Computerlove™

December 29th, 2008

Let's Talk, Matt Pyke

Matt Pyke is many things. He is a painter, photographer, artist, curator, designer, animator, director, producer, and lecturer. However, he is perhaps best known for founding Universal Everything (UE), a collective of designers, programmers, musicians, and artists who have, since 2004, been pushing the boundaries of traditional design. Working from a log cabin studio in Sheffield, England, Matt Pyke and his UE collective are involved in a diverse number of projects—from producing art films for clients like Nokia to giving lectures at Cambridge University; fashion shoots for Audi to stadium visuals for George Michael. I recently had a chance to talk with Mr. Pyke. Here’s how our conversation played out.
-Matthew Newton

*You got your start working at The Designers Republic. What prompted
you to strike out on your own and form Universal Everything?*

After 8 years there I was hitting the borders of people’s expectations of the TDR studio aesthetic, and needed to relaunch with a universe-sized blank canvas.

What was the most daunting aspect of leaving an established studio like TDR?

To retain the standards that they had established.

And what has been the most rewarding experience with Universal Everything?

Everytime a client asks for something fresh, not recycling previous work.

How would you explain the concept behind your three-part organization: Universal Everything, Everyone Forever, and Advanced Beauty?

Universal Everything - Art and design for clients and galleries
Everyone Forever - Free sharing of thinking and influences
Advanced Beauty - Exploration and publishing of audio-visual content

There’s so much talk anymore about the notion of transparency—whether its in government, creative process, or beyond. Would you say Everyone Is Forever is an exercise in transparency?

Yes, it’s about sharing everyone's personal influences with the world. It’s part altruism, part karma-inducing. We're all for giving ideas away—it forces us to think of new ones.

Can you think of any examples of how this experiment in altruism/karma has inspired your own creative process?

We get plenty of surprises and secrets shared in return. If we open up to people they feel comfortable doing the same. We've been sent new applications before release, amazing music demos, prototype mobile phones—all which inspire us to create work at the forefront of progression.

What role do you play in Advanced Beauty? I get the impression you straddle the line between contributor and curator?

I started the project with my brother, sound desiger Simon Pyke. It wasn’t the traditional music-video-for-every-song-on-the-album approach, but a two-way conversation between the animator and the composer. I chose the selection of contributors, based on their unusual and unorthodox approaches to animation, and devised the parameters everyone worked within. I had varying levels of involvement with the films, some were initial creative conversations with the creator, some I re-edited, some I co-directed, and one I created myself.

What initially attracted you to design as a career?

The felt-tips I got for my 2nd birthday.

So you've been hooked since a young age. I wonder though, has any other path ever appealed to you?

Landscape painter—already in the planning stages.

Looking back, is there any specific experience(s) that profoundly influenced the way you work?

Studying architectural and botanical illustration helped teach me how the world fits together visually.

Music sequencers and their ease-of-use taught me how hard it is to write genuinely amazing music.

Mobile Internet enabled me to work, discover, and connect with incredible people globally whilst on the move.

What projects are you working on that have you excited?

The ongoing generative art commission for the V&A museum - Forever. Publishing our own digital content; personal artworks which proliferate across the web. And developing new commissions which are opening up many new directions we haven't explored: cinematography, rapid prototyping, media-architecture, and iPhone applications.

Related links: www.universaleverything www.everyoneforever.com www.advancedbeauty.org www.freefarm.co.uk

December 26th, 2008

Let's Talk, HelloVon

London-based illustrator Von produces work that is emotive and technically complex. Influenced by the worlds of music, fashion, and design his work combines traditional and digital mark making techniques. In addition to commercial work for clients like American Express, Nike, and The New York Times Von has been hard at work on pieces for an upcoming solo show next year at Cerasoli-LeBasse in Los Angeles. I recently had the chance to talk with Von, here's how our conversation played out.
-Matthew Newton

What first attracted you to art and how did you refine those interests to get where you are today?

I suspect my story is pretty much the same as many in the industry in that drawing and painting has been my one constant favourite thing to do since I was a child. After university I carried on trying to find my feet creatively whilst working a normal job before getting in as a junior designer at a small design studio. It was there that I picked up on how to and not to do a lot of things which provided a firm apprenticeship in the day-to-day running of a small creative business. After around a year I left there and I set up studio HelloVon at the start of 2006 and took it from there. Managing your own career from promotion and finances to actually getting the work done is always going to be a huge learning curve but I've been lucky enough to manage ok so far.

The scope of your work is diverse—typography, illustration, and painting. Do you favor any one medium over the other?

I see it all as one really. Whilst my painting—and drawing-based work can have a very different atmosphere and evoke quite different reactions they are essentially created with the same method of mark making and I couldn't pick one over the other.

In seeing all three mediums as one, is your approach always the same then?

The thought process that goes into constructing the shapes to build up the content and composition is pretty much always the same. It is that, I would hope, that gives a coherence or consistent language to the work overall.

Your biography mentions that you are heavily influenced by music, fashion, and design. Can you explain how these elements inform your ideas?

Music is a huge influence on me and my work in general. It is stating the blindingly obvious but sounds conjure all kinds of imagery, for me a lot of it very abstract, and over the years I've noticed it finding its way into my work more and more. I guess it manifests itself most regularly in the fluid marks I use with the bubbles and brush strokes. Sometimes it can be a lot easier to imagine a mood or atmosphere in sound than images and the challenge of then translating that into a visual that works is something I relish chasing. Equally, lyrics are a very rich source of inspiration for images as they can be so specifically emotive yet ambiguous at the same time leaving your imagination to pluck from them what it will.

