Q&A with Sam Torres

 

 Could you tell me more about the specific type of work your company does?

We do custom printed tee shirts for customers need. Some need design work, others have

everything somewhat created and we can work from their design.

 Could you describe your specific responsibilities or job description?

I do everything from answer phones, set up quotes, proofs, create ads, order garments,

pick up and deliver shirts, collect payment, expose screens, clean screens, coat screens,

print shirts, equipment cleaning, shipping, and emailing replies or collecting feedback. My

company is very small at the moment, so versatility is crucial.

 What skills or abilities do you find are most important in your work?

Being creative should be most important to a graphic person, but number one thing I

always strive for is being responsive. I try to make sure the customer knows if they need

something I will not disappoint them.

 What personal qualities should someone have to be successful in this field?

Versatility. Being great at one thing is very limiting. You will always have to work for

someone and get mounds of work to look forward to do, but nothing that truly equates the

hard work you do. Always learn what the person next to you knows, even if its just being

able to use the fax machine or scan documents into a file and send them as pdfs. Your

value should grow and new talents mean more self-suffiency.

What do you feel is your most difficult challenge in your position?

Getting new customer.

What do you find the most rewarding part of your work?

Keeping customers.

 How did you prepare yourself for the work you do (could be education and/or work experience or other training?

Years of busy days and small paychecks seem to be the right answer, but actually

education did play a part in getting a career. I worked for a publishing company for a few

years. That taught me some of the pitfalls all graphics people go thru, and I did have tight

schedule to keep up with. You can make an okay start with an Associates degree, but a

bachelor is the norm. Don’t think school will teach you everything.

What was your first position within this field?

Interning at a military installation doing graphics for PageMaker layouts and PowerPoint

presentations. Getting your foot in the door is always going to be difficult at first. Make

sure what you are doing relates to the field you are pursuing.

What preparation would you suggest for someone interested in entering this field today? What type of degree do you think is mandatory?

Do more work than just schoolwork; practice your craft until you can knock out

professional looking comps in your sleep, hangover or whatever. The people I have met

that have moved forward have always shown exemplary skills, but also never turn down a

chance to make themselves shine no matter how challenging. Some stuff will be boring

and will not be easy enough to finish in three hours or a full day, but its worth the time to

polish something up if you can. You never know if the right person is going to see it and

drop their jaw.

 In your estimation, how good are the future career opportunities in this field?

Lousy, but you should still get where you want to go. Jobs in graphics are becoming so

pointless because the software is basically getting easy enough that “fiddlers” get better all

the time and without a degree get a shot doing something 10 years ago that took a

professional. Also, the way (most) employers relate to graphics since it requires no actual

calculation or computation is they think any fool off the streets can do it. They’d rather

farm it out. Many reasons behind my theory on that, but none I want to go into.

Side notes from Sam Torres:

When I went to community college to start my education, graphics were still being

done as paste up and mechanically. All that changed about a year before I got out

of college. I wanted to keep going to school at a larger local university, but they

were still in the process of making changes to use computers so I was already

ahead of them. Whatever you do make a portfolio that recommends you as a talent

but also a quick learner. You’ll find it’s a whole different level in the job market today.

Sam Torres

Graphic Designer/Manager

Sling Ink

South Orange Avenue

Orlando, FL

(407) 382-1988

www.slinginkshirts.com

sales@slinginkshirts.com

Great Links for Graphic Design

• 25 of the best websites for educational institutions: http://bit.ly/16jAbQ
• Logo design inspiration: http://bit.ly/LFfnm
• 50 sites to get design inspiration: http://bit.ly/1aZyPk
• 80 inspiring uses of type: http://bit.ly/Ubz0k

Analyzing Gill Sans

Gill Sans is among one of the unique typefaces we have in typography. Gill Sans is a true hybrid, carrying characteristic of both serif and san serif fonts. A further exploration into the history, characteristic, pros and cons and personal opinions will allow for further understanding of this typeface and its uses in our society even in the present day.

