(c) Design courtesy Dave Plunkert, Spur Design for AIGA Baltimore 
- (c) Design courtesy of Dave Plunkert, Spur Design
Overheard on the web (…not exactly possible) but anyway: What is your best-loved graphic/typographic movie title?
A teacher teaching a class on typography asked a group: “I am teaching a course on typography which will touch on the concepts of type in motion. I would love to hear your favorite film titles.” Here are the answers from a creative group on LinkedIn.
“The Wild Bunch”, Sam Peckinpah
“North by Northwest”, Saul Bass
“Sleepy Hollow”, Tim Burton
“Lemony Snicket’s A Series of Unfortunate Events”
“Altered States”
“Helvetica”
“Catch Me If You Can”
“Fight Club”
“Stranger Than Fiction”
“Up In The Air”
“Seven”
An interview With John Starling of Smith Growth Partners…
Meeting John at his Mill Centre office was a nice, quiet experience in the midst of a hectic October.
This interview ended up being vastly different from some of the other interviews we’ve done (and not in a bad way). In seeking to gain insight into what John does, I really ended up being the subject of his approach, with the meeting starting off with our initial casual conversation, which touched on Baltimore politics and other local issues, where we caught up a bit (I had met him at a BLEND event), eventually squared by having us share our similarities. It was almost as if I had interviewed a designer and by virtue of what she does, she just starts designing a poster on the spot for me.
John Starling represents a calming, attentive force, helping to craft vision and achivement strategies for companies, as he recounted in our conversation. And while I can’t vouch for his clients, I had a real sense of his understanding, just by the way he listened. Real easy, disarming. Our conversation, in which he revealed that he’s a black-belt and former MP, touched on how he worked to surpass his own limiting beliefs to be a better person for his family.
He has also shared his vision with kids from his Hampden neighborhood. The resident of nine years says that the kids essentially need the same vision training that CEOs need. He reminds them of their path and helps them clear the mental roadblocks that stand in the way of reaching that vision. Converting the meeting into a “Chris Jones Mindmap” working session, John asked me to identify three goals. That actually took some time.
What I’ll say about that here is there’s sometimes a person deep inside you who still lives the life of some past pain or some past failure. (For me, that’s the person who feels like an outsider, an odd fit). That person needs to be reconciled and it’s revealing to meet with someone like John and within a 35-minute conversation reach that point where you’ve shifted to a deep conversation with him—and ultimately with yourself.
Recently I was treated to a webinar that Smith Growth Partners gave on vision, where John moderated. He spoke at length about this process. So, sitting down, how was I not prepared for the self-discovery that he would engage with me? John, who was a part of the company when it was called Smith Content—when their projects revolved more around writing for clients—focuses mostly on company vision and achievment, although the company still takes on has writing assignments.
The comment from his webinar: “Growth [at the professional level] doesn’t come from addition, it comes from subtraction.” stands out for me. A slide from the webinar below then charts a clear, immediate path to the mindset one should display to themselves in order to be present for what they want.
While I’m no stranger to books about vision, it’s resounding to meet one for whom the listening and challenge-confronting is just a matter of course and who helps one talk out the disempowering belief system that has been archived into one’s mind. The most interesting thing about the interview was the mind-bending it would do. The result was an interview with a writer and vision achievement consultant who would really listen to you and help you hear yourself a little more…
Lastly, John’s conversation supplanted the disempowering belief with a new belief. That belief reinforces the sense that my best is good enough to achieve the things that matter to me. The subsequent sense is that I do belong to the endeavors I choose, and engage in the action of taking them seriously by being present to my desire for achievement and actively working toward that achievement.
Last Minute Vendor Connection Illustrates The Value of “Connecting”
Often, I like to speak about the importance of “connectedness”. In a past post, I described the Mark Simon matrix of “How We Get Hired” and the fact is being good is not enough, it’s about getting in the crosshairs of people who know and trust your work. This message is one that I try to send to the vendor and partner community with regard to AIGA Baltimore and its thriving community of creative people and designers. It’s also a message that the same community (all of you) should heed when it comes to connecting to your respective communities for work.
