The Art of The Mistake …


Sanitary Sfwer?

We all know mistakes happen. Sometimes, there’s little more one can explain. But often more times than not, we can be mindful of not only eliminating the mistake, but the conditions under which they occur.

For instance, I know nothing about the circumstances under which this sewer cover was mass-produced and put into my neighborhood, and ostensibly others. There are at least two like this in my neighborhood, by the way. Nonetheless, people twenty years from now have the opportunity to ask themselves “what happened” that might allow this to occur? While I may never know it gave me a chance to muse on mistakes I’ve made and how continuing to be unafraid to make mistakes anew, while redoubling the process behind dealing with mistakes can help to eliminate as many as possible.

While some confuse me with a designer, very few confuse me with a writer. I do write, of course, but not in the way a real writer writes. I focus on getting it done and getting it out. This means that even if I’m working the solo project or the big board project, I have to have a system in place to catch the little errors and gaffes that easily slip by when I’m working—my mind going a mile a minute.

When I played baseball, I used to write “E5” (the classification of an error by a third baseman—my former position) on my fielding glove, a constant reminder that the next error was right around the corner. This gave energy and passion to the process of preparing myself for as many situations as I could by taking as many practice ground-balls, to get myself as ready as possible. Instead of being afraid of the possibility of the mistake existing, I tried to confront the reality that they may very well happen, but preparedness may help to deal with the problem.

Same in civilian life. We all have processes that can help avoid mistakes, but in truth, we (society) don’t always take them seriously. Look at the reductions in staph infections when hospital workers (no, not just cafeteria people, nurses and doctors, too) take the care to address cleanliness, and subsequently witness and enjoy significant reductions in infections when processes are put into place regarding simple things like washing hands, etc.

Or, my favorite—and one of the more ubiquitous—is the airline pilot’s checklist system (emulated for many things including software to prepare files for press) as a way to decrease unchecked issues which can affect safety. While we are all familiar with these methods of reducing errors, that doesn’t mean we take the time to practice them. Like the difference between an art (practice) and the science (knowledge) many mistakes persist, when we (and by we, I mean I) fail to discipline ourselves to follow our systems for reducing mistakes.

And as we pointed out, it’s simple things. On the board, it’s a process of having the web chair review and set up the newsletter or email that was prepared to send out. The mistakes have a familiar story (I had to rush it…) In my own work, it may mean having a fruitful free-development session followed by an equally vigorous editing session.

A lack of discipline to adhering to a process that allows us to do our best work allows the opportunity for mistakes to creep in and for those mistakes to threaten the body of work on which we work. As a designer, I am the goalkeeper of the a work’s printed existence. While there are other steps in the process whom are all accountable: proofreader, client, mistakes reflect just as bad, if not worse on the designer.

(c) Shapiro, Allworth Press

I’ve come to think of the best designers as exhibiting control, not controlling. They volunteer (and build it into their fees) to do press checks, to review the files, etc., because they recognize the time-cost of doing these things is well-worth the value in comparison to a process where the file has to be reprinted. They proactively communicate their schedule and availability, including client-review timelines, to fully inform the client of the time needed to properly turn files. As a designer and a responsible party in the process, it’s up to us to take the reins and eliminate the mistakes.

Just as threatening can be the process of setting expectations for colleagues and clients. One of my favorite book covers is the cover for Ellen Shapiro’s The Graphic Designer’s Guide To Clients: How To Make Clients Happy And Do Great Work. The book is a great read and reminds me that the process of working with clients is very much a contact sport. Clients hire designers for their expertise and designers must be professional in exhibiting that expertise in their projects and work process, because it helps the work.

While there’s often a give-and-take there, better clients, no matter what type, will respect the process that a designer exhibits (and by exhibits, I mean informs in writing and in practice) in order to put the best product out there.

I’ve had clients for whom this was an issue and, get this, I felt it was a”mistake” for us to continue working together. Because when the same concerns crop up and there’s nothing or little I’ve done to help them, I only had myself to blame because I saw them in the process. So, in some cases, the art of not making mistakes is about embracing the courage to execute projects in the best way for them to be done well and backing that up with the discipline and the process to see them through.