Gill Sans is the product of an artist turned typographer Eric Gill. The font was released through the Monotype Corporation in 1928. During this period in time, many fonts of Gill Sans similarity were being produced such as Futura and Kabel, which are both san serif fonts. Gill Sans is classified as a humanist san serif font. San Serif fonts are fonts that are void of having small features at the end of the stroke. However, a slight serif is evident in Gill’s lower case and uppercase letters. This is what allows for this font to be a hybrid font incorporating classical versions of Roman Type. An apprentice of Edward Johnston, designer of the London Underground font, Gill Sans is practically a mere reflection of Johnston’s typeface.

Characteristics of Gill Sans are unique to the artist himself. Containing hard-sculpted forms, this is also a likely representation of Gill carrying his artistic sculpting knowledge and applying that basis to the creation of this typeface. There is also a pronounced contrast in the strokes. This is seen primarily in the letter “r” and “a”. Gill Sans contains over 14 different variations with this typeface including Gill Sans Light, Light Italic, Regular, Italic Regular, Book, Book Italic, Bold, Heavy, and Ultra Bold are among the few that can be easily discussed. The lighter of these fonts is seen to be the best example of Gill Sans. This is mainly due by the legibility factor of the stroke weights within the font. The Bolder the font becomes the more illegible the font is. There is a complete juxtaposition of letterforms from Gill Sans Regular to Gill Sans Bold. There are stark contrasts between Gill Sans Regular and Gill Sans Italic. For instance, the counter on the lowercase letter “a” is completely different. Notice this is the letter “a” in Gill Sans Regular; this is an example of the letter “a” in Gill Sans Italic. Notice how the there is no swooping stroke at the end of the letter “a” in Italic and how the counter is much more prominent. Also the lowercase letter “f” in Gill Sans Italic goes below the baseline of the font itself. The Italic “p” actually overlaps each other where the counter and stem meet. This could possibly be another reason why people felt it had a more human feel to it. Among other examples is the Alt of Gill Sans, which numerals contain a different capline; as well the numerals become descenders. In the Bolder faces of this type the lowercase “r” loses its stroke to a more bulbous rounded end. The signature elongated uppercase “R” and lowercase “g” resembling eyeglasses are exemplary of the Futuristic movement in which Gill was a part of. There is a rule in determining whether or not a typeface is considered to be legible. Gill Sans defies the standard because the x-height of this font face is slightly smaller than your average face that’s awarded on the fact of legibility alone. Probably one of the greatest qualities Gill Sans has is that it is space efficient when used in body text therefore giving the designer knowledge that they can work well incorporating this font into wordy body copy.

Gill Sans is feature in much of the British Culture. It is the font used for all the street signs in the United Kingdom. The font was practically adopted by the U.K. as the type of the mid 19th century. Terror Island an online magazine uses this font as its cover and body text. Among more notable things Gill Sans is also featured as the Title for Wine and Dine Magazine (Ultra Bold), Popular children’s animated film Chicken Little (ultra bold), Local Retail Eyeglasses store Eyeglass World they incorporate the “g” and use it as eyeglasses, Popular British Act Bloc Party use Gill sans as their main text in the first two album release as well as making it the font to signify the band Bloc Party. Among others include Mega hardware store HOME DEPOT which use the font in various signage around the store. Lionardo DeCaprio directed Environmental Documentary :An Inconvenient Truth which contained Gill Sans Bold. Gill Sans has played a significant role this year especially in the two thousand and nine presidential election. President Barack Obama used Gill Sans for his presidential logo during the running of his campaign for presidency.

