Viewfinder Magazine December 2023

December 2023 | Issue #3

VIEWFINDER

TABLE OF CONTENTS

14

LETTER FROM THE EDITOR THE TROUBLE KIDS: ENTITLED SUCCESS, UNBRIDLED DISAPPOINTMENT AN INTERVIEW WITH KARLA RENEE HARRIS NA-NO-WRI-MO-OH-NO

15

ENTRY LEVEL ERIK

16

CREATIVE CLASSIFIEDS

17

THE SELF BOUGHT ARTIST

3 4-5

6-13

18-19 SOCIAL CALENDAR 20

CONTRIBUTIONS

Karla in her backyard.

2

FROM THE EDITOR Dear Viewfinder Readers, Hello again! It is so good to see you back here. I hope your holidays have been going smoothly, since the worst is yet to come. Since it is the holidays and everything is so chaotic, this edition is a little lighter. We want you to be able to relax and be able to read ViewFinder on whatever small amount of downtime you have. (And not at all because Nate and I are busy too...).

In actuality though, I love Christmas and everything about it. And no, I am not religious in the slightest, never have been, but honestly does Christmas even exist as a religious holiday anymore? For the first time since COVID I am home for the entirety of the holiday season and not just passing through. Which is great because I truly love seeing my family (most times), but it is still an adjustment. The nostalgia hits me the hardest when I am driving around in my hometown during this season specifically. Lots of flashbacks of memories that were in the recesses of my mind.

Don’t get me wrong, I welcome the memories because I sometimes love reminiscing! But honestly, sometimes it is hard. It’s already an adjustment growing out of my adolescence, being at home feels like arrested development and not the kind where Jason Bateman is involved. I don’t know how I pictured the start of my twenties, but I wouldn’t have bet I would be living in the suburbs with mom and dad as roommates. Anyways, it’s something I am adapting to and I am trying my best to make the most of it, which has to count for something, right? Thankfully, being a part of Viewfinder has really helped my small, suburban heart grow three sizes larger just like the Grinch.

In all seriousness, Nate and I did work really hard to put this together as we always do because you readers don’t deserve anything less than our best. And we want to give you that! This edition features an interview with a graphic designer from San Diego, Karla Renee Harris. We also have another guest writer this edition who some of you (all of the film majors out there) can hopefully relate to. Like our other editions, this one features our creative classifieds and social calendar. As always we would love to hear your feedback! Thank you so much for reading.

Skylar Vinson Editor-in-Chief

Reagan’s favorite chew toy.

3

THE TROUBLE KIDS: ENTITLED SUCCESS, UNBRIDLED DISAPPOINTMENT

by Nate Velasco

I never thought I’d ever work with kids, let alone teach them. But life has a funny way of surprising you. Through a series of twists and turns, I’ve managed to build a small career in teaching that has led me to my current position as being a lecturer for 6 different freshmen classes at San Diego State University. Teaching has been one of the greatest things to happen to me because I get to see myself in so many iterations of myself in my own classrooms, which truly developed into this unexpected love for a career that was never on my radar to begin with.

But...it’s that time of the year again. When the semester’s about 82% over and students come crawling out the woodwork to reach out to me with different reasons as to why they couldn’t complete this assignment on time or why they didn’t show up to X amount of class sessions.

I’ve compiled a general list of all of these reasons that I’ve received throughout the semester up until this point.

I scheduled a doctor’s appointment during our class session so I couldn’t make it (um...)

I got sick last weekend and didn’t want to get anyone else sick (O.K. understandable) I had a family emergency and didn’t bring my laptop so I couldn’t do the assignments (excusable but seems a little naive) I will be out of the country from X to Y, even though it’s the middle of the semester (hmm) I frew up this morning and feel pretty sick.

Can’t make it today (O.K. legitimate) I decided I wanted to go home early this weekend so that’s why I wasn’t in class (thanks for the transparency but...)

I’m enrolled in another class at the same time as yours so that’s why I haven’t been able to make it to class these past couple weeks or do the assignments (wait what?)

4

My brother tested positive for COVID so I’m staying home to play it safe (Honestly, forgot that COVID protocols were even a thing in 2023) Wanted to reach out and let you know I forgot about class today. It was unintentional and was completely my fault.

(Love the accountability) Bronchitis. Can’t make it. (Should I not drink the water here anymore?)

Maintenance guy from housing is here fixing something so I can’t leave (Yes, you can. And the maintenance guy isn’t going to steal any of your stuff, he’s probably got 1,000 more work orders to fix) Hi, I’m just not going to class today. Let me know what I missed! (Uh, what?!)

I got a concussion the other day so I shouldn’t go to class today (I am not going to question concussion protocol) I accidentally forgot to do the assignments.

Do you think I could get an extension on them? (This happened at least twice a week) Sorry– sick again. Won’t be able to make it! (Also another twice a week occurrence) I think what’s tough when you’re put in this position is that you want to believe every student, work with them, grant them some grace, and make sure you’re being reasonable but also sticking to your guns. But, if you look back at that list, what you don’t see is the individual student telling you that they’re sick again– who is that same student who isn’t involved in class, doesn’t do the work, and that can feel like they’re too busy to at least pretend to give their attention to me for 50 minutes a week. I try to give them the benefit of the doubt, but it does make you a little jaded when the same student has been sick or had some sort of excuse for the past 3 weeks.

And coincidentally, many of these students coming up with these excuses or the ones who are asking for assignment extensions are the same ones that are on the borderline of not passing the class.

They are the same handful of students pleading how this will be the last extension they ask for or how it’s not fair that they didn’t realize they had to complete an assignment even though 95% of their classmates are passing with flying colors.

I don’t teach the hardest class in the world. I know that I do tend to grant leniency on these students since this is their first year in college.

But, it baffles me how these students are so full of excuses and reasons why they didn’t do the work, why they couldn’t complete the assignment, why it isn’t fair they are in the position they are in now when they know very clearly what it takes to be successful in my class.

I know it’s a cliché amongst professors but, “read the syllabus, people!!!” I guess what I’m saying is that they’re aware of what they have to do but in one way or another put up these barriers for themselves and get in their own way.

And look, I can play the Old Man Nate card, saying that this is just how this Gen Z generation is: lazy and entitled. But that’s just an unfair blanket statement to make about a group of people that I know is entirely not true. The overwhelming majority of my students are hardworking, passionate, and are a blast to teach.