As a commercial artist, graphic design and product design is as appealing to me as any kind of fine art. Like many people a huge section of my bookshelf is dedicated to old Penguin books purely for the covers alone. Aside from it's intended use I don't really make a huge distinction between commercial and fine art that I like in terms of holding one above the other. Design is just composition/balance in one form or another and a well designed image, whether it be from a fine art gallery or commercial editorial design, is what appeals to me most—especially when it is combined with a strong element of craft.

In terms of fashion, I'm not a huge follower of particular designers or trends in the sense that my own personal fashion is very average. My girlfriend is the one that knows designers inside out. I get inspiration from fashion more by looking through shoots in various magazines—the styling, atmosphere, etc. It's a much more anonymous experience for me but nevertheless inspiring. Having said that someone I would highlight that I recently came across is Martin Margiela.

Looking at your drawings, I would imagine the process is time-consuming. Do you work from photographs, memories, or elements altogether different?

With a lot of commercial jobs there is often a portrait involved and so I will be provided photographic reference to work from. With personal work it is a combination of my own photography, found reference, memories, and so on.

Your paintings seem to be an extension of your drawings, but somewhat softer around the edges. Does working in a different medium change the way you are able to capture a subject?

With each medium you have to find your own way of controlling and manipulating it. As mentioned before, in terms of the shapes and thinking involved in the painting, it is pretty much the same as drawing. However, ink by nature is very different in the way it touches the paper, how it can be applied, and consequently the final result it gives. Ink and brush will always give a softer, friendlier feel than pencil or graphite, and most of the time jobs definitely stand out as working better in one medium than the other.

Artists who draw and paint don't always create their own typography as well. The type you create appears handcrafted, but is it also fully functional?

The typefaces are all hand-drawn. But as to whether they functions fully as a typeface in the everyday sense, I'm not sure. I know very little about type theory and have a huge respect for people in the design field that can produce such beautiful work time and time again with typography in the traditional sense. When it comes to laying out the typography I have done, I don't treat the compositional method much differently—aside from the legibility factor of course—from any other image I make. I love doing it and will be doing more. But I think a lot of professional designers would have a thing or two to say about my name and the word typographer appearing in the same sentence.

What are your thoughts on the way so many designers/artists are viewed as art stars?

It stands to reason that the people that produce work that is of an extremely high quality, innovative, unique—regardless of their industry—will be recognized for their hard work, raise to the top of the game, and be revered for doing so. More often than not blood, sweat, and tears have gone into those people being in the position they are in and they've earned it.

What are you currently working on that has you excited?

The biggest thing, and most overwhelming, would be preparing for my LA solo show next summer, which I'm incredibly excited about.

When you think about the future, what do you hope to look back on and feel a sense of accomplishment about?

To have achieved all of my goals and to not be bored by my own work.

Related links: www.hellovon.com www.hellovon.com/shopvon.htm www.flickr.com/photos/hellovon www.hellovonblog.blogspot.com www.cerasoli-lebasse.com/site

December 20th, 2008

Let's Talk, Jesse Hora

Jesse Hora is a graphic designer who lives and works in Chicago. When he’s not on deadline and knee-deep in client work, he enjoys drawing, thinking, laughing, and dancing. His designs, which are bold and often irreverent, show the lighter side of graphic design—something many all-too-serious types might find, well, fun. I recently had the opportunity to talk with Jesse. Here’s how our conversation played out.
–Matthew Newton

What first attracted you to art and how did you develop those interests to get where you are today?

The first thing that attracted me to art was that it came so naturally—I was 'the art kid' growing up. When I graduated from high school it was just kind of a given that I was going to go into art, I never really entertained the thought of doing anything else.

I started developing my interest as a kid by drawing cartoons and basketball team logos all day. From there I decided to go into a graphic design program instead of illustration because I could already draw. While doing my BFA in graphic design I always incorporated illustration into my work.

Since graduating I have luckily had the opportunity to work on some great projects (and with some talented people) which have helped me carve out where I am today. Where that is, I have no idea.

Have you set any long-term goals? For example, transitioning to gallery work or pursuing ideas outside of design?

I think of new goals everyday, but eventually I would love to solidify myself as an independent designer/illustrator and start my own creative firm/collective. Becoming an accomplished gallery artist is a big interest, but the ultimate goal is to live comfortably and hopefully have fun along the way.

What is it about doing gallery work that appeals to you?

Gallery work for me is just plain fun. It is art in its truest form. Art that I like, and hopefully others appreciate. But if they don't, it's not an issue, because its personal, unlike commercial work.

You seem to split your time between typography and illustration. Can you talk about the connection between these two mediums?

The connection between illustration, design, and typography is that essentially any given piece of work could contain all three of the mediums at the same time. Depending on the context in which you view the work it could fall into any/all of the categories. I might draw an element for a design or illustrate some typography—why does there need to be a distinction? I am not sure why people have the need to force someone's work into one of these categories. It is not necessary. Depending on the problem/project at hand I have the ability to create a visual solution with any of the given mediums.

I guess more what I was getting at is how these mediums are interconnected for you, as a designer, not for categorization purposes. Is this something that worries you, having your work 'forced' into a certain category?

I guess the point I am trying to get across is that for me illustration, typography, and design are so interconnected that they are essentially all one thing (or medium). The thought process for doing any sort of work, is all just about coming up with a clever solution. This might be because I went to school for graphic design, so I sort of illustrate like a graphic designer. My thought process is very problem-solving based.