I feel personally that yes! Upon further examination of the font, Gill San’s bold typeface needs to be reworked. It is true what they say, the font is unique and a hybrid amongst a plethora of futuristic typefaces. However there are still qualities about the bold typeface that do work. In a more signage design format the font has it’s playful qualities. Moreover, the term novelty could be used for the bold typeface of this font. I think it is also very interesting how many different variations of the font there are out for the public to ascertain. That is why the font should be reworked. I do not know to what extent. There is a great discrepancy in the typeface that needs to be corrected perhaps changing the bulbous lower case “r”, even condensing some of the typeface or creating a proper x-height instead of it’s slightly smaller size, these are simply three ideas to try and work out. So the question is why is there not a corrected or updated version? With the amount of fonts circulating today could it be fair game that if someone considered reworking the bold face of Gill Sans they could they call it Gill Sans Neue? Would Eric Gill get all the credit or would the other designer also be accredited to the contribution of the advancements in timeless typefaces. Also, I am not a fan of the italic “p” that whole crossing over strokes is not pleasing to the eye. Sure it looks like a person would make the stroke but seriously this font could be amongst the great like Avant Garde, Futura, and Frutiger. The “g” resembling eyeglasses is genius on the part of Eric Gill.

Through examining this font I have gained a greater knowledge of a font that on paper looks amazing, yet with a closer look you see that there are significant flaws in the design. However, conceptually, understanding what Gill was trying to do lends Gill Sans to be a great font for design. Gill Sans Regular and Light are the choices I would use the font in poster design as well as for body type. Considering all the factors the typeface with the flaws is the most efficient in space. With the intentional shortening of the x-height which has managed to create a much more condensed body copy. It would be fair to say that if the whole world used Gill Sans as body copy we would technically be helping the environment by saving on paper waste. Even the hard sculpted strokes create the dominance of an aesthetically pleasing font, but also a legibility factor that pulls from both classical and futuristic styles. The “melting pot” font is what I like to call Gill Sans. Sometimes breaking the rules makes the rules.

Reference:

An Essay On Type- Eric Gill

The Lettrforms and type by Eric Gill- Eric Gill

Name This Font- Thomas V. Skrivan

San Serif- Cees W. de Jong

Identifont.com

Blogs.telegraph.co/uk/ukcorrespondents/chrisopherhowse

Terrorisland.net

BarackObama.com

Typculture.com/academic_resources/Eric_Gill

Underconsideration.com/speakup/archives/0020706

www.blocparty.com

Q&A with Rene Vazquez

 

Rene Vazquez is a graphic designer here in Orlando that specializes in traditional Print Design and Web Interface design. He has many years of experience working on an array of projects, ranging from identity systems to Flash websites.

What are some of your day to day job activities?

I am one of three graphic designers for all 18 of our offices in our Skanska U.S. division and I assist in any graphic-related content for the company. Everyday I work on something different, one day I can be working on an invitation, t-shirt illustration, logo design and the next day I can be working on a Flash interface, Indesign template, and site signage. This is one of the main reasons I like my job so much because I work on a variety of projects everyday.
What skills or abilities do you find are most important in your work?

Being able to handle multiple jobs with different deadlines is one of the most valuable skills to have in my position. Another is learning how to manage your time efficiently because deadlines change and there are ALWAYS emergencies. A final skill that is important is learning how to work with different personalities. Finally, knowing Photoshop and Illustrator is key for my position.
Do you get to work one-on-one with clients or is your work geared for internal use only?

90% of the jobs I get are from my internal “clients” across the country. Every now and then I can work with an outside client, but not often.

What is the most rewarding part of your job?

Seeing your final product being used throughout the company or on a job site where everyone can see.
What do you feel is your most difficult challenge in your position?

Deadlines, Deadlines, Deadlines. Knowing how to manage your time to meet the deadlines while producing a good final product is a constant challenge.

What skills and qualities should someone have to be successful in this field of work?

See #2 answers and KNOW your programs. Your willingness to keep learning is key to success in this industry.

 
Is your work limited to print design or do you have opportunities to do interactive design?

Most of my work is print-related but I do work on Flash interfaces and will begin working in After Effects for some projects in the future.

In your estimation, how good are the future career opportunities in this field?

I see this field as a very good opportunity for growth.

In your experience, what do you feel are the advantages and disadvantages to working in a small design firm vs. a large one?

