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InPrint Magazine

INSPIRING ARTISTS AROUND THE WORLD

DECENBER - FEBRUARY www.inprint-mag.com

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DECEMBER - FEBRUARY 2013 InPrint Magazine inspiring artists around the world FOUNDER AND EDITOR-IN-CHIEF Elo | elo@elodesigns.com

GRAPHICS AND LAYOUT Elo | elo@elodesigns.com

GRAPHIC DESIGNER KING ARTHUR | king.e.arthur@gmail.

PROGRAMMER EDUARDO GARCIA | eds.nett@gmail.com

CONTRIBUTORS - WRITTERS KIMON FOUNDOULAKIS | kimon@eckacreative.com RICK BYRNE | rick_byrne@hotmail.com

PUBLISHER InPrint Magazine media

INPINT ON SOCIAL MEDIA FACEBOOK: facebook.com/InPrintMag | TWITTER: @InPrintMag | FLICKRflickr.com/photos/inprintmag

ADVERTISING SALES EMAILS: inprintmagazine@inprint-mag.com | info@inprint-mag.com artists@inprint-mag.com | sales@inprint-mag.com

HOME PAGE inprint-mag.com

ABOUT INPRINT MAGAZINE

InPrint Magazine is published bi-monthly. InPrint Magazine is a professional magazine for the arts industry - design, illustration, fashion, literature to show contemporary visual arts to a wide variety of audience. Subscriptions and distribuition is free to qualified individuals. Single copies may be obtained from publisher for $0.99. All the works published in InPrint Magazine are property of the respective authors.

INPRINT MEDIA

Copyright Š2012 InPrint Magazine, Inc. Some rights reserved. No parts of this periodical may be reproduced without written permission of InPrint Magazine. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. If you have any questions contact InPrint Magazine at (619)630-5735 San Diego, California.

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MESSAGE FROM

THE EDITOR

Art creates culture. Culture shapes values. Values determine the future.

The fascination of art has to do with time. Visual art is the quickest of all serious cultural forms to make its full nature clear to the beholder. It's worth dwelling on the rapidity of art. It is conventional, in the moralizing rhetoric of the critic, to say Rembrandt repays a lot more time than most works of art - you can look at his pictures for a lifetime and still find new depth in them. But what if this is not the most important thing about great art? What if it's the instant effect that matters? So it's not always true that great art takes a long time to appreciate and instantaneous art is shallow. In fact, some of the most revered paintings can be appreciated much more quickly than video art - which has, as I've already conceded, brought narrative time into the gallery. Why is timebased art so popular? Does it seem more important because it takes up time? Personally, I agree with Leonardo da Vinci. The most magical thing in art is the instant and complete image.

“LOVE ART AND LOVE INPRINT MAGAZINE AS MUCH AS WE DO”

Elo

(FOUNDER & EDITOR-IN-CHIEF OF InPrint Magazine)


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OUR

READERS INSIGHTS

READERS

I don’t know how big InPrint is but “HATS OFF” to you all. Joe Frank | Parsons, NY Here at Universidad UNIACC we use InPrint Magazine as inspiration to our classmates. I hope I can feature my works in the magazine some day. Tony Pena Graphic design student | Santiago, Chile. I recently discovered your publication and find it to be wonderfully engaging, equipping and satisfying to read. Great visuals and always featuring fantastic artists around the world. H.B | AIGA, Nebraska InPrint always showcases great visual inspirations. How do you guys do it? So many artists around the world. Thanks for bringing them all to us. You guys rock socks! Peter Winnik | Kashan, Iran I just love this magazine, and I have been following its evolution since the first issue. Great job InPrint! Lots of love from Japan Shoji Tanaka | Chiba, Japan

Unique perspectives on unusual topics make InPrint an interesting read for both graphic designers and the general public. It is a look at culture as much as it is a look at arts. Vera Wittz | Lyon, France

A “BIG HUG” from Switzerland InPrint is simple and always brings me inspiration, keep up inspiring guys. Love the mag! Norbert Strizver | Glarus, Switzerland

OUR CONTRIBUTORS: Being quite versatile in both left and right brain thinking I have 20 years experience in problem solving through creative direction, keeping projects on track and diffusing tension.

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Currently I head up the Fast Track team at CBS Interactive, specializing in dealing with quick turnaround design and advertising projects so I'm always willing to be thrown in the deep end. - Rick Byrne

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Elo is strategic, multidisciplinary designer & art director with an eye for innovation and pixel perfection. I've worked the gamut of clients and although my skill set is vast, my greatest expertise revolve in the worlds of graphic design, UX, social media, brand identity design, content creation and print collateral. My wish is to combine my knowledge and experience in these areas, to deliver the best creative to my employer's clients and their audiences. I also love lego.

134 Christopher Scott is only 26 years old and has been exhibited in Italy, Peru, Korea, the United States and many more countries worldwide, including the Louvre in Paris, France. He has been a member of multiple international juries and has collaborated with legends in the field such as Reza Abedini, Woody Pirtle and Yossi Lemel.

Do you have anything so say or any suggestions? Let us know email editor@inprint-mag.com / DECEMBER 2012


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InPrint features the best artists around the world in this first anniversary issue

COMMENTS JULY- SEPTEMBER 2012


CREATIVES FEATURED IN

th S ssue 08 18 26 44 50 58 74 88 94 108 120 130 134

DAVID BENOLIEL NASTPLAS SLADE - INTERVIEW BRYAN VOELL CYRIL TERPENT ERICK WIXON DAVOR PAVELIC - FEATURED COVER LUIS PINTO BRANDON SHOWERS JAY ROEDER - INTERVIEW ROBERT FARKAS RANDY MORA CHRISTOPHER SCOTT - 10 QUESTIONS


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avid Benoliel

PHOTOGRAPHER - USA David Benoliel is a French photographer living in the United States between New York and Miami. He specialized in fashion photography and beauty, practicing professionally manipulation and editing his pictures, allowing to discover many faces flawless, makeup to perfection. He is very skilled at selecting models who look statuesque and striking, as well as at photo-manipulation and post-processing. The result is a collection of nearly perfect faces, which have garnered Benoliel publication in numerous magazines, as well as an entire host of accolades. / DECEMBER 2012


