Wednesday, August 11, 2010

Lunch with Oliver Weiss

We had the pleasure of having illustrator, designer, multi-media artist and cartoonist Oliver Weiss over to the studio for lunch. He's in town for a couple of weeks following his trek out to Pasadena for this year's ICON conference. After a few minutes of conversation I could tell Oliver is not your typical illustrator; he's done just about anything you can imagine including art. He's been an author—short stories, poems and children's stories, writer, freelance editor, freelance copywriter for ad agencies, ghost writer, founder and editor-in-chief of his own magazine, web designer--the first in Germany and comic strip writer. One look at his site and you're not sure where to look—a bit disjointed but full of energy and a good reflection of the artist except for the disjointed part. Through all his experiences he has gained valuable insight into the workings of  the editorial, publishing and advertising worlds which puts him head and shoulders above many out there.

A native of Munich, Oliver laments how illustration in Germany before the war was vibrant and original and wonders what has changed all that. Too many German illustrators must find the really exciting projects here in the States—he doesn't have a good reason for why that should be the case. He senses that the publications in Germany are far more conservative than you may find elsewhere. And he chuckles when someone refers to his work as "kindergarten" since most of his drawings are humorous, humor is relegated to children's literature in Germany—a tough climate for someone who likes to poke fun at institutions and the absurdities of the world.

We had a spirited debate concerning styles and having more than one; the fact is Oliver has dozens of styles and prefers it that way. The solution to the problem should define the style used is his mantra and he's had some success exploring different ways to solve problems visually. My caution was that in America there tends to be singular styles and it is expected when showing work to an art director. Perhaps Oliver is so successful at promoting unique solutions to each problem because of his editorial background; maybe there is more trust from the other side of the desk due to his experience.

On the subject of reps, he was adamant that he didn't want a rep—ever. He had had one for a week and was so disappointed by the contract that he pulled out and hasn't looked back. He is a big believer in illustrators having solid contracts and approaching projects using good business sense.

In talking about insecurity, he admitted as did I that insecurity is a positive thing, it keeps us grounded. As I related every great designer or illustrator I know has some insecurity, and it was most evident in our latest issue when I interviewed Ed Sorel who candidly replied that he is afraid of every job that comes in the door, afraid that he can't do the job. Great designers are always fearful of being found out as shams.

After a delightful quiche, a few glasses of red wine and a homemade raspberry/red wine sorbet, the lunch was over and Oliver was on his way back to the City, the city he might one day call home.

Wednesday, August 4, 2010

For What It's Worth No. 21

Design is hard. Good design is harder. Great design is near impossible. I am about to start designing the next issue of 3x3 and I've been putting it off for weeks now. I fret and worry, stall and stir around ideas in my head, pay bills, check my email and Facebook all delaying my attempt at designing the magazine. It should be easy, the grid is there, the images have been selected, the text has been written and edited but I'm scared to start for the fear that I won't create anything really special.

A friend of mine and I were having a fairly heated discussion about design the other day—of course it wasn't face to face it was on Facebook. He had asked what I thought of his new design for a magazine that he's an art director, creative director, design director—whatever label you want to use—of. I had been afraid he'd ask that question but I had to tell him I honestly thought it was a poor design. He had taken a fairly dull, uninteresting publication and transformed into something that wasn't that but in my opinon had turned into something butt-ugly. Every page literally shouted with heavy-handed type, bright colors and uneven columns of type. No rhythm—no ups and downs, just ups. No air to breathe, no pause to take. His rationale was that there was a rhythm when everything is shouting. It became apparent in the conversation that his interest was not in conveying information it was to put out a visual forcefield in hopes of attracting a new audience or at the very least keeping the readership they have. Content was of no matter, design was king. My old age started to show, I've been designing for over three decades now—four if I tell the truth and my goal has never been for the design to be king—quite the contrary, I don't want the reader to see the design. It's the same way I created television spots—I called them dumb spots— I drained all the glamor and put the message out there as simply as I could. The idea was king  and that's what people remember and respond to. I remember one spot in particular, it was our first Subway Sandwich spot where we showed greasy food, a man's button popping off his shirt and the tagline: Half of Subway sandwiches have 6 grams of fat or less. The spot ran on Sunday, Monday at lunch they ran out of food and had customers lining up outside the door. We became heroes, no one had ever created a spot in their thirty-year history that saw such dramatic sales numbers; we were invited to the national conference and a franchisee there said while he liked the spot he said, "We can't run that spot on national television." It didn't meet his criteria for a national spot. But it worked and it worked in every market it ran in and it worked better than the spot national ran with all the glitz and glamor. A good idea is all that matters.

