I Almost Died! Show Me a Designer in Their 40's! My Response | Episode 142 | Elliott Earls
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- Опубліковано 2 жов 2023
- #CommentResponse #IALMOSTDIED #DesignersInTheir40s #EthicalDilemmas #ElliottsDesignTalks #DavidCarson #Masterclass #DeletedEpisode #ContentAccountability #DesignDebate #Appropriation #AcademiaVsPopCulture #CranbrookAcademy #ArtAndEthics #TransparentConversations
I don't write my video descriptions I let ChatGPT do it:
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🎥 *About This Episode*
Welcome back to another episode of Elliott's Design Talks. This time, we're switching gears a little: instead of a formal discussion or analysis, we're diving into your comments from the controversial episode that I eventually deleted, as well as the follow-up clarification video. The title "I ALMOST DIED SHOW ME A DESIGNER IN THEIR 40’s!" encapsulates the emotional intensity and varied responses I've received. We're addressing it all today-so let's dig in.
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🔥 *Why "I ALMOST DIED"?*
The phrase "I ALMOST DIED" isn't just clickbait-it reflects the stakes involved in the issues we've been discussing. Whether it's the ethics of appropriation, the tension between academia and pop culture, or the life journey of a designer, we're dealing with topics that impact real lives and careers.
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💬 *Your Comments, Your Voice*
Your comments have been as diverse as they have been thought-provoking. From questioning the deletion of the original episode to pushing for a deeper understanding of the issues, your input has been invaluable. Today, I aim to respond to some of the most compelling comments, offering my perspective and, hopefully, generating even more conversation.
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🎨 *Aging in the Design World*
One topic that struck a chord was the concept of "a designer in their 40s." Ageism is seldom discussed openly in the design world, yet it's a crucial aspect that affects many of us. What does it mean to grow older in a field that's always chasing the 'new' and the 'now'? We'll delve into this head-on.
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📝 *Ethical Revisits: Appropriation & Cultural Sensitivity*
Many of you raised further questions and insights regarding the ethical issues I touched upon in the deleted episode. We'll go over these and reconsider the thin line between appropriation and appreciation-a line that's both delicate and incredibly significant in design and contemporary art.
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🔬 *Academia vs. Pop Culture: An Ongoing Debate*
Your comments echoed the complexities surrounding the tension between academic scrutiny and popular culture. As someone deeply involved in the academic side of design, I'll share more nuanced views based on your feedback and my own experiences at Cranbrook Academy of Art.
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🔗 *Transparency and the Act of Deleting Content*
You had a lot to say about my decision to delete the original episode, and it's a decision I didn't make lightly. Content accountability is crucial, especially when tackling intricate issues that deserve due respect and contemplation. Today, we'll discuss why content deletion can sometimes be a responsible choice.
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👥 *A Community Conversation*
This episode is as much about me responding to your thoughts as it is about continuing a communal dialogue. The aim here is not to have the last word but to contribute to an ongoing, respectful, and insightful discussion.
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🔗 *Connect with Me*
- 🌐 Website: [www.elliottearls.com](www.elliottearls.com)
- 📱 Instagram: [@elliottearls]( / elliottearls )
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👇 *Your Turn Again*
Do you agree or disagree with my responses? Did this episode bring up new questions or viewpoints? Let's keep the conversation alive. Drop your thoughts in the comments below.
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Hit that 'Like' button if you find this episode engaging, and if you haven't already, make sure to 'Subscribe' for more intricate discussions on design, ethics, and culture. ✌️
Who needs David Carson’s Mastercla$$ when you have Studio Practice. Seriously.
My Dude… 💪
I’m 51 and currently an undergrad studying design. There has to be a place for me.
Hey. I don’t know if you know who Ed Fella is. Ed is one of America’s greatest and most influential graphic designers. Ed went to grad school at 49 years old. He was a commercial artist in Detroit prior to that. He gained ALL of his international “fame” from about 50 years old on.
THERE IS A PLACE FOR YOU! This shot is NOT over. It’s only over when YOU say it’s over.