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astplas

CREARIVE DUO - MADRID

Artist, Fran Rodrìguez Learte, "drfranken" was born in La Coruña, Spain in 1979. He graduated from the Academy of Fine Arts in Salamanca in 1998. drfranken lives and works in Madrid, Spain.  For many years he experimented with different techniques and mediums.  Now he concentrates on digital art and his work as a computer programmer in engineering. Nastplas is a creative duo formed in 2006 by illustrator Fran R. Learte "drFranken" and creative director Natalie Mills "Na" together "Nastplas Team". His work combines an impressive range of digital elements and abstract patterns with which they develop elaborate pieces of art with a visual load. DECEMBER 2012 /


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INTERVIEW

SLADE

/ DECEMBER 2012

PROJECT


INTERVIEW

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FEATURED INTERVIEW

We believe it is possible to inspire creativity, passion and well-being through one’s physical environment. It begins with a sense of place, or having reverence for one’s surroundings and eventually moves inward, involving all the senses. DUSTIN SLADE - ARTIST | USA

Slade Fine Art is a collaboration among a family of artists. We incorporate your personal possessions and photos into an original piece of self-defined art. It is always our intention, in art and life, to observe and create. Each and every one of us is made up of fragments, pieces of history and memories evolving into a story. Please give us a brief bio, where you are from and how you started in this field?

creative talents?

I am always in the process of discovery and looking for different ways of doI grew up in Los Angeles, CA. My par- ing things has always been my nature. ents have lived in our house for over I believe that is creativity at its core. 30 years and although it is my "home," We know you are a New School it has undergone a slow transformation of Architecture and Design aluminto so much more...it is the nucleus ni. How did getting and education of creativity & imagination for me from this great school influence you and my family. I was only three when my parents embarked on yet another as an artist today? renovation. It was a great excuse to Receiving a Masters Degree in the field wear my favorite oversized hard hat Architecture was tough but rewardand little tool belt for months on end. ing. What I learned was not only the I suppose my passion for design and elements of design but also how to architecture took root way back then. I approach design. I was encouraged consider myself a dreamer and a realist, to explore my own personal design a designer and an artist. Everything I process, which encompassed Art and do is driven by the belief that our sur- Product Design as well as Interior Deroundings inspire creativity, passion sign and Architecture. In fact, the Slade and peace of mind. Beauty and func- Fine Art collaboration was inspired by a collage I created in one of my first tion go hand in hand. year studio's.

When did you first discover your

Could you tell us about some

of your work?

Slade Fine Art is a collaboration among a family of artists. We incorporate our collector's personal possessions, photos and writings into original pieces of selfdefined art. For example, our piece for NFL Defensive Lineman Luis Castillo, who chose to focus on his experiences with his wife and newborn daughter, included a love letter written by his wife on their wedding day as well as an imprint of his daughters feet from her birth certificate. The San Diego Chargers piece included signed football cards along with jersey material. We even integrated the #55 sticker the players are wearing on their helmets this season to honor Junior Seau. These pieces are created for us to remember and share our story so integrating sentimental items from our past is natural.

Can you share with us more about the Slade project process?

The first step of the commission is a DECEMBER 2012 /


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SLADE PROJECT (CONTINUED) consultation with the collector to identify what story they want to share. At this time, we are listening and learning as we gather not only tangible, but emotional material to be integrated into the piece. The collaging of the digital imagery is next. We select a foundation image and break it down only to reconstruct it with the meaningful material provided by our collectors. This is when their story begins to unfold. Once the collage is complete, we transfer it onto the canvas in a variety of ways and begin the mixed-media phase of the project, integrating tangible items / DECEMBER 2012

such as writings, drawings, keep- well as a 25th anniversary piece for sakes, or anything of sentimental a couple and their travels throughvalue to our collectors. out 25 countries in 25 years. We are interested in any single person or group that has a story to tell. What is the key element to

creating good composition?

Balance. Flow. Movement. There is a Is your goal to work with NFL visceral comfort in good composition. athletes only or would the Slade

family work with any other group?

We are excited to share the stories of athletes but it doesn't stop with them. Our collectors include athletes as Our projects are and will continue well as sports teams and entertain- to be diverse in nature. Our goal is ers; however, we look at each pro- to eventually work in a much larger ject individually. We have completed scale, in the form of art installations. commissions based on memorials as Although we have over 50 years of

Is your specialty working with sports teams?


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individual art experience in our fam- within the piece and they providily, our collaboration is still evolving. ed us with photos, signed football cards, game used jerseys, footballs, Tell us a bit about the art com- and more. We sat down with team missioned by the Spanos family. C.E.O A.G. Spanos and identified key How did that project come about? accomplishments within the history We reached out to the Spanos family of the franchise to make certain they to introduce them to our work and were included. There are over 300 we were honored by their response. photographs, some of which are Alex Not only did they identify with it, Spanos' most memorable photos; but they also wanted to display the others are legendary players such as finished piece in a very special place Dan Fouts and Lance Alworth. Each within their executive conference one of the football cards that are room, directly behind President Dean within the artwork is of a player that Spanos' seat. We gave them a few is in the team’s ring of honor. In adideas of items that could be included dition to the other retired numbers, we also included the #55

decal the players are wearing on their helmets this year in tribute of Junior Seau. Since then, we have recently completed our second Spanos Family commission and are looking forward to its reveal.

Describe your works in 3 words.

Life. Story. Art.

Where can we find you online

Visit www.SladeFineArt.com to view our collection & find out more about us.

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8 TYPES OF GRAPHIC DESIGNER YOU SHOULD AVOID TO BE

M STORY: Elo Marc

ost of us have had, or have been, that friend warnings were issued about. The bad influence whose behaviors the older generation were so afraid others would begin to emulate, and then it would all be downhill from there. Well they are back! And here come the warnings to prevent as many of us in the design community as possible from following in their damaging footsteps. So take a look below at the breakdowns of those types of designers you should strive to not be, and see if you fit into any of the categories.

