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Staff Cat Frink

Editor in Chief, Writer, Designer

Michael Radliff

Editor in Chief, Writer, Designer

Paige Anocibar

Art Director, Writer, Designer

Thomas J. Munch

Art Director, Writer, Designer

Jennifer Patterson

Copy Editor, Production, Designer

Patricia Burbaum Copy

Copy Editor, Writer, Designer

Ashaundra Talbot Peighton Carmichael Amy Cothron Jason L. Hernandez Marco Leon Brian McCalla Erin Tomb Laura Young Prenapa Techakumthon MacKenzie Derr Leah Exem Monet Moran Dawn Williamson

Copy Editor, Writer, Designer Writer, Designer, Photographer Writer, Designer, Photographer Writer, Designer, Photographer Writer, Designer, Photographer Writer, Designer, Photographer Writer, Designer, Photographer

Writer, Designer, Photographer Writer, Designer, Illustrator Writer, Designer Writer, Designer Writer, Designer Writer, Designer

The Bleed is an annual art and design publication produced by Design studio, a collaboration of dedicated graphic design students at Lane Community College. In addition to The Bleed, Design studio provides graphic design services to the college and non-profit organizations in the community. Each Spring, working under the direct supervision of experienced faculty, students create all manner of marketing materials, from branding to advertising for print and web. If you feel that this service is something that your organization might be interested in, please contact Tom Madison at:, or call (541) 463-5887


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Letter from the Staff A Decade of The Bleed Pantone Color of the Year UI vs UX Is Film Dead? Accessibility In Design Thinking Big OK Soda Inspired Where Design Can Take You

Eugene Aesthetic Eugene Artists Revolution Design Group Making Something New Joel Grimes The Perfect Portfolio Influx Small Worlds Modern Glyphs Design Thinking Behind the Bleed

f f a t The S


With its historic roots in counter-culture, art, and music, creative expression has

always been at the heart of Eugene’s community. You can find the work of local artists displayed and sold all over the city, whether it be the Saturday Market, downtown galleries, cafes or larger-than-life murals on the walls of over 20 public buildings. In this edition of the Bleed, we decided to honor, not only this community which encourages creativity in its citizens, but also the network of designers in the local industry. The graphic design program at Lane Community College has a reputation for producing hard-working designers armed with principles, theory, and technical skills. You’ll find design graduates at almost every design/marketing firm and production facility in town. These alumni help shape the Eugene aesthetic and often serve as mentors to current students at LCC through artist talks and internships. Instructors commonly reference these graduates in class as examples of what can be achieved in the professional world. Focusing on this concept of community, both in the design world and in the greater area of Eugene, seemed only fitting for the 10th anniversary of The Bleed Magazine. For the last decade, the magazine has been the capstone project for students in their senior term. It’s an opportunity to experiment and work together; to show our technical prowess and individual talents, while continuing the legacy of previous students. As the saying goes,

want to go fast, go alone. If you want “toIfgoyou far, go together. ”

After 10 years and multiple national awards, the Bleed has certainly gone far. It has done so with the support of a community filled with passionate designers and wise mentors. We are honored to follow in their footsteps. We want to begin this edition by expressing our sincere gratitude to everyone who has helped create the community we share.

Respectfully, Cat Frink Michael Radliff Thomas J. Munch Paige Anocibar


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THE BLEED Magazine has been a tradition for the design class at Lane Community College since 2009. Since its inception, the magazine has become a capstone project for students in their senior term; providing a collaborative design experience and a sophisticated portfolio piece.

Interview & Design Cat Frink

For the tenth anniversary of the Bleed, we reached out to the past staff members of each previous edition and asked how their experience with the Bleed compares with their professional careers.

Bleed 1 Kenny Ashcraft, Editor in Chief

Where did the name, “The Bleed” come from? Were there other options you can recall? There were definitely others and I wish I could recall them but I suppose it has faded from memory. The inspiration for the name was actually Comics Books/Graphic Novels. I love comics and everything about them. The art, stories and design. The continuity and finiteness. The amazing variety. But my favorite aspect is the story telling that is “implied”. The action between the panels or off the page. The invisible magic. That’s the Bleed. The hidden. The outer reaches of our imagination. What was your vision for the magazine when you started? My personal vision was to see very clear diversity and passion show through in various styles and ideas. Did you ever expect the Bleed to become an award-winning tradition for the design class? I definitely hoped it would gain momentum and notoriety. I dreamed it would earn awards. But I KNEW it would be around for a while.

Bleed 2

I’m the Art Director and Senior Designer for The Duck Store. I direct the creative side of the company’s brand and marketing efforts, and my responsibilities include designing collateral for print, screen and web; creating multimedia content for television, radio and web; strategic planning, coordination and execution of campaigns and events of all sizes; and directing and supervising any number of designers, photographers and videographers on their projects.

encountered with every class...very little time and a lot of other projects going on simultaneously.

Is the Bleed an accurate representation of working with a creative team in the real world?

What is your advice for new graduates of the program?

To a degree. Structurally-speaking, my post-school experiences have varied a little from this model. There are versions in which there is a single designer for the entirety of the publication. This certainly puts a heavier burden on the designer, but the advantage is a more cohesive and holistic approach to the design process. This is also often the case with campaigns I’ve led - the entire team works together on a concept, but the responsibilities are divided among the different roles in the group; copywriter creates copy, a single designer creates all of the graphics, videographer creates video, social media is executed by someone else, and web collateral is deployed by yet another person, all under the direction of the art director and marketing director.

Bleed 3 Jyn Henzel, Editor in Chief

Andrew Kim, Author and Designer

What was a challenge for your class when working on your edition?

What do you do now for a living?

Probably the same challenge The Bleed

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Did you have any personal challenges to overcome while working on your edition? My personal challenge was balancing my workload. I originally was not going to participate due to my large class load. In the end though with the backing of a great team we all pulled together and made it happen.

You got this far, and you will go further. Do not be intimidated. Everyone starts from somewhere & you will keep gaining the experience and knowledge along the way.

Bleed 4 Gregory Wilson, Senior Editor

How did working on the Bleed impact your career after LCC? Working on the Bleed was the ultimate design group project. You learn so much about layout, collaboration, deadlines and seeing a big project go through from beginning to end. It’s an extremely rewarding experience to be a part of and one of the best memories I have. All of my work after the program has revolved around having strong typography skill and working on this magazine really helped with that. What is a favorite memory of yours from your magazine? I loved being in class designing, spending time with great people and listening to Tom’s lectures really made me love design even more. I 5


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find myself reflecting on those days and realize they really were some of the best memories of my life.

Bleed 5 Nick Siegrist, Art Director

What was a challenge for your class when working on your edition? Normal struggles included team members missing deadlines, not following direction, etc. We took on some self-imposed struggles such as a strict graphic standards and new printing materials/process, but those were fun problems to solve. Do you have any advice for future classes working on the magazine? Make it yours. Look what was done in the past, keep the good stuff, throw out the rest, make it better. Don’t adhere to the rules or constraints of the past, test every boundary. Push it as far as you can.

Bleed 6 Gwendolyn Haight & Caley Rea Editor in Chief & Art Director

Is the Bleed an accurate representation of working with a creative team in the real world? CR: Not really. The Bleed was awesome because everyone had creative freedom and did not have to worry about pleasing a client. The deadlines for the bleed were tight but most of my “real life” projects have had even tighter turns with less time to plan and perfect. GH: Yes and no. When working on the Bleed you’re part of a creative team working towards a common goal, which mirrors the real world, but we were in total creative control of our project and made decisions as a collective. In the real world, that does not happen. There is always a client or Creative Director, aka an overlord, driving the project direction and final outcome.

Bleed 7 Kim Crooks & Heather Bradburn Co-Editors in Chief

How did working on the Bleed impact your career after LCC? KC: Career specific impact would

be that it was a great, if not the most important, portfolio piece I had. I also had some illustration work in The Bleed that landed me some paid illustration work. HB: The Bleed led me down a path to print advertising when I’d thought I’d work more in digital design. While there are digital aspects to my job, The Bleed opened my eyes to a love of print that I utilize often for in-store signage, print ads, etc. What is your advice for new graduates of the program? KC: Specialize. As in: you are 1 in a very large pool of people with the same career goals. How will you stand out when it comes to landing that job or project? Maybe you specialize in responsive websites, motion graphics or video editing? Maybe you have a unique style that is special. Either way, figure it out and let it help you stand out as an asset to an employer.

EH: There were a few times, both years, where life just got in the way. I think going into it we didn’t realize just how much work it is to complete the magazine in such a short time. It became very stressful on top of other school work, jobs, family, etc. During Bleed 8, we had the editors and the creative director each check in with a few people on the team. These small group check-ins really helped. One of the questions we made sure to ask is, how are you doing? We wanted to make sure that if there were any concerns about something getting done in time, we knew about it right away. What is a favorite memory of yours from your magazine?

HB: Be optimistic, but don’t get cocky. Take rejection with a grain of salt (and a lime wedge). It’s gonna sting but no one is out to get you. Be confident, try new things, be a team player, and never stop learning new things. Oh, and always keep your portfolio and resume ready to go because last minute interviews are real!

AC: Since I worked on two editions, I’m going to cheat and give two memories. The first is from Bleed 7 when we finally got the donut letters from Voodoo. That was a fun photo shoot and we got to eat those tasty letters afterward. The second is from Bleed 8 when we had a giant painting session to create graphic assets for the magazine. In both cases, it was those moments of active field work that really stuck with me. So much of a designers job is behind a computer that to have (or make) an excuse to engage the work in a physical way was exhilarating, and something I try to remember in my current work.

