How was the agency born?
August 2008. Peter was on the brand side, and his internal creative team was cut. He came up with Gabardine and the idea of a continuous thread of creative that’s woven across online and offline communications to help strengthen brand fabric. Keith, who had his own design studio, joined almost a year later and they started doing the kind of work and running the kind of agency they thought about back when they first met at Modem Media more than a decade earlier.

Why do clients hire you and not another agency?
“‘Cause they like the cut of our jib.”

They appreciate the fact that we’ve got these strong brand and agency backgrounds and are applying our collective knowledge to improving — some even say demystifying — the agency experience.

We’re straightforward and plainspoken. We don’t overcomplicate things. We’re focused on doing great work, work that has creative integrity and makes a real impact with audiences and in markets that matter.

We work smart. We work fast. And we don’t cut corners.

What makes your process unique?
Not much. We don’t have an account management team, but that may change soon. When/if it does, though, the way we work won’t be fundamentally altered; it’ll just be that much more effective in serving the needs of our clients.

The point, however, is that it’s not process that makes Gabardine unique. It’s people, and the way they apply the process day in and day out.

Why Connecticut?
Its proximity to NYC’s business and culture, and distance from its madcap pace, is a perfect combination for a creatively driven company. It’s also ideally positioned to serve those companies that have removed themselves and their people from the New York and Boston rat races and want to work with agencies that are more about substance than style.

Describe your ideal client.
Intelligent. Decisive. Collaborative. Experienced.

Describe your ideal employee / team member.
Not much different from our ideal client, really. Funny, huh?

How do you “give back”?
We frequently do work at low- or no-cost for charities and nonprofits. It’s called ‘The gift of Gab.’

Who are your favorite partners/vendors?
Alliance Video & Post: A talented audio/video team that bends over backwards to make sure work looks professionally finished.

Tango Modem: A great, low-cost offshore development resource that actually understands online marketing (as opposed to simply how to build inventory control applications).

RTO: Print brokers. Super knowledgable and extraordinarily well connected. Willing and able to help with everything from a box of business cards to multi-million piece runs.

Where would you like the agency to be in 5 years?
Still headquartered in Westport, or thereabouts, with a satellite or two so we can get even closer to clients who need more TLC.

Known not only for marketing creative, but for creative product that solves real-world problems in beautiful, usable ways.

Reveling in the knowledge that we successfully scaled the business without compromising the culture.

What is unique about the “culture” of the agency? The physical space?
‘Real. Creative.’

It means that we’re secure in who we are and what we do, and don’t need to put on airs or act like prima donnas to prove that we’re creative.

It also means that we don’t subscribe to antiquated notions of how an agency should run, like all-nighters and political drama. Our people all have lives and we’ve found that they work better, harder and more efficiently if they’re allowed to live them.

We’re real people, coming up with real creative solutions in ways that really work.

How was the agency born?
While working on a new business pitch for the agency I was at previously, Steven Varjabedian (now partner and interactive director of TF) was busy building websites for a Fortune 500. In the midst of a work-related rant, he said, “You’re getting pretty good at that. Instead of being frustrated doing it for other people, we should think about creating our own company.” And so the design arm linked with the website arm and off we went to build an agency and a client base of our very own. That was the winter of 2006.

In the spring of 2007, I left my ad agency job for the explosive start to what is now Triple Frog. We rode the bursting bubble of the economy and here we are, still making strategic art, five years later.

Why do clients hire you and not another agency?
Our client relationships begin with a down-to-earth approach that offers as much transparency as it does personality. We reach out to people and companies we want to work with, and we pride ourselves on putting our hearts behind the creative strategies we deliver. If we don’t believe in the product or the organization’s mission, how can we truly make great art? Once a client is on board, they come to understand our true point of differentiation – design is paramount to everything else. Regardless of medium, our first priority is to create a brand (or assets for a brand) that has the flexibility to speak across all platforms while targeting specific audiences.

What makes your process unique?
As a small shop with our singular account executive, our process stays simple and efficient. There’s one point of contact for the client and the creative team and we opt for email as a “paper chain” rather then unnecessary forms and folders. Additionally, we enjoy getting our clients involved in the creative process by inquiring about relevancies to the business as well as personal facets that may lend to the fundamentals behind the brand (colors, iconography, etc.).

Why Connecticut?
It’s where I grew up and where I went to college. I didn’t always intend on staying here, but as I matured in my life and in business ownership, I came to love the diversity of the companies in the state and surrounding areas. Where else can you find the headquarters of PEZ, Xerox, and Stanley Tools in one spot?

Describe your ideal client.
An organization with multifaceted needs and a common theme. An opportunity to create a brand that grows into a mobile site, which becomes a desktop website, then extends into packaging and is supported with advertising, promo gear and event graphics. We love pushing the boundaries of the physicality of a brand.

Describe your ideal team member.
The talent of an artist, professionalism that is just as edgy as it is buttoned up, a great sense of humor, and organized.

How do you “give back”?
While we budget annually to donate time and funds to a few non-profits of our choice, we recently took this love one step further in creating a website called Guilty For Good. This allows people to acknowledge an every day guilt and put a few coins into the karma piggy bank while reinvigorating a non-profit through smaller donations (and having some snarky fun with charitable giving).

Additionally, as an alum of the University of Hartford, we engage in constructive, discussion-based group visits from the Professional Practices class at the Hartford Art School on an annual basis.

Who are your favorite partners/vendors?
The best vendors are those who are just as realistic and professional as we are. We love working with vendors that make it more about collaboration and less of a “tell me what you need and I’ll get it for ya” situation.

Where would you like the agency to be in 5 years?
On the same path its been on for the past 5 years, which means continuing to scoop up talented people for our internal team, particularly building our programming department, adding new, interesting clients to our roster and putting out work that we can proudly stand behind.

What is unique about the “culture” of the agency? The physical space?
We begin every day with a morning meeting called “Scrum” around 8:30am. This allows us to go through the responsibilities for each team member and address any questions or concerns prior to beginning the work.

The other side of Triple Frog’s culture is maintaining a damn good sense of humor throughout the day. We all buckle down when we have to, but nothing is better than 3pm comedy hour for us.

In terms of our office space, we are in the attic of an old mill in Middletown with stress bars diagonally shooting down from the roof every 8 feet or so. Large windows on either side, lots of light, and large hand-painted lettering in the main creative area. We do lunch family style most days and encourage brain breaks, which usually lead to walking to the store for sugar of some kind in the middle of the afternoon.

What inspired you to choose this profession, and what makes you stay in it?
I have always been artistic, but the graphic influence of the skate and snowboard industries made me realize that there was an actual profession here that interested me. I started off as a print designer but quickly discovered interactive, motion and 3d design; it’s these challenges that keep me on my toes and wanting to learn and create more each day.

What is your single favorite portfolio piece?
This is a tough question, I have fallen in love with lots of projects. I suppose the Don’t Surf Nude Dude game microsite for McAfee. I really enjoyed the challenges this project brought to the table, the opportunity to combine interactive design, 3D character modeling, rigging and animation and motion design all in one project.

What/Where do you want to be in 10 years?
Ten years from now I most likely will have started my own agency, focused around interactive and motion design. At least that’s the dream.

Who/What are your biggest influences?
There are a handful of smaller national agencies that continue to push the interactive and motion space. I love seeing what they come up with.

What do you wish you did better?
Programming and mathematical relationships associated with it. I think, specifically, I wish I had a more comprehensive understanding of javascript.

Why Connecticut?
I was born and raised in Connecticut, left for a few years and realized it is definitely the place I want to live and raise my family.

Who are the best creatives you’ve worked with?
The folks at the Pita Group and Fathom, Matthias Palme, Scott Jones and Ben Roberts.

What are your loves/passions outside of this field?
My wife, our four boys and nature.

What do you know now that you didn’t know then?
A bunch, but there is still a ton I want to learn.

Some have dedicated themselves to gaining industry expertise in the non-profit sector. Some provide pro-bono creative services to organizations with little or no money. Some serve on boards and make financial donations. Some even get hands on and volunteer as a group.

All immerse themselves in the causes to connect with the pains and problems of those in need and/or the passions of those dedicated to helping or sharing, so that they can truly understand and tell the whole story of these organizations.

We talked with a handful of Connecticut agencies to hear how they were giving back.

 
 
The Pita Group, Rocky Hill
Kim Pita

How do you go about selecting the causes/non-profits you work with? 
As you can imagine, because we are a very philanthropic agency, we get approached by many non-profit organizations and causes for financial donations, as well as volunteer commitments. Our history of giving has been focused in several key areas — women, children, families, social services and the arts. Our new web site features an area where organizations can apply for grant funding from Pita.

How do you go about determining rates, either pro-bono or discounting your services?
In additional to our financial commitment, many of our team members — including Paul and myself — are active on boards and committees. For many of these organizations where we are involved at this level, we provide pro bono services. Hartford Children’s Theatre is a good example of this. We have donated creative development for invitations, pull up banners, brochures, ads, etc. With other organizations in the Greater Hartford community, we have built a partnership philosophy. This is where we get paid for some services and donate services in return for sponsorships or some sort of trade. This is a strategy that works very well. For all non-profits that we contract with, we always provided a discounted rate for our services.