Their honesty, transparency, and overall boldness is refreshing and in many ways inspiring to me.

But like I said before, I see a lot of different versions of myself in a lot of these students, especially who I am now with the excuse-filled “trouble kids” Because, in a lot of ways I’m exactly like them. Not with my professional work ethic, but with my creative work ethic.

With“professional” jobs, you’re entrusted to carry out a certain task and then you’re compensated for doing that task. Kind of like how in school, you knew exactly what you had to do in order to get an “A”. Type so many words, answer X amount of problems, participate and just show up.

I started working so many of these “professional jobs” that I started to pick up in the real world (outside of college), you don’t have to do all of that stuff to get a full paycheck. In the real world, you can do the bare minimum and make a living doing just that: minimum.

“In school you learn the lesson, then take the test. But in life, you are always taking the test and it’s up to you to learn the lesson it’s teaching you.” That’s from Mark, owner of Happy Battle Surf, and a good friend of mine.

5

I think, in a lot of ways, I had become one of those “trouble kids”. I got used to making excuses. Call it lifestyle creep. Call it entitlement.

Call it comparing my life to what I saw others had and saying to myself, “I deserve that, too. I want that now.”

And I think, in a lot of ways, I had been out of the classroom for so long, I’d forgotten what I needed to do to get the A. I’d forgotten that I needed to put in real, hard work. That life would throw me curveballs and I’d have to be patient with myself and understand if there was a setback. I’d forgotten all of the hard lessons I learned in film school. I’d forgotten the magic I felt when I wrote something in a script that I wasn’t sure would land, and it resonating with other people during a table read. I’d forgotten those moments of having another greasy pizza dinner with the crew 14 hours into a 16-hour shoot day, making a half-baked student film idea happen. I’d forgotten the feeling of wanting because I was more scared of the feeling of struggling. Of not having everything together. Of planning so hard in an idea, only for it to fall flat on its face. Of not being perfect.

Because, in my head, someone my age should have it all figured out. Someone with all of my degrees should be a master of their craft. It should all be easy for me already, right?

So I became complacent with being okay with where I was instead of wanting more. Because wanting more meant risk. And risk meant struggling. And struggling meant pain. I was scared of putting myself in pain and in some ways, I still am. And I know I’m no longer in a classroom (at least as a student), but I know there are people out there who are doing exactly what I want to do, making things I want to make, telling stories that excite me, and show me that it is possible to be successful and make a living as a filmmaker.

And I know that there will always be an excuse I can put in front of myself and then later say “life’s not fair.” Because it’s not. Old Man Nate has learned that life is often not fair and very hard. Most things are not solely based on merit alone. And bad people who don’t play by the rules still succeed. But that doesn’t stop so many talented artists from taking that step of wanting more, despite the risks. So if they are willing to put in the hard work of making mistakes and learning what life has to teach them, so can I.

Lorem, Impsum, Karla

By Nate Velasco

6

Karla holding up some of her work for Comic-Con.

We sat down with Karla Renee Harris, graphic designer, and her dog Reagan in their backyard.

Karla Renee Harris: I’m Karla. I was born and raised, Chula Vista, San Diego has always been my home, and art is especially such a big part of my identity as well as design. Since I am a graphic designer, I did art school specifically for graphic design. So those two, though they're different, they go very well in hand together, either to support each other or even be two separate beings of their own. And I guess they've become such a big part of my identity because as a kid I was quite shy, so I wasn't very verbal. So one of the ways that I was able to best communicate and I guess show off my personality was through either how little kids are sweet and like, “oh, I drew a picture of you.” That was me.

Viewfinder: I never would’ve guessed that. Seems like you’re pretty social.

KRH: I feel like I got that way when I was older, but as a kid, no. So I mean, that was my communication with the world, either with drawings or even writing letters. Graphic design is letters, seeing actual language come to life. And I mean, there are obviously differences between art and design and especially to be a graphic designer. I've always been interested in that. I love illustration and graphic design. It's just all about making sure that a message is clear.

Take a stop sign– if it wasn't red, if it wasn't a distinct shape, and if it didn't say stop, it's not a stop sign. So with graphic design, I mean, it has to be very direct with the message that you want to convey. And if it's not, it's bad design.

VF: So what got you into graphic design?

KRH: My school, Hilltop High School, offered a graphic design intro course. So I mean, that's when I was first introduced and I was interested. So I took the class just to see what was up, especially my art teacher. She liked my work. And I always had an interest in digital art, especially at that point. I wanted to know what was up was the difference between traditional art, what I was used to, and then digital. Because when you're in high school, you have to figure out, oh, what is it that I want to do with the rest of my life? And then I guess the thing that I always was so discouraged by was the fact that counselors would say, “oh yes, I mean you could go to art school and yes, you're qualified, but you're going to starve. This is not going to be a good job. This is probably why I would consider a plan B, or some kind of different career in which I would have income or whatnot.” And I always found that pretty sad.

You should be enjoying your work. If you do something that you love, it doesn't feel like you work in that kind of situation. I mean, I guess it's reality, but it broke my heart at the time because I was like, nah, I definitely want to go to art school. And I mean, I still did. So I mean that as if that actually stopped me.

But still it was crazy because I mean, I listened to them, so I already knew that kind of risk. Like, oh, if I don't make it as an artist, I for sure have to do something else. Yeah. So I mean, I'm really glad that wasn't the case. It makes me very glad and I'm glad that at least graphic design opened that door for me compared to traditional art, even though I still like to do traditional art.

VF: How was art school?

KRH: It was so much fun. If anything, I still miss it so much because I mean, the purpose is literally to be creative and to figure out what it is exactly that you like doing and how you like working. And it was a good intro to how it would be in the professional field, even though, I mean, once you're in the professional field, it does feel a little different.

I went to BYU Idaho. It really did prepare me. It gave me a little window of what to expect when I was in the actual professional world. So I was really grateful for the professors, which I had, that they made it challenging, but also extremely fun.

7

Comic-Con pin, graphic made by Karla.

And I mean, it was a challenge worth taking that they would give me specific projects that were due at the end of class, that they would time me and each section, each process of whatever I was working on. So they would time me for my sketches, they would time me for my drafts. I would show them my drafts.

They'd give a quick critique and then give me more time to do maybe a few more drafts until I came up with something final.