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1

The Browse and Biter

First up we come to the nefarious Browse and Biter. This designer-type is characterized by their tendency to browse the web for "inspiration", and they end up biting, borrowing, or simply flat out stealing the styles or designs that they see there. No matter how pure their intentions may be, this type of designer never learned the difference between being inspired by and, well, copying another's work. Taking a look through their portfolios, one sees a lot of familiar looking or feeling works that they know they have seen somewhere before.

Tips to Avoid Being a Browse and Biter

they have done. That tends to not be looked on as an honor. So be original, not a browse and biter.

Tips to Avoid Being a Stag

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Now this is not to say that as a designer we should never be happy with the levels to which we have progressed. It is simply saying that we should alNext up, we have the Stag. This type ways strive to be keep progressing. of designer is mostly known for hav- Growth is not a journey’s end, it is ing a really specific style that never a never ending journey. A quest to really grows or evolves. They just get always be learning more and evolvto a point where they become sat- ing our skills. Nurturing them so isfied with where they have gotten they can rise to the next level and us to, and they just stay there. Being along with them. And when we finish stagnant. Soon all of their designs a design and begin a new one, we begin to feel stale, as no new ground should always try to begin anew, as is really ever broken in their work. it were. To start fresh, and give each And each "new" piece that they craft design a chance to be unique and feels very close to the last piece not just a variation of our last piece. they just finished before it. And the one before that. And so on, ad nauseam. With this designer-type good becomes the enemy of great. They become satisfied with good and they never strive to be better. To be great.

The Stag

These unfortunately unoriginal folks have a way of upsetting the understood natural order of things with their browse and bite ways, so it is best to learn where those lines are, and stay on the right side of them. Know where inspiration ends and your own voice and work begins. Know the difference between an homage and an "Oh, my god they ripped me off!". Understand that if you admire someone and their work, the right way to honor them in your design is to use the way their work makes you feel and voice that through your work. Not duplicate what DECEMBER 2012 /


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never dare to break outside of or think beyond any of them. While Boxers may exhibit a technical proficiency, and their galleries may be full of precise, sharp designs, the work itself will have no heart. No daring. And as most of us in the field can attest, usually the pieces that have a lasting impact, tend to be those with heart. For the boxer, everything makes sense in the 'ring', and they can't bring themselves to step outside of it.

Tips to Avoid Being a Boxer While it is easy to see how a designer can become so enveloped in the basics and those standard design practices that they forget about actually ever trying to push any envelopes through their work, it can be overcome. Design is a dynamic and versatile field that is built on those rules, but they are meant to be more of a guide for us than an absolute. As long as we have an understanding of them, then we can try pushing beyond them every now and again to find our way to true innovation in our designs. Think of the box as our arrival packaging into the design world. Now that we are here, we are not going to stay in our original packaging. We are going to unpack the

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The Boxer

Another designer-type to avoid becoming is the Boxer. These designers tend to be completely boxed in

by the field, and for some unknown reason can not allow themselves to ever think outside the proverbial box. These incessant rule abiders become so caught up in the rules and principles of design that they

box and use those things inside the way we best see fit.

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The Safe Player


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Not moving on very much, we come to the next designer-type you want to avoid becoming, and that is the Safe-Player. This is actually somewhat of a variation on the Boxer. These designers do want to push the envelopes, and take huge design leaps of faith, but alas, they are too scared, and as a result they reel it in and always end up playing it safe. When you look through their work, you get that comfortable safe feeling exuding from all of it. None of the designs feel like they dared into any new or unfamiliar territory. This often stems from the designers desire to not make any mistakes, so they opt for the safer route. Forgetting all the while, that we need to be making mistakes so we can learn and grow.

off these Safe-Player shackles, then you really need to be comfortable taking risks in your designs. You cannot let fear of mistakes or failure keep you from trying something new. Not if you want to stand out from the masses.

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The Offended Defender

Now we move into the next warning section, that of the Offended Defender. These designers are usually characterized by their offended defenses of their work against any criticisms. Even those that are intended to help the designer make improvements. And they may actually be a good designer by and large, but the fact of the matter is, that they could be great if only they knew how to take and use these critiques of their work. As you look through their gallery, you wonder why some of the works seem like they could benefit from some For the most part, the advice here slight tweaking. You might even go follows in suit with the tips for avoidso far as to send them a polite note ing the Boxer model. However, we suggesting one such tweak. That is should stress that if you want to cast when you learn why those designs

Tips to Avoid Being a Safe Player

are and will forever stay that way. It does no good getting all offended and in someone’s face because they tried to help.

Tips to Avoid Being an Offended Defender The main thing that one can do to step out of this less than favorable light, is to learn how to take criticism without imploding or defensively clinging to the critiqued element and allowing the work to suffer due to some over-inflated sense of ego or pride. And that is unfortunately the way that some designers take it. Even in the harshest of critiques we can often find some useful tips or hints to take away. We just might have to dig down to find it. We also can not let someone else’s negative tone let us get defensive and tune out to what useful tidbits might be buried underneath it.

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The Aptless Pupil

Aptless Pupil

Now we come to the Apt-less Pupil designer-type. Now here it is not that these designers are so much slow learners that makes them less than desirable to become, it is just that they never quite get there, but think that they have it. There is nothing wrong with being a slow learner, but clients and colleagues working with you on a project should not have to suffer through your learning curve. These designer-types also can reflect poorly on the industry overall, as they introduce a segment of the market who call themselves designers, and hire themselves out as designers, but they are not quite designers.

over-deliver for your clients, this flock tend to fall short of that Basically, learn the field before step- mission statement. We want to ping onto it to play in a game. Plain make the best of impressions all and simple. Also, do not take a job the way through the project, not that you are not yet fully qualified to completely drop the ball by unbe taking, and you will steer yourself der delivering on their expectaclear of this label easily. tions.

