Design City: Talent Spotlight in Los Angeles
Interview with Vaunn Yevo

TAXI >> How would you describe the design scene in LA? Vaunn Yevo>> Design in LA is very frivolous and carefree in my opinion. On the other hand, I am a big fan of European design which, in my opinion, is free from the commercial world and is more artistic. TAXI >> What do you feel is lacking in LA's design industry and how do you think you can contribute to the industry, society and economy as a creative individual? Vaunn Yevo>> What's lacking in LA design is the simplicity of an idea that a designer/advertiser/photographer is trying to make. For me LA design always looks way too busy and feels completely disjointed; it's like as if there's no flow, no continuity and no cohesiveness. Although a fabulous place to live. As a creative individual in LA I feel I bring an element of rich European flavor influenced by New York modern simplicity. Both of these elements mixed create a great marketing cocktail for the American culture. TAXI >>Your photography has such a romantic quality to it. Are you a romantic by nature? Vaunn Yevo>> Wow, that's good. I think you have guessed me. I am very romantic by nature and eyes tell me everything. Each time I design, I fall in love. If I am not in-love with what I design and/or photograph I am not a happy camper. LOL TAXI >> What, in your opinion, makes up a good photograph? Vaunn Yevo >> As an image maker, I look at a photograph the same way I look at a design. It's all about elements coming together, how they are layed out and organized, and how everything relates to one another. I am a fine artist by nature and training. Numerous Art schools in Russia and the United States taught me how to look at a painting and understand everything from color, to objects, people, and so on... everything needs to have it's place. An image needs to have a meaning and a place for its meaning. When I moved to the United States and became involved in the advertising world, I learned the true meaning in visual communication - how text should relate to an image and how an image and text need to relate to design - just like ART. Earlier in my career, I began as an illustrator then moved onto graphic design, followed by advertising design. Later I found passion in publication design and fell in love with art direction which led me to photography. All of my experience helped me to understand how one should view a photograph. I look for simplicity, beauty of the subject, and layout. I am a huge fan of Steven Meisel, Steven Klein, and Helmut Lang photography. To me, they not only tell a story, but also know how to make an image come alive and talk to you. TAXI >> What was the most memorable event in your entire career? Vaunn Yevo>> Meeting the one person I was dying to work with, at a fabulous LA industry party, and that is Madonna. I illustrated her face on the premier issue of CRU magazine. I was especially pleased and honored when she put the cover on her website, which is still there (publications 2003). I mean, wow, that's hot!

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Design City: Talent Spotlight in Los Angeles
Interview with Chris Haycock

TAXI >> How would you describe the design scene in LA? Chris Haycock>> First and foremost, the design scene here is very diverse. I think this is mainly due to geography and sheer size. Los Angeles is such a sprawl and it’s nearly impossible to keep an eye on other designers and events across town. In addition, there is a wide range of industry going on which obviously results in a variety of styles and inspirations. From entertainment to online to street and so on, there are lots of outputs and canvases across the area. TAXI >> What do you feel is lacking in LA’s' design industry and how do you think you can contribute to the industry, society and economy as a creative individual? Chris Haycock>> I’m always interested in seeing more experimental concepts being applied in commercial art, which is lacking here. I think most cities do fall in to this, and I would like to see a more explorative creative process on larger scale design presentations. Right now I am working on the Uber.com project, which will hopefully open up a more communicative interchange in this realm. We tackle projects from a more conceptual process initially, which makes for a better package in the end. TAXI >>You once said "haters never win". What other personal slogans do you live by? Chris Haycock>> “It’s Never Done”, “Never Settle”. TAXI >> Your works all have such a playful quality to them. Where do you derive inspiration from? Chris Haycock>> I am a kid at heart and am not ready to embrace growing up. In addition, I feel like the world is turning into a pretty dark place as of late, so why add to the darkness. Have fun, smile and enjoy the positive while we still have it. I try to travel as much as possible and do enjoy partying in LA as much as I can, which certainly adds to my jovial spirit. TAXI >> How do you want the world to remember Chris Haycock? Chris Haycock>> I am working to be remembered as a thoughtful designer, and more importantly, a thoughtful human being. I have compassion for everyone, no matter how bad they are. This grace wouldn’t be bad to be referenced by in the end.

