Looking back, moving forward

As in previous years (2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018), here is my annual recap of how my year unfolded.

In January, I was featured in UPPERCASE Magazine's beautiful new book, The Encyclopedia of Inspiration: Ephemera.

After months of preparation, I revealed a new look for my personal brand in February. Posts here, here and here.

In March, I hand-painted some signs for The Theatre Centre, and painted the windows at Type Books. I also offered hand-letter cards at She Matters, a fundraising brunch in support of the Barbra Schlifer Commemorative Clinic, which offers legal representation, professional counselling and multilingual interpretation to women who have experienced violence.

Village Juicery generously displayed some of my collection for the month of April. I also had the privilege of painting the windows at the new Wonder Pens Clinton St. location. And I checked one thing off my bucket list: I played my first-ever ukulele recital!

In May, I had fun painting a special pantry sign.

June was a busy month! I offered my first sign painting workshop, in partnership with Above Ground Art Supplies. I designed a super fun t-shirt for the Stratford Festival production of Little Shop of Horrors. I designed the poster and graphics for the Vintage Taps' production of The Laundry List. I did some fun sign painting for LeTao and Kilogram. And I got a chance to help out the 519 with some huge hand-painted pride protest signs.

In August, I had the privilege to do a sign painting treatment on the cover of Chatelaine Magazine.
I also did a fun sign painting / pop art homage.

In October, I did some custom lettering for Tafelmusik's Haus Musik series in Toronto. I was the feature artist at Italic Press. And my sign painting article was featured in Issue 43 of UPPERCASE Magazine.

November was a big month. I had new work at the Buddies in Bad Times Art Attack auction. I had fun painting the window at the new Craig's Cookies on Church Street. And I also got to paint a lovely Joni Mitchell lyric for the holiday window at Type Books. But the biggest news on the month (and year) was being part of the One of a Kind winter show. Months of preparation all led up to joining 850+ vendors for 117 hours over 11 days at Toronto’s biggest gathering of local makers. I feel privileged that was included in this world-class event, and thankful for every single person I’ve met during this experience.

This year would not have been possible without the support of everyone.
I wish you all the best in 2020.

CR

Looking back, moving forward

My mantra for 2018 was balance. After a hectic previous year, I made a goal to focus on work/life balance, which is always a struggle for freelancers. While I am very satisfied with (and grateful for) the work accomplished this year, I am most proud of my commitment to self-care throughout the process.  As in previous years (2011, 2012, 2013, 2014, 2015, 2016, 2017), here is my annual recap of how my year unfolded.

January started at a slower pace, allowing time to get the studio in order. I received my Communication Arts award in the mail, which was such an honour. (Turns out, it's really heavy!) You might know that I am obsessed with daytimers and calendars, so I released a new perpetual wall calendar - it makes planning out the year fun and easy. Biggest news of the year: I started taking tap dancing lessons!

In February, I participated in City of Craft's Made for Love Valentine's Day pop-up at the Workroom. I also had lettering work featured in Today's Parent magazine (yay for daydrinking!) I also had some downtime to start researching sign painting at the Toronto Archives.

In March, I was invited to offer hand-lettered cards and prints at She Matters, a fundraising brunch in support of the Barbra Schlifer Commemorative Clinic, which offers legal representation, professional counselling and multilingual interpretation to women who have experienced violence. I also shared some new custom lettering work for President's Choice + Sid Lee. New hand-lettering also got full page coverage in the West End Phoenix.

As the days started to get longer, April brought a new feature on chromatic type in UPPERCASE Magazine. Warmer temperatures also allowed me to do some window painting: Craig's Cookies (my first in One Shot enamel paint!) and The Theatre Centre. I also completed a huge custom chalkboard for Boxcar Social. And what a pleasant surprise: my article on custom signs feature in the May/June/July issue of Cottage Life magazine!

In May, I completed some hand-painted signage for Will O'Hare's photography show (part of the Contact Photography Festival), as well as a huge custom chalkboard for a real estate staging. Spring was in the air, so a new custom sign for Sweet Gale Gardens. I also completed a fun Pollock-inspired mural for Craig's Cookies. And the tapping continued!

After five months of research, I started a new project in June called #chrispaintssigns, using traditional sign painting techniques to explore letterform proportions. As we prepared for our latest instalment of Pixel & Bristle at the Drake Hotel, I launched a new series called Dishonest Signs. Also, my ABC250 monograph turned one!

In July, I shared a large scale window painting project for Michael Johnston Music School - four windows hand-painted with One Shot enamel paint. I got to do a cute birth announcement for Nicole & James at Type Books. More window painting at The Theatre Centre, and a quick sign for Gloria Cafe. Then I wrapped up my #chrispaintssigns project, and jumped on a plane...

I was away in Italy (!) for most of August, but did have time to prep something for the TypeCon silent auction, which happened in Portland.