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Tips to Avoid Being an / DECEMBER 2012

The Underwhelmer

Now we come to the next designer-type, the Underwhelmer. These not-so over-achievers are mostly recognized by their tendencies to effectively under-deliver for their clients. In fact, they even tend to talk a really good game, which makes them hard to recognize to most. But even though they themselves have set the bar of expectations they rarely, if ever, live up to their own hype. Where most designers will tell you

that the secret to success is to always

Tips to Avoid Being an Underwhelmer To keep from baring this brand, again you have to know your limits and not let yourself get in over your head. Whether it is by committing to a project that you do not have the design background or know-how to come through on. Or whether it is by taking on too many clients or projects so that you end up coming up short on one or more


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of them when the deadlines roll around. Make sure that you can stay ahead of your workload, and have enough skill to deliver on all of your promises, and you might be able to keep from falling into this category.

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The Space Cowboy or Cowgirl

any consideration given to the coding that will have to breathe life into their designs. Also known as the Coder's Nightmare. Most designers for the web understand that some level of coding background is necessary so they can proceed somewhat reasonably. The Space Cowboy or Cowgirl makes no such concession.

Tips to Avoid Being a Space Cowboy or Cowgirl

Moving on, we come to the Space Cowboy or Cowgirl types of designers. Sufficed to say, their heads are far beyond just being in the clouds, they have left our general atmosBasically, to keep from wearing phere and are floating in space. These this dreaded label you need to designers are typically characterized be informed. Come down from as promisors of the moon, without those heights and plant your feet

on the ground for a spell. Walk a mile in a Coder's shoes. Then give them their shoes back and work together to make the most of the design project. Be reasonable in your expectations from the coders, just as you would expect from your them, or as you would expect from your clients.


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ryan Voell

COLLAGE ARTIST - USA Bryan Voell lives in Shawnee, Kansas. He has been making collages for over a decade. His tools are found paper sources, a cutting blade and glue. His collages are intentionally messy, with floating bits and scraps, edges torn and frayed, images jagged and off-kilter. The point behind all this is to emphasize the tactile, hands-on origin of the images and to counter the sometimes sterile, perfection of digital imagery. He finds great inspiration in the collages of Jiri Kolar and paintings of Don Van Vliet. One of Bryan's most recent projects was supplying the artwork for Norway musician Benjamin Fingers 2010 album. For You, Sleepsleeper. / DECEMBER 2012


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yril Terpent

CONCEPT ARTIST - FRANCE Cyril Terpent is the concept artist and storyboarder from France currently working in film and game industry. He has created concept art and made storyboard for clients including: Europacorp (Luc Besson), Lion TV (UK) , LGM films, Rectangle Production, Black Box Production ... He has also illustrated books (Hachette, Gallimard) role-playing games for Cygames (Japan), and his work also featured in several international Artbooks like Expose and Exotique (Ballistic Publishing), CFSL ink, Digital painter 2 ...He's actually working on several French and international movies projects under proper NDA as storyboarder and concept artist. DECEMBER 2012 /


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ric Wixon

ILLUSTRATOR - USA I tend to view art as holistic and inseparable from life. Inspired to gain a better sense of awareness I've found painting provides, at least, a fictional forum for the practice of comprehension. Eric Wixon earned a BFA from Kent State University in 2001 and has since displayed his work in galleries nationwide and overseas. Recently he exhibited at Oceanside Museum of Art and worked with Canadian art collective En Masse in Tijuana. Wixon's work can be found outside galleries as apparel and board graphics, or in books and magazines. Publication features include Studio Visit Magazine, 944 Magazine, City Beat SD, Pacific Magazine, Union Tribune, and Invision 2. Recognized for sum 30 plus San Diego commissions including San Diego Repertory Theater and La Puerta Restaurant, this artist is known for his diligence. Initially gaining attention at North Park's Ray at Night, he has since expanded his commissions to Portland, Colorado, and New Zealand. With a commitment to community, this art professional continues to work with charity organizations such as LM Carcinoid Cancer Foundation, LA Stoked Mentoring, and Keep-A-Breast Foundation. Eric lives and works in San Diego. / DECEMBER 2012


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Story Rick Byrne

WHY THE NEED TO BE REATIVE? THE CONCEPTING LANDSCAPE There are plenty of banal ads out there To give the Shower Effect’s it’s full context selling all sorts of things. They pander I’ve added it into the 5 common stages to the average person. But then most of the concepting process as defined by people aren’t average and they certainly David Perkins in his book The Eureka Effect: don’t think of themselves that way. To get through to them creatives hear a litany 1. The Long Search: The deep thinking, of creative briefs asking for ‘outside the experiments and gathering of information box thinking’ or for something ‘impactful’ conducted when launching into the that ‘cuts through the clutter’. Designers project. This is best illustrated by and copywriters are then wheeled in to Edison’s methodical search for the right come up with more creative concepts. The material for a light bulb filament which bigger the problem the more creatives are took years. Inspiration came when he added as though it’s a battle of attrition– thought of using the carbonized bamboo metaphorically like the troops trying to of fishing rods to create the filament fight their way off the beaches on D-Day. (hence the visual cliché of a light bulb turning on to represent a flash of insight). Usually the actual process involves doing research on a project, followed by a 2. Period of Little Progress: Since, for brainstorming session which produces a most concepts, the low hanging fruit certain amount of results. Yet despite all are already taken there is a period of that someone has a sudden vision of the stressing about getting beyond what is solution in it’s totality the next morning already out there e.g. the Wright brothers while in the shower (or other non work struggled for years with no success. place). This has become so well known that there was an episode of 30 Rock devoted 3. Precipitating Event: Something to this process (The Shower Principle). In happens to bring about the moment of this article I will attempt to answer the two insight e.g. being in the shower. Similarly big questions around the Shower Effect: Archimedes saw water overflowing from why can’t you plan for this moment and his bath tub that gave him the vision of how can it become part of the creative how to measure the volume of an object. process? 4. Cognitive Snap: The falling into place of

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solution: this is the crux of the Shower Effect. 5. Transformation: New means of seeing problem from that point on. THE PROBLEM WITH BRAINSTORMING If you’re reading this you’ve probably been in a brainstorming session at some point. You’ve seen how a group is gathered in a meeting room for one or two hours with the hope that with so many people battering away at the problem a definitive solution will be reached at the end of that time period. A profusion of ideas are generated to be honed down afterwards. However there are two big problems with this approach… The first is that brainstorming produces consensus not uniqueness. Individuals feel that they personally are being evaluated as if in a test and tend to clam up (Evaluation apprehension). Individuals also tend to match the productivity of others in the group tending towards under contribution rather than over contribution (Social matching effect). In brainstorming sessions anyone can easily coast along during the session with minimal input to the group (Free riding) while all the time thinking they are

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soul. Think of Van Gogh who told his brother that no painting ever sold for as much as it cost the artist to make it.