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Design City: Talent Spotlight in Los Angeles
Interview with Judy Reed Silver

TAXI >> How would you describe the design scene in LA? Judy Reed Silver >> Fragmented, all over the map. Some focused on entertainment, low-end fashion, merchandising/licensing, cosmetics, new media. I don't do entertainment any more, so most of my work is geared towards merchandising/licensing and food clients. I still do illustration. Stock art and the web have had huge impacts on our industry. I just finished creating hundreds of new trendy invitation /card designs for a large company, which the creative director loved. They ended up using same old conservative designs that looked more like clip art. TAXI >>What do you feel is lacking in LA's' design industry and how do you think you can contribute to the industry, society and economy as a creative individual? Judy Reed Silver >>Originality and fundamental design/art skills of course. Students take a few courses at a city college or "techy" school where focus is primarily on web and software technics. They have no fundamental design or art skills. No sense or knowledge of branding. Another beef: Clients are constantly asking me to copy other's work or do the same thing over and over. I think I'll be sick if I'm asked to do another e-blast with "swirls."  I would like to go back to gallery work, maybe I can continue to combine my design with my "darker" side. Especially table top design.  TAXI >> Your designs are wonderfully full of whimsy - where do you get your inspiration from? Judy Reed Silver >> Usually visits to the museum, galleries, nature, California Mart/Textile shows. I LOVE COLOR, architecture and clothes, especially shoes. This is what inspired me to do the patterns for a shoe company back east. I wanted to wear my patterns on my shoes as well as bags and shirts. I appreciate Anthropology and JCrew.  TAXI >> Your works range a spectrum of mediums - do you have a favourite? Judy Reed Silver >>Is collage/mixed media and printing on fabrics. I get bored with one medium. Right now I have fabric designs I need to put on some bags and wall art, and five large cradled gesso boards I've been hoping to tackle that would include the different mediums. I have a client that has a "high end" paper store in Pasadena that has been bugging me to do more work for her walls. I was supposed to do some custom printed tote bags but have too busy with commisioned design/Illustration work to get them done. TAXI >>Any words of advice for aspiring artists? Judy Reed Silver >> Study art history, read what's relevant in our economy and the news. Don't get too comfortable with your work, and especially don't limit yourself to print. Computer skills are important, but learn color theory and constantly learn new ways to get things done. Take risks and convince your client to do the same.

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Design City: Talent Spotlight in Los Angeles
Interview with Michael Doret

TAXI >> How would you describe the design scene in LA? Michael Doret>> To my knowledge the design scene here in LA is a bit fragmented—like the city. The city is very spread out and has no real center, and I think this is mirrored in the design community. My “location” has never been a very important factor in my letterforms work. I have always done work for clients all over the US—indeed all across the world. When I was based in New York, I designed logos and graphics for many local clients, but also for just as many clients located elsewhere. The same holds true for LA. The nature of what I do allows me to exchange files via email making clients across the globe as near as clients across town. TAXI >> What do you feel is lacking in LA’s' design industry and how do you think you can contribute to the industry, society and economy as a creative individual? Michael Doret>> What I feel that I can contribute is the integrity of my design work. In a time when respect for the arts is at an all time low, it is difficult for me to compromise what I feel is right in my art. I will not lower my standards of design to conform to some “lowest common denominator” as determined by people with no experience and no knowledge of the field. As a consequence I occasionally lose jobs to others less qualified. But I feel if I didn’t uphold certain standards, I’d be just one more person who compromised his work to ignorance. TAXI >> How did you decide on the name "Alphabet Soup" for your foundry? Michael Doret>>For most of my career my work has been centered around letterform design: designing logos, posters, magazine and record covers—all with a strong lettering element as their central focus. In the last few years I decided to delve into the world of font design, creating three new designs: Metroscript, PowerStation and Orion. I needed a name for this new endeavor, and settled on the name “Alphabet Soup” because it suggested that each new design would be different from the last, yet they’d all come out of the same pot of soup. TAXI >> You've worked with so many major companies - NBA, Walt Disney, Warner Bros, Universal Studios, Nike, Capitol Records....can you tell us a bit about your favourite experience? Michael Doret>> I have worked with many wonderful clients over the years. Most of the work experiences I’ve had are great ones. Recently, one of my favorite experiences was not for a large client. In 2006 I was asked to speak at “The Creative Summit” in Texas. The Summit is a wonderful event that’s been organized for many years by Chris Hill. It brings together many creatives from all across the US who talk about the process of what they do to a mostly student audience. The other component to the conference is the student art competition and the awarding of scholarship money to many of the students. Being there with the students and with my contemporaries was an extremely rewarding experience. I was honored that for this years Summit, Chris asked me to design the poster and graphics. He pretty much gave me carte blanche on the design. Although I didn’t make a cent on the work I did, I felt it helped promote a very worthwhile event while providing me with a canvas to try something different. The “Creative Passion” poster can be seen on my website. TAXI >> Lastly, what do you want the year 2008 to be remembered for? Michael Doret>>I would like 2008 to be remembered as the year when the my country re-enters the world community and regains the respect and credibility from the rest of the world that it has lost during the last seven years.