September was quiet, but I did zip over to Calgary to offer a brush lettering workshop at UPPERCASE Magazine. My most popular Instagram post of the year was about the least popular Ontario politician in recent years...

Part of October was spent visiting family in Saskatchewan. I also prepared some graphics for my favourite wartime gal, Pearle Harbour.

In November, I partnered up with Wonder Pens to offer a special brush lettering workshop at their new Clinton Street store. Along with two special pieces for the Buddies Art Attack auction, I released some new work for the holidays, including an alphabet print, a GLOW-IN-THE-DARK Toronto signs print, and some coupon-inspired holidays cards. A couple of these prints were featured in the annual Swash & Serif typography show. And I also shared some new explosive lettering on pimple popping (!) for Chatelaine Magazine.

And then suddenly, it was December! Another round of Pixel & Bristle at the Drake Hotel, plus my first studio sale, and a pop-up at Gloria Cafe. I snuck in one more launch: a new ABC book published my the Harvest Commission. A quick custom window for Type Books. But my favourite and most meaningful project of the year: a special typographic portrait to celebrate the 80th birthday of Roberta, gifted from her four children: David, Jenny, Rebekah and Heidi. The piece is comprised of over sixty individually typeset words, names, phrases, places, artists, songs and events that have filled Roberta’s rich life.

This year would not have been possible without the support of YOU – those who purchased a print from my shop, liked one of my Instagram photos, or visited my studio. I am grateful to continue doing work that I love. THANK YOU!

I wish you all the best in this new year.

CR

5 questions

1. How did you learn to do lettering? 

I have always been enamoured with letters, alphabets, and writing - both printed and cursive. I was very fond of my grandmother’s cursive handwriting – beautiful & rhythmic – scribed on notes, recipes and greeting cards. As a child, I can remember sitting at her kitchen table, writing the alphabet, my name, and names of the family over and over again on lined paper. I liked that anyone could write the same 26 forms on paper, but they would be slightly different.This interest carried on through school and university, where I got a broader understanding of fonts, lettering, and typography. The lettering I do now – which most would call “brush lettering” – is self-taught, starting around 2009 when I first picked up a Tombow dual pen. I began by tracing and mimicking my favourite letterers, and then started to develop my own personal style. I started working with brush and ink in 2016 because I loved the roughness and irregularity. I am currently dedicating my time to fostering my showcard & sign painting skills.



2. Where do you find inspiration?

There is inspiration everywhere if you look close enough. For myself in Toronto, there are incredible type and lettering specimens hidden in plain sight on old shop fronts. One of my absolute favourite hobbies is scouring old bookstores, vintage stores and antique markets for curious ads, maps, education guides, lettering charts, packaging, signs & ephemera. I’m particularly drawn to anything from 1940-1960, during the golden age of commercial graphic arts. I especially love antique hunting in other cities – and countries. It is always a unique glimpse into the past.



3. What is your routine like as a freelance lettering artist? Do you do lettering all day, every day?

I have always been an early riser. On an average weekday, I am usually up before 7am so I can get emails out of the way and head to the studio. My best, most creative time is between 9am and 11am, so I like to reserve that time for lettering work, either personal projects, client work or commissions. I have a light lunch and then run to the gym for about an hour – it’s a perfect way to break up the day and get a boost of energy. In the afternoons, I either focus on computer work (digitizing, layouts, etc.), or allot time for meetings, errands, or deliveries of my prints (I like to hand-deliver all purchases within Toronto). In the evenings, I like to cook dinner and unwind, but often do a few bits on my computer before bed. If my work life was a pie chart, it would break down roughly as follows: ¼ graphic design ¼ client lettering & commissions ¼ personal lettering & online shop ¼ Ligatures events, workshops & admin



4. What do you think of this trend towards hand-lettering and analog techniques?

Traditional craftsmanship, especially in terms of hand-lettering, is experiencing a distinct resurgence right now. But we also can’t ignore the prevalence - and appeal - of digital techniques. In terms of my own art practice, I like to keep one eye on my work and one eye on the future. There are qualities of the medium (ie. the bristles of a brush, and the toothiness of a piece of paper) that cannot be simulated on the screen. We must acknowledge the change that new media is having on our craft, embrace the best parts of technology, but always retain a human touch.



5. You always look so busy! How do produce so much content? 

First and foremost, what you see on social media is a highly edited portrait of my studio life. Some weeks are exceptionally busy, others are not. My social media strategy (if there is such a thing) is to provide a glimpse into my work and process, while inspiring folks with my curious discoveries. Time is valuable (both mine and yours), so I promise to keep the posts fun and engaging. I am beyond grateful for every project I’ve worked on, every person I’ve met, and every word I’ve got to hand-letter. I’m feel blessed that I found a career where I can use my skills to help and delight people. This medium is my voice – everything you see on the page and in this feed is 100% me. Thank you for joining me for the ride.

