I went to school thinking that I was going to be an architect and I didn’t have any formal training in college at all. But one day a suit mate next to us came over one night and I asked him what he was studying and he said “I’m studying graphic design”. I said, “what is that?” And he showed me what it was. And I said “that is what I have been doing for years!”. I was drawing 007 logos, Monkees logo and mimicking Time Magazine covers in our class and I didn’t realize that I was a graphic designer already. But I guess painting the name of our band in the front of our drums set was really an inspiration for me... In: Are there any more creative people in your family?
ALVARO TAPIA
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76 STUDIO CONOVER (CONTINUED) I’m the only one who actually took that route. My father was very creative. Although he was in the insurance business, he always had a great sense of humor when presenting things to us. I think my family had a very interesting perspective.
In: The design market is over saturated these days, what should a designer do to stand out?
I think we can look back and compare when the typewriters were invented and everyone who had a typewriter would call themselves a In: Designing is a very subjective writer. My advice would be: “Don’t thing and clients taste aren’t neces- be daunted by being a graphic sarily your own. How do you stand designer! Just be excited that there your ground on a bad idea? are a lot of more possibilities out there these days”. But I’m a big I think we, as designers, all have believer that you can’t be isolated. our fair share of failure from the You have to be out in the commustand point of view. I’m a big be- nity and have to figure out a way to liever that designers have to col- have people to notice you. In other laborate with clients. If they don’t words, be more involved, showcase like one thing about design, if they your work and don’t be afraid of exdon’t like an specific font or think posing your work out there because Sans Serif is too masculine, it’s our unless you put it somewhere it job to work something out with won’t get any better. Do it over and the client. Generally we don’t have over again until it gets as much as too much problems with that to be feedback as it can possibility get. quite frank with you. It’s more like self impose than anything else. We In: You have interviewed some big just have to make sure that we meet names in the industry this year, deadlines and stay on a budget than who is still on your list and why? anything else. In: If you could go back in time and do something differently in your career, what would it be? I would be in music probably. If I knew then what I know today I’d be in music, not necessarily on stage to be a musician but there is so many other venues you could take. I think it would be really cool if I could work for a company that would do all the theatrics for stages or do like the band posters. Just to be involved with music would be fun because I still play drums and I try to play guitar too but I think it is hard.
There are several names that I could mention here... Banxy, Paula Cher… I would love to have diner with Jonathan Ive from apple. I don’t only admire him but I think he has been doing an incredible work with industrial design. In: What would you do if you were invisible for one day? I would…(thinking ...) sneak into an event that is sold out. I guess... I would go to the recording studio of any of my favorite musicians. Although John Lennon is not around anymore, I would love to sneak into his studio. I would find out a musician that I like who would probably be recording in LA or elsewhere and I would sneak in to his studio. visit Studio Conover
PHILADELPHIA - USA
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The State OF
Graphic Design
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By Kimon Foundoulakis
S
o, are you a Graphic Designer? What do you mean? What do you do
exactly? It’s the old-age question, what is Graphic Design and what or who is it for. The latest dictionary definition says that Graphic Design is the practice or profession of designing print or electronic forms of visual information, as for an advertisement, publication, or website. I’d say it’s a pretty accurate description in 2012, but it wasn’t always so. Indeed, today Graphic Designers are asked to do much more than what their first-generation counterparts used to do. Originally, Graphic Design as a discipline was the process of creating visual material for the printed form, using colors, strong typography and seamless layout arrangements. Coupled with a strong knowledge of the printing process and an ability to work with
their hands (drawing, cutting, gluing…), those were the sought-out skills for Mad Men era designers. The industry began its first revolution when computers quickly became the norm and design software appeared on the market in the late eighties with Aldus and early nineties when Adobe delivered Photoshop 1.0 to the world. How the times have changed Today there are more platforms than ever on which a Graphic Designer’s work can be displayed, and each of these new platforms requires a particular set of skills. It’s one thing to master color and typography, but whether they work freelance or inhouse, designers are now asked to be able to adapt a visual concept on a wide range of media, going from a poster to a website and to a mobile application. Photoshop is not enough anymore and the days of specialists are over. A designer
today has to wear many hats and prove himself in many fields. If he doesn’t want to be left on the side of the road, he has to have a good grasp of HTML coding or mobile application UI/UX, and both if possible. In an increasingly competitive field, a successful designer also has to master the art of promotion and networking. He needs to be a strong blogger, copywriter, advertiser and social media specialist. He needs to find creative ways to make himself rise above the fray. How many graphic designers out there have actually acquired fame through their work? There are too few to mention and the biggest names are sometimes not necessarily the best designers but the ones who have become the best marketers of their business. Look up renowned artists such as Jacob Cass, Chuck Anderson and Scott Hansen. Though they are excellent designers,