Why do you think it is important for designers to “give back” to the community and to causes they care about?
Work for non-profits provides a much different level of fulfillment for creatives. Agency-wide, we encourage and applaud giving back. Many times work for non-profits allows creatives to be more creative in their work and they feel good about the projects they are working on. They can push their creativity more and most often are not restricted to rigid brand standards. In addition to doing the work, there are often rewards to our team doing pro bono or partnership assignments — they can attend events that they are helping to promote.

 
Caserta Design Company, Stratford
Fred Caserta

How do you go about selecting the causes/non-profits you work with?
1. The organization must be highly reputable and proven to have a made positive impact on the lives of people as outlined in their mission statement. A personal connection is also extremely helpful. 2. It must be readily apparent that the organization has a true need for and can benefit from the services and expertise I provide. 3. I must feel as though I can devote the extra time and effort it will take to create solutions that can lead to an increase in direct-donations and/or public awareness when executed properly. 4. The potential for establishing a mutually beneficial,long-term relationship must exist.

Organizations we’ve worked with include A Chair 4 Charity, Advertising Club of Connecticut, American Marketing Association – CT Chapter, Connecticut Children’s Medical Center Foundation, Connecticut Food Bank, Discovery Museum & Planetarium, Extrapolation Charters, Harbor Health Services, Klingberg Family Centers, Madonna Place, China’s Massive Earthquake Project, Mets Foundation, Patient Airlift Services (PALS) and Wings & Wheels.

How do you go about determining rates, either pro-bono or discounting your services?
It certainly varies from project to project. Pro-bono is typically a good way to simply donate your time and skillset, to give back to humanity rather than simply writing a check. It also helps you to get a feel for the organization when working on a first-time project, all while putting you in a favorable position and be seen as a “life-saver”. I never charge a non-profit “full price”. If anything I tend to err on the side of being more generous with my time. Throttling your rates depending on the circumstances, profit or non-profit has always been a key to my own success. Regarding budgets, I’ve seen it all. It helps to be agreeable and fair. Whatever it takes to cement the relationship.

Why do you think it is important for designers to “give back” to the community and to causes they care about?
There has always been and will always be a need for organizations to utilize solid visual communication. See a need, fill a need. Why not offer up what comes with relative ease to those organizations that can directly benefit from it? It feels good and there’s never any harm in demonstrating the value of what you can do for a potential paying client.

 
think creative group, New Haven
Ali Parmelee

How do you go about selecting the causes/non-profits you work with? 
We love what we do. And we love to help out too. Depending on the year, the flow of active projects and the cause, we will either take on a project or add additional services in to enhance their marketing even more.  We worked with the American Red Cross South Central Chapter five years in a row. We then decided that we needed to share the love. So we started our “Do Good. Think Big.” contest, where local non-profits submitted to win a social media strategy. Solar Youth was the winner and once we completed the strategy, we moved on to develop their website and brand standards at a non-profit rate [which we offer to all non-profits, but did some extra bells and whistles for Solar Youth]. 

How do you go about determining rates, either pro-bono or discounting your services?
As many companies do, we get asked to do pro bono all the time. We hate saying no, so we always pick one project a year to work on in some capacity. We don’t discount our work [because then our clients might discount us] so instead we work to establish phases that meet budgets and our clients’ needs.

Why do you think it is important for designers to “give back” to the community and to causes they care about?
It’s important for anyone to give back. And since this is what we do, this is what makes sense for us to give. You never know how your little bit of extra effort can make a difference for people. 

 
Derek Dudek Photography, Middletown
Derek Dudek

How do you go about selecting the causes/non-profits you work with? 
Sometimes non-profits contact me directly, or I get involved through agencies. If it’s a good cause and there’s opportunity to collaborate with good creative people, I’m game if my schedule permits. I’ve worked with AIGA CT, CADC, Boys & Girls Clubs of Hartford, Heart Gallery of America, American Cancer Society, American Liver Foundation, United Way, Favarh, Middletown Youth Services Bureau, Human Rights Institute and Healing the Children, to name a few.

How do you go about determining rates, either pro-bono or discounting your services?
I’m usually informed up front — “I’ve got no or some money in the budget.” Next, we end up  brainstorming some creative directions, then see what we can apply based on the project budget.

Why do you think it is important for designers to “give back” to the community and to causes they care about?
Because if you don’t, who will? It’s great to do work for causes you believe in; it’s paying it forward.

 
Elements, Branford
Amy Graver

How do you go about selecting the causes/non-profits you work with? 
Since my Dad’s diagnosis with Alzheimer’s Disease, I’ve been doing a lot of work with and for the Alzheimer’s Association. Organizing teams to do the annual “Walk To End Alzeheimer’s”; annual report design; speaking at the headquarters in Boston about using social media to help volunteers and leaders raise awareness, support and money; fundraisers helping Kristen Cusato (whose mom has what my Dad died of – Lewy Body Dementia, an accelerated form of Alzheimer’s with Parkinson-like side effects. I even found a way to hook Kristen up with our client, Elgin watches, in a new ad campaign — using Kristen’s moving story in exchange for Elgin directly supporting Alzheimer’s Association by having her message on the ads, gifts of product for the walk, website exposure and furthering their mission through her story.

How do you go about determining rates, either pro-bono or discounting your services?
We always pick a couple of charities to support each year as a group – for some, we make monetary donations, for others it is pro-bono work; others, a combination of both. But we discuss it as a team and we use our talents to that end. For example, so far this year — in addition to the support and work with the Alzheimer’s Association — we helped to send a high school student to Nicaragua to build a school, we’re currently working with the Branford Fire Department to design and produce a wall mural depicting their history into the new fire house opening this spring, we made a sizable monetary donation to the local Boy Scouts organization and I’ve volunteered to help co-lead a pack – and we’re planning more involvement and support as the year progresses.

Why do you think it is important for designers to “give back” to the community and to causes they care about?
We know how powerful design can be. Remember the hanging chad? I think of that whenever someone doubts that design can change the world. No matter what profession I chose to pursue, giving back is part of being human and sharing this earth with others in my opinion. It’s not something I’ve ever sat down and thought about. It is part of who I am and how I view the world.

 
Fathom, Hartford
Suzi Craig

How do you go about selecting the causes/non-profits you work with? 
As a team, Fathom is committed to making philanthropic efforts a part of who we are and what we do. We choose initiatives that allow us to have a deep and lasting impact on an organization or person. We start with a cause that is near and dear to a Fathomite and then we decide how to help them, either as a company-sponsored initiative or in a smaller group. Mostly, we find ways to use our talents to help others tell their story and create more positive impact with the good works they are already doing.

For instance, we are going to spend the day with Junior Achievement and, while we will participate in their pre-set program, we will also help to capture the day’s events so that they can have a new story to tell others that will generate more interest in JA. Last November, we ran a coat drive in support of Bushnell Park’s Joe the Barber and did our best to raise awareness of the goodwill of Joe and how little effort it takes to help others in need. Through all of this, we are creating eye-opening experiences for our team which continues to fuel our desire to do more of this work.

How do you go about determining rates, either pro-bono or discounting your services?
We don’t do pro bono. For us, it feels the same as writing a check — there’s nothing wrong with that, but it doesn’t allow us to really connect with a cause or a person like offering up our time and ourselves does. We feel that we can have a more positive impact by getting one-on-one with people, understanding what they’re all about and helping them tell their story in a new and interesting way.

 
object | resonance, Canton
Mark Snyder

How do you go about selecting the causes/non-profits you work with? 
Sometimes things just cross your desk, either through local connections or via an e-mail.

For example, I have worked in the past with the Hartford Community Center’s Executive Director and created a fundraising wall calendar with images of both volunteers and clients to mark an anniversary of service to the community.

Another example was through an initiative begun by Margery Steinberg at the University of Hartford — Upper Albany Avenue Main Street is an organization that assists people in the area with launching businesses, creating business plans and training in customer service. For this organization, I helped in an 18-month project to organize their first major fundraising event, “An Evening on the Avenue.”

Most recently I joined up with the HartBeat Ensemble (through a CADC connection, Jennifer Borel Scholte) to co-chair their 10th Anniversary. This included design of sponsorship packages and promotional materials to sell tickets to the event, development of auction packages and preparation of materials for the evening’s event. This group is near to my heart, as the bulk of my design studio’s work is for fine and performing arts presenting organizations. For HartBeat to have survived in rough economy for 10 years, presenting original theatre whose content comes directly from the greater Hartford community, is a remarkable feat. This group researches, writes and presents amazing and powerful theatre that gives voice to many who are under represented in our city. I was thrilled to be asked to be a part of this celebration and hope to continue working with them into the future.

In the community where I live, I have been dedicated to any and all design needs for my dear friend Walter Kendra’s organization, The Maxwell Shepherd Memorial Arts Fund, Inc. This 501(c)(3) was founded in honor of Walter’s life-long partner Max, to promote excellence in the fine and performing arts. It regularly sponsors three to five concerts often held in the Collinsville Congregational Church, and two to three exhibitions per year in the Canton Library and Gallery on the Green. The fund often brings in amazing musical acts from as far away as Australia or Europe, to perform for free in our little hamlet. It is a work of passion by its founder Walter and his highly dedicated Board of Directors, and I am happy to assist them with anything they need to further the work of the Foundation.