Looking back, moving forward

I've been struggling to find a word to sum up 2017. Marathonic? This year, I am particularly grateful to friends, family and the creative community for their unending support. As in previous years (2011, 2012, 2013, 2014, 2015, 2016), here is my annual recap of how my year unfolded.

January started at a slower pace, getting things lined up for the year. I took some time to archive my Alphabet-a-Day project. I also created a meaningful and memorable sign for the Women's March.

In February, things went from a jog to a sprint. I released a new screen-printed Valentine cards. I zipped over to Regina to teach a Ligatures brush lettering workshop. Then, I was invited to speak at Creative Mornings Toronto; you can listen to the talk here. I completed my largest mural to date for Chocolats Favoris in Aurora, ON. I also had a super fun time doing a Ligatures sign painting workshop at Honest Ed's for Toronto for Everyone!

In March, I painted two charming signs for Sweet Gale Gardens, lettered a book cover for Shawn Hitchins, and created a new hand-lettered wordmark for UPPERCASE Magazine’s Make it Worthwhile project.

On April 1st, I invited my first intern to the studio. Chloe Develle joined me from Paris, France, where she is studying graphic design at l'École Nationale Supérieure des Arts Appliqués et des Métiers d'Art. Chloe used the studio to practice her lettering, and help me with a few cool projects (more in June…) I was also interviewed by TFO, a publicly funded French language educational television station and media organization, serving the province of Ontario. You can view the interview here. We had a quick set of Ligatures brush lettering workshops at C Studio. I also shared a new hand-lettered wordmark for Bay Street Bull.

In May, we took Pixel & Bristle to the Drake Devonshire in Prince Edward County.
I also did some branding for CdnStudio & Spider Web Show Performance. I was also a judge at the Adobe Creative Jam at OCADU.

June was exceptionally jam-packed. The highlight of the month (and the year!) was the launch of my first monograph, ABC250, in conjunction with a companion art show and book launch at Black Cat Artspace in Toronto. And for extra fun, I also unveiled my new 2017/2018 collection, which included dozens of new prints, postcards, greeting cards, apparel, and a special collaboration with SIGG water bottles. I also had a booth at Roncy Rocks!

In July, I co-curated and participated in Pixel & Bristle at The Drake Hotel, designed a logo for Cookie Dough Stand in Calgary, and completed my second mural of the year: an optimistic message in Toronto laneway. I also shared hand-lettering for a tasty new book, Brad Long on Butter.

August was surprisingly busy this year. I had the privilege of designing three cups for Sorry Coffee in Toronto. I shared my final mural of the year: an epic 3D mural for Cutler & Gross on Queen Street. But the biggest event of the month was attending my first TypeCon in Boston, where I had a table of offerings at the Marketplace, and a live lettering demonstration. So fun!

In September, I started a series of 12 new Toronto the Great prints, starting with Queen Street West.
I released a new print each Monday for 12 weeks; you can see them all here. Then, I headed to Montreal for ATypI (Association Typographique Internationale), where I taught a digital lettering workshop, and then presented a new talk called "From stroke to screen"; you can view the full talk here. On Sept. 23-24, I participated in the Queen West Art Crawl, one of Toronto's largest outdoor art markets. I also refreshed the store front of Telegramme Prints & Framing on Ossington.

In October, I took a couple moments to breathe. A new UPPERCASE magazine hit the stands, featuring a fun abecedary that I wrote and illustrated. I also revealed a companion print.

November began with a big announcement. My art had been selected for City of Toronto's King Street Pilot project. (#major) My work was also featured at the Buddies in Bad Times annual Art Attack auction, which raised money for Canada's most exciting LGBT theatre. I also shared my first lettering project for La Maison Simons, one of Quebec's finest department stores. The month wrapped up with the annual Pixel & Bristle holiday market at The Drake Hotel, where I unveiled my showcard-inspired sign painted holiday cards.

December was the most wonderful time of the year, with pop-ups at Gloria cafe, holiday deliveries a-plenty, and then Toronto's favourite market, City of Craft. It was a perfect way to bookend the year.

As you can see, this year was epic. It most certainly would NOT have been possible without the support of YOU – those who purchased a print from my shop, liked one of my Instagram photos, attended a talk, or visited my live lettering booth. I am grateful to continue doing work that I love. THANK YOU!

I wish you all the best in this new year.

CR

Looking back, moving forward

I would agree with the general consensus was that 2016 was a challenging year for most people, myself included. I am so grateful for the support of friends, family and my community. As in previous years (2011, 2012, 2013, 2014, 2015), here is my annual recap of how my year unfolded.

In January, I started my most ambitious lettering project to date: Alphabet-a-day, where I set out to hand-letter one complete alphabet each weekday of 2016. I also had a small illustration of my favourite numeral published in UPPERCASE Magazine.

February was busy with client work, but I took time to release 4 free downloadable Valentine cards!

Among other client projects in March, I had fun doing a logo refresh for Pocket Concerts. I also taught a Ligatures brush pen workshop at Shopify, and spoke about vernacular typography at Humber College.

