InterviewWhat drove Von to Design?| 00:09 |
(SOUND).
We're here on set today at lynda.com
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talking with graphic designer and
illustrator Von Glitschka.
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Von, thank you for being with us today.
>> Thanks.
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>> Yeah, so how did you get started in
design?
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Why did you gravitate towards drawing?
>> a fear of math.
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(LAUGH).
That's basically, (LAUGH) that's
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basically what it comes down to.
I mean that sounds kind of pathetic now
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but it is kind of true but my mom, I grew
up my mom's really creative.
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So she kind of inspired me a lot, but it,
it was mainly the art that was embedded
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in pop culture that really influenced me
growing up.
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So Mad magazine, I loved Mad magazine.
I just was enthralled by the artwork and
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the, the stories and stuff involved in
it, and all the other.
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There's a lot of pop culture kind of
artistic stuff, subversive underground
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comic books really played a part in
inspiring me.
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So you know but even lesser radical type
art like Richard Scarry that was.
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I remember my parents bought me that book
as a little kid for the rainy day book or
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something like that.
And I really like looking at that just
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because it's full of all these really
cool illustrations.
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So and my my dad was really into big band
music, and jazz.
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And so he had a lot of RCA records, LPs
and there is an art director from the,
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the 50s by a name of Jim Flora who worked
for RCA.
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And it wasn't until the late nineties
that I kind of put two and two together
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that he really influenced me when I was a
little kid and his style.
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I look at how I was drawing and you can,
you could go back and tell that I'd
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looked at those LPs all the time.
Because they were fun and his
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illustrative style but that did play a
big, influence on me.
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| The importance of drawing| 00:00 |
Drawing has been depreciated in terms of
how they train people to do creative
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arts, unfortunately.
a lot of people would go through a design
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program and they'd never once taken a, a
drawing class or a live drawing class.
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when I went to art school it was, it was
just part of the curriculum.
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You took live drawing.
We'd go I went to art school in Seattle,
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so we'd go down to Pike Place Market and
we would sit there for three or four
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hours and we would just draw people, just
draw the things we saw.
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And it wasn't because this was a visual
communications program, it wasen't a fine
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arts school so they weren't trying to
turn us on to fine artists, it had
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nothing to do with that.
It had everything to do with them
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understanding the importance of being
able to think about ideas and draw those
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ideas out.
Well, if you can't draw at, in, to any
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degree, then it's going to be harder to
translate ideas, and to work through and
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problem solve visual visual graphics.
So they saw the connection between
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drawing skills and ideation and those
working together to produce, design and
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they really, reinforce the importance of
that.
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So, I reinforce that, the importance of
that all the time, and.
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that said I'm a geek.
I, I love the computer, I love how
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efficient it makes me.
I love how it gives me a lot of
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flexibilty to explore different ideas
because it's a lot easier to do that now.
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before the computer when you do marker
comps it it just took a lot more time to
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work out all these concepts well now with
digital tools you can do it a lot faster.
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But I think what you miss out on is
people don't view drawing in the same way
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that they used to.
You know everybody I went to art school,
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they, they all draw.
They use drawing in their design on a
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daily basis.
All of the logos most people love, all of
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'em started in a drawn form, you know,
and they wonder well I really wish I
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could better at creating logos.
Okay, well pick up a pencil and start
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drawing, exercise.
You know, it's no.
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(LAUGH) Now I'm not one to talk about
exercise because I could lose a few pounds.
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I fully realize that, the director's
laughing right now because he relates to me.
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But, yeah, I, I, but when it comes to
creative art, you have to do the same thing.
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No pain, no gain, you know, drawing is
not easy when you start but if you keep
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with it, you're going to get better.
So, I really think it's something that
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needs to be really reinforced today more
than ever.
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>> So you're passionate about the
subject then?
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>> No, not really.
Yes.
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| Making drawing a habit| 00:00 |
Well yeah totally, I think if, if you're
going to use drawing within context of a
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creative process, then you have to make
access to it easier, you can't make it a,
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a hassle to draw.