Bleed 8

Bleed 9

Emily Hallmark & Andre Casey Co-Editors in Chief

Samuel Rudkin, Co-Editor in Chief

Is the Bleed an accurate representation of working with a creative team in the real world? EH: I believe so. The Bleed is run by students but there are still clear positions of hierarchy. I think it’s very important to get practice running things by the project leaders. There were also times where someone had to give up a tiny bit of their personal creative flare in order to make sure that their work was cohesive with the rest of the magazine. This was an example of making sure a design follows the set graphic standards. What was a challenge for your class when working on your edition? The Bleed

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What was a challenge for your class when working on your edition? I would have to say the conceptual to production phase was most challenging. It was great realizing how cool of a magazine we wanted to create, but when it came down to making it physically work we would run into complications and have to generalize our vision a little more. What is a favorite memory of yours from your magazine? The very first time seeing all the articles and design layouts up on the storyboard. When the ideas and the planning really felt like they were taking off. Also holding the final product in my hand and appreciating the effort that went into it. 7

PAN TO NE COLOR OF THE YEAR 2019 Design Amy Cothron



UI UX Words Cat Frink

Design Marco Leon & Cat Frink


ow much time do you spend on your phone? In their annual Total Audience Report, market research group Nielsen reported that adults over the age of 18 spend around 11 hours per day interacting with media, including radio, live tv, streaming services such as Amazon Prime and Netflix, and phone applications. Media interaction now accounts for more than half of waking hours and, according to the report, over 4 hours of this time are spent on applications on handheld devices or tablets.

From 1994-2000, the United States experienced an extreme rise in web-based businesses and resources. Internet enthusiasm led to a rise in the professions of web design and programming. Today, we have a similar rise in the demand for developers and designers of applications for smartphones and tablets. The success of a company hinges on how their applications function, how they look, and how they direct consumers to action. So who is responsible for these design decisions? Welcome to the world of UX and UI design. The two professions are often coupled together and sometimes used interchangeably. However, while UI and UX are both found in the same field, and often intersect, the skills and tasks associated with these disciplines are incredibly different.

What is the difference? UX refers to user experience and UI refers to user interface. A UX designer focuses on interviewing consumers and developing market research in order to engineer the right function and flow of an application or website. A UI designer determines the aesthetics, branding and responsive nature of the application. Let’s explore each individually to better define the differences.



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UX Design The history of UX design goes back farther than you may think. In 500 BC, ancient Greeks designed tools with ergonomics in mind. In the 1900s, Frederick Winslow Taylor conducted field research in order to optimize the relationship between humans and their tools for the sake of industrial efficiency. More recently, in 1955, Henry Dreyfuss, an American product and industrial designer wrote Designing for People. His philosophy of designing with common sense and care for the user is illuminated in its pages. This shift (putting people first) changed the approach to materials, design, and efficiency in architecture, industrial design, and product design. Even in the digital sphere, UX is by no means a new concept. The term user experience was coined by Don Norman, author of The Design of Everyday Things, in 1993 when he created the title for himself as Apple’s “User Experience Architect”. In 1998, Norman partnered with Jakob Nielsen to create the Norman-Nielsen group, a computer user interface and user experience consulting firm. A UX Designer’s role is to determine the best design for the user. In today’s digitally-driven world, this means assessing how a user interacts with a website or application. From the moment a consumer downloads an application or opens a website, they begin the user experience journey. Is the application intuitive to use? Does the user struggle to navigate the site? When using the application or site, does the user find that they can easily accomplish what they set out to do? Is it confusing or clunky? Does the site direct users to the right call-to-action? To answer these questions, UX designers may conduct customer research and create user profiles (or personas.) They investigate competitor applications and services. Taking this data and analyzing its implications drives the development stage. UX designers are also responsible for prototyping and wireframing with developers. (Wireframing simply means creating a flow-chart/diagram of how the application or website will function.) Because UX designers work alongside and advise UI designers, programmers, developers, and marketers, their role can be akin to project management. Volume 10


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UI Design

For some additional insight into the booming field of UI and UX, we reached out to designer {img} and project manager, Adam Janusz:

UI, user interface, is the approach to graphics and interface. While the look and feel of an application is a part of the user experience, UI is more focused on the aesthetics and responsiveness of the product. UI designers channel their skills to determine the success of the visual hierarchy, typography, color scheme, dropdown menus, forms, and other interactive components. Is the brand clearly present in all aspects of the design? Is the typographical hierarchy consistent? Is the color scheme intuitive? Do the buttons, menus, and other animations communicate efficiently? The UI designer approaches many questions about content in the same fashion as the UX designer. The designer conducts customer research, product testing & prototyping. Prototyping is essential to the UI designers role as it helps communicate to developers how the application/site should appear. Programs such as Sketch, Invision, and Framer are helpful prototyping programs/software. Traditional thumbnailing and sketching are also a useful skill in the UI designer’s toolkit.


How would you define the differences between UI and UX?


What do you consider to be the most important skill for any UX designer?


What do you consider to be the most important skill for any UI designer?


What does the typical day look like for a UI or UX designer?

Among their responsibilities, UI designers will also focus their attention on defining visual systems, style guides (graphic standards), animations, and optimizing images.

Working together

Yep...UI might typically refer to the visual design (layout, typography, color, images, etc.) of screens and controls on a device, application, or tool. UX might consist of the design of the logic of elements, the flow of utility, and complexity of understanding in those same contexts. Both deal a lot with legibility, hierarchy, and perception.

Listening/observation...trying to get into the heads of the intended users as thoroughly as possible, while preserving your own methods, perspectives, and tools.

Communication. Understanding the tools and composing the pieces to best communicate the intent.

In my experience as a UX designer, the typical day might include sketching and brainstorming, working through user flows and storyboards, crafting wireframes and prototypes for user testing or final deliverables. It might also be a bunch of meetings, frantic emails, and coffee breaks. UI designers might have similar patterns and spurts, only with more visual research and inspiration, more vectors and pixels, and more kerning.

In conclusion, UX designers are concerned with how a site or application functions and UI designers are concerned with how an application looks. The two must work together to create a pleasurable experience for consumers. When one or the other is not done well, the application will suffer. If an app is intuitive to use (UX), but looks terrible, users will not likely return. If an app is aesthetically pleasing (UI), yet difficult to navigate or clunky to operate, the user will likely turn to other options. Working in tandem, UI and UX are essential to the success of a digitally-based business. The Bleed

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IS FILM DEAD? Words Jason Hernandez

Design Marco Leon


remember my first camera, it was 1989. I was 10 years old, and I was visiting Disneyland. The camera was a gift from my mom to capture our visit to the Magic Kingdom. I remember it vividly, it was a blue Kodak MICKEY-MATIC. It used 110 film, a cartridge-based film format used in still photography. It was introduced by Kodak in 1972. As the name of the camera implies, it was fully automatic; just point, shoot, rewind, and repeat. Easy enough for anyone to use right out of the box. I remember being so excited to get home and take my film to be processed at the local camera store in the mall. I would have to wait close to a week for the film to be processed and prints to be made. A lot has changed since then. With the advent of the cell phone camera, more people than ever are taking photos digitally, and posting them to social media for their friends and family to see instantly. Is film dead? Why would anyone still want to shoot with film? Digital photography is still relatively new. If you were born before 1980, the majority of photographs you grew up seeing were shot on film. Film has a particular look and feel that digital photographers of today try to replicate digitally. In today’s fast paced professional world, the time required to shoot and process film may not be an option. However, for the hobbyist photographer shooting without a deadline, the process has its advantages. A roll of 35mm film has 36 exposures. Suddenly each frame is more important. You do not have the luxury of the spray and pray method adopted by some digital photographers. It becomes more of an investment since


it costs money to develop a roll of film. When I am shooting film, it might take me months to finish a roll. I tend to think more before releasing the shutter. The end result is a series of images of which I am more proud. The used market is full of film cameras. I currently have six 35mm cameras, and the total investment for all six cameras was about $35.00. You can get started with a film camera that is capable of shooting amazing photographs for a very small initial investment. Not to mention the vast array of used lenses available on ebay or even craigslist.

“They give us those nice bright colors, they give us the greens of summers, makes you think all the world’s a sunny day” Lyrics Paul Simon

In 1935, Eastman Kodak released Kodachrome; a brand name for a non-substantive, color reversal film. It was one of the first successful color materials and was used for both cinematography and still photography. For many years Kodachrome was widely used for professional color photography, especially for images intended for publication in print media. The film produced vivid colors and really brought the images to life. The film grew in popularity, and in 1973 singer-songwriter Paul Simon released a song entitled “Kodachrome.” The Bleed

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The last roll of Kodachrome was shot by National Geographic photographer Steve Mccurry and processed in July 2010 by Dwayne’s Photo in Parsons, Kansas. Most of these photos were published on the Internet by Vanity Fair. McCurry stated, “I shot it for 30 years and I have several hundred thousand pictures on Kodachrome in my archive. I’m trying to shoot 36 pictures that act as some kind of wrap up-to mark the passing of Kodachrome.” National Geographic made a film documenting McCurry’s journey as a photographer. Although Kodak does not have plans to start remanufacturing their Kodachrome line, they do have their Ektachrome 100 35mm color reversal film back on the market. The two film types are very similar and produce comparable images. I have a roll in the ridge ready to go as soon as I find a worthy subject. Film is not dead, so get your film camera and start making some images.

Brief Headline

Readable Typeface


Line Spacing

Readable Type Weight

Color Contrast

Words Mackenzie Derr & Ashaundra Talbot Design Mackenzie Derr, Ashaundra Talbot & Dawn Williamson

Design is a form of communication that projects ideas and experiences using visual and textual content. It’s estimated that 1 in 4 Americans have some form of disability that impacts their day-to-day lives. According to a study done in 2016, from Pew Research Center, 26% of Americans with disabilities say that they avoid going online because of how difficult it is to navigate. As conscientious designers, we have the responsibility to ensure everyone has access to these online experiences. >

The Bleed | Volume 10



eb accessibility means finding solutions to accessibility problems to improve the experience for all users. There is a prevalent idea amongst designers that making websites accessible can be difficult and expensive, but this is a myth. Designing a website with an inclusive mindset adds minimal cost and effort and makes the page available to a much wider audience. Making the web more user friendly involves the application of design and programming techniques to create easier interactions everyone. Making web content that is universally accessible is fairly simple and doesn’t need to compromise your design aesthetic. This article will detail some components and resources to help improve the accessibility of your website designs.

color blindness. The large percentage of colorblind men and women affect thousands of onlines users a day and we need to take contrast and color into consideration. Additionally, users with cognitive disabilities, such as autism, visualize colors more vibrantly than others. Their perception of reds and yellows are more fluorescent and straining to their eyes. Since obtaining more knowledge about the problems color can create in designing for accessibility, it’s highly suggested that patterns, numbers, labels, or icons should be added alongside colored coordinated information on graphs, and pie charts.