Here’s an excerpt from an email sent to me when, as the board has been preparing for Pulp, Ink & Hops, our vendor showcase and networking event, I get a call asking if I knew a vendor that could meet a specific need. Well, of course I do!! And no, not just because they are in our vendor showcase. It happens to be no coincidence that some of our partners who continually reach out to us, both in board capacities and off, are top-of-mind when certain projects arise. Such is the case.
“Thank you so much once again for your help. We are very fortunate to have an association like AIGA around – time and time again, I know I can always count on our great membership to help out with all our crazy designer needs 😉
I passed on [vendor’s] info to [contact’s company] president, [contact] (also former [local AIGA chapter] Board Member) who should be contacting him shortly. I made sure to tell [contact] to let [vendor] know that we got his info from you!”
The facts are clear. There is no understatement about how tough a era it’s been with the overhang of a large recession and its slow recovery. I’ve been in conversations with longtime vendors and community partners whom were unavailable for this year’s show because of the specific compromises the economy has made on their businesses—some who are no longer in those businesses. Those compromises, while in some cases are very specific, cast a pall over the whole atmosphere. Yet, we still must move forward, and pick up where and when we can, celebrating the process that brought us here and changing our practices to fit the new way we work.
Design and the businesses in which it circulates, are still, businesses about great skill, but then it’s also business about fit and trust. Sometimes, the best designer or printer isn’t the most skillful, sometimes the best designer is the most reliable and trustworthy. Choose to be a little of both. In an era when the crisis of confidence is often about one’s ability to pay attention, not a question of the ability itself, our ability to dial-in to our communities’ needs and help to service them pays off. Events like Pulp, Ink & Hops help to mind that gap for designers with projects and vendors looking for contacts.
Greg Bennett, aka WorktoDate, The Interview
Greg Bennett of WORKtoDATE is a tour de force. While the accolades pour in, what’ I find most distinctive is his take-no-prisoners approach to creative communication. His approach, “total immersion” hearkens the world view of a method actor, who upon getting an assignment, becomes that assignment through its development and discovery.
Noted author, Jim Collins, of the book “Good To Great“, characterizes such proliferation as “disciplined person + disciplined thought + disciplined action.” The loudest thing about Greg is his quiet sense of resolve (e.g. “In 1997, I decided I would make my mark on the world through my graphic design”) meted out through his words and his works. And if by works, you have no idea what I’m talking about, take a gander at the sheer body of work he uploads to his online portfolio, his website, and who he’s looking at… impressive. All that and a full-time gig to boot.
So, it’s no wonder that he’s getting national and international attention. Yet, he’s approachable enough to meet at a conveniently placed north Baltimore coffee shop and to bend his ear a bit on greatness, AIGA and subjects in-between.
Greg: Let’s do a round-up: You were recently profiled in Communication Arts (CA) and billed as a fresh mind in the field of graphic design. A quick tour of your website reveals more than enough to introduce you including the recent inclusion in the Graphis Poster Annual 2011, among many other accolades. And of course, you were gracious enough to design the Pulp, Ink & Hops poster that debuted last year. Thanks again and welcome.
What’s the newest thing on your drawing board?
I’m preparing a presentation for the Art Directors Club. They invited me to participate as a judge and asked if I would give a presentation about my work and design process to the club.
How would you describe your style?
Rather than focusing on a particular style, I’ve always focused my time on searching for unique concepts which separate my clients from others. Once I find the concept, I let the idea drive the execution.
The economy has changed the nature of projects. Describe how that has played out for you in your projects at all.
Now—more than ever—clients recognize the value in and need for standout creative in order to achieve their business objectives.
Describe how York, PA—as the base of your education and your current home—informs your design process, if at all. … And does the commute to Baltimore add or subtract from that process?
My creative process is the same no matter were I am. I always start a job with a strategic brief which is a list of questions which I’ve compiled that ensures both parties are starting a job with the same business objectives. With my client’s objectives top of mind, I begin researching the product, service or brand that I’m designing for. While I’m researching, I’m writing unique differentiating details and concepts which separates my client from others. Concept exploration with a pencil and paper is still the most efficient problem solving method for me. Regarding my commute, I spend 8-10 hours a week in my car. At first, it was a real drag until I began utilizing that time making daily hit lists. These lists help me capitalize on every opportunity I’m presented with.