As for being worried about my work being 'forced' into a certain category, I am not so much worried as pissed off when people discredit what I do. For example, I went in to talk with this so called 'creative firm' about possibly working with them. And the 'bossman' tried to talk to me like I didn't know what design was because a lot of the work on my website is 'illustration' based. Just plain ignorance. I am venting a bit here, so sorry for that, but thanks for that as well.

Like most designers, you've got a roster of commercial clients you work with. How do you like working with clients? Is it a pain in the ass, or are you pretty mellow and just roll with it?

Well, of course I like working with clients, that’s what pays the bills. But I also love the freedom that comes with self-directing a project. Working with a client is kind of nice in a way because more problem solving comes into play (what are they going to like as opposed to what do I like).

Like every creative type I have the horror stories about the client from hell that didn't know what they wanted, they just knew what they didn't want; but that’s all part of the business. The fun part for me is working with the clients and showing them that something cool really can be created. I don't really let client work get under my skin because normally once you get more than one person giving their opinion on a project it becomes design by committee; which never works (well).

Can you tell me a little bit about your Athlete Objects project?

Athlete Objects is my interpretation of 80s and 90s athletes (initially NBA players, possibly other sports later) based on their name, my childhood memories, and Wikipedia. Basically I will pick an object that I think the player embodies or some how cleverly represents that player and create a character illustration. Wikipedia is where I will get a lot of the specific references. For example, if the player was overweight and had problems with drinking, he might have a doughnut in one hand and a beer in the other. Many of the illustrations have many funny, sometimes crude, layers of meaning so if you know about the athlete it will be hilarious.

Growing up I loved basketball and watching the NBA—seeing Muggsy Bouges and Manute Bol on the court are some of my favorite memories. Now I hope to find the niche of people like me, that loved the this area of the NBA, and publish a collection of work to help them reminisce (and get a laugh in there as well).

Looking at your Somethin' Somethin' series, it strikes me as a quick way to release fun, irreverent designs. What's kind of response have the prints garnered?

The Somethin' Somethin' series has had a really nice response, people love simple and fun ideas. Sales on ETSY has far exceeded my expectations. They make a nice little holiday gift (wink wink).

Since you represent a younger generation of designer, what do you think about the way designers are increasingly looked upon as art stars?

Some of the younger designers are gaining recognition for a specific look or style, much like illustrators and artists have done for years. Clients come to them for that 'look'. I think it can be a great thing, but it also could be very easy to get pigeonholed. So young designers should be smart about it and develop multiple skill sets.

What can folks expect to see from you in the weeks and months ahead?

I hope to finally publish a 'graphic design manual' and a new set of prints. Lots of things in the works over at JesseHora.com, so check it early and often for the newness.

Related links: www.jessehora.com www.jessehoradotcom.etsy.com

December 1st, 2008

Is Sampling Dead?

The death of sampling in hip-hop has been predicted at fairly regular intervals since its inception some 30 years ago. In this special report for the December 2008 issue of SPIN magazine, the topic is approached more as a question than a proclamation. The responses from producers, emcees, record label managers, publishers, and sample clearance agents lend credence to the question—providing proof that the artform is becoming increasingly prohibitive due to rising costs and artists' exposure to potential litigation. -Matthew Newton

Read the full article here: matthewnewton.us/node/775

November 30th, 2008

Let's Talk, Luke Lucas

Luke Lucas has been infatuated with design since the late 1980s, a time when he was as interested in riding a skateboard as he was with the artwork covering the underside of the deck. This led to a crash course in visual study—i.e. hours spent pouring over the work of skateboard artists like Jim Phillips and Vernon Courtlandt Johnson in the latest issues of Thrasher, Transworld, and Big Brother. However, as often happens, Lucas evolved and began forging his own style, primarily working to create original typography and striking editorial design. Today, the 32-year old Lucas—who lives and works in Melbourne, Australia—balances his duties as co-founder and executive director at Lifelounge (a multi-disciplined creative firm) with a diverse roster of freelance projects. I recently had a chance to talk with Mr. Lucas. Here’s how our conversation played out. -Matthew Newton

There's a ton of character and humor in your work—from your typography design to your magazine spreads. What first attracted you to design and how would you say your style developed?

I’d say my interest in design was mostly influenced by growing up as a skater in the 80s and 90s. It definitely influenced my tone of design and what I find funny or interesting or cool or whatever. I used to love getting my hands on the new editions of skate mags like Thrasher or Transworld and later Big Brother to see what the latest skateboard graphics, logos, and designs involved. Even the ads were interesting. I think the general attitude of irreverence that came from that scene at the time and apparent lack of structure or rules helped to mold whatever style it is that I have. Illustrators like Jim Phillips and Vernon Courtlandt Johnson were pretty much like gods to me. The way they worked with type and illustration still, to this day, spins me out.

Do you still find inspiration from skate culture, or has that time passed for you?

I think that time has definitely passed me by. I still skate as much as I can and am still interested in what’s happening in that world. But in terms of design inspiration, I look elsewhere these days.

Can you tell me about the concept/philosophy behind Lifelounge—when it got started and how the idea came about?

Lifelounge has taken on many forms over the last 9 years but the fundamental values that all of us here possess is the genuine desire to create the kinds of things that people like ourselves can be entertained or inspired by. In all facets of what we do, it’s apparent on some level. In it’s first form Lifelounge was a website set up to be a news source on everything that was happening in the world of snowboarding, skateboarding, inline, surfing, BMX, and even music and fashion. It’s definitely changed a lot since then but that was where our heads were at at the time.