Finch Paper & Baltimore Color Plate joins forces with award-winning design director Greg Bennett aka WORKtoDATE to help make a difference in Haiti.

The Haiti Poster Project

Recently, Finch Paper joined forces with internationally recognized, award-winning design director Greg Bennett aka WORKtoDATE (www.worktodate.com) to help make a difference in Haiti. This poster and many others have been donated to the Haiti Poster Project. The Haiti Poster Project was launched three days after the January 12th, 2010 earthquake in Haiti. The project is a collaborative effort by the design community to help effect change through our work. Signed and numbered, limited edition posters have been donated by designers and artists from around the world. All money raised will be donated to Doctors Without Borders. This poster is now available among many others.

The concept for this poster “hope lies beneath” was inspired by Haiti’s nickname, La Perle des Antilles. La Perle des Antilles translated from French to English means The Pearl of the Caribbean. A pearl is symbolic of something precious that is sought after. I chose to use it in my design to represent the people affected by this earthquake. I’ve incorporated several Easter eggs in this design revealing facts about this earthquake and if you look closely, you may find a silhouette of Haiti’s country.

A special thanks to Signe Renn and Baltimore Color Plate (www.baltimorecolorplate.com) for donating their printing expertise and Mike Chester of Finch Paper  (www.finchpaper.com)  for donating the premium paper.

Please visit THPP to purchase this poster or learn more.   http://www.thehaitiposterproject.com/

Gilah Press + Design Letterpress Tour

courtesy of Alissa Jones

In a world where computers can do almost everything, there is a little print shop in Baltimore named Gilah, that is about 100 years behind. Gilah Press + Design and AIGA provided a tour of the letterpress print shop on August 25th. This quaint little shop is a perfect fit for Baltimore—with its Natty Boh mustaches around every corner, and gnomes guarding every door. A press operator led the presentation—showing us everything from how they make their photo emulsion stamps, to loading the press up with ink, and getting the job “rolling.”

During the example, we were showed how to change the depth of the impression left by the stamp, by changing the amount of paper under the mount. By the end of the example, everyone had a beautiful, handmade thank-you card to take along with them. Gilah Press + Design set the bar high with a night that was sure to get the creative mind winding, while waiting in anticipation for the next three parts of AIGA’s Letterpress series.

To learn more about AIGA Baltimore’s Letterpress Series, check out the events page on the AIGA site.

Lastly, this post was written by Kristin Kosmides, a member of our volunteer group, the AIGA Crew. Much thanks for your help, Kristin!

“Re-Brand”: The Debbie Millman Interview Re-aired…

Millman Lecture Art

Discussing Business, we have an interview with Debbie Millman, president of AIGA. She hosts the podcast, ‘Design Matters’ and has been in the design business for 25 years. She regularly blogs on topics related to the field at http://debbiemillman.blogspot.com, she is a Partner and President of the Design division at Sterling Brands, and she is the Chair of the new Masters in Branding program at the School of Visual Arts in NYC. And she answers a few questions for us.

Q:  Using the AIGA Confidence Index (http://www.aiga.org/content.cfm/confidence-index) the economy was at about its worst point (50 out of 100) approximately one year ago October 2008. With confidence in business low and similarly design as a profession, how do you think the emerging role of designers has been affected?

A:  Downturns such as the one we are in are times when designers can make the most difference. One of the biggest tcchnological and cultural innovations in the last ten years came during the last big recession: Apple’s iPod. Believe it or  Steve Jobs launched the iPod 6 weeks after 9/11.

Recessionary times come with new needstates and the requirement for new solutions to the problems we face. Designers are the most qualified people to solve those problems.

Every problem our planet faces is cinematic because it gets swept up in to a swift sequence of gestures that precede and follow it. Sort of the ultimate domino effect. Our ability to effect change is greater than it has ever been. And I am not talking about iPods here! Rather than our culture being a prisoner of politics, design can be an inspiration to our culture. An opportunity to constantly reach for higher ground.

Q: Speaking at the recent leadership conference, you mentioned that your legacy is focused on “connectivity”. How does the value of connectivity relate to AIGA?