Stay strong
@@StudioPractice1 Thank you so much for the positive words! I appreciate it:)
@@StudioPractice1 Great comment. I'm only a little younger and about to complete a professional development course in GD. The whole point of the course was to build a professional-standard portfolio and is mostly taken (in my class) by people re-training from other careers. I am typical/towards the younger age spectrum of people on the course. The college set the destination for the work during the course so that we are ready for client work after it.
I got my degree in Graphic Design at age 48, two years ago. I'm working as a jr in house designer now and taking on freelance client work. We are on our own journeys on our own timelines. Good on you for following your path!
Ok, I commented prematurely. I've now watched this all the way through. You are advocating for reaching potential as a designer. I think this is great advice. My issue isn't that I 'took the bag' because I'm not management material anyways. My situation might be unique because I still love creating, have managed to get jobs over the years but I've never applied to agencies b/c I heard so many horror stories of those environments being awful. I also have too many interests...motion, video, traditional graphics, and even music. And so now at 53, the idea of maximizing my potential sounds great. It always has but I struggle to get out of my own way.
59. still here.
You - my friend - are THE LITERAL EMBODIMENT of so many of the productive behaviors that I talk about. Deep respect. 👊
HELL YEAH ELLIOTT! the creation of destinations is a constant battle for me. right now i can't tell if i'm better at doing so when i work full-time or when i work full-time as a freelancer. still figuring that piece out.
1-being strategic about money-making / money in general has been so helpful for me as someone who has no safety net or silver spoon, esp as a first-gen immigrant.
2-there can be just as much ego in an art practice as in a design practice. there's ego inherent to running anything personal, but that doesn't mean collaboration and interaction can't be present in a practice outside of working with clients/for clients. and i think in this day and age, it's often more common for artists AND designers to have a day job / main bread gig running in the background, while they more openly promote the work that they're actually interested in producing more of.
the evolution of Studio Practice is so fun to watch!-Helen
I love these ass kickings, I used to have professors this good and work with managers this good. You are Gandalf and you hit my crown with your staff, waking me from Saruman’s curse.
No bruv… You are Gandolf! This comment is 🔥
Let me be clear-I love your work. But your work is art (for lack of a better distinction), and you’re talking about an art practice. What makes design, “design” (and, arguably, more interesting-to me, anyway) is that it interafces with audiences, people, and constraints. Not just the whims of the single creator. I’d argue part of the frustration of many so-called graphic designers is that their teachers elevate so-called “personal work” (which is essentially what the painters and printmakers are doing in the studios next door, if you're at an art school) over any kind of commercial, civic, or community/nonprofit work that actually seek to engage other people directly and require their input and collaboration to exist in the world. That’s actually what excites me about my design work most of all. Not this ego-driven, solitary artist model that tries to pull one over on their clients and collaborators (as I heard book designer Irma Boom say in one of her lectures). Innovative formmaking is fine and all, but what about the actual places the work lives, the people it is for, and the affect it might enable? To each their own, of course, but there are other ways of being a graphic designer in the world than the rock star / inconoclast / “hire me for my style” model.
GREAT comment! Imma take a second and come back to you, but thanks for taking the time to write. I think you have an argument that in some ways is on the mark. I disagree with the design/art (clear) distinction, but the argument is completely valid.
@@StudioPractice1 theory: art becomes design as soon as it becomes practical. whether something is art or design is in the intention of the artist. at the same time it can be interpreted by anyone else as either. destroy me please
What’s more fulfilling or ‘interesting’? Making your art, or designing the next innovative shape of a shampoo bottle for a corporate client? Perhaps both or perhaps neither?
As a 45yo specimen with a dead career I have to say you need both. I’ve done so much cool shit- for other people. I can’t point to something that is ME that isn’t about 20 years old. My own side work from the last 20yrs has just consisted of learning ever more skills, not expressing them. And I’m hollow.
Agree! This is an old model of celebrity designer that only very few get to achieve in a career of design! So many student are fooled into thinking this is some sort of viable route when the reality is a bulk of graphic design is tedious pixel pushing not ego driven mavericks!! I can’t believe we still argue this - I can remember the same arguments in art school.
Great video, currently trying to carve a path for myself, the figuring out destinations part i found was very helpful and eye opening.
Keep up the great work!!