Fortunately, considering the fate of many Internet companies that were launched in the late 90s, the business began to branch out into client services work, offering design, marketing, and advertising to companies that wanted to communicatae with the same people we were already talking to. If we hadn’t broadened what we offered at this point we would have folded for sure.

Branching out, and being diverse, seems critical to survival for those in the creative field. Do you sometimes wish you could just focus on a single aspect, like typography or editorial design, all day long? Or do you prefer a varied workload?

Yeah, for sure. I’d love to just focus on editorial and typographic design. The sad truth with that kind of work, and I’m sure many others in the world of niche publishing would agree, is there’s actually not really enough money in it to sustain a comfortable living. The main thing that keeps us there is a genuine passion for our magazines and what they represent. The reality is, a good portion of what pays the bills in creative fields are relatively painful jobs but luckily, as the years have gone by, I probably don’t need to do anywhere near as much of the crap work as I used to.

The cover designs for Lifelounge Magazine are incredible. Can you talk a little about how you develop cover concepts?

Thanks Matthew, I’m glad you’re into them. Each edition of Lifelounge is based on a different theme so that generally sets the tone and direction of where the cover design might head. Although there will be a general idea for where the cover is heading or what I want to achieve, like with most of my design work it generally works backwards from the typography or the type treatment of the name Lifelounge. I love including subtle hidden details or elements of humor on the covers and back covers that at a glance people won’t notice but they might reveal themselves after they’ve been looked at a few times.

So does Lifelounge consume most of your time?

Yeah, definitely. The good thing about being a co-owner of a business is that you mostly can dictate the way you work and what you work on, but the flipside of that is that you never really switch off. The majority of the magazine is put together outside of a standard work day. In saying that, it doesn’t bother me so much as it’s enjoyable work. I’m fortunate that through Lifelounge I have the ability to work on a diverse range of projects so even though I’ve been here for the last 9 years, I’ve never really felt bored.

You create typefaces from scratch. How involved is this process and why does it appeal to you?

It’s just something that has always really interested me and I’m not really sure why. For me, the typeface in a layout or particular design, especially in magazine design, is one of the most important elements on the page next to what it is you’re trying to communicate.

It can be really easy for designers to get caught up with using faddish typefaces or whatever’s popular at any given time but in doing that a lot of design work can end up looking the same. You end up seeing waves of typeface fads which I find it pretty uninspiring.

If I can’t find a typeface that represents where my head is at for a particular design or magazine theme, then I usually try to make my own. Apart from the kerning side of typeface and font design I actually really enjoy the process although sometimes it can be frustrating. There have been heaps of occasions where I’ll commence a typeface only to work out 15 or 20 characters down that it’s not going to work, but I struggle to leave them un-finished. It’s like a book half read or walking out in the middle of a movie or something.

On a whole, the process varies from typeface to typeface but generally an idea can be spawned from picturing a particular weighted shape or arc, stem or tail, or even elements of an existing typeface. It does vary though.

Are there any aspects of design that you would like to tackle but just haven't had the time yet?

I think if I had the time I’d definitely like to do more animated title graphics and motion typographic design. I’ve done a few bits and pieces in the past and it’s always been pretty fun. In saying that, I tend to prefer working on design projects where the end result is something physical that I can touch and look at away from a screen.

What is the most challenging part of your work? And what is the most rewarding?

I guess this links back to looking at something away from a screen because I’d say the most challenging part of my job is the hours upon hours of computer time. We have a bit of a love/hate relationship my computer and I. Like with a lot of creative work, it’s really momentum based so if you’re on a good creative train of thought, it’s really hard to step away. Before you know it you’ve been sitting in front of the computer for two days and haven’t slept. That’s probably the other most challenging part of my work is that it often involves a lot of hours of my time on weekends and at nights. The most rewarding thing is probably completing a project, viewing the final result and seeing an idea realized (particularly when it works). Whether it be the first time you pick up a magazine from a printer, or seeing someone wearing a t-shirt you’ve designed down the street down, it’s all kind of cool.

If you had the chance to take another path in life, would you still choose a career in design?

I used to joke with a designer mate of mine, I think it was when I working on a painful 100+ page styleguide for a Vodka company that shall remain nameless, that we should have become gardeners. The idea of working with your hands in the open air with things that grow seemed like the perfect alternative to being stuck indoors working in front of a computer on crap design work. In all seriousness though, I think whatever path I would take it would need to be a creative one. The scale and longevity of architectural design has always really impressed me. Being able to help shape a city and working on projects that people will interact with people well beyond your years is an amazing privilege.

Related links: www.lukelucas.com www.lifelounge.com www.behance.net/Luke_Lucas www.lifelounge.com/blog/Luke.aspx

November 12th, 2008

Presidential Pardons: George W. Bush

With less than two months left in office, the exit of George W. Bush brings to mind the topic of presidential pardons. History has shown that outgoing presidents use their waning days in office to clear house by undoing wrongs done against political allies, friends, friends of friends, distant relatives, acquaintances, and, well, you get the point. To date, Bush has pardoned over 100 people during his presidency. Many are speculating that one of W's final pardons will be for Lewis "Scooter" Libby, remember him? Included below is a list of the people pardoned so far. I found it fairly entertaining (and defeating) to browse, especially considering how many of these individuals were pardoned for either a firearm or drug violation (lots of potheads and cokeheads). Believe it or not, there's even someone on here pardoned for making moonshine. Never one to be outdone however, Clinton's pardon record beats W's by a hefty margin (though W still has time). I'll post the Clinton pardons next.

