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FAST CLASS: Bold & Fearless Design

Lesson 11 of 14

Picking the Right Visual Media


FAST CLASS: Bold & Fearless Design

Lesson 11 of 14

Picking the Right Visual Media


Lesson Info

Picking the Right Visual Media

So I'm gonna take you through a couple of pieces of mine and showed just kind of like the choices that I made in choosing the right form for it to take. So these air to these air a set of posters paid for by a Japanese client that were just pencil drawings about They're about that big, each on tracing paper, just just black and white. A friend of mine, Bailer Bar Saudi, had photographed literally. He found those flies having a party little, little. There were little tiny beer bottles along the edge of the window. So little TV. I didn't draw those, but it was crazy thes two flies. He literally photographed it and I was like, Dude, can I Can I use that? So I just traced trace his his thing. And then the bunnies I put together from like clip are those like two different buddies. And I imagined one was just like out hopping, and the other one was like standing up and looking around, and I just kind of back them into it, drew them and then just cut out from, like, the newspaper. I cut out a...

a condom because it has a dot pattern in it from the newspaper. It's like it's OK, but just literally It was if they were photographs. I don't think I don't know if they would be the same. I don't if they would have the same impact. Possibly. Possibly typography one of my go to funds. Cooper Black. I try to set, I make a lot of stickers and I do them all in Cooper Black for a number of reasons. One is because the place I get the stickers only has five funds to choose from, you know, times and some I mean some crazy stuff, right? So I use Cooper Black. Also use it because it designed drives designers crazy because they the first thing they look at this and they go on. And Cooper blank, I'm like, Why don't you should You know, it was like because they can't see the forest through the trees because they're so concerned about tight facing what it looks like. They don't see the idea. You know, when people who were not designers love these things. So typography and not making tight choices with the typography. I don't care spaces between the little those two or touching. That's a no, no. Whatever. Photography. I mean, this is literally I was sitting out doing my writing. I'm working. I'm working on a new book, Um, out early in the morning at my bar. It's a bar, but they have coffee, too. So I said a bar. And, um, I'm writing, like, seven in the morning and I'm thinking about I'm writing on a subject. I'm thinking about being a kid and being creative, and you guys correct me if I'm wrong. But when I was a kid, my creativity was not Condoned, not fostered, not rewarded, like in school or the house. It was just like, Why are you talking? What are you doing? Why are you drawing on the edges of your books? Why are you you know, breaking that was breaking the rules, making wordplay? You know, creativity is dangerous. I even in my classes, don't like creativity. You know why? Because creative people where they dio they disrupt, They talk out of order, right? Creativity is dangerous. Anyway, I was writing about this idea and I thought, you know what? That's a funny idea. The things that made me weird as a kid is what makes me great right now. I'm really trying to just pay attention to that. And I wrote it in the gutter because that was like the cool. That was like a cool place to write at the time was like, That's even weirder. James. Wow, you're really breaking the roles. So I wrote in the gutter of the sketchbook, right? Put it, put it Instagram literally, you know, took it outside of the dank bar and instagram of it. That afternoon. I had teachers from different parts of the country writing me who I didn't know. We're following me, and they said that would make a really great poster about, um um bullying. I thought, Oh, well, I'll make a poster. So I basically took the thing back into the studio, took my bigger camera, did a high end photo. So now you can get you pointed out this size and then put some fake logos on the bottom. Why does it need logos? It looks official. It's crazy. You put a local want and someone goes Well, somebody paid money for that. Must be worth something. There's an authenticity. There's a validity. That logo's give it right, but now here. Here's a fun little thing. Logos. We don't We don't really We're not really talking about it in this class, but, you know, you put Planned Parenthood logo on there. You put the Nike logo on there. Every time you put a mark on the page, it changes it. Especially logos you put plan, apparently, to make sense. You put Nike. You're like, they're selling me some, right? So, yeah, this is the way, literally. Just photographed the thing. Um, um, found objects. This is a new exhibition that I had at a hotel where we they said I had a client who paid me a shit ton of money and said, we love, you know, have a Nexabit an art show. I said, Great. I would have to go out and buy some art. So I went to, like, all the antique shops around. I bought paintings, and then I took him home and thes aphorisms that we deal with. I had them, um, a friend of mine do some beautiful high end fluorescent orange typography silk screened on him. Um, and, um, after tomorrow I have a cop. There was another. There was a real poster that we made of this exhibition to and then I have as a present for you all and you will get get that one. And that one says Freedom is something you take um found object, like drawing on things. This was a talk that I had. Why didn't why on a bone? I don't know, it just seemed to make sense. It was something I wanted to do with the time that says how to stay hard. And even with James Victoria and I was talking, I was talking about like It's difficult to do good work to do one piece of good work. It's hard not to do that for five years now. To do that for 15 years. How to do that for 25 years and, you know, maintain that level of creativity in your job when there's all this other stuff going on. I got to make money. I gotta have a family. I've got other work going on, you know, but this is fun, and it's funny because this poster is about it's about really about that size. Quite frankly, it's about that size, although if you order it online, you can get like huge is really sexy when it's big, because this photograph is exquisite. A friend of mine, amazing photographer named Tom Share. Let's photograph. This is exquisite, but this bone is only about that big and real life and real. The boat. The poster. It's about the size of your you know, your femur. It's kind of crazy, but I like, you know, Justin opportunity to draw on found objects or this kind of I think it was. It was a large dog, I think. I think that's what they told me. It was pretty big, pretty big bone, and I spray painted it black because just I didn't I didn't want to draw on a white bone. It was just I just vision in my head as a white poster with something strong on it. And it's funny if I showed you the maquettes, the drawings like I drew, I did it this size. First I drew the bone just out of my head, drew a bone, and I thought, Wow, this is really great. But it didn't work as a drawing like it's really weird if you actually go put a bone, find a bone. So I went out and I went looking around to a bunch of places and I found this bone and I bring it back and I put it next to a drawing and it hatched. It looked exactly like the drug was really creepy is really crazy or two, you know, drawn. Any opportunity to draw on the human form is so much fun. It's so awesome. This was a video. This was a video that we did for my when my book came out. Um um And Orson Welles is right. No. Excuse me. WC Feels is right. Never work with Children and dogs or bunnies. Oh, my God, that was nuts.

Class Description


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Full-length class: Bold & Fearless Design with James Victore

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An empowered designer is a truly creative designer. Let designer, author, artist, and activist, James Victore show you how to trust your instinct and embrace imperfection in Bold & Fearless Design.

When you follow the trends your ideas stagnate and you don’t create the kind of memorable pieces that get you noticed. Victore knows the antidote to that creative rut. Victore has been exhibited at the Museum of Modern Art in New York and is represented in the permanent collections of museums worldwide. His commercial work continues to wow by being sexy, strong, and memorable.

Learn how you can make work that is captivating and uniquely you by taking a behind-the-scenes look at this renowned designer’s method, thinking, and inspiration. Victore will talk about playing with different tools (not just digital ones) and rethinking the role of a designer.

You’ll learn:

  • Exercises for generating concepts and design solutions
  • How to incorporate your hand into your work
  • Unexpected image-making tools and techniques
  • Software strategies for turning the analog into digital

Poster design inspiration is the perfect blank canvas for experimentation. Posters can be adapted for anything from a book covers to dinner plates. In this class, the poster format provides a launching point for discussing by-hand design and reimagining creative possibilities.

Don’t be boring. Watch Bold & Fearless Design with James Victore and energize your unique creative spark.