How do you go about determining rates, either pro-bono or discounting your services?
All of my work mentioned above is fully pro bono in terms of design, and often I donate elements like paper and on occasion printing. As for our paying clients, my business partner Kevin Sepe and I often donate work to these groups to thank them for their sustained support over the years. As an example, we often design pieces for fundraising efforts each year, pro bono, for two of our major clients — The Hartt School and the Hartford Art School. Generally we will charge no design fees and often help them find donations of paper or printing through vendors who do a large part of their paid printing work over the course of the year.

Why do you think it is important for designers to “give back” to the community and to causes they care about?
This was instilled in me early in my life through my parents, who led by example by giving back to our community through volunteerism. Then at my first job — at Shaw Industries, Inc., a Fortune 500 company —who required all its mid/upper level management to perform monthly community service activities. In Dalton, Georgia — Shaw’s home base — I worked with elementary school children doing arts lessons, and served on the Boards of a local arts guild as well as the Dalton Little Theater. For the latter two groups, I regularly created membership materials, posters, playbills and calendars, to bring new audiences to these organizations.

Here in Connecticut, I have always done pro bono for the communities where I work (Greater Hartford) and live (Canton/Collinsville). I feel that I have been blessed with a full-time teaching position that runs parallel to my full time design consultancy, and that it is key to give something back! I feel it is important, if you are able to do so, to find a group or an individual that you can stand behind, and provide them with high-quality designed objects that they perhaps could not afford otherwise.

What inspired you to choose this profession, and what makes you stay in it?
I decided I wanted to be an illustrator my junior year in college. I had a couple of professors in the profession that were a huge influence on me. They introduced me to a number of artists that shared a common thread with the style I was developing. To this day, the initial artists they showed me are still some of my biggest influences. They made me excited to get into the field.

I’ve stayed in illustration because I love it and I think its something that I’m good at. Ever since I started working as a professional, quitting has never been an option. I decided I was going to find some way to make it work. Also, being 5’11, a career in the NBA was a longshot.

What is your single favorite portfolio piece?
I’ve been really proud of the work that I’ve done over the past 2-3 years. I’ve learned a ton about digital techniques and printmaking techniques. One of the pieces that was a big jumping off point was the first poster I did for Antiques Roadshow. It started me on a new process of working that I’ve been using ever since. Working on it was a total headache but the learning experience was invaluable.

What/Where do you want to be in 10 years?
I want to have a full-time position teaching illustration at a college in the Northeast, I want to be illustrating 2-3 books per year while also doing a good amount of editorial, institutional, and advertising jobs.

Who/What are your biggest influences?
I’m influenced by tons of illustrators and fine artists. My biggest influences in no particular order are Lane Smith, Mary Blair, Jim Flora, Chris Buzelli, Ben Shahn, Mark Ulriksen, and Gary Kelley. I’m always on the lookout for new sources of inspiration.

What do you wish you did better?
Where do I start? I wish I was a better painter, I wish I could draw better, I wish I was more handy, I wish I was better with type, I wish I could hit a golf ball straight… Too many things to mention.

Why Connecticut?
My wife and I are both very close with our families. Most of our family members are in Connecticut so it’s been hard to leave. Regardless, I’ve always loved Connecticut. The close proximity to New York and Boston is nice and I’ve made a lot of great friends here.

Who are the best creatives you’ve worked with?
I’ve worked with some great art directors that I’ve developed lasting relationships with, including Merideth Harte at Sterling Publishing and Diane Earley at Charlesbridge Publishing.

At the Hartford Art School, Mark Snyder has been one of my biggest supporters. Mark’s a fantastic designer and terrific teacher. I’ve had the pleasure of working with Mark on a few projects. He has an incredible eye for good design. I’m continually amazed by Mark’s generosity with his students and friends.

I’ve met some amazing artists through my MFA in illustration program at the Hartford Art School. Program Chair Murray Tinkelman has introduced me to a ton of new influences. Another important connection I’ve made is Illustrator and NHIA Chair of Illustration Jim Burke. Jim’s an amazing artist and has been a huge supporter for me as an educator and an illustrator. His friendship and professional guidance has been invaluable.

What are your loves/passions outside of this field?
I love movies, music, and sports. I love basketball, I play 3 to 4 times a week, it definitely helps me keep my sanity. I’m also obsessed with Boston sports teams. Part of my daily routine is to check out Boston.com to see whats going on with the the Red Sox, Celtics, Patriots, and Bruins. Hopefully by the time this comes out the Patriots will have just won another Super Bowl.

What do you know now that you didn’t know then?
I guess I didn’t know how much of my life would be devoted to being an artist and educator. It’s definitely not a 9-5 job, it’s something that I’m always thinking about and working on. It kind of makes it hard to have a lot of hobbies but its definitely all worth it.

“Breakfast Epiphany Events”
AIGA Connecticut
February 8 – December 13

AIGA CT’s Breakfast Epiphany events in 2011 saw the likes of Wilson Camelo, Karl Heine, Amy Graver, Brent Robertson, Alpesh Bhatt, Richard Rose, Troy Monroe, Jack Tom, John Dankosky and Anne Cubberly cover topics such as Hispanic marketing, letterpress, pursuing your passions, “how to talk to people” and becoming a creative mentor.

“When we say ‘join us for a rousing conversation’ — as we do in many an email promotion — we deliver,” says Suzi Craig, Programming & Events chair of AIGA CT. “The Breakfast Epiphany event is one of my favorite AIGA Connecticut events because it is always unexpected and always amazing. We take an interesting person, ask them to talk about something near and dear to who they are, and then we let the conversation rip.”

“Depending on who shows up — and it has ran the gamut, from graphic designers to race car drivers and architects to nonprofit leaders — the conversation can take some really deep twists and turns and it can also offer up perspectives that you may not find when attending an event with only those from your industry. Something AIGA Connecticut is passionate about is opening up the conversation of ‘design’ and ‘creativity’ to those beyond our world. This event helps feed the opportunity to talk about design and creativity in all its forms, and allows for us to examine how we can each have our own impact on the world when we see possibility through this lens.”

Up next: Troy Monroe’s sequel talk, Passion with a Plan, Part 2, at CO:LAB on February 9.

 
“Shed: A Living Principles Happening”
AIGA Connecticut
February 12

AIGA Connecticut invited all to the Yale University School of Art, for an open discussion about culture, happiness, consumerism, design and the future of the planet.

“I love that The Living Principles Almanac — that Mohawk produced with Gaby Brink — states at the end: ‘Got what you need out your Living Principles Almanac? Give it another cycle before you recycle. Pass this book on to a friend. Continue the loop.’ That is what Shed exemplified,” says Lee Moody, Mohawk Fine Papers New England & Eastern Canada Business Development Manager. “Think about what you buy, reuse, recycle, compost, rethink, reinvent — all we do can go a long way toward preserving and extending our common resources.”

“We were all so excited to have an AIGA chapter in Connecticut,” continues Lee, “so that we all could connect with the AIGA Center for Sustainable Design. Mohawk partnered with them for a year, and gave $1000 to each chapter of AIGA across the United States — and the world — to help promote design as a powerful conduit for change. The Living Principles for Design is the first integrated blueprint that connects Cultural Vitality, Environmental Protection, Social Equity, and Economic Health.”

“AIGA Connecticut connected with some powerful speakers that presented this broader concept to the audience at Yale. The room was packed. People were asking questions. People were offering choices. It was about using more creativity and less stuff.”

 
“Out of Home Competition 2011″
Ad Club of Connecticut
February 24

“Don’t drive distracted” was the theme of 2011′s competition, and Connecticut creatives were invited to submit concepts for 14′ x 48′ billboards to promote this theme. Winning entries received cash prizes and the first place design was displayed on digital billboards across the state.

Avid Marketing Group, in Rocky Hill captured the Grand Prize as well as third place. Coming in third was “Distracted Driving Kills,” designed by Emily Buck, which shows a distraught accident victim behind police tape emblazoned with the message “Distracted Driving Kills.” The Grand Prize Winning concept was “Monkeyin’ Around,” whose simple message of “Quit Monkeyin’ Around – Just Drive” was perfectly visualized by the whimsical artwork of illustrator and designer Chris Gunderson.

While the final designs were executed by Buck and Gunderson, AMG’s success was a true team effort. “From brainstorming the initial concepts, to copywriting and ongoing critiques, the entire team at AMG was involved,” explained AMG Vice President DeAnna Drapeau, “Hearing the judges echo our internal discussions just confirmed how much that process improved the final creative.” AMG’s history of success at previous Ad Club Outdoor Competitions also include winning first place in 2008 and second place in 2009.

This year’s event is set for February 29. The 2012 Theme: Search Local, Save Local, Buy Local… support your local businesses and the local economy.

 
“GR8″
Connecticut Art Directors Club
March 10

The CADC invited eight forward-thinking Connecticut creatives to visually answer the question, “How does creativity personally affect social responsibility and change?” Each of the contributors — Peter Good, Anita Soos, Jody Dole, Noemi Kearns, Woody Ford, John Nordyke, Liz & Eric Panke and Vaughn Fender — donated their 18″ x 24″ work to be displayed and auctioned off the night of the event.

Contributor Peter Good sums up the night: “When the CADC was formed, back in the last century, our primary intent was to create a forum of sorts so that designers and art directors could talk shop, compare notes, and inspire and support each other. The GR8 exhibit was exactly the kind of event that was sympatico with that idea. Ironically, an early proposed name for a CADC newsletter was called “Mix” — the apt quality of the GR8 event.”