Auditory accessibility is a component within design accessibility that designers often forget to include. One of the best solutions for hearing impaired users is adding closed capLayout design is critical, even before considering accessibility tions or transcripts of audio presented in videos or clips. The issues. Hierarchy is important to visual and audio users. A links or buttons to access these features should be easily idenconcise flow within the design and web coding is necessary tifiable and located close to the video. Additional visuals and for users to navigate. For example, the screen reader is an descriptions are also helpful for users understand the audio assistive tool that is designed to be navigated solely with the material. Another approach, although less common, is having keyboard or touch. Tags within a video to explain information, code can be used for content to performed by a sign language “Making web content that interact better with screen readinterpreter. Businesses are using is universally accessible ers. Screen readers are the most this method to create a more percommon tool, using audio to sonal experience for their users. is fairly simple and doesn’t read text aloud. Apple products Subtitles and/or interpreters are need to compromise your have a built-in voice-over feature becoming more common when that allows users to hover their companies or organizations live design aesthetic.” finger over an app or text, and stream their events. it will be read through their speaker phone. Taking advanThere are many resources for designers to find information tage of alt tags creates inclusivity by letting you tell the story on web accessibility. The (WCAG) Web Content Accessibilof an image rather than a basic explanation. If websites are ity Guidelines, is one of the few places holding websites to designed properly, users will be able to use the tab key, or a higher standard. Their website features a set of standards, hover through all major function of the sites, including links. guidelines, and examples to create user friendly interfaces. Adding the tab key or hover feature can easily be added into is another great resources with information your html, but it will be crucial for designers to create accesand visual examples to help further demonstrate accessibilsible aspects of the site are easy to navigate to, understood ity issues. is a free website that will scan webwithin the code, and not limited to fully visual users. site and check for common issues that prevent a site from Color and contrast are vital when designing for accessibilibeing accessible. Resources are widely available online to ty. Users with visual disabilities, such color blindness, need reference or download onto your computer for easy access. higher contrast to see content on the page, whether it’s text, An accessible website benefits everyone. Having flexibility buttons, or an image. A study from indito access materials and experiences universally allows cated that 1 in 12 men, and 1 in 200 women, are affected by inclusion for all.

To Learn more If you would like to learn more about this topic, visit: This website has divided web content accessibility guidelines into 3 main sections for you to prioritize; the basics, most significant barriers, and things designers can do to greatly improve web accessibility. To learn more about the people it affects, check out:


This writer gives a vivid description of the people who depend on accessible design. It draws attention to just how many people are affected by the current lack of accessible design. The Bleed Volume 10 Eugene Influence | The Bleed | Volume 10

Where to Begin? Accessible design Checklist

It can be a little intimidating creating a layout that is entirely accessible. Here is a checklist of basics and some additional tools that can help check your design work.

Hierarchy & Order When designing your layout, it’s important to make sure everything is clear and simple. Ask yourself if the layout is set to allow screen readers to navigate through the page with ease? Are there distinct headers that match the reading order? Lastly, don’t forget to make sure your navigation and links can be used with keyboard only navigation. Beware the use of ALL CAPS. This can be difficult for screen readers to interpret.

Color and Contrast It is very important to make sure contrast is established in multiple ways other than color. Try using different shapes and textures or underlines to increase the contrast of your design.

Check your work When in doubt, check your work! gives a list of guidelines for both designers and developers. is a handy site checker that will give you feedback on whether or not a site is accessible based on the url or html. It will also give you feedback on ways to improve. Acrobat XI Pro offers accessibility checking tools that can identify accessibility issues on PDFs and websites. Photoshop has built in tools to check if your images have enough contrast to be striking to all audiences. You can do this by going into view > proof setup > from here choose either Protanopia or Deutranopia type.


Eugene Influence | The Bleed | Volume 10 Protanopia



Words Paige Anocibar Design & Illustration Prenapa Techakumthon


esigning and building large format graphics is a different animal than standard small format design. Large format printing is a very big project that has a lot of steps to consider before the design phase. It’s important to ensure you understand the development and process to have a successful printing experience. Large format print services continue to drive a large portion of the growth within the print market and are currently outpacing digital alternatives such as electric signs or supersized LED screens. Ninety-one percent of large format print services produce banners,


(the most popular large format product on the market,) window displays, and vehicle wraps.These large prints provide great visuals for use in commercial and other settings. Evaluating your design on the screen, you might think it looks perfect. However, when it comes to creating designs for large format prints, it’s important to consider how the design could be affected during the production process. If your design is going to be printed at a much larger size (such as a poster or billboard), you need to recognize how well the different elements of your design will scale. It’s helpful to underThe Bleed

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stand which Adobe application will be best suited for the product or material on which you are printing. Illustrator is ideal for laying out and creating large-scale graphics. Illustrator can create vector-based images that can be scaled up without losing clarity. Files created in Illustrator are typically smaller than files created in Photoshop. Vector images are a great option for large scale projects, as they are innately, infinitely scalable. If you are creating design elements like shapes or blocks of color, Illustrator is best. Photoshop is strictly raster-based and mainly used for photo/image

editing. Raster images and graphics are composed of pixels - they scale down without losing quality, but enlarging will cause pixelation. When using Photoshop, be sure your images are high resolution enough to fit the large print space. You can zoom in to 100% to see if there is any pixelization. InDesign is a program best suited for page layout in printing. Due to restrictions on page scale, it isn’t recommended for large-format printing. Instead, use Illustrator, which provides the same options with more precise formatting. As suggested in the breakdown of programs, vector files, which are produced using Illustrator, are the best format to use on large-scale graphics. An .EPS vector file works on mathematical principles of scale and is completely independent of resolution. This allows it to be scaled up dramatically while still maintaining its original clarity. Scaling up non-vector images like a TIFF or JPEG in Illustrator to massive sizes will likely become extremely blurry, pixelated, and distorted. For this reason, vector files are preferable.


ot all images and graphics can be vectorized. Sometimes you need to import pixel or raster based artwork into your designs from Photoshop. When doing this, you need to keep proper dpi in mind to avoid the loss of quality. Dpi stands for dots per inch. The number of dots in a printed inch. The more dots, the higher the quality of the print (more sharpness and detail.) 300dpi is standard; sometimes 150 is acceptable but never lower, though you may go higher for some situations. Viewing distance is important to consider when using bitmap. A bitmap image uses a grid of individual pixels where each pixel can be a different color or shade. Graphic details are not as apparent when viewed from 10-20+ feet, and a lower ppi (100 ppi) can suffice. When it comes to printing large-scale graphics, sometimes half the battle is choosing the appropriate substrate. Not only does image quality, layout and typography affect how your signage will perform, but so will the material on which it’s printed. There are thousands of certified

substrates for large format printing including acrylic, coroplast, foamcore, removable vinyl, white and black PVC, dibond, matte banner, and the list goes on. The most popular components include white PVC, smooth banner, and removable vinyl. Made of polyvinyl chloride, high grade PVC is a plastic material that’s very resilient and is perfect for any outdoor needs. Durable vinyl offers a long-lasting, smooth material, creating the perfect surface for outstanding image quality. Canvas, biodegradable vinyl, and white matte vinyl are excellent choices for indoor banners. Canvas and white matte vinyl are great for cold outdoor conditions, but not wind and rain. White mesh vinyl is best for windy, rainy, harsh outdoor weather. Vehicle wraps are made of vinyl with an adhesive backing. A strong adhesive is best (such as the wraps manufactured by 3M and Avery.) The billboards are made of a highly engineered vinyl to withstand the harsh environments in which they hang. These advertising vinyls are made of UV-protected and water resistant vinyl layers that sandwich between them a layer of rip-stop nylon scrim to keep them from tearing. From printing posters, banners, and general display signs, to creating vehicle graphics, wall murals, and trade show signage, latex ink printing and solvent based ink printing are used to accommodate a variety of projects across a broad range of sectors. However, there are a number of differences between latex and solvent based printers. When it comes to choosing the best option for your printing job, it’s important that you understand these differences.


olvent-based ink printers tend to be a much better option for achieving optimum results when printing signs and vehicle wraps, whereas, latex based printers tend to be best suited to soft signage and wallpaper. Solvent and eco-solvent ink can be used to print a huge range of products, including those that will be used outdoors. Offering exceptional resistance against the elements, solvent ink is not only waterproof, fade proof, and non-absorbent, but it is also scratch resistant, meaning it is a highly durable option for outdoor applications. On the other hand, eco-solvent ink is an economically sound, non water-based ink made from ether extracts. The Bleed | Volume 10

Eco-solvent ink is a better choice for those that are economically conscious. Offering effortless performance, superior printing results, and an outstanding finish, you will find a great choice of solvent based ink printers on the market, manufactured from some of the industry’s leading names.


deal for a huge variety of indoor and outdoor applications, latex printing allows you to enjoy high professional results in optimum time. As a result, more commercial printing companies than ever before are opting for latex printers. Latex printing involves using print heads to effectively distribute water-based inks onto a diverse range of media. This type of printing is ideal for accommodating everything from custom wallpaper projects, vinyl banners, and posters, to see-through vinyls and photo text. Large format printers are generally described as any computer-controlled printing machine that supports a maximum print roll width between 18” and 100”. Wide format printers are used to print banners, posters, trade show graphics, wallpaper, murals, backlit film, vehicle image wraps, electronic circuit schematics, architectural drawings, construction plans, backdrops for theatrical and media sets, and any other large format artwork or signage. Wide format printers usually employ some variant of inkjet or toner-based technology to produce the printed image. They are more economical than other print methods such as screenprinting for most short-run (low quantity) print projects, depending on print size, run length (quantity of prints per single original), and the type of substrate or print medium. Wide format printers are usually designed for printing onto a roll of print media that feeds incrementally during the print process, rather than onto individual sheets. Large format printing is a very big project with a lot of steps to consider before the design phase. It’s important to ensure you understand what Adobe program is best suited for the print, the file structure in which it is saved, the materials or substrates on which you plan to print on, and the inks used in the process. Thinking about the big picture for your next project can help your designs be printed at the highest professional quality. 17

