PECULIARBLISS
ISSUE 8 / EXPLOSIVE / JASON YANG
PeculiarBliss.com is a stream of doodles and images, featuring creative, original works from sketchbooks and other mediums in one location, with the hope to inspire continued creative thinking. PeculiarBliss Magazine is the quarterly continuation of this effort. This issues theme: “Explosive� Cover Image: Jason Yang
POW! - VAUGHN FENDER
P E C U L I A R B L I S S ISS U E EIG H T
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Explosive - Matt Hunsberger
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Explosive - Abe Honest
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Silver - Jardley Jean-Louis
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Blades and Saws - Alex Jones
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Exploding Pinata - Lucy Freegard
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Redlands (detail) - Natalia Davis
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Explosive - Gabriela Romagna
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Over Thinking - Stephen Brown
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Explosion - Janet Kershaw
PREVIEW
introducing
JASON YANG
(invisible element) Not many artists would be willing to share their studio space with two children, and yet, Jason Yang seems to thrive from the mix of toys and supplies. The broadcast designer works primarily with motion graphics and finds inspiration and strength from his family. Drawing from this support, Yang is able to find the time and dedication to pursue his career and maintain his art as the Invisible Element. While he claims the Invisible Element to be the process behind the range of creations he toils away on, it seems just as fitting to assert the tag to his loved ones, the silent supporters to his feats. interview BY: SHANNON DUGGAN
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Photos by Sam J. Stanton
Catch us up: what is your educational background and where you are currently in your career? I studied graphic design at Oklahoma State University where I graduated with a Bachelor of Fine Arts. For the past seven years I’ve worked professionally as a motion designer with various companies, producing nationally recognized commercial work. Currently, I work as an art director/motion designer at Steelehouse Productions in Tulsa, Oklahoma. Can you introduce readers to the design scene in Tulsa? The Tulsa design community is flourishing. Over the past few years there has been a resurgence of local creative talent across our city —from freelance artists to agencies and production companies. Tulsa creatives have proven to be competitive in the global market.
What does “creature” mean to you (as a child and now)? The first impression that comes to mind is something quirky and not human. As a child, I would have thought of a creature as more fun, and a lot less lame than a grown up. You have specific processes for creating your work: sketch, refine, scan project, rework, complete. Do you have a process for working with clients? Yes, and it’s pretty similar. Actually another step that’s important to me is starting with some research before I sketch. Whether it’s for design work or a painting, I rarely just think of an idea and execute it right away. Process is even more important when working for clients because keeping the client in the loop early on can save you both time in the long run. “Growth” • SKETCH, Adobe Illustrator
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You work in an impressive amount of disciplines within visual communications: motion graphics, designer toys, graphic design, drawing, and photography. Do you default to a specific branch of the arts? One of the best things about being an artist is that the number of creative outlets are seemingly infinite. I mostly default to commercial motion and print design (gotta pay the bills, ya know). When I am able to make time, I enjoy dabbling in various disciplines including illustration, painting, sculpting, and photography. Every creative should try experimenting in unfamiliar territory. In doing so, I’ve personally found it to be rewarding and beneficial to my creative development. How did you arrive at the name “Invisible Element”? Coming up with a personal identity was a challenge. I wanted something that represented the most crucial element of design: the unseen creative process. Invisible Element seemed to work well and the web domain was also available. Keeping in mind the many mediums and tools needed to create within the range of work you complete— what does your studio look like? It would be awesome to have dedicated studio space, but right now, my “studio” doubles Are there techniques you use to alleviate the disconas a playroom for my sons. Fortunately, my setup works quite nect between request (client) and response (designer)? well for the majority of the work I produce. Occasionally It’s all about finding the right match. One designer’s ideal my “studio” expands into the garage or backyard when I client is another designer’s worst nightmare—you just have get crafty. to be up front about the kind of work you are looking for. Personally, I look for work that allows me creative freedom, Speaking of which, how does your family influence your although technical restrictions are fine. work? No designer is an island , my wife frequently helps me Ask any client right questions to make youAlso, both flesh outnew ideas and the occasionally gives me bettersure ones. the same things. Do integrity they wantofyou comeconcepts up with your Iwant can generally gauge the my to design by ownfacial concept or are theyMy only for provide your knowledge her expressions. twousing boysyou often inspiration of the they show that in they like, for my Adobe work asSuite? well. Can My oldest son, you Ben,design was born 2008 if so, what do sketches you think Iofproduced it? Figure outyear earlywere if you like and several of the that influsimilarbythings, otherwise there’s Josh, a whole of pain waiting enced me becoming a father. my lot younger son, lent for you. Do you have an interest in the subject matter me his silhouette, which graces the cover of this issueyou arePeculiarBliss. dealing with? You will need to do some research and of understand their business, and it helps if that is something that interests you, and at the very least not something you are opposed to. PREVIEW: Jason Yang
The Sketch-A-Day challenge turned out to be one of the best things for me in my career as an artist. It gave me an opportunity to experiment with various illustration and design styles from day to day...
