Paul Berkbigler, Guest Designer Extraordinaire from AIGA Nebraska

Mr. Paul Berkbigler makes one of his points during the Q and A session with Dordt students.

Last Wednesday, January 12, the AIGA Dordt College Student Group had a wonderful time gathered around Paul Berkbigler who came as a guest graphic designer. In addition to serving AIGA Nebraska as Director of Education Paul is owner of P.Berkbigler Design and Illustration, which is based in Lincoln, Nebraska.

Our colleague Matt Van Rys graciously took the following notes highlighting Paul’s insights —here they are:

Some notes on Paul Berkbigler: A fount of knowledge for budding designers and freelancers.

After studying, working and teaching, Paul has returned to the wild world of freelance graphic design.

His design passions include, but are not limited to:

1. An illustrative spirit; loving simple visual elements and complex ideas.
2. A deep love and respect for typography; not only figuring out how to fit a bunch of letters into a small space, Paul enjoys the richness of content and shape when using typography Paul emphasizes that when he designs, combining words and images, he likes to ask the question: how does this photo or text enhance the text or photo around it? How is the communication improved by this element? He follows a similar mentality with interactive work, asking how each animation, motion or interaction will enhance the viewer’s experience and improve the communication.

His freelance clientele includes many Christian organizations and non-profit organizations (about 2/3 of total client mix) and the additional 1/3 is standard commercial for-profit clients. Paul acknowledges being a bit OCD about typography, being able to needle with type in a design for hours. However, he mentions that not every project will be a gem and budget or client taste can limit a design.

A little bit about Paul’s networking. Networking and meeting people can be and often is a powerful tool for a freelance designer. Paul acquires much of his work through a contact that runs a PR firm. He also mentions that if you are specifically seeking to work for Christian organizations, you may need to start networking within or in sister organizations. It is often not a direct contact, but an acquaintance that will need work done. Your good reputation as a designer and businessperson is important; if you really prove yourself on the first design, you can often get full creative freedom on subsequent projects.

When asked about seeking internships, Paul suggests that if you find a company or group that you feel strongly about and be a polite nuisance. Without wasting time, perhaps request a portfolio review or ask for a lunch meeting to discuss how you really like a new addition they made to their body of work. Overall, if you are passionate about something, try to become a part of that world and make connections.

A few students were curious about collaboration. Paul strongly endorses designer collaboration, suggesting that several great ideas will make for a superb finished product. He also noted that the challenge in collaboration is personal ego. If everyone checks their ego at the door, ideas and responsibilities will flow freely, allowing the best candidates for each portion of the project to be utilized. In conjunction with collaboration, Paul mentions something I have called “digital organization”. When preparing your artwork for another designer, try to be as organized and clear as possible. Provide a simple and well-named file/folder structure and in layered Adobe Photoshop/Illustrator/InDesign files, name and order the layers so anyone can interpret what you’re thinking, even yourself. Several years down the line when you have to update the project, you may not remember you original structures.

Some tips Paul has for freelancers are particularly helpful. For time use, Paul is flexible with how he uses his time, but strict about keeping track of time on a job. He prioritizes his work based on the expected completion date from the customer. He creates milestones when he starts the project so there will be deadlines throughout; basically scheduling in reverse. Some additional recommendations for freelancers include: don’t be an awful boss to yourself, keep fairly normal hours and if you do rush work, be sure to charge extra. When asked about should all designers have an online presence, Paul suggests determining the need for an online portfolio based on your intended clientele and how best to reach them.

Paul’s advice is concise and spot on…I lost count of how many times I was nodding as he described experiences I have also had. His work is excellent and inspiring; I suggest taking a look at his online portfolio (which he hosts using the AIGA Behance network) at www.behance.net/PaulBerkbigler.

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“Bulles de Paris Tout P’tits” public awareness poster

This street poster, from March 2010, was located in Paris on the “Champs Elysées” and was a public awareness promotional piece for an association called Paris Tout P’tits. The poster appropriately and effectively uses the “Teddy Bear” identity. Photograph is by versluis © 2010.

The following copy describes the Association and it’s poster promoting a fund-raising event. The copy is from the Paris “Tout P’tits” website (Google translated, modifications are mine):

Paris Tout P’tits (Paris Tots) is an association to distribute food aid and hygiene for babies from disadvantaged families.

Paris Tots is a nonprofit association, founded in 1992 by two people: Monique-Helene Le Menestrel and Sylvain Gilbert, and intended to provide material support to poor families with children in infancy. The aid, which is offered as a package of formula, baby food, and diapers, corresponds to basic needs and personal care for a child.

The association relies on a team comprised solely of volunteers. It offers two reception areas for families and relies on public and private funding for its operation. All of its resources is devoted to the purchase of products for babies.

March 2010 auction at Christie’s of “Bubbles in Paris Tots”

Paris Tots commissioned a hundred cartoonists to draw their pieces on an art board. The theme of the designs were left to the choice of the artist’s imagination and humor.

The drawings and printed catalogs have been exhibited at Christie’s auction house in a sale orchestrated by François Curiel held on Wednesday, March 24.