Like, don't keep your paper hidden away
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in a drawer and don't keep pens in a
drawer, you know keep it easy to access.
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So keep the drawing pad or like, I don't
like drawing in a sketch book personally,
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I find it confining, like, man, if I
screw up I'm going to have to rip a page
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out of this sketchbook and then it ruins
the book, you know.
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So I personally don't like sketchbooks.
That said, my daughter, she's 18 she
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loves her sketchbook, and she's drawing
in it all the time.
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She doesn't have that hang-up at all.
For me, I get hung up on that, so I like
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notepads because I can sketch on them.
And if I like an idea and it applies to
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something I'm working on, I rip it out,
put it in my project folder, or I tack it
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up on the wall.
So it's easy for me to use that so I
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keep, I keep something to draw on on my
desk, I keep the pens right there and
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then if I'm out and about somewhere, I'm
always taking like a pad and pens with me
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so I can draw at any time.
So I have a nice little iPad, a kind of
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iPad what you may call it, case, and
what's built into it is a little drawing
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pad, so I have digital and I have
analogue.
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So the nice thing, if I go to a coffee
shop and I have to work out ideas for a
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logo or if I'm working on concepts for
icons, or a character design, I can pull
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up references on my iPad right here on
the left and then I have my drawing pad
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here and I'm just, it's just a great,
it's like this little mobile studio.
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So it's really not hard, it's just a
matter of making it a habit.
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I really think it's important to draw and
you, you just need to start doing it.
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If you don't start, you'll never, nothing
will improve.
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If you start, you're only going to get
better.
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That's the greatest part about it.
And it's never too late to start.
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Pick up a pencil and just stop whining
and start drawing.
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| Pushing creativity through drawing| 00:00 |
Once again, it's not about becoming an
illustrator.
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It's about enabling yourself to problem
solve, and whether you can draw
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beautifully in terms of a photo realistic
drawing.
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That's great, if you get to that point
But that's not, that's really not the,
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the, the goal of, of starting to draw.
It's about making it part of your
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creative process, regardless of what
specific discipline you're in, in terms
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of creative arts.
You might be a graphic designer, you
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might be a web developer.
You know, you can still use drawing to,
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to work out how you're going to create
something before you create it, you know.
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And I think people are really going to
enjoy the course I developed for Linda,
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in regards to logos because it kind of
reinforces that.
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And my other course, actually every
course I'm going to work on for Lynda.
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I'm probably going to reference drawing
at some point, because I really think it,
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it, it, it's a It's a disservice not to
always bring up the fact you should be drawing.
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Look at it this way.
If you're a designer and you design in
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your comfort zone, that's like here,
these are the type of projects you like
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to work on.
But maybe there's these other projects
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out here that you, you, you've seen other
people work on.
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But they kind of intimidate you because
you know it's going to take some drawing
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skills to work out the graphics that were
created for that.
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Well, if you start drawing, you'll
eventually be able to do those type of things.
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So it's going to enhance your design.
It's going to improve your design.
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And you're just going to have a lot more
fun.
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because creating stuff is fun.
So, when you draw you create and I think
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that's always a good thing.
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| On drawing and technology| 00:00 |
my oldest daughter Savanah she's going
through a two year visual arts program
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right now and when she was a little girl
you know I was always putting things in
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front of her you know crayons and you
know not letting her out of the room
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until she drew me a picture.
No I didn't do that but I was always
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encouraging her to be creative and she'd
always come into my studio and kind of
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hang out with me while I was working, so
she saw me drawing and she, you know,
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wanted to do what dad did so
But I look at her now, she's 18, and I
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look at what she's drawing and the
quality of her drawing now when she's 18,
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and I think back when I was 18, and she's
a lot better (LAUGH) than I am.
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It's, it's pretty incredible but the
difference between her drawing and my
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drawing is, is, is obviously, you know,
she has certain penchants she's
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interested in so she likes drawing Manga.