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PREVIEW: Jason Yang
“Rebuild Japan” • Threadless Submission, Adobe Illustrator
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PREVIEW: Jason Yang
Threadless Causes picked your t-shirt design for the Japan and Pacific Relief T-shirt Challenge. What compelled you to submit to this contest and what did this selection mean to you? Not only have I loved being a part of the Threadless community for years, I deeply admire how the company has evolved and is committed to making a difference in the world. I was excited when I came across the Japan and Pacific Relief T-shirt challenge, because as an artist, it seemed like the most effective way for me to contribute to the relief effort. It was a huge honor to have my design selected. Backpacks With A Purpose (BWAP) is another project that looks to do great work. Can you elaborate on your relationship with this client? I was asked by a fellow designer if I would be interested in working together to produce a promotional animation for BWAP. The goal of the piece was to explain the mission of BWAP. When a consumer purchases a backpack, BWAP will give two backpacks to someone in need. Who wouldn't want to be a part of that? It was an awesome experience to work with BWAP and I couldn't be happier with the final piece. Can you walk us through your creative process for BWAP? After spending some time brainstorming with the client, I started working on an overall art direction. Since the BWAP message was one of charity, hope, and joy, the style needed to match. I pulled some inspiration from the old UPA (United Productions of America) style cartoons and illustrations, which felt appropriate. I submitted three sets of styleboards to the client and they were very happy with the direction. Once the style was approved, I produced rough storyboards for the provided script. The next step included creating assets in Adobe Illustrator which I would use for animating in Adobe After Effects. The animation process took about a month, fortunately with only minor revisions.
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Do you have a process that carries through each creation, despite the varying mediums? My approach always begins with a general project assessment. Of course, anytime I do commercial work there are always parameters (including budget, timeline, etc.) that I have to work within. At times this can limit my process, but most of the time it forces me to stretch my creativity. After the assessment stage, I spend a good deal of time working through concepts on paper, sketching my ideas. After I’ve decided on a direction, I begin creating. Throughout the process, I find it valuable to seek out critique. An objective eye is always your friend even if you don’t like what it sees. Once I’ve made revisions and feel like the piece is able to clearly communicate while being visually interesting, I can call it finished. You completed the impressive 2008 Sketch-a-Day project while maintaining your role as father of two, husband, and professional artist. How did compromise manifest itself within these roles? Looking back, I often wonder how I was able to pull it off. The Sketch-A-Day project was something I always wanted to commit to, and with lots of encouragement, I decided to go for it. Balancing family, working full time, and freelance projects did leave little time to dedicate to my daily sketches. There were many, many late nights spent sketching! Occasionally I would fall behind but somehow always managed to catch back up. I tried my best to only compromise my own time because my other roles were always more important. What did the Sketch-a-Day challenge bring to your professional career? The Sketch-A-Day challenge turned out to be one of the best things for me in my career as an artist. It gave me an opportunity to experiment with various illustration and design styles from day to day, ultimately producing 366 unique sketches. Many of the sketches I was able to re-purpose in some of my commercial work. The project also was a great way to immerse myself in various online design communities, through which I’ve “met” and developed relationships with many talented artists.
PREVIEW: Jason Yang
“Monsters Have Soles ” • SKETCH, Adobe Illustrator
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PREVIEW: Jason Yang
“Jingles And Bells EP ” • SKETCH, Adobe Illustrator
“Cassette ” • SKETCH, Adobe Illustrator
“Sushi” • Adobe Illustrator
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PREVIEW: Jason Yang
“Icon Jar” • LOGO/IDENTITY, Adobe Illustrator
“2 Cool 4 Drugs” • SKETCH, Adobe Illustrator
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“The Reason ” • Green River Ordinance (Band), Adobe Illustrator
PREVIEW: Jason Yang
“Backpacks With A Purpose” • Motion Graphic Frames, Adobe After Effects, Illustrator, Photoshop
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PREVIEW: Jason Yang
In reference to your various music packaging projects, how does the music that the bands produce infiltrate your designs? Working with musicians is always an exciting process. Luckily, the artists I’ve worked with have provided me with unfinished tracks to listen to for inspiration. Being able to put the album on infinite repeat helps give me an overall sense of the music as I’m working out the design concepts. If I’m able to capture the essence of the music in visual form, then I’ve done my job. Motion graphics and the word “explosion” seem to have an inherent connection. What was your immediate reaction to “explosive?” As a motion designer, I found the word “explosive” to be full of potential. I can already imagine all sorts of interesting interpretations. Of course for me, the hard part about the theme is capturing it in a static image, which doesn’t move. What’s next? I have a few personal projects and collaborations in mind that I’d like to get started this upcoming year. My plan is to keep doing what I’m doing, making a living doing what I love. END
visit JASON’S website for more info: www.INVISBLEELEMENT.COM “Sketch-A-Day Book” • Sketch, Adobe InDesign 21
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Brim - Jardley Jean-Louis
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The Tiger’s Tale - Jessica Fortner
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EXPLOSIVE - CHRIS PIASCIK
P E C ULIA RB LIS S IS SUE EIGHT PeculiarBliss Magazine is a quarterly publication. To contribute to the magazine or website, email us: pbsubmissions@gmail.com
Editor / Designer Vaughn Fender www.vaughnfender.com @vaughnfender
Associate Editor Hannah Fichandler
Writer Shannon Duggan @sduggs
Contributors Jason Yang www.invisibleelement.com @nvisibleelement Matt Hunsberger www.matthunsberger.com @matthunsberger Abe Honest www.flickr.com/photos/abehonest Jardley Jean-Louis www.jardleyjean-louis.com @jardster Alex Jones www.alexjonesart.com
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Lucy Freegard www.lucyfreegard.com Natalia Davis www.nataliadavis.carbonmade.com @taall_dstudio Gabriela Romagna www.gabrielasillustrations.brushd.com @purplebluuu Stephen Brown Janet Kershaw www.janetkershaw.co.uk
Jessica Fortner www.jessicafortner.com @jesfortner Chris Piascik www.chrispiascik.com @chrispiascik Josh Lafayette www.joshlafayette.com @joshlafayette Muxxi www.muxxi.me @muxxi
ISSUE 8 - Q4 - 2011
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EXPLOSIVE - JOSH LAFAYETTE
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Explosive - Muxxi
We are now accepting submissions for the theme:
“Ritual”
Submission Deadline
03.23.12
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