What I think about

Paul’s Illustration Manifesto

Some projects call for a high level of realism, like food, botanical art, animals, or a city skyline. Yet, despite how well-researched, super-real, or detailed an image is, it may still lack something in the viewer’s mind, something hard to define.

Appeal? Sparkle? I call it making an emotional connection. It’s what makes a viewer understand, want to know more, buy, or maybe begin to salivate. That’s my formula: accurate plus lyrical equals a motivating image.

My work is digital, using all the possibilities contained in that medium, yet I want it to still look like a painting.

 

Paul’s Design Manifesto

This is what I’ve learned from my first career as a graphic designer that evolved from specifying phototype to writing code, and my second career as an illustrator, where I started with paint on paper and ended with a stylus and a computer screen. All for the best.

I have a good instinct for evaluating designs and images of every kind. Romance is in the details, and I’m going to look at how each tiny part contributes to the whole. I do my best work on every project whether it’s pro bono or making me rich.

I love being independent, yet prefer to work as part of an intelligent, collaborative team. I like clear communication and try to be honest and straightforward in my designs as well as personal life. I enjoy the challenge of working with so-called difficult people. I can be trusted to take responsibility and complete a project.

Here’s how I think. The best design doesn’t look designed, it looks obvious. Type is meant to be read. I manually letter-space words in all capitals. A page contains meaning and should be transparent in the way that a crystal goblet reveals the full beauty and character of the wine. All good design is usability design.

Design is not so much about how something looks, it’s about how it works. I think Steve Jobs said that.

 

 

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