Content i.e. text can be the hero or visuals can be the hero, sure they can work together but not at the same time. His comment about the state of design publications is that they are all dying, his goal was to save at least his publication from that fate. I brought the conversation back to content, too many publications offer the same content—the same personalities, the same advice, the same stories with just a slight twist. It's difficult to find good content, we only have so many stars in our industry so everyone knows that's a good read and a draw for an audience to buy or subscribe. So we end up recycling stories and that's why these publications are dying. Face it do we need more than one graphic design magazine, one illustration one, one fine art or photography magazine? I think not.

I agree design plays a part in keeping magazines alive, there are magazines that I cannot bear to read, they are not inviting no matter the content and sure there are dull magazines as well that show no life no matter the glossy images. But must we scream our message for anyone to hear? I own a collection of Alexey Brodovitch's Portfolio magazine—there are only four published back in the early 50s—and have long admired his use of space, texture and type; certainly he broke the rules in format, design and committed the ultimate sin, no advertising.  He had free reign in design but each and every page is built around content and it looks as fresh today as it did the day it was created. That's my hope for 3x3, that someone sixty years from now will be picking up a copy and marveling not at the design but the lack of it.

Thursday, July 29, 2010

Nuts & Bolts Book Now Available


This book is for young illustrators just entering the marketplace providing them with useful tools to help them make the transition from university to the real world. While a professor may talk about the future students are too busy completing assignments for the next class to have any thoughts about what happens once they graduate.

No school has time to adequately prepare a student illustrator—or designer or fine artist for that matter—for the real world and as a result the illustration industry remains static. Fees haven’t changed in forty years. Illustration has lost much of the respect it once had among art directors, editors and advertisers. But I feel that can change if we provide young illustrators with a better set of tools.What I’ve discovered is that successful illustrators are all very astute business people as well as being talented illustrators. I think this book will help you avoid some of the pitfalls of starting your career as an illustrator. That’s good for your career. And ultimately that’s good for the industry.

From Amazon.com:
Nuts & Bolts is a culmination of over seven years of intense observation of the illustration field and the contact that the author has had personally with successful illustrators. And he is coming from the perspective of a former advertising agency art director and graphic designer as well as publisher of 3x3, The Magazine of Contemporary Illustration. He is in a unique position to see the best and worst of illustrator’s web sites and promotions as not only does he look at them now but he’s been on the receiving end of artist’s promotions for most of his thirty-plus year career. On top of that he actually started out as an illustrator so can identify with the problems illustrators face.

Based on a series of 2009 lectures in the United Kingdom, Nuts & Bolts talks about the three things every successful illustrator knows and the do’s and don’ts for young illustrators entering the market. Professors, Andrew Foster and Gary Powell at Central St Martin’s in London had this to say about his lecture:

“Charles Hively’s candid lecture to the current cohort of MA illustration students at St Martins School of Art & Design in London in 2009, was full of energy and an in-depth knowledge about the subject of illustration.

Issues were raised about the importance of draftsmanship, observational skills, intelligent creative ideas, and an awareness of professional practice was all fundamental in the pursuit of a successful illustrative career.

His talk was the appropriate balance between subject knowledge, fun, quality imagery and a few scary bits. The lecture raised many student questions, which in itself says a lot. His passion is contagious, even when you disagree with aspects of what he was actually saying. Good lectures should be informative, stimulating and a catalyst for inspiration, debate and questioning. This was a very good lecture, a pleasure to witness. We strongly recommend.”

Order Nuts & Bolts online or soon at Amazon.

Tuesday, July 13, 2010

For What It's Worth No. 20

Most of my peers had grandparents who went through the Great Depression, I had parents. While everyone always thought they were my grandparents they had actually waited way late in life to get married, my father was 46 and my mother 39, unheard of back then. And they had both faced adversity even before the 30s, though my father came from a more privileged background with his sister in Kansas City my mother had eleven siblings growing up in rural Oklahoma. There's so much talk about our present economic situation and I don't pretend to have any answers but it is interesting to reflect on my childhood that was impacted by their experiences during another difficult time.

What stands out the most was the word thrift. My father worked for the US Post Office in the lowest paying job, not because he had to but because he wanted to—that's where his friends were. For thirty years he went to a job that didn't pay well and that he hated. My mother kept houses before she met my father, quite a come down in both prestige and paycheck from her time as being a part of the wartime Rosey the Riveters. Dad would go through his paycheck like it was water before he met mom, mother scrimped and saved and built and paid for, in cash, our first house on Ann Avenue and would continue to invest in real estate—we never rented, we always owned.