This vision of brainstorming only exists stock photos

This doesn’t mean that the solution will automatically come after all that work. It’s more like your brain is facing the problem across a no man’s land of the mind. You keep probing, looking for a weak point in the line for a breakthrough. However, as Louis Pasteur said, chance favors the prepared mind so without this preparation the sudden moment of realization that is the shower effect would never happen. THE A-HA MOMENT The period of frustration in the digging deep phase primes the subconscious perfectly for the A-ha moment. This hardship fertilizes the incubation period of the idea just before the transformative insight. Like a giant connecting of the dots the solution just seems to fall into place, just not when or where you want it to.

The reality of brainstorming: note the reserved body language making more of a contribution (Illusion of group productivity). Brainstormers also tend to listen more closely to the louder or more senior people over those who have neither of these qualities (Blocking).* The second big problem with brainstorming is that while there may be many ideas at the end of a session they mostly lack any depth. There isn’t a person sweating it out in a deep dive into the subject. Research indicates that the act of listening to others actually stifles creativity. The best concepts have something of their originator in them. That’s the part that resonates with us. After all ads/branding/ designs have to connect with individuals something that committees can’t achieve. DIGGING DEEP FOR CONCEPTS

The average day exposes us to an enormous amount of ads/messages already which we mostly screen out. This means that it is harder to come up with something that connects with another human being in a meaningful way. Part of fertilizing the brain in order to reach these connecting creative breakthroughs involves a deep dive into the subject matter. The inward soul searching is necessary to rethink a product/service: how it’s used, how it makes something more convenient, how it’s held, it’s intrinsic appeal etc. Applied to that is the pressure on the individual to come up with results for whatever reason: a job, peer jealousy, profits, ownership etc. Somehow in all this someone has to pour their soul into the project in order reach another person’s

*All phrases in brackets are the psychological terms for these effects as defined by  Stroebe, Diehl & Abakoumkin in “The illusion of group effectivity”. Personality and Social Psychology Bulletin 18 (5): 643–650.

But why showers? Well it doesn’t have to be a shower but could be any activity not connected directly to the problem at hand. A night’s worth of the subconscious mulling over the problem also helps connect the dots. Since we have hundreds of dreams a night some will throw up very strange scenarios. However one of them is bound to be right. But then it’s often lost again. By the time we are getting our head around the day you are probably in the shower already. The lack of concentration needed to perform this physical act and no outside stimuli means the mind is completely free to wander. Suddenly the solution emerges from the subconscious to the conscious: A-ha! But how is the vision so complete and not partial? A study by Dr Mark Beeman of fMRI brain scans during these A-ha moments reveals a huge explosion of activity in the right hemisphere. It’s as if the seeds of scattered thoughts are sown across the brain during the deep dive phase, to be incubated by sleep followed by a sudden blossoming all at once in a single solution. ACHIEVING THE SHOWER EFFECT Routine is the Enemy - Talk to someone who you usually don’t


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- They may provide unexpected insight - Switch off fully to the problem daily - Mix up your usual routines - Edit out bad ideas with time pressure Intuition needs to flow - Do not over think everything - Audio/movies paralyze over thinking - Outside projects break a rut of thinking - Ji Lee, CD of Facebook and Google Labs, got these two jobs due to projects outside of work Finishing up - Work backwards from the final vision - Think about the approver’s reaction - If you can’t explain the idea in 30 seconds it may be too complicated - Creativity appears in clusters so dive into the next project quickly

CONCLUSION No matter where the creative process takes you there’s still the need to dig deep in order to prime your subconscious. Although the Shower Effect is unpredictable, following this simple formula will help:

Deep dive + frustration x primed subconscious = A-ha moment The main thing is being open to letting it happen. It doesn’t have to be a shower. Erich, a designer I used to work with, came up with all his breakthroughs while going to the bathroom. It happened with surprising certainty. In the episode of 30 Rock ‘the Shower Principle’, Jack Donaghy (Alec Baldwin) works out that listening to all of Liz Lemon’s (Tina Fey) problems gives him enough of a break from his own to allow flashes of insight to happen. Have fun and take a shower.


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GLOBAL

RESOURCES

READING: Learning graphic design is a lifelong process, so graphic design students don’t worry: you’ll have plenty of time becoming an expert in your field. This said, I know that when you are getting started you are really eager to learn more quicker, that’s why I’m suggesting a selection of design books that are in my opinion worth reading for graphic design students, but also for others

1. Making and breaking the grid

Some graphic designers are crazy about using grids in their designs, others despise it because they feel it makes all layouts look the same (or at least they think so). Even if you are one of those grid-haters, you should know what is a grid and how to use it.

2. Designing Brand Identity

Branding is much more than just logo design, it even goes beyond graphic design. This book is a real guide to become better at understanding what branding is and creating powerful brands

3. Package Design Workbook: The Art and Science of Successful Packaging

If you are interested by the multi-dimensional side of graphic design, then packaging is what you need to learn. Get started with this great book

SUPPLIERS: Excellence In Printing, Inc. understands the printing needs of businesses. Seeking to provide the most cost effective and highest quality print solutions for your particular application, Excellence In Printing, Inc. offers a wide range of modern print options for the ever changing needs of customers.