Impressive stuff! Thank you for putting it out there.
Masterclass is basically an expensive interview
I made a video on David Carson’s Masterclass… but about 2 minutes after publishing it I took it down. 2 reasons… 1. Masterclass is SO stupid, and lightweight. and 2. The video was player hating Carson and I really don’t want that “look.”
42, unmarried no kids.
Left tech to get started in photography, design & art direction. Looks like I’m trying to ‘age into design’ 😂
I agree that Master Class isn't really a "class" (I definitely never do the suggested course work/exercises). But I still had fun watching David's seminar. And most people haven't seen this type of thing, so - maybe it's just not for experts. As someone who went to art school - the critiques were pretty weak - but for your average person, it's probably eye opening. I went into master class as just a way to hear some great people talk for a while. David Sedaris? Great. Timbaland and his team - so good. It was certainly worth the money for me.
Those comments are fair. I think my problem is that Domestika is 9 dollars a class AND 100x better. But I hear you, thanks for writing.
yo elliot this one smacked the nail bigtime. i have been producing work and posting it on social media for 5+ years regularly and last year i stumbled across a bar that would facilitate a solo show. i made a fresh poster and gathered 25+ pieces of work along with tshirts and prints to sell, and because of the loyal audience i had built over time it popped off. a month after that i organised a group show at the same bar with some close friends work and that had the same effect. we encouraged people to bring sketchbooks, tech decks, whatever. i can confirm that by making your own scene truly works, and is the most rewarding.
thankyou also for all these videos you make, im a longtime viewer but after seeing this one and relating to it so directly i had to chime in.
godspeed
THAT’s THE TICKET…. RIDE THAT SHIT! Don’t back off… you are officially in the game. Don’t wait for people to give you a career. Take it! Congratulations on your well deserved success.
Lmao yo Jason, what's up
RMIT comm design grad life hard out here
@@KJGaming77 hahahahahaa Real Shit biggup the alumni
Thank you for all the helpful and direct information!
As a Michigan native who finds himself in the design field despite avoiding my passion -- thanks for making these videos. I get a lot of value out of your channel.
❤ I really appreciate your positive feedback. Makes the work worth while. Best - E
Wow so glad this popped up on my feed!
good advice for any age, any medium. especially for those starting over in mid-life or older, as is gonna be the norm, probably is the norm. part of my work is helping "regular folks" resurrect the inner artist that was murdered in their youth or in college etc. not everyone gets to make a living on this but i do think everyone can create studio habits/practice, can develop a PROCESS, can have destinations/deadline etc, even if they are just made up. society is a damn hard place to live so there always has to be a way to craft your own funeral.
Thanks Elliott! Solid as usual
Appreciate it!
I wonder how your position at Cranbrook has enabled you to have the creative practice you have? Your work ethic is undeniable, but I wonder what your practice might look like if you didn't have access to the facilities to make your work that your position at Cranbrook enables.
Do you think the destination/s of your work would be the same if you did not have the relative 'safety' net of Cranbrook employment?
Loving the content and discussions in your videos.
(Full disclosure, I run a large undergraduate graphic design program in Australia and am in the 40's to 50's age window you speak of. Management is certainly a hiding place and excuse I've used not to create destinations for my work of late).