Thrift. When the tube of toothpaste ran out, it really never ran out until my mother had taken the scissors, cut along one side,  unrolled the bottom, opened it up and laid it flat to get the very last drop. That went for anything in a tube. Soup cans were opened and nothing was left inside, every last bit was spooned out, then rinsed out and the liquid used in the soup—no waste. Every time you left a room the light would be turned off, the only light you used was the light you needed, which could be a reading lamp or in the case of when her son went out with friends, the porch light was left on—there wasn't any scrimping on security.

There were no paper towels, only cloth hand towels which would be mended and patched until they literally fell apart. My shoes would automatically get rubber taps on both the toes and heels to prevent as much wear as possible; she would take preventive measures with my jeans—iron-on patches inside the new pair, or patches on the outside, a pair of jeans would have to be threadbare to be thrown out, and then they might end up on a quilt or in one of the rag rugs she made from scratch. There was no shopping at Macy's only thrift stores or Sears. Mostly she shopped for herself at the Salvation Army store from when I was a kid til her death; she prided herself that she never spent more than a couple of dollars for a pair of boots, much less in the 50s. I once asked her what it was like during the 30s, she said that her secret was peanut butter and beans, not together but as a source of protein. She could survive on peanut butter and crackers. Even as a kid there weren't any meals out, the only one I can remember is going for sliders at White Castle. Mom was always a great cook, her only son wasn't much of an eater though. What I left on my plate, she ate, there were no scraps left over.

Laundry was never sent out, dry cleaning was a luxury. Clothes were self-tailored by her deft hands. Sheets were starched to keep them cleaner longer so you didn't have to use more soap and water. Painting was done by hand, never contracted but having a new roof was essential, no money spared there. Nor when it came to buying the best mattress—mom's was custom-made—or quality furnishings. Though when we made the move to Albuquerque to heal her son's asthma, it was all sold because the cost of moving was too great. While it took almost ten years to get the house refurnished, it didn't stop her from buying a upright piano for her son's piano lessons—which lasted all of two months. That was only one example of waste, and not hers.

She didn't spend, she saved. She kept a close eye on her expenses and saved up enough to get a $10,000 CD and then would start saving for the next one. She saved for the present and the future, the doctor bills for her sickly child, the doctor and hospital bills she knew would eventually come. She prepared for the worst and as a result was rarely surprised. She saved for what she considered the essentials: food and shelter. And she would tithe every Sunday, God was another essential. We never had a car until I turned 17, we took public transportation or walked. My parents bought me two cars, a used Ford Falcon and two years later when I headed off to college my mother bought me a brand new Nash Rambler (and she insisted that all the seats had plastic seat covers—my mother was practical but not stylish ) because she wanted me to have a car that wouldn't need any major repair bills. I'd have preferred the Ford.

My mother always hoped to pass down her thriftiness, well it skipped a generation, my son is her legacy. I'm sure mom is looking down with a helpless look at how much her son has wasted, how little thrift there is, how little he's saved.  But every time I open a soup can, all the contents get scrapped out of the can and the liquid goes into the soup. At least I can do the little things. Now I must go take care of that tube of toothpaste—where are those scissors?

Monday, July 12, 2010

Déjà Vu

It happened again. I was in the middle of my presentation at our Nuts & Bolts Conference and I got to our magazine cover slides and had to pause in front of Issue 13, stand back and regain my composure. I thought I'd gotten past it, I thought the sadness had left. For those of you who don't subscribe to or purchase 3x3 on the newsstand you missed my editorial in Issue 14 so if you were at our conference or have heard about what happened let me explain.

As the new year arrived I was optimistic; even with the bad economy I was looking forward to 2010, but it all changed with the death of Nick Dewar at the end of January. It hit me hard. Here was someone I barely knew, only through our emails and the article that Brian Rea submitted last issue and of course by the work that I have admired since starting this magazine. Nick was special. And the loss at such a young age is tragic.

The thought of dying never occurred to me in my twenties or thirties, I was spared from any tragedy but as I grew older I began losing people I cared about, people who had made an impact on my life. My mentor and boss in a tragic boating accident; my copywriter partner, mother of four, from a mysterious illness; my marketing director who battled most of his adult life with an arterial disease that had taken his leg. All died suddenly. A couple of them I hadn’t spoken to in years, yet with all of them the grieving process took weeks sometimes months to go through.

When I learned that an insidious rampant leukemia took Nick’s life, the loss somehow paralysed me. Fear took over, not a fear of death but of life—I was wracked by sudden doubts about the future. Optimism turns to pessimism. The what-ifs began. Would anyone enter this year’s show? How many people would continue to support the magazine in this economic climate? Could we sustain two magazines and our annuals? Would we have to lay-off people? Fear of the unknown can cripple creativity and bring everything to a halt. Conquering the what-ifs is tougher than facing the what-is.