And I, whatever, you know.
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I don't get into Manga, but that's okay.
I can appreciate it, and she likes doing
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it, so I encourage her.
But one thing she does that I don't do is
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she loves drawing on her Wacom tablet,
and, and she does a great job with it.
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And it's, it's a, it's a digital form, so
she's exercising the same creative
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muscles in terms of her drawing skills,
and the, the tactile aspects of it but
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it's using digital tools.
And that's something, I, I've tried doing that.
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What I get hung up on is my hand covers
where the cursor is on screen.
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And so I just, I didn't like that.
And I've tried.
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The other tablet forms of their products
where you can like draw in Photoshop or whatever.
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And it's okay, I enjoy it, but I still
prefer just the physical paper and pen
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and, and that kind of approach.
But, for my daughter, she's able to, I
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bought here a program a few years back
for Christmas and it's called Manga Studio.
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And it has all of these great brushes.
And, and she's drawn some stuff out.
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And printed it out.
And she came and said what do you think
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of this.
And I'm looking at the drawing and like
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like what brush did you use on this?
This is awesome!
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You know, and she did it all digitally,
and I was just like, wow!
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You know, I'm thinking, I mean she's
teaching me some stuff, like, okay, I
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need, I need to, you know, maybe explore
that a little more, and not be such a
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designasaur and (LAUGH) and resist it so
much.
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but, there, there is something to be said
about tap tow I like when you draw
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something physically.
I can scan it in and get what I need, and
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then I still have the cool little doodle
that's a piece of art.
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That's the part that I don't really
want to give up.
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because I really like that.
Because I save my doodles, and I put them
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in binders.
not to say you couldn't print them out.
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But it's just not the same thing.
It's like you've created this hand
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quality drawing.
So I, I kind of like it, but in terms of
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using drawing via leverage in the future
and new technology.
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I think the iPad's really cool.
And I'm hoping I know Steve Jobs is all
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big on the you know your finger.
But I don't want to draw with my finger.
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You know it's like drawing with a vienna
sausage.
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I don't want to do that.
Its just not condusive to you know
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drawing the way I want to.
I want to have a nice stylus.
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So I do use a stylus on my my iPad and I
like using apps like pen ultimate is my
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favorite to do concept sketches but I'm
hoping they pay attention to that certain
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demographic within their user base who
uses iPad's and they they do create a
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stylus that works a little better.
You know, that's more precise than, than
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what they have now.
So yeah, it's exciting to see what's
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going to come, what's going to come in
the future, so.
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I, I like, I'm a geek, I kind of like
gadgets.
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I just want them to be easy to
understand, that's the only part that
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frustrates me about them.
But thankfully, I have IT friends, so.
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>> Nice.
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| The 21-day challenge| 00:00 |
The 21 day challenge is simply a drawing
challenge in, what I like to tell people
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is it takes and this isn't unique to me
this is just, what I've heard.
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So I'm applying it to the skill of
drawing and that is is, it takes 21 days.
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To do anything in order to make it a
habit.
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So I like to tell people to take 21 days
and every day draw something.
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So at the end of the 21 days, you make
drawing a habit.
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Now, at the end of 21 days, I'm not
saying you're going to be an amazing
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illustrator or.
Even an amazing drawer, that's not the point.
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It's about facilitating the aspect of, of
you embedding drawing within your daily
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routine, so it's about making drawing a
habit, so if you stick with it for 21
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days, it's going to help enable you to
make that a habit.
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So that you can then move forward with
that skill set and start applying it to
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whatever you're working on and it might
be design related.
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But you might be someday watching this
who, who you might be a marketing director.
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You know drawing is going to help you to,
to problem solve.
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It's going to help you to keep your mind
from losing focus.
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So if you're at a meeting.
And the, the guy's droning on and on, and
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you try to just sit there and listen to
it, you might fall asleep.
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So if you start doodling, it's a way to
keep your mind paying attention, without
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being distracted.