Read the full blog post here: matthewnewton.us/node/759

November 7th, 2008

Let's Talk, ESM Artificial

Operating under the moniker ESM Artificial, Vancouver's Kenn Sakurai has been producing compelling art for nearly a decade. His ornate handmade stickers have popped up on everything from light posts and walls to switch boxes and women's asses (see below). And his silkscreen prints and original art pieces have been exhibited in galleries across the globe. Armed with a healthy sense of humor, Sakurai weaves satire and commentary into his work whenever possible. "Sometimes I think the work visually is enough," he says. "But many [ideas come from] my observations on the way I see people behave around me that I find sort of funny, annoying, or stupid." When the 40-year-old Sakurai is not working in his studio, he writes and records music for his Perfect Sound 35 project (link below). I recently had the opportunity to talk with Mr. Sakurai about art, music, and life. Here's how our conversation played out.

You've been making art for a number of years now. How and why did you get started?

Let's see, I suppose I got started in my wee years because I loved stickers and anything to do with stickers and sticky paper whether it was scotch tape, grip tape, hockey tape, pharmacy warning labels, stamps, etc. The later years in art school were for learning more about art history and some useful art techniques.

Did going to art school help you? Or do you think you would have arrived at the same endpoint without it?

Going to art school definitely helped hone what I was trying to get at with my work. Being able to work within a place that provided everything one needs to create an infinite amount of work was very good for me. Being in the studio of an art school makes you think of what you want your own studio to be like and what it might take when you graduate to be able to set something like that up. As far as being taught goes, it was stifling and oppressive at best and I felt that only a couple teachers really helped teach me anything. That being said, the experience there pushed my thoughts and work into an area outside what they were teaching and I'm certain I would not have reached that conclusion without school. Being around a pile of grubby art student hippies also makes you want to get your shit together as soon as you get outta there.

*What's the origin of the name ESM Artificial? *

The name comes from the very early 90's, when I was doing some music-related projects and needed a name to tack onto the stuff I was making. After four or five albums being released straight into the delete bins, I decided to change the name but retain some aspects of it for my graphic- and art-related work. The name change hasn't helped musically since I'm onto album number 12 and they're still heading into the delete bins at an alarming speed.

Lots of visual artists seem to also write music. Are there similarities between the music you write and the art you produce?

I suppose the music I write is similar to my art in that they are [both] short pop hits and golden nuggets; and I lay the sounds down track-by-track like I would with ink if I were silkscreening. With the art, I can draw the images, scan them into the computer, and fuck with the colors or shapes until I see what I like—then go to the studio and silkscreen it. But with music, I start to write straight to my analog 8-track without any preconceived ideas using traditional electronic or acoustic instruments—no computers—and don't change them in any way until all the tracks are layered on top of each other. So I don't really know how any of it will sound until it's finished. This method of working can create a lot of shitty music.

Much of your work makes subtle comments on culture, and often society as a whole. Do you try to make your work transcend its primary visual appeal whenever possible?

Sometimes I think the work visually is enough, but most of the time I do feel like commenting on something that makes me chuckle a bit for sure. Many things are my observations on the way I see people behave around me that I find sort of funny, annoying, or stupid.

How do you catalog your ideas—mental notes, journal, sketchbook?

Most of my ideas are in my head because they are very simplistic. There are some things that are sketched onto loose pieces of paper here and there but nothing like a sketchbook or journal. I do quite like the Split Enz album Mental Notes though.

Silkscreen prints are a big part of how you convey your work. When did you get into silkscreening and what initially attracted you to it?

I was attracted to silkscreening the first time I met her in graphics class in high school; then many years later at art school. I've always loved the immediacy of it and the boldness of the color when printed as opposed to lithography, woodcut, etching, or other printmaking forms.

As you mentioned earlier, stickers are also a great obsession of yours. What appeals to you about creating and placing stickers everywhere?

I just love seeing text and graphic form on sticky paper to start; plus I like the fact that everyone and anyone can make them. It's a form of advertising to many companies, so I suppose artists and graphic designers have taken that approach and make them for themselves to plug their work or projects as well. It's interesting that they've become a way to leave your mark in any city or town you visit around the world and you can see who has been there before you by seeing what's been stuck up.

What projects are you currently working on?

Well there's the 400ml book/exhibition thing in Paris that opens tonight; some art for a John Cusack/Warner Brothers flick; t-shirts that I'm doing in Japan for Graniph; and a t-shirt line I'll be doing for a company in Hong Kong that manufactures over 70% of the world’s plastic eyeballs for toys. I'm also hard at work trying to develop a better lemon bar recipe. I'm on my 13th straight batch and am still tweaking the recipe because they're still not how I imagine them to be. I can't figure out if it's the quality of the eggs, the lemons, my oven. The years of cooking school have not helped me in the least with this lemon thing. I welcome any tips that anyone might have for me out there.

If you could start over in life, would you still pursue a career in art?

You know, I would, but more as a plan B or C. I would have liked to continue playing ice hockey until I couldn't play any longer and then get into developing and designing goalie equipment. I love how all the goalie stuff has changed so much since I played ages ago. I think the aesthetic part of the gear is horrible but the functions and practicality of the gear are amazing. Most sports-related gear to me looks really tacky, a little too rock-and-roll, and could use some fixing up.

