Seven entries in "Speaking Engagements"

This past Saturday Jason, Matt and I had the pleasure of speaking at AIGA/NY’s Smart/Models one-day business conference here in New York. Our presentation, “Creativity and the Collective”, focused on our studio-as-collective business model.

The bulk of our presentation examined the differences between a traditional business structure and our collective model. As we’re so often questioned about the nature of our organization, we wanted to provide examples of how members of the collective form teams on a per-project basis to tackle work involving a variety of a creative disciplines — from graphic design, illustration, print and motion/broadcast/directorial, to web design and development.

To illustrate various points, we prepared a series of infographics designed to be part informative, part humorous, and part inside jokes for both designers and fellow aging hardcore kids/former edgers.

For the design nerds, we reinterpreted the classic 1969 Eames diagram.

(Click to enlarge)

And we were so pleased with the following graphics that we opted to include them in our presentation, despite the risk of having our cleverness lost on portions of the audience.

(Click to enlarge)

(Didn’t catch these? See here and here.)

Some thoughts

45 minutes goes fast; we had to blaze through the last five minutes.

Speaking early in the day is the way to go. With our talk out of the way we were able to relax and enjoy the other speakers.

Apple’s Keynote is a breeze. Give it a look if you’re putting a presentation together. Copy/paste vectors no problem, drag-n-drop Quicktimes, export to PDF, whatever you want. Near-zero learning curve.

TheTimesCenter is an amazing event space. Totally pro-form. The building’s interior nature/garden zone: blockbuster.

Michael Surtees of DesignNotes posted a review of the event, including some photos:

Update: Armin from Under Consideration published a very nice review as well.

Unanswered questions

We did a 45-minute presentation with no Q&A, as the organizers asked that we save questions for the end of day panel discussion. We were able to address some audience questions during the panel, and it was certainly interesting, but given the number of questions we received during the reception, and later via email, it appears that a few attendees left with questions unanswered.

The most common point of confusion regarded distribution of revenue. It seems some misinterpret the term “collective” to indicate a form of communism. Others simply wanted to know how we structured proposals, paid taxes, or formed LLCs.

We're happy to pull back the curtain for those with questions. Just get in touch:

Thanks

We’d like to extend a big thank you to the Smart/Models event committee – Tina Chang, Liz Danzico, Kent Hunter, Bobby C. Martin Jr., and Sam Potts – for the hard work of organizing the event, and for making us a part of it. And, of course, thanks to everyone for coming out on a Saturday.

Matt, Jason and I will be speaking at Smart/Models, a one-day AIGA/NY conference, on Saturday May 17th. In our presentation, Creativity and the Collective, we will be discussing the Athletics business model.

We will be joined by principals from four other unconventional organizations: Jason Fried from 37signals, Joe Duffy and Eric Block from Duffy & Partners, Sylvia Harris from Sylvia Harris, LLC, and Douglas Riccardi from Memo Productions.

For more details:
http://smartmodels.aigany.org

I was fortunate enough to speak at the Cranbrook Academy of Art design department at the end of January. Having graduated from Cranbrook in 1995, I was really excited to see what students were up to, and to catch up with Elliott Earls, the head of the department. Back in ’93, Elliott interviewed me as a perspective student and was instrumental in getting me into the program.

Elliott has been carrying on the Cranbrook tradition of an open studio environment that centers around self-initiated projects and weekly group critiques. I gave an hour long lecture to the students touching on my personal and professional work as well as talking about the collective nature of the Athletics studio. One of the main themes of my lecture was the notion that, as a designer, it’s not only the actual work you create, but also your own unique perspective on the design discipline that informs the creative process.

Cranbrook, like other design programs at Cal Arts, RISD and Yale, has amazing design resources: large-format digital output, laser cutters, wood shop, audio/video facilities and an impressive library. All of the available tools and raw materials offer Cranbrook students the opportunity to pursue and produce nearly any design idea. I think the big challenge, and the same challenge presented to me 13 years ago, is how to focus your own ideas and efforts to further one’s development as a designer.

During my visit, I spent about 30-45 minutes with each student learning their background and speaking with them about their work. The range of skill, ideas, energy and focus were pretty vast. I also found that students had decided to enter the Cranbrook graduate program for a variety of reasons. Some students had already worked in the professional sphere and were looking to either teach or shift their ability. Some students had very little design training but were selected for their creative ability in another discipline such as painting. Overall I felt the students had a firm grasp of what they wanted to do and were actively working together to move forward as designers.