And a lot of people think drawing
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distracts you, but actually the studies
show that it helps you to retain more information.
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So, it's a good habit, good, creative
habit to get into, so, I encourage
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everybody to stick with it for 21 days
and if you're able to really utilize, if
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you're able to facilitate drawing as a
skill set in your own workflow.
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Then you're going to be able to leverage
it for a lifetime.
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So that's the benefit of it.
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| How design education has changed| 00:00 |
When I went to school, it was just purely
focused on visual communications.
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And everything related to it, and there,
there was, there wasn't any courses that
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was just regular kind of academia like
like English class, or, or, or writing
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class, or, or something like that.
And I, I kind of wish it they would have
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had that because you know, those are
skills sets that I developed and improved
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upon once I started working.
But nobody really taught me how those
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plug in to the creative arts.
And so I think they're doing some of
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those things a lot better now.
But in the same respect, I think they've
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lost a lot too from when I went to
school.
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Where they really reinforced drawing when
I went to school.
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And now that's kind of been depreciated
and then knowledge of the, the tools and
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software has been elevated.
And so I think it, it's kind of created a
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strange dynamic where, you know, 20 years
ago there was people that never even
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considered going into this field.
Because there is this level of
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craftsmanship that was just associated
with the type of work you were going to
| | 01:11 |
be doing.
And now that's like, that speed bump been
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removed and it's being sold as, well, as,
as long as you know the software you can
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do it.
And I think that's that, that's
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unfortunate because I think there's a lot
of people who get into the industry.
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And frankly they, they struggle to really
be as successful as they could because
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they don't have some of those core skill
sets.
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That somebody twenty years ago just
learned because, they, they recognize the
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importance of it back then.
I don't know if that answered your
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question or not.
>> Sure.
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>> Okay.
>> Yeah.
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| On having a signature style| 00:00 |
I've worked on projects where I'm
distinctly going for one style and then
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this project, I'm going for another
style.
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But then somebody on the outside can look
at both of them and they can still tell
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it's me.
And so somehow within that context
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they're still.
Able to the, they're still able to see my
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fingerprint somehow on stuff, even though
I'm trying to execute it in distinctly
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different styles, and I, and I think
that's natural.
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I don't think, see that as a problem, but
I think it's good to have a, a signature style.
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You might be, that might be your your
favorite, you know.
| | 00:38 |
A good example of that is Charles
Anderson.
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He developed that whole aesthetic that
has the, the, the kind of pop retro look,
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and, the, he uses a lot of imagery from
the, the 50s ad cuts.
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And, and but he's using a modern
aesthetic to kind of layout and design a motif.
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And it was really popular in the 90s not
so much popular anymore, but it was
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distinctly his style.
So, there's still people that'll
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replicate that style, but when they do,
everybody knows, oh that's kind of
| | 01:12 |
Charles Anderson style.
So, I think it's good to develop your own
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style in certain respects.
I think illustrators have in the past
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have thought, you need one signature
style.
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So, that's your style and then, your'e
trying to get work where you can apply
| | 01:30 |
that style to.
Well, that's fine, but I think it really
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limits your work if that's the only style
you work in.
| | 01:37 |
So, I'm a big proponent of working in as
many different styles as you can because
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it just opens up opportunity work on a
lot of different projects, so
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Whe, when you do design, and you enjoy
what you do, you're personality just
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tends to come through it.
So with regards to style that's
| | 02:00 |
definitely how I see a play out in design
and illustration, and for my work it's a
| | 02:05 |
mix of both.
It's design oriented context.
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But I'm always using an illustrative
twist to pull it off so.
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| On pitching a client| 00:00 |
I think pitches are wide open.
It's just, just it's like beta testing,
| | 00:06 |
it's like no, nobody really knows what's
going to work quite yet.
| | 00:10 |
So just shotgun them all kinds a great
ideas and let's just not limit it.
| | 00:16 |
The range of what we're going to pitch
him and by doing that that's how you
| | 00:21 |
discover these.
