The art of people watching: Or the silly, bobble-headed human guide to creative inspiration

January 13th, 2010 § 0

Growing-up, I had a friend whose Mom took her to the zoo quite often. But rather than looking at the actual animals, the Mom was way more into the people watching. Just picture it: the little girl pulling on Mommy’s sleeve begging to see the zebras while Mommy whispers, “I’ll show you stripes. Take a gander at the woman behind you in that god-awful, skunky-striped outfit! What was she thinking!”

People watching can be a great source of amusement, especially when observing those with bad taste. It can also be a well-spring of inspiration.

For example, I was recently stuck in the airport during an unusually long flight delay. Rather than getting my panties in a bunch (like most of my fellow passengers…), I became enthralled with the people watching. For the entire three hours my buttocks was planted on those uncomfortable, orange terminal chairs, I had a blast doodling airport folks, creating caricatures, and thinking about them in whacky “what if” scenarios. From the stressed out guy on his cell phone to the young Carly Simon look-alike to the funny-looking dude slumped in his own uncomfortable orange chair, I came up with nearly a dozen new concepts for my clever card line, She’s SO Creative. Now that’s time well-spent in my book!

But more than just for “artsy types” people watching can be just as valuable for entrepreneurs, marketers, and business people alike. Seeking the next great product idea in the gazillion dollar pet industry? Just observe pet owners in any situation – they’re a tad, well…weird. But weird is good! (Flattery helps their egos). For starters, when it rains watch how the funny human-types hover their umbrella over little Fido so he doesn’t get wet, while they themselves get drenched from head-to-toe in the process. Now there’s got to be a better way – and BAM! You’ve got yourself the first-ever “Dog-Gone Rainy Day Umbrella Kit”. Sure it’s a kooky idea, but that train of unconventional thinking will no doubt lead to innovative ideas.

Thus, there’s more to people watching than just “the watching.” The real “art” is in the observing andthe thinking, brainstorming, etc. In essence, creativity is about looking and thinking about things from a fresh, new perspective. And what better way to turn the ordinary on its head than by observing human beings from an objective distance rather than our conventional mode of interaction. And by “conventional” I mean “talking to one another in person” (for all you emailing, text-messaging, Twittering, FaceBooking and/or socially awkward types).

So the next time you’re seeking creative inspiration or on the hunt for the next big idea, pull-up a seat on an old park bench. But instead of watching the pigeons bobble their tiny feather-heads, focus on us silly, bobble-headed humans. And let your imagination fly!
(originally appeared in SF Examiner  8/26/09)

Raising awareness of the value of graphic design: An interview with Landor Associates’ Britt Dionne

January 13th, 2010 § 0

I once read that the average salary of a graphic designer is nearly equivalent to that of a doorman in New York City. Based on the hourly wage of many of my peers, frankly, that’s not too far off. Sure, there’s a small percentage that fair better…and an even smaller percentage that fair great, but the overall data is certainly indicative of the fact that most companies still do not understand, appreciate, or value graphic design’s role in business. Even Landor Associates, the global strategic brand and consulting firm, understands the need to inform their audience on design and branding issues – which is exactly why I was so intrigued by Britt Dionne, Senior Marketing Communications Manager at Landor’s world headquarters in San Francisco.

Call it raising “brand awareness” or what have you; in plain English, Britt’s job is to communicate about design and branding for a living. Through innovative initiatives, print collateral, and article writings, Britt more than just educates current and potential clients about the firm’s visual, verbal, digital, and strategic capabilities. She’s seriously getting folks excited about the industry-at-large by engaging them in relevant, thought-provoking discussions on the intersection of design, branding, business, and society.

READ FULL ARTICLE: SF EXAMINER

How to get featured in the best darn graphic design books: Interview with Crescent Hill Books

January 13th, 2010 § 0

If your house were on fire and you could only save a few items, what would they be? For me (assuming my husband, cat, and laptop were out of harms way) it would have to be my favorite collection of graphic design books. And what if by chance, you happen to come into a whole bunch of money? How would you spend it? For me, (assuming my husband, cat, and laptop were all in good health) it would have to be – more graphic design books, please!

For the newbie designer and seasoned professional alike, graphic design books offer a wealth of knowledge, fantastic inspiration, and oodles of amazing eye candy (not to mention awesome PR for the designer whose work is featured). In fact, I don’t know a single graphic designer who hasn’t at one point in their career fantasized about having their ownwork reproduced in one of those publications.