Another GR8 event is coming in March; watch the CADC site for details.

 
“CADC Student Conference”
Connecticut Art Directors Club
March 26

The Student Conference and Scholarship Competition is held once a year at a select Connecticut college or university. Host schools have included Sacred Heart University, The Hartford Art School, and Central Connecticut State University; this year will be the first to be held at SASD, University of Bridgeport. It is free and open to all Connecticut undergrads.

“The conference format has been fairly consistent since [its inception]” says Jack Tom, who worked on the very first conference in 2000. “Speakers from all relevant creative areas (design, art direction, illustration, photography, etc.), portfolio reviews, scholarships, free giveaways from sponsors (Mohawk, etc.), and of course the free admission, free breakfast (coffee, donuts and bagels) and free pizza lunch.”

This year the speakers were Dan Taylor, Brent Robertson, John La Rock, kHyal and Karl Heine.

“The speakers give a lot of good information for students to use,” continues Jack. “It’s always nice to see professionals donate their time to come talk and share their experiences with students. I know it takes a lot of effort by the CADC Board to put together this annual event, but I’m glad they kept the torch burning every year for it.”

 
“AIGA Fellow: Michael Scricco”
AIGA Connecticut
May 12

The Fellow award program is a means of recognizing mature designers who have made a significant contribution to raising the standards of excellence in practice and conduct within their local or regional design community as well as in their local AIGA chapter. The areas of education, writing, leadership and reputation, as well as the practice of design are given equal consideration in measuring significant contribution.

After Peter Good’s 2009 win, Designer, Leader and Master Craftsman Michael Scricco was the second recipient of the AIGA Connecticut Fellow Award. Attendees heard speakers and saw a video presentation of design from Mike’s ample legacy, along with anecdotes from designers who know Mike well and have had the benefit of his stewardship.

“There was no way I was going to miss the evening honoring Mike as an AIGA Fellow,” says Alexander Isley. “He’s done so much for the creative community, and not just in Connecticut. The outpouring of respect and appreciation was inspiring and heartening. He’s influenced so many people.”

The next honoree is Pam Williams of Williams and House — who is on the AIGA CT Advisory Board and who is a veteran of the national Board — in April 2012. Watch the AIGA CT website for details.

 
“PUSH Design Camp”
PUSH Workshops / kHyal and Karl Heine
July 17-19

Since 2007, PUSH has partnered with masterful individuals and companies to produce career-critical communication design events and workshops — offering intensive hands-on learning opportunities in core competencies for creative professionals. In 2011, PUSH went mobile with Design Camp on Block Island. Campers reveled in nature with like-minded creative professionals for three days of hedonistic play and design learning.

“Push Design Camp 2011 was the ‘perfect storm’ of scheduled inspirational events, enlightened discussions, exotic flavors, ideal mix of personalities, peaceful bicycle journeys and superb, high-summer weather,” says Mary Ellen Butkus, Vice President / Senior Designer at TFI Envision. “From discovering typography along nature’s trails, to unique temporary sculptures from found beach objects and laughing along the way – we rediscovered imaginativeness and the joy of an idealized summer camp for grown up creative kids like us.”

This year’s is already in the works, same place, same dates, so watch their website for more information.

 
“Hang in There Poster Exhibit Opening”
Patti Murphy / Hygienic Art Galleries
October 15

Designer Patti Murphy of Seed Factory is a resident artist at Hygienic Art Galleries in New London. When she was charged with putting on an art show, her mind turned quickly to showcasing design work, something Hygienic hasn’t done in the past.

The theme Murphy landed on, “Hang in There,” came with a double meaning. “I really like the idea of hanging art on hangers,” says Murphy. “It is a simple solution to decorating homes and workspaces — easily hanging something that you like or prints that you’ve purchased.”

“And I love collecting positive words, quotes, illustrations and images — I think, as designers, we are taught and trained how to evoke or represent a certain emotion or feeling, and I thought it would be interesting to see how each designer will create something that they see as uplifting or positive.”

The show displayed (and offered for sale) 12×18 posters by a variety of Connecticut and Rhode Island designers and artists, including Patti herself, Susan Hickman, Kat Murphy, Troy Monroe, Mark Bevington, Tomaz Kazmierczak, Julia Balfour, Katie Kerrigan, Vaughn Fender, Eric Panke, Nick Healy, John Lepak, Magdalena Lutoborska, Richard Hollant, Tracie Valentino, Karli Hendrickson, Chris Piacik and Noemi Zalanski.

“I chose the participating artists based on who I have collaborated, connected with or worked with before,” says Murphy. “Though sometimes we are all competing for clients, this is a great opportunity to come together as a community of designers and create artwork for each other and ourselves.”

 
“Young Turks vs. Old Dogs”
Jack Lardis / Oil Drum Art
November 5

The historic October snowstorm of 2011 — that left over a million New England households and businesses without power — was a stroke of bad luck for the Oil Drum Art Reunion-Fundraiser. However, over 100 attendees still came and enjoyed an evening of camaraderie, fine food and wine, jazz, and art.

Old dog Jack Lardis organized the event as a benefit for his organization Oil Drum Art, a not-for-profit grass roots art movement that seeks to change human patterns through meaningful artworks. A self-proclaimed “once-in-a-career opportunity,” Young Turks vs. Old Dogs was a reunion / networking event to give younger creatives in the state the opportunity, according to Lardis, to “rub elbows with the old guard. And vice versa.”

“There are three ex-advertising people on the Oil Drum Art Board,” continues Lardis. “Dave Murphy, one of the Directors, came up with the idea to have a small reunion of ad people as a fundraiser. We thought it was a great idea and it quickly mushroomed to a major event with all four major ad and design clubs co-sponsoring the event.”

“We hope it becomes a yearly reunion that will get better and better,” says Lardis.

They just better watch out for those October snowstorms.

 
Christa Tubach
Group 4, Avon
Hartford Art School, Class of 2011

Tell us about the HAS design program.
I had a wonderful experience at the Hartford Art School, and a big part of that was the professors. They get involved starting freshman year, and by the time you start taking major classes you already feel comfortable around them. The class sizes are small, and the programs are oriented around learning the programs and experimenting, leading up to the sophomore review. Once passing the review, you are on to the real deal. This is where the professors and students get to express their love for design. The professors all bring something different and great to the table.
   
Mark Snyder is always there for you, helps you get where you need to go, Deb Kline is a hardass who wants to see you succeed (in the best way!), Natacha Poggio is very involved outside of the actual classroom, and Kevin Sepe will get you out of any jam — no matter what it is. And there are more who have been involved at different points in the years, they have all been a great inspiration.

How well did the programming prepare you for entering the work force?
The classes are very creative. People who come out of the HAS can think on their feet, come up with great ideas and truly perform under pressure. The classes are arranged so that you get an overview of basic technical skills from the professors, and while you are on your own during class time, they are there for you whenever you need help. It is a great learning experience. I know that I can always learn the newest Photoshop technique on my own, but learning how to be a design problem solver without the aid of professors and peers is much harder.
   
The professors are constantly hearing from past alum, colleges and friends of theirs, so whenever they find information about an internship, freelance position or job, we are the first to know. They not only announce it to the classes, making sure everyone hears first hand from them, but they also post it on a board for future interest. I knew I could always count on Mark and Deb to help me out. They know a lot of people, and do what they can to aid in any way.

Why should someone hire an HAS grad?
The HAS focuses on creativity, and they lead us there in many ways. We have three-hour block classes in which we have time to research, sketch, brainstorm and start projects. With all of your peers around you, it is easy to bounce ideas off of each other. We also never leave the lab… It is a wonderful feeling when you come back to do work and you see more than half of your class working hard after hours to make the best project they can.
   
You spend hours with these people. They become your friends, and people who want to see you succeed. Our critiques are most likely the same as other art schools, but if you were to walk into a crit at the HAS, you would notice how much people are talking. We really know how to talk about our work, other peoples work, and help each other as much as possible. There is nothing like an 8:30-11:20 morning class followed by a 7:30-10:30pm class with the same people. We know how to work with a team, because we have been doing it for years.

How did you go about your job search?
Personally I spent hours on end emailing and researching. I would occasionally look at websites dedicated to jobs, such as Indeed.com. They were marginally helpful, but nothing like my own research. My best luck was specifically searching for Connecticut design firms, taking a look at their portfolio to see if it was the type of place I would want to work for, and emailing them. I made sure to express my interest in their work, so they knew I had done my research and knew about what they do. I was also assisted by Deb often. She is a real asset to the HAS as far as her connections into the real world.
   
I now realize how helpful Linked In is as a tool. I had signed up during my last semester, but I rarely used it, because I wasn’t exactly sure what to make of it. I am starting to use it more and would definitely recommend it to students.

What do you think made you stand out and get the interview?
I believe I had a few things that made me stand out. I had taken a web design class last semester senior year in which I designed, built and coded my own website. It was and still is a great tool to show potential employers my work. Before my website was done, showing my portfolio as a PDF meant either sacrificing image quality or sending a large, cumbersome email attachment. Employers don’t want to be wrestling with hard to open PDFs, and once my website was up, I was getting much better responses from people. The other reason I stood out was my personal presentation. All of the employers were impressed with how organized, neat and presentable my portfolio was (on top of my actual work). We have an portfolio class which takes place all semester long, refining and perfecting our portfolio. This doesn’t stop with our work, but with how we lay out the images, the shape and feeling of the book itself, and most importantly, how we talk about our work. We know inside and out why we created what we created.

