— Alvin Diec
— Wallace Stevens
— 032C’s ‘What We Believe: Work. Love. Politics.’
Anonymous said: Do you have a dream client / project ? If so, what would it be?
I care more about who I work with, than who I’m working for, if that makes sense.
If my friends and I are on a project, it doesn’t matter to me what the client is. We’ll either have fun together or we’ll drunkenly complain about it together. Either way, I’ll be happy.
I’ve done work for cultural institutions and I’ve done work for corporate institutions. One isn’t inherently more enjoyable than the other to me. I’ve had fun in both and I’ve had shitty experiences with both. When I’m working on something, I’m more mindful of my present feelings and mood—which doesn’t really take cues from the bigger picture. It’s more dependent on my immediate surroundings and the exchanges i have.
So I guess my dream situation is a Judd Apatow lifestyle where when he decides he wants to make more money and be creative, he gathers his buddies together and makes it happen and everyone’s laughing the whole time.
I honestly think that’s healthier than projecting your hopes and dreams onto another business and allowing yourself to have your career driven by them.
Another thing I guess, is that I’m constantly making shit on my own with or without a client. I know the subjects, themes and interests I want to engage in. If a client happens to want that as well, then cool. If not, then pay my rent so I don’t have to worry about my rent and I can spend my nights and weekends freely making what I want to make. Either way, it’s going to happen—client or not so it’s not something I think about on a day to day basis.
You’re asking a guy who didn’t think of any individual strip or story line longer than it takes to read this sentence. I drew in a manic, sweat-flinging state of deadline panic EVERY week. Not most weeks. EVERY week. For ten years. I drew what occurred to me as I stared at the same blank strips I’d been watching for six days, and only because the plane that would deliver them to my syndicate editor was due to take off at 5:30 AM, about seven hours from that moment.
…This is not how a comic strip should be drawn. This is not how ANY deadline should be handled by any reasonable, conscientious, grown-up professional. But as I wasn’t, they weren’t. The flip side of that confessional coin is that Bloom County would not have been what it was—whatever it was—if I’d been that thing I just described. It was art and writing born of chaos. It was the poison the madness needed."
— Jim Jarmusch
— Robert Pollard
We are all quick to judge something, we do it by nature. Judging something on a surface level is not using informed ‘critical thinking,’ it is just being a critic. I like to think if we can use critical thinking with facts, we can come up with constructive criticism. But before we jump to that we need to think about a lot of things when it comes to a rebrand. Here are a couple…
Did you read and understand the Statement of Work? Did you sit in the meetings where the company unveiled their new direction and objectives? Did you hear their long term goals? Did you talk with them about it and question some of their motives? Did you strategize hundreds of ideas where they company could go? Did you present these ideas? How did the presentation go? Did you work a month or a year on building the project? Did you do many rounds of reviews? Were you able to relate with the client and did they understand visual language? Did they really want something unique? Was there mutual respect? Was there a change in direction? Was the company able to pull off the branding visually after you handed off the work? Did the design and language around the mark communicate and express their vision? When you were finished, did the work express where they wanted to go?…"