As America’s leading online drinkware company, Discountmugs.com is more equipped to handle all of your promotional products needs than any other company. They offer caring advice and tips, superior customer service, and high quality promotional products. All of our custom printed and personalized coffee mugs, travel mugs, sports bottles, mouse pads, key chains, tote bags, glassware,


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PORTFOLIO SHOWCASE: There are thousands of designers like you out there trying their best attract the attention of potential clients. In this highly competitive industry, it could be rather difficult trying to beat all of them and landing a lucrative web designing contract. For this purpose, a portfolio website is one of the best tools to showcase their work. ADVERTISE AND CONTRIBUTE

InPrint Magazine is looking for professionals from the creative community to become our regular contributors. For more information contact

editor@inprint-mag.com

DO YOU WANT TO LIST WITH US? Contact us: sales@inprint-mag.com

DESIGN SCHOOLS AROUND THE GLOBE: Dartmouth College, Thayer School of Engineering Hanover, N.H. 305 students, both grad and undergrad Engineering

Claim to Fame: Dartmouth professor of engineering Tillman Gerngoss is the co-founder of GlycoFi; alumnus Terrence McGuire is the founder of Polaris. California College of the Arts

San Francisco 1,660 students, both grad and undergrad Art and Design

Claim to Fame: Yves Béhar of Fuseproject is the chair of the industrial design department. Köln International School of Design

Cologne, Germany 460 students, both grad and undergrad Design

Claim to Fame: Alumna Nina Kleebank is project manager at Interbrand

Germany; alumnus Markus Kossmann is product developer at Lego’s headquarters in Dublin


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ADVERTISE WITH US WHAT IS INPRINT MAGAZINE? InPrint Magazine currently has over 20,000 page views per month. You can email us for more specific Google Analytic statistics. Our goal is to show contemporary visual arts to a wide variety of audience which attracts readers from USA, Europe - UK, Spain, France, Germany, Italy, Australia and the rest from all over the world!. InPrint is a bi-monthly online magazine. The author's intention is to publish the works of modern designers, fine artists and illustrators. All the works published in InPrint Magazine are property of the respective authors.

WHY SHOULD I ADVERTISE? We cover major facets of artistic news, events and installations making sure our readers become industry insiders through reading our publication. Our feature writers cover industry topics from top to bottom including technical areas of creative, prepress and print. Our regular commentators are recognized experts in their fields bringing knowledge, depth and passion to the page. The latest technology is unveiled and reviewed with insights from topics on design, prepress, print, bindery, sales and marketing. Fresh ideas will inspire, inform and energize you.

WHAT WE OFFER: Our distribution list is constantly updated ensuring your advertising message will be read by the key decision makers in the printing and graphic arts industry. In a sea of competitors, we are a lighthouse of value. Our distribution list is always kept current. Every one of our readers is a potential client for your services whether creative, prepress, print, bindery, or software. InPrint Magazine is published 6 times per year and boasts the most reliable schedule in the market. We deliver on time, everytime. High-quality service and very competitive advertising rates make Inprint Magazine the best value on the market today.

WHO SHOULD I CONTACT? You can contact our editor chief Elo @ sales@inprint-mag.com or info@inprint-mag.com. You can also advertise on InPrint website. Contact us for special multi-issue offers!


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INTERVIEW

DAVOR

/ DECEMBER 2012

PAVELIC


INTERVIEW

FEATURED COVER

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As a kid I loved biology and science. In the school I was thorn between extracurricular activities in art and biology. My mathematical skills are unfortunately very low so art prevailed eventually

“

DAVOR PAVELIC - ILLUSTRATOR | USA

I am an illustrator based in Croatia but I also work for global market. My work is both traditional and digital. I have diverse interests in the field of illustration, from corporate and advertising to newspaper and children illustrations. I like playing with ideas, concepts and textures Tell us about your work? What are you currently working on? How is this different from past projects? I am constantly working on my portfolio. If I don't have a commission I am doing self-initiated projects. The holiday season is slowly approaching so I have a commission for a web application with holiday theme and after that I will continue to work on series of posters for self promotion and limited edition prints. "What is Art?" is certainly too big of a question to ask here, but what do you hope your audience takes away from your art? What statement do you hope to make? I started to do illustrations when I gradually began to abandon fine art and conceptual art which I was

doing for 15 years. There is a difference between this two areas. I think that in Europe illustrators are called illustrators and in USA they are artists. Illustration is interpretative. It depends on text or an assignment you are commissioned to do so it is hard to make a statement with the whole body of work like in fine arts. Maybe there is not one general statement or point of view shown through my work yet lots of different ones. For me, conceptual approach is a starting point of doing an illustration. Rarely my illustrations are just decorative. Editorial illustrations are my first choice because they give me a really large range of topics, problems and themes which I can comment or make a statement on.

I like that range and space which illustrations gives me to express my ideas and my interpretations, and I can react relatively quicker to a broader audience then within the fine art. 
 What was the best advice given to you as an artist? I can not recall any specific, sorry. There was lots of small ones through the times of learning and developing as an artist and there are still some. You learn as you live. Tell us about your work space and your creative process. My process is half traditional and half digital. I began with an elaborated sketches and then scan those sketches into a computer and work


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DAVOR PAVELIC (CONTINUED)

on them in Photoshop. I use lots of textures which I had made or find on internet and and I have some brushes on which I am depended. I work with vectors for which I just recently thought I would never do, but I like the fact that they are easily correctable. When I do traditional illustrations I use acrylics and some harsh and worn out brushes for dry-brush textures and some fine brushes for details, on a thick aquarelle paper. My work space is a place with books shelves, CD and radio player and a large table with one half of the working surface reserved for iMac and a scanner and other half for painting and drawing. I have two bare walls, behind the sofa and commode which are waiting for three years to hang on them some fantastic prints I have purchased from illustrators I like. It's a embarrassment, really. If we were to follow you around to see your art, which places would we go? What would we see?
 You will visit some established galleries and museums and some alternative ones. Mostly group exhibitions; from Biennale of Illustrations in Zagreb to some more intimate exhibitions. Where do you go online for good art resources, whether to find a new artist, or to see what is going on in the art world locally and otherwise? The resources are indefinite. Blogs, web sites... I am amazed how many great illustrators are out there. I have couple of folders in browser with my favorite illustra/ DECEMBER 2012