What do you think made you stand out and get hired?
As mentioned before, I believe we were prepared for these interview days. I know that I am personally a pretty talkative and friendly person, so I didn’t have problems there. The best part was talking about my work and hearing what they had to say about it. Everyone I met with was exceptionally nice and complimentary, which I must admit was extremely satisfying yet scary. I always felt that when we stepped out into the real world people would be harsh and mean, but they had prepared us so that this wouldn’t happen. People were interested to hear what I had to say and I always felt comfortable telling them.

Tell us a bit about Group 4.
Group 4 is a packaging firm in Avon, CT. I am one of the three in-house designers and we work primarily on packaging and branding. It is a great atmosphere with fun people and a lot going on. We house research, industrial design and graphic design, so I get to see how projects run, from start to finish.
   
One of the most interesting and new aspects of this job is being part of the focus groups. We have a room where we hold the groups with a two-way mirror. It is very exciting to see the people respond to your designs. I didn’t necessarily see myself working specifically with packaging, but I realize now how interested in great packaging I have been all my life. I am excited to see where it brings me!

How should one make the most of school while there?
Start looking into what you can do with your degree — design or not. I didn’t even think about packaging design until junior/senior year. Know that there are endless ways to use your degree, but the more you know where to go, the easier it will be to get there. Also, take as many classes as possible! I realize now that I may someday want to start my own business, yet I have no formal education when it comes to finances, economics, business, etc. It’s something you can do later, but do it while you’re already there, it will be much easier!

What advice would you give to grads? 
I would advise them to start early and be as personal as possible when sending emails. Write each and every email differently, know who you are writing to. And be yourself on your interview. It’s going to be scary, but show yourself off — you have a lot to show.

 
Kathryn Keller
Jade Marketing, West Hartford
University of Connecticut, Class of 2010

Tell us about the UConn design program.
While UConn is a huge public university, the Art Department is a small building in the corner of campus. The communication design program is an even smaller concentration in which only 16 students are admitted to each year.

Design Process, taught by Mark Zurolo, was the first course I took before I was admitted into the program. The course was my introduction to the attention to detail required in design. Everything was hand lettered and bound, no computers. While some of my classmates complained of the tedium, I loved every minute of it. Randall Hoyt taught me web design, which is probably the reason I’m employed today. I went from not even knowing what HTML was to using Javascript in a semester. Later, I was given the opportunity to join Design Center where I designed some of my best work. Each of my professors inspired me, pushed me, and encouraged me.

How well did the programming prepare you for entering the work force?
The most valuable experience I had at UConn was the opportunity to work at Design Center for 3 semesters. With direction from Edvin Yegir, my classmates and I worked with clients from on- and off-campus. We created campaigns, brochures, catalogs, identities and websites. I think the experience of managing projects, meeting with clients, and creating and collaborating is something that can only be taught in a studio environment. Essentially, Design Center is a design studio. The only difference from any other studio is students create the work.

Why should someone hire a UConn grad?
I think the strength of UConn is its multi-disciplinary program. In addition to the sequence of design courses, I took classes in web design, motion design, and digital photography, as well as many other fine arts courses. Having that experience in so many disciplines of design gave me a bit of a competitive edge. I feel like designers are now expected to do everything — especially if you’re like me, working for a small company. It’s good to get your feet wet in a few different mediums, but I do think there is something to be said about specializing.

How did you go about your job search?
I began interning at Jade Marketing during the summer after my junior year. At the time, Jade only had one designer on staff and we were growing fast. Spring of my senior year they had offered me a full-time position. I worked hard and clicked with the company.

What do you think made you stand out and get hired?
I think what made me stand out was my enthusiasm and the body of work I was able to show them, including my portfolio website. Having a website — that not only shows your work well, but also shows your personality — is important. It’s your first impression to potential clients and employers. Even if you don’t know HTML there are a lot of great resources online to present your work. I also think showing your enthusiasm and your willingness to learn and go above and beyond shows them you’re not just in it for a paycheck.

Tell us a bit about Jade Marketing.
Jade Marketing is a denim company headquartered in West Hartford. We have two junior denim brands, Amethyst Jeans and Ariya Jeans. Since Jade is such a small company, I work on many different projects. I help art direct on location at our seasonal photo shoots, I design and code the brands’ websites, I design back pocket embroideries and I manage our Facebook page. I think what’s great about Jade is they are always thinking out of the box. We have a pink truck we like to call the Jean Machine — which is sort of like an ice cream truck, except instead of ice cream, we give away jeans. It tours around the country promoting our brands at concerts and college campuses. This holiday season we gave away jeans as thanks for donating food to CT food banks. The Jean Machine is unlike anything I’ve ever heard of.

How should one make the most of school while there?
Definitely get some out-of-the-classroom experience, whether it is in a course like Design Center or interning at a studio. It’s a big transition going from class to work, that I’m still getting used to. You’re no longer designing entirely for yourself and your own exploration, but for a client’s interests as well. Gain experience in different disciplines, you never know what project might come up next. One day I’m designing a layout for an ad, the next I’m building a website. Eventually I hope to specialize and find my niche in design, but it think it’s important in school to explore the different types of design to see what you like and what you excel in.

What advice would you give to grads? 
Get as much experience as possible. While at school I was taking classes, working as a designer at the Benton Museum, and then later interned at Jade. I felt like I was designing 24/7, but don’t we all? Each opportunity was a different experience that has helped make me a better designer. Also, start early. I was lucky enough my internship turned into a job.

 
James Grendzinski
Worx Branding & Advertising, Prospect
Central Connecticut State University, Class of 2010

Tell us about the CCSU design program.
Well, before you can even get full acceptance to the Graphic/Information Design program at Central Connecticut State University, you have to take a class where you learn the basics of design. The catch is you are only allowed to use Microsoft Office programs as your “creative software” for your assignments, so it puts everyone on an even playing field as far as experience with software. It lets the student’s creative problem solving shine through.

We had a wide range of professors — in the sense of personality and specializations. From hard-asses who pushed your concepts as far as your patience would allow, to free spirits that let your creativity flow, to obsessive professors that taught you the meticulous details of print design. I couldn’t have asked for a better group of people to mold me into the designer I am now.

How well did the programming prepare you for the entering the work force?
The design program at CCSU has to be one of best in New England. It’s a portfolio-driven curriculum, so when you walk out the doors, you have a nice collection of projects that are interview ready. In fact, in the final design class you take at CCSU, you prepare all the work you have made into a self-promotion piece – including a logo, website, resume, business cards and portfolio. You are also given the chance to revisit and revise old projects – to ensure that they match the skills you are leaving with instead of the ones you came in with.

I participated in Central Design – an award-winning, for-credit and student-operated full-service design studio which, under faculty supervision, provides design service to selected real world clients. Students are accepted into the program based on portfolio review. This experience introduced me to interfacing with real clients and helped me build an even more robust portfolio.

The department coordinator, Jim Bryant, would post jobs in the area he found on creative job board and often had alumni calling looking for recommendations of people to fill openings at their agencies. After I graduated I also got a couple leads from professors.

Why should someone hire a CCSU grad?
The program as a whole is very well rounded – requiring not only the core design and art classes but classes in marketing, advertising and communications. It goes deeper than just techniques and making a good-looking design – into concepts and strategy. Sue Vial was the department head at the time when I started, and I remember her telling us on the very first day, “We are not here to teach you how to be designers, we are teaching you what you need to be art directors and beyond.”

How did you go about your job search?
I started early, as everyone should. In my final semester, I started with social media – friending and following area designers I admired. Then I started to attend local events – specifically the Breakfast Epiphanies that AIGA Connecticut put on. I kept a loose watch on jobs boards in my final weeks of school but upon graduating I checked compulsively.

What do you think made you stand out and get the interview?
Funny you mention this, because after working so long and hard on my self-promotion piece, I submitted it to more magazines / contests / awards than agencies. Only two wound up in the hands of agencies, which weren’t even hiring, but I wanted to get my name out there. One of the two was sent to Bertz Design; Jeff Solak invited me in to to talk about my promo and my portfolio. While it didn’t lead to a job, he helped me prepare for “real” interviews.

In general, the few interviews I did get, I believed were based off how my portfolio, resume, business card and website were aesthetically consistent – coupled with the creativity and balance of student and freelance work in my portfolio.

What do you think made you stand out and get hired?
Getting hired is like being a door-to-door salesman. The work in your portfolio gets the company to open the door. Then you put your foot in the door – to keep the door open – by explaining the thought process and concepts behind your work. They invite you in to see how you vibe with the culture of the company. Each piece played its part in helping me stand out and get hired – and I got Worx to buy one of my vacuums too!

Tell us a bit about Worx.
After I researched a fair amount of agencies in Connecticut, Worx was in my top 3 places to work – no joke. Not everyone has the ability to say they get a “dream” job right out of college, especially how the economy was in early 2010. I work with some of the best in the business, from our brand strategists right down to our interns, and for that I feel truly blessed.