The Hipster Soda Marketing Campaign You’ve Never Heard Of, and Why That’s

Words & Design Amy Cothron


Soda says, “Don’t be fooled into thinking there has to be a reason for everything.” This is a line from the manifesto of the greatest marketing campaign you’ve never heard of. OK Soda was birthed in 1993 after Coke’s market research discovered one of most identifiable phrases worldwide was “Coca-Cola,” second only to “OK.” In an act of world domination, Coke Marketing Director Sergio Zyman jumped at the opportunity to take control of the word for maximum brand penetration. With this, OK Soda was born: a drink meant to appeal to the apathetic Gen X slacker. Brand design was completed by Wieden+Kennedy in Portland, Oregon, who marketed the drink towards the unmarketable Generation X demographic. The design team went for a counter-culture heavy, anti-advertising campaign, creating a manifesto and hiring alternative comic book artists to design the cans and advertisements. 1-800-I-FEEL-OK was set up, which included random facts, OK Soda “coincidences,” and excerpts from the OK Soda Manifesto. Coke even sent out chain letters promoting the soda, “threatening” recipients if they did not forward the message, and created a fake public interest group A.M.O.K. (Americans Mad about OK). Overall, the campaign had the look and feel of an Adult Swim promo, with viral marketing a decade ahead of its time. It was a campaign that would catch the eye of even the most oblivious consumer, and was fresh enough to seem anything but corpoate. Once the drink was sent to test markets, the cracks quickly began to show. The Gen X-ers, known for their resistance to advertising, were shockingly resistant to the advertising for OK Soda. Most saw through the art and weirdness, identifying it for the corporate cash grab that the brand actually was. Even the flavor of the

soda, though underhyped, failed to live up to the promise of being OK. The taste has been said to be “like a banana that had been cradled in Satan’s sweaty asscrack,” while others would describe it as a “graveyard” heavy on citrus, with none of the charm of mixing it yourself. Can designs had issues of their own. Daniel Clowes, one of the beverage’s indie can illustrators, used features of Charles Manson in his designs. Clowes is quoted saying, “They made me sign all this non disclosure paperwork and stuff, but nothing ever said, ‘Don’t put a mass murderer on the can.’” Despite Coke’s best efforts, things were looking grim for the future of OK Soda.

Prior to the drink’s release, executives thought OK Soda could capture at least 4 percent of the beverage market, but it never reached this lofty goal in any of the test markets. After only seven months, the drink was pulled from shelves and went to the big soda fountain in the sky. Though forgotten by most of mainstream culture, the drink retained a cult following, and much of the marketing is regarded as ahead of its time. Unopened cans still sell on ebay for hundreds of dollars, and people still pine for the distinct citrusy-spicy flavor. Despite the failure of the drink, the marketing slogan holds true: “Everything is going to be OK.”


IN SP IR ED The Best Media to Inspire Graphic Designers in 2019 Words Patricia Burbaum & Cat Frink Design & Illustration Patricia Burbaum


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Movies PressPausePlay: A documentary film containing interviews with some of the world’s most influential creators of the digital era who discuss how this era has unleashed creativity.

Helvetica: Filmmaker Gary Hustwit explores the history and proliferation of the typeface Helvetica, interviewing leading graphic and type designers.

Milton Glaser: To Inform and Delight: Profiles Milton Glaser, designer of the iconic “I [heart] N.Y.” logo. Interviews with Glaser are arranged to take him through a rough chronology of his life.

Why Man Creates: A 1968 animated short documentary film directed by Saul Bass that discusses the nature of creativity.

Art & Copy: This film reveals the work of some of the most influential advertising creatives of our time — people who’ve profoundly impacted our culture, yet are virtually unknown outside their industry.




Burn your Portfolio by Michael Janda: This book teaches

Creative Bloq: One of the best

Design Matters with Debbie Millman: Branding expert,

real-world practices and unwritten rules of business that most designers only learn after putting in years of experience.

Design Basics Index by Jim Krause: Guide yourself through a progression of visual and conceptual theories, samples, and exercises that will stretch your imagination.

How To... by Michael Bierut: The first design manual by Michael Bierut, this book reflects the eclectic enthusiasm that has been the hallmark of his career.

Interaction of Color by Josef Albers: This influential book presents Albers’s explanation of color theory principles.

How to Think like a Great Graphic Designer by Debbie Millman: In revealing interviews, nineteen designers share their processes, thoughts, and opinions about their work.

blogs for web designers, graphic designers, and the like. It is updated every day with an inspiring catalog of advice along with illustrations to help you out in your journey to be the best.

Design History: This website presents a fascinating read on typographic milestones, a history of posters and books, and the rise and fall of many of the graphic design movements.

Lynda: A catalogue of thousands of courses in graphic design, from the basics to how to advance in your career. Free with Eugene library card, otherwise $25/mo.

W3 Schools: Teaches you how to build a website using HTML, CSS, JavaScript, and more. This website has helpful tutorials for beginners as well as helpful resources for more advanced web developers.

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designer, and professor Debbie Millman interviews creative types working today or who have influenced the industry; from musicians to illustrators, from typographers to entrepreneurs.

Business of Design: Michael Beirut and Jessica Helfand interview professionals on how design operates within many industries to create products and services and shape ideas in the world.

UX Podcast: Hosts James RoyalLawson and Per Axbom explore new approaches to UX design, methods and research, and interview those working in this new field today.

Dissection: Christopher Holewski and Jason Alejandro interview designers across a spectrum of fields and ask them to choose one project to break down. Learn about the inspiration, process, and execution of design challenges from the designers who are making waves today.


design Where

can take you;

all the way down the rabbit hole... Words & Design Leah Exem


uring my time in an immersive and unexpectedly intensive two year graphic design program at my local community college, I started to feel like I had safety in the little bubble I inhabited. There was always a resource, always direction, and the solution is always found. What happens when it’s time to leave the nest? It’s daunting. It’s scary. It is assumed you find a job in your concentrated field of study. What if you don’t really fit into that specific mold, though? What about the people that think outside the scope of what graphic design is


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on the surface? Often, the people that find their niche never expected to be where they are. I have met several working professionals in the field of design or other “out of the box” jobs in the creative field. When asked how they got to where they are, the answer is always a resounding “I never thought I would be doing this,” or “Graphic design can take you to unexpected, crazy places”. This is where the ride got bumpy, and when I decided to see where design could take me.

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I was questioning myself as a designer and had a major case of imposter syndrome near the end of my education- even asking friends if they thought I would make it. I heard “no” once from a close friend that went through the same program a year before, due to my more analog background, the fact that I didn’t learn software in depth until my mid thirties, and struggled at times with it. Rather than get discouraged or give up, I started talking to people. During the evenings, after my classes, I bartend. I started making more small talk with people and asking what they do for a living, and letting them know I study and work part time at the community college in the Design and Media Center (Yep, I have two jobs).

The most memorable answer I received to that question came from a regular customer’s partner who is now the head theater set designer for a university. Her background is in graphic design, and after years of doing layout in the 80’s and 90’s for newspapers, she had enough of the tight deadlines and gruelling hours.

She tried to keep her creative freedom by freelancing and doing her own art, but the Design and creativity work schedule and hours she ended up can be applied at all keeping began to wear on her heavily. She scales.... The tools and felt her creativity and passion for her work rapidly dwindling, and a result, became very the medium might unhappy. During her feelings of burnout, and change, but if you questioning her own desire or ability in the have intent in the creative field, so she had decided to leave her work and act on it, newspaper job.

Surprisingly, I met several people that have that might be about She joined a local theater group and ended up a background, or know someone in the as authentic as you creative field. I had regular customers that I doing graphic design there. She developed an can get. would have never known were connected in interest in how to make the sets more efficient the industry. As a result I was introduced to to move and store, while maintaining their some people that have really unique jobs, but quality and visual appeal. This began her all share an educational history in graphic design, or other almost twenty year career in set design; a field she admittedly design-based fields of study. never thought she would be involved in, but is now passionate about. The more I was talking with and forming a rapport with people in the creative field, the more comfortable I became Her advice on feeling inferior was to not give up on design, asking them if they had (or still go through) periods of or make the mistake of comparing success or skill to others. imposter syndrome, and how they got to where they are. There is a path and a place for everyone that is willing to put in the work, time, and effort to educate themselves. I met another graphic designer at work one evening with a less traditional path. His background involved welding and fabrication, and he received his education in graphic design through a university in Washington. When I asked him what he did after he graduated, he told me that it was very difficult for him to find steady work in the design field because it was so overly saturated in the area he lived outside of Seattle. A four-year degree paired with a certain amount of time and experience in the field was desired by prospective employers at every interview he would land. Becoming discouraged after searching for several months for a graphic design job, he went back to his original career of fabrication and welding while still freelancing to maintain and build his skills. A close friend reached out to him for a freelance branding job to launch a custom light bulb. He had received a patent for bulbs he invented that were sustainable, eco-friendly, long-lasting, and very artistically designed. Over the course of their new working relationship, they had an idea to collaborate and create lamp stands and hanging fixtures for the bulbs. They found a lot of success in combining their skills, and five years later they own a business together doing beautiful, extremely intricate, large-scale light installations, and are becoming high demand. Their biggest clients are galleries up and down the west coast, and several learning institutionsincluding a community college in Colorado. His biggest piece of advice to me (and he was very adamant about it) was to keep my skills sharp and continue learning new developments in the software if gainful employment is slow to find. Freelance is another great way to pad income The Bleed

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while searching for work, keeping yourself in the software frequently. A classmate of mine has a cousin with an impressive and interesting background in design. I had the pleasure of corresponding with him through e-mail. He offered some great advice and insight on the current market of graphic design. He began his education at Ball State University in Indiana, doing a five year program with a focus on architecture. He completed a semester-long internship in New York, as well as a semester abroad in Australia. After working for five years in Houston as an architect, he later made the decision to revisit his passion for illustration and graphic design by attending the School of the Art Institute of Chicago. He received an MFA in visual communication. He currently works as a UX Lead and Creative Director at an audit and accounting consulting firm that has recently branched out into digital design. Utilizing education and a mixed background, he blends architectural big-structural thinking with visual design and communication in digital work. This has been instrumental in his current position. He also attributes networking to his advantage. During his freetime, he co-authored and illustrated a graphic novel with a group of friends that did


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well after a move to Los Angeles. He is often surprised how designers and studios get work, after working on future vision projects for a global electronics company (largely because his boss tutored a classmate once in college and they happened to stay connected).