tors. I visit regularly some web sites for news and informations: http://blog.drawn.ca/ http://apeonthemoon.com/ http://www.thelittlechimpsociety. com/ http://illustratorslounge.com/ http://www.theartfuls.com/ http://illustrationage.com/ http://www.illustrationmundo. com/ and lots of individual illustrators blogs and sites. Do you illustrate full time? If not, what else do you do? When I have a job I do illustrate full time, but for free-lancer this is not always the case. I do usual stuff, like hanging out with friends, reading, riding bicycle and exercising so my spine wouldn't collapse from hours in front of working table and computer. Do you have a favorite color or palette? No. It depends on the phase or mood. When I begin to work on a new illustration I have initial idea which colors will be used. Often I set this colors in this phase with the intention to change them and correct them later but in the process I get used to them and in the end don't have the need to change them anymore. I don't have many color combinations dilemmas. It is tiring for me because those combinations are endless. In the end you just have to make a decision and stick to it. If you could be anything other than an artist, what would you be?

As a kid I loved biology and science. In the school I was thorn between extracurricular activities in art and biology. My mathematical skills are unfortunately very low so art prevailed eventually, but my interest for science, biology, evolution and genetics is still there and I read those books like a good suspense novel. What gets you through an illustration when you're stuck for inspiration? Those things which I mention earlier in the question about what I do when I'm not illustrating. It is important to take a rest or distance yourself a little from work when that happened. But I usually don't have a problem with inspiration. More with the time. There is so little time for everything I would like to do. Where can we know more about you? www.davorpavelic.com http://www.flickr.com/photos/ davorpavelich/ http://www.behance.net/davorpavelic http://davorpavelic.tumblr.com/


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TIO N E ATT ALL

IN THE NEXT ISSUE OF

N

OU T? Y E IS A R RT A N A

WE ARE LOOKING FOR

InPrint MAGAZINE ARTISTS

would you like to showcase your work in the pages of InPrint Magazine? Send us 3 samples of your works with a short brief of yourself as an artist to: artists@inprint-mag. com or printed samples to PO Box 83342 San Diego, California 92138. Don't miss this

opportunity to show us and the world what you've got!


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uis Pinto

ILLUSTRATOR - GUATEMALA My name is Luis Pinto. I'm originally from Mexico, but I live currently in Guatemala (my home). I have spent most of my life in this wonderful country since I was very young, and this experience has enabled me to develop a different way of seeing life. I´m a Graphic Designer, but most of my work focuses on my true passion: 'Art & Illustration'. I love creating interesting design & illustration projects that can bring something different as graphic proposals, experimenting with modern and traditional tools to achieve this ambitious quest. As an illustrator I get most of my work from personal sketches. I love to generate ideas from a concept, and usually sketches are the best way to conceive that graphic magic. "Carpe Diem" is a phrase that is present in everything I do, and it always makes me to put effort and passion on my work. Basically I use Traditional Media such as Markers, Pencils on Canson Paper to start the process in my personal sketchbooks. When I´m happy with the main graphic ideas, I use Digital Media most of the times to finish the process. It is very important to say that every creation that I do come from my daily experiences (books, thoughts, people, history, design, drawings, and more!) to achieve an interesting graphic result. DECEMBER 2012 /


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randon showers

PHOTOGRAPHER - USA Growing up on a farm in Ohio, Brandon Showers was influenced by that very atmosphere and the working-class heroes who surrounded him. For nearly a decade, Brandon has been shooting and producing for industry greats. He's made a name for himself by placing tremendous emphasis on the production process and working side-by-side with his clients. The result? Striking images that reflect Brandon's aesthetic while capturing the client's intended vision. Brandon routinely ventures between New York and LA, integrating into his work the distinctive styles and techniques that influence each coast. / DECEMBER 2012


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Mastering light is the hardest part. Everything else is just a minor detail

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INTERVIEW

JAY

ROEDER

I try to embrace imperfection, things are more interesting that way


INTERVIEW

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FEATURED INTERVIEW

Growing up, it was clear to me that I would pursue a career and lifestyle in the arts. My primary sources of inspiration have always been music, music, family, music, friends, and music. I’m of the belief that designing without some form of music blasting is sacrilegious

JAY ROEDER - ILLUSTRATOR | USA

Jay Roeder is a freelance designer and illustrator that has over 8 years of experience in the graphic design industry. A graduate of Sacred Heart University in 2006 with a double major in graphic design and illustration

Tell us a little bit of who you are as an artist I have always thought of myself as a geek with a love for music and letters. As I sit here trying to sum up who I am as an artist, I think you'd probably learn more about me by checking out my art, since most of it is basically a visual diary of who I am as a person.

things that define my art the imperfections.

Your work deals with typography and you have a very unique style. Please explain what you are trying to communicate. Having taken many art history courses throughout my life, and analyzed every last nuance of so many artists' masterpieces, I alWhen did you know you were most have to laugh at how simple my work is in comparison. Somean artist? times I sit down and literally draw While most kids wanted to be firemen or astronauts, I knew I’d pur- the first thing that comes to mind. sue a career in the arts at a young I like to keep it very natural and age. Some of my earliest memories organic, as if it were just a stream include getting frustrated over the of my consciousness. inability to draw certain things like How do conceptualize your immotorcycles, race cars and ninja ages? Do you draw on memories turtles. The funny thing is, the from having grown up in Minsame flaws that I would get frusnesota, or from photographs of trated over as a child, are now the events, individuals and locations?