In April, I zipped over to Calgary to teach a brush lettering workshop at UPPERCASE Magazine. The magazine also released its new issue, featuring my interview with Penguin UK book designer, Coralie Bickford-Smith. Two exciting lettering projects were revealed: a hand-lettered wordmark for Jane 100 (celebrating the work of Toronto urban activist, Jane Jacobs), and custom lettering for Seattle-based music Erik Blood's new album, Lost is Slow Motion.

May was super busy with client work, and preparing the launch of my new 2016/2017 collection. And, I settled into my first studio space, and started doing small lettering videos.

In June, my collection was previewed at the first ever Pixel & Bristle design market, which I co-organized with colleagues Margot Trudell and Marta Ryczko. It was a blast!

July marked three fun lettering projects (coincidentally, all in Toronto's east end!): a massive custom chalkboard for Wonder Pens, custom lettering decals for BRIKA store, and a hand-painted sign for the new French restaurant, Greta Solomon's. Also this little blog turned 10 years old!

In August, I launched three new hand-lettered products in the Ligatures shop.

September was pretty epic! After months of preparation, I made my 2016/2017 collection live on my new online shop and Etsy store, including 16 prints, a clock and my perpetual Calendar, with its own fancy microsite. Thanks again to my talented developer, Chris Roberts, for his help!

Then, it was off to Calgary to teach another brush lettering workshop at UPPERCASE Magazine. And at the end of the month, quite unexpectedly, I was invited to join Candy Palamater on CBC Radio q to chat about the future of handwriting. You can listen to the interview here.

In October, UPPERCASE issue 31 was released which featured not one, but TWO, articles about design for the performing arts. The first was with Ireland film graphic designer, Annie Atkins. And the other was with Toronto-based theatre set & costume designer, Michael Gianfrancesco.

In November, I eagerly attended RGD DesignThinkers conference as the roving reporter for UPPERCASE Magazine. You can check out my recaps here and here.

As well, my It gets better / It gets worse paintings were featured in Swash & Serif group typography show, as well as the Buddies in Bad Times Art Attack auction, which raises money to support Canada's best LGBT theatre.

And then, just in time for the Pixel & Bristle holiday market at the Drake Hotel, I unveiled my 2016 limited edition holiday cards.

And then it was December! I co-instructed a Ligatures brush lettering at Klick Health, and then capped the year off with Toronto's best holiday market, City of Craft. It was so much fun - a great, celebratory culmination of the year.

This year wouldn't have been possible without the support of YOU – those who purchased a print from my shop, liked one of my Instagram photos, attended a workshop, or visited my booth at City of Craft. I am endlessly grateful to continue doing work that I love.

May 2017 bring you peace and happiness in this ever-changing world.

CR

DesignThinkers 2016, Day 2

Jake Barton

Local Projects - museum/exhibit design (Smithsonian, 9/11 Museum)

“The Future of Virtual is Physical”

“virtual reality” is now much more than just masks on our face

poetry of experience

“genius is 1% inspiration, 99% persiration (attributed to Edison)

talent = person who has done his/her homework

projects discussed:

1) 9/11 Museum

stories projected on top of artefacts

a collection of memories (vs. just telling)

a container for stories

a communal space for NYC

“We Remember” gallery - global memories of the morning of 9/11/01

risk of allowing people to write their own messages - what would happen? 

lesson: trust your visitors - they will rise to the occasion and lift everyone up with them

inverted pools with inscribed names - randomness of order + meaningful adjacencies

creating a “latticework of human meaning”

2) Cleveland Museum of Art

platform used for patrons own expression

visitor placed at the centre of expression

social, performative

3) BioDesign Studio - DNA museum

can create competing organisms

people learn by doing

4) “Touch Me” exhibit - Times Square 

-communal experience - combined heart beats

5) ARoS / Rainbow Horizon (Denmark)

museums should be

-“a friend you want to spend time with” - more social / a shared experience

6) Hold On

interactive devices for kids to measure physics on the playground

playgrounds = physics machines

“technolgy that requires a friend”

extracting math and science out of experience

7) Let Go (Cooper-Hewitt Smithsonian)

interactive pen allows patrons to collection inspiration

pattern design - patrons able to export and buy via zazzle

fully immersive

Eddie Opara

Pentagram

“Design in Retrograde?”

industry is “under siege” from inside out

design must be stimulus for creative thinking, and must outlast critics

ie. initial criticism of Eiffel Tower faded over time

designs should be allowed to breathe (ie. Met rebrand, which was attacked immediately)

Brand New = Fox News of design world

need for better education - reading, writing, better dialogue

lobbying is dangerous if left unchecked (ie. petitions)

Quinnipac university - change.org and Fox News coverage

stop the retrograde

*create the change you want to see

Cory Doctorow

BoingBoing.com

“Dark Patterns & Business Models: “I Can’t Let You Do That, Dave.”