I tell you what. You ask an insightful question. I have so much to say about this issue, some of it might be a bit too raw, and a bit too real for (what at this point) I’d be comfortable with publishing. There are TWO answers to your question. The first: my position at Cranbrook is THE ONLY WAY that I’d be able to make the kind of work I’ve made for the past 23 years. The second answer is: “The BEST predictor of future behavior is PAST RELEVANT BEHAVIOR.” - if we look at my work from 1992 to 2001 (the year I started at Cranbrook) my work was (arguably) more aggressively experimental. It’s just FACTS that from 1992 to 2001 I “put in that work.” I was independent and making aggressive work on my terms. HAVING SAID THAT, when i took the job at Cranbrook, I had the distinct sensation of coming in from the rain. It was hard as FUQ, to balance everything and to put food on the table. So, in some substantive ways, the position at Cranbrook rewards the kind of work that I do and makes it easier for me. But it’s my belief that one of the main reasons why I was prepared for - and ready to lead this kind of grad program, was because I was actively living the kind of ethos that I preach. As an aside, Cranbrook isn’t a typical university. I have no tenure. As a matter of fact, for the past 22 years I’ve been on an “employment at will” contract. (In the U.S. that means that I can be terminated with 14 days notice, or I can quit with 14 days notice.) I’ve had no traditional job security beyond loving my “job” and (hopefully) doing THE BEST I CAN at it. I want to make sure that tone of my response to you is not misunderstood. I gottchu! I think you ask a GREAT question, and I’m not salty about it at all. AND contrary to my response (this post) I dont feel defensive about it. Quite frankly, I ask my self the same question all the time. Cheers ❤️
@@StudioPractice1 appreciate the response and think your work stands for itself. Operating on 'employment at will' contact can't be much fun, I definitely appreciate the security I personally have in my employment. I think also being employed in a less secure position like you describe above would force me to think harder about the 'destination' of my work and be much more productive. Thanks for the honest response.
this was extremely helpful
Great Video!!! Yes - Those Masterclass videos “courses” are a joke!!! LoL … Great channel man! Subscribed :)
I would have liked to see that personal anecdote video about Carson. I like his work a lot and had no idea there was hate for him in the design world. Why?
This video stirred all kinds of things inside me. I'm in my 40s and destination is a huge part of what I was missing early in my career. "Build it and they will come." was the biggest lie I ever was told, but it makes for a great emotional line in a movie. Look forward to more conversations and videos from you.
Isn't it like that?
You're new in the scene. No one wants to work with ya. You create despite that lack of resources/ connections. Then, if it's good - you'll get eyeballs on your work. You're saying..no. Then, what's the truth?
@@eladbari Thanks for the pushback.
You're correct, initially very few want to work with an untested, young, and naive creative. They are seen as a risk. There are those who outperform, pushing themselves to create and grow without resources or connections. This is good and necessary. Over time, as you create, you prove yourself and level up your thinking, craft, and execution. However, I failed to properly communicate the connection to the idea of "destinations" in this video. There is plenty of bad work that is praised and has all the eyeballs. The amount of eyes doesn't mean its good. But they may have been more intentional with the work.
Merely creating great work is not enough. If we "build it" but fail to share it strategically, it's vastly harder for the right people to find you. Having only a website is like a store in a remote field versus being in a bustling mall where many more eyes will discover your shop.
Much of my past work lacked a clear destination - a series, collection, company, or creative director I was actively trying to get on the radar of. I wrongly believed people would stumble upon my isolated efforts. As my intention has shifted to targeting "destinations," I'm seeing the fruit of this thinking.
Statements like "Build it and they will come" or "Create the work you want to be hired to do," are great pull quotes that awaken passion, but overlook the crucial aspect of strategy and applying a defined destination to those creative efforts. I believe this is what Elliot was pointing out regarding DC's masterclasses. Does that clarify where I am coming from?
@@iamReedicus Thank you for elaborating on your thoughts.
I think I understand what you're saying better now. Thing is, if you're new to a certain scene, say, photography. This means you probably don't even know where to aim for people to see your work. You may know only when you get better and get more familiarity with your field. So, what's left is to put your work on your social media like Instagram (not website, as it is an island) - and hope something happens. I mean, no photographer [nor designer] uses a sponsored link to advertise their work. That's probably considered low and I've never seen a creative do that. So, what tactics are left to get eyeballs on you?
I have sinned the same way you describe, as I have unshared work I stall with publishing, since I believe there's no strategy behind them. Meaning, there's no special theme for them [other than 'fashion imagery']. It's not a certain series about "X". I don't have an instagram business account, cause they claim it lowers exposure, even though it seems everyone's using business [probably cause they love to see insights, but knowing your crowd is 25 year old canadian girls- won't really change or have an impact on how you create your work]. So, indeed it becomes a generic attempt to just create + share.
Everything was already done in this saturated market of photography, so it's super hard to really innovate. So, the situation seems doomed, yet, maybe there's still a way to get out of this endless/pointless loop.
@@eladbari Again, great thoughts here.
Innovation is challenging and often leads to a sense of futility.