You seem to be thriving amongst the divide of “day-lighting,” as senior design director at Siquis, while freelancing through WORKtoDATE. What advice might you have for those who work in-house or are working in an environment where they feel they could use more fulfilling assignments and outlets for their work?
My advice is to stay selective and only take on freelance opportunities which have both creative merit and monetary gains. I pass on a lot of opportunities because they don’t meet both criteria. By staying selective and patient, I’ve been able to build a portfolio and reputation that has begun selling itself.
Talk to me a little bit about productivity: I recently read a book on the development of ideas. I’m curious to hear your take on productivity, because you furiously update your portfolio, website, and/or present your work, (genuflection) etc. Is there a specific approach regarding productivity that informs your approach?
I live my life supporting the concept of total immersion. My work life and personal life are one. If I have an idea or think of something that will strengthen my presence in the world, I stop whatever it is I’m doing and do it. Talk is cheap.
This year, you were profiled in CA, but you’ve definitely been around for a while. Your work is receiving a boon of national and international attention—and rightfully so. Describe how and why your world view has resonated with these sources.
In 1997, I decided I would make my mark on the world through my graphic design. That has always been my intention but it takes time to prove yourself to both clients and colleagues. Respect is earned, not given.
A while ago, I saw a commercial where a Heineken commercial where a regular guy was among a “hall of superheroes” all of whom had super-powers. Each of them displays their super-power and when they got around to the regular guy, it turned out he could magically make bottles of Heineken appear. So, as a regular guy, what might your super-power be? Your weakness—your kryptonite?
My power is my passion for creative excellence and my kryptonite is spending more time on a job than what the client is paying for.
Why AIGA? (What value does AIGA help you connect with, if at all?)
AIGA helps remind the world that design is both a process and profession.
Talk to me about your philosophy: (excellence and always seeking to stand out—CA, 06/10). Expanding on this a bit, I think many, to some degree, agree with this philosophy, but I’m curious to delve into what you view as the path to extraordinary that many people don’t take.
I consider every job a creative opportunity no matter what the budget, scale or scope is. I could be designing a mint wrapper or a wine bottle label or an international branding campaign. They all get the same attention to detail from me. I believe you’re only as good as your last achievement.
What have you learned?
A proven reputation of creative excellence instills confidence into clients. A confident client will take more meaningful risks with you.
Find Greg Bennett on the web at WORKtoDATE.com. Interview by Chris Jones.
Q: “What’s Going On?”
Handset Type Workshop
A few weeks ago, six Baltimore-Area designers traveled to the studio of Lead Graffiti in Newark, DE to participate in a moveable-type workshop. The group of designers worked as a team—with considerable help from Lead Graffiti—to produce a 14-page art book based around the 6 letters that compose the word “D-E-S-I-G-N.” Each participant designed a 2-page spread inspired a by a specific quote about design.
The participants set their own type by hand from among hundreds of cases of lead type. The spreads were printed on a single sheet using a Vandercook press. Designers got the opportunity to have some hands-on time printing on the Vandercook as well as line-casting type using an Intertype machine. Everyone received enough materials to make multiple copies of the book (several of which will be available for sale very soon on our Felt & Wire store).
Many thanks to Rey Nichols, Jill Cypher, Mike Kaylor and Tray Nichols for sharing their wealth knowledge of hand-set type and letterpress printing, as well as for their hard work and assistance during the workshop.
Post written by Sean Heavey.
Debbie Millman Speaks To AIGA Baltimore Audience On Brands …
Debbie Millman, president of Sterling Brands, presented to an AIGA Baltimore audience of approximately 70 people on the topic of the essence of brands. The talk discussed brands, not so much from a pure design point-of-view, but discussed the nature of brands, their development and where they’ve gone and where they will go in the future.
As people, she categorized the human existence as “making and marking,” each with a valued role in the distinguishing of the tools, products and services that are in our lives. The talk spanned the quintessential meaning of what branding was (the physical impression bof ownwership on livestock…) to the development of simple and then more dramatic iconography, the elaboration of which we live with today.