The culture at Worx is full of fun and energy – after all, I don’t think I would have been hired if I didn’t fit in. One of the reasons I wanted to work here is the vast array of projects and clients I work with on a regular basis – one day it may be a Facebook page for a tool company and the next an identity for a comedian. We are full of multi-talented people so we aren’t held back by our title. For example, I know HTML and CSS pretty well, so I help out our technology team with front-end development when needed. Or since I have wide variety of writing classes under my belt, I contribute to copywriting some clever headlines every now and again.

But the greatest perk? Friday picnics. It didn’t take me long to move up in the ranks and earn the honorary title of Grill Master – and as soon as spring comes I’m bringing my world famous kabobs back to Worx!

How should one make the most of school while there?
While it may just seem like ‘homework’ – what you are doing right what will springboard you into your career. Take your time with projects and put as much passion into them as you can.

It’s never too early to start networking. Get out into the community and make a name for yourself – if I had one regret, it would be that I didn’t do this sooner.

Research agencies in the state to see where you might want to eventually work or to even see their work for inspiration. Don’t know of many? Do a Google search, look up past CADC award-winners or look up old articles on Conn Creatives.

What advice would you give to grads? 
Never stop building your portfolio. Don’t be afraid to revisit old designs or do cheap/free work for friends and family – this keeps your designs and skills fresh.

Never stop looking. As cliché as it sounds, searching for a job, is a full time job. Don’t stop at just Monster, Coroflot and Creative Hotlist. Check for postings on the agency’s website – which you should be doing anyway to make sure you are the right fit for the company and the company is the right fit for you. Customize and personalize each cover letter and portfolio you send out.

And most of all – have fun. Remember you’re a creative, not a cubicle worker. Let your creativity show and set yourself apart, whether it’s in your resume or the email you send to respond to a job posting.

To see my advice in action you have to look no further than my story:

To be honest, I was unaware of Worx Branding until I was finishing up my last semester and saw the article on Conn Creatives about Worx giving their company website a facelift. I did my research, saw the work they were doing and thought ‘I wouldn’t mind working there someday.’ I finished school and they weren’t hiring but saw a link on their website where I could submit my resume and portfolio for future consideration – never heard back. Two months later I saw a design position open at Worx via Monster and resubmitted my resume and portfolio – attached them to a personalized cover letter email to Grant with a clever subject line “With Our Powers Combined…” and got brought in for an interview. One interview later – I was hired.

I know it might sound easy, the way I summed it up, but I worked hard and pushed myself throughout college. I looked for jobs everyday for 6 months – applied to about 20+ positions and got 4 interviews. All along the way, I never stopped refining my portfolio and looking for freelance work I could add to make it stronger.

 
Anna Gitelman
Campus Customs, New Haven
Shintaro Akatsu School of Design, UB, Class of 2011

Tell us about the SASD design program.
The program and professors at Shintaro Akatsu School of Design were both top quality, in my opinion. We were taught a variety of things by talented professors who both worked in the real world and helped us adjust from college life to post-grad life. Classes varied from illustration, to type design, to drawing, web-design, motion graphics…the list goes on, really.

I think the most important classes were the studios. Starting from sophomore year, we were all required to take a studio class every semester. In these classes, we really learned how to become designers. We were lucky to be taught by professionals like Brian Miller, Gary Munch, and Emily Larned.

Each professor taught us something different. Brian really helped us to understand what makes something an amazing graphic design piece. No one knows as much as Gary does about type design, and Emily focused a lot on client relations, as well how to properly brainstorm your ideas and understand what it is the client needs. I was really lucky to be able to work with all these people.

How well did the programming prepare you for the entering the work force?
A class that really helped with this was Design Service. They started offering it when I was a junior, and it’s a good thing they did! Design Service is a student-run design team under the instruction of Emily Larned. So what happened here was basically, we’d have a client meeting, take notes, ask questions and whatnot. Then once they left, we’d have a meeting of our own, brainstorm, and start working on the project. It was really quite helpful and pretty much as real world as you can get while still enrolled in school.

Internships were always available. We have a good connection with Fairfield University, and every semester Gary Munch would send one of us talented people over there to help in the Marketing and Communications Department. I did it one summer, and it was really a good experience. It was great to work in the department and learn how to work as a team…plus the environment was awesome.

Emily is the big job e-mailer. As soon as she’d hear of a job she’d either post it on her blog, or send us an e-mail.

We were also encouraged to join AIGA, TDC, go to events, and also to submit our artwork to competitions. Brian was really good at enforcing this. At the end of his studio, he sends our work into competitions. I was one of the students to win my sophomore year. I got awarded the Gold Pencil Award from the Advertising Club of Connecticut. It’s a really great way to get your name out there…and you get a big wooden pencil.

Why should someone hire a SASD grad?
Like I said before, the variety of classes offered is amazing. I think what our school has that distinguishes us from other schools is our strong emphasis on typography. It’s always great to know how to make some awesome effects in Photoshop, but what we learned about type from Gary is really something else. And I see how that’s coming in handy now. When I’m designing at work, half the time it’s something computerized, but nothing compares to a clean beautiful typographic design. We really learned how to appreciate it and use it correctly.

Something else that I think makes us special is our drawing program. I’ve always loved drawing and painting, but Rick McCollum really pushed us to the next level and in my opinion, every design should start from a drawing, or at least a sketch. Rick’s an amazing artist, and he helped me to become a better one.

How did you go about your job search?
My job search was pretty non-existent when I first graduated, to be honest. I had a stable, boring, terrible part-time job. It was when I got fired that I sat down and remembered why I went to school and what I want to do for the rest of my life. And it wasn’t working at a pizza restaurant. It was to be a designer.

I signed up for every possible job placement site and applied everywhere. I did get rejected a lot, but with the help of my friend Will, and my own motivation as well, I kept on trucking. A lot of people said craigslist isn’t the best place, but I’m glad I didn’t really listen because that’s where I found my current job. And I couldn’t be happer.

What do you think made you stand out and get the interview?
What made me stand out is my portfolio. I always thought I needed a huge portfolio to set me apart, but in the months when I was in between jobs, I realized that it’s not the quantity, it’s the quality. Of course we’ve all heard that said a lot, but it really is true. I perfected my presentation, got it bound, printed on nice paper. All those things matter. And I think I had a total of 10 or 12 pieces, but they are the best things I’ve ever done and they’re presented that way. And of course, any internships or side projects are helpful. They also seemed to like that I added that I’m fluent in Russian on my resume…

What do you think made you stand out and get hired?
I was nervous as hell during my interview. It was probably because I knew I would love the place as soon as I walked in. My answers probably showed my nerves, but I remember clicking with the art director, and as mentioned before, I think my portfolio helped a ton.

Tell us a bit about Campus Customs.
The company is amazing. I love the work I’m doing, and I love the people I’m working with. It’s a really relaxed environment, everyone is incredibly friendly, and we’re all practically friends already. I really do fit in perfectly. It’s amazing and truly a blessing.

Campus Customs is a screen-printing company, so our job is to create the graphic arts for all the shirts. Some of the assignments are straightforward, like placing a logo on a shirt, but other assignments really are a lot of fun. That’s when we get really creative and when I get to illustrate or do some interesting things with typography.

The best perk is waking up in the morning excited to go to work and leaving work feeling appreciated and feeling like I really accomplished something. Also, since the screen-printing is done in house, it’s really awesome to walk downstairs and see my designs being printed on the shirts.

How should one make the most of school while there?
Take school seriously. Every class is important. You’re there to learn and become a well-rounded person. Don’t let it go to waste. I also really encourage paying attention in English class. Grammar seems to be thrown out the window but when you start working; you won’t always have the luxury of meeting your client in person. E-mailing is huge and you need to be able to express your thoughts and help the client to understand you.

And of course, any design class you take, learn as much as you can from the professor. And learn to be sociable and be able to work well with others.

What advice would you give to grads? 
The most important part is to never get discouraged. Rejection is normal, and it’s going to happen. It may seem like there’s nothing but rejection, but you’ll strike gold.

 
Chris Siharath
TracyLocke, Wilton
Hartford Art School, UofH, Class of 2011

Tell us about the HAS design program.
The design program at the Hartford Art School is pretty awesome. Every student is placed in the foundations program where students are immersed in drawing, painting, 2-D design, sculpture and issues in art making. Entering junior year, the real fun starts. Our design program taught me a lot about critical thinking and concepting. It was more about why you did something — then came the aesthetic of it.
 
As for the professors: insightful, smart, down-to-earth, mentors, always available to help out with anything. They felt more like family than anything. But don’t get me wrong, they certainly kicked my ass and taught me everything I know today. 
 
How well did the programming prepare you for the entering the work force?
We had a bulletin board where there would be internship/job postings. These postings usually came from connections the professors had in the design community and from alumni. The professors were great at giving us places to look into and advising us into what direction/field we should go into.
 
Why should someone hire an HAS grad?
TracyLocke has hired a handful of Hartford grads these past few years. I know it’s because the HAS design program continually pushes their students to do smart design. I also believe having a class solely dedicated to putting together your portfolio was a huge advantage. Before I graduated, I had a professional design portfolio, with work I was proud to show off.
 
How did you go about your job search? 
The biggest help was having a professional preview at our senior show. We sent out invites to alumni, design firms and agencies to come to our show and view our work. Networking is huge. The relationships I have formed with alumni and other creatives in the industries were super helpful in finding out about job opportunities. 
 