Related links: www.esm-artificial.com www.graniph.com www.maisondesmetallos.org/Exposition-400-ml.html www.myspace.com/perfectsound35 uk.youtube.com/watch?v=axK_gO8bwjg

October 23rd, 2008

Let's Talk, Kenyon Bajus

Philadelphia artist Kenyon Bajus uses satire to illuminate the subject matter in his work. Often politically and socially charged in nature, Bajus isn't afraid to tackle issues of race and class; nor does he shy from skewering politicians (Democrats or Republicans) or commenting on the human cost war. His illustrations convey messages through simple lines and striking images. "When I started drawing and making art," Bajus says, "I wanted to make work that would get attention and excite people. [As a result] my sketchbook quickly became full of drawings and collages that definitely tested people’s perception of satire." By testing peoples' perceptions, Bajus says that sometimes he is the only one laughing. However, that type of reaction is only natural given the challenges his more controversial work presents. "If I had a room full of people that were upset by my work," he adds, "that would be better than everyone walking by with no reaction at all." I recently caught up with Bajus to talk. Here's how our conversation played out. -Matthew Newton

In an effort to orient the folks at home, I should ask, how did you get started as an illustrator?

I have always been into drawing. Doodling in class, in my books, on the desks, in the bathrooms... I really started to take it seriously in high school where I spent a lot of time painting and drawing. Then when Apple introduced the PowerMac, I took a slight detour. I gradually moved away from drawing and painting and focused more on motion graphics and video, and then mostly design. I was barely putting the pencil to paper anymore and eventually I realized I missed it. So I got back into drawing more regularly and it has dominated the body of work I produce.

However, I find the term illustrator funny because it makes it sound like I do it full time. I have a day job that’s unrelated to my artwork and some people are surprised when I tell them. But it works well for me because I can pick and choose the work I want to do. It is mostly for myself or for clients who already like my style and will give me full artistic license to render ideas how I see fit. It works better that way so I don’t have to take any jobs I don’t want to. But I must admit, it would be nice to do it full time and make a living. I just don’t like comprising my ideas or changing my style. I am rather stubborn that way.

How then, I wonder, would you be able to do your work full time without comprimising?

I wouldn’t. I guess that’s why I don’t, or can’t. Who knows. Unless you have rockstar artist status, clients will art direct you.

There's a heavily satirical slant to much of your work. What inspired this approach?

Humor and wit has always played a big role in my life. As a kid, I liked imitating and making fun of people and things, impersonations from movies and such. It was funny to me, and I liked the reaction from whoever was paying attention. I was a bit of a wiseass and jokester and I liked the attention.

So when I started drawing and making art, I wanted to make work that would get attention and excite people. I wanted to get a reaction out of people. I started experimenting with it in middle and high school. I remember my sketchbook quickly became full of drawings and collages that definitely tested people’s perception of satire. I used to leave it lying around the art room and soon it became the hot topic: kids were going home and telling their parents about it, then teachers were asking about it. I remember I even wrote a disclaimer at the beginning of the book. But I was lucky enough to have art teachers that didn’t censor my work. They encouraged my experimentation. My work has matured and has become a bit more subtle, but the principles are the same. I like making work that walks the line between funny and offensive.

If I had to name any one influence, I think I was really inspired by Jello Biafra's work, both his music and his collage work. I used to spend a lot of time looking at the record covers and inserts while listening to the Dead Kennedys. I loved it. I still love it. I think his shit is genius. It made a lot of sense to me and his sardonic sense of humor really influenced my own work. I think I was making satire and had developed a sarcastic wit without even knowing it.

That’s interesting, because I notice a lot of young artists—in their twenties and early thirties—identifying with art connected to music. What other albums or album art really caught your attention growing up?

Off the top of my head, I can’t think of any other specific album covers that really made as much of an impact on me as Jello’s stuff did. But if we are talking about other commercial art that was inspirational, I would have to say skateboard graphics were a huge influence. There was a lot of parody and logo flipping and other cool looking shit being done. I used to spend way too much time looking at all the tiny graphics in the back of the skate catalogs and mags of the different decks and tees. Almost obsessing over them. Transworld and the California Cheap Skates catalog were like the holy grail for new graphics and doubled as beat-off material for a budding young graphic artist at the time.

There are so many visuals clamoring for our attention today. Do you think walking that line—between funny and offensive—has enabled your work to stand out more?

My style is nothing extraordinary, mostly just black and white line drawings, so yes, it must be the content. I think the most effective pieces are the ones that stand right on that line. My intentions may seem ambiguous and the piece is open for interpretation by the viewer. Half of the audience may think it is sarcastic, and others might think the opposite and be seriously offended. I like it when the crowd splits. I don’t think I’ve ever shown anything that has received a unanimous reaction unless it has just been purely whimsical. I am not looking for approval from everyone, or anyone for that matter. If I had a room full of people that were upset by my work, that would be better than everyone walking by with no reaction at all.

So do you believe art should always elicit a response?

I don’t think it has to, but I think every piece does, no matter how subtle.

Storytelling is a major element in your illustrations. How do you come up with and capture these ideas?

I have a hard time drawing anything abstract. If I am going to draw something, I feel like it has to say something or mean something. I don’t start by drawing and see where it ends up. I already have an idea of exactly how I want the finished piece to look and what I want it to communicate before I begin.

The ideas come to me anywhere. I have no rituals for brainstorming. I think the best ideas are when you aren't trying to think of any. I can get ideas from song lyrics, or from conversations I overhear. I just hope I have something to write on when I do come up with an idea.