Currently, I feel that a larger firm works best for me, but it depends on your situation and what your career goals are as a designer. I have worked for smaller firms and unfortunately it hasn’t worked out for me. Three of the smaller firms I have worked for went out of business and in turn I had to look for employment elsewhere. In my experience, the smaller firms offer less opportunity for advancement and the benefits offered are far less than a bigger firm. One aspect I appreciate more as I get older are the benefits and that was one factor I considered intently before taking my current role. With any company there are pros and cons, you just have to weigh out your options and see which works for you. Like I said, I prefer the bigger firms.

How important is it as a designer to know about printing presses and how they operate?

It is extremely important because you will need to know how you are going to approach the design. Knowing the printing process will help your design be successful.

Is there one locally that you would recommend?

Yes, Progressive Communications has always been good to me. Ask for Paul Bodoia, he is the best rep I have ever had. Also, for smaller print jobs, Triangle Reprographics is great.

Have you ever done any freelance work and if so, what are some advantages and disadvantages to that vs. working in a corporate environment?

I do a minor amount of freelance design only because I just don’t have the time to work on big projects when I get home. If the project is interesting enough, I will take it on. My company treats me well, so I have that luxury. But at this moment, I am ok with working just in the corporate environment.

 There are many advantages in working freelance. If you can line up a string of steady clients, you can make a decent living at it. Working for yourself is great because you are your own boss and you dictate your hours and you can work from home. Unfortunately there are so many disadvantages for me that I will never do it full-time. Dealing with non-paying clients, the 2am calls from project managers, having no benefits, worrying when the next project is coming and the whole accounting part of it (among other things) is not for me. Some designers are able to handle that but I am good with working in my corporate job, going home at night and not worrying about work until the next day. Of course there are times when I have to work late nights, but those are few and far between. Once again it depends on your personality.
Do you have any other advice you can give me?

1.Be Humble! There will always be a better designer better than you, but if you are humble, have a great personality and a strong portfolio, you will always beat out that arrogant rock-star designer. Our community is small and if you are a jerk, it will come back to haunt you.

2. Get to know your computer programs as much as you can and don’t stop learning about them.

3. Treat your classes now as your clients and take them seriously. Try to make the best projects now because your portfolio is the one thing that gets you an interview.

4. I can’t stress this enough, Act like a professional! If this is what you want to do as a career, act like a professional now.

5. Present your work with confidence. If you are not confident in your work, nobody will be.

6. NEVER turn in projects late. Deadlines are there for a reason and you are always expected to meet them no matter what the circumstances are. In a real job, there are no excuses and they don’t want to hear them. Be on time.

Rene Vazquez

Senior Graphic Designer

Skanska USA Building

Marketing

www.skanska.com

111 N. Magnolia Ave

Suite 1150

Orlando, FL 32801, United States

Phone	+1 407 541 4750
Mobile	+1 407 401 2374
Fax

+1 407 872 0962

Q&A with Mike Casebolt

Mike Casebolt is a freelance designer that is currently a junior designer for Platinum Creative here at Orlando. I stumbled upon him on facebook a while back and I desided to interview him to gather some knowledge about his career and current position as a junior designer.

Derrick: What are some of your day to day job activities?

Mike: My daily activities include poster designs for events, online banner ad concepts, asset creation, and print design. I work on a lot of different things through out the day it really depends on what projects I am given. My work involves Print Design, Web Design, and Motion Graphics.

D: What skills or abilities do you find are most important in your work?

M: I think the skills/abilities are most important are keeping up with what is going on in our industry. Learning new scripts for web development. Checking out tutorials for any Adobe program to learn more about the programs. Communication with projects your working on and always taking in comments about your work.

D: Do you get to work one-on-one with clients or is your work geared for internal use only?

M: The company that I work for with is an in-house design firm so a project manager gives my work to me. The project manager is the one that is taking care of all the traffic of work and gives the work to us.

Outside of my job at Platinum Creative I’m a freelance Graphic Designer. I do work one-on-one with the Clients. It’s nice to be able to work freelance by yourself or with a small group of friends. The only downfall is a lot of clients can will or try to take advantage of freelance designers so ALWAYS use contracts.