But being consistent in showing up is about the best thing to do. Outside of getting lucky and being in the right place at the right time, consistenly showing up, making work, and getting it out is the best thing to do. I feel like I've been grinding for over two decades and it was only two years ago that it felt like I was getting hired to do the work I like and had been putting out.
A buddy of mine machined a brass base plate for his camera and shared it on social. Had some inquiries. Machined more. Shared more. Made tweaks. Shared those. Then I'm watching a gift guide video from Peter Mckinnon, and at 2:37, I see my bud's base plate. (ua-cam.com/video/gUNf8dc4gUQ/v-deo.html)
The value of niching down. The weird things you love and obsess over find their way to others. Slowly, more and more folks are championing his work and craftsmanship. It's wild. But that overnight "success" only happens after years of grinding, learning, failing, and not giving up.
If photography is your jam and you're trying to break in or stand out. It's hard but continuing to share wins, losses, things you love, things you dislike, you don't understand, or finally understand all begin to put you in the sphere of people looking to learn and grow. Then your images start being seen, and they resonate with those folks. Word spreads. Algorithms start finally seeing you and your feeds/work and decide to share with others.
Some start gaining traction, and marketers and advertising might play into some of that. I don't know. I know it's frustrating to feel a lack of traction, especially when we look at social media and see other folks getting "massive traction." There isn't a quick fix to success.
The loop is real. The only thing you can truely control is your relationship with it. You can see others in the loop and get mad, frustrated, or jealous. On the other hand you can be happy for others, motivated and inspired to keep pushing an innovating. I've found the best measuring stick for me is using my past to help identify my improvements. Setting goals is good. Setting time aside to reflect on them is even better.
Being out in the spaces of people who would buy, consume, or represent the work you are doing has been great in exposing me to folks and helping connect the dots for me. But I don't have an answer to how to bust the doors wide open. I think Aaron Draplin is an example of someone who has kept grinding even after "he found success." But even that looks different than folks at Pentagram.
@@eladbari Again, great thoughts here.
Innovation is challenging and often leads to a sense of futility.
But being consistent in showing up is about the best thing to do. Outside of getting lucky and being in the right place at the right time, consistenly showing up, making work, and getting it out is the best thing to do. I feel like I've been grinding for over two decades and it was only two years ago that it felt like I was getting hired to do the work I like and had been putting out.
A buddy of mine machined a brass base plate for his camera and shared it on social. Had some inquiries. Machined more. Shared more. Made tweaks. Shared those. Then I'm watching a gift guide video from Peter Mckinnon, and at 2:37, I see my bud's base plate. (ua-cam.com/video/gUNf8dc4gUQ/v-deo.html)
The value of niching down. The weird things you love and obsess over find their way to others. Slowly, more and more folks are championing his work and craftsmanship. It's wild. But that overnight "success" only happens after years of grinding and learning, failing and not giving up.
If photography is your jam and you're trying to break in or stand out. It's hard but continuing to share wins, losses, things you love, things you dislike, you don't understand, or finally understand all begin to put you in the sphere of people looking to learn and grow. Then your images start being seen, and they resonate with those folks.
Some start gaining traction, and marketers and advertising might play into some of that. I don't know. I know it's frustrating to feel a lack of traction, especially when we look at social media and see other folks getting "massive traction." There isn't a quick fix to success.
The loop is real. The only thing you can truely control is your relationship with it. You can see others in the loop and get mad, frustrated, or jealous. On the other hand you can be happy for others, motivated and inspired to keep pushing an innovating. I've found the best measuring stick for me is using my past to help identify my improvements. Setting goals is good. Setting time aside to reflect on them is even better.
Being out in the spaces of people who would buy, consume, or represent the work you are doing has been great in exposing me to folks and helping connect the dots for me. But I don't have an answer to how to bust the doors wide open. I think Aaron Draplin is an example of someone who has kept grinding even after "he found success." But even that looks different than folks at Pentagram.
Brutal truths spoken briefly. Please unpack and flesh out the concept of "destinations?"
I can relate to this, HARD. I have so much to say about this, I don't know where to start! lol
Go. Start.