I’ve been fearful many times in my life, there were times when I’ve been unemployed for months at a time, there have been divorces that took their toll emotionally, physically and financially and yet I survived and many times thrived as a result of these debilitating occurrences. It’s been like déjà vu these past several months, but as always the practice of moving forward without looking back can counter the what-ifs of life. That and a bit of luck. People did enter—more entries from more places than ever before. First quarter subscriptions are up. We added an intern. The issue is out. Life—is—good.

Thursday, July 8, 2010

3rd Ward Open Call Announcement

What would you create for $5,000, three months in NYC and your very own art show? You have the vision and now 3rd Ward in New York City is offering you a place in the international art world.

You are invited to submit a portfolio of your best completed artwork, work-in-progress or conceptual proposal to be considered for the 3rd Ward Solo Show. We are looking for dynamic, inventive and provocative work of all mediums: sculpture, photography, painting, printmaking, illustration, installation, graphic design, video and more!

For full details and to submit go to: www.3rdWardOpenCall.com

Enter promo-code: "3rdWardRT1" and your first submitted image is free! (This discount expires July 12)

Submissions will be evaluated by our distinguished panel of judges including: Founder & Director of Scope Art Show, Alexis Hubshman; celebrated illustrator, Yuko Shimizu; TV Personality, Alexa Chung; and 3rd Ward Founder, Jason Goodman.

Your deadline is July 28th, 2010, 11:59 p, EST.

You may submit up to 6 images for $15 per image. For 7 or more images, there is a flat discounted rate of $95. You can upload up to 15 images for the discounted rate.

Tuesday, July 6, 2010

Do-It-Yourself Public Relations

This just came across my desk from Rachel Friedman,CEO of EMSI Public Relations a national firm that provides PR strategy and publicity services to corporations, entertainers, authors and professional firms. She also hosts a national weekly radio talk show, The Family Round Table, and is author of the book, Celebritize Yourself.

The cycle of marketing was once summarized in the story of the circus coming to town.

If the circus is coming to town and you buy a billboard saying “Circus Coming to the Fairground Saturday,” that's advertising. If you put the sign on the back of an elephant and walk it into town, that's promotion. If the elephant walks through the mayor's flower bed and the local paper picks it up, that's publicity. And if you get the mayor to laugh about it, that's public relations. If the town's citizens go to the circus, you show them the many entertainment booths, explain how much fun they'll have spending money at the booths, answer their questions and ultimately, they spend a lot at the circus, that's sales.

Most of the time, it’s really difficult to get the elephant to walk where you want it. In those cases, you need to generate your own public relations, and I’ve got some basic tips for you to follow to make that happen fast and inexpensively:

Find your inner expert—Think about your business or your profession and zero in on your expertise. Pick the area you know the most about, and focus on that. Do you have a ballpark idea of what that is? Keep that in mind, and we’ll get back to that in a minute.

Surf the Internet—Just about every key news source has a Web site, so do some surfing. Go to the Web sites of the news media outlets in which you’d like to be featured and harvest their contact information to build your media database.

Read the papers—One good way to figure out if what you are doing is newsworthy or relevant is to read a newspaper to see what the press is writing. If you want their attention, you need to figure out what currently interests them. Specifically look for news stories in your area of expertise or interest.

Put it all together—In remembering your media targets and the stories they typically publish about your topic or area, go back to your expertise. Is there something that you found that was in the news related to your expertise? Is there something you can comment on with veracity and credibility? That’s how you thread the needle.

PR Tools—The press release, as a reliable tool for public relations professionals, had been on life support since 2005, when newspapers first realized that they weren’t competing with television or radio as much as they were competing against Internet news portals. Dozens of newspapers and magazines have folded, and hundreds more have scaled back their staff and even their publication size. Consider the shrinking news hole, the shrinking staff and the emphasis on competition from online outlets, and you have to ask yourself if they even have the staff to read the volume of hundreds of press releases per day that they receive from email and wire services.

So, if they aren’t reading press releases, or only selecting press releases from trusted or existing sources sparingly, how can you get through to print media editors?

The answer is content. Most publications are not seeking news, but rather, ready-made content that they can plug directly into their publications, Web sites or both. The key is ensuring that the content you offer is more than just a sales pitch for you or your project. At the end of the day, the most important thing to remember is that this is not a marketing project or a promotional project. It’s a news project. You want to take who you are, what you do and your primary message and marry it to something already in the news. Think like a news editor and not like an artist, and you’ll find something between the lines that will resonate with the media as well as the audience.