{"id":575,"date":"2024-03-28T11:00:00","date_gmt":"2024-03-28T12:00:00","guid":{"rendered":"http:\/\/atomic-hair.net\/?p=575"},"modified":"2024-05-09T15:24:55","modified_gmt":"2024-05-09T15:24:55","slug":"stop-look-think-get-drawn-into-craig-fraziers-illustrations-3","status":"publish","type":"post","link":"http:\/\/atomic-hair.net\/index.php\/2024\/03\/28\/stop-look-think-get-drawn-into-craig-fraziers-illustrations-3\/","title":{"rendered":"Stop, Look & Think: Get \u201cDrawn\u201d into Craig Frazier\u2019s Illustrations"},"content":{"rendered":"

After enduring a hectic few weeks, I welcomed the opportunity to immerse myself in an afternoon of creativity and inspiration. Like many, I\u2019m guilty of using the \u201cwork is too busy\u201d excuse instead of prioritizing time to get outside and smell the coffee. Thus, on a recent and radiant Sunday afternoon, I headed to the\u00a0COLLINS<\/a>\u00a0office in Williamsburg for their monthly Coffeehaus event.<\/p>\n

Coffeehaus at COLLINS hosts a monthly communal gathering for people from all walks of life who share the goal of simply showing up to experience creative community. March\u2019s event featured a conversation, book signing, cocktails, and treats with the illustrious\u00a0Craig Frazier<\/a>, who discussed his newly released book\u00a0Drawn<\/em>, a compendium of his illustrations for prominent publications and businesses around the globe.<\/p>\n

An internationally renowned illustrator with a career spanning since 1978, Frazier\u2019s illustrations are celebrated for their wit, optimism, and simplicity.<\/p>\n

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His creative contributions have appeared in the\u00a0New York Times, Time Magazine, Fortune, Bloomberg Business Week, Harvard Business Review<\/em>, and\u00a0The Wall Street Journal<\/em>. Frazier has an impressive roster of blue-chip clients, including Adobe, American Express, Boeing, Chevrolet, Deloitte, MasterCard, Mohawk Paper, Navigant, The Royal Mail, U.S. Postal Service, and United Airlines.<\/p>\n

He has also designed eight postage stamps, including the beloved 2006 Love stamp and the commemorative Scouting stamps in 2010\/11.<\/p>\n

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Frazier\u2019s artistry goes beyond fulfilling client requests; he illustrates what he feels will make people stop, look, and think. Coffeehaus at COLLINS was a packed event, buzzing with creative energy from like-minded folks. I was fortunate to connect with Frazier at the event and followed up with some questions about his process and the importance of work that invites people in.<\/p>\n

(Interview edited for clarity and length).<\/em><\/p>\n

During your talk, you emphasized the importance of creating an approachable book with meaningful stories rather than just a visually striking but weighty coffee table book. What is the significance of incorporating narrative elements, and how does this approach enhance the reader\u2019s experience? Additionally, how did you strike a balance between narrative and visuals?<\/strong><\/p>\n

It\u2019s not unlike my work. You must invite people in and make them feel welcome. Physically, I wanted the book to have weight yet a manageable footprint. I wanted it to be functional on a desk, in your lap, or on a plane (thus the slightly smaller dimension than many monographs). I wanted it to feel useable, not monumental. There is something intimidating about an oeuvre of someone\u2019s lifetime of work\u2014so I wanted to soften the barrier. The scale of the book, the use of Garamond, and the size and pacing of each illustration contribute to its approachability. My amberliths, sketches, and sketchbooks demystify the process and invite the reader backstage. The idea of narratives woven throughout the book breaks the rhythm and reminds the reader that the illustrations are the products of a greater effort\u2014both conceptually and professionally.<\/p>\n

My life experience and my choices inform my work\u2014the two are inextricably connected. I have found the result immeasurably rewarding and hope the work reflects that. This is the part of work life that I wanted to reveal. Things happen. We can\u2019t control everything, but we can lend a guiding hand.\u00a0\u00a0<\/p>\n

This book is for the curious. Whether you are a designer or not, revealing the \u2018whys\u2019 of my work will alter your understanding of it. My intention is to allow people to see parallels to their own lives and careers, regardless of their profession. We all make choices that shape how we feel about our jobs. I\u2019m curious how creative people make their work and connect their life stories to it. Asking those questions leads to a deeper appreciation and a chance to learn something. I want that experience available to the readers of\u00a0Drawn<\/em>.<\/p>\n

It is predominantly a visual book, no question. One can enjoy it on that level alone. The written content is micro-dosed to not compete with the visuals but complement and contribute depth.<\/p>\n

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I draw elements that support the story, not decorate it.<\/p>\n<\/blockquote>\n

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Your work is celebrated for its visual riddles and graphic wit, often embodying both simplicity and depth. How do you balance clarity and complexity in your work, especially when dealing with abstract concepts or visual puzzles?<\/strong><\/p>\n

Simplicity is a guiding principle in all of my work\u2014design or illustration. I subscribe to both the aesthetic and conceptual orientation, so it\u2019s easy to abide by. It works\u2014simplicity serves comprehension in its elegance and functionality. Simplicity is necessary now more than ever when we are all operating at the edge of our visual threshold\u2014it becomes an attractor because it asks less of us. When we overload our messaging (or visuals), it\u2019s at the risk of getting passed by. I stick with singular messaging, which makes for singular illustrations. I draw elements that support the story, not decorate it. Simplicity equals clarity. The more abstract, the simpler the equation must be. If done right, there is beauty in simplicity. Embedding riddles and wit in the illustration brings a smile to the mind. The illustration\u2019s depth is in the reader\u2019s mind\u2014it\u2019s the place the illustration takes them.<\/p>\n

