#the way limelight's smaller budget looked and sounded better.
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sigh. it's simply not good.
#the way limelight's smaller budget looked and sounded better.#there was at least one b side i was interested in so we shall see in that regard#but man.#the group parts were mixed weird and probably should have been one voice#suhye didn't get to show off her vocal color at all#the shoehorned spanish numbers#the emptiness of the mv in a way that felt completely unintentional#feels like this was possibly a ceo vanity project and that bodes. not well.#kaylee 101#edit: looks like it's not on spotify yet so i shall simply listen to madeline and eye to eye to soothe my disappointed soul
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Inside the Mind of Aaron Draplin
Aaron Draplin will be judging PRINT magazineâs 2017 Regional Design Awardsânow open to both professionals and students. Enter today before itâs too late!Â
Words by Rebecca Bedrossian
 Surprise.
Poster design by Aaron Draplin for the 75th anniversary of PRINT magazine.
That was Aaron Draplinâs reaction when he got the call from HOWâto feature him again. According to the Portland, OR, graphic designer, the story hasnât changed all that much. And to his point, thereâs no lack of Aaron Draplin or Draplin Design Co. coverage on the World Wide Web. So much so, that I felt a bit of trepidation about the interview.
What could I unearth that hadnât been covered before? And why would someone read this story?
My trusty go-to list of questions werenât going to work for me. I didnât want to write something thatâs already been published. And I certainly didnât want Draplin to roll his eyes during our chat. I realized I needed his help to build a new narrative. So I came clean and asked: What do you want to say that hasnât been said before?
Art by Aaron Okanaya
It broke the ice and set the stage. We didnât focus on his work for Nike, Ride Snowboards, Sub Pop Records, his numerous posters, album art and logo designs, nor his personal Field Notes brand, and we deliberately avoided his Lynda.com logo design tutorial that went viral last year. Been there, done that, and he designed the T-shirt. Instead our organic, candid and, as youâd expect from Draplin, entertaining conversation covered age, gratitude, family, and a book. While it sounds more Kumbaya than youâd expect from this born-and-bred Midwesterner, it comes with its fair share of self deprecation and the occasional f-bomb.
Draplin doesnât beat around the bush. âHow much more of this story do you want to hear?â he asks, honestly curious. âIâll just never really be comfortable with being some kind of commodity.â He wonders about the saturation level, and admits that the pressureâs on, because the big names in design reinvent themselves. âEvery three years, thereâs a new talking point, taking a year off, a documentary,â he explains. âIâm just trying to get away with shitâthat hasnât changed.â
Art by Aaron Okanaya
At 41, Draplin wears his âmiddle ageâ as a badge of honor. âEvery year I know myself a little better. Every year, thereâs a refinement process.
âI can remember being 20 and talking to a 45-year-old. They were old. They were different. They wore a different type of clothes. They were beat down and said things like âmy old lady,â âthose bastard kids.â It was really clichĂ©. Now I canât tell when a guy is 55. Itâs just how they carry themselves and how they laugh. My favorite rock ânâ rollers are 55 years old and you wouldnât know it, because of the way they run their lives. Thatâs inspiring.
âThere are weeks I work every day. You donât get to put them in the bank. That goes to Uncle Sam. And they go and drop fucking bombs on developing countries with it or whatever the latest bullshit theyâre doing. It hurts. I would hope theyâd go build homes for people. Iâd feel a little better about that.â
This three-pack of Aaron Draplinâs pocket-sized Field Notes includes one graph, one ruled, and one plain paper notebook, each with 48 pages and a craft paper cover. Get yours in MyDesignShop.
With age comes self-reflection, and Draplin is grateful. âArenât we lucky to be alive, to punch into design every day? As I get older, itâs better to be chill about stuff.â
And chill he is. He didnât get to be designâs big draw without his share of critics along the way. Finger-pointing is a waste of time, but the web hands everyone a bullhorn, and itâs frustrating. âThatâs something that people expect from me, to be an incendiary character just for the sake of doing it. That is not the case, I wouldnât do it,â says Draplin, throwing in a technical term for good measure. âYou donât want to shit where you eat.â
Draplinâs genuine love for design surfaces when he speaks about life after the limelight fadesâand make no mistake, he knows it will. âWhen all this stuff fizzles, Iâll go back to living the life of why I got the call in the first place. Working on my own, loving it, and not knowing any better. Thatâs kind of a cool thing.â
His gruff demeanor, plain speaking, ball cap, and healthy beard led one wag to call him the âYukon Cornelius of American Design,â but, Draplin says, âthere is nothing blue collar about what Iâm doing. We live manicured lives.â
Yes, he likes to work with his hands, mocking things up, the very analog and tactile qualities of design, but the reality is Draplin can usually be found pecking away at the computer in his shop, a hotel room, or on a plane. The prolific designer makes his way to design events large and small across the country. He travels on Wednesdays, speaks on Thursdays, and returns home on Fridays. âThe more I get done on the plane, the more time I have free on the weekend,â Draplin says with a chuckle, âto have fun like normal people.â
 TIME OUT
Though he loves what he does, heâs tired and questions how long he can keep up the pace. âWhy are we working so much? Because we donât know any better,â he says adamantly. âItâs all we know how to do. The world just holds us down. I got ahead by working a ton. And then what? How much more money do you need?â
Heâs finally stopped worrying about money, becauseâhonestlyâhe doesnât even have the time to spend it. This has been tough for Draplin. He grew up in Traverse City, MI, and has seen people struggle. âAnd I have these carrots dangling in front of me,â he explains, âhow can I say no to any of it?
âYouâre taught to budget, to be smart and to keep everything in the positive. Then you wake up and realize, uh-oh, that wasnât the way to do it.