A: The way in which we humans connect with each other has changed forever. Just in this country alone, we went from three television channels to over 500 hundred channels, from no web pages to billions. It took 35 years for 150 million people to own televisions. It took only 7 years for 150 million people to own cell phones. And it will likely take only take 3 years for 150 million people to sign up for Twitter. The average teenager sends over 2500 text messages! The structural frameworks of the way we live, communicate and organize ourselves has fundamentally changed and I am committed to charting a new connective structure for AIGA that is authentic, transparent and meaningful. I believe that some of the most exciting things happening within AIGA are in the local chapters. The entire membership should be aware of this great activity and benefit from it. I also believe that there is great opportunity for younger designers to benefit from the access to more established designers for mentorship, job opportunities and training. So I am working on instilling new practices in the way the entire 20,000 plus membership is communicating and connecting.

Q: You’ve conversed with alot of great designers (and others) in your work. Are there common denominators that connect legendary work despite the different backgrounds, approaches and challenges?

A:  One of the ironic and fascinating common denominators is that most legendary designers, no matter what the background, approach or challenge, everyone deeply, rigorously questions the validity and quality of their work. Other than Massimo Vignelli and Milton Glaser (who are both in their 70s), everyone I have interviewed worries about the quality and meaning of their work. Everyone is insecure. Everyone wonders if they are good enough or smart enough or courageous enough. Everyone.

Q: How does the “new economy” and the requisite valuations of the work designers do relate to designers in the trenches in their effort to create great work?

A: Designers today experience a condition of ambiguity and compromise— building, aiding, and abetting what we now call “the new economy” seems an inevitable consequence of our work. Prospects of that condition changing seem remote. Especially if we want to build groovy offices and pay talented staffs.

But, Chris, I have to ask: what is the definition of ‘great work’? I looked back to the 1964 design manifesto, First Things First to find an answer. Originally written by British designer Ken Garland and twenty-one of his design colleagues, the manifesto boldly encouraged students, designers and teachers to reconsider their opportunities outside the noise and “high-pitched scream of consumer selling” in favor of applying their talents to promote education, culture and a greater awareness of the world. This was not intended to advocate the abolition of contemporary design, but was simply a call for the re-evaluation of our profession’s priorities. So rather than only applying our skills to selling dog biscuits, designer coffee, diamonds, instant film, french fries, detergents, hair gel, cigarettes, credit cards, sneakers, light beer, and heavy-duty recreational vehicles, they tried to inject passion, truth and reality into their design work. But herein lies the inherent dichotomy with that statement.There will always be a need to design dog biscuits and hair gel and french fries! And despite what many marketers now believe, a computer is not the only tool you need to do this. We must…we HAVE to inject passion, truth, reality and integrity to this work as well. All design—no matter where and what it is, has the power to inspire us to think and grow, to teach us what we don’t know and to inform and remind us of what is truly important. And what is important is honesty. What we need to create, in response to the torrential acceleration of this new economy is honesty.

Q: Esquire does a feature called “What I Learned”. Well, what two things have you learned about business that are on the tip of your tongue?

A: Work harder than anybody else that you know.

Shoot for the stars. Seriously. So many people start out by thinking about all the things that they can’t do and once you take that path, it’s very hard to get off of it. The only person that can make every dream that you want to come true is you. And if you start out with limited dreams, you’ll only achieve limited dreams. And that’s really sad when that happens.

Debbie is author on the design blog Speak Up, a regular contributor to Print Magazine and she hosts a weekly internet radio talk show on the Design Observer Media Channel titled Design Matters. Her first book, “How To Think Like A Great Graphic Designer,” was published by Allworth Press in 2007; her second, “Essential Principles of Graphic Design,” was published by Rotovision in 2008, and a book of illustrated essays titled “Look Both Ways” will be published in the Fall. Debbie can be reached at debbie.m@sterlingbrands.com

She’ll be in Baltimore speaking September 23rd.

Felt & Wire call for designers!

Felt & Wire Graphic

Ever want to design without a client?

Do you love to play with paper?

Now is your chance to to design products for the AIGA Baltimore Felt & Wire shop. Visit http://feltandwireshop.com for inspiration. You can pretty much make anything you would like as long it uses paper goods in some way and is something customers would want to purchase.