There is a path and a place for everyone that is willing to put in the work, time, and effort to educate themselves. He’s heard lectures from designers at conferences who do very similar work and have similar processes to his, only - for film production sets and props, radio shows, and podcasts. He has observed that once you have the process down, you can apply it almost anywhere- with maybe more fun. My final question for him was about Imposter Syndrome, and if he experiences it less frequently after years in the field. In his experience, switching focuses, being promoted, or shifting careers paths can bring up those feelings. His last piece of wisdom is that design and creativity can be applied at all scales. To a product, a layout, or a message, a strategy, a pitch, or a process. The tools and the medium might change, but if you have intent in the work and act on it- that might be about as authentic as you can get.

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As it turns out, Imposter Syndrome and navigating your way in the creative field is just part of the gig. We all go through it. Fortunately, in the creative community there is a great wealth of advice and experience to gain. Talking to people and really putting yourself out there can help alleviate that stress and anxiety. Putting in the time, working on your skills, and trusting yourself and your process during the hard times is key. Go with your gut! And try not to compare yourself or your work to others (easier said than done, for sure). In networking and connecting with people, you may end up finding a new and different direction to take your skills. You may even end up going all the way down the rabbit hole, doing things you’d never expect, and later saying, “I never thought I would be doing this!�

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AESTHETIC Words & Design Erin Tomb

Photography Jason Hernandez & Erin Tomb

Eugene has always had its own unique style that sets it apart and makes it such a wonderful city. Living in a highly artistic community, we are surrounded by beautiful sculptures and murals that together encompass the style and feel of Eugene.



1 - Eugene Skinner by Jim Carpenter 2 - Story Teller by Peter Helzer 3 - Artist unknown 4 - Butterfly Tree Maiden by Steve Lopez

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5 - Actors Cabaret mural by Unknown 6 - Big Red 1974 by Bruce Beasley 7 - Evolution 1994 by Tim Gallagher 8 - Musical Turtles 2003 by Peter Helzer 9 - Washington Jefferson Skate Park Mural by Esteban Camacho


10 - Untitled (fish fountain) by Tom Hardy




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EUGENE ARTISTS Words & Design Peighton Carmichael

a i h s a t slu PERFORMER

How would you describe your art?

I am an entertainer. I am a visionary. I am a musical artist. I am a drag queen. I love to tell stories through music as my drag persona. How long have you been in Eugene? I’ve been living in Eugene for about 7 years. How do you feel your work has impacted the community? What I do is different. Not many drag queens perform live, and if they do perform live it’s usually not their original music. When I started drag in this community there were not many options for me to perform live in a drag show. I had to create the opportunities for myself. So I started producing my own shows and started giving the community a new idea of what drag can be. What are your goals for the future of your work? I want to see a drag queen be accepted and taken seriously in mainstream music. My ultimate goal is to be that drag queen. The only way for me to get there is to be better than yesterday. I am constantly pushing myself to do better and to accomplish more. We will see where that takes me.

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How would you describe your art?

My art is a mix of surreal and visionary. It’s a commentary on the emotional landscape of humanity. It is derived from a combination of dream exploration, research in psychology, mythology and meditation. I am currently constantly working on refining my style and it has changed quite a lot over the past few years but seems to be consistently dense with imagery and detail. Eventually my goal is to visually “say” more with less. I believe the meaning of the images I paint come through a shared understanding of them. I enjoy hearing how others relate to my work, which often brings me more clarity on where it is coming from and what it means. I approach painting as a study of the moment and human consciousness. When others find personal meaning in the work I create, I am reminded that art is a language that connects us all, and so pertinent in a time when we seem to be extremely divided. This is what motivates me to continue the work of the artist.

How do you feel your work has impacted the community? I receive letters from many people thanking me for the work I have done around town, my murals and whatever other art people have seen here and there. I have several pieces up at Tsunami Bookstore and show occasionally at Morning Glory Cafe, where my art is intimately tied into the aesthetic of the business. I love working with local businesses. I try to find ways to make my survival money from those who can afford my work, while also giving access to people who don’t always have the budget to hire an artist. I think it is vital to communicate about the value of art and the artists in our community. Artists help to make a community not only aesthetically pleasing, but also a considerate, connected, eccentric place. Artists often inspire a dialogue about topics that might otherwise be challenging to talk about and it is in communicating around such challenging topics that we can work collectively toward a more culturally diverse, accepting, and harmonious environment for all of us. Local artists are vital to a community because they can create art that is relevant to the context of the community in which they live. The culmination of our shared story for all to reflect on helps us all to understand our own community and to consider it from other angles. Community art should not be all about technical ability, it should be about story-telling, sharing, helping each other, and encouraging those qualities in others by living them in our work. I see art as therapy, not only for the individual, but a kind of Rorschach test for all of those who interact with it. A painting is like a mirror. When you gaze at it, your reaction is a reflection of your own cumulative experience. So, in that way, art gives viewers an opportunity to reflect on themselves. Also, art in the community context, gives the community a chance to reflect on itself. I am constantly refining my workshop curriculum to include these aspects -self reflection, letting go of perfectionism, and art as therapy. 30

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“I believe that it is in healing ourselves that we begin to heal our community and the greater pains of humanity. Art is my tool. Art is medicine for the individual and the community.”

Joey Edwards SCULPTOR

How would you describe your art? I make weird and wonderful things. Wire sculpture surrealist taxidermy, intricately carved and highly realist portrait pumpkins, abstract expressionist paintings. Whatever I can get my hands on I just love making things and expressing myself. Sometimes I do it as a form of emotional ventilation, but more often than not it allows me to simply focus and find a sense of balance in my life. I feel compelled to create and to produce. It keeps me motivated, moving ever forward and onward. I can see how a lot of my work would come across as dark, but I find it more dreamily playful, never taking itself too seriously yet maintaining a strong presence of validity. I just make more of what I would want to see more of in the world and in doing so make the world just a bit more like me. How long have you been in Eugene? Since 2004 when I transferred to the University of Oregon with an Associates of Oregon transfer degree from Rogue Community College in Grants Pass Oregon. I graduated from U of O in 2008 with a double major in art & digital art. After college, my life took a different turn away from Art and making things for a few years, but I’ve been hard at it, more than ever before, for several years now. How do you feel your work has impacted the community? It’s hard to say. I often feel like an outsider to the art scene itself, as in being involved in a wider legitimized art community. I kind of just make what I want to make and frequently put my work up in non-traditional gallery-oriented places such as bars and tattoo shops. However in doing so my work is up in front of so many normal people and is outlandish enough that while people do not recognize me as the artist, many know my work. For example, every October for the last 4 years. I have done multi-venue and multi-city (across the Eugene/Springfield/Cottage Grove Area) portrait pumpkin art shows. I carve on faux pumpkins and wall mount them, displaying them and treating them as a true artistic medium. People really respond and react to them. They have been featured in the local news several times. I even won the Eugene Weekly cover pumpkin carving contest twice in a row and they flat out stopped doing it. Also, my pumpkins have a reputation in my neighborhood too. On Halloween I’ve had people honestly travel all the way across town just to trick-or-treat at my house and check them out with their families. It’s a real treat for the kids and it makes me happy I can share my love of Halloween with the community. As for my wire work I’ve only just recently started showing it locally. I have primarily only showed it at tattoo expos up and down the the Pacific Northwest, but it seems like it’s being well received.

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Words & Design Monet Moran Design Prenapa Techakumthon


ugene is home to many brands that are home grown, but sold nationwide. The way these brands market food and beverage products can differ, depending on the region in which they are sold. I sat down with Nick Yarger, the Creative Director at Revolution Design Group to talk about the differing markets that need to be considered when branding locally and nationally. Being from Southern California, Nick started out in apparel, working for surf brands like Billabong and Quicksilver. Now, with Revolution Design Group, he specializes in food and beverage packaging and is responsible for branding several of Eugene’s local wonders that are also sold nationally, including Ninkasi Brewing Company, Coconut Bliss and Yogi Tea.

Monet Moran: What was Revolution’s big break? Nick Yarger: I’ve actually only been here for about a year. Jennifer Revoal started this firm about eight years ago. She was an in-house designer for Yogi Tea and left Yogi but brought them in as the first client to Revolution Design Group. Eight years later we’re here, with thirteen employees. 32

What is it about the design process that is unique to Revolution Design Group? Well, we kind of run the gamut as far as start to finish in the design process. Start, meaning the conceptual design, all the way to packaging. If you want to take that further, we do marketing strategy as well. In such a competitive field, how do you make that design stand out? The Bleed | Volume 10

It all depends on who the client is and who they’re trying to engage. Every brand has a different strategy. Let’s say Coconut Bliss; they are sharing shelf space with other non-dairy ice creams. The first thing we do is we go shop. We go see what the shelves look like, their top-competitors, even look at the store brands and what they’re trying to communicate. They are a non-dairy ice cream that tastes exactly like [really good] regular ice cream. You don’t want to alienate the people who don’t care if it has dairy or not, you want to

What makes the Eugenian customer unique?

invite them to enjoy, too. It’s a unique situation where you want to cater to the people who are non-dairy, but also to intrigue those who aren’t shopping for dairy-free options. You want to get to them with design, because that’s what people are seeing first, not words. When you’re designing for a local brand, how does the design process differ from that of a national brand? We always want to look at the local market; that makes a huge difference. At Ninkasi, seeing what regions they’re trying to sell in and seeing what the competition looks like there. Yeah, the markets are different locally and nationally. What might resonate with someone here in Eugene is not gonna do the same thing for people in southern California, Texas or New York. So yeah, getting a good grasp of what that customer looks like. The Eugene customer is very unique. If you grew up here or lived here it’s easy to think that this is how everyone feels. Even in the natural food space, what resonates with a Eugenian might not for someone else.

NY: Eugene is very enthusiastic about their local food and beverage, which is awesome. There is a great food and beverage culture here in the Pacific Northwest, I think a lot of people look to this area for unique food and beverage ...good, clean, farm-to-table.

like the chevron, going with things that people can identify with to create a bridge from the consumer to product. Using simple graphics, things people can identify with, will help that person feel they will connect with the product. How was the switch from apparel to packaging?