D: What is the most rewarding part of your job?

M: The most rewarding part of my job at Platinum Creative is working with very talented designers to learn and grow from. When I was getting my degree in Digital Arts & Design everyone was very competitive so there wasn’t much growing for me as a graphic designer. Once I was out of college and working at a firm my skills and knowledge grew so much when working with designers that have been around a lot longer then I have.

D: What do you feel is your most difficult challenge in your position?

M: Not being challenged enough. I find myself sometimes bored with the work that I get and not put my full potential into it because some work that you’re given is just busy work. Not every think you work on if going to be amazing but you should always take everything you touch and put what you can into it to make it something you would be proud to show.

D: What skills and qualities should someone have to be successful in this field of work?

M: Make an impression. Think outside of the box. Always read industry related materials online or books. Look for inspiration but don’t rely on another artist or designer to make something. Make sure you’re always designing with your style or look and not knocking off something else’s work. Always take the time to check out AIGA Events, local Art shows, and networking with other designers.

D: Is your work limited to print design or do you have opportunities to do interactive design?

M: I spend about an equal amount of time working with Print Design and Web Design. Most of my web work comes from freelance projects. I specialize in xHTML, CSS, Javascript, and CMS design.

D: In your estimation, how good are the future career opportunities in this field?

M: Web will is always growing and increase by billons of dollars every year with Online Advertisements, Web sites, and online applications for media devices like the Iphone. Print isn’t like it used to be because of the Internet but I don’t think that it’s going to just fade away and be forgotten.

D: In your experience, what do you feel are the advantages and disadvantages to working in a small design firm vs. a large one?

M: I would rather be working in a small design firm because you have a closer family to work with. Rather then being in a big firm where you have so many different bosses that have to make approvals and turn good concepts away because they don’t know the whole story of the concept for the advertisement. Also you may not be treat as well in a larger company because there isn’t as much of a relationship built with having a large amount of employees.

D: How important is it as a designer to know about printing presses and how they operate? Is there one locally that you would recommend?

M: I think every designer should have an Idea of how printing works. I’m more into screen-printing and a good book to read on screen print is called “Print Liberation”. I have been to a big printing press and watched the process of printing at a place called Designers Press. They are located in Orlando and are very good for printing large runs. If I’m looking to print business cards I use ww.Moo.com. If you’re looking for screen printing for posters or shirts try Enemy Ink.

Screen Printing: http://www.enemyink.com/

Designers Press: http://yourcreativealliance.com

Book: http://search.barnesandnoble.com/Print-Liberation/Nick-Paparone/e/9781600610721/?itm=3

D: Have you ever done any freelance work and if so, what are some advantages and disadvantages to that vs. working in a corporate environment?

M: I would always try getting a full time job first, the reason being is you will learn a lot and be able to have a better understanding on how projects are handled and build your portfolio. Freelance has its ups and downs because of clients being flaky or trying to take advantage of you. I don’t want to scare you away from freelance because I think it’s the best way to work personally because you set your own time, it’s work that you get to have full control of and if it’s a bigger project you can bring your friends in to work with. I would say the best plan for any designer to do is find a design job when you get out of college and get three to five years under your belt and then if you want to work fully on freelance work you can make the change of being your own boss. I said this before but always work with contacts because it’s security for you and your client.

D: Do you have any other advice you can give me?

M: Never stop learning, have fun and always make sure to challenge yourself. In my experience everyone feels that they aren’t good enough or think they are going to fail it’s normal. Never be afraid to take good and smart risks. Never hold back ideas. I would keep a moleskin book with you to either doodle in or write your ideas. Network as much as you can. If you feel stuck on a project either start on a clean slate or try something new because from experience I’ve wasted too much time trying something that wasn’t working out and then tried a new idea and the project came together perfectly. Always ask for second opinions on projects and listen to advice given because it may open your mind up to fixing a problem.