Bum Out — Invisible Creature Speaks / Archive

I had the pleasure of answering a few questions for Meghan over at The Creative Unconscious. Thanks for the opportunity Meghan!

Last year we received a call from our favorite software company, asking us if we'd like to preview the soon-to-be-released Illustrator CC. The one caveat was that we had to create whatever we wanted and document how we did it. Our answer? A resounding 'Awesome!' and "Uh-oh, what are we going to create?" There were no guidelines, save for a few key words: Modern, fearless and reborn. Adobe's theme for the new release.

Since we had just recently bought a farm outside of the city, we were in the thick of having our normal lives turned upside down - yet at the same time, we were having a blast with our new lifestyle. 'Reality. Reborn.' is inspired by that personal transition ... blended together nicely with the amazing new features of Illustrator CC and Adobe's willingness to give us carte blanche on creative direction.

We've been using Adobe's products for almost 20 years now and rely extensively on their tools to create our projects. Huge thanks to Terry Hemphill and the Adobe team for asking us to do this. We had a lot of fun with CC's great new features.

Without further ado, download Adobe's awesome iPad magazine, Inspire to check it all out - or read it online. And to top it all off, grab the mega-huge uber-limited 25" x 46" poster in our shop now.

Read about how we went from sketch phase to final color blocking ... and how our process always evolves as we work.

One of the coolest new features in CC is the Multiple File Place tool, allowing you to adjust the size of your file before dropping them on the artboard.

CC's new Touch Type tool is especially great as well, allowing you to manipulate and edit individual characters without creating outlines.

Those are just 2 of my favorite new features. Read about the rest. A few details below:

... and pick up the giant 25" x 46" poster in the shop now for only $40.

It's an absolute honor to be interviewed by The Great Discontent. Cozy up with that brand new iPad from Grandma and have a read. Merry Christmas and Happy New Year!

Is there still a role for designers in the music industry? We're honored to be amongst 7 studios interviewed and featured in IdN's Music Graphic issue.

Recorded music has always been packaged, from the very earliest days when wax cylinders came in cardboard tubes, and has therefore always involved designers. In the palmy days of vinyl LPs with sometimes stunning cover art and often erudite liner notes, the presentation was almost as important as the product.

But with the industry morphing so rapidly into the field of digital-download delivery, where do the graphics come in now? This is a burning question for all those working in the area of visually representing music. To see what their answers are, read this feature story, which solicits the views of seven specialist music designers.

// Grab a copy here.

We're honored to be part of the fantastic new book Kern and Burn: Conversations With Design Entrepreneurs curated by Tim Hoover and Jessica Karle Heltzel. Featuring Aaron Draplin, Heads Of State, Arman Vit and many others.

'Kern and Burn: Conversations With Design Entrepreneurs' is a beautiful two-color book that features candid conversations with 30 leading designers who have founded startups, channeled personal passions into self-made careers and taken risks to do what they love. In this book they share their failures, successes, and perspectives. Our hope is that you can learn from them — not to follow in their footsteps, but to chart your own course in parallel, one that allows you to thrive, add value to the world and love what you do.

The entire Kern and Burn project was brought to life by a successful Kickstarter campaign, but here's where it all started. Tim and Jessica's spirit and passion for this book is an inspiration, pick up a copy if you can!

Honored to be featured in Print's 2012 Regional Design Annual. Gigantic thanks goes to our favorite clients over at Target inHouse.

Our gracious friends over at VSCO Film asked me a few questions about work and family.

Design Bureau Magazine asks us a few questions in their latest issue. Featuring K-Rash like a boss on the cover.

In this series I'm going to try my best not to compare apples to oranges. I understand there are vast differences in technology, ideology, legality, etc between designs of the past and designs of the present. However, I believe there was, is, and will always be a way to almost objectively design something properly. To me, this means a design that is well executed, aesthetically pleasing and properly communicative... in relation to whatever is being "sold."