And it was so fun! I mean, maybe the first time practicing this way was really stressful because I just didn't really know what to expect. And it was nothing like my high school course. So I mean, sure, there were some tears in the beginning of my freshman year, but at least I made it all the way to senior year to get my degree.

That's something that kept me on my toes. I could take all the time in the world to come up with an idea, but probably the ones that come sooner to your head are the ones you should go with and run with until you've gone through enough drafts and figured out like, “oh, maybe I can simplify this.

Oh, this is not necessary. Oh, that color is blinding my eyes. It doesn't look good printed, but maybe it'll look good on a screen.” And then I guess my college also gave me an opportunity to figure out what specific, I guess what's it called… specialty of design that I liked the most. Because I did take a variety of classes. I took a lot of design classes, which I personally really love. I was able to take a lot of publication classes, which include designing magazines.

I even took web classes and then discovered that I actually don't like web design, but with those opportunities, I was able to figure out what it is I wanted to specialize in. So I didn't go out into the world figuring out, oh, I could do it all when maybe I don't want to do another website, hire someone else that actually likes designing websites. I was able to determine those things in college through my program.

VF: So sometimes going to school is helpful because not only does it give you limitations and how your professors are like, do this in this amount of time, or we're going to put walls around what you can do and get creative as much as you can within those walls.

KRH: I’m glad that no matter what, I got to be creative. That's just how I work. That's how my brain works.

That's how I think. So it would be crazy if I didn't go to art school. I probably wouldn't have enjoyed college if I didn't.

VF: What are some challenges most people don't think about when it comes to graphic design?

KRH: I work for Comic-Con, but I also do freelance on the side. So whenever I do freelance, it's like your clients think that you could read their minds and just understand everything it is that they're telling you. And I find it so funny because I'll ask, “exactly what do you mean by that? What do you mean? I'm sorry. I know you're very excited and you should be, I want to make this project real for you, but could you help me out a little?” And especially when it comes to deadlines. Sometimes projects are just so long that it's like, “I'll do my best, but I'm not going to guarantee that it's going to be due this specific day.”

So it's interesting, just as long as you keep in contact with your clients, make sure you tell them everything, and even show them your process. Like, “oh, these were sketches that I did, and here are some digital copies of those sketches. Let me know what you're thinking,” and I'll even label it. Try to make things as clear as possible for your clients. I mean, that's why they hired you. They know nothing about design, and that's okay. So I mean, the more that you help, the easier it gets.

So it's just really funny because clients think, “oh, this person, just because they're designer, they know exactly what I want.” But really, it's like, “no– talk to me!”

So I mean, that's a fun thing. And then I guess another one is that I always have to be creative on-demand. Especially if you're doing a lot of projects at once.

It's hard. It's like, okay, I need a quick moment, a quick break. Let me do nothing. Or let me look on my phone.

Let me watch funny reels. Let me, I don't know– even talk to someone or take a walk, especially with my dog, I just need a moment to not be creative so I could reset and then prepare to be creative again. Maybe I'll generate a better idea the next time I'm off my quick break. But yeah, I mean, sometimes it's hard to be creative at every single moment.

Anytime any coworker of mine probably walks through and sees me in my office, they probably think I'm crazy, because sometimes I'll stop what I'm doing to stretch. So you see me literally moving the entire office, moving my back, or even using the wall to do back bends or whatever. I'm trying to get in motion, so I am ready to go back, just even a quick moment to not think about what you were just doing, be completely refreshed, and then, okay, I'm ready to go back. Or, this is a silly example, but maybe it might be a good idea to any creative, especially if you're a creative that likes music, give yourself a 30second dance party. Just put on a song that you like, or whatever's in your head, listen to it for 30 seconds, move out, and then go back to work. Yeah, it's a good time. So no. Yeah, anytime anyone sees me, they probably think I'm crazy, but I mean, it's fun.

All roads lead to Comic-Con 8

Karla in her element.

VF: What do you love and what do you hate the most about graphic design?

KRH: I guess I'll go with the things that I hate first. If you're an artist, you're a perfectionist. So I mean, it's just anytime that I'm personally hard on myself.

Thoughts like, “this could look better. Or, dang it, what happened all the time? I need more time and this is due now.” So I guess that kind of perfectionism or even, I don't know, feeling like, oh, imposter syndrome is another one that I personally hate that it gets to me sometimes.

I am inspired by other designers and other artists, but like, oh my gosh, this looks almost too close. I don't want to seem like I'm copying somebody else. But I mean, honestly, I mean, I did it because they inspired me to do it this way. It would look so good, and I just wanted to put my own flare to it. But right now, it does not look like my own flare. It almost looks like a copy sometimes. I’m like, “how do I navigate these things?” But the more you are patient with yourself and breathe in, breathe out, and maybe simplify a few things design wise, but it'll be okay. But I would say those are my top hates for design.

But don't worry, because there's more things that I love versus hate about design. I just love that it gives me a moment to further express my version of how I see the world. And it gives a different voice, obviously, but it also still appeals to the people I'm designing for.

And then the people that have given me my job anyway, because at least with freelance, I have more of a reason to show my personal style of design.

But with Comic-Con, I'm following a brand.

I have a whole guideline of how things need to look, specific colors. I need to use specific type faces I have to use. So I mean, that's a little bit more limited, not as, I don't have as much freedom when working with a brand, especially as big as Comic-Con, since it's so established and, but even with the limits or with the freedom of freelance, I still have so many options. But I guess I love having both, because they just make me creative in different ways. Comic-Con is like, okay, oh, I could do this just as long as it still looks like the brand. So there's still reward in it all.

VF: How’d you start working for ComicCon? KRH: It's still one of the craziest, mind blowing and humbling experiences that I've had so far in my young career. So I graduated two years ago from BYU Idaho with my BFA in graphic design. And this is my first college job with Comic-Con. And it almost took an entire year after graduation for me to get this job for me to land in. And I just remember it was really intense, the process. So I remember finding the listing on Indeed. I just said that I was a graphic designer in the San Diego area, and it was six months that I applied for the position before I got called for an interview.

Yeah, at first I was like, oh, these people completely, they forgot about me. I am pretty sure they already hired someone.

And honestly, I sort of forgot that I applied. It was that long! I was like, okay, I assumed they would've needed me sooner, but whatever. It is what it is. And I'm glad that at least I was recognized.