She also delved into the nature of branding and discussed the evolving nature of modern brands with the modern era legalization of the trademark in 1876. She even uncovered the first “modern brand” for the audience.
As for the nature of brands, 5 waves of modern branding:
- brands guarantee of quality (1875-1920) and safety. Brands were often first associated with particular people. (Qualities and values of those folks).
- brands become “human”… (1920 – 1965)
- brand as self-expressive statements… (1965 – 1985) brand –status
- brands as an experience…
- limbic brands — brands as connectors/communicators
Brands are now ways to frame conversations for increasingly divided and singular audiences. These brands now connect people to experiences, initiatives beliefs and ways of living. In an increasingly individual existence, brands and modern technology increase or enhace our connectedness to the world.
She pointed out some staggering facts: Average young people in the US spend approximately 8 hours a day online. Human brains create new frameworks to connect in the computer and digital age to keep up with the evolving technology of communication (low and high-tech).
She maintains: “We can create symbols that create ways for people to understand and live”. We have the power to craft a view of how people relate to life.” All this underscores the value of both the maker and the marker.
Dave Plunkert of Spur Design, The Interview
Dave Plunkert is a nationally-recognized designer and illustrator based here, in Baltimore, where he operates Spur Design with Joyce Hesselberth. Their studio provides full graphic design and marketing communications services for both print and interactive media. Since 1995, the studio has produced award-winning work for national and local clients.
According to Wikipedia, In 2009, Plunkert received the Best Poster Award at the South by Southwest Festival (SXSW) for the poster he designed for Antidote Films’ documentary “The Dungeon Masters. “Recently, Dave was gracious in agreeing to speak with us and designing and illustrating the poster for the upcoming 2010 Pulp, Ink & Hops.
Q: Any interesting projects you’d like to discuss?
Spur recently completed the Directory of Illustration 27 featuring artist Colin Johnson. Aside from the editorial illustration jobs there are a number of poster jobs currently on my table.
Q: With 15 years under your belt as a studio principal, what do you know now that would have helped you had you known it when you first hung a shingle?
It took a while to realize that a big part of business is simply finishing a job and moving onto the next one.
Q: Has the economy changed the nature and/or scope of your work?
Budgets are a bit tighter and the flow isn’t as heavy as it was during the boom years but its nice not working every Saturday. But I’ve fortunately never had to lay anyone off since we opened the doors.
Q: How does Baltimore figure into your work? Does it (being local to Baltimore) shape the way national clients view what your studio brings to the table?
Not that I’m aware of on illustration side. As a designer I think that opportunities still tend to be somewhat local because the process sometimes requires face-to-face meetings.
That said, I think our California clients like that we’ve been working on their projects for a few hours before they start their work day.
Q: The AIGA organization has initiative in place to describe the skill/work process set of the designer of 2015. That would be the 20th anniversary of your studio and looking forward, what skill/work process do you see the designer of 2015 as having or needing to possess?
Same as always…. they need to be able to concept and execute an idea from start to finish and be flexible, curious and on their guard in regards to technology. Hopefully the initiative won’t include a lot of stuff specifically about the internet and social media.
Q: Describe the tension of doing work that allows you and your studio to do work that’s not defining, but yet being known or a particular style:
Well, the tension comes from striking that balance of experimentation and formula on a given job but not giving into trends or getting lost in the woods.
Q; What Have You Learned? (Free Form Parting Thought, like Esquire Magazine).
That the best thing you can do for yourself as a designer is not get too comfortable.
Find Dave Plunkert and Joyce Hesselberth on the web at spurdesign.com. Interview by Chris Jones.
Photopolymer Workshop
Last weekend was the Photopolymer Workshop by AIGA Baltimore and Typecast Press. Mary Mashburn, of Typecast gave a tour of the shop while going over letterpress history. Then she showed the magic of creating a photopolymer plate. Each participant go to print their own Baltimore themed postcard design, and they then did a print exchange at the end. Everyone got to work on the two Vandercook presses, and a good time was had by all.
- (c) Alissa Jones