Wow, I've never thought of going in this
| | 00:23 |
direction, and I don't do very creative
pitches.
| | 00:28 |
I, they have a specific service they want
in mind, I pitch toward that service.
| | 00:32 |
Other ones, if they're kind of, if they
just want to explore what could our brand
| | 00:39 |
possibly be in terms of this new drink
line.
| | 00:42 |
Then yeah, then I just kind of go nuts,
and try to help them dream.
| | 00:46 |
And lets try to figure out what you can
do.
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So whether or not you get the pitch isn't
everything, you know?
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Doesn't always work out so.
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| On choosing clients| 00:00 |
I've made the mistake of taking on
clients who, you know, a month down the
| | 00:05 |
line working on stuff, I'm just like
regretting saying I'd ever work with them.
| | 00:10 |
So I really try to do a good job of
vetting out who I'm going to work with.
| | 00:16 |
And, and a good way to do that if, if
they're all focused on the price, then I
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tend to float them an elevated fee just
because if they have a problem with that
| | 00:27 |
it will scare them away and the problem's
solved.
| | 00:31 |
And if they don't have a problem with
that, then (LAUGH), then I make more
| | 00:34 |
money than what I normally make, and so
it's a pain fee.
| | 00:38 |
You know, I have a friend who calls it
that but
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So I, I try to vet clients sometimes a
client will come to me and they won't
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have any money really, they, they, like
I've worked with some nonprofits where
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you know, they, they don't have any
money, but what they're doing is really
| | 00:58 |
cool and I just want to help them.
So I always try, I, I try to do
| | 01:03 |
non-profit work every year, at least you
know, once every quarter take something on.
| | 01:09 |
Even if it's not distinctly a non-profit.
It, it might be a small business owner
| | 01:13 |
who doesn't have a ton of cash and
they're starting up a business and, and
| | 01:16 |
they're local, and I just want to help
them do it right.
| | 01:21 |
And so I'll, I'll, I'll donate my time
just to help them out, you know, and I'm
| | 01:26 |
not expecting anything from it.
I'm just trying to help them so, you know.
| | 01:33 |
It just depends.
>> That's great.
| | 01:36 |
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| Working for a large agency vs. a small firm| 00:01 |
I've never worked inside a large agency.
I work with large agencies all the time,
| | 00:06 |
but I have worked within, like, a inhouse
art department of like, 30 artists.
| | 00:12 |
when I worked at Upper Deck in
California, the, we had about 40 artists
| | 00:17 |
in the department.
And, the dynamic between that is there's
| | 00:24 |
a whole lot more politics.
You know, you, you deal with a lot of
| | 00:31 |
egos within marketing, you know, you kind
of wrestle with marketing directors who
| | 00:36 |
are trying to play art director.
you wrestle with VPs of creative who
| | 00:43 |
couldn't design their way out of a wet
paper bag.
| | 00:46 |
But they're wanting you to align with
somebody, what somebody else is saying
| | 00:52 |
that isn't a good idea, and only because
it's just going to, you know, benefit
| | 00:57 |
them in the long run.
So, there is a lot of those kind of
| | 01:00 |
dynamics and politics that I really don't
like that kind of get in the way of pure
| | 01:04 |
creative work.
But that said there's a lot of budgets
| | 01:08 |
and certain types of projects that you
just never really get to approach when
| | 01:13 |
you're at s, a small boutique firm.
The benefits are your your a small
| | 01:18 |
boutique firm, you have less budgets and
so you have to work faster.
| | 01:23 |
And that, that was the dynamic I
experienced is I came from a I was
| | 01:28 |
working for a small design firm in Salem,
Oregon.
| | 01:32 |
And we only had about nine employees.
And then I went to Upper Deck, which at
| | 01:37 |
the time had.
