Inspired Design Inspires...Infinitely

This post actually comes from a suggestion of a friend, something they believed would be interesting to read, and will hopefully allow for a bit more insight into just who is writing this.

           

            What inspires me, personally, as an artist, and motivates me to pursue this particular career.

            I believe the heart of my answer would have to be the infinite capacity of people and places.  What, is that too vague and unclear?  Okay, let me try to explain.

            Starting with places, I am not simply inspired, but awed, by the world we live in.  I have been very fortunate in my life to have traveled and seen a wide spectrum of sights already.  I have seen different cities from London to Tokyo, and natural beauty from Thailand to Ireland.  What amazes me is how in my young life, how easily it has been for me to travel to these places, and how they all exist on the same world.  The more I see (and will continue to see for the rest of my life), the more I fall in love with planet Earth.  The natural beauty, combined with the manifestations of human will have created a spectacular sight.  Personally, however, I keep coming back to how incredible it is that all of these places, which could not be more varied, all exist together.  On top of that, each place means a million different things to each person-no two people are truly experiencing the same world.  Some see significance, some history, some live on the surface without taking in their surroundings, and so on.  The more I think about the world, and our ability to perceive it, the larger my own perceptions grow to attempt to take it all in, and the more profoundly thankful I am to be a part of it.

           

            Following this idea, I would not have a world to be moved by if not for the people who shape and inhabit it.  Just as the world can be seen and experienced as an infinite number of places, there exists this same, infinite capacity inside every person.  Simply put, every second of every person’s life is filled with a near-infinite number of choices.  Without going into the world of science fiction and comic book-parallel worlds, what this means to be is that we have an infinite number of chances to be amazing.  True, most decisions are things like, “blink now,” or “turn right instead of left,” but there still remains the possibility that at any moment, each of us has the ability to do something spectacular.  I choose to focus on the times when people behave magnificently, not because I am blind to the cruel and darker nature of the world -the atrocities and injustices that are occurring globally- but because each time a person does something good, it carries the ability to resonate.  We empathize with the terrors of the world, and feel terrible, but when we see an act of kindness, it provides hope that truly can connect with us.  So, in every second, of every day, every person-even those we look at as evil or monstrous-have the infinite potential to do something truly inspiring.  That is how I choose to see people, as an infinite source for the amazing.

            These are the things that keep me going.  In terms of more literal inspiration, I could never pin down a list of what inspires me as an artist.  Sometimes a deer in my yard is an annoyance, and another day, I could see that deer and smile, and want to capture the moment in a picture or painting.  The world, and the people in it, offer continuous and infinite inspiration to me.

            That is inspiration, is my motivation.  On a planet with an infinite number of worlds, I am lucky enough to have a career in which I get to create and add more.  I hope that, in my life, I make the most of each moment, and do inspiring work that makes as many other people as possible connect with something deeper, something good.

            In a nutshell, I believe that “inspired design…inspires.”

            Infinitely.

Oh, and since this is a long and personal post-here are funny pictures of me as a kid.

Meeting the Red Ranger...in Japan.  I'm the one he's holding, not the one making the stupid face.

Riding an elephant.  In Thailand.  Cool, right?

Every Piece is a Self Portrait...Of Yourself

Oddly enough, I have a hard time calling myself an “artist.”  I say it jokingly with friends and colleagues when discussing the hardships of life in the arts, or when I try to justify giving away pieces I’ve done as holiday gifts (see, this post is getting in the holiday spirit!).  However, if you ask me what I do for a living, I will say that I am a “Designer,” and can be stubbornly insistent upon the distinction.

            This is not to say that I am not an artist-I create and enjoy working on various art projects as a passion in my life, but, personally, I feel that in the hierarchy of my personality, being a “designer” includes my work as an “artist.”  

(HIERARCHY OF MY PERSONALITY!-----------------------v)

For me, making the conscious choice of one title over another is, in itself, an expression of my personality.  It should also be noted, that when I answer “designer,” I am not always addressing the question of what my job is.  I am a designer.  It is not just a job I do to make a living (because I’d be an idiot if that were the case, and should go to law school or something), it defines how I live in and see the world.