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When discussing your creative process, you mentioned taking something to the brink and then stepping it back. How do you recognize when you\u2019ve reached that edge, and what factors influence your decision to pull back or further refine your idea?<\/strong><\/p>\n

This question is challenging because I don\u2019t have a specific formula for it\u2014it\u2019s intuitive. The best way to describe it is to say that when I think I have found an angle to tell the story\u2014I then attempt to regulate how the reader discovers the answer within. It\u2019s a matter of leaving breadcrumbs rather than the whole loaf. It\u2019s always a matter of leaving room for a reader to invest time (often only seconds) and mental energy to understand the message. Breadcrumbs also leave room for interpretation, crucial in talking to a larger audience. I\u2019ve learned that people are smarter than we often give them credit for. Clients always want to make sure their readers get it, but in doing so, they often eliminate the fun by over-explaining it. It\u2019s a delicate balance, and I stand my ground with clients. I\u2019ve got a good instinct for it by now.<\/p>\n

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There is a lot of attention to creativity, how we do it, and the secrets to turning it on. I\u2019ve never paid much attention to that and tried to develop good habits and a problem-solving discipline. If you sign up to be a designer, your job can\u2019t wait until the muse shows up. <\/p>\n<\/blockquote>\n

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Drawn<\/em>\u00a0delves into curiosity, self-doubt, and confidence, all of which are common experiences for creatives. How have these themes influenced your journey as a creative? Can you share any personal anecdotes or pivotal moments where you\u2019ve grappled with self-doubt and how you overcame it to push your creative boundaries?<\/strong><\/p>\n

Curiosity is key. We must be curious about what others make and how to inform and inspire our own creativity. We also must be curious about the oddities around us. These are the fuel for ideas. Self-doubt and confidence are opposites, yet both motivate us. Both are necessary to keep the other in check. Self-doubt\u2014however uncomfortable it is\u2014is critical to doing good work and growing. The better our judgment, the easier it is to become complacent and make safe work. I find my own self-doubt to be often an indicator that I\u2019m breaking new ground. We all experience self-doubt because creativity isn\u2019t science\u2014it\u2019s experimental by design. The good news is that with experience, self-doubt wanes and gives way to confidence, and if we are lucky, humility lies right in between both\u2014the most essential element of personal growth.<\/p>\n

I frequently have doubts about my work particularly when I\u2019m sketching on assignment. When I give it a little time to breathe and look at the work with fresh eyes, the doubt often subsides. I remind myself that new is often uncomfortable and these are the chances we must take.<\/p>\n

There is a lot of attention to creativity, how we do it, and the secrets to turning it on. I\u2019ve never paid much attention to that and tried to develop good habits and a problem-solving discipline. If you sign up to be a designer, your job can\u2019t wait until the muse shows up. Though she does make appearances, we must operate in an \u2018always go\u2019 position.<\/p>\n

As it relates to ideas, my solution is to keep sketching. It is the cheapest and fastest prototyping method out there. It is a discipline that I have practiced my entire career, and it never fails. Every sketch I make is an experience of seeing something and understanding it better. I have far more unsuccessful sketches than successful ones, but they are not mutually exclusive. You must turn over rocks until you find what you are looking for. I have a confidence in process\u2014the more you produce, the better the chances are of arriving at something new\u2014it\u2019s that simple.<\/p>\n

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Your work has inspired many aspiring illustrators and designers. You offered the valuable insight that \u201cstyle comes just as much from your deficiencies as well as your expertise.\u201d Could you elaborate on this concept and explain how embracing one\u2019s shortcomings can contribute to the development of a unique artistic style?<\/strong><\/p>\n

Understanding what we each \u2018have to offer\u2019 is an endeavor you can\u2019t suddenly take on one day. It\u2019s an understanding that comes over time and practice. We never fully understand it, but we must move toward it and often get out of its way. That said, we work to develop personally and professionally, and the goal is to find where we can each put a spin on things. Our fingerprints on our work are the characteristics reflective of both our strengths and weaknesses. Our ability to accept both of those\u2014our deficiencies being the toughest\u2014is where our individuality and point of view reside. The world is full of people\u2014and companies\u2014trying to create a mass consumable perception. But\u2014as practitioners\u2014we shouldn\u2019t take that approach. The baseline is to be a good problem-solver. However, the expression and articulation of those solutions can be personal and unique to each of us. Herein lies the risk and the satisfaction. One reason this works is that it is honest and defendable. It\u2019s easier to stand up for our own ideas than it is for others. The second reason is that unique work stands the best chance of being novel in the eyes of the public. As designers, we don\u2019t have to have thousands of clients. We must have enough to support the economy of our practice. I have found that making what I can make and searching for audiences that appreciate my sensibilities is much easier\u2014and more satisfying\u2014than working in the inverse. Differentiation serves the competitive nature of our job.<\/p>\n

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As designers, we don\u2019t have to have thousands of clients. We must have enough to support the economy of our practice \u2026 making what I can make and searching for audiences that appreciate my sensibilities is much easier\u2014and more satisfying\u2014than working in the inverse.<\/p>\n<\/blockquote>\n

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If you want to get your hands on\u00a0Drawn<\/em>, which I highly recommend \u2014 it\u2019s fantastic; you can\u00a0order his book here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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