Over 500 employees, and I would get a
| | 01:44 |
master schedule for a product launch that
I was responsible for creating all the
| | 01:48 |
content for, and it would span like two
and a half months.
| | 01:53 |
And I remember looking at that and going,
are they serious?
| | 01:56 |
I mean I'll have this done in like five
days, this is nuts.
| | 02:01 |
And so that was their pace, that's what
they were used to.
| | 02:04 |
Because big corporations and big
companies and agencies tend to move
| | 02:10 |
pretty slow, you know?
And they respond to trends slower.
| | 02:14 |
you're a smaller company you're, you're
kind of like a, you know, the big, the
| | 02:18 |
big boys are kind of like cruise ships
that take seven miles to make a turn.
| | 02:23 |
You know, where as a small agency is like
a, a speed boat, they can turn on the
| | 02:27 |
dime, and they work fast.
So, those are the two, distinct
| | 02:33 |
differences I see in terms of how work is
produced is one tends to move at a slower
| | 02:39 |
pace, one moves pretty accelerated.
It's those kind of practical benefits
| | 02:45 |
between the two, but when it comes to
pure creativity you're exercising the
| | 02:50 |
same but it's in a little different
environment so.
| | 02:54 |
personally I, I, I tend to prefer, I love
working with all the creative people in a
| | 03:00 |
big department because you get to make a
lot of friends and know people.
| | 03:03 |
And, and get to know people that way and
I still have a lot of friends based on
| | 03:08 |
those relationships but I really prefer
the smaller environment.
| | 03:14 |
I just think it's, it's a lot more
conducive for a fostering creativity.
| | 03:19 |
Yeah.
>> Cool.
| | 03:20 |
(BLANK_AUDIO)
| | 03:20 |
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| On collaboration| 00:00 |
I don't really enjoy doing brochures or
catalogs for that matter.
| | 00:06 |
And so what I do, is I create the brand
aesthetic and establish that.
| | 00:11 |
And create all the assets and then I farm
that out to an agency.
| | 00:14 |
And then I just art direct their
designers to produce it on my behalf.
| | 00:19 |
So, that tends to be how I collaborate
and I don't try to do everything, you
| | 00:25 |
know, there's that whole saying where
you're a jack-of-all-trades, master of none.
| | 00:30 |
So, I really believe in playing your
strengths and my strengths is concept and
| | 00:37 |
visual identity and other aspects of
like, character development and other
| | 00:42 |
types of design projects.
So, when it comes to print collateral in
| | 00:46 |
general, I know what look I'm going for,
but I don't want to be the one to design it.
| | 00:51 |
So, I'll, I'll work with other designers
to build out all the various aspects I
| | 00:56 |
need on a project.
| | 00:57 |
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| On copyright infringement| 00:00 |
usually the way copyright infringement
happens for me is that the first thing I
| | 00:06 |
do in the morning, open my inbox, check
my email and usually it happens by me
| | 00:12 |
gettin an email and saying, I didn't know
you created this or have you seen this.
| | 00:18 |
And I open it up and It's some company is
using my artwork here or there on a
| | 00:25 |
product, or some individual is selling my
artwork on, on goods or, or, they have it
| | 00:31 |
posted on their website.
And so some of them, to one degree or
| | 00:35 |
other, are pretty minimal, where I just
send 'em an email and I say, can you
| | 00:39 |
please remove this?
They do, it's done.
| | 00:42 |
Other ones that really become a, a legal
problem is there is one company based out
| | 00:49 |
of Australia.
And a designer over there was familiar
| | 00:53 |
with my work and had seen this skull
design I did.
| | 00:56 |
And it was being used by this company in
their corporate identity.
| | 01:01 |
And literally on everything, on their
products, on their packaging, on their,
| | 01:05 |
their vehicles they would, they would
take to the events where they would
| | 01:09 |
promote their products.
It was just everywhere.
| | 01:12 |
And that kind of surprised me.
And so, because I've had to deal with
| | 01:18 |
copyright through my copyright lawyer I
kind of knew how to frame my letter to
| | 01:24 |
that company.
