Any-Every-Other


Latest Entries

Splinters

Since leaving the Comfortable Tyranny of Full Employment©, I’ve worked with a lot of local entrepreneurs; clients not all that dissimilar to myself. I enjoy working with sole propreitors quite a bit. They tend to be more connected to their work; they tend to be engaged and generally passionate about what they do. Our design outcomes are based on one-on-one decisions made between two rational adults rather than some unending chain of committee and stakeholder meetings that never really settle anything other than to have another meeting later. Working relationships feel more compatible when both client and designer exercise the agency and diplomacy that comes with shared responsibility. This holds true for the local creatives I’ve hired or shown with as well. There’s a general sense of ease and hometown comraderie that comes from working with your neighbors and peers.
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Eleven Months Later

Completely by chance, this post comes exactly 11 months to the day after the last one.

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All The NY, Now With None Of The HC

Writing from the mostly-adequately air-conditioned shared apartment in Mexico my family has rented for the week, I can’t help but recognize the similarities between this trip and my prior visits to New York City over the past three years. Continue reading…

Copernican Cornballer

I was recently asked about how to go about promoting yourself for your first job after design school when you haven’t really specialized in anything yet. The student had originally asked for feedback on his portfolio, but this quickly became a much larger conversation trying to pinpoint where he wants to go, and doing what, and at what level. I’m posting this mostly because I feel like it goes places the other million-and-one advice posts don’t.

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Getting schooled.

This post originally appeared in issue 5 of Pikaland’s Good To Know series back in 2009. I recently stumbled across a PDF of it and was pleased to see how much of what I’m talking about in here still holds true for me today.

Being an artist in any capacity involves having the natural inquisitive openness (and motivation) for knowledge and experience (the natural “student”) even before developing the technical-proficiency (the literal student) to interpret/ communicate one’s unique voice. The varying levels of success on either of these sides, or how well they work together for each individual, defines the ability to accomplish “art.” The first has to come from an innate drive, the second through practice.
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