discussion of DMCA (Copyright act) and DRM (digital rights management)

lawsuits with HP, Sega, Skylink, Lexmark, Netflix, Sony BMG

we’ve entered uncharted territory with copyright, it’s legally terrifying

“software is eating the world”

huge implications for security landscape

cell phones = “pocket distraction rectangle”

DOSAs (Denial of service attack)

Botnets

RATs (remote access trajan)

-all threatening security, stability of web

feudalism resurfacing - control from above

us vs. corporations choosing products for us

solutions proposed:

1) Devices should obey their owners (not the corporation)

2) Security facts are legal to disclose

need for organizations and structures (ie. you can’t recycle your way out of climate change)

-Apollo 1201 - org looking to eradicate DRM

the stakes are higher than ever

HAVE HOPE

support organizations, have conversations

too much at stake not to FIGHT

Meg Lewis

darngood.co / ghostlyferns.com

“Creating a Personal Brand Mission

“I don’t have strong opinions”

considers herself a “value-based designer” - only works for companies that share the same values 

Ghostly Ferns

-freelancing firm of best friends

-no profit

outsider as a child, fascinated with TV / pop culture - “exaggerated versions of humans” - wanted to be that!

decided “I don’t want to be a boring adult”

was told she might be a “star person”

-native american tradition

-special beings sent from other planets to inject kindness and positive demeanour

-make the world HAPPIER

star people characteristics:

-lower than normal body temperature

-usually female

-swollen / painful joints

-short stature

-creative profession

“the world needs me!”

struggled in early career

-working for people who hated their jobs, hated their work

-constantly analyzing herself - trying to impress, act better/cooler

-started dancing, dance fitness classes (ie. jazzercise) - “danced my butt off”

EPIPHANY! “Why was I hiding?” + “What else have I been hiding”

began to analyze her flaws vs. her values

FLAWS

-unprofessional

-love change

-way to honest about herself

-not interested in separating work and life

VALUES:

-want to make the world a happier place

-friendships

-communities

-authenticity (ie. showing vulnerability)

asked herself “how can I adjust my career to reflect my flaws and values?”

decided to only work for happy companies

*work never feels like work

“the more I’m me, the more I succeed!”

lesson:

craft your life and turn your flaws into superpowers!

Steve Powers

firstandfifteenth.net

“Painting Blues”

as a child, interested in graffiti (ie. one word); as an adult, interested in art (ie. all other words)

interested in making art about life, accessible, personal

isolating basic human emotions into short phrases - playing with the misheard and the misread

“negotiation in life and love”

Emoji

-talking in pictures, as most civilizations in the past

-“post literacy”?

-destruction of existing language system? new language emerging?

current trend of “adult infantalism” in American art

- post 9/11, Americans don’t want to be confronted with complicated art

-looking for an escape

“the game is never over”

“get paid, and then do it again”

Ulysses pact - no plan B

design philosophy

fuck it up, then fix it up

*make better mistakes

“as long as I have ideas, I’ll never stop painting”

“you already have the best drugs in you”

“do no harm, bring some alarms”

“every song is a love song”

dedicates at least 5 minutes to painting each day

only takes on commissions if:

-he gets 100% creative control

-gets the money upfront

-gets as much time as he needs

Steven Heller

hellerbooks.com

“Make Eye Candy into Design History–A Story of Addition”

Previous work discussed:

NY Free Press

Screw

NY Review of Sex

Rock

Interview

The East Village Other

Ace

Monster Times

NYTimes Book Review

Publications discussed:

Typology

Shadow Type

Stencil Type

Paul Rand bio

Alvin Lustig bio

The Moderns

Iron Fists

Red Scared

“the desire to get under the skin has never left me” - strong anti-establishment, counter culture approach

“happiness comes from doing what you love”

David Carson

davidcarsondesign.com

“Self-indulgent Design”

makes work from his hobby - “it’s all personal”

the solution is in the thing you’re given

embrace restrictions and small victories

never snap to guides

*put some of yourself int it!

Day 1 here.

DesignThinkers 2016, Day 1

Paola Antonelli

MoMa

“Are We There, Yet? A Road Trip Through Utopia”

Obama quote: “this is the best time to be alive”

“utopia” is within reach

idea of utopia - perfect, in balance, harmony - keeps us alive

reference to Garden City Movement

-clean, perfect world (a bit fascist)

reference to 1960s

-cellular processes in architecture

-drugs, psychadelics

-desire for a better future

Torre David

-unfinished skyscraper in Caracas, Venezula

Robert Venturi essay “Complexity And Contradiction In Architecture”

-interested in contradictions - hybrid, distorted, ambiguous, perverse

Quantum design - future of design with mechanics, computers

ambivalence and ambiguity = collaborators

quirks and unpredicability

Schrödinger's cat

cat which is simultaneously dead and alive - tension

Ambivalence

-3D printing of viruses which can treat cancer (good) and hack DNA (bad)