I also found the group critiques to very informative. Group critiques begin with 2-3 students that hang their work in the crit room the day before critique. Another student is then selected to review the work and write up a 1-2 page evaluation. Reviews consist of an interpretation of the project as well as an assessment of the work of other artist or designers (contemporary and historical) that may help frame the project. The day of critique, the review is read aloud and all of the students have an opportunity to give their assessment. Comments range from issues regarding clarity of purpose, craft, meaning, technology, context, concept and aesthetics. After everyone comments, the person that created the work then reads a statement of purpose that articulates their ideas and goals for the project.

All of the students then have a chance to realign their comments to inform the statement of purpose and provide comments on how to move the project forward. It was my feeling that if every student were to take the critique format seriously and truly digest, evaluate and then act on the comments, the resulting work would be extremely strong. But as we all know, this is easier said than done. Just because the group provides the designer with the ammunition to push the work forward, it does not mean that a clear path emerges. The real opportunity for students is in learning to absorb feedback, and then work from it.

The Cranbrook experience is part academic, part self-help, part teamwork and part personal soul searching, and in the end provides a creative/critical format that is unique within the design discipline. It’s sort of the design equivalent to tv shows like Survivor or Project Runway, but it takes two years, there is no prize money and you have to read a lot more. Like any academic setting, I think Cranbrook provides the basic framework and facilities to push an individual designer to another level, but it is up to the individual to take advantage of the people, resources and environment.

Talking with students I stressed a need for a high level of sophistication in projects. Just because you have great resources does not mean that a big digital print of a Photoshop file represents “finished work.” Notions of craft, materiality and format help distinguish between a design “sketch” and a fully realized idea. For example, I would rather see tight story boards that clearly articulate a motion project than a 5-minute video “sketch” of an undercooked idea. It was the conceptual artist Sol Lewitt that said, “The idea behind the work supersedes the work itself” and that, “The idea becomes the machine that makes the art.” I truly believe that if a designer has an idea they believe in then articulating that idea can become an amazing journey where the sky is the limit.

As a designer, I think it is important to live in the “now.” I feel more urgency and enthusiasm for the design discipline than I ever have. I also feel that Elliott, as the head of the program, continually expresses a level of energy and commitment to design discourse that is genuinely inspiring. For students, I feel it is their personal responsibility to realize that their time at Cranbrook is very special, and as a creative person, you must push yourself and your fellow students. If you have the opportunity to do whatever you want, why half-step it?

On the last day of our visit we had a chance to see the Eero Saarinen exhibition at the Cranbrook museum. The exhibition was incredibly inspiring. From his 1948 womb chair design for Knoll, to the 1962 TWA Terminal 5 at JFK, Eero’s creative output was staggering. I felt the exhibition was a great reflection of the true potential of the design discipline, and part of what makes the Cranbrook legacy so special. From Eero and Eliel Saarinen, Charles and Ray Eames, Michael and Kathy McCoy, P. Scott Makela, Andrew Blauvelt, Elliott Earls, Martin Venezky and more recently the likes of Jason Jones, Camm Rowland, Chris Williams and many many more, I think there is something very unique about the Cranbrook experience that brings really talented people together and provides them with the right creative and critical tools to bring out their best. Ultimately Cranbrook grads have an oppurtunity to impact the larger world of graphic design in amazing ways.

View pics of my visit on Flickr

Mark Owens presents “New Brutalists/New Romantics”
Monday. September 24th, 2007. F200. 7pm/CalArts

The lecture traces the connections between graphic design, brutalist architecture of the ’50s and ’60s, and early ’80s synthpop. The lecture will cut across the domains of art, music, cinema, fashion, and graphic design and feature a substantial audio component as well as plenty of images and archival material.

I just got back from speaking at the QBN Sessions in Los Angeles and wanted to give you my blow by blow…

I have to hand it to Jason Kristofer, Founder and Director of QBN, for setting up an amazing event. In the same vein as Semi-Permanent, OFFF and IdN conferences, QBN Sessions featured a great lineup of design-related speakers. The Getty Center is an amazing venue and I would recommend you check it out if you are in LA. The view was killer.

We got there a day early and did a technical test for our presentation. Everyone at the Getty and QBN waited on us hand and foot and were really on top of things. That evening we went to the Media Temple sponsored speakers’ dinner at the Angelino hotel and met up with Joshua Davis and the Phunk Studio guys. While Joshua pounded red bulls and recounted his early 90’s experiences as a club kid in NYC, the Phunk Studio guys were fighting off some mad jet lag, having flown in from Singapore. Everyone was super stoked to be there and the food was excellent. We met Patrick Riley, the CEO & President of QBN who put together the event with Jason. We learned that Patrick had been the guitarist in the band the Ataris for a few years.

