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Chapter Three, Twelve, And Some Interviews

Chapter three:

• even the big names can suffer from impostor syndrome, but don't let that stop you from making good design
• sometimes the boundaries between illustration and graphic design are so blurred even the experts can't pin down where the line is
• "The way that different techniques, styles, and letterforms can be folded together to elicit a particular response from the viewer is something that one can never stop learning about."
  —Neil Gower

Chapter twelve:

• "The digital age, paradoxically, breeds quite a few eccentrics. Unlike “originals,” who initiate trends that others may adopt, imitate, and exploit, “eccentrics” defy categorization. You cannot replicate what they do— nor would you want to. Eccentrics are not leaders because they do not have followers; neither can they be described as pioneers, pathfinders, torchbearers. Their role in society is to be “different.” Free-spirited, self-motivated, with the courage to do their own thing, they also possess a mischievous sense of humor."

Interview one: Charles S. Anderson

• product, packaging, and brand designer who lives in Minneapolis
• "I’m fascinated with the idea of bringing paper into the digital realm and vice versa. Print on paper used to be perceived as ephemeral, but now, compared to the pop-up-and-delete nature of digital, it feels real and everlasting."

Interview two: Antoine Audiau and Manuel Warosz

• they're French twins who look like they should have each other's names, and they do absolutely nothing to clarify who's who
• "Many of our clients were—and still are— theaters, dance companies, museums, and contemporary art galleries. What is new today is the range of techniques that we are exploring. To our existing assortment of skills and calligraphic styles, we have added motion graphics, photography, and glass design (for the Corning Glass Museum). But drawing, painting, and printing are still the basis of our practice."

Interview three: Ludovic Houplain

• "Ludovic Houplain has always been a pioneer in the visual communication field. In the 1990s, his name was associated with the 'French Touch'—the celebrated record covers look for techno music. In 1993, he founded a creative agency, H5, with Antoine Bardou-Jacquet, and they soon became known for their innovative animated music video clips."
• "[Are you inspired by new technologies? Which ones?] I love them all! Not for their techy dimension (I am not a geek) but because I always welcome disruptions. New technologies will influence the way we think, react, and live our daily life. New technologies will force me to reassess my work constantly. The recent “HelloTM” conceptual installation at the Gaité Lyrique, Paris, new media museum, is an example. We were able to blend seamlessly irony and technology—at the service of an idea: a full-scale parody of corporate branding."

Interview four: Cary Murnion

• works with comedy and horror (see BOOB the short film)
• as much a short film and commercial director as a graphic designer, often works on multiple studio/film projects simultaneously
• "Graphic designers are directors, which is why they are called art directors or creative directors. Being a graphic designer trained us to be a jack-of-all-trades. Designers work with all types of artists, writers, marketers, and clients. The designer combines many different puzzle pieces to communicate a certain message. That’s what directors do with a film. From a rough sketch to final product, whether it’s a designer explaining an idea to a client or executing an idea through discussions with a programmer, there are many crossovers with a film director."

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Chapter Five And Some Interviews

Chapter five:

• "The logo is the mark that reduces all business attributes into a recognizable sign."
• logos are charged, not just with emotion but philosophy, ideals, promises, and representing the company as a whole- but if the company means nothing even a good logo tied to it will eventually also mean nothing

Interview one: Mark Fox

• "I didn’t study design in college—my degree is in fine arts—so I didn’t have any school assignments with which to build a portfolio. As a result, I spent the year after college inventing projects I could execute on the cheap but that still looked good."
• "A good trademark is glyphic and functions as visual shorthand for a commercial endeavor (i.e., a company, product, or service). All trademarks are symbols, but not all symbols are trademarks."

Interview two: Ross MacDonald

• “I do illustration for books and magazines, I write and illustrate children’s books, I design—mostly book covers—and I design and make props for movies. The props are mainly graphic props—documents, books, magazines, maps, and so on.”
• "Understanding why typefaces look like they do, and where they came from, can have a huge effect on a designer’s work. I always say that digging into the history of design will take you places you will never find on your own."

Interview three: Roberto de Vicq de Cumptich

• born in Rio de Janeiro, Brazil, moved to NY to work with Condé Nast Magazines and Broadway Books
• "His main interest is the expressive use of typography, which comes through in his book jackets and covers. 'I fell in love with the work and the process,' he adds; 'book jackets are a blend of editorial and product design. Each book is different; each has its own story.'"