By "destination" are you referring to the encapsulation of audience, art style and economics? This is a new term to me. A breakdown on harvesting a destination would be great (please provide a link if you have already done so).
Elliot, I'm also interested in a breakdown of the term, destination. Can you have too many destinations? What makes a destination worth pursuing? I'm really interested to hear you expand on this.
Hey... As simply put as possible: "places." as dissapoinbting ss this is might be to hear this, It's as simple as places to show work. (commercial projects, commissions, galleries, on-line....etc..). Deadlines. You "have to make the work" then you "have to show it". Then you find out if anyone cares or will commission more, or buy more. Places.
Hey... As simply put as possible: "places." as dissapoinbting ss this is might be to hear this, It's as simple as places to show work. (commercial projects, commissions, galleries, on-line....etc..). Deadlines. You "have to make the work" then you "have to show it". Then you find out if anyone cares or will commission more, or buy more. Places.
amazing video
Glad you think so!
Not entirely related to this video (maybe not at all), but I am wondering if you have any thoughts on the university's role in teaching young designers. It seems like many undergraduate programs are more inclined towards job training, excluding pursuits that cant be easily mapped to the skills that potential employers may want (ex: sidelining creative coding from an interactive course and only focusing on UI/UX best practices). I am curious where you fall on this.
I have SO MANY THOUGHTS… lemme think about the best way to answer you and loop back.
So many people I know/knew went the agency route and have been kicked around all over the country, never working more than a year in one spot, or doing the freelancer/bartender thing.
Now I’m 43 with my own business that I built over 15 years, dedicated audience and customer base that grows every year. Haven’t been fired since the Bush Administration, don’t plan on it happening any time soon.
Point being, sometimes slow and steady does win the race, kids.
I dont think thats DCs fault, given the fact that DC is doing this with MC, its probably MCs curation of topics. MC has always felt like to me -> heres how to copy this persons work. But that being said, as a designer who is 40, I believe that you are right- and its also a young womans game- im 40 years old so have expired in a sense in terms of desirability lol as well as my design work- where i see this going is kind of doing what you-elliott, do, being a creative director and a cultural sort of expert? I can foresee stuff younger designers don't- i can handle teams etc. But im also working on my illustration and art bec ive always engaged with those too. And I want to take it from illustration to art. No VP of pinterest for me
The part about making getting a GD degree more like BUD/S made a lot of sense to me. I didn’t do anything remotely like GD in college (and I still don’t) and got a degree that kicked me in the balls repeatedly just to get it. But the value in that degree is that you know anyone with that degree had to go through the same hell that you did. Thus, it makes the degree worth something to other people. As a general point, if your degree program isn't kicking you in the balls every day, you probably need to invent ways to do it yourself.
As I said earlier, I don’t even work in anything like GD but I think a lot of what is talked about in these videos is true in general (which is why I keep coming back). Our culture emphasizes comfort and leisure, which, unsurprisingly, aren’t conducive towards excelling in anything (other than maybe comfort and leisure). Consequently, you have to create your own pressure cooker in life to get anywhere, otherwise, you will stagnate (in any profession or pursuit). It doesn’t mean that every moment of your life has to be a living hell, but it’s just understanding that there is some sacrifice in order to attain something worth attaining (unsurprisingly).
Some of what I’ve said might sound excessively trite, which in words, is probably true. But to genuinely act in these ways is not trite at all because so few people actually do.
If you don't mind sharing, which degree did you obtain?
What is an example of a destination? 😅 Would that be like making a marketing campaign that is contemporary for someone you don’t work for officially, pitching it to them and then getting hired by them?
That is a “destination”. It’s a set of deadlines and it invests you with agency and power. You’re responsible for it and it’s success (at least in part) depends upon you.
@@StudioPractice1 thank you!
hey most of your vids focus on design and designers, which is great, but could you make a video involving steps and tips for fine artists? like where to go and who to talk to, etc.? not sure where to go, school (risd) only taught concepts and technicals, not "real world"
Great suggestion. Will do.
Elliott, what do you think the "point" of art is? If there is one.