So, I wrote that letter myself instead of
| | 01:27 |
going through my copyright lawyer, only
because I'd done it like ten times, so I
| | 01:32 |
knew what I was doing.
track down their legal department, send
| | 01:36 |
the letter, and, you know, they knew I
was being reasonable.
| | 01:40 |
I didn't say, you need to cease and
desist use of everything.
| | 01:43 |
I said, look I'm not, I don't want to
make this a huge hassle for you.
| | 01:48 |
If you want to pay this invoice then I
just handle it as if you contacted me and
| | 01:54 |
said you wanted to use it as your
corporate identity.
| | 01:56 |
And they were okay with that, and they
paid it, and I used that to get my
| | 02:01 |
daughter an iMac for college so it worked
out pretty good.
| | 02:04 |
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| On staying fresh| 00:00 |
To stay inspired and stay fresh as a
designer and relevant I think you just
| | 00:05 |
have to be somebody who's, in general,
curious.
| | 00:10 |
I think that's the one characteristic
that I notice in people who I see what
| | 00:16 |
they're doing.
And there work inspires me and that's the
| | 00:19 |
one attribute that's kind of the common
denominator between all of them is.
| | 00:24 |
Is this, there's a certain aspect to, to
them as a person that, that they're
| | 00:29 |
curious so and that usually pertains to
information that they learn, and, and
| | 00:35 |
what they learn and things they learn.
And I think the really good designers are
| | 00:40 |
those who enjoy learning, those who enjoy
reading and taking in information about
| | 00:47 |
things that really have nothing to do
with design.
| | 00:50 |
Just living a creatively curious life is
how I like to say it, will really inspire
| | 00:57 |
and fuel creativity personally for you.
And that will just, you won't have to
| | 01:04 |
force it, it'll naturally bleed over into
your.
| | 01:07 |
into your work projects, so any kind of
curiosity leads to creativity.
| | 01:14 |
Any kind of creativity will eventually,
if consistently practiced, find its way
| | 01:19 |
into your work.
So I think that's how it's done.
| | 01:22 |
It's not a follow the steps, it's more
about just being curious.
| | 01:29 |
You know kids have no problem being
creative.
| | 01:31 |
You know and it doesn't matter if they
grow to be creative it's like while they
| | 01:34 |
are kids they're always trying to find
creative ways to solve things and lot of
| | 01:40 |
it might be out of ignorance because of
their age but I think we can adapt a lot
| | 01:46 |
of those methodologies and.
And and you know encourage them and as we
| | 01:52 |
become adults you know.
My wife already says I act like a kid
| | 01:56 |
half the time anyway.
(LAUGH) So maybe there's some truth to that.
| | 02:00 |
>> (LAUGH) Nice, well Vaughn thanks for
talking with us today.
| | 02:03 |
And thanks for being with us on set at
lynda.com
| | 02:06 |
>> Thank you, appreciate it.
| | 02:07 |
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| Why Von started his own business| 00:01 |
(LAUGH).
I got started because I got fired.
| | 00:03 |
Yeah, so, that, that was an interesting
story,
| | 00:07 |
You know, I was married, two kids, we had
just moved back to Oregon and now I
| | 00:12 |
didn't have any way to make a living.
I get home and my wife just says for the
| | 00:20 |
past three years you've been talking
about.
| | 00:22 |
You know, running your own business, why
don't you just do it?
| | 00:26 |
And so, I started, and it, that started
in February of 2002, and I'm doing
| | 00:33 |
everything I'm doing now.
So, it, it's It was a little hairy the
| | 00:39 |
first eight months, but after that it
worked out pretty good.
| | 00:42 |
And slowly I started applying everything
I'd learned previously at other jobs.
| | 00:49 |
So, oh, one benefit about working for a
large company.
| | 00:53 |
Is when you're working for a large
company you can make all your mistakes
| | 00:57 |
for the large company, you know they can
absorb all your screw ups.
| | 01:01 |
So, when you go work for yourself, you
don't make those same mistakes and cost
| | 01:06 |
you a lot of money so, that's kind of
nice yeah.
| | 01:11 |
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