âI donât know how to solve becoming smaller. I donât know how to solve becoming healthy. I donât know how to solve not working so goddamn much.â
But heâs trying. Draplin now leaves the shop at 8 instead of midnight. Itâs baby steps. And it feels like a luxury.
âI donât ever want to worry,â Draplin admits. âI know what itâs like to have nothing. I havenât had to think about buying a record for about seven years. That to me is such a success.â
 WIRED FOR SOUND
âI know Aaron hoards music of all kinds,â says Robin Hendrickson of ATO Records. âI get to see him flexing and working out album art that bounces off the classic tradition of record covers. His first comps are a thrill. Heâll show you a wide range of possibilities, some you asked for and some you didnât. Itâs like the ideas are exploding out of him, almost too fast to capture. His work is clean, but never sterile or boring. Somehow it reflects his personality, which is gruff but never unkind.â
Hendrickson continues, âHeâs clearly studiedâand absorbedâthe language and history of 20th-century American vernacular graphic design, but his work never devolves into retro pastiche.â
You canât have a conversation with Draplin without sensing his respect for designâits history, its unsung heroes, and his contemporaries. He stays on the prowl for overlooked graphic treasures and celebrates them. Sure, heâll drop the occasional Saul Bass or Eames reference, but heâs not precious about it. âI donât want to be too professional, too serious, too on point or on strategy, because people choke on itâ
This is unusualâwhen thereâs so much value placed on how you present yourself to clients and where thereâs no shortage of articles touting five ways to be more productive, make a good impression, or look smarter in meetingsâbut itâs pure Draplin. Itâs part of his allure, refreshing, and he owes it to dad.
 LIKE FATHER LIKE SON
Visit draplin.com and youâll find an entire sectionâan anomaly in the business of designâdedicated to his father, Jim Draplin. You see the love, and then hear it when Draplin speaks about him. âWe lost my dad a year and a half ago. I donât want to be the person who doesnât talk about this shit. He died. Iâm trying to make light of it, because he used to make fun of that shit.â
Draplinâs tone is light as he describes his dad as an incredible character, larger than life, who sometimes opened his shows for him. He admits sometimes the crowd didnât know what to make of him. âHe was as comfortable in front of a tool-and-die shop as much as he was in front of a bunch of nerdy designers, telling crass jokes, Don Rickles style. Iâm so thankful I celebrated him viciously while he was around.
âI mimic my dad in terms of my design career: the business practices of how to enjoy your life and how to make thingsâhow to laugh. Thatâs what I took from him,â explains Draplin. âItâs been cool to apply it to the stuffy thing of design. Itâs been refreshing to defy some of that shit with it. People donât know how to laugh.
âDad kept me on my toes. He always made time. So getting in front of a client just reminds me of how my dad could loosen things up.â Draplin laughs, then continues.
âAnd look at me talking so much about my dad all the time. He always hogged the limelight. Still is! I need the world to know that without my mom, Iâd be nothing. Fact.â
 ON PAPER
That practice of loosening up came in handy when John Gall, creative director at Abrams, called about making a monograph. Draplin countered with, âDonât you do this at the end of your career?â Excited and equally leery to get a big-league call, Draplin plans to keep it little leagueâas authentic and naive as possible. âItâs got to feel real to me,â he says.
Abrams has a history of publishing books by great designers and, though itâs early in the process, you can bet the Draplin book will be a bit of a departure. It wonât be a typical design monograph. How could it be? And Gall recognizes the value in that.
âIâve been looking at younger/mid-career designers and wondering why they donât have books, and if there is even an audience for such a thing,â Gall explains. âMost graphic design books we see are super expensive monographs by older or dead designers. I started looking at people the same age as Stefan Sagmeister was when Abrams published his first book. These are designers who came of age during the internet and social media era. These are voices we havenât really heard from in book form yet. And they have a lot to say about how to make it in the design world today.
âAaronâs style is rooted in utilitarian American design, but not totally as heâll happily incorporate a lovingly designed Swiss grid. Heâll pull from the cool overlooked moments of the 1970s, but then something like Field Notes comes from another place entirely,â continues Gall. âHeâs the designer all the kids want to be when they grow up. He has opinions and heâs willing to express them (even if he has to step on some toes), but heâs also a really nice guy with a strong sense of where he came from. Heâs an inspiring speaker and entertaining graphic design raconteur. He makes beautiful things that you want to have. Beautiful lovingly printed objects. Aaron makes being a graphic designer look like the best job in the world.â
When I asked Draplin about the book, he goes straight to the Abrams site and tells me that it will live in close proximity to the Eames book. E follows D after all. Draplin says, tongue in cheek, that though the book will make him look âsmart and articulate,â heâs not going to pass up this opportunity. It will be his guide to messing with the world of design.
âI take it very seriously how I donât take it seriously,â he says.
After all, entertainment is a tricky business.
This article is from the Summer 2015 issue of HOW. Since it was published, Draplinâs stellar âGuide to messing with the world of designâ earned a place on our sister site PRINTâs 25 Best Design Books of the Year.
The 2017 PRINT RDA: Extended Deadline. Enter Now!
Enter the most respected competition in graphic designânow open to both pros and studentsâfor a chance to have your work published, win a pass to HOW Design Live, and more. 2017 Judges: Aaron Draplin / Jessica Hische / Pum Lefebure / Ellen Lupton / Eddie Opara / Paula Scher. Student work judges: PRINT editorial & creative director Debbie Millman and PRINT editor-in-chief Zachary Petit.
Draplin image: Leah Nash. Hische: Helena Price. Lupton: Michelle Qureshi. Scher: Ian Roberts.
The post Inside the Mind of Aaron Draplin appeared first on HOW Design.
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