TWIW, V.2 is in regard to travel advertising. In this case, specifically cruises. Here are my thoughts on the ads in question:

1. I don't even know where to start. How about the copy? Clearly one is simply advertising a specific cruise ship, while the other goes into much more detail about the price, locations, discounts, dates, etc., but that in itself says something about modern advertising's problem with forcing too much information into a single ad. Add to that the tragedy of 5+ arbitrarily used fonts and typesetting that seems to make no sense at all. Except of course for the legal line, which is strategically set in black type over a dark portion of the image. Crafty.

2. We used to marvel at things like the massive Cunard cruise ship, shown above. But as technology and engineering progress, we're less interested in how we'll be getting to our destination and more interested in where it's taking us (and how much it will cost). But aren't these ads for the cruise itself? If you just want to go to The Bahamas, you can fly there in a fraction of the time. This is about the experience of the cruise. And as you can see in the more recent ad, the actual cruise ship has become an afterthought; a footnote.

3. As for the imagery, we're faced with the obvious difference between professional designer and someone with a personal computer. Before the computer we relied on professionals to do the job of advertising. They were skilled in their craft. They knew type and composition and cohesion and color. They designed because they were good at it. I know I'm stating the obvious here, (and there's a heaping helping of irony as I sit here and type this) but it's a bit of a bummer that the computer has turned every civilized human into a jack-of-all-trades.

4. In the end, one is clearly worth framing and displaying in your home, and the other is sure to end up in a trash bin. I refuse to believe that we collect things that are "vintage" purely based on nostalgia. The bottom line is that, in most cases, that old stuff is flat out better than the garbage that we see today.

I had the idea a while back to post about the perils of modern design, specifically in regard to rebranding, the evolution of a particular design and things of that nature. I've decided to finally pull the trigger and go for it. As my brother has begun posting a series dedicated to our grandfather, I thought this might be the right time. After all... the time period in which our grandfather was designing will often be the era in which my postings will refer to.

"The Way It Was" will be a study (and occasional pseudo-rant) about a particular design of the past, and a directly (or at least somewhat) related piece from recent years.

TWIW #001 is based on an email conversation I had with a few like-minded friends a couple of years ago. The subject in this case is a box of Trix cereal. Target had announced that it was re-issuing old General Mills cereal box designs for a limited time, (God bless design-savvy corporations) and in being reminded of that classic old box design, I couldn't help but dissect the modern design and suppose what it's trying to tell today's consumer. Here are my thoughts:

1. The logo, once simple and bold, is now 3-dimensional, has a white stroke, yellow bevel, and emboss. ALL of which have gradients. Somehow this "pops" more.

2. Since brand loyalty is dead, the nice big General Mills logo at the top of the box (which I'm sure used to assure people of the reliability and integrity of the product) is replaced by a very small GM logo, overpowered by a "whole grain guarantee" and a list of other nutritional values. Not that nutrition is anything to shrug at, but let's be real- this is Trix.

3. The cereal itself isn't enough anymore, so there has to be added incentive to buy. In this case, there's an ad for "fruitalicious" games on the back of the box.

4. The fun-loving bunny on cute roller skates is replaced by (honestly) what seems to be an INSANE rabbit, literally throwing Trix at you.

5. Lastly, and probably most importantly, the modern box has a disclaimer sentence that reads something like "cereal shown not actual size," because people are so stupid (or assumed to be so stupid) that they can't comprehend that the 1" macro-lens-photographed meteor puffs on the front of the box are bigger than they actually are.

Four guys in outdoor clothing- check. Rocks and various debris- check. 2 staggered pine trees- check. Campfire- check. One guy warming his hands, one guy roasting a marshmallow- check. White seamless backdrop- check. Congrats- you've successfully ripped off our Fair artwork! Your Dave Hill photo treatment needs some work though.

Build has an excellent rant, I mean blog about the current "nostalgic faux-crapsman" town homes popping up everywhere around Seattle. This was just a topic of conversation amongst friends last week, it's good to see we're not alone.

They also posted a link to a Seattle Times article regarding the same issue.