But no, it's funny because I remember signing up for it, and I was like, “ah, let's just see what happens. This is a really big company.

I really doubt that I'm going to hear back.” And of course, I applied to other jobs, interviewed with other jobs, and didn't get those positions. I wanted to be a graphic designer. I wanted it so badly.

And of course, during that time that I wasn't working because I had to survive, I still worked just not as a graphic designer if I did other whatever jobs just to make it by.

I told my prior job that, “I'm going to interview at Comic-Con for the graphic design position.” And it was cool because I was working for my dad at the time, so he was like, okay, good luck. And I think it was definitely a sign, because the day of my interview in 2021 was on May the fourth. Oh, wow. So I thought it was the coolest thing. I was like, okay, on a nerdy day, I got to interview at Comic-Con. Let's see what's up. I'll just go. I was dressed. I had a few actual live models of some of my work, especially the one that was on my portfolio that they already saw online.

But I wanted to show them in person just to see if maybe that showed that I cared.

So I was already prepared. The senior designer, the person that I was going to be working for, was in the interview as well as the president and then my direct boss, well, I guess both of my bosses, because one of the bosses is the president.

So I mean, she was there. My other boss was there, a few other people that were designers or had design degrees were in there, and it felt really crowded.

Now, they did ask me questions about how I work, how fast I work, even questions very similar to the ones that you asked me, even my upbringing and design, why I love design, why I would love to work for Comic-Con. I guess whatever I did really showed that I cared and that I was a good candidate. Since then I've been working for Comic-Con and I've been there for a while now. I've done a few conventions already, so I'm doing two conventions and then designing for the [Comic-Con] museum full-time.

VF: What’s it like to have your work seen by so many people?

KRH: It is definitely crazy, because I'm so used to seeing everything being done on a screen. So, it's really crazy when it’s printed and displayed and being used by other people. I have examples like this badge to get into the building.

Karla points out a bedazzled entry badge.

“YOU SHOULD BE ENJOYING YOUR WORK. IF YOU DO SOMETHING THAT YOU LOVE, IT DOESN'T FEEL LIKE YOU WORK IN THAT KIND OF SITUATION.” 9

“...IT'S JUST WAY BIGGER THAN ME AND WAY BIGGER THAN MY DEGREE.”

Where the magic happens.

KRH: We don't provide the bedazzle.

That was me. But this is not only a badge to show that you have the ticket, but it's your entrance in. So to even see people click on the kiosk in order to, oh, yeah, please do whatever you need. I see people use my badge as a key to head into the convention. It's like, “oh my gosh, I had to design those!” Or even, I mean, here's a few printed examples of some of the publications that I have to make for Comic-Con. Every year they have maps and stuff. They have the showtime for each program.

VF: You made all of this too?!

KRH: Not only do I do the covers of the books, but I also do the contents of the books. Yeah, I do it all. It's a lot of work.

So I mean, I'm making sure everything is displayed at the correct times in the correct rooms. And then especially Comic-Con is not only known for comics, it's also known for TV shows, like actual live action or animated video games, books, television, movies. These kinds of things do need to be categorized so people understand where it is that they're going and what they're going to be watching, and what they are to expect.

And I even make codes giving a quick description if something is child-friendly or if it's supportive of the LGBQTIA community. And now I even have full maps of the exhibit floor, so you know exactly what it is that you're purchasing before you spend a lot of money.

10

That's one part of my job is making sure that these visuals are shown. All the dates of a show or if you didn't get parking, even modes of transportation, the trolley time, so people could take the trolley to the convention center. Those are things that I need to have knowledge of, but also information that I need to display to the public or any attendee so they know exactly how to enjoy their Comic-Con experience.

Yeah, I do the advertisements as well, not only covers. All this information I have to obtain and make sure it's on the correct page numbers that we have the correct times. So know when you could be inside of the convention center and when it closes. And yeah, I have all these descriptions of every show that will be featured in the convention, and then other advertisements from other vendors that are in the show, they want their spotlight.

Okay. I'll design a page in which we could display that. Someone’s selling books at this booth and they want people to come over. I got you.

VF: So are you on a team or is it just you doing this?

KRH: In the beginning, I wasn't a team.

It was me and a senior designer. It was only two of us, but currently it's just me.

This last convention, it was only me, and it was really rough.

VF: How does one person make all this?

KRH: That’s a great question, haha. I did a lot of overtime.

I mean, every business minute that I had was so precious. It was honestly insane.

But I'm just so grateful that my company understands how hard it is to prepare for this convention and to work during the convention that we do get a week off after the convention, and it's paid. There were just nights that I just didn't sleep at all. I was just on my computer, making sure that I had everything done, everything.

But now, yeah, this is some of the work that I get to display during the convention. Also, in GasLamp, you get to see a lot of the advertisements that wrap around the buildings of, what's it called, the Hard Rock Hotel, for example, or the Omni. They get the advertisements and also the Hilton, they get the advertisement on the building that I am responsible for.

VF: That’s wild. You would think an organization as big as Comic-Con would have a whole team on all of this. I think it’s a lot of great experience you’re getting under your belt.

KRH: Sometimes my coworkers will point me out and say, “this is the graphic designer that did that!” and I’ll be like, “shut up!” or whatever since I’m not trying to show off. But a lot of people are like, “oh wow, that’s true. Someone had to design this.”

Maybe it’s not exactly art. And I mean, even though I love the fact that I am proud enough to make these publications, people throw them away after the convention. I understand that this isn't necessarily art that you're going to hang up on the wall, but I mean, this is still such an important aspect of art. So the fact that it communicates, it conveys information, and it's informative to anyone that reads it. And then maybe if you're an actual fan and you collect these kinds of things, then it could become art.

But I mean, that's for sure another big difference. Most of those things end up in a landfill, and it's sad, but I mean, compared to art, yeah. We're not going to willingly throw away a Van Gogh piece. I guess the value of both, that's another difference is how we value art and how we value design.

Karla’s favorite coworker.

I guess another thing that sort of excites me about the industry of design is that we are eventually becoming more green. So I want to see how that eventually plays in Comic-Con, because as of right now, there's another publication that I do design, but it's not printed. It is digital. So you have to get a QR code, you have to scan a QR code in order to get to see the souvenir book. So I mean, that has already been an interesting solution to that. So we're printing less paper, but people that are fans dedicated to the spirit of the convention of the con, that they're still looking at the souvenir book, though they can't obtain the physical copy. So I want to see how that is played in the future of Comic Con, because I really hope it becomes more green.