A lot of my art is nostalgia based, and some of that has to do with memories I have of growing up in Minnesota. Things like boom boxes, Nintendo, and Ninja Turtles were a big part of my childhood, which is why I can't stop drawing them. What do you think of the artist community in your area? The community of artists in the tri-state and New York area is phenomenal, but I guess that should be expected. One specific area I have always been inspired by is Brooklyn, whether it is the style, art, bars, music, or people. Overall I have just always been drawn to the culture. No matter what I do, Brooklyn always seems to come up. I'll listen to music and discover DECEMBER 2012 /


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JAY ROEDER (CONTINUED) the band is from Brooklyn, or I'll find an artist appealing and find out they're from Brooklyn. Now that I think about it, even though I was born in Minnesota, I grew up in Brooklyn Park - are you noticing a theme yet? Maybe Brooklyn always seems to find me?

who Milton is, he's an icon in the design industry; you've probably seen his work, he's responsible for the "I heart NY" and Brooklyn Brewery logos. The quote was, "Do good work." I think this simple yet fundamental advice is invaluable and can be a deadly combination when paired up with motivation. If you do good work and work hard, everything else will fall in place.

What advice would you give to emerging artists who want to show and be part of the scene? I recently read an article on Milton What is your favorite medium Glaser, which had a very simple to work in? piece of advice, but great none- Pen, paper and pencil - I like to theless. If anyone doesn't know keep it old school! / DECEMBER 2012

What upcoming series, projects, shows etc do you have coming up? I recently purchased some screenprinting equipment, so most of my time and resources have been focused on getting everything up and running. I plan on launching a T-shirt brand in the near future - so keep your eyes open and follow me on twitter: @TheRoeder for updates!


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obert Farkas

ILLUSTRATOR - HUNGARY My grandfather was a famous film director in Hungary, his name is Tamas Fejer. His brother Kasmer Fejer was a painter, he invented the fluorescent ink. My mother is a photographer, and she always told me that I should draw or paint.After I graduated from high school, I started to work immediately. On weekdays I'm a broadcast animator and also a webdesigner. Making artworks spice up my everyday life. / DECEMBER 2012


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andy Mora

ILLUSTRATOR - COLOMBIA I am a Freelance illustrator-artist from Bogot谩, Colombia. I'm 26. My working process involves digital collage, I produce my compositions with images I get from old magazines, catalogs and textures created by hand; I scan everything in order to manipulate it on the computer. I try to develop ideas during the process and for that reason I don't usually resort to the sketchbook. I have worked for several editorial clients in my country and publications around the world such as Wired Magazine, GQ, The Guardian, The CMA, The Quarterly Magazine, Il Sole 24 Ore, among others. My collages have been recognized in books such as Gestalten's Cutting Edges: Contemporary Collage (Germany), Cut & Paste: Collage Put Into Practice (Sweden), Behind Illustrations (Spain), and 50 Formas de Ver la Ilustraci贸n (Colombia). I've also been part of several group exhibitions in China, USA, Sweden, UK, Mexico and Colombia. DECEMBER 2012 /


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CREATIVE

THINKING

10 QUESTIONS

What is your philosophy when it comes to design? A graphic designer is a visual communicator for the people. Sight is the primary sense that most of us use in our daily lives and a graphic designer creates these visuals that the people see. Therefore I believe graphic designers have a huge responsibility to communicate important messages through their work. In the last 5 years there has been an enormous rise in the creation of the social poster due to humans becoming increasingly concerned with the environment and society in general. We hold the power to what people see so I believe graphic designers need to know and to remember how important they are to a modern visual world. So this is why it is important that graphic designers / DECEMBER 2012

Christopher Scott from Quito, Ecuador Poster Illustrator

communicate social messages of exploration is an important expeimportant that the world will see rience for any graphic design. It and read all over the world. really does open your eyes.

"With great power there must also "We are always looking but we never really see" Milton Glaser come great responsibility" Stan Lee Currently I am a Professor of Graphic Design at the Universidad When you are not creating you are? Metropolitana del Ecuador and I Thinking about creating. Watching find the students very inspiring. films and documentaries. Relaxing They are so raw in their creative my brain with my Playstation Vita. thinking and process but within Spending time with my girlfriend. these two components lies their . greatest strength. Who and what inspires you? The people and the world inspire TV, Ipad, or none? me because as a visual commu- None. I do not like the idea of the nicator these two factors directly TV because I like to watch exactly influence my work. We live in such what I want to watch and when a diverse wonderful spire full of I want to watch it. That is why different people, cultures, colors the internet is so magnificent as and shapes. I believe travel and it gives the user the freedom and


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control when they desire. What is the design world lacking these days? I think it is important for a confused modern world to have clarity. The current life of a human being is so busy, cluttered and complicated that there needs to be clear communication from the design to act as the balance. For me the best design is that of a simple idea executed in a clever and creative way. Another aspect that frustrates me in modern graphic design is the lack of humanity. With so many graphic designers creating all these works on the computer which makes the creative process almost become robotic. The computer is a machine and this is the opposite of the human approach. It is important to remember that you design work for other humans not

for other machines. Any monkey soup with white bread. Create a social poster. Then go to the cincan click a button. ema with my girlfriend followed by a delicious steak with chips, peas Tell us something curious about you nobody would guess? and a Corona. Bed. I have similar qualities to that of the character Sheldon from "The What plays on your itunes? Big Bang Theory". Everything in I am a huge AC/DC fan and I have my life needs to be done in a par- every album they have ever creticular way or else it makes me feel ated. So this takes up most of my uncomfortable. itunes space. But to be honest I am more of a film person. VisuIf you had the power to change als stimulate me more than that of sound. Although I have a woranything for one day what ry about most modern films as I would it be? That every single human being all believe that they focus too much over the world was equal for one on special effects and technology rather than the story and the phoday. tography. I love old films such as Apocalypse Now, Taxi Driver and What is your idea of a The Godfather trilogy. perfect day? Wake up at 11am. Have a cup of Tell us one thing in your life tea with fresh brown bread, cheese and chocolate. Give a workshop you can't live without. to my students for 3 hours. Have My heart. a bowl of my mum’s homemade DECEMBER 2012 /


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love InPrint as much as we do. InPrint Team


DECEMBER - FEBRUARY PO BOX 83324 SAN DIEGO, CA 92138

Inspiring Artists


InPrint Magazine Issue 9