The next morning we got to the Getty bright and early. As we walked up we saw J Ellis of Athletics munching on a rice crispy block and sipping a coffee. We also ran into Bob Borden and Duane King of BBDK who were in from Santa Fe. Mark and I ran through our presentation one more time and took our seats up front to check out the speakers.

One item that was interesting was that Jason and Patrick chose not to MC the event themselves and got an aspiring actress to do introductions. While cheerful and pleasant, you could tell she was not entirely aware of who she was actually introducing.

Phunk Studio

I have met Melvin, Jackson, William and Alvin a few times and they are always easy going. At the speakers’ dinner we chatted a bit about design collectives and why we think they are a good idea. Because the Phunk guys are all friends and have been working together for over 10 years, you get a sense that they have let their individual egos take a back seat to the bigger idea of the studio. Their speech re-capped their entire body of work and it was great to see some of the older pieces in contrast to current work.

Jackson talked about being inspired by Emigre and Raygun back in the day and how they have spent many years reinterpreting their own design practice by looking at western graphic design as well as anime, manga and other eastern influences. It is this fusion of western influence and eastern perspective that makes Phunk really unique. You can see a level of ease and care-free nature in the work—you know that the Phunk guys, while extremely talented, do not take themselves too seriously.

As the Phunk guys are now in their 30’s, I am curious to see how their work changes/matures in the coming years. A recurring theme throughout their presentation was how they initially saw themselves more like a band, and less like a studio. Getting girls and going to parties was the justification for doing “cool” work. As far as I know the Phunk guys have been to plenty of cool parties and it looks like their best years are still ahead of them.

Michael Muller

Michael Muller is a 37-year-old photographer that has a wife, three girls and has lived in Los Angeles for many years. Before his photo career, Michael was a tri-athlete during his teens and early 20’s, but gave it up to be a photographer. Overall, it was apparent that he has been able to translate his competitive spirit to the camera, and has taken some of the jockishness along with it.

Some of Michael’s more notable work includes the promo images for X Men – The Last Stand and Spider Man 3. Michael has also done a lot of band photography (Red Hot Chili Peppers in particular, and more recently, a shoot for the Shins and Modest Mouse) and a ton of under-water photo work for the likes of Speedo as well as personal projects. His shot of a Batman look-alike doing crack in an alley was pretty amazing.

Michael had a great blend of personal and professional work and was not afraid to show work where he piggybacked a personal project on a client shoot. He came off as having a bit of an ego and it was obvious that doing work for celebs in Hollywood was a large part of his agenda. Nonetheless, Michael showed his true skill behind the lens and was not afraid to tell you that a bit of hustle, hard work and some of luck can take you a long way.

Michael C. Place

Mr. Place is a design legend in my book, having done some of the best work the Designers Republic ever put out into the world. He is also a very quiet, mellow guy that just plain loves design. His studio, Build, consists of himself, his wife and their hairless cats. There is an iterative nature to Michael’s work where you can see that he just keeps going and going. My favorite piece that Michael showed was his work on the D&AD Global Awards. It was amazing how many things he was able to interpret out of the hexagon mark. For those that are really into typography, I think Michael really showed how much gesture and fun can be had with type.

For me, Michael’s quintessentially English perspective on design was a breath of fresh air. My only regret is that we did not get to have a pint together.

Matt and Mark Owens

Hey that’s me. Mark and I made a considered effort to break up our talk and show a lot of different things. The fact that Mark does design, teaching, curating and critical writing on design revealed that design practice can involve a lot more than just the work. What I enjoyed most is Mark had the chance to show some of the work he has done for Commonwealth Stacks and Generic Costume. I have found that sometimes folks do not get due credit for the work they do for clients, so it was cool to show people what he designed for them.

I also thought showing the work of Athletics as a collective studio was good for everyone to see. Most large-scale projects involve several people, and the collaborative effort really shapes the end product.

If we had more time, I would have liked to talk about the “business” of design. Very seldom do people talk about how they actually work and bill jobs.

Lastly, I enjoyed showing The Free Library and the True Believers shows back to back. Mark really “designed” the Free Library show, with the look of the spaces being integral to the show’s concept. The True Believers show was less of a designed space and more of a meeting of designers from varied backgrounds.

I was the only speaker to give away free stuff. Folks seemed to be into it because all of the stickers and booklets were snatched up. Feel free to email me and let me know what you thought of my part of the lecture.

