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Tim Goodman Blows The Lid Off Vegas

What do Sharpie, Tupac Shakur and Timothy Goodman have in common? One heck of a live art mural in none other than hotter-than-hot, Las Vegas!

This amazing wall mural Tim created for FlexFit Headwear at the MAGIC S.L.A.T.E. trade show in Las Vegas back in August is just the latest in Tim’s amazing hand lettering feats (remember these!?!).  FlexFit is a headwear company located in Los Angeles that—like all the companies at the MAGIC show—appeals to the urban or ‘streetwear’ fashion community.

FlexFit challenged Tim to come up with an idea for a mural that he would draw, real-time, during the first day of the show. Tim’s focus was based around creating not only a great piece of work but an entire experience for people stopping by,  “While it was important that the mural was relative to the culture of both FlexFit and MAGIC, I also wanted to create an experience for the passersby that wasn’t too literal to the brand.” And boy, did he! Just check out the video below!

image via Timothy Goodman

Get the full low-down on Tim’s website along with EVEN more photos from the event!

Do it, to it.

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YoungJerks’ Dan Cassaro Shows Off His Sharpie Stuff

New Yorkers are just cool; especially when they can list designer, animator and illustrator on their resume, work from a camper while travelling across the country with their main squeeze and oh yeah, paint a mural in a New York hotel using none other than Sharpie Paint Markers. Oh, so maybe it’s not ALL New Yorkers (althoughhhhhh it is one sweet city) but Dan Cassaro is definitely one of the coolest guys I have had the chance to interview for this humble blog.

Keep on scrollin’ to see what Dan has to say about his life in the design world and his AWESOME Sharpie chart…( it may have been the best thing to happen to my week)

ENJOY!

Sharpie Artist Interview– Dan Cassaro

WHAT. A. STUD. Dan Cassaro, Sharpie world.

Tell me about yourself! Where are you from? Interests? Likes? Dislikes? Pet Peeves?

I’m a designer, animator and illustrator living and working in Brooklyn. I live in the adorable Italian section of Williamsburg and I love it. The area seems to have acclimated to the gentrification more organically than other parts of Williamsburg. There are tons of great old butcher shops and old neighborhood mainstays that seem to exist pretty harmoniously with the new restaurants and bad art school haircuts. I grew up in Long Island and still have complicated feelings about the mall because of that. 

Instead of typing out a list of my likes/dislikes I decided to make a little chart for you (using a Sharpie, natch). 

 

 What inspires you and your work?

 Powerful rock and roll music, old train cars, Dads, the bric-a-brac section at the thrift store and various other ephemera. I think it’s important to try and pull from things that go deeper than a aesthetic level. Bruce Springsteen’s music is good because it sounds great and is fun to sing along to but there is something happening on a much more visceral level. I think it’s good to try to create work from that angle instead of just trying to make visually pleasing images. You don’t want to be making graphic design elevator music you know? 

How would you describe your style?

I don’t know, this is hard. As a designer I’d like to think that style is adapted and applied depending on the project. The illustrator part of me definitely has a common thread that runs through all my work though. I’ve been thinking that “clumsy modernism” is a pretty good way of explaining what I’d like to achieve with my work. I like the economy and boldness of modernism but all the pretentiousness surrounding it makes me want to barf a little. I want my work to be succinct but just “off” enough to give it charm and approachability. I spent a lot of time in college learning how to kern a headline and now I feel like maybe I’ll earned the right to intentionally UN-kern it. A little wonk goes a long way. 

 You seem to be quite the jack-of-all-trades; working as a designer, animator, and illustrator, what IS it about your work that gets you goin’?

 It’s a gift to be able to do this for a living. To be able to explore a bunch of different things and put them all under one roof. I’m kind of a poster child of a very non-committal ADD generation and it’s a real stroke of luck that I found a career that allows and often rewards that sort of eclecticism. Honestly, I am equal parts overachiever and lazy teenager. Doing something that I love for a living helps me bridge that gap I think and find a middle ground between the two. 

 How did you get started?

 I went to School of Visual Arts when I was a bit older (23) because as I mentioned before, I am a really non-committal person. I fell in love with design because it was so open ended. After school I started freelancing right away. I didn’t make a ton of “connections” at school (read: smooching your famous design teacher’s butt) but the Internet is the most democratic tool we have and I just tried to get a lot of my personal work out there. I’ve been lucky enough to have a lot of that personal work eventually turn into a paycheck. That sounds too romantic though. I have also taken tons of s****ty ( gotta keep it PG, here folks) soul-sucking jobs and made tons of things I am not proud of just to pay the bills. A little bit of both.

