EVENTS

Ju­lia Sa­gar finds in­spi­ra­tion in abun­dance at Adobe’s lat­est Cre­ative Meet Up

Computer Arts - - Contents -

We re­port on Adobe’s lat­est Cre­ative Meet Up, An­i­made’s Sauce 2 se­ries of talks, and the Stack Awards 2016, cel­e­brat­ing the world’s finest in­die mag­a­zines

Some 67 per cent of peo­ple will choose a prod­uct or ser­vice be­cause of its de­sign. That’s ac­cord­ing to Adobe’s Ru­fus Deuch­ler, who opened an­other in­spir­ing Cre­ative Meet Up in London at the end of Novem­ber with a quick re­cap of the main an­nounce­ments at Adobe Max – in­clud­ing the com­pany’s new 3D de­sign pro­gram, Project Felix – and some key facts to get the au­di­ence think­ing. “De­sign has an im­pact on brand loy­alty,” he con­tin­ued. “Busi­nesses that in­vest in cre­ativ­ity have a bet­ter chance at in­creased pro­duc­tiv­ity.” Deuch­ler also re­ported an al­most 30 per cent year-on-year growth in job post­ings on Be­hance. “There are po­ten­tial cus­tomers look­ing on Be­hance,” he ex­plained. “The ma­jor key­words are: ‘user’, ‘di­rec­tors’ and ‘in­ter­face’. Peo­ple are look­ing for de­sign­ers to help cre­ate for these new me­dia.”

One il­lus­tra­tor who rarely works us­ing tra­di­tional meth­ods any­more is freelancer Dan Mum­ford. His clients in­clude Dis­ney, Sony, Wizards of the Coast, Icon Mo­tor­sports and CBS, as well as a huge ar­ray of bands and record la­bels from around the world, in­clud­ing the likes of Iron Maiden. Mum­ford be­gan work­ing in the mu­sic in­dus­try, and talked about mak­ing the jump from al­bum art­work to movie posters, and how much he en­joys his work: “I al­ways start by re­watch­ing the film en­tirely to pick out my favourite mo­ment, or de­cide what will vis­ually work well,” he said, ex­plain­ing his process. “I’m a mas­sive fan of the worlds that

I worked for a bunch of friends along the way and tricked graphic de­sign into hir­ing me. I wanted to man­i­fest a life where peo­ple would hire me Aaron Draplin

have been cre­ated and all I want to do is show rev­er­ence to those worlds in my work.”

Logo leg­end Aaron Draplin also took to the stage, clos­ing the evening with pas­sion, in­spi­ra­tion and a huge lash­ing of hu­mour. Part way through an epic book tour pro­mot­ing his ‘mid-ca­reer ret­ro­spec­tive’ Pretty Much Ev­ery­thing (“They’re the pub­lisher’s words – not mine”), he re­called his start in the in­dus­try: “I worked for a bunch of friends along the way, and tricked graphic de­sign into hir­ing me,” he laughed. “Maybe you know me from mak­ing lo­gos. But nine out of 10 times it was just for the hell of it, be­cause I wanted to man­i­fest a life where peo­ple would hire me.”

For Draplin, mak­ing a book about his work has been a huge priv­i­lege. “To younger de­sign­ers, my mes­sage is: just go do it,” he said. “It sounds like a bumper sticker, but that’s what I wanted to say in the book.”

Clock­wise from far left: Dan Mum­ford open­ing the event; Aaron Draplin shar­ing an in­sight into the book­mak­ing process; the crowd at London’s Bike Shed venue.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.