What do you think made you stand out and get the interview?
I mainly had student work in my book, so I’d have to say it was that! I was most excited to show my game board design and concept, as it highlighted my typography, illustration, writing and personality.
 
What do you think made you stand out and get hired?
Besides my ridiculous good looks and charm? (ha-ha) I’d say it was my confidence and ability to talk about my work. I think I presented a wide range of work that showed my versatility, creativity and most importantly my thinking. 
 
Tell us a bit about TraceyLocke.
Everyone at TracyLocke is inspiring in one way or another. There’s always such crazy creative energy flying through the office. I feet right at home here! It’s awesome to work on big brands such as Pepsi. I work on a huge variety of things from, point of sale, logos, signage, packaging, concepting, brainstorming, presentations, you name it.
It’s safe to say, I have enjoyed every bagel Wednesday and Beer cart Friday since I’ve started.

How should one make the most of school while there?
Learn from your peers. I think I learned the most from the all-nighters leading up to the final crits with my fellow classmates. For example, Taco Bell is never a good choice at 2 in the morning. But seriously, share tips and tricks, look at each other’s work and give feedback. You learn more from your peers then you think.
 
Make mistakes. Go outside of your comfort zone. Take risks. Try something totally crazy that may or may not work. This is the time for you to experiment and grow as a creative. Don’t regret the things you wished you could have done. 
 
Finally, intern, freelance, go to conferences, enter your work in student competitions, do cartwheels, find inspiration, and read, read, read. 
 
What advice would you give to grads? 
Be prepared to do work finding a job. No one’s going to be holding your hand or running up to you offering jobs. Engage alumni, use social media, and don’t be afraid to go outside your comfort zone.

What inspired you to choose this profession, and what makes you stay in it?
You know, my journey to becoming a designer was a complete surprise to me every step of the way. I just kinda fell into it. I went off to UConn as an economics major (whatever was I thinking?) and quickly realized that it wasn’t for me. I dropped that class sophomore year and enrolled into a photography class “just for fun”. Well, that led me deeper into the School of Fine Arts where I stumbled into “computer graphics” as it was called at the time. From there, well, I just fell in love with it.

Fast forward to today and I can’t tell you how thankful I am to have found design and art in general. I was inspired by my Dad at a very young age to find a job that I loved. He loved his work so much that he couldn’t wait for Mondays… I think I still enjoy my weekends a little too much, but I certainly don’t dread Mondays. I love what I do — what more reason would I need to keep doing it?

What is your single favorite portfolio piece?
Everyone’s least favorite question, right? Every creation is special because you’ve put your heart and soul into it. But, I have one that reaches a higher level than the rest. I’ve started a fundraising project — The Shelter Me Project — to help homeless animals. I photograph the animals at the eight different shelters/rescue organizations I’m working with, and then put together a calendar to sell (with all proceeds donated to the shelters). This project is rooted so deep within my heart that nothing could compare to it. Not only do I love taking the photographs and designing the calendar, but it goes beyond that — I love giving back. It’s an amazing feeling to take a skill you have and use it towards helping someone else — it warms the soul. So, while I am really proud of the final calendar each year, it really helps me as much as I am helping them — maybe more. How could this not be my favorite portfolio piece?

What/Where do you want to be in 10 years?
Simple answer: Happy and still creating. Complex answer: I hope to have my own house in few years (here in New London, near the beach), with a studio space that inspires. Not only do I still want to be designing for Thumbnail Designs, but I hope to have the time to branch out into other creative mediums — like the letterpress machine I own that’s been collecting dust. I want to be gardening, too, which means I have 10 years to overcome my fear of insects, lol. And I still want to be surrounded by the wonderful people I have in my life today.

Who/What are your biggest influences?
The “who” portion is easy to answer — Edvin Yegir, who was my mentor during school and helped me to realize what design was truly all about. And Christopher Passehl, who took a chance on me and gave me my first job out of school. His guidance and inspiration couldn’t be more appreciated or valued. Without either of these two gentlemen, I simply would not be a designer today. I owe them everything and couldn’t be more thankful. And everything they design continues to inspire me.

As for “what” influences me, well that’s too long of a list. It’s everything — what I see, what I touch, even a smell that reminds me of a childhood memory can influence a design.

What do you wish you did better?
Draw! I apparently am missing the illustration gene. It can be frustrating to see what you want in your head, but not be able to translate it to paper or screen. Apple needs to create an app for that.

Why Connecticut?
Well, the first reason is family — almost my entire family is living in Connecticut, so I would hate to move too far from them. But, that being said, I really do love this state — especially my little southeastern corner. I enjoy the art scene and all of the culture. I find my weekends double-booked with so many different events — gallery openings, concerts, wine tastings, kayaking trips, etc. Plus, I live right by the ocean — that’s priceless to me. A visit to the beach, in any season, clears my head and calms my soul. I also never get bored with the weather here — it’s always changing and that keeps it interesting. I even like snow (gasp!) although I am biased because I don’t have to drive in it often. To top it all off, we’re just a few hours from so many wonderful getaway spots — Block Island, Kennebunkport ME, Boston, NYC, Finger Lakes region of NY, Burlington VT… It’s simply home.

Who are the best creatives you’ve worked with?
Well, I would have to mention Edvin Yegir and Christopher Passehl again here. And add to the list Alicia Melluzzo, an amazing artist who can paint anything and make it fabulous; Alan Maislen, who has a way with words I will never understand; Thomas Craig, who introduced me to grunge fonts; and lastly Lisa Kay, who is a fellow designer down in Fairfield County with incredible talent. Being self-employed, I guess this is kind of a short list, huh? Well, what it’s lacking for quantity, it certainly makes up for with quality.

What are your loves/passions outside of this field?
Well, assuming “this field” means what I do on a daily basis (design and a little photography) then I will add the other creative mediums that I love to play with: letterpress, screen printing, and stained glass. As for other pursuits: reading, baking (on occasion), being at the beach any time of year, petting cats (a full time job around here), and traveling.

What do you know now that you didn’t know then?
What I know now is that I am a Creative. This wasn’t something that came automatically with my Fine Arts degree, it was only in the last few years that I started thinking of myself in this way and believing in my work and that my creativity wasn’t going to just go away. It took quite a long time for me to figure that out, but knowing it now makes all the difference. It’s a part of me — soul-deep, and that’s never going to change.

(Oh and by the way, by night I’m a graphic designer too, I just wear a cape.)

What inspired you to choose this profession, and what makes you stay in it?
From a very young age I was interested in art, but didn’t want to be selling my paintings on the street corner, so I went to school for veterinary medicine to eventually work with tigers. I didn’t discover the graphic design profession until midway through my physics and biology courses, when my elective art course instructors kept telling me to take a graphic design course. Once I did, I never looked back — it was true love. And still very much is. I love the challenge and unique story of every project that needs to be communicated. All I can say is that I love what I do and feel very fortunate to have the freedom and luxury of enjoying my work… Sometimes I can hardly call it work — but don’t tell anyone.

I still love tigers.

What is your single favorite portfolio piece?
There have been so many fun and interesting projects. Not sure I can say I have one. Besides, I tend to stand back and look at what could have been better, or modified. Although I do not dwell, as I am usually immersed in focusing on the next project at hand.

What/Where do you want to be in 10 years?
Well, alive for one; I’d like to still be happy, healthy, inspired and creative, while doing what I love, and exploring the world.

Who/What are your biggest influences?
I try to be open to take in everything around me; from the simple and tranquil color palette of a beach to the complex energy, sights, sounds and smells of busy city market. Being exposed to different points of view — whether they are from colleagues, students or an entirely different culture somewhere else in the world — continually keep my thoughts expanding.

What do you wish you did better?
What I wish I did better, the list would be way to long; I think on many levels I’m always striving to do better. I wish I were able to pursue some personal projects that I always manage to let fall to the side. To slow down a bit and not feel guilty for it. Sleep.

Why Connecticut?
Connecticut is where I ended up after college; I moved to San Francisco for a little while, discovered that I’m not fond of earthquakes and moved back. I would have considered living in Pittsburgh, where I am from, if it only had an ocean. I love the little edge of CT that I live in. I’ll stay for a while, as I work on raising funds for my second home in Capri, or a place yet to be discovered…

Who are the best creatives you’ve worked with?
I have been lucky enough to have studied, collaborated and worked with so very many talented people. And I’d like to think that I have learned something from everyone.

What are your loves/passions outside of this field?
Well, certainly there is the quest to see the world; I love to travel, especially to places that are so totally different from my day-to-day world. Certainly sharing even the simplest moments with family and friends (and of course the dog and cat.) I enjoy the outdoors, islands, a peaceful kayak, and consider myself a tequila and chocolate connoisseur.

What do you know now that you didn’t know then?
Everything and nothing… I do not want to stop experiencing and learning and laughing. But mostly, how truly fortunate I am in so many ways.

 
Ali Parmalee
Think Creative Group
New Haven

One email.

I had always really enjoyed one of my adjunct professors at Quinnipiac [back when it was a College, not a University]. He was one of those great professors who I actually learned something from. I emailed him to let him know I did it, I started my own solo-preneur career. I thought there was a slight chance he would remember me, and in fact, he did and still had my business plan from his class on his shelf. So we met for [a 4 hour] coffee and ended our meeting with him setting up a lunch for me with another former student he kept in touch with, Dawn. 