VF: What are your long-term creative goals?

KRH: I eventually do want to become a creative director, maybe outside of Comic-Con. I mean, I love it right now. It is so much fun, and it makes me very proud of my city. It's so special to see how an event like this unites a community.

And I know it's a nerdy community, but it unites these people. And sometimes it's incredible because you could still see, they could be socially awkward, but they cosplay as a specific character, and someone else knows exactly who they are, even if it's not their actual identity, they're still part of something that's pretty big.

Yeah, absolutely. And it's something they look forward to every year. So I mean, it really is special. It's like, oh, sweet, there’s this nerdy person, and more nerds all together. So it's just so special. And to be a part of that, I, it's just way bigger than me and way bigger than my degree. So even though I really like working for my company now, I think I sort of hope to stay in it long term, but I still dream of being a creative director. Or even someday, hopefully they hire another designer.

So it's not all me. Maybe I could be a senior designer and then have my junior designer help me out.

I definitely hope for those experiences.

And I mean, even right now as just a solo designer, there's just so much that has been opened that I wasn't prepared for. There's so much art school can provide. I am still grateful that it did prepare me for some, but I learned way more on the job. I do hope for more opportunities to work with other people for sure. I've become so used to working for myself that maybe it might be weird to work with someone else, but I mean, overall I think it'll be a good thing.

VF: When you’re not creating, how do you like to spend your free time?

KRH: I’m still creating! I’m so boring. That's all there is to me. But don't worry. I think sometimes I'll do digital art on my own time, but I started as a traditional artist, and I still do it to this day. So I guess now I'm like, what's it called? A jack of all trades.

A jack of all trades. In that case, because I was trained in painting, I still paint occasionally trying other mediums of art. I'll sometimes take a ceramics class just to do something else. And I mean, it's fun. I like getting my hands dirty with clay and whatnot. And then I've also done stained glass windows. And that's so fun, and it's the complete opposite of graphic design. It still allows me to be part of a creative world. Just doing something else isn't what I do every single day.

So I think it still helps me generate ideas. It still helps me to socialize and just be in a different environment and take that break so I am suddenly no longer stressed. Because, I think it's definitely different to do a professional art job. You're more inclined to stress and then more inclined to maybe deadlines and trying to make sure things are looking good before printed and less mistakes, or making sure that the print number is correct. And I mean, there's a lot of stress about doing art that isn't related to work. Oh, it's so nice. You just calm down a bit.

It's like, “oh, sweet. I could just have fun. I don't need to worry about a deadline.

Keys to the kingdom.

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Comic-con map by Karla.

This is a good life.” But even outside VF: What’s some good advice you’ve VF: What’s advice you’d give to of being creative, I like to run. been given?

I'll just run for long periods of time. I KRH: Always to make things that are others? mean, I'm used to it. I've run a lot of proud of things that you have fun KRH: I guess it's very similar to the half marathons, even a full marathon making. That's all it's about. You advice that has been given to me. Just once. It’s definitely another really good shouldn't be worried. I mean, yes, still be proud of it, whatever it is that way to be away from the computer, take critique and still be humble you're doing, even if it's following a because I love design, but sometimes it enough to fix things that you do, so it brand or you have the full, complete hurts your eyes. I don't want to look at becomes better. But now, if it derives creative control, just make things that my phone. I don't want to look at a from something that makes you happy, make you happy. Things that you TV. I need to see the real world and and it doesn't even have to be aren't afraid to show off or, I dunno. the sky. So I'll do things like run, and something that makes you happy, just And even, sure, like I said earlier, I then I occasionally like to hike with something that has motivated you to know these things will be thrown my dog. I also like doing yoga. That's either change. I guess maybe it away, but at least I'm proud enough of another very good way to not be in motivates you to do art or they're them that I keep them for my sake, for front of a screen, because I mean, you inspired by sadness to do what they do. archive reasons for Comic-Con as want to keep that relationship healthy, But whatever, it's that which inspires well. But I'm proud enough of them to like your screen time and real life time, you. Hold onto that and use it to be like, “It's maybe not something I would hang up on my walls, but it is because balance is good. create, make sure that it shows and that definitely something that this was my I love being lazy too. I'm not only you aren't afraid to show it too. And productive, I swear. I really like the then, make many mistakes, even if you contribution to the design community.” director, Wes Anderson, I think. And know it won't look good, still try it A tip I’d give to aspiring graphic then also his prop designers for his anyway. Maybe there could be a designers is that with graphic design, movies inspire me. So I even re- possible way of tweaking it and then you have to have wifi. It doesn't just watching movies that I've seen billions suddenly, that's amazing. That's a limit you to only design inside. Even of times because I'll notice the props great idea. Don't be afraid of making with this table, sometimes I'll work out and how they're designed. Or even those mistakes. And when you do own here, or even in this chair, I have each set, the way that the shots are up to them, like, “oh yeah, these are another little table in the very other taken, they're really beautiful setups, my logos. Yes, this one is bad, but it's corner over there that I could design.

Just as long as you have wifi design and the color schemes of his movies mine.” anywhere. If you need a moment to be also are really inspiring and tasteful. out, walk around. But you can still I’m just watching the movie to really design somewhere where the wifi is just relax, but I'm still getting inspired. strong.

12

Another cool example I thought of with some of my design pens, if they ever break and I notice the ink is dripping, I'll just start splashing all the ink onto paper and then scan that paper with all the ink drops and whatnot, and use that in my design work. I'll make real life things become digital. So I mean, it keeps both of those aspects of art alive and could be included in design. It isn't only restricted to what's on a screen. I make Photoshop and all the other programs, accommodate to real life arts. I mean, I think it makes design way more visually interesting, and also gives that handmade aspect that an AI can never do.

Last thing is don't be afraid to be yourself. I know that sometimes it's very vulnerable to put artwork on a Karla in the zone. portfolio. And most portfolios, they're So that's definitely travel. It gets you online now. So, anyone could have more creative when you're moving access to see your art. Don't worry. I versus staying still for a long time. mean, there will be people that will Yeah, absolutely. Or even if you're in disagree, and be used to that. You an office, if you have an option to can't please everyone, especially when have a standing desk, get that standing it comes to your art. desk, because I have one in ComicCon, and it's awesome because sometimes when you're sitting and just falling asleep.I go and I stand and I'm still designing.