When I come up with an idea, I write down exactly what I am thinking so I have a clear message of what I am trying to communicate, rather than trying to sketch the idea, and then coming back to it and say “What the fuck is this about?” Which happens often when trying to sketch something out quickly. So I will write out full sentences to describe my thoughts. I have sketch books and a box full of post it notes and scraps of paper with these ideas. I even email myself over and over with ideas. Often times the same idea, reworded. It’s like I am my own client trying to make sure I understand the idea, which is insane because I am the one who thought of it. Anyway, I will go through the box and pick out an idea and work on how I am going to communicate the idea visually.

Do you try to keep current on world events, news, and politics as fodder for illustrations.

I don’t think you have to try. There is so much media coverage—TV, radio, Internet, that it is impossible to escape what is going on in the world. Even if you could unplug for a while, everyone around you talks about what’s going on and it gets into your brain.

But I don’t want to be considered a political cartoonist. I really just draw whatever interests me at the time, or work on an idea that has nothing to do with current events. I actually have a lot pieces I work on that are pretty random, like inside jokes, and a lot of the time the only person who understands them is me.

What projects and ideas are you working on at the moment?

I have been going back to the basics using pens and paint brushes and creating actual pieces on paper or wood instead of just working on the computer all the time. I love working on the computer, but I get too hung up on working on something until it is just right. I need to make stuff and then move on to another idea. I’ve got a ton of old ideas I want to work on, so I need to hustle so I can work on some new ones.

That being said, I am trying to get more involved in showing work in shops and galleries. Next up, I will have a piece in a group show called Working in Centimeters at Andenken’s Amsterdam gallery.

As for t-shirts, The Hundreds recently released a Barack tee I did for them. And I just had one t-shirt illustration come out on Upper Playground/Fifty24SF label. I have two more coming out with them in the next season or two. I have another tee coming out with Akomplice Clothing. And I have another tee coming out on Tank Theory’s Artist Society label. And I did another design for a tee company out of Serbia called Carrot Clothing. They are all dope labels so I am stoked to be working with them.

But literally, right now, I have a drawing/painting of Ice-T on the easel. It’s a portrait of him wearing a McDonalds hat and drive-thru attendant’s headset. The idea comes from his lyrics from New Jack Hustler “all I think about is kees and gees, imagine that, me working at Mickey D’s.” I think the piece is funny, but anyone who sees it has no clue and asks why Ice-T is working in McDonalds. This is one of those ideas where I am the only who gets it—and I’m the only one who thinks it’s funny.

Related links: www.kenyonb.com www.prplnrpl.com www.futurerelic.com

October 3rd, 2008

Made You Look: Nate Boguszewski

matthewnewton.us/madeyoulook/nateboguszewski

Documenting American life in candid, often revealing fashion, photographer Nate Boguszewski looks to tell complex stories in the space of a single frame. "One thing that delights me in any shot I take is ambiguity, the lies that a framing can craft," Boguszewski says. "A bit of confusion for the viewer—and sometimes for me—goes a long way in storytelling." That ambiguity is prevalent in much of his work. But he also captures subjects whose faces beam with blatant response, whether it's sadness or anger, confusion or great joy. Much of his work has a grimy Americana feel, an aesthetic Boguszewski attributes to the years spent watching his native city of Pittsburgh flounder. Formerly the art director at Deek magazine, in recent years Boguszewski has shot for Swindle, Next American City, and Philadelphia City Paper.

October 1st, 2008

Convo 001: Patton Oswalt

For those who may be interested:
Just inaugurated a new interview series -- called Convo -- on my website. I've been wanting to do a project like this for awhile now, so I'm getting started. The debut Convo features a conversation with Patton Oswalt. Check it out, if you care that is. Info below.

Read the interview here: matthewnewton.us/node/455

About Convo:
Convo is a documentary interview series examining life in modern day America and beyond. Interview subjects range from well-known to everyday people.

Excerpt:
It seems lazy to describe Patton Oswalt as an "everyman," but that image is central to the appeal of his comedy. The laid back demeanor he espouses—often punctuated with a pleasant, cherubic smile—channels the familiarity of a neighbor or longtime friend. However, Oswalt quickly turns that image on its ear when he walks on stage and begins holding court on everything from pop culture and comic books to American politics and religion. Sure, his style is acerbic and sarcastic as often cited. But it is also painfully honest in a way that is poignant—treading a delicate line between tragedy and triumph.

September 29th, 2008

Let's Talk, Alex Trochut

Barcelona's Alex Trochut is not your typical graphic designer. His work evokes a certain sense awe—the striking geometry of his lines, the beautiful shapes and contours of his illustrated typography. A graduate of ELISAVA Escola Superior de Disseny in Barcelona, Trochut honed his expressive graphic design working at studios like Toormix and Vasava before striking out on his own as an independent. Today, Trochut's services attract the attention of clients like Nike, Universal Records, and British Airways. His work has also graced the covers of magazines like Beautiful/Decay, and been featured at conferences like Australia's Semi-Permanent. I recently caught up with Mr. Trochut. Here's how our conversation played out. -Matthew Newton

Everybody has a different story about how they became involved with graphic design. Can you tell me yours?

I always liked to draw and became a design student without knowing much about it. I was deeply hooked from day one—I was very lucky I guess.

What hooked you?

I guess it was the fact that in school I studied so many things I had to study—not because I really wanted to—that when I got to design school I discovered a whole new world of exciting things that I didn't know I would like so much. So I guess it was the unexpected and sudden motivation I had during those first years that hooked me.

Do you have any influences that have shaped your style?