When you have the design ready (We are happy to review anything in progress too), email alissa@baltimore.aiga.org an image of it and also provide the following information:

  1. Quantity you are willing to make (can be as little as 1)
  2. Your production costs (You can either donate the items to the chapter or AIGA Baltimore can compensate you for your production costs. We will need receipts of these costs when applicable).
  3. Any other information you think might be helpful.

If your item is approved, we will post it on the AIGA Baltimore Felt & Wire shop along with a credit to you. All proceeds from sales will go towards future events and initiatives for AIGA Baltimore.

This will be an ongoing opportunity, however, if you would like your work to be included in the official launch, please submit work before October 1.

Types of products that could be submitted

  • note cards
  • gift wrap
  • journals
  • sketch books
  • posters
  • prints
  • artist books
  • buttons
  • and anything else you can come up with that involves paper!

If you have questions, email alissa@baltimore.aiga.org.

Pulp, Ink & Hops in Station North …

Courtesy Dave Plunkert, Spur Design

AIGA Baltimore * 407 N Charles St. Studio C * Baltimore MD 21201

13th Annual

Pulp, Ink and Hops

Join AIGA Baltimore in the heart of Baltimore’s Station North Arts District for the region’s largest paper show, featuring paper and print samples from more than 20 vendors and free hops from a local microbrewery. Get connected to the latest trends in papers, design services and swatches while viewing live letterpress demos.

Thursday, October 21, 2010

5:30 to 9:00 pm

Baltimore Print Studios

18 W. North Avenue. Baltimore MD

advance

$15 members. $30 non-members.

door

$25 members. $40 mon-members.

for information

www.baltimore.aiga.org/events

design by www.spurdesign.com printed by www.baltimoreprintstudios.com

Track Your Time & Your Money …

Because you waste alot of it… (And by you, I mean me).

Tracking your time and money are not sciences, they are arts. Meaning: one only gets good at it when one develops (and adheres) to a system and then uses that input for strategic advantage. Whatever system one develops, it’s the execution of that system that makes the endeavor worth while. Shoebox for receipts? Whatever. Timesheets to track design time? Sure … But, it’s about your personal style and getting better at being (the productive) you than anything else.

I mentioned the audio interview with Mark Simon the other day on the Five Ways To Get Hired and this was another thing he said: track your money. The reasons abound as to why you should, but Simon maintains that all kidding aside you can deduct more and essentially earn more of the money you make, if you legitimately claim the expenses needed to conduct your business by accurately tracking them. Tracking income is something we are conditioned to do, but tracking expenses is much less discussed and just as important.

Time is the same way. Whether one works in-house or freelance, knowing the timeline for project execution becomes critical when estimating for the completion of new work or understanding where current projects go into the weeds on timelines. The end result of tracking your time? Letting your phone go to voicemail a little more, staying away from constant Facebook updates, keeping email traffic contained to a certain time and, then maximizing your creative time to actually do something that is—gasp—creative.

I had a colleague who ended up on a project that had some “responsibility creep”. She was asked to re-design a logo on a current project on which she worked. Apparently the AE thought it would be a simple thing. Sometimes it is. Well, endless revisions stages later, the colleague asked whether it was appropriate for the time to be pulled away from the paid assignment to the bonus assignment, in such a manner as it had been. Scott Belsky’s recent book Making Ideas Happen—which I endorse for those of you looking to invigorate your task completion abilities—interviewed a person who found that he checked e-mail 37 times a day.

“The state of reactionary workflow occurs when you get stuck simply reacting to whatever flows into the top of an in-box. Instead of focusing on what is most important and actionable, you spend too much time just trying to stay afloat.” Moreover, Reactionary workflow prevents designers from being proactive with their energy.

Maybe, with the time and money you save, you’ll be able to send some comments along about how the time you were able to save, helped you produce that additional design piece, spend more time with your family.

My AIGA has new features.

The AIGA.org interface has new features which allow members access to enhanced information and features, as well as the means to update their contact preferences and more!!!

Recently,upon visiting the site to edit my payment options, I was able to customize the news feeds on the my.aiga.org landing page. I was able to add the In-house newsletter to my profile, adding “Articles” and lengthening “AIGA News” to the page landing.

Also, I accessed my profile to subscribe to more of the newsletters and initiative postings available: including the In-house newsletter.