Another tip is as a graphic designer, use pencil and paper. Still draw your stuff out, because I think it's important to keep that connection. And I think maybe I find it so important since I started as a traditional artist, that I don't want to lose those skills. But I mean, it still is a very, it's an important relationship to keep, is still to remember that you once started with a piece of paper, your pencil, that you trust your eraser with your entire life, but you're even using rulers, you're using things. It doesn't always have to be all digital, because there's even moments in which, for design, I'm doing hand painted things that I make sure that are the colors that I want or that it's how I want it to be seen when I scan these things.

All smiles with Karla 13

And it's fine, because I mean, for crying out loud, most of the artists that we idolize now in museums weren't very successful during their times.

They were lucky if maybe two paintings were sold at a time or whatever. That's just the way it is that we're going to be appreciated when we're dead. So I'm here like, “oh, I can't wait!”

VF: Well, we appreciate you now.

Comic-con graphic by Karla.

“ANOTHER TIP IS AS A GRAPHIC DESIGNER, USE PENCIL AND PAPER. STILL DRAW YOUR STUFF OUT, BECAUSE I THINK IT'S IMPORTANT TO KEEP THAT CONNECTION.”

NA-NO-WRIMO-OH-NO

by Nate Velasco

Our story begins in a parking lot by a Trader Joe’s.

Where I run into my friend before I get to my car to leave for home. We shake hands, catch up, and then he says something along the lines of, “my daughter’s doing NaNoWriMo instead of her college apps.” Everything else is a blur.

NaNoWriMo. A stupid sounding word short for National Novel Writing Month. Also stupid.

NaNoWriMo, where you’re supposed to write an entire novel in the month of November. Dumb. I remember hearing about it in undergrad and how it’s supposed to be this fun little challenge mainly directed towards kids. And I still feel the same way that I felt about it back then. In what world are we living in where anyone has any time for that?!

Even back in the prehistoric area, the caveman did not have time for writing silly novels as his time was instead occupied with hunting, gathering, picking up the kids from soccer practice, getting groceries, stopping by the inlaws’ house to pick up his caveman father-in-laws trusted club because his broke in the last T-Rex attack (it’s a damn shame too because he just bartered two goats for that last week), drop the kids back at home, run back to the grocery store because he got the wrong cream cheese (whipped, the right one is always whipped), and by then he’s just trying to catch the last glimpse of the game before he have to go to sleep and do it all over again at the crack of dawn. I mean– if you think it was a tough world out there for cavemen back then, just think about the modern cavemen now!

You couldn’t couldn’t pay me to write a book in a month. Demanding that of any sane person is absolutely, positively mad. You’ve got to be halfcrazy and full-stupid to partake in that form of masochism. And yet, here I am, always complaining about how I never make anything anymore. How there’s never enough time in the day to make the things I want to make.

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Dinosaurus Rex, a classic caveman nuisance.

That all TV is bad. And all movies are bad. And how I don’t even have the time to listen to my audiobooks– forget reading! And now, this stupid challenge is asking me to write?!

No sir, not me. Leave it to the stupid 17-year-olds and all the time they have to pursue their dreams and explore those silly ideas and put them down on the page and have fun doing a writing challenge with 400,000 other idiots. Some people just have the gift of writing and start early and are destined for greatness. A literal silver spoon in their mouth as they write the next great novel that they’ll add to their oeuvre. Can’t believe I just said oeuvre. Gag me with that spoon. Some people just don’t know how good they have it. Youth really is wasted on the young, huh?

Back to the Trader Joe's parking lot. My friend’s long passed talking about NaNoWriMo and moved onto talking about how the surf has been amazing but he just hasn’t had the time to paddle out in months.

The words slip out of my mouth, “so I’m assuming your daughter’s gonna study english or creative writing, maybe journalism?”

“Oh no– she’s doing biology. Wants to become a PA or something like that. She just does this stuff for fun. Kinda weird, I don’t get half the stuff she writes but yeah, she likes it.

“Oh… well tell her I said good luck with that and the college stuff,” I mumble.

He tells me he needs to run into Trader Joe’s because he needs to get creamed cheese.

NaNoWriMo. Kind of a silly word if you think about it. It’s actually kind of fun to say, too.

NaNoWriMo, NaNoWriMo. I wonder if it’s too late to start? Eh, but the game’s on and I want to catch the last bit of it before bed.

A PIECE FROM THE INTERNS

ENTRY LEVEL ERIK

(A MESSAGE FROM YOUR FRIENDLY NEIGHBORHOOD PRODUCTION ASSISTANT)

By Erik Anguiano

This past July, I was (for the second time) drawn back to glamorous Los Angeles in search of my start as a screenwriter in the Film and TV industry. With this second attempt at my dream career, I was determined to make it work. On my high school security guard salary, I saved just enough money to feel comfortable with moving into a house somewhere in the San Fernando Valley, back to my valley girl roots. I easily made the move and after being scammed out of $2000, three different roommates, moving into the doorless den of a house, working as a Production Assistant on two different iterations of America’s favorite reality show, the WGA, SAG and AMPTP settling their historic strike, lifeguarding countless hours at pools all across Los Angeles county, and most importantly, writing a grand total of zero pages (excluding this). I take comfort in saying that being an entry level screenwriter in this industry could be better.

It’s hard to even consider what I do as “entry level” to screenwriting (I have a hard time making the connection between picking up trash left behind by people who make two to three times as much money as me to the Three-act structure.) Being between Production Assistant jobs means I work full time as a lifeguard. I know it seems funny that I work a job that is completely unrelated to the production industry, but for a variety of reasons those jobs are extremely difficult to get. In college, our professors brought in a woman who told us her story about how she seeks out 100 rejections a year because at around 100, she was close to getting her projects made. It's some real masochistic stuff, this industry.

At the risk of sounding ungrateful (or like a kvetch for those of you who are familiar with yiddish), I’ll just say I really enjoy working the same job I did during summer breaks in high school. I've made obvious progress because lifeguarding in highschool was just a part time gig for me. I'm full time now, baby! Staring at water six days a week really gets my creative juices flowing.