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Design City: Talent Spotlight in Los Angeles
Interview with Dustin E. Arnold

TAXI >> How would you describe the design scene in LA? Dustin E. Arnold>> To be honest, I’m not sure. Heavily augmented female anatomy, mysterious tan guys, 2022 hyper-flying BMW’s, happy ‘dudes’? I have been trying to figure this question out since I moved here 7 years ago. It’s a bit of high comedy though. One thing is certain- more is more here. TAXI >> What do you feel is lacking in LA’s' design industry and how do you think you can contribute to the industry, society and economy as a creative individual? Dustin E. Arnold>> Curiosity. LA is a huge mass-media epicenter. Take the notion of ‘mass’ and the communication becomes boiled down to the least common denominator. Does it then follow that Los Angeles is the epicenter for the least common denominator? The audience for the work is huge but is the message? The people who are on forefront here work out of pure passion for what they do- and it shows. The best thing I can imagine anyone can do is to lead by example, have fun and be passionate about what you do. TAXI >> What are your biggest influences as an artist? Dustin E. Arnold >> Anyone who steps up what is expected and raises the bar a notch while having fun in the process. I’m interested in excellence. Alot of the people I admire work outside the creative industry- they approach their work with the zeal of a surgeon, they know exactly where they are going and how to get there- they also carry a knife....kind of. TAXI >>What, in your opinion, best describes your signature style? Dustin E. Arnold>> When you work for design-centric brands or any client for that matter, your point of view gets skewed in order to accomidate particular needs. I suppose rather than describing an aesthetic I’m more interested in the feeling the design gives the viewer- whether that be an illustration, ad campaign, product, or environment. I see design as experiences, people, and stories - used correctly all these elements can be the catalyst for beautiful, exciting experiences that spark your imagination and in the end move product and increase brand equity. I look to make things that will excite and suprise people. It’s as simple as that. If I’m not excited about what I’m doing chances are the market won’t be either, and it defeats the whole purpose. TAXI >> Won’t you share with us what you’re currently working on? Dustin E. Arnold>>I have begun to work on a long term project for Douglas Little & Co. which is a large undertaking, as within two months we have already designed and packaged 8 new product lines and are rapidly launching into new product categories and some visual campaigns. 2008 holds a complete rebranding and 2 retail stores, one in Los Angeles and one in Tokyo. Otherwise an advertorial for Covergirl, branding project for XLA Fabrics, wrapping up a retail display unit through the fine people at LunaInc., some top secret packaging, and one personal project, a fashion editorial based on how Blanche from the Golden Girls was a bit slutty.

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TRAVEL ALBUM: DESIGN CITY publishes the essential photography subjects of a city. As they say, architecture landmarks denote the progressing development of a country. Design in each and every city speaks in different languages and dances to different cultures. A lot of cities are growing in the design realm but no one would know about this development but the travelers and the locals themselves. Only. The exciting quirks and electrifying eccentricity of Everyday Product, Design Schools, Designers, Resources, Hotels/Buildings, Design Studios/Personalities, Local Galleries, Museums, etc, are found in both secret and obvious places of the city.

We miss out on these simple things during travel or simply during our busy lifestyle in our own city. So the next time you travel, think of TRAVEL ALBUM: DESIGN CITY.

Design in Progress: Los Angeles. How Design a City is Los Angeles? We find out...

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