I appreciate art in most any form and have a profound respect for artists who are masters of their medium. I’m inspired daily by young creatives who are discovering new methods of expression as they develop the skills needed to ideate and execute their designs. In a world that is overwhelmingly digital, I still feel it’s important to initiate ideas in analog. A lot of my tools today may exist in the cloud, but I still find my pens and sketchbook satisfyingly grounding.
Last night, my youngest son, Chase, had an unusual request. While reading one of his ‘Big Nate’ books, he commented on how time-consuming and difficult it was to make a comic because of all the illustration but especially – the hand lettering (he had worked on his own comic page earlier in the day, so he was talking from experience). He asked if the ‘pros’ had their own typefaces based on their handwriting to make the process easier. I told him, ‘most likely’, and he followed up with, ‘that would be cool to have my own typeface’. I told him he could.
An hour or so later, we arrived at the typeface that he named himself: Chasic. I made some modifications and added to his character set, but thought, why not offer it to anyone who wanted to use it. I asked his permission, of course. If you’d like to download it simply click on the hyperlink below. Enjoy!
There’s a popular misconception that some people have about creatives. They assume that they’re always creative. That they only need to push a button and BOOM – instant creativity. I’ll be the first to admit that it’s simply not that way (though at times I wish it were). Creatives are not machines. Their output can’t be calibrated in ideas per second. They’re people. Sometimes quirky, obsessive compulsive, overly sensitive and emotional people, but people nonetheless. I think that’s why it’s difficult for those outside the design profession to work harmoniously or even understand how to communicate with creatives. They have their own ebbs and flows. Some days they’ll be brimming over with creative ideas, other days they’re simply fresh out.
We’ve been fortunate to have Identity Engineer Jeff Fisher of Jeff Fisher Logomotives visiting campus this week. Last night he delivered his keynote on Planning, Packaging and Promoting Yourself to a full audience of students and professionals within the local community at the BSC NECE Auditorium.
Jeff was incredible to work with and in the short time he was here we kept him very busy! Not only did he deliver a great keynote session, he also met with three different design classes during the day and shared a lot about his work.
A special thanks goes out to the BSC Foundation and ArtsQuest as well as Tait Sundstrom of Sund Design for starting the process over a year ago. Also, thanks to Tom Marple for leading the efforts to make it happen and for being a willing chauffeur and chaperon for Mr. Fisher. Above all we thank Jeff for being a gracious, patient and personable guest.
Pencils and pens are like tools to me, so I get pretty particular about which ones I use. Most artists utilize a range of specialized drawing pencils with varying grades of lead from hard (2H) to soft (B) and each is used to execute certain tasks in pencil illustration. But consider the common pencil. You know, the tall, hexagonal, yellow graphite stick with a pink eraser tip. They serve a common purpose: to write with.
Teachers the world over have always prescribed the number two pencil – and with good reason. The number two pencil’s lead is softer making writing much less of a chore. Pencil manufacturers also make a number three pencil and if you’ve never used one, don’t be fooled, it is NOT the same. The lead is so hard, that you seldom can even see when you write with it. I’ve yet to see a yellow number one or four pencil, so it would seem that it’s just three and two out there. If you’re a fan of the number three pencil, I apologize, but if Faber Castell decided to discontinue making the number three I would not miss it one bit.