Attempting to move up the production industry ladder by way of my lifeguard career may seem farfetched, we all know that this industry is built on the idea that, “it’s not what you know, it’s who you know.” As I previously mentioned, I got to work as a Production Assistant on America’s favorite reality show because of the recommendation of my best-good-friend, Victoria (I was highly qualified, of course. The job consists mostly of picking up groceries. A trained chimp could figure that out. I'm not bitter, I swear! I once had to have a cast member's hearing aids fixed. That took more skill than a chimp.) It may be a show without any technical screenwriters, but the leap from reality tv show PA to writer’s PA is not so crazy, not to mention the value of being in the company of other entry level folks who have similar industry aspirations (I have PA friends that make music, write screenplays, do standup, have engineering degrees, work as coordinators on other projects and PA in their spare time for the extra cash, the list goes on.) It really is a shame that I haven’t been able to work as a Production Assistant for more than 19 days out of the four months that I’ve been in Los Angeles. With no hate for my reliable fallback job, lifeguarding, those 19 days as a PA were just enough for me to know that it’s the job I prefer.

As I write this on November ninth, the day after SAG officially ended their strike with AMPTP, I am optimistic that I, along with all of you other entry level Film and TV workers, will soon have an abundance of new and exciting opportunities. It has been a hard path for me to get to the point I’m at now (seriously, I will, without shame, take any handout I can get right now), I cling to the hope that it will all be easier soon. In the meantime, I suggest all those reading this, non industry and industry folks alike, give your friendly neighborhood production assistant a big hug, they need it.

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ions Job Title: Promot Assistant udacy Company/Org: A go, CA Location: San Die In a Nutshell: media, Videography, social etc., event production, on: Rate/Compensati $13.50-$15.50/hour eersContact: https://car bs/5638/ audacy.icims.com/jo /job promotions-assistant

Job Title: Creative Intern Company/Org: USA Baseball Location: Peoria, AZ In a Nutshell: Photography and content creation for all promotional platforms Rate/Compensation: Full time. 40 hrs/week, hourly rate.

Contact: TeamWork Online

Job Title: Administrative Assistant Company/Org: SAG-AFTRA Location: Los Angeles, CA In a Nutshell: Perform admin and clerical work the the Screen Actors Guild.

Rate/Compensation: $24/hr + 35 hour work week + possible benefits Contact: https://careerssagaftra.icims.com/jobs

Job Title: Graphic Designer Company/Org: Bay FC Location: San Francisco, CA In a Nutshell: Make graphics for marketing and social media.

Rate/Compensation: $55k-60k/year Contact: TeamWork Online

Job Title: Freelance Production Assistant Company/Org: NBC Sports Location: Stanford, CT In a Nutshell: Assist with production of NBC’s coverage of the Olympics.

Rate/Compensation: Full time Contact: https://jobs.smartrecruiters.com/NBCUnivers al3/743999937871796

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THE SELF-BOUGHT ARTIST

By Nate Velasco

As the weather gets colder, the days get shorter, and people start to put away their halloween decorations, there seems to be an instantaneous switch in the cultural mindset. There is an unmistakable transition from the peacefulness of Fall to making a sharp left turn and veering directly into the holiday season which can only mean one thing: shopping.

Although Black Friday will never be what it once was in the mid 2000s glory days of crazed, inperson shopping, the Ghost of Black Friday has transcended into online shopping through almost all retailers. O.K.-- you might be thinking, “Yeah, I know Black Friday is different now. Big whoop. Next you’re gonna tell me that Black Friday isn’t really a day but has essentially bastardized the whole month of November with not-so-great deals and decent prices. And even if you miss Black Friday there’s still Small Business Saturday, Cyber Monday, and let’s not forget Giving Tuesday. We’re putting a hat on a hat, we’re jumping the shark, we’re… well you get the picture. And if you miss all that there’s still Christmas sales. And if you miss that there’s of course end of year New Year’s sales!

There’s a reason why birthdays and the holidays are so special. Even though they’re expected, it’s still this precious occasion. If your birthday was everyday it wouldn’t be worth celebrating!! What happened to us?!”

To which I’d say, slow down there overtly-cynicalbut-brings-up-some-uncomfortable-truths reader.

You are right. Now, let’s both step off the soap box together… good. Now, please take a seat on this Tommy Bahama’s™ chair that I got for a killer deal at Costco™ online. I’m kidding. All this to say shopping is fun but also bad. We live in a society.

Boohoo.

The point is that as a society, like it or not, we have become accustomed to the normality of the rising tide of shopping. And as an artist or someone who makes things, I am no exception to this rule.

Yes, I might tease some friends and family members who still obsess over Black Friday deals, since I typically don’t buy into the holiday shopping hype. But, 6 months from now, I’ll be in their same position frantically Google searching “Best Sony Camera 2024 reddit” or “Sony A1 vs Sony A9iii reddit” or-17

“Mirrorless Cameras Pros and Cons reddit” or “Is this version of camera/lens/equipment really better than that version reddit HELP!?!”

Pretty soon, I’m going down a dark Youtube rabbit hole of watching videos like “Cinematic Sony A1 Short Film 4K! Or “ULTRA High Quality Cinematic Footage SONY CANON”. And it’s always just this empty, soulless footage that might look cool sometimes, but what’s the point if there’s no real intention behind what I’m watching?

Where’s the story? Where are the characters? What difference does it make if you have the highest quality equipment and materials if you don’t have the know-how to really make something worth making?

It is so easy to consume especially when you fall into this independent artist category where there is no big studio or company or patron financing your artistic ventures. As hard as it is to enact selfdiscipline, as an artist, it’s a necessity. Not only for my bank account, but also because I don’t want to be reliant on my equipment. Though the shopping hype frenzy about how you need this to be a real filmmaker or real artist has what I can only describe as an alluring siren’s song, a real artist will never be defined by their equipment.

Just like how I’ve grown out of the mindset of buying into sales and what are the latest brands when it comes to clothing and instead have matured into just buying clothes that feel good and that I personally like, I need to do the same with my own artistic attitude. Because, I should know by now that there is no shortcut or cheat code of buying your way to becoming this amazing, inspiring artist that makes incredible work just because you have the latest, greatest camera. I know this, because I am not rich. And if all you had to do to become a successful filmmaker or artist was to be rich and buy equipment that just made you good, there would be a whole lot more success stories out there. The equipment is a tool, not a crutch.