-Design and Violence project (MoMA)

Entanglement

interaction between human and machine - tension

Japanese robotics - Hiroshi Ishiguro

Slow And Steady Wins the Race - NYC fashion design - white t-shirt project

http://www.slowandsteadywinstherace.com/

http://www.slowandsteadywinstherace.com/collections/white-t-shirt

Stefan Sagmeister - Casa da Musica / OMA

-building = logo = building 

bean bag chair - object with infinite shape combinations

Alex Schweder - Counterweight Roommate

Elemental - social housing

“half a home” - starter homes for middles class

building doesn’t exist until occupied

Kinematics dress - 3D printed in folded form, modelled off nervous system

art, science, design and engineering applied to a problem

Krebs Cycle of Creativity

SymbioticA - pig wings project

http://www.tca.uwa.edu.au/pig/pig_main.html

design by growth / growth by design

Brand and Phelan - bringing back passenger pigeon using DNA

Agapakis and Tolaas - human cheese

MIT Media lab - silk pavilion created by silk worms

also, bees create vase from honeycomb

“self-assembly” - provide environment for growth, natural cycles

Levin - Free Universal Construction kit

Minecraft - spacial trading in physical and digital world

Tobias Frere-Jones

Frere-Jones Type

“Punch-Cutting for Pixels”

“Why make more typefaces?”

typefaces are an engine, typefaces are solutions

“I love problems”

pixelized type = “fruit salad gone wrong”

problems with rendering Helvetica on screens - screens didn’t exist when it was made

CBS News 36 - first instance of type created for screens

metal type - each size is reproportioned correctly - “optical scaling trends”

hypothesis: screen text can be treated as an optical size

Mallory typeface - Std Book + MicroPlus

*typefaces should have equal relevance on page and screen - “what our eyes need”

Retina typeface - created for Wall Street Journal stock listings

difference kind of language - data-based

“duplexed text” (stacked), therefore, bold could not be wider

conclusion:

type is an engine which can have problems

the goal is always to make things better than they were

Kenya Hara

curator, MUJI art director

“Visualize and Awaken”

Projects discussed:

Haptic

Architecture for Dogs

Neo-Preistoria and 100 verbs

Exformation

-Plants (edible vs non-edible, shadows, uncontrollable + geometric diakon!)

-Nakedness (bums, tiny panties…)

-Woman (diverse possibilities of gender

-Tokyo (mask made of 200 faces, camouflage fashion)

House Vision

“make things known / make things unknown”

“Visualize and Awaken” - laws of the designer

Fredrik Ös and Erik Kockum

Snask

“Make Enemies & Gain Friends”

Snask = branding and film company

get fans!

brand yourself, dammit

create a good quote

how do YOU show change through design?

dare to be BOLD

stand up for your opinions - it’s not f*cking hard

Campaigns discussed:

Target

http://snask.com/case/target/

Folkoperan

http://snask.com/case/folkoperan-love-at-folkoperan/

North Korea rebrand

http://www.love-is-korea.com/

nicer to love than hate

Ahlens

http://snask.com/case/ahlens-2/

Monki

http://snask.com/case/monki/

Ninjaplast

https://www.youtube.com/watch?v=xJzQjtflZxw

http://www.ninjaplast.se/

Erin Sarofsky

Sarofsky Corp.

“Sarofsky’s Top 10 Design Philosophies”

designer, animator and collaborator

“design-driven production”

stay informed and educated about the process - it’s the only thing you own

Philosophies (and portfolio examples)

1) It’s all about the concept.

Captain America: Civil War

Shameless

2) Less is always more. - process of reduction

Captain America: Winter Soldier

Aleve ads

3) Typography! Hell yeah!

Budweiser

Guardians of the Galaxy

4) Set the tone.

Absolute Vodka

Animal Kingdom

5) Just because it’s called Ant-Man doesn’t mean it will have ants. - obvious solution is not always the answer

Ant-Man

6) It’s okay to have an agenda. -do projects that feed your soul

Girl Rising http://girlrising.com/

7) Work clean.

8) Designers need producers. -importance of collaboration

9) Client is not always a moron. -nurture relationships, teach them the language

10) Design is an opinion, SO HAVE ONE.

Rod MacDonald

Fonts.com

“Positively Grotesque”

-discussion of Classic Grotesque / Monotype

https://www.myfonts.com/fonts/mti/classic-grotesque/

Leland Maschmeyer

Chobani

“Into the Dark”

always trying to push the ball forward

always thinking “what’s next?”