How did you come to contribute to the ACE Hotel’s (NYC) décor?

That place is so cool. I had worked on a project called 50 and 50 and had been talking to some people there about having an opening to showcase all the pieces. They invited me to work on a piece for one of the rooms because of that. It was a really fun project for me. I got to stay at the hotel for a couple of nights and draw all over their walls with Sharpie Oil based paint markers. They last time I got to draw on someones wall was at my friend Dan Volpe’s house when I was 16. That was mostly inappropriate reference drawings though. (sorry for the edits… This is a family establishment!)

 

 Any cool new projects you can tell us about?

This is a dream project but I really want to do it. I want to put on a classic rock laser light show. Like rent out the planetarium and serve beer and blast some Zeppelin while watching some amazing animated horses or something. Wouldn’t that be great? I think that there are a lot of outdated but brilliant art forms out their that are just waiting to be brought into a more modern context. These are the kind of projects that I dream about. 

 Your designs are have a cool edginess to them; how do you come up with new ideas?

 I try to stay open to things just happening. Too many people treat design like an assembly line and it makes for a lot of visually acceptable, but flaccid design. I’d like to treat it more like an adventure, more like fine art. I don’t stay too married to the sketches that I do (if I sketch at all) and that lets me discover new ways of working. I like having that moment when you discover that you can create something that you didn’t know you were capable of before and have it happen almost by accident. My end results often looks very different from my original intentions. That system isn’t really conducive to the standard system of client approvals but it’s a very exciting way to work. Adventure! 

How do you use Sharpie markers in your work? Favorite Sharpie? Why?

I do a lot of my pen work and doodling with Sharpe Fine Point. I usually like using cheap paper and letting the ink pool up in the edges and bleed a bit. It’s nice to take those drawings that show a human hand and bring them into the computer and add that dimension. Using pen on paper helps keep me tied to the physical which is something I never want to lose touch with. I used Sharpie paint markers for the mural at the Ace Hotel. It was all kind of fancy type work so I wanted to keep the line work loose and fun. I made sure to only use really wide tip pens for this to keep myself from getting too fussy. 

Mural for the Ace Hotel... I know where I WILL be staying...

 Best part of your “day job” and if you weren’t doing this what would you be doing?

The best part of my day job is that I don’t have one. It’s more of this amorphous work blob that floats around and gloms onto other parts of my life infiltrating weekends and late nights. I mean that in a really good way. I’m sure I end up working a lot more than 40 hours a week but there is nothing better than fitting your work life into your regular life and not the other way around. This summer I spent three months driving around the country in an old camper with my girlfriend and a laptop, seeing America and doing design work. It really got me excited about work in a totally new way; driving across the country is like being in the most amazing graphic design inspiration blog. I feel like I am the luckiest guy in the world to be able to do my job in my basement or on the south rim of the Grand Canyon. 

If you could have one super power what would it be and why?

To have a magic playlist that plays the right song all the time, even when you don’t know what the right song is. I am willing to accept that 90% of that playlist would be Heart’s “Crazy on You.”

 What trends do you see making it big in 2012/ what are you pumped about in 2012?

More pizza parties, true love triumphing over evil, and a renewed interest in Brenden Fraiser’s “earlier, funny films.” 

 Umm who doesnt love a solid pizza party!?! Aka count me in for Dan’s 2012 plans, FO SHO! And that, ladies and gentleman, concludes one of my favorite interviews to date; to check out more on Dan, his work and his sparkly personality- pop on over and check out his website and follow him on Twitter and tumblr!

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Mig Me Some Sharpie Art

Sometimes, the artist — and the art — just speaks for itself…

mig-reyesHey there, I’m Mig, and I’m a designer living in Chicago. I’ve been lucky enough to work for really great clients around the country, collaborating with small design studios to bigger agencies alike. I’m super stoked to have recently joined the team at skinnyCorp / Threadless. Aside from that, I’m heavily involved within the Chicago design community, and I currently serve as the social media liaison for AIGA National. Beyond that, you can also find me contributing to CMYK Magazine as well as Scott Hull’s Visual Ambassador. Awards and recognition are neato, but I’d rather be a give-a-damn designer that makes a difference-all while helping other young-gun creative types do the same. A stickler for great typography, I dabble and doodle in the worlds of print, web, motion and user interface. I’m often engaged in conversations about key frames, motion blur, letterpress, small caps and why Internet Explorer can’t do any good besides break the box model. That, and I slightly obsess over street photography. Beyond design, I like getting my hands into other creative endeavors. Good writing is just as important to me as good design. I’m all about embracing social media-and yes-chocolate chip cookies are indeed the way to my heart.