So how exactly does one go about getting into some of the best darn graphic design books on the market today, like the wildly successful Big Book of Logos series or The American Corporate Identityannuals? Nancy Heinonen, Publications Director of Crescent Hill Books (and the team responsible for producing those aforementioned titles and a ton more goodies) helps shed some light on the subject, and even offers some juicy tips on how to bring your own design book ideas to fruition. Read on! READ FULL ARTICLE: SF EXAMINER

Crank up your design radar

January 13th, 2010 § 0

No one understands the statement, “design is everywhere” better than us designers. But comprehension and integration are two totally separate acts. From food packaging, to billboards, to book covers, catalogs, websites, and everything in between, we spend the majority of our waking hours on our computers designing and/or looking at these designs through the portals of our monitors.But when the computer is shut down, does your “design radar” go off-line, as well?

For instance, when it’s time to grocery shop, are you in the get-in/get-out as fast as possible mindset? Or do you treat the experience as a journey through Design Mecca – with sources of inspiration lining the shelves from wall to wall? When you’re waiting on the unbearably slow line at the post office do you temper your impatience by burying your nose in your iPhone? Or do you make note of the ugly signage covering the walls and kill the time by redesigning it better in your head? “Cranking up your design radar” is about never turning off the designer in ourselves. READ FULL ARTICLE: Smashing Magazine

Seeking Amateur Interior Designers for Armchair Designer: A new HGTV reality show

January 13th, 2010 § 0

I grew up in a room with pink painted walls and pink carpet. My dresser had pink flowery accents, my bedspread was splashed with a variety of pink tints, and even my desk blotter was….you guessed it – pink. And the worst part of all (yes, it gets worse) I insisted on all of it. Thus, at the ripe young age of eight, it was pretty darn clear (to all but me) I certainly was not destined for a career as an interior designer.

As an adult (and seasoned graphic designer with a now trained eye for nailing color palettes), I still marvel at those with talents for designing in the 3d space. I’m even further blown away by (albeit a tad irritated at) those who, without a stitch of training in the arts, have the ability to make random room textures and patterns work amazingly well together, if not better than the pros. My sister-in-law, an endocrinologist who has spent her entire life studying math and sciences, is among those naturally talented, untrained creative folks. But without a career change in sight, the Oohs and Ahhs over her decorating flair will forever remain hidden underneath her doctorly white lab coat…or will it?

HGTV is now casting for Armchair Designer, a new reality show in which amateur interior designers (with no training in arts or design), “will get a chance to work with one of their favorite HGTV design stars designing for a real client.” So if you’ve ever watched HGTV and thought, “I could do that,” here’s your chance! Thirteen lucky people will be selected and submission ends July 15 – so hurry-up and apply now: http://www.armchairdesignertv.com/

As for me, I’ll still stick with my successes as a graphic designer and root you on from a far…just don’t paint the walls pink or even I’ll be shouting at the TV, “What was she thinking!”

Next on the agenda: convincing HGTV to produce a reality show featuring graphic designers. With pixels of drama, “Nobody puts my logo in a corner” (Dirty Dancing) and “Go ahead, make my deadline” (Dirty Harry), the show is sure to draw in the big ratings :)
(originally appeared in SF Examiner  7/08/09)

Why PR matters for graphic designers (including the brief-but-great Graphic Designers’ Guide to PR)

January 13th, 2010 § 0

When I recently contacted over 16 freelance graphic designers and more than 10 graphic design firms for an article I was writing/researching for a major design publication, the response was seriously underwhelming to say the least. With a fantastic opportunity to gain nationwide exposure for their creative work and boost their business (in this economy no less), why would smart, talented designers choose to ignore priceless PR practically handed to them on a silver platter?

I’m not about to go into a whole spiel on the value of PR. For that, you can read Brett Turner’s insightful article on PRWeek, “Why PR Matters in a Down Economy.” But to address how important PR is specifically to a graphic designer’s career, I will say this: in a highly oversaturated field where even the most talented of folks are a dime a dozen, standing out from the crowd is pretty darn crucial whether you’re a freelancer, employee, or firm. When an unbiased columnist from a major design publication writes a rave review of your creative work, that’s credibility and exposure you simply can’t buy.

For reference, just look at how PR helped the careers of Chip Kidd, Stefan Sagmeister, Paula Scher, and any number of graphic designers you can name off-hand. By being featured in magazines, books, annuals, etc. not only is the design community exposed to their work, but so to are the plethora of businesses that hire them. Yes, the aforementioned designers are incredibly talented. But who’s to say you’re not in their league too? The problem is, if no one knows about your work it makes it that much harder to sell your skills. Unfortunately, talent alone won’t always help us win jobs – we have to be great designers and marketers (of ourselves).