“dragons” =

things that protect, enslave, threaten progress

metaphor for life-denying problem

moral of every fairy tale: ten times as big doesn’t mean ten times as hard

designers are creating, enabling new life

acting with courage, confronting what is scary, slaying the dragons

influenced by John Ruskin

“Stories of Venice / Nature of Gothic” - lead to William Morris, Arts & Crafts Movement

looked at nature vs. cities (capitalism)

“Unto this Last” - study of art and economics - use tools of art and industry to UPLIFT HUMANKIND

embrace the agony of personal growth

projects discussed (i.e. dragons he’s played):

1) EOS lipbalm

took on Chapstick (by Pzifer)

adopted Method’s design approach: “live with me” (vs. “buy me”)

lesson: avoid where dragon is strong, attack where dragon is weak

2) Solid Gold dog food

tasked with rebranding natural dog food with weird mystical packaging

influenced by Emilio Pucci - 60s fashion design

had to work with company’s existing illustrator - had to learn to work with him, not against

lesson: don’t slay your dragon; train it

3) Chobani = Modern Food Company

interested in real, natural food=

simple, natural, healthy, social, ritualistic, flavourful, traditional, rich in meaning, diverse, emotional (not purely functional), honest

current food system established by Napoleon - found a way to get “fresh” food to front line of war - design “contest” lead to invention of CANNED FOOD

canned food - functional food = 

pleasure → speed

fresh → preserved

natural → imitation

flavour → additives

diverse → uniformity

taste → shelf life

communal → self-serve

Napoleon’s technique applied to world wars - post-WWII USA had extra canned food, so army rations were marketed to public as fast, easy - we are eating modern army rations

dragon = tyranny of FOOD AS FUEL

food will be next great movement / revolution - convergence of public health, politics and economics

unlike elections, we are casting our votes 3 times/day with the food we buy

Chobani is putting design at the heart of the food movement

Day 2 here.

Looking back, moving forward

2015 was a marathonic year, with many hurdles and obstacles, but also great rewards.
As in previous years (2011, 2012, 2013, 2014), here is my annual recap of how my year unfolded.

January was cold and long. I kept myself busy creating the Emoji Alphabet Project.

In February, I completed a chalkboard at The Body Shop. I also started the Emoji Alphabet Project, which got some nice press.

March brought some more nice press for the Emoji Alphabet Project. I also did a special piece of art for the F**k Status Quotes project.

In April, I did a big menu chalkboard for Church Street Espresso.

May brought spring weather and a chalkboard for RedLab Digital. I also had the privilege to
co-instruct Type Camp pointed pen workshop at TDC (Type Director's Club) in New York City. Amazing!

June was a busy month for client work. Ligatures also held our first Type Attack!

In July, I co-taught a special Ligatures brush pen workshop in Calgary, in partnership with GDC (Graphic Designers of Canada) and Uppercase Magazine. My sister also got married, and I turned 33!

August was filled with two back-to-back Ligatures brush pen workshops in Toronto, introducing a fun new layered alphabet in the workshop plan.

September was all about my big 2015 rebrand. More photos here. I also unveiled a special painting, created for the Buddies in Bad Times Art Attack auction.

October was busy to say the least. My Ellen Lupton interview was published in Uppercase Magazine. Also, the Toronto Etiquette Project (and my mugshot) were featured prominently on the masthead of the Toronto Star's GTA section. I was also thrilled to share that my 2011 poster of Macbeth for Shakespeare Toronto / Classical Theatre Project  was published in the new Mirko Ilić / Steven Heller book Presenting Shakespeare: 1,100 Posters from Around the World, published by Princeton Architectural Press.

In November, I unveiled my winter collection 2015, including reveal the new Emoji Map of Canada. I had the privilege of attending RGD DesignThinkers on behalf of Uppercase Magazine. Here are the links to Day 1 & Day 2. November was also a busy month for chalkboards: a massive 25 foot one for Flock restaurant, and three for the new Loaded Pierogi restaurant.

December was all about City of Craft Winter 2015, with some special products created just for the show. The event was a huge success, and I can't wait to apply for next year's show.

This massive year wouldn't have been possible without the support of YOU – family, friend (new and old) and clients (new and old). Thanks to everyone who purchased a print in my shop, donated to my 10K run, liked one of my Instagram photos, attended a Ligatures workshop, or visited my booth at City of Craft. Your generosity inspires me. I am truly blessed to do work I love each day.

May 2016 bring you happiness.

CR

DesignThinkers 2015, Day 2

2.1) Austin Kleon
Designer, author: austinkleon.com, Austin, TX
"How to Steal Like an Artist"

• in high school inspired by Green Day Insomniac album art - collage work by Winston Smith
• as a class assignment, wrote a letter to Winston Smith (in Microsoft's ransom font) - got a handwritten, 12 page reply - changed his life
• interested in redacted newspapers - "CIA haiku" - blackout poems
• soon discovered this concept was NOT unique; previously done by:
• William Burroughs
• Brion Gysin
• Tristan Tzara
• Caleb Whiteford et al.
• nothing is original; therefore, steal everything!
• stealing has been used or endorsed by many artists:
• Pablo Picasso "Art is theft."
• David Bowie "[I'm] a tasteful thief. The only art I’ll ever study is stuff that I can steal from."
• Woody Allen
• Kurt Vonnegut
• Bob Dylan
• TS Eliot "Immature poets imitate; mature poets steal."
• Francis Ford Coppola "Ripoff everyone you meet."
• imitation is not flattery; transformation is flattery
• take what you know and share it
• learn, teach - repeat
• just keep telling yourself: it's art.

