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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