creamy-happy

And now, Mig makes some chitty-chat about his work:

How did you get started as a communication designer?

happy-face-penWhen I was just little tot, before I even went to school, I remember my mom teaching me how to draw letters (not write them.) As the school years passed, I often found myself doing “bubble letters” whenever the opportunity arose. I didn’t realize it at first, but I definitely had an infatuation for hand-lettering and typography.

In high school, while the other kids were in Chess Club or after school sports, I was busy spending my nights learning Photoshop. It’s safe to say that by this point, I knew what I was doing for college: design school. Here I am, just over a year out.

Tell us a little about your genre. Are there lots of artists who do what you do? Where are they concentrated? What makes your work stand out from the rest?

I like to go by “communication design” because I can’t help but love designing for more than one medium. From print, web to motion… I think there’s value in exploration. During the day, I’m all for web and interactive design. I use Sharpie markers to sketch wireframes and page thumbnails.

By night, I’m rather obsessed with posters and illustration. Naturally, Sharpie plays a key role in illustrating and comping.

How would you describe your style?

I truly fancy the simplified feel of screen printed posters, and limiting my work to no more than 4 colors if I can. In a lot of my work, it’s rough and genuine to the pen stroke. You can see that in “Put on a Happy Face” and “Creamy Happy.” If I’m feeling really saucy, I’ll add extra distress to pay homage to the vintage days of poster design. Other times, I’ll aim for a smooth and slick refined approach, much like “Bliss.”

How did you come to use Sharpie markers in your work?

I’ve always been loyal to Sharpie. I’ve gone through myriad different pens and thin markers, but there’s something a bit more versatile about blissSharpie. With Sharpie markers, I can still do my other daily writing tasks aside from all of the sketching and illustrating.

What about Sharpie markers makes them your medium of choice?

Once you lay the ink down, it’s permanent. There’s no turning back. This idea of “forced progress” is why I really love using Sharpie markers in my work, it allows me to see where the line can take me.

There’s no erasing. There aren’t mistakes, but rather, serendipitous visual solutions.

Tell us about some of your own favorite work. What seems to get the most attention or is most coveted by others?

Why do you think people are drawn to your work?

Some of my favorite work are the posters and illustrations I’ve done last minute. When I don’t have a lot of time to think about what to do, I’m put in the mind set to just go wherever the design is headed. I really love doing typographic exploration with UnderConsideration’s Word It, where they have the creative community interpret a given word each month. The last one I did was “Flow,” which started completely with Sharpie pens only.

The one element that I believe draws people to one’s work is authenticity. You can download all of the stock photos in the world, piece together your latest clip art collection… but at the end of the day, it’s what you crafted by hand that counts.

Can you describe the process you go through to create your work?

I try to keep the process as organic as possible to avoid getting stuck designing by routine. For illustrations and posters, I like to sketch really rough thumbnails in a small notebook at first. When I have a good feel as to where the visual is going, I’ll bring out bigger sheets of paper and begin illustrating and fleshing out the line work.

In the end, I scan in all of my Sharpie’d illustrations to my laptop. From there, I might use the illustration as is, or I’ll convert them to vector paths and refine them from there.

Either way, it always starts with a hand-drawn sketch.

flowWhat are your inspirations?

Going to live shows and concerts. Stickers and graffiti on the streets of Chicago. And best of all, jokes and stories that my friends and I end up reflecting on. I try to pull inspiration from real emotion and passion, that’s where the authenticity lies.

As far as people I admire, the list goes on forever. But here’s a few…

• The Small Stakes
• Delicious Design League
• Modern Dog
• and of course, Aesthetic Apparatus

What statement are you trying to make, if any?

With music posters, I try to convey an unconventional vibe and all-around good time. But really, sometimes I draw and illustrate simply to keep myself creatively sharp (and sane.) Sometimes, my friends and everyone else’s reactions tell me the story, as opposed to the other way around.

Mig’s Markers:

sharpie-pens

Mig's Tools

Sharpie Pen
Sharpie Fine Point Permanent Marker
Sharpie Ultra Fine Point Permanent Marker
Sharpie Retractable Fine Point Permanent Marker

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