“Surround yourself with other designers, keep yourself informed on trends. It’s part of your job.” I come from Southern California. Down there, there isn’t as much farm to table. I mean, there are farms, but not in the way they are here. Ninkasi is a well-known craft brewery. How do you make it appealing to locals as well as non-locals? Part of it is not just the graphic; you have to have the right product. A challenge for Ninkasi is that they make a really hop-forward beer, so they’re known for that. Like [in] Southern California, where hoppy beers aren’t as popular, but we are in a beer geek area. That’s why Ninkasi makes the beers they do. Appealing to a broader demographic, you have to simplify the graphics. For instance, Pacific Rain, we used some classic symbols,

How was it, let’s see...challenging maybe? I worked for Quicksilver and Billabong but I kind of wanted to get out of that and add more variety. I love packages. I love labels, beer bottles, cans, wines, know, all that stuff. Different surfaces [are] pretty fun. So what makes someone want to buy a t-shirt is different from what makes someone buy food? It’s kind of the same because you’re selling a lifestyle to them. Like Quicksilver, you’re embellishing their logo or creating somewhere they want to be. The unique thing about Quicksilver is that they’re international - you really get to see the buying habits of people globally, from the United States to

Australia, to China to Europe. They’re delivering fifty graphics a season and there are four seasons in the year. You really get to see what people are gravitating toward from a graphic point of view. With sell-units in the tens of thousands, the data is pretty accurate. When there are hundreds of thousands people buying a certain style of t-shirt, we dissect why they identify with it. When the product is smaller, it’s a little harder to get a grasp of buying habits. How do we keep ourselves from becoming obsolete in the fast-paced world of graphic design? Surround yourself with other designers, keep yourself informed on trends. It’s part of your job. That’s the reason I love what I do so much, it gives me an excuse to listen to pop music and understand what the 20 year old kids are doing because they are my customers. Realistically, anywhere from teenagers to seniors, they are my customers. I have to know what is going on in the gaming world and in the food and beverage world. That’s why I love what I do. You’re entering a very dynamic field. I’ve been doing this for twenty-plus years & it never gets old.

“The first thing we do is we go shop. We go see what the shelves look like, their top-competitors, even look at the store brands and what they’re trying to communicate.”

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Making something new Words & Photography Erin Tomb Design Cat Frink

Eugene Makerspace provides residents of the city a chance to create and learn.

Have you ever wished you had a space to be creative without the limitation of the tools and space available to you at home? Makerspace is a non-profit organization located in West Eugene that provides tools, equipment and space needed for people to work on a large variety of artistic and functional projects. Makerspace was established in 2011 as a means for people to work with large tools that they are unable to use in their apartments or can’t afford to invest in by themselves. Makerspace has the equipment for metal fabrication, woodworking, electronics, programming, and more. The space is fitted with a plethora of tools including anvils, welders, band saws, soldering irons, laser cutters, and 3D printers for people to use. Community is the foundation of Makerspace. Its members not only help one another learn and become comfortable using equipment, but they often loan their personal equipment to Makerspace, as well. Their laser cutter even uses a custom router bit that was created by one of its members. In addition to social media networks 34

and in-shop webcams, you can also join Eugene Makerspace on Slack as a resource for getting help, project coordination, or friendly chatting. Members also have access to a Wiki page and mailing lists for more support and advice from other members. Makerspace has a variety of people who come in, ranging from artists, inventors, gadgeteers, and craftspeople to computer programmers, students and retirees. There are about 24-40 members who come in each month to use Makerspace, with roughly 50 members in total. Being a non-profit, Makerspace relies on member dues and donations to pay for the space and upkeep of tools and machines. Makerspace has opportunities for nonmembers to come in and use equipment every Tuesday and Friday from 6 to 8pm. Membership starts at just $35 a month with shop access 7 days a week from 7:00am–1:00am. The membership dues include access to tools and equipment, onsite storage, voting privileges, and keycard access into the facility. If you are interested in a membership you can learn more on their website at

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Makerspace President Aidan Wenzel fixing up a plyometric box for his school’s gym; a hands-on alternative to buying a brand new one.





Interview Jason Hernandez Design Marco Leon

oel Grimes is an Arizona-based professional photographer who has worked in photography for the past 40 years. I first discovered Joel’s work by watching a workshop video held by B&H photo on their YouTube channel. I was impressed not only by his work, but also by his ability to teach rather complex material in a practical and easy-to-understand way. I reached out to Joel via email asking if he would like to be interviewed for the 10th anniversary edition of The Bleed Magazine. He agreed to be interviewed over the phone and I am pleased to bring my conversation with one of most talented, hard-working professionals in the business today. > The Bleed

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Q: When did you first develop an interest in photography, and how did you get to where you are today? A: I attended some photography classes in high school, but I didn’t really get into photography until I started at Pima Community College in Tucson, Arizona. There was a professor, Lou Bernal, I was working at a surplus store and he came in looking for a waterproof container for a trip he was taking (this is before we had pelican cases.) I asked him what it was for, and after learning it was for his camera, I told him I was a photographer as well. I had just bought my first camera. I worked all summer parking cars at a dealership and saved enough money to buy my first camera and I thought I was pretty hot stuff. He asked if I had thought about taking a photography class at the college level. I said, “Well no, not really,” and he said, “Well, it is something you should think about.” So I went back home and talked to my dad about it. It wasn’t like today; we didn’t have the internet to guide you. I didn’t have any guidance. So I enrolled in his class and it was just absolutely amazing. He was an incredible man, what an inspiration! He was what got me going. I finally got a degree in photography from the University of Arizona. So if he had not come into the store, I don’t know that I would be a photographer. I think he was the perfect teacher I needed at the time. I then moved to LA and assisted a celebrity photographer Bill Robbins for a couple of months. Then I headed to Denver with a buddy of mine, and we started going for it. I had no clue what to do, it was an eye-opener when you hit the real world. I have been clawing and scratching my way to the top ever since. It has been a long haul: 40 years since I took that first class. Q: What were some of the challenges you faced in college? A: I was no rock star in college. I thought that I wasn’t smart enough or I just didn’t get it. I felt the creative side 36

Photography Joel Grimes

was missing, but then I had an epiphany, or whatever you want call it. I came to the conclusion that if I can outwork them, I can compete. That was the one thing that I got: I can outwork them! Though the raw talent wasn’t there, the drive was. That is how I was able to move forward. Getting out of college you think that if you are a good photographer you will get hired, and make a lot of money. Though your odds are increased, I discovered that there are a lot of photographers that aren’t really any good. You recognize that it is not your photography skills that are most important, it is your ability to market yourself. Branding yourself in the marketplace, pounding on doors, showing your portfolio, making cold calls; those things are a hundred times more important than the act of taking pictures. That was a shock to my system, so once I began forwarding the marketing aspect, my photography skills began to catch up. But it was really my skill set of learning marketing that was the key to my success as a photographer. Q: Can you describe your creative process? How do you continue to create after years in the field without feeling repetitive? A: Well the creative process is a tough one, because when you take a risk The Bleed

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someone is going to criticize you. We are paranoid we are going to be criticized or do something wrong, so we tend to do the safe thing by copying someone else’s work or get on board with a trend. I had to learn that there are going to be people that love my work, people who hate my work, and people who do not care about my work. No matter how good I am, there are always going to be those 3 types of people. I can never get to the point where everyone loves my work. So once I realized that, I decided to just do what I love and let the chips fall. When someone comes along and says, “You suck.” I have to say, “Well, that is your opinion.” So the creative process is me following my own intuition: the best gift I have. That leads me down a path, and I have to own it, so once I came to that revelation, it became really easy. The creative process can be the most daunting of tasks or it can become natural just like breathing. If I don’t care about what people think, it is really easy. If I do care what other people think, it is really difficult. There are not enough days in the year to create. I never have photography block. There are so many things I would like to do but I just do not have the time. There is this fear that if you do something over and over again, it’s a bad thing. When actually, it is not. You have to do something over and over

again to get good at it. You need to do something more than 99% of the people on the planet. When I was doing my composite work I was doing it more than 99% of the people on the planet. I am not afraid to repeat and repeat and continue to get better and better. Though, if I bring something new to the market place it will have a shelf life. It takes 3 years to create a new look, so I am a rockstar for, say...4 years. Q: Could you tell us about your next big project? A: I am doing a series of portraits. I have shot a lot of different characters over the years. I will be going around Arizona and just finding different characters and do a whole series of these guys. I’m looking for something that is semi-close to where I live. I have shot a lot of work using my three light approach. I want to focus on doing these character portraits using just one light. I will be using Westcott Switch 24” beauty dish that I helped design. Q: Last year you worked on a project traveling the US photographing Harley-Davidson motorcycles and their riders. What was the driving force behind that project? Was it a personal endeavor or was it a hired job? A: No, I was not commissioned. I said to my wife, “I just need 100 days and

$30,000.” I worked it out so I could do that and took off, and I just repeated the same thing for 100 days. By the end of those 100 days I got pretty darn good at taking pictures of Harley’s. And, that’s what I did. That was my training ground. At 60 years old, I was in the same boat as anybody else, “learning.” There is never a moment where I am in a position where I know it all. I have to learn, learn, and learn. That was kind of my way of staying fresh and current. Trying something new and repeating something over and over again, and that’s what I did. I would like to do another one this summer but I’m not sure at this point.

period of time so that they remember your name. If you just go and show your portfolio once, the odds are that the person will not remember you. That’s why persistence is so critical.

Q: What advice would you give on developing your portfolio? A: A great portfolio is important but its not as important as being persistent. Having said that though, there’s a lot of different ways to present your work. I would rather do a print portfolio. Not too big, because you’ve got to ship it or carry it with you. You want to be able to have a presentation that is about 12 minutes from start to finish. Not more than 12 minutes. I look at a portfolio showing as one opportunity to be in front of that person that wants to hire you. You need eight of those. Eight times that you present yourself to that person over a The Bleed

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Words & Design Brian McCalla

Best of the Best

A portfolio is likely the

single greatest asset a designer has to showcase their talent and convince potential employers to hire them. For those just breaking into the graphic design field, designing that perfect portfolio may be a struggle. Here are some pointers that will help your portfolio go from dismal to dazzling.

Your portfolio should contain work that shows the mastery of the skills you’ve obtained. Incorporate a variety of work that demonstrates an array of design skills. Include projects that you enjoyed creating. Avoid including work in your portfolio that needs explaining. Your work should speak for itself.