Also, I have taken a moment to update my custom AIGA portfolio:

Take a moment and connect yourself with your profile page and get hip with the changes and updates to the AIGA Member landing. … And take advantage of its benefits.

Making Ideas Happen: The Book …

Making Ideas Happen

Earlier in the year, I had the chance to speak with Scott Belsky, author of the book: “Making Ideas Happen”. (Interview is here) His book is a calling card in ways to be more effective at honing the process of productivity, whether you’re a individual freelancer or the largest company in the region.

As the book points out, we face more and more distractions to our personal productivity than ever before. Quite simply, we are more interrupted , we are in longer meetings, there’s more on television—just by the fact that there are more channels.

And with all this we are still to be productive? Um… yeah.

From the book: “The ranks of freelance, contract and part-time workers, as well as small business owners are increaasing daily. Many businessese are hiring people for rotational programs that last only to years.

Practices such as ‘daylighting’ are increasingly popularity as companies such as GE and IBM are acknowledging the value of shorter experiential education over a life long career opportunity.”

The book helps point out the sweet spots of creativity and connects people to the process that goes beyond ideation to the implementation of ideas. The book outlines the importance of the three factors of growth in ideas: increased efficiency in organization and execution, calling on the power of community and leadership capability to shepherd those ideas to a workable state.

“You control the platform of your ideas” … Well, with websites and Facebook, who can refute that?  (Ideation is not really discussed). The book principly maintains that the ideas are 1% idea and 99% perspiration, meaning it’s the whole process after the idea is in place that projects an idea into action.

The book’s a solid read that can help anyone designer’s included get on the train to more productivity.

Create Don’t Hate …Updates

"Work Hard" Billboard

Last October, AIGA Baltimore sponsored Create Don’t Hate with Worldstudio. This was a mentoring program for high school students in the Baltimore area. Graphic designers were matched up with students interested in visual arts from Patapsco and Patterson high schools. The groups worked together to create posters that later on could become billboards throughout the city. The billboards, after some delays, went up in July!!

Recently, The Baltimore Sun covered the billboards with a profile on the billboards and included quotes from some of the students involved. View the Baltimore Sun’s story here: http://articles.baltimoresun.com/2010-08-13/news/bs-md-co-students-design-billboards-20100813_1_billboards-tolerance-three-students

The Billboards are in the following locations:
1 006350 Belvedere Ave NS 25ft E/O Linden Hgts F/W – S Baltimore City Y WORK 07/20/2010
2 008300 Calvert St WS 10ft S/O Federal F/S – 1 Baltimore City Y TOLERANCE 07/19/2010
3 011320 Curtis Ave ES 10ft N/O Patapsco F/S – 1 Baltimore City Y TONE 07/19/2010
4 013050 Dundalk Ave WS 380ft S/O Gusryan F/N – 2 Baltimore City Y MAKEUP 07/20/2010
5 014650 Eastern Ave NS 80ft E/O Bethel F/W – 1 Baltimore City Y TRASH 07/19/2010
6 019600 Federal St NS 920ft W/O Erdman F/W – S Baltimore City Y DIVERSITY 07/20/2010
7 023650 Frederick Ave NS 50ft E/O Loudon F/E – 3 Baltimore City Y LUV 07/19/2010
The program lasted four weeks, with students and mentors meeting once a week. The billboard designs were based on a variety of topics such as: stop crime, domestic violence, love your city, stop vandalism in the streets, don’t trash your city, and much more. This was a great experience for students and many saw how a career in the arts can be achieved.

Thanks again to all the mentors:

  • Dani Bradford
  • Cris Cimatu
  • Debbie Feldman Jones
  • Joseph Ford
  • Kimberly Hopkins
  • Alissa Jones
  • Megan Lavelle
  • Mary Leszczynski
  • Ilene Lundy
  • Chad Miller
  • Llara Pazdan
  • Lark Pfleegor
  • Katie Rosenberg
  • Kevin Sprouls
  • Shannon Tedeschi
  • Andrew Walters
  • Grace Wanzer

And another big thank you to the students of Patterson and Patapsco high schools for participating!

This program is showcasing the power of design to ignite change to the general public and business community so please join us in this closing event! To see other programs that are happening in other cities, visit http://www.designigniteschange.org.