Shepard Fairey

Backstage I had the opportunity to chat a bit with Shepard Fairey and his wife Amanda. Amanda and I chatted about the challenges of running a gallery, studio and doing personal work. I am in the same boat but definitely not on their level. Amanda seems to have the business side locked down. They are in the process of buying a building in Echo Park where all facets of the business will be under one roof. They are also expecting their second child. Congrats!

Shepard is a nice guy and you get a real sense that he has not planned where he is today. The Obey phenomenon is definitely a result of his hard work over the years and a commitment to street art. Of all the speakers, Shepard was the star. A lot of folks were stoked to hear him speak.

Shepard showed some of the pages from his book and gave us a brief re-cap of how Obey came to be. The second half of his presentation was more of a Q&A situation, with the MC joining him on stage, asking him questions. I found it interesting that he chose to have the aspiring-actress-MC-lady ask him questions as opposed to questions from the audience. I did get the sense that there may be a good deal of criticism/backlash that he may be trying to avoid.

Shepard is very talented and he has been able to take his inspirations from Barbara Krueger, Russian Constructivists and Communist Chinese propaganda and really make it his own. I think the street art aspect of his work does rub a little bit counter to the huge licensing deal he has made with the Obey brand, and the fact that Obey shirts are everywhere. But on the flip side, if any of us worked hard and developed a cultural sensation like Obey, we would be fools not to capitalize on it and open the doors to other pursuits (art, gallery, magazine, etc.).

I actually liked the artwork he did in Hawaii the best—really beautiful and understated.

The Mill

Alistair Thompson and Pat Joseph spent a good bit of time talking about the difference between English and American advertising. The Honda ‘Impossible Dream’ commercial they showed was my favorite. And the Skittles ‘Touch’ commercial was amazing.

With a post house like The Mill, it is hard to know where to know where their work begins and ends. On all the pieces they showed, it’s most likely that an ad agency creative came up with the idea. That said, The Mill have a great skill at bringing an idea to life through technology. Alistair and Pat spent a good amount of time walking through the intense 3D they did for the Johnnie Walker ‘Android’ ad.

Overall, the Mill are super-tech and if I had 500K to do some insane CG I would certainly send them the brief.

Joshua Davis

I met JD almost 10 years ago when he was living 3 blocks away from me in Williamsburg, Brooklyn. One lovely wife, one lovely child and international design stardom later, Joshua is a well-oiled conference-speaking machine. Joshua focused on his program development, and the iterative, comprehensive process required to generate highly complex abstract imagery.

I was hoping that Joshua would go “under the hood” and show some of the code. Athletics’ J Ellis was particularly bummed to see this aspect of Joshua’s work omitted. I was also curious how he is able to do a postscript rip from Flash to Illustrator. Give up the goods Joshua! (Update: go here for instructions). Joshua did not show any client work and I am curious how his experimental work translates into the commercial realm.

Overall, Joshua is a big personality and he has his personal vision pretty well locked down. For this I admire him. With regard to his work, I would love to see Joshua extend his method of art making and try new things—perhaps using bitmap/raster graphics rather than the vector style he’s known for, or programmatic motion pieces.

The After-party

After the conference was over we went to the after party in the Getty courtyard. Rather than a party exclusive to the conference, we joined a larger party—“Friday on the 405” is a regular summertime event at the Getty. Unfortunately, the result was a diluted conference population and long lines for drinks. I would have preferred something a bit more intimate.

Overall, I like the one-day super event as opposed to a 2 or 3 day thing. Also, some folks balked at the price. $250 is steep, but as a design professional, it’s a good tax deduction. And if you’re running a company, it’s worth it to expose your designers to good work. Again, I was stoked to be a part of the first QBN Sessions and I look forward to many more.

—Matt

Matt and Mark spoke at the The Getty Center in Los Angeles yesterday for QBN Sessions, a one-day multidisciplinary creative lecture.

The event was great: good speakers, amazing space, packed house.

I was particularly impressed with the Getty Center. It’s a massive museum/castle complex on top of a mountain overlooking LA. Totally blockbuster. And very clean—I didn’t see any dirt whatsoever. The conference space was top notch—pro projector, squishy seats, etc.

To actually get to the museum, you have to ride up the mountain in a funny tram:

Once at the top, you have some great views of LA:

We met some nice folks, hung out with old pals, and saw a lot of great work. The entire day was a lot of fun, and a great excuse to get out of NYC. Thanks to everyone from QBN for putting this together.

Also, we put a few photos on Flickr.

Mark and Matt Owens will be speaking at QBN Sessions on September 7th at the Getty Center in Los Angeles. QBN Sessions is a one day multidisciplinary creative lecture featuring Michael C. Place, Shepard Fairey, the Mill and More.

http://qbnsessions.com