The sale, which took place in a friendly atmosphere of connoisseurs, friends and supporters of Paris Tots, raised a substantial sum.

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Illustrator George Akimoto and the early days of “Communication Arts (CA)” magazine

This is the October, 1961 cover for CA, The Journal of Commercial Art and Design, which features the concept spacecraft and outerspace illustration by the late George Akimoto (American). From the collection of David Versluis.

In the book Graphic Design Time Line the authors write that in 1959:
“Communication Arts (CA) magazine is founded in San Francisco, California, by Dick Coyne and Bob Blanchard. Coyne is editor and designer. Freeman Craw designs logo. It began as The Journal of Commercial Art, but was called CA.” (1)

The context of the space theme for the CA cover, in 1961, probably relates to President John F. Kennedy’s special message on urgent national needs, which he delivered earlier that year before a joint session of Congress on May 25, 1961. In his message, Kennedy issued the challenge and goal of sending a man safely to moon and back by the end of the 60s decade. During the speech the President stated, “First, I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the moon and returning him safely to the earth. …”

(1) Heller, Steven, and Elinor Pettit. Graphic Design Time Line, A Century of Design Milestones. New York: Allworth Press, 2000. 144. Print.

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A 1961 advertisement for S. Neil Fujita, graphic designer

This bold typographic advertisement suggests “big city” for a self-confident graphic designer and his agent. The ad was positioned in the inside front cover of CA Magazine, The Journal of Commercial Art and Design, October, 1961. From the collection of David Versluis.

The visual form of the print ad is about size, emphasis, and space. The bold upper case typography, which for the time period was likely set with a PhotoTypositor while the layout was made by hand with the cut and paste-up method. The final art for the printer was a mechanical on illustration board or a Photostat from which a negative was made.

Here’s a very fine AIGA article by Steven Heller, which commemorates the life of S. Neil Fujita who passed away last year.

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Herbert Matter, designer and photographer

This is page 36 from American Artist published in March 1956, which illustrates the cover design and a page from the 1954 New Haven and Hartford Railroad Annual Report that was designed by Herbert Matter, New York. The magazine layout also features a portrait of Matter and also a page from a Knoll Furniture catalog designed by Matter showing the furniture designs by Eero Saarinen and Florence Knoll. The illustration is from the collection of David Versluis.

The writer of the article Eugene M. Ettenberg states, “The annual report of the New York, New Haven and Hartford Railroad Company features the trademark, designed by Matter, which is used with equal success as an engine emblem and as a company insignia. Inside pages show the happy combination of photo and type, which softens the harsh matter-of-factness of profit and losses.”

The author of Graphic Design History, Philip B. Meggs describes Matter’s New Haven and Hartford Railroad trademark as, “The mathematical harmony of parts demonstrates how alphabetic forms can be unified into a unique gestalt.”

Check here for an “Observed Piece” honoring Herbert Matter that was nicely compiled by Michael Bierut an editor for the Design Observer.

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An AIGA visitor: Paul Berkbigler

Copyright for artwork and poster belongs to P.Berkbigler Design & Illustration © 2011.

The amazing Paul Berkbigler will be visiting Dordt College. As Paul says, “to talk about his life on the lamb as an escaped designer and illustrator working independently in the Midwest on projects across America. This event will offer you insights about the brave new world of working virtually from somewhere awfully close to your own living room.”

Join us in the Department of Art and Design Lobby from 4–5:15 p.m. on Wednesday, January 12 for an open Q&A session. This will be a chance to hear about how AIGA can directly help you.

Paul is a full-time, independent owner, proprietor and general honcho at P.Berkbigler Design & Illustration, which is based in Lincoln, Nebraska. Berkbigler also serves as Director of Education for AIGA Nebraska. His prior lives include: working at Studio X, a small design and illustration firm in St. Louis, Missouri, earning an MFA in graphic and interactive design at Tyler School of Art in Philadelphia, Pennsylvania, and serving as a full-time professor of design & illustration at Concordia University, Nebraska.

His professional specialties include layout & design, interactive media conceptualization, planning and implementation, motion graphic planning and creation, copy writing, play writing, editing, critical analysis, visual communication research, digital and hands-on illustration, printmaking and print process familiarity.

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Contemporary French poster design: La Francophonie

An example of a Parisian street digital “Rolodex” broadside station.
Photograph taken on Mar 20, 2010 by versluis © 2010.

Poster objective and context was to generate public awareness for the International Day of Francophones. Francophonie is a name that refers to the community of people and countries using the French language and cultural heritage.

The year 2010 marked 40 years of OIF existence. OIF is an acronym that stands for the International Organization of the Francophonie. In a unique event, the 40th anniversary of the OIF was celebrated in Paris on March 19 and 20, and at places throughout the world.

The poster suggests that the OIF is interested in global borders, boundaries, points of merger between languages, communities, and political and social networks. In addition, the poster designer uses “emblematic colors” as a means of symbolizing diverse cultural identities expressed through literature, drama, speech, art and music.

The OIF celebrated and dedicated its 40th anniversary as a sign of solidarity with Haiti.

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