2.2) Manuel Lima
CodeAcademy.com, New York, NY
Author: Visual Complexity: Mapping Patterns of Information, The Book of Trees
"Visualization Metaphors: Unraveling the Big Picture"

• we are in a data deluge
• similar transition happened in the Middle Ages
• overhaul in book production
• cheaper printing created
• emphasis on classification and organization
• beginnings of visual communication - graphics replacing text
• search for universal language
• form vs. function - should be no distinction
• TREES = source of
• food
• medicine
• energy
• shelter/wood
• TREES = visual metaphor for
• virtues/vices
• consanguinity
• geneology
• law
• knowledge/science
• trees vs. networks - tree metaphor can no longer handle the complexity of the modern world
• the 21st century is characterized by organized complexity (Warren Weaver)
• the brain should be seen as "an orchestra" (not a series of compartments)
• humans do not conform to rigid structures
• tree = spider = centralized - can be destabilized by removing source
• web = starfish = decentralized - any part removed only grows back
• value of multiple viewpoints (Thirty-Six View of Mount Fuji)
• networks/"networkism" - new visual trend/meme - seen in art - emerging as a zeitgeist

2.3) Chris Dixon
Design Director, Vanity Fair, New York NY
"Telling Stories with Words and Pictures"

• job at Adbusters - learned through trial and error, experimentation, flow and pace of a magazine is like a film
• job at New York Times - learned about quick turnarounds (9/11)
• job at New York Magazine - learned about making photographic solutions

2.4) Sebastian Padilla
Co-founder, Anagrama, Monterray + Mexico City, MX
"Going Fast to Nowhere"

• as a child, had ADD, was not passionate about design
• graphic design was the easiest program to get into
• was CURIOUS
• embraces "Mexican happiness", camp, and colour palette ("Mexico invented colour")
• experimented with "norm-core" for taqueria rebrand
• success = balancing small clients (interesting) and large (well-paid, good exposure)
• no harm in admitting "I can't do it on my own"
• you can do just about anything if you find someone who has/values
• energy
• diversity
• sharing
• principles
• skills
• trust

2.5) Michael Lejeune
Creative Director, Los Angeles Metro
"The Power of Staying Put"

• "stay put" = let something grow and blossom
• LA was awarded "worst traffic in the country" 25 years in a row
• campaigns begin to address this - ie. "what do you see when you're not driving"
• "Stay put to learn your corps."
• know your team, your people, your community
• replace out-of-the-box solutions
• "design works"
• "Stay put to change your corps."
• everything is an opportunity for clarity
• do what is not expected
• "Stay put to be where you are."
• Metro campaign "the agency of MORE"
• more savings
• more lanes
• more jobs
• "Stay put to see the future."
• you are not fully committed until you are full committed
• "Stay put to be valued."
• "Stay put to rock."

2.6) Paddy Harrington
Founder, Frontier Magazine, Toronto, ON
"A Field Guide to Creative Adventuring"

• "Make it big and put it in the middle." -Bruce Mau
• the number of objects an average human can hold in working memory is 7 ± 2 (George Miller)
• memory power (rational brain) decreased when faces with emotional decisions
• we live in saturated environments where we are bombarded with information
• the tree vs. the web - combine the two?
• Frontier = part magazine, part studio, part ventures
• power of making something you can hold
• "Christian Bale-ing it" - turn problems into opportunities
• "calm makes calm"
• finds inspiration from NFB archives
• find what you love – no matter what it is – and embrace it
• take creative risks - the promise of BETTER
• balance risk taking and protecting your job
• most people in the world have no idea what it's like to create something NEW

2.7) Frank Chimero
frankchimero.com, ofanother.com, Brooklyn, NY
"Design is Borderlands"

• on creating the ultimate New Yorker comic caption: "Please add me to your LinkedIn professional network."
• went viral, acknowledged by LinkedIn (sort of), published in New Yorker = success

• things Frank didn't do:
• draw the cartoon
• write the original LinkedIn email
• write original caption
• write Atlantic article, etc.

• things Frank did:
• heroicly and geniusly copy and paste some text

• apply this lesson to daily client work - be more humble, modest, turn down bravado
• drop the baggage, ego

• design as method of decoration
• got bored - became "sad clown designer"
• change frame of reference - do something different

• design as manner of construction

• design as process of articulation
• earned through self-reflection
• give yourself space to learn, room for doubt, self-ignorance

• doubt should not be feared but welcomed
• from doubt comes opportunity
• find a place for doubt in the designer's toolbox
• accept "I don't know"
• "sometimes a rose can grow out of bullsh*t"
• how can you find what you don't know...
• the question is more important than the answer

Day 1 here.