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Advertising budgets are increasing and companies are trying harder than ever to stand-out from the competition and engage their customers on the most platforms possible
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they are also bloggers, musicians or photographers. They contribute articles to various publications, speak at conferences or otherwise have their work exposed in art galleries. Their business benefits greatly from having their brands exposed through various channels and portraying themselves as experts in their field(s). These guys are the prime example that hard-work and adaptability are the choice weapons for designers who want the best chance to rise above the cut and make a living out of their passion. Survival of the fittest, my friend. Fighting against the elements Unfortunately, even with all the necessary skills and marketing, Designers face an upward battle in a world where the field is regularly undermined: anyone can dish up a basic logo using Word – or think they can; crowd-sourcing websites are popping up everywhere - a process in which a client submits a proposal and multiple designers upload their submissions in the hopes of getting the gig, usually for a minimal fee; and makeshift “agencies” from developing countries are offering cookie-cutter logos for $19.99. Increasingly, Graphic Designers have to demonstrate their value and validate their skills in the face of a skeptical and cost-
conscious clientele. They have to educate their clients on why countless years of Design school and handson experience means we are able to create a visual piece that is actually going to catch the attention of their markets, increase credibility and look appealing at the same time. It is a skill that is taught, requires practice, trial and error and a lot of courage. Just like any other career, it’s the 5% inspiration - 95 % perspiration adage that applies here. There’s nothing wrong with a company seeking the best value for their
money, but generally speaking, it is good to remember that you get what you pay for. On top of receiving topnotch creative insight and execution skills, hiring a professional freelance designer means a client will also get personal attention, fast turnarounds and a cheaper alternative to hiring big-name agencies with high overhead expenses. It’s not all bad news Looking around us, graphic design is everywhere. Something around you has felt the touch of a graphic designer – from the page you’re reading this on, to
the menu at your local diner or the box in which your corn-flakes come in. Advertising budgets are increasing and companies are trying harder than ever to stand-out from the competition and engage their customers on the most platforms possible. Demand for Designers is expected to grow 13 percent through 2020 to provide creative thinking as long as they can also physically execute their ideas where needed. Roger Martin, the dean of the Joseph L. Rotman School of Management at the University of Toronto, argues that “designers, by their nature, can bring solutions to light that escape others”. New disciplines in the art and design industry are emerging every year. Designers that stay relevant by acquiring new skills and adapting to the new demands will be able to find work across many different platforms and eventually find their niche in a more specialized area if so inclined. Before anything else, a graphic designer is
an artist, and expressing your creativity in one medium or the other is not mutually exclusive. There’s a chair for everyone in this world. An example of changing times, the Green design movement is a rapidly growing discipline in which designers are asked to deliver products that can be made out of renewable materials and with minimal carbon footprint. Architects, furniture designers and printers are adapting their processes in order to produce through a socially and economically conscious approach. The sky really is the limit this time, and we are lucky to work in an industry that promotes innovation, ideas and experimentation, the very foundations from which great creative minds are born. Ultimately, our job is to advertise a product, sell a message or bring awareness to an issue through visual cues, and the definition of
what a Graphic Designer does has a whole new paragraph to it. In fact, perhaps even the term “Graphic Design” is going to go out of fashion soon. Next time someone asks you what you do, tell them we are Visual Communicators. Get with the times, fellas.
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DAVID BAKER
NASHVILLE - USA
PHOTOGRAPHER My photography work began when I lived with a tribe of Mayan indians for 13 years, and has been a constant source of personal inspiration since then. I takes six photo trips per year around the world, attempting to see normal things through different perspectives. I am an author of four books, a successful management consultant to the creative field, and my work has been featured in Fast Company, the Wall Street Journal, USA Today, Forbes, Inc. Magazine, and BusinessWeek. Capturing images, along with everything that goes into doing it artfully, speaks to my soul. It’s so immersive that it crowds all the rest of life out. I don’t know if you’ll enjoy any of these images, but I hope one or two of them make you smile or remind you fondly of an image in your own head. Or, maybe one of them will help you reconnect with life (or death) in an authentic, real way. David typically exhibits in museums all over the US. This year he has been featured in eight juried shows, and will be the featured artist at the upcoming primary Raleigh-Durham Museum for 3 months.