Formulate A Format A standard portfolio case for graphic designers can range from 81/2” x 11” to 11” x 17” and contains about 20 to 30 pages of work. While having a physical portfolio with you is good, having a digital one is also beneficial because you can show on the go. Whether it’s through your laptop, tablet, or in some cases your phone. There are many websites you can choose from to host your portfolio. Choose a platform that allows you to create a profile and samples of your work. Make sure your page is not only highly visual but also shows your work in an aesthetically pleasing style. If you work in a range of styles or formats, split your work into digestible miniportfolios that are easy to navigate and browse.

Shape Your Story Your portfolio should provide a good narrative with a beginning, middle, and end. Place your very best work in the beginning and the end. Using all of your good stuff in the beginning might make a client feel like your work starts to get weaker as they progress through your portfolio. Saving your best work for last could be problematic if a busy hiring manager or Art Director doesn’t read enough to find the examples you need them to see. Captions should be short and to the point while showing sincerity and confidence. Be sure your contact information is easy to find, thorough, and up to date so clients can contact you to ask questions, or more importantly, invite you for an interview.

Shifting trends for women in design Words Thomas J. Munch & Leah Exem Design Thomas J. Munch


he graphic design industry is known for being in a constant state of evolution and change. Due to the heavy reliance on advanced technology and the everchanging nature of the field, it’s important for designers to stay current to maintain a presence. Though it appears to be a forward-thinking and modern industry, the low ratio of females to males as creative directors, educators and in other leadership positions demonstrates that the old guard is still very much entrenched. These social and economic remnants from decades past are still in play. Issues, such as the ever-present wage gap, continue to be a blight on nearly every industry, including graphic design. The good news is, according to new studies and information, there is a big change on the horizon, and we are becoming more balanced in the field of design. The biggest indicator for change that we currently see is within higher education. Over the last few years, it has become apparent that the enrollees for studies in undergraduate and postgraduate graphic design programs are primarily women. This statistical analysis portends a massive shift in the field. The graphic design program in which I am currently enrolled echoes this trend. I’ve observed in my own courses that the majority of my cohort are women. I hadn’t given this much thought previously, but I began to wonder if this was a trend nationally? Internationally? I spoke with the director of the program and he confirmed that he has seen these numbers shift over his career. >

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The equality we see manifesting at the college level amongst the students is an important stepping stone on our way to the balance we need across the field of graphic design. We need to understand that the majority of instructors, professors and staff in these institutions are still male. There is no doubt that progressive shifts in our society have opened the doors for women in education. Despite these upward trends, it can still be difficult for them to stake their claim and rise in the academic setting when they don’t see role models and mentors who are like them. Hopefully, this will become less of an issue in the future as this current wave of female designers go into

“A 2013 Guardian survey reports that of the 12,930 students at the University of the Arts London... 9,370 are female, a pretty weighty 72.5%” Rebecca Wright (Program Director of GCD)

the working world, gain status and use their skills and experience to fill educator roles down the line. Women designers are excelling in GD programs worldwide, graduating as skilled, sharpened instruments of design, ready to make their mark. These trends in education are exciting and promising, yet entering the graphic design industry post graduation still presents another set of hurdles. Graphic design, like all industries, involves money: lots of it. That is where women run into different obstacles set up by outdated, yet typical hiring practices. As with education, the current problem in the industry is the lack of females in leader-


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ship roles. At least 60% of design graduates in the past three years have been women, yet according to a 2014 Gordon study of women serving as advertising creative directors, only 11% of design business leadership positions are held by women. Many female designers see that junior and mid-level positions are readily and consistently available, but moving up the ladder, gaining responsibility and financial compensation is still a major challenge. These are roles primarily occupied by male designers and held over sustained careers.


hile there is nothing wrong with “paying your dues” to work your way up, there has to be a level playing field. There is a significant wage gap in the graphic design industry. The most recent stats from the 2016 AIGA x Google Design Census tell us that for every dollar a male designer earns, a female designer with the same position earns 81 cents. This disparity becomes even more stunning when you consider women’s role in our economy. Studies have shown that over any given year, women control over 70% of the global consumer spending. They consume a larger percentage of product advertising and control the buying power of most households. Yet a majority of females feel like the marketers don’t understand them and are ineffective in their attempts to persuade them as consumers. For example, the “pink tax” is a term used to describe the strategy of branding for women with bright and feminine color palettes, or “customized for women” design and language. The price tag for products marketed in this way, like dry cleaning, personal care products, and vehicle maintenance is significantly higher. Perhaps the up-and-coming female designers can shore up these deficiencies within the industry. The majority of the target audience could then be viewing and interacting with design that speaks to them more directly. Currently, the ratio of women to men in the graphic design field is fairly even and that benefits everyone. Getting through school and landing a job isn’t the main issue anymore. The crux of the issue appears when we talk about advancing into leadership positions within the design industry. This is where we have a heavy tilt towards male designers. That imbalance we see in the top tier of design firms simply cannot be justified when looking at the numbers. Representation and mentorship for half of the designers in the field is lacking an important component: relatable women to inspire and push them. Despite all of that, recruitment of women to graphic design programs and then into the workforce isn’t a problem. Retention is where we see the attrition happen. When opportunities for advancement into positions like creative director or lead designer open up, the female demographic fades out of the picture.

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Reasons may include a lack female of leadership and mentors, resulting in an industry bias for awards and for simply moving up the ranks. There are also the usual suspects that pull women out of the workforce: motherhood, and our antiquated economic structure that does not often support working mothers. That being said, there is a rising tide of intelligent, talented women who are about to infuse the industry with a much needed jolt.


echnology and the autonomy it provides, opens even more avenues for female designers. One of the advantages to being a graphic designer is the ability to freelance. Starting your own design business, whether it be solo or in partnership with others, allows women designers to avoid some of the pitfalls seen within the industry. Both freelancing and business creation are within the grasp of most designers today. The female designer now doesn’t have to wait on the old, established design firm downtown to put her through the wringer. She can shop around and pick up jobs along the way until she lands where she can fulfill her goals and potential. The point is, women shouldn’t have to jump

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through these financial and hierarchical hoops to attain their goals and be treated equally. In this modern world, there should be a level playing field. The numbers don’t lie, the impending influx of women in the design field will lead to more leadership roles and, in turn, their mentorship is going to shake things up in a needed and exciting way for the industry. This surge of women designers entering the creative field can cut a swath through the old barriers towards an empowered creative space and their own voice in design. In the end, we will be able to eliminate the idea of women being considered great “female” designers and just call them great designers.

For more information:

• • • •

Volume 10


Small It’s cool to play with toys.


Words Laura Young & Brian McCalla Design Laura Young Photography Laura Young & Brian McCalla


fter a long day in the ring, WWE superstars Dolph Ziggler, Randy Orton and other WWE dads enjoy taking their kids to the park for a play date. Fellow wrestler The Big Show spends his down time honing his cooking skills. Rumor has it, he makes a lobster bisque that’s meaner than his persona in the ring. While these things may or may not be true in real life, they are in the universe created by toy photography. Toy photography is a fun and refreshing niche that is growing in popularity. Scenarios are created taking various toys-action figures most commonly, and staging them in various ways with the use of props and scenery. They can be fantastical such as Instant Transmission by Goku or they can be humorous and unexpected like WWE star A.J. Styles riding away on his unicorn. You can create almost anything your imagination dreams up.

There are different methods that can be employed to create incredible toy photography. Using Photoshop is a great way to create amazing special effects in an action scene. You can achieve this by shooting your subjects on a flat surface with proper lighting and a green screen. This allows you to easily mask out the subject in the photo and place them in any environment you choose. Another technique is to forgo Photoshop and stage your scenes with the use of wooden blocks and sticky tack to hold figures and props in place. This method requires a steady hand and a fantastic amount of patience, but it all pays off in the end. Toy photography is not difficult to try, as you only need a few things to get started. (See sidebar.) Fair warning though, this activity can quickly become addictive. You will soon find yourself constantly on the lookout for everyday objects that can be fashioned into props for a scene. Maybe it’s time to find some of your old toys and give this fun fad a shot!

Brian McCalla

Laura Young

Brian Brian McCalla McCalla

DSLR camera tripod 50mm lens Small external flash Craftsman work light

Printed backgrounds, scrapbook paper with various textures Miniatures, doll house furniture & accessories Wooden blocks Modeling clay Brian McCalla

Brian McCalla

Laura Young

Words Monet Moran

Design Mackenzie Derr & Monet Moran


reating a text message can be intimidating. Fear of sounding cold and uninterested is often felt alongside worries of sounding too enthusiastic. Instinctively, I often find my thumb wandering to the bottom left of my screens to an oasis of clarity: emojis. Emojis help me when language cannot. When sending a short text, I send an emoji relevant to the conversation, it helps to keep the tone light-hearted. Although they are used to make messages more clear, emojis often do not translate well across cultures and generations. Although was named word of the year by Oxford Dictionary, it still has trouble being widely understood. Officially named the “Face with Tears of Joy� emoji, , when this particular emoji is misused it can be particularly disturbing. w


A symbol can be defined as an image used to convey a message through correlation of the image and what it means through cultural and regional context. International symbols are easily understood, such as the walk sign means “go� and a red octagon means “stop�. On the other hand, there are symbols that culturally clash due to painful histories. The Red Cross employs their red cross logo in most societies, but in the muslim world they are known as the Red Crescent. A red crescent is used instead of a cross, because the cross is culturally inappropriate. A symbol’s cultural context and historical impact is essential to understand the meaning behind the symbol.