I say all this, and I myself, have just purchased a brand new Amazon Kindle Scribe™ because I mean… it was an actual justified purchase. It’s definitely one of those things that I need as a filmmaker. I’ll be using it to read and annotate all the scripts I’m reading, it’ll get me to read more books, I mean– how could I NOT buy it?

R E RS E SO B B OC M C M IIA E E A C C L L E E N D E D N A D L E D AR R AL C CA

Enjambre, The Observatory, $25, All Ages Tower of Power, The Magnolia, $36, All Ages Mora, Soma, $65, All Ages

The Menzingers, The Observatory, $35, All Ages Goldfish, MIRARMAR, Music Box, $30, All Ages

Me First and the Gimme Gimmes, The Observatory, $40, All Ages Art Sherrod Jr., Humphrey’s Backstage Live, $15, 21+

SDSU Women’s Basketball vs CSULA, Viejas Arena, $6, All Ages Rod Wave, Pechanga Arena, $120, All Ages

The Gang's All Here Tour With Skid Row And Buckcherry, House of Blues SD, $40, All Ages

Dec 4th

Dec 5th

Dec 1st

Dec 2nd

Dec 3rd

Depeche Mode, Pechanga Arena SD, $90, All Ages Devendra Banhart, The Observatory, $33, All Ages BLÜ EYES, Voodoo Room, $23, All Ages

The Bald & The Beautiful: A Live Podcast Recording, Balboa Theatre, $50, All Ages Pod Save America Live, The Magnolia, $45~, All Ages

Blippi: The Wonderful World Tour, San Diego Civic Theatre, $29, All Ages tee Jet + Guests, SOMA $10, All Ages Pierce The Veil, Viejas Arena, $46, All Ages

The Dresden Dolls, The Observatory, $73, All Ages San Diego Gay Men’s Chorus, Balboa Theatre, $32, All Ages The Woggles, Casbah, $15, 21+

CD Ghost, Whistle Stop Bar, $15, 21+ The Slackers, House of Blues SD, $14, All Ages

Dec 7th

Dec 8th

Dec 9th

Dec 10th

Million Dollar Quartet Christmas, Balboa Theatre, $28, All Ages

milk., The Voodoo Room, $18, All Ages Jeffrey Martin, Casbah, $20, 21+

Meg McRee, The Voodoo Room, $18, All Ages Sego, The Casbah, $18, 21+

Dec 12th

Dec 13th

JAMM + Guests, SOMA Sidestage, $10, All Ages Mexican Slum Rats, The Voodoo Room, $28, All Ages

Dec 6th

Mutoid Man, Brick by Brick, $30, 21+

Dec 11th 18

Dec 14th

Dec 15th

Cattle Decapitation, The Observatory, $25, All Ages SD Gulls vs Henderson Silver Knights, $29, Pechanga Arena SD

Dec 16th

Shrek Rave, House of Blues San Diego, $32, 18+ SD Gulls vs.

Rockford IceHogs, Pechanga Arena, $25~, All Ages

Dec 22nd

The Wild Horses Festival w/ Zach Bryan, $120, Petco Park, All Ages The Creepy Creeps, Casbah $20, 21+

SDSU Mens Basketball vs St. Katherine, Viejas Arena, $10, All Ages More Fatter, Casbah, $25, 21+

Reason, Voodoo Room, $25, All Ages SD Gulls vs Rockford IceHogs, Pechanga Arena, $18, All Ages

Dec 17th

Dec 19th

Dec 20th

El Vez, Casbah, $30, 21+ Henry Fong, Nova SD, $10, 21+ SD Gulls vs Tucson Roadrunners, Pechanga Arena, $25, All Ages

Holiday Bowl, Petco Park, $60, All Ages The Silent Comedy, Casbah, $28, 21+

Mariachi Sol De Mexico: A Merryachi Christmas, Balboa Theatre, $40, All Ages Jeff Rosenstock, The Observatory SD, $25, All Ages

Dec 23rd

Baby Smoove, House of Blues, $70, All Ages Black Lips, Casbah, $25, 21+

Dec 21st

Black Flag, House of Blues, $25, All Ages Patrick Topping, Nova SD, $20, 21+

Dec 27th Dec 28th

Dec 29th

Zach Bryan

Summer Salt + Almost Monday, House of Blues, $30, 18+ Dillon Francis, NOVA SD, $85, 21+

Dec 30th

Dec 31st

summer salt almost monday

depeche mode

Cattle decapitation

pod save america pierce the veil

18

SDSU Mens Basketball vs.

Stanford, Viejas Arena, $20, All Ages Well, Well, Well, Casbah, $15, 21+

milk.

VIEWFINDER

Editor-in-Chief Skylar Vinson

Co-Editor Nate Velasco

Content Author Nate Velasco

Contributors Skylar Vinson Skylar Vinson is a 21-year old teenage girl trying to figure out anything she remotely wants to do with her life. This includes an Arts magazine now, She is from Livermore, California and graduated from San Diego State University with a Bachelor of Arts in Communication.

Art Direction Nate Velasco

Nate Velasco Photographer Nate Velasco

Nate Velasco is an independent filmmaker from San Diego, California. He is constantly making. Nate specializes in writing/directing coming-of-age stories but writes everything from features, hour-long, halfhour, shorts, YouTube videos, copy, and now, apparently magazines. Nate is allergic to cats and is lactose intolerant.

Intern Erik Anguiano

Erik Anguiano

Want to be a part of the next issue?

Whether you’re an artist, someone who wants to work with us, would like to run an ad, or were just in the neighborhood and wanted to say hello. We’d love to talk to you.

Meet Erik, a multifaceted creative weaving dreams into scripts. Armed with an MFA in Screenwriting from Cal-State Northridge and a BA in Film from UNLV, his journey bridges the worlds of celluloid and lifeguarding. Aspiring screenwriter and seasoned production assistant, he dives into cinematic narratives, infusing tales with life experiences. Beyond the script, he navigates the waters as a dedicated lifeguard. Offduty, you'll find him swimming laps or indulging his palate in culinary explorations. A passionate wordsmith, water guardian, and film enthusiast—Erik is poised to make waves in both the reel and real worlds.

howdyviewfinder@gmail.com @magazineviewfinder @viewfindermag @ViewfinderMag

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