Sure, so many it’s hard to name them all—but a lot of the work [was] done in the past in graphic design, before the computer became a tool for designers. All the designers from that period that chose the visual side of design more than neutrality: Milton Glaser, Herb Lubalin, Rick Griffin, Jim Philips. All kinds of pictorial archived images from all periods: art nouveau, art decò, victorian art, calligraphy of all kinds. The inspirng work of Non Format, Si Scott, Marian Bantjes, John Langdon, and many many others I'm forgetting. And the new [artists emerging].

You seem to have a focus on client work. Is personal work something you have plans of pursuing?

Right now it doesn't seem so. I'm happy being a designer and solving projects through needs. I guess I learn more like this than just working under my own directions. I'm not closed to any option, but right not I don't have any particular personal content I want to show. I believe it has to be something thoughtful and reflexive, and I don't have the time right now to do it as it deserves.

Many designers approach projects from the vantage point of a problem solver. How do you view a new project?

For me it is important that there's room for both things. I like to work on projects that require solving a need and a client/concept’s demand. I don't see myself as an artist that faces reality only through his eyes, but that doesn't mean I don't want to express myself and find new visual results by the client needs. Actually I think many times these "limitations" make me more active to look for more visual solutions.

Your experiments in typography are very original. What attracts you to typography?

I like to play with flexible abstract shape and typography is the perfect material to do so—change the structure in unlimited ways and still keep a level of meaning behind the visual side.

What do you look for in shapes that make them visually attractive?

I usually look for geometry, fluidity, and organic shapes.

How have you refined your design processes over time?

It has been important for me to look for a learning experience in every project when possible, trying to change your techniques, methodologies, and habits, which is not always posible. But trying has at least provided me some nice surprises allowing me to [take] steps in my own creative evolution.

How would you describe your creative evolution so far?

I worked for two years at a branding and communication design studio called Toormix, where the design methodology and process was very rational and neutral, which was good for me to understand the "swiss" side of design. After that I spent two years at Vasava—which was quite the opposite [experience]—and where I learned so many ways and possibilities to express myself and to use illustration as a powerful tool for a designer to communicate. After these two important periods, my evolution has been based on finding little experiences in some projects that allow me to come to the next project with more ingredients to do the cooking. And right now is all about discovering [you] need ingredients to create new dishes!

What is it you hope to achieve through design?

A fun and evolving learning process that allows you to comunicate and
express yourself.

Related links: www.alextrochut.com www.vasava.es www.toormix.com

September 15th, 2008

Let's Talk, Si Scott

Manchester-based illustrator and graphic designer Si Scott thrives when left to his own devices. The creative freedom that illustration offers, versus the more constrained world of graphic design, is what first led him to develop his signature style. As a result, the 31-year-old British artist is now in high demand, doing work for a variety of commercial clients including Volvo, Atlantic Records, Unicef, and Nike among others. His ornate typographic illustrations are the hallmark of his work, as Scott has the ability to conceive and render entire worlds within the arc of a single letter. I caught up with Mr. Scott recently to talk about life and art. Here's how our conversation played out.

What first attracted you to illustration?

I was first attracted to illustration after growing increasingly frustrated by what I felt
were constraints with graphic design briefs at college. I found I could be a lot more creative with the briefs that the illustration students were doing—and could answer them in a more graphic-led way—if that makes sense?

So illustration provided more freedom?

I think so. It just seemed to offer more scope and freedom in the approaches you could take when answering the briefs. I was really into letterpress and screenprinting whilst at college and subsequently spent most of my time in the print room.

When and how then did you develop your distinct handrawn style of illustrative typography?

It came about from a brief I got from the Chase [Bank] in London to do something with a D&AD congress project. The brief was to show the creativity within the congress—I just illustrated inside the letter forms in a way that was very decorative and intricate to represent creativity in quite an abstract way. It was never used though! The bastards!

Is the process time-consuming?

Very!

Can you talk about the process—how you get started, what steps are involved?

I generally begin by questioning what the brief is asking of me and what would be the best way of tackling it. I don't sketch anything in pencil—just go straight to pen on paper. I've tried to sketch things out before but it just doesn't seem to work (I guess everybody has there own way of working).

I've recently started to use pencil again—I like to push myself and move the work forward as much as possible.

What influences your work?

I think I would have to say my main influence is music—it is the only other
thing in my life apart from design that I never get bored with. I am constantly listening
to music and for some reason seem to really like lyrics.

What is it that keeps you interested in design?

I'm not sure really. I've always loved drawing for as long as I can remember so I guess becoming interested in all things design was the next logical step. I'm never 100% happy with anything really that I produce so I'm always striving to make every piece better than the last.

What is it about lyrics that most appeals to you?

It's not just lyrics—words in general. I read quite a lot of books (factual mostly)
and am forever scribbling things down that I have read—some of it has to do with the letter forms and the way they look. I never wanted to copy anybody else's work—wanted my work to be my work, if that makes sense. So I was always striving to come up with ways of doing type and design that I hadn't seen before.

You've mentioned being hard on yourself. At this point in your career, do you feel you've accomplished the goal of doing type and design that is original?

I don't feel I've accomplished anything yet—I never sit back and think about things too much. I just want to keep moving forward and applying my work to different things and areas. I think once you become complacent that's pretty much it—you've got to push and challenge yourself or there's no point.

What do you hope to be doing in life 10 years from now?

I would really like to get into filmmaking in some way or another. I don't have any experience in it, but I think if you are creative and have ideas the technical stuff you just learn as you progress. Guess I'll just wait and see what happens.

Related links: www.siscottstudio.com www.somagallery.co.uk www.coshuk.com www.breedlondon.com www.llreps.com