So as a champion of creative folks everywhere and in a valiant effort to prevent designers from ever passing over great publicity again, I have provided a short Graphic Designers’ FAQ Guide to Public Relations (for what to do once you’ve been contacted by that dream publication):

Q: What if I’m uncomfortable with the subject matter I’m being interviewed about such as, “how to get clients?” I don’t want thousands of folks to read the “secrets” of how I go about gaining new business.

A: In one of my previous articles, “How to Get Graphic Design and Copywriting Clients: Drop the Mouse and Step Away from the Computer” this exact situation occurred. A few prominent design firms declined the interview because they felt uncomfortable revealing proprietary information that they felt might harm their business. But as creative folks in a creative industry, you are by the very nature of your job description – creative. So rather than turning away priceless PR, apply those creative juices to your responses and spin the information to best feature you/your firm. Talk about an incredibly clever direct mailer you sent out and include images so your design work has a chance to be featured, as well. Mention your blog as a means to gaining new clients and provide the url to drive readers to the site or name drop the awards you’ve won and how that’s helped you gain new business. The point is, with a little effort and creative thinking no subject matter has to be off-limits.

Q: What if I don’t have much to contribute on the subject matter the interviewer is inquiring about? I haven’t really been in that situation before and don’t think I have anything of value to add.

A: Drop the humbleness. Leave it right next to the mouse. And don’t even think of picking it up. Every designer is an individual and thus, has a unique perspective on being a graphic designer. This fact alone makes your thoughts/responses on any design question valid and valuable. So don’t sell yourself short and close the PR opportunity door prematurely. Thinking creatively is what you do for a living! So shift into brainstorming mode, position yourself as an expert, and put in the effort to provide some great, creative responses. The worst-case scenario is the interviewer decides not to use your answers, and the best case is awesome exposure for you! In other words, you literally have nothing to lose by trying.

“That’s all well and great,” you might be thinking, “but while other lucky bastards turned down a great opportunity, how do I get contacted/featured for a design article?” For starters, why not contact me (Stephanie Orma) or the editor of your favorite design publication with an article idea featuring you/your firm (hint: your chances of exposure increase greatly by making it more than just a “here’s my work, please feature me” email).

Bottom line – In the ever-expanding creative industry, if you can learn to apply your already highly developed creative thinking skills from the visual arena to the marketing of brand “you,” then you’ll do more than just survive – you’ll thrive. And who knows, you might just be added to the short list of graphic designers we all know by name.
(originally appeared in SF Examiner  6/28/09)

San Francisco Design Week: Interview with Leslie Becker, 2009 Design Fellow Award Recipient

January 13th, 2010 § 0

Most folks are familiar with the old proverb, “Those who can, do. Those who can’t, teach.” Well, Leslie Becker (designer, writer, scholar, professor, and recipient of the AIGA SF 2009 Fellow Award) is one giant exception to that rule. This extraordinary California College of the Arts (CCA) design educator has accomplished more in her lifetime, than most people dream of achieving in their entire lives.

Her professional bio is available online.

But if you’re craving to go beyond just the surface, (as Leslie has throughout her remarkable career), then follow interviewer/designer Stephanie Orma as she digs deeper, goes beneath the surface and discovers what it takes to follow your dreams. With a career built on talent, determination, hard work, and driving curiosity, Leslie Becker shares her personal thoughts, experiences, and reflections on her life in design, thus far.

Orma: With such a successful career working on projects ranging from graphic design, interior design, custom furniture, writing and teaching to completing a second degree and a Ph.D., plus running a marathon (at the age of 50 to boot!) what achievement are you most proud of? And why?

Leslie: Although I needed to complete a marathon because “it was there,” I couldn’t imagine going to my grave without having done one. I know this makes no sense, but I come from a competitive family. I might say that having finished my Ph.D. is what I am most proud of, but this is probably because it is the most recent achievement and definitely was a kind of boot camp that lasted for 5.5 years! I am also delighted to receive communications from former students who thank me years after having been in my class for something I imparted to them. Personally, I am most proud of my two sons because I find them to be good people. They have been living their lives according to values that I respect. (I realize that this is immensely self-congratulatory.)

Orma: In terms of your career and all the eclectic projects you’ve worked on over the years, can you pinpoint one or two that really stand out as favorites?

Leslie: I really enjoyed a lighting project that I did many years ago. It was extremely experimental and, though I wasn’t conscious of it at the time, was actually based upon the form of a military parafoil kite. Years later, I realized that I had just finished a kite catalog when I began the lighting project. This particular client would look at a rough sketch and enthusiastically encourage me to have it made. I would then go back to the office and deal with the space between fantastical idea and fabrication.