            I like to believe that I am an analytical and reasonable person, someone who can usually looked at to be logical and calm.  An asset I bring to my work, as I usually cope well with the high level of stress involved in the day-to-day realities of this career, and an ability to solve problems as they arise.  Yet, I have chosen to work in this field because I am also an extremely passionate man, who is unafraid of his emotions (a modern man, as they said…back in the 90’s).  I see beauty and tragedy in all aspects of life, and empathize easily, with which I apply sincerely to create work that is in itself beautiful and tragic.

            Also, I am hilarious.  Well, no, not really.  I’m clever?  I can’t say because that is an aspect that is not for me to decide, it is how I am viewed by other people.

            And now, far along in the post, we get to my point (sorry-you can start reading here if you don’t want to know about ME.  I won’t take it too personally [probably])

            As anyone who works in the art can tell you, it’s a people business.  After the first year or so, most of your work comes from recommendations, friends of friends, returning to clients who liked your work, etc.  The secret to understand is…talent is only part of the equation, and, many times, not the largest part.

            You’ve probably heard the old saying “no matter how good you are, somebody is always better.”  Well, that’s true, but also not entirely.  There is always somebody who is at least as good as you, looking for work, and it’s more about being different than being better. 

            So, as you can guess, if talent is relative, the best thing you can do for yourself is to excel at being awesome to work with.  Be as awesome as you can be to be around-at least at work, though, hopefully, you continue to be awesome at home.  Go out for a drink (even if you don’t, just don’t make it weird) with co-workers, be willing to discuss things outside the job, and just do your best to enjoy the experience.

            As in previous posts, a mantra of mine (developed through actually writing this blog) is that the more reflection and consideration you give to the different parts of your life, the better your work, and your life, in general, can be.

            Your work is a reflection of who you are, undeniably.  No matter how different each project is, you are putting a piece of yourself on display each time.  It is in your style, your choices, and the way you create; therefore it is undeniable.

            I just encourage you to do your best to ensure that the self-portrait you present in your work is as awesome as it can be. 

            Okay, I’m done saying awesome.

Awesome.

Shop Talk, Chapter 2: “Concepts”

            Albert Einstein once said, “if you can’t explain it simply, you don’t understand it well enough.”  The concept step in the process of design is what separates designers and artists from other people-the talent and honed skill of turning ideas and feelings into appropriate and artistic creations.

            Concept is the stage in which, after understanding an idea in an abstract sense, as discussed in the “Pre-Concepts” section, the designer produces research and sketches that solidly provide a clearer picture of the project. 

Referring back to the previous post, we saw this image, as a representation of the abstract “feeling” of the play, of darkness and intimidation.

In the concept phase, we see images such as these, which have taken the tone and grounded it with elements that will actual be used in the final product, and give a much clearer sense of where the design is going.

Also, it is important for the language of the discussion to continue to evolve.  As we continue to use this project, Westfield High School’s Richard III, as an example, the “Pre-Concept” stage started with the word “intimidating.”  In the “Concept” phase, the idea was expanded to include words such as “warehouse,” and “life-blood and vein colors-dark reds and blues,” and “broken, falling-apart.”  Now we have more concrete images that both parties agree on. This will make it easier to move into the actual creation of the design, and make the process move smoother since everyone will be working from the same pool of ideas.

It is important to remember that the “Concept” phase is still preliminary.  The more focus and clarity that can be gained from the “Pre-Concept” and “Concept” phase, the better the designer and client/director/producer will be able to move forward. 

The “Concept” can simply be explained as the step in which the designer and client both unify and agree on the same vision for the project.

The following steps in the design process, as one begins to actually construct the design itself, are made easier the more focus is given to the early thought process of a project’s identity.  The early drafts of a design should not be surprising as long as the proper amount of energy was put into these initial steps. 

It is this talent which is not inherent in everyone which calls people to become designers-this ability to translate feeling and idea into physical representations, and it should never be taken for granted or neglected, but sharpened like any other skill a designer utilizes during their career.

As always, I do not believe these ideas are limited to the design world.  Be it personal relationships, arguments, or any scenario involving multiple individuals, early and clear establishment and agreement of subject and language will help one to arrive at a better outcome sooner, and with a higher chance of pleasing all parties involved.