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Until international air travel became popular, the need for easily identifiable symbols was few and far between. In today’s world, airports, bus, and train stations need clear wayfinding signs, and they must contain internationally understood symbols (like where to find the bathrooms or food court.) In 1974 the US Department of Transportation commissioned AIGA to design a set of thirty-four pictographs to help guide pedestrians and passengers at any transportation depot. The symbols are unambiguous and thus furthered a universal understanding of symbols. They were designed similarly to the symbol set created for the 1964 Olympics in Tokyo. Designed by Masasa Katzume, a set of 59 symbols were produced to guide guests regardless of what languages they spoke. Another example of universally understood symbols are the International Organization of Standardization (ISO) symbols. ISO is responsible for standardizing safety symbols across the world. By using five distinct shapes and colors to symbolize different warnings. The universal symbols that AIGA created were made to state fact, not express emotions. But what happens when symbols need to express emotions? People with disabilities that render them unable to speak can use an Augmentative and Alternative Communication (AAC) device.

express a wider range of emotions, and gives more autonomy. The dawn of technology provided mankind with limitless text communication, but without the nuances of body language and facial cues that allow the receiver to understand the message. Instant messaging had the inherent need to convey emotion quickly & concisely, and early users of the internet began to form emoticons out of the text symbols given. ASCII characters allowed users to create an infinite set of emoticons created by ASCII characters. The shrug emoticon (also known as meh) ¯\_(ツ)_/¯ makes use of a katakana character (pronounced ‘tsu’) as the face. Like many other ASCII emoticon ¯\_(ツ)_/¯ uses body language as well as facial expression, adding more emotion. Emoticons quickly evolved to a set of symbols, known as emojis. The first emojis came from Japan and were popular amongst Japanese teenagers. Docomo’s 1999 set of emojis is usually recognized as the first, however I feel it’s necessary to mention Soft Bank’s emoji set that came out in 1997 (which even included the first .)

raise awareness of the most deadly disease-spreading animal. Public health officials can quickly communicate the presence of diseases carried by mosquitoes with the emoji. Emojis give us an emotional benefit that no other internationally used set of symbols has. Yet unlike the international symbols mentioned, emojis vary because they are used differently across the world. In Japan the emoji for bank is associated with the slang ‘bakkureru’, meaning to slack off because early emojis sets used a BK in the symbol, abbreviated ‘bakkureru’.

Emojis are not a language, but a set of symbols dependent on context for understanding. They are being integrated into language; from their implication in court battles to being considered word of the year by Oxford dictionary. More emojis are added to the unicode every year, providing users with more emotional nuance, while also expanding the need for a widely understood emoji-etiquette. A more natural looking smiley evokes happiness, like this one the grin showing teeth and closed eyes implies amusement while the tight lipped slightly smiling face can be seen as patronizing. The upside down grin , adds an extra aggressive edge to Emojis give us an emotional benefit it’s already passive-aggressive that no other internationally used progenitor.

set of symbols has.

Used alongside a speech-generating device, the AAC device (usually a tablet) will have categories of symbols to choose. One language of AAC is semantic compaction, using sets of symbols to communicate full thoughts and ideas. Being able to communicate more than just basic needs allows one the ability to

Some emojis have been created with the same impassive intent as universal symbols, such as the mosquito emoji. The mosquito was proposed to the Unicode Consortium by The Gates Foundation and The John Hopkins Center for Communication Programs. The mosquito was proposed to help

This interpretation is my own, a westerners point of view, not everyone will see it the same. These symbols add an extra layer to the way we communicate in the internet age, and when used thoughtfully, emojis can help us more than hinder us.

Docomo 1999

Apple 2018 The Bleed

Volume 10


ThinkingDesign DesignThinkin ThinkingDesign DesignThinkin ThinkingDesign DesignThinkin

n ng n D ng n ng

Empathize Define Ideate Prototype Test

DESIGN WITH PURPOSE Words & Design Michael Radliff

Design thinking is a human-centered process used to solve complex problems. It is being adopted by many of the world’s leading brands, including Apple, Google, IBM, Pepsi, and Nike, and is taught at major universities around the world such as Harvard, Stanford, and MIT. So what exactly is design thinking and why does it work?

Design thinking focuses on understanding the people for whom one is designing, defining problems that might not have been previously considered, and ultimately pursuing solutions that truly serve the end user. This method and ideology has proven useful as a tool to solve complex problems outside the scope of traditional design, and it serves as an increasingly valuable tool for designers as a process of discovery and innovation. Imagine a mother living in a remote village in Nepal who has just given birth to a little boy. He was born prematurely and is underweight. If he were in a hospital, he would be in an incubator but the winter weather and ice-covered roads make the journey impossible. What can she do? Hypothermia is one of the leading preventable causes of infant mortality in the world. Using design thinking, students at Stanford’s Design School (also known as sought to solve this problem. After developing plans to create a cheaper incubator, they realized it would do no good if the incubators weren’t being used. After visiting hospitals in Nepal and looking at the problem from the perspective of the doctors, nurses, local citizens, and ultimately the parents, they came up with an innovative solution. They would go on to create a portable and easy-to-use heated blanket that resembled a small sleeping bag. Known as the “Embrace Warmer”, this novel design has helped hundreds of thousands of babies in developing countries since 2011. Although design thinking is a trending topic in the industry, this process and philosophy has been a subject of

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discussion and debate for decades. As early as the 1960s, designers were utilizing design principles and practices to help solve intangible experiences such as human interactions with software. However, design thinking didn’t break into mainstream culture until 30 years later when Richard Buchanan wrote a widely influential paper entitled Wicked Problems in Design Thinking. While Buchanan put design thinking on the map, philosopher and design theorist Donald Norman transformed our understanding of the process. In his best-selling book, The Design of Everyday Things, Norman emphasized human-centered design as the most critical component of successful and innovative design solutions. User experience became more important than user testing. As a leader in design thinking education, Stanford’s developed and popularized a design thinking process comprised of five fundamental stages: Empathize, Define, Ideate, Prototype, and Test. Here’s a brief look at each of these stages:


Empathize This is the core principle of design thinking and central to a human-centered design process. This first step encompasses the work one does to understand people within the context of the problem. Why do they do what they do? What are their physical and emotional needs and what is important to them? These questions can be answered by observing what people do and how they interact with the world around them. Valuable insights can be gained by engaging in meaningful conversation with people. >

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“Design thinking is not a linear path. It’s a big mass of looping back to different places in the process.”



2 3 4 5





–David Kelley, IDEO Founder

The stories people tell are a strong indicator of their world-view and deeply held beliefs. Stanford students traveled to Nepal and interacted with the people whom they were trying to help, which led to the realization that portability was incredibly important.

questions when tested. For example, what is the right size for the Embrace Warmer? What material is best? What are the options to power it?


The Test stage can be (and often is) carried out in tandem with the Prototype phase. This is when the team solicits feedback from users about the developed prototypes. Careful consideration should be given to what is being tested, and how to test it in a way that will produce the most natural and honest feedback. Ideally, this will be in the context of the user’s daily life. For a physical object, such as the Embrace Warmer, asking users to take it with them and use it at home may generate more authentic results than clinical trials. To help refine and improve solutions, design thinking uses this general rule: Always prototype as if you know you’re right, and test as if you know you’re wrong. Testing is also an opportunity to learn more about the user and can lead to increased empathy and/or a reframing of the problem.


The Define stage is about clarifying and framing the problem in the clearest way possible. The hospital incubators weren’t helping because they were difficult to access by parents living in rural areas - not because they didn’t work or were too expensive. This is the stage to develop a clear understanding of the real issue, represented in a meaningful “problem statement” that will serve as a guide for the remainder of the process. It ensures the right problem is being addressed, not just the obvious one. Develop an actionable problem statement that provides focus for the team and frames the problem in a succinct and inspiring way.

3 Ideate

In this step, the focus is on generating ideas to solve the problem. The goal in this phase is to go broad and to generate as many ideas as possible, while avoiding the temptation to narrow it to any notion of a singular “best” possible solution. Judgment should be withheld from all ideas. A “Yes, and…” attitude should be adopted by the team here, not “No, but…”. This helps design thinkers push beyond obvious solutions and uncover unexpected areas of exploration. Ideation led the Stanford students in the direction of a miniature warming sleeping bag that is cost-effective and doesn’t require constant electricity.


Prototype As a team moves into the Prototype stage, the recommends voting to narrow the options to two or three ideas that might fit opposing criteria. For example, the team might choose “the most likely to delight”, “the rational choice”, and “the most unexpected”. The diverse criteria will serve to increase the potential for innovation solutions. The focus of this stage is to test theories quickly and cheaply while discovering what works and what doesn’t. Prototypes should focus on identifiable variables and seek to answer specific


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These stages are a cyclical process, not a linear one. A singular problem might warrant several cycles through the five stages of the design thinking process, narrowing the focus with each cycle, before reaching a conclusive solution. Additionally, several iterations of the individual steps might be necessary. For example, there may be several rounds of ideating before deciding which direction to go with prototypes. This is a fluid process in which human needs are being addressed at every stage. Design thinking is a progressive and highly effective process for cultivating creative ideas. Because of its focus on empathy and human-centric problem solving, it can ultimately prove to be a powerful catalyst for positive change in the world. Learn more about design thinking:

Volume 10

Behindthe Bleed Design Patricia Burbaum Photography Patricia Burbaum, Jason Hernandez, & Cat Frink

The process of creating The Bleed Magazine





i: Editors in Chief Michael Radliff and Cat Frink discuss Bleed layout and schedule ii: Graphic Designer, Prenapa Techakumthon focuses intently on her article iii: (right to left) Paige Anocibar (art director), Daisy the French bulldog (class ambassador), and Ashaundra Talbot (graphic designer) smile for the camera iv: (right to left) Amy, Leah, McKenzie, Tom, Patricia, Monet, and Paige during class v: Writer and designer Monet Moran checks another task off of her list



vi: Marco Leon (graphic designer and photographer) looks over the Bleed 10 Mood Board

i: The Bleed crew meets at Whirled Pies on a day off to continue design work. We all worked hard on our own articles and gave feedback to others ii: Art directors Tom Munch and Paige Anicobar talk design, layout, and feel for the magazine iii: Drone photo of the Bleed crew / Class of 2019! (not pictured: Amy Cothron) iv: Co-Editor in Chief, Michael Radliff reviews the proof of the magazine




Colophon This magazine was printed on 70lb Topkote Dull paper by Central Print and Reprographics in Eugene, Oregon. Body copy for The Bleed is set in Palatino, a typeface designed by Hermann Zapf in 1948. Monsterrat, the magazine’s signature sans serif, is used for many titles, all bylines, and the folio. This typeface was designed by Julieta Ulanovsky at Adobe Fonts in 2011 and was inspired by historic signage from her hometown in Buenos Aires. Cover Paige Anocibar Masthead & TOC Tom Munch & Paige Anocibar Letter From Staff Cat Frink


Profile for The Bleed 10

The Bleed 10  

10th anniversary issue of The Bleed magazine, an award-winning magazine from the students at Lane Community College.

The Bleed 10  

10th anniversary issue of The Bleed magazine, an award-winning magazine from the students at Lane Community College.

Profile for bleed10