Most designers over 40 that I know of have a UA-cam channel 😅
Cheers from parallel universe
I wonder if there is "programmer" in age 40s, either having " 996 working hour system" in big corps, or having "remote job" and somewhat "flexible working hour", bragging for the "coding practice" for whole two decades, however the dude may be powerful enough to get a PHD in CS (definitely not in AI field), loads of professional certificates in cloud infrastructure or software architecture, somewhat sercurity reward for penetrating any networks / OS with top tier spying, and learning 100 programming languages PER YEAR, "just because coding is love, coding is life"
There must be some "magic" within the career path even more powerful to keep the dude being a "programmer" and not in other job positions.
Some job positions are just not sustainable for life achievement or career. If it is meaningful, that is "shokunin", otherwise, it is just getting stuck as hard as it is.
>titles video "I almost Died"
>all he says is "oh yeah i almost died" once in a 13 minute video
give me more background story please
I hear a lot of young, undergrad level student designers (and even after graduation) say they want to work at XYZ locally designing items in-house, or for their clients, and to move their way up. They say they want to be a senior designer at ABC marketing or whatever, and there's this conflation on the level of work they make for other people with significance in the field or success as a graphic designer. I always say there's nothing wrong with making logos or packaging or UI/UX for those companies, but it's not graphic design - it's marketing and advertising, and you're a graphic designer making marketing. I use the analogy of a painter. We can all agree what a painting on a canvas is, but if you take the painter who made that switch the canvas for a house and tell them to paint it yellow - is it still art? They're an artist painting a house, but it's not a painting in the familial sense of art canon. I think graphic design on the whole is lost to corporate interests - like you said, get that bag (totally cool making money) but people/students/yungin believe being a director of design at meta is success because they don't comprehend graphic design as a lens, only a product. Just my three cents/sense.
Like what happens when only big corporations have the keys to the projector that shows art to the world? What do normal people have? Twitter (x)? Nice... Not to mention that people that appreciate art are like 10 in 10 000, the masses just consume art, as in they eat it like fast food and forget about it in the next moment.
I really think we live in the opposite of the Renaissance, some kind of dark age of art, from which I dont have a clue how we can get out of. And I don't want to sound like a leftist, but this stage of capitalism is the problem. Capitalism has turned from the oil that oils the system, to the whole system, the whole point... people just care if it sells, if it is new, and what celebrity endorsed it this year... it's all a reskin of the same thing every year, you know the ending of the marvel movie before they even have announced that that movie is in the making...
What is left? To make art for like 10 people that would really get it? I'm lost
>What is left? To make art for like 10 people that would really get it? I'm lost
Literally this. I think a hard truth to swallow is that most people do not want to consume meaningful pieces of art or maybe even are unable to do so. They want simple enjoyment, an escape, something to talk about with their friends. It's always been like this, but now it's just more visible and accessible. For the longest time people weren't even literate. I don't think any -ism or organization of government / labor changes this because nothing changes the equation of consumption which is simply value for value. Being that value is subjective what people want will ultimately rise to the top. Keep creating, Keep searching for your meaning through creation. This line of thinking will take you nowhere. Even if capitalism or whatever IS the great satan..... what can you RIGHT NOW, TODAY, IN THE NEXT 15 MINTUES? Probably nothing. Press onward as it is your only option and only chance for release. Please keep trying.
The term career is too loosely thrown around. Very few people have careers, most of us have jobs. If you want a decent paying career, there almost always is major sacrifice required. What are you willing to sacrifice? Children, a family, time spent with loved ones?
I feel designers get to sacrifice all of the above, but when compared to other careers the outcome is extremely trivial. Like OK you're a world renowned designer and wealthy at that, but literally nobody cares or will care and the amount you've managed to squeel out of all those shitty deals, you could have just built up a small business in XYZ field. But who cares what I think
Exactly. Who cares?@@bfelb
I signed up for a masterclass from a very successful social media guru on the speaking circuit to see how I could be a better teacher and downloaded the supporting materials and it was UNFINISHED. Some of the pdfs had Lorem Ipsum on some of the pages and repeated pages in the worksheets, and headlines that ended abruptly before the end. Masterclasses are the Vape shops of the industry. Next up AI prompt gurus.
Gotta watch how to get off your mum's couch