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ADELE FARROW
HUDDERSFIELD - UK
PACKAGING DESIGN Progress are creative packaging and production experts who have been working in luxury and creative fields for over 15 years. We work with both designers and end users and get involved in high end and technical specifications. Our production, both in the UK and Far East, is to the highest standards and we pride ourselves in our quality and our ability to achieve the most demanding of briefs. We like to operate as partners on our clients demands and are much more than a simple packaging company, we can get involved in production projects across the whole range of your business. For more information and inspiration Visit Our Website
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DIMITRI KOZMA
BRASIL/VANCOUVER
ILLUSTRATOR Dimitri Kozma, award winning multimedia artist graduated in Arts and Graphic Systems. He was born in 1974 in San Paulo, Brazil, and has numerous awards and recognition for his work, which includes animation, illustration, painting, video art, short film, game design, photography, literature, Toy Art, among other works, known in many parts of the world. His art has elements of surrealism, cartoon, experimental and street art. His art was released in many books, magazines, television and recognized in various festivals, where many of his artworks were awarded first places. Dimitri Kozma currently lives in Vancouver, Canada. For more of the artists visit website: www.orbemidia.com
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CREATIVE
THINKING
10 QUESTIONS CHRIS BODILY - ILLUSTRATOR
In: What is your philosophy when it comes to design?
In: When you are not creating
Zen philosophy talks about how art is not a physical thing that hangs on a wall, but the process an artist goes through while creating that thing. A drawing is not art, it’s the record of art. A zen potter creates a thousand pots and then destroys them all. By the thousandth pot he has the skill to create any of the pots he wanted. For me, art is about expression. Rather than making something beautiful, I strive to make something honest. When I sit down to draw, I try not to think about what I’m doing. I let things unfold improvisationally, each line a reaction to the line before it until the image takes form. I generally draw in pen, so rather than hiding my mistakes I have to embrace them.
When I’m not drawing I like to read; neuroscience, physics, cosmology, philosophy, anthropology, psychology, political science, fiction, history... stuff like that. I like to write. I like to watch movies. I perform and teach improv comedy. More than anything I try to absorb as much information as I can.
you are?
In: Who and what inspires you?
Turtles, etc. I was also really big into comic books. I taught myself to draw by sitting in front of the TV with a sketchpad copying characters from the Simpsons. When I got older I was influenced a lot by underground graphic novelists such as Chris Ware and Art Spiegelman. Ware’s Acme Novelty Library is one of the most heart-wrenching books I ever read. I started to realize that cartoons could be deep and emotionally complex. Nowadays my work is much more unpolished and raw, but it has deep roots in cartooning. There are dozens of brilliant artists I really admire, but I think it’s always important to strive for your own unique voice.
My biggest inspiration is my sister Kathryn. She’s my best friend and my biggest support. When I was a kid she always told me I had to work harder if I was going to draw as well as her, so I made a habit of In: Infomercial, reality shows or drawing at least half an hour every none? day. I watched a lot of cartoons as a kid; Scooby Doo, He-Man, Ninja I don’t relate to a lot of pop culture.
There are only a handful of TV shows I follow. When I turn on the radio I listen to NPR. I detest internet memes. It just seems like a lot of mass media isn’t really designed to be loved by anyone so much as it’s designed to be moderately palatable to as many people as possible. In: What is the design world
lacking these days?
I think that’s actually one of the big problems with the design world today. As Scott McCloud points out in Reinventing Comics, there are plenty of brilliant artists and innovative designers out there, but because of the bureaucratic side of art distribution, a lot of what we get is safe, bland, and homogenized. We vote with our dollars, and if as a culture we want to see more out of the design world, we need to put more value on it. In: Tell us a secret about you
nobody would guess
I don’t know if there’s anything really secret about me, but some people might not know that I’m a vegetarian. I have color graphemic synesthesia. I was born left handed but draw with my right hand. I once ate my own armpit hair to raise $15000 for charity at my high school. I was born on the anniversary of the JFK assassination, Thanksgiving day, and the cusp of Sagittarius & Scorpio. I lived in Brazil. Does any of that work?
My idea of a perfect day is waking up late, drinking some coffee, then going back to bed. In: What plays on your itunes?
I like a pretty wide range of music depending on my mood. Right now my favorite is Dead Man’s Bones. If I’m looking for something mellow I like Kings of Convenience, Elliott Smith, the Feeling, Broken Bells. If I want something upbeat I listen to the In: If you could be someone else Heavy, Two Gallants, Danger Doom, Flobots. If I want something aggresfor one day, Who would it be? sive I like Refused, Street Sweeper If I could be anyone for a day, it Social Club, One Day as a Lion. would be Van Gogh the day that he died. When I first saw his work In: Tell us one thing in your life in real life it brought me to tears. I you can’t live without. would love to understand the pain and passion that went into his work. I’ve found that there are a lot of things in life I can live without. As long as I have a little time to draw, a In: What is your idea of a little time to think, I’m happy. perfect day?
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love InPrint as much as we do. InPrint Team
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Inspiring Artists