No one wins if two people have one fight due to each person having different interpretations or understandings of what they are fighting for.  Take a moment in your life to consider how things began, and be more conscious of your choice of words and feelings.

Where Do We Go From Here?

“We were given two eyes for a reason.  One to see and experience every day, and another to keep watch on the horizon.” 

These were the words of an old Irish veteran I met during a trip I took backpacking through Ireland, and they still resonate with me today. 

I am all about living in the moment, and enjoying every day as it comes, as many people are.  I also recognize that it is easy to allow that to become a sort of excuse to avoid thinking about the future, and I put a great deal of effort into making sure I do not fall into that trap. 

You don’t need to plan out your entire life to the letter, and create a timeline for when you want to get married or have kids, but it is both healthy and helpful to have general goals and ambitions, instead of just expecting life to take you where it takes you-at least, professionally. 

Personally, I know I want my future and career to include graduate school in the near future, getting involved in industrial/event design work eventually, and becoming a professor somewhere down the line.  These goals are specific, concrete ideas that provide me with drive to keep improving and growing.  I want to get into a good MFA program, so I work at improving my basic skills and craft.  I want to get involved in event/industrial design, so I read articles about them and create folders of my ideas.  I want to teach, so I want to learn as much as I can now to be the best educator as I can.  Each goal does not weigh me down as some fixed point on a timeline; they inspire me to reach for them when the time is right.

Not only does looking to the future provide me with motivation, but it reinforces my commitment to what I’ve chosen to do.  I believe that if I can so clearly see these things I want in life, and the fact that they all lie in my chosen career, that what I am doing is working.  I am on a path with things to look forward to. 

Thinking about my career in this way has also inspired a pet project of mine, that I know is far off in my future, but I am excited about (Project: Outside the Lines- keep reading this blog and one day I’ll explain it!).

All that said, carpe diem.  If life offers you an unexpected opportunity, seize it.  Be fluid and confident in your goals, but don’t ever let them stop you from doing something extraordinary.  I encourage you to take a moment to think about what you want, professionally and personally, but don’t put a clock on those dreams. 

Keep one eye in today, another on the future, and simply watch where you are going.

"Maiden's View," Ireland 2008 

Collaboration

Design for entertainment and events is, above all else, a collaborative art.  That is it’s greatest strength, and sometimes one of it’s greatest challenges.  Work is the result of collective ideas, and it is the duty of a designer to consider all perspectives of everyone involved, spearheaded by their own design skill and training, to create a product that meets everyone’s needs.

I wanted to discuss this aspect of the job, because I was reminded of how important it is just the other day during a meeting for an upcoming production.  The project is Forum Theatre’s “The Language Archive,” which will open in Washington, D.C. on February 16, 2011. 

The other night was an early production meeting for the show, and I had only read the script several hours earlier, so I had not yet become comfortable enough to offer too many of my own insights yet-but this afforded me a fantastic opportunity to really absorb all the ideas and discussion.  The conversation took place between the director, scenic designer, and costume designer, and the majority of the time was used discussing the abstract ideas of the play, not getting to specific scenic or costume questions until the very end, and even then, those elements were only discussed in a conceptual manner.

It was the type of conversation that reinvigorates an artist.  Each person in the room had their own vision, but none were fighting to convince the others; they were contributing pieces and helping to create a central idea.  The free flowing nature of the discussion, where all ideas were heard, grown, abandoned, and understood provided for an energy that is indescribable.

I have intentionally stayed away from going into specifics of what was discussed-but the following are a few phrases, questions, and ideas to give you an example of the engaging and unique discussion we had:

“Repeating without becoming redundant”

“What does sound look like?”

“What does language look like?”

Decaying leaves and the autumnal nature of life

Safe to say, I am excited for this project, and seeing how it continues to evolve with all the talented people.

Shop Talk, Chapter 1: “Pre-Concepts”

“Shop Talk” is what I will call the sections of this blog dedicated to going through some more specific issues, as they relate to the field of being a designer.  Obviously, this is coming from one designer, and if there’s one thing that I can say with certainty-it’s that no two people design the same, or have the same process.  The hope here, however, is to try to put some of these processes into words, to help young designers find their voice, or help anyone working with, or curious about the process better understand how a person’s (mine, in this instance) works to create and design.