Dawn and I hit it off. She introduced me to a few people, including a great graphic designer. We started pulling each other in on most of our projects since she had the online know-how and I had the branding background. After about a year of this, we decided to make it official and merge. Now if we only had a great graphic designer… Oh yeah, Dawn had introduced me to a great one who we quickly invited to join our team. We found the perfect spot in downtown New Haven, started going after new clients and celebrated our seventh anniversary this year. 

Of course I always wanted what most agency owners want — to create meaningful, powerful brands that are memorable, beautiful and really deliver. But don’t we all want that? I actually think about that one email I sent almost a decade ago all the time. If I hadn’t ever sent it, things would be so different.

[And by the way, Dawn was right, that graphic designer was pretty cool. I married him and we have two pretty amazing daughters.] 

 
Dan Taylor
Taylor Design
Stamford

I had moved from New York City to Stamford, CT and started commuting to work by train. After years of living in the city and walking to work, this was a major lifestyle adjustment. I remember seeing these older guys going through their robotic daily routines with their coffees, newspapers, umbrellas, and card-playing pals. I finally said to myself: “That’s not going to be me. I’m not going to grow old on Metro North.” So I saved some money, quit my job, rented a desk from an architect in Stamford, bought a Mac II, and Taylor Design was born. Every time I see the train pull into Springdale station I’m thankful I’m not on it.

 
Brian Miller
Brian Miller Design Group
Norwalk

For me, the moment came a few years before actually taking the plunge. I was speaking with a great copywriter I used to work with named Tony Leighton. I was apprehensive about leaving the comfort of a full-time position for the seeming uncertainty of freelance consulting and he put it things in perspective for me. He said that when you’re employed by an organization or agency, you have exactly one client — that organization or agency that employs you. And if they decide to make a change you have no clients. Whereas if you’re a freelancer, you might have 4 or 5 clients or more. One or two might make a change and you still have two or three to fall back on.

In essence Tony was telling me that we’re all freelancers whether we know it or not. And while it was a couple years later that I started the Brian Miller Design Group, that was the prevailing thought that pushed me over the edge.

 
John Visgilio
Outthink
Essex

An interesting question that leads to a variety of answers for me. First and foremost, I always knew I would own my own business. I guess that came from growing up in the family printing business; it’s in my blood – or ink, maybe. My wife has also been a huge motivating factor for many aspects my life and on this subject, her sparse amount of patience spurred me onward. I was a business owner before I even knew it.

I also began to realize that controlling one’s fate was far more appealing than being tied to someone else’s. This became painfully clear to me through a number of interactions with a former employer. I remember, on one occasion, having a large-format, graphically impactful piece circulated around the company with the intention of demonstrating how gratuitous this sales collateral was and how wasteful their sales strategy must be.

Did the executive that circulated the piece realize this was what our team did every day? Did he understand that this was how we drove profit to the bottom line? Did he know that generating this kind of marketing collateral was my passion and our team’s passion? Or was he just clueless about what we did, how we did it and what our clients were asking us to do every day?

I never sought out the answer. I just decided to not follow anymore. From that day forward, it was about controlling my own destiny and moving in a direction I was committed to. Enter Outthink.

 
Brent Robertson
Fathom
Hartford

What did these people I was working for have that I didn’t? I could clearly see another, better way to do things. A deeper impact I could have on the world, and a more meaningful connection I could have to my work and those I work with.

When I found the answer was the day I quit and started my own firm in literally 24 hours. What was the answer? Courage. The courage to take direct responsibility for my work and its impact in the world.

 
Marcella Kovac
The Bananaland
Bridgeport

A large comet dropped from outer space and knocked me out. Luckily, I awoke unscathed and thought “Better get rockin.” Pun intended. Haha, well not totally accurate, but pretty much.

Opening up my own shop was always the dream, but I wasn’t quite ready as a college grad. I was hungry, but naive. I thought it best to get my ass kicked by amazingly talented professionals, first. I worked for a few awesome small CT / NYC agencies — I learned, lived, loved. And by learn, I mean beyond perfecting my layout skills.

Fast forward six years. 20,000 websites completed. (As you probably noticed by now, I like to exaggerate for the drama) Title: art director. Speed: cranking. Design Skills: pretty nasty. Relationships: relationed with many. Then I made a subconscious strategic move. As in literal move, from my hometown of Danbury to the Park City of potential. AKA Bridgeport.

The city and I had many things in common, but one thing underlying: just weird enough to succeed. I left my job, pasted a banana decal on my downtown apartment window, fired up my Mac, and peed my pants.

 
Amy Graver
Elements
Branford

The year was 1999. It was July. It was hot. I was alone in my house. Thinking hard.

I had just left my position at Congdon & Company – a tough decision. I loved my job at Congdon, respected Arthur who I learned so much from, but I could no longer handle the commute from the home I just bought in Hamden to Exit 2 in Greenwich. I spent most of the previous three years in the car and had learned French at the wheel and was onto Italian when I knew it was time for a change.

I started freelancing while trying to figure out my next step. I sometimes worked from home while at Congdon and had continued to work with a few freelance clients over the years, so I had a studio already set-up in my home. I also had experienced how to build up an agency first hand working for Arthur as his first hire up until I left – it had become a thriving, growing agency. With that knowledge, my plan was to put out some feelers and see if I could make a go at starting my own studio. I decided to give it six months – from July to January – but still keep my options open if the right opportunity presented itself. Thankfully, it did not.

I wrote a letter to ten companies in the New Haven county with whom I had always I wished to work with and introduced myself and my services.

The following week, I had eight of the companies respond requesting meetings. The week following that, six of them had signed contracts and I began long-term working relationships with each: The Yale Repertory Theatre, Visiting Nurse Association of South Central Connecticut, The New Haven Museum and Historical Society, Yale Organizational and Development Center, Yale Alumni Magazine, Silver Petrucelli + Associates (architects) and Department of Cultural Affairs for the City of New Haven — in addition to my previously established freelance clientele. It’s funny to think about this list because I still work with all of these people – although some have changed positions and we work with a different company – and some are the same organization but with a new contact person. But, I digress.

On January 4th, {I purposely picked that date as it was the birthday of my beloved, deceased brother, David, in his memory and honor}, Elements was born.

I printed up four color stationery after locking myself for a weekend in my house and thereby forcing me to settle on the name and design of Elements {certainly the hardest task I’ve ever faced}.

Within the first month of being in business, I convinced my best friend, Ana, to leave her cushy job at Yale and work for me to handle what I could not – the finances and admin. She told me not to buy her a desk because she wasn’t staying and worked from my dining room table for three years before we moved Elements out of my home to our first studio on Canner Street in New Haven.

It was a long road with many sleepless nights, and growing pains for the first few years as I’m sure anyone who has started a business will tell you and if it was a choice I was facing today, I may not have done it. But, back nearly 13 years ago now {wow, time flies}, I was the only risk. It was the right time and I was in the right place. Now, I can only look ahead – happy that I made the sacrifice then for what I have built and enjoy now.

 
Julia Balfour
Julia Balfour LLC
Lyme

Well my father likes to say that he raised two daughters who are completely unemployable (and yes that’s meant as a compliment.) It’s impossible for me to pinpoint one instance that was the defining moment for me starting my own agency. I’ve really always just known that it was what I wanted. I had the great fortune to be a five year old with a 75-year plan. So instead of “inventing” a defining moment for you, I’ll tell you about the moments that define our studio.

They’re when the studio is humming with work, after coffee, before lunch. They’re when the dirty joke doesn’t even have to be said and everyone is crying laughing. They’re when the perfect solution gets thrown on the table and we all just look at each other and smile. They’re when a lunch gets shared because we’d rather sit and eat together than have an odd man out. They’re when the client comes in with a present (read bribe) because they love the work we’ve done and want to do a half dozen more projects. They’re when the proof comes back and we’ve nailed it. They’re when the code works perfectly the first time.

Those are the moments that define what I’m in this for. They are what I couldn’t have planned for at five but somehow knew I wanted.

 
Peter Leeds
Gabardine
Westport

I was Global Head of Creative Services for Reuters and, subsequently, Thomson Reuters. Prior to that I had spent my career on the agency (as opposed to the client) side of the marketing and advertising business. The idea for Gabardine was born of a desire to return to the agency business, but on my own terms, i.e. pursuing the clients and doing the sort of work that interested me and of which I could be proud.

When the decision was taken at Thomson Reuters to eliminate internal creative resources in favor of using external contractors and agencies to execute marketing projects, I had a decision to make: Look for another client-side opportunity; return to agency life; or do something different.

It was, in retrospect, a disastrous time to start a new business — the middle of 2008, officially the start of the financial meltdown. Nevertheless, the choice, for me, was clear. And once I decided to start Gabardine, I threw myself into it completely, creating an identity and a story that would help differentiate the company in a sea of sameness.

I just did it, believing that it was the right decision, knowing that it would require tremendous effort and believing that the worst-case scenario would eventually have me back on someone else’s payroll.

You sacrifice all the things you take for granted when you’re working for someone else — namely security, stability, a regular paycheck, the strength (or illusion of strength) that comes from knowing you’re not the only one responsible for keeping the business afloat.

Was it worth it? So far, yes. Being a business owner has been liberating, inspiring, motivating, empowering, energizing, enlightening and endlessly interesting.

Yes, I’d do it again. Only better.