The Settings for Making
before we actually start doing this stuff I want I want to talk a little bit of the setting, like a little bit about, like, how how you work. I said that I said that a big part of my job is Actually, I have. In my studio, I have a I've always had just a large table that I sit at, and I said more than once that my job is to sit at that table and make myself laugh. Try to figure out how to get someplace with just a paper and some tracing paper. I like to work outside of the studio as well. Um um, and I'm curious about how you guys do, like our computers are set up at on higher tales like bar height, because it's just very comfortable for us toe to stand up and work or sit on a stool and work. You know, it was always set up because of, like, creating, talking about other people's work. I didn't want to kind of go down like this, practice my squats while I'm, you know, looking at the computer. Um, you know, you guys have to figure out how do not make this stuff for you. How do not make it ...
feel like work. Um, listen, work. It's hanging sheet rock. You guys ever hung sheet rock? That's work. It's hard. You get smelly and tired, right? You guys don't want that. You're gonna work. I tell my son, I tell my son, You know what? I know school is really hard, but you do it so you don't have to hang. Sheet Rock is really It's really brutal. You know, I've had some friends who I was when I was a kid. I was a ski bum for a short while, and I worked with guys who, like they were ski bums, full time ski bumps in the winter. And in the summer they worked carpentry and construction. And that stuff wears on you. After a while, it's really difficult. I work hard, but I don't wanna hang sheet rock. I like to say work is, um, serious play. This is important. This is really important. You have to figure out how to make your work mawr enjoyable, right? And that's just that's just the setting of for what you dio. So I have. I think I have a studio, a photo of the studio in, um, in here on ice. That's actually what we call the office. Like three or four o'clock. I'm like, I pack up my pens in my sketchbook and I'm like, Laura says, Oh, where you going? I'm going to the office, dear. So the office is where we get a lot of work done. You know, I have a Ford of the studio. Actually, it's in here somewhere. Um, this is actually outside the studio. That's where I get a lot of writing done. This is great, Especially very early in the morning. So again, I try toe put myself in a position where it's conducive where I can seek the news where I'm relaxed where I'm comfortable thing actual studio looks a little bit like this. I think that's Ah, Mr Rato There to my left. Um, this is actually during one of our one of our workshops that we hold in the studio, and that is actually the big table that I sit at. And then we've got a whole you know, whole roll of computers that are on all the time, but I don't know how, like, who has 95 or 90. Whatever. Whose job? Job? Yeah. What's that like? How is it? I don't know. I've never understood that thing about being kind of, you know, you show up in this building, and then you sit down there like, now you be creative. It's hard, right? How do you do that? How do you make it? How are you going to make it conducive, toe good thinking without, you know, taking the work home when you get home or you go out to dinner and you're like, Oh, finally, I could work, you know, I can relax, and I can, you know, create ideas. But then you're doing that, and you're not paying attention to the people you're with, right? So, um, you know, last night we had dinner at a Japanese restaurant here and have a little tea glass of sake, and it was just like Laura and I just chatting about this and ideas and what we're forgetting. And it was so great. It was such a was such a fruitful meeting instead of my yesterday sitting in the in, the in, the in the room, working on the computer, going on, you know, like I have to be very conscious about what works and what doesn't work, you know? And I think that you have to remember is all right. No rules, you know, I've been I've been asked a couple times to be become a partner in some very for important New York design studio, which I will not name. And, you know, I say we had meetings and I have talked with these people and I say So, you know, to tell me literally what? You know what you do for for a living And they say, Well, you know, I sit on my ass and meetings and I'm like, I'm just not made for that, you know? Know thy self. Remember, it's not about success, and it's not about supporting your family. It's about knowing yourself. And I know I would suck it, that I actually would bright not be as efficient. I would not be as creative. You guys have to figure that out, right? That's that's as important as everything else, especially since we're looking sitting at a computer, that which is, um, a completely unhealthy habit. Completely unhealthy way of working, you know, I don't know. I don't know how that worked. I don't know how what happened that that we all do that everybody around the world since that a computer works these days. It's really crazy. We had a way, had a great intern from Germany who had some who had some physical problems with his body. So he was super conscious, like he came to our studio in his work station. He just like redesigns. It was ergonomically correct, and he would look over me and I'm sitting just at a little folding chair at my desk and he would look over and just go. I'm like, shut the room like he literally was just like like, dude, relax. So but it's important, and I and I know that I actually can get up and walk around a lot. Oh, my God, just we hung out with some friends the other night. It was my birthday recently and then got There was you know, a couple people came out of the room and we, um, friend of old old friend of mine, came by any head up apple watch and the dang thing like it buzzes or gives them a shock or something. If he's been sitting too long like it's come to that. There are ads on TV that tell kids to go out and play for an hour. Are you kidding me? What the hell? How did that? Where would you Okay this that works now.
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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.
- 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.