Another significant project was the Wooden Synagogue project. It was a series of print pieces designed to raise funds to rebuild a replica in Berkeley of a wooden synagogue that had been destroyed by the Nazis. Even the discussions around my choice of Fraktur [typeface] were really emotional. To read the complete interview, as well as interviews with Doug Akagi and Michael Cronan (equally exceptional 2009 Fellow Award recipients) visit AIGA SF

Are design competitions worth the hefty entrance fees? The lure of the graphic design jackpot

January 13th, 2010 § 0

It’s that time of year again – call for entries. Try as we might to escape it, reminders are everywhere: in our mailbox, our e-mail, advertised on our favorite design sites. And all the big players are pushing hard for our attention: Communication Arts, HOW Magazine, and CMYK, to name just a few. Frankly, I personally found the lure too enticing too resist. Last week, I caved in and shelled out nearly $200 on design competition entrance fees. I was even contemplating entering another, when I was suddenly stricken with a bad case of “graphic designer’s entrance fee remorse.” $200 is a lot of money – especially if you don’t win. So with the economy still on shaky ground and clients few and far between, one has to ask: are design competitions the best place to spend our precious marketing dollars?

You have to admit, the idea of your work featured in one of the best design annuals in the country – if not the world, is pretty darn alluring. These are the same books and magazines that were “required reading” when we first entered graphic design school. The ones we spent hours upon hours pouring through (and for that matter, still do), in awe of the incredible talent gracing the pages. And now is the very real chance that our work could appear side by side with the best in the industry. Sounds pretty darn exciting to me!

Sure there are some designers out there who say they don’t care about winning awards or having their work featured in annuals. These are probably the same designers who’ve received tons of accolades in the past…the handful of “famous” designers we all know by name. But as a newbie to design competitions, I’ll be the first to admit that receiving recognition for all your sweat and tears sounds nothing short of being paid the highest industry compliment. Not to mention, priceless PR.

On the other hand, placing too much importance on competitions can be dangerous. If you think about it, winning boils down to a very small jury of people saying they like your work. Congratulations. You are now worthy. And if you seriously need validation from other people to tell you your work is good, well than, therapy might just be the best place for those marketing dollars.

Of course, there’s the most common design competition scenario, “I entered, but I lost.” If your work fails to make the cut, yes, you’re in the hole a good chunk of money. But you also took a chance and invested in yourself. And that definitely counts for something. After all, if you never put yourself in a position for good things to happen, they never will.

I’ll never forget when I was 17 years old and had the opportunity to enter a statewide flute playing competition. I’d been seriously playing the flute since I was about 12. But for whatever reason (nerves, shyness, fear of failure, etc.) I never went through with the competition. Who knows what would have happened…maybe nothing, maybe something great. The point is, I’ll never know. And life is just too short to be filled with a series of regrets for what might have been.

So are design competitions worth their hefty entrance fees? To quote the legendary Clint Eastwood, “…you’ve got to ask yourself one question: Do I feel lucky? Well, do ya, punk?” Me? I’m a gambling girl. I’ve entered my best work and all I can do now is hope I’ve got a winning hand. Come on graphic design jackpot!
(originally appeared in SF Examiner  5/14/09)

If at first you don’t succeed, try a different typeface: Acclaimed designers talk typography

January 13th, 2010 § 0

I have a love/hate relationship with typography. Love in the sense that I am so passionate about the craft, I’ll stay up night upon night tweaking the type in a design so it’s just right. Hours will fly by, darkness will turn to dawn, but I won’t have cared or noticed because the type is all I see. Love in the sense that when I spot gorgeous typography, I simply cannot stop staring at the awe inspiring, drool-worthy brilliance. But typography is also my chief nemesis. It’s not a skill that comes naturally to me. And some days it feels like a constant uphill battle. It’s frustrating, it’s maddening, and probably even more so because of my fervent passion for the craft.

Typography is arguably the single most challenging element in graphic design to master, and likewise, the most crucial. The designers I have interviewed today are champions of typography and frankly, my personal design heroes. Their mastery of working with type is nothing short of downright enviable: Aya Akazawa, senior designer of Chronicle Books and sole designer of Souffle by Le Petit Graphiste; Todd Hedgpeth principal and creative director of Tawd Design and graphic design instructor at Academy of Art University; John Barretto art director and senior designer of Tolleson Design; Max Spector, art director and senior design of Chen Design; and Josh Chen, principal and creative director of Chen Design. Moderated by San Francisco graphic designer and copywriter Stephanie Orma of Orma Design and She’s SO Creative, the five acclaimed designers talk good type / bad type and share insightful tips for newbie designers to seasoned professional alike seeking to master the art of typography.

READ FULL ARTICLE: SF EXAMINER

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