To start things off, we’ll start early on in the process.  A “Concept” for a production is how you determine things like “we want a carnival themed wedding!” or “let’s set Richard III in a contemporary, abandoned warehouse!”  This comes from discussion and collaborative vision between directors, designers, producers, clients, etc.

Before that, however, the designer should develop a “Pre-Concept.”  Much like any preconception, these can eventually be proven to be totally wrong, and one should be aware of that.  It is important however, when given a project, to take time to understand it independently.  This may sound complicated, but it can be as simple as saying “okay, this is a comedy,” or “cool, a tradeshow for computers.” 

Taking time to consciously acknowledge this step will help establish the language that will be best for discussing the project.  It also may help to gather images that you feel are evocative of the sense of what you are working on.  The more you, by yourself, can understand the entirety of a project, the more useful you will be as a collaborator.

For example, I am currently working on a version of Richard III, set in a “contemporary, abandoned warehouse” (see how I tie these things together?), with a touch of abstraction.  To begin, I read the play, and gathered my preconcept.

Images such as this helped me to discuss works, and feeling that drove my vision.  Additionally, my vocabulary started with the specific word of “Intimidating” as opposed to “scary” or “dark.”  This helped us move forward, to the concept, where more images were pulled, but with more relevant subject matter, such as this.

Concept, however, is another step. 

The most distinction part of a career as a designer, as opposed to a life as an artist, is thoughtful consideration, and practiced execution of skills, in a more regulated and controlled manner, without losing any of the passion or innovation.

Design The Future

"Your head's like mine, like all our heads; big enough to contain every god and devil there ever was. Big enough to hold the weight of oceans and the turning stars. Whole universes fit in there! But what do we choose to keep in this miraculous cabinet? Little broken things, sad trinkets that we play with over and over. The world turns our key and we play the same little tune again and again and we think that tune's all we are.”

-Grant Morrison, The Invisibles

            Opening with a quote that makes you think seemed like a good way to start things off.

            I am a scenic designer, currently working mostly in theatre, but looking to expand into tv/film, industrial or corporate tradeshows, events, or interior/office design.  I’m a person who seeks to create.  Or, perhaps more accurately, I hope to foster creation.  For all my personal ambition for what I want to do, I am also committed to the idea of education, which was a main reason for starting to write this.  I want to use this as a way to offer insight into my personal career, lessons learned, and helping others gain a deeper, honest understanding of what may be ahead of them.

            I am not a romantic who fell in love with a bohemian lifestyle.  I’m a designer, with skills and craft, who chose a career that was intellectually, and professionally challenging.  If you fall in love with a life in the theatre, or the arts, I hope it is truly love, because lust will fade, and things will get hard.  Loving this life means accepting that it is not perfect, it is not better than others, but it is for you, and you cannot live without it.  That said, I am not trying to scare you off-quite the opposite.  I invite you to be inspired, because I sincerely believe we can all use a little more art in our lives.

This blog has many goals.  I want to share with you my personal thoughts and experiences as a young professional in a difficult field.  I want to offer insight into process and technique as it pertains to design.  I want to be honest with you, and teach you the lessons as I learn them, so that you can be informed. 

I aim to speak not just to people working in my field, but anyone seeking inspiration.  2010 was one of the worst years to graduate college and try to enter the work force-whether you worked in the arts, or anywhere else.

I hope you can learn from what I write, because I write this for you, to offer a helping hand, or a foundation, so that you may begin to build and create on your own.

In the future, posts will discuss the following:

1)     The Process- techniques, and mechanical skills.  The specifics of the “design” job.  Hopefully useful for those starting out, or just curious about what exactly I do.

2)     Personal Projects-lessons learned, concepts for projects, or just (hopefully) funny stories.

3)     The Future- ambition is the key to success, and it is what keeps you growing, as a person and an artist.

I promise the other entries will not be as sappy.  Many will probably be hilarious.  Well, they might be a little funny.  Hilarious is a bit presumptuous.

However, every entry will be passionate.  I love my job, I love my life, and I want to show you why.

Do not design for the future; design the future itself.