The 8th annual TomatoArtFest was the place to be Saturday August 13th. Over 120 vendors filled Woodland street in downtown Nashville TN-- all themed around a single plant: the tomato. From tomato themed jewelry to tomato shaped stress balls and a variety of attendees dressed like the "often misunderstood fruit" you could find a little of everything at the festival-- as long as you liked tomatoes of course.

For me, the highlight of the trip was the tomato art show, boasting the wonders of the art world as it relates to our red little friends.

The following photos are a few of my favorite pieces from the show in a variety of mediums. I hope you find the same amount of inspiration in these pieces as I did-- a little something to refuel your creative juices!

Today we have a guest post from Australian Journalist, Tom Mallet. You can find out more about him at the end of the article.

Enjoy!  -JP

If you look objectively at everything in your home, you’ll notice that quite literally every single object, including the home itself, is a product of design. There are  multiple types of design methods, but the core process is the innovative, problem solving “mental technology” of design. Every type of design from formatting hardcopy booklet printing to the most esoteric software in its vaguest visualization stage is a design process.

Ancient design principles- Still working, tens of thousands of years later

The oldest known designs are an insight into human design at its most practical and most aesthetic points of origin. Ancient humans came up with a range of designs which are indicative of an interesting set of priorities and types of extended logic:

• Tools- Design creators and implements for managing materials
• Jewellery- Aesthetic design ideas like seashell necklaces, the first truly personalized designs
• Rock art- Spiritual and educational materials

These are still core elements of design logic to this day. The most banal everyday item includes functionality and some sort of aesthetic values. Spiritual and educational materials are dressed up and enhanced with tools and aesthetic designs.

The Mechanics of Design

Also harking back to ancient times are some of the physical processes of design and design logic. As every designer in any discipline will find out whether they like it or not, design tools and methods tend to produce new design ideas. Mistakes, random scratchings of basic ideas and even accidents will often contribute to the logic of any design. Designs build on other designs. This has been going on for the whole of human history.

Pottery is a case in point. The ability to create stylized shapes in clay started in prehistory. From that a clear linear process of design leading up to modern ceramic technology is quite obvious. From the design perspective, however, the sheer number of designs based on these original basic techniques and ideas is staggering.

Interestingly, the mechanics of design follow both necessity and visualization, but not necessarily the logic. Recently some old Moorish surgical tools were discovered in Spain. These were good quality surgical instruments, and they were shown to modern surgeons, who recognized most of them, but had no idea what some of the instruments were for. This means, by extrapolation, that either the Moorish surgeons had developed special tools for processes not used today, or they
designed these tools for unknown surgical procedures. In that sense, design is a true logical process, both obvious and tangential depending on a range of practical design issues and the logic associated with them.

The Future of Design

If the past history of design was a growing fire of ideas, logic, aesthetics and techniques, the future is likely to be a hypernova of extrapolations of these fundamental design methods. Never before has humanity had the tools to create so many different associations of these basic elements of design. Technology and education are creating infinite, Mandelbrot- like possibilities for design evolution. The next millennium may well be the “Age of Design”. Even 19th century hardcopy products like business card printing are likely to combine with new technologies to produce 3D-printed smart business cards with their own communications systems.

Somewhere in the world, a basic design for a future icon of technology or art is in progress, every day. The ancient designers and their tools are still at work, even now.

About the Author

Tom Mallet is an Australian freelance writer and journalist. He writes extensively in Australia, Canada, Europe, and the US. He’s published more than 500 articles about various topics, including booklet printing and business card printing.

Looking for good printing down under?

Check out the folks at Dark Horse Printing.
They specialize in booklet printing and business card printing.

Did you realize that designers and fine wines have something in common? They do. They both get better with age. At least that's what they say about wine. I only know it to be true about designers. But this is a point that one certainly can't overlook. If you're a good designer, then when you look at something you designed last year, last month or last week, you should always think, 'Man, I could make that look better." If you don't feel that way, then you've become stale and complacent. Sorry to break that to you. The bad news is, that that feeling will get worse. Look at something you did 3 years ago. Now 5.

Case in point, that's why a strong portfolio should be constantly updated and refreshed, removing old stuff and adding new. The good news is, as you mature and grow in your talent and abilities your design will grow with you. Why? Because you are getting more and more familiar with your tools. You no longer have to hunt around and figure out "what were those key strokes to transform?" No, now it's become second nature. It's muscle memory, reflex and automated response.

Don't misunderstand, a thorough knowledge of Photoshop does NOT automatically make you a good designer. However, a lacking knowledge will hinder your pieces. One cannot fully make use of their tools if they don't know them thoroughly and without that knowledge you cannot be truly creative.

So what about your design "style" how does it grow and develop? By watching others. Learning. Listening. Gleaning. We see design all around us. The good, the bad, the ugly. But what we choose to do with that knowledge is up to us. While you are on that constant journey seeking current designs, trends and new concepts, don't forget to intentionally feed yourself good design.

On that note, I'm going to list some of my favorite sites for seeking that rejuvenation:

All Design Types:

 

When was the last time you truly LOOKED at your surroundings? I don't mean glancing around as you commute to work. I mean, stopping to pause and SEE the things around you and your environment. If  you do, you might be surprised just how much design inspiration you're missing. Whether you live in the city or the country or have the best of both worlds (like living in Oklahoma) your designs can be inspired by the landscapes and skylines that surround you. Now, that isn't to say that you're next design will be a hillside of cattle but, have you ever just sat back and taken in the colors that are naturally in such settings? Some of my best and most creative color palettes come from scenes in nature and things that I see on a daily basis. Don't let another inspiring scene pass you by. Reach out and make it the foundation for your next great design piece!

It's ironic that this topic comes up during the Student Identity Competition, but hopefully this will help the students that are creating entries for the competition see the importance of true design "identity".

Recently, I had the opportunity to attend a book festival in the little town of Duncan, OK with several local authors. Each author had displayed their books with great pride. Scattered across tables were promotional marketing materials: business cards, bookmarks, postcards and brochures.

 

It's true. The world as we know it is struggling financially. And while it may seem that everyone around you is tightening their belt and closing their doors, keep in mind that good design does NOT have to suffer just because you're client's budget might. What can you do to continue your standards of superior design on a tight budget? 1. Faux finishes. If you can't afford it, fake it. Finishes that is. I recently attended an excellent print show in Tulsa, put on by CP Solutions. There were several paper vendors there with many exciting papers and finishing options that had all us designers 'oohing' and 'aaahing'. But what if you're client cant' AFFORD a clear varnish or laminate finish? Try this-- adding a simple layer of partial opacity can make a dark design shine with extra sheen creating the illusion of a varnish or laminate. 2. Cut it out. Wanna create an awesome die cut effect without the cut? Try placing the design on a dark background (preferably black) when viewed at a distance in dark card holder the card will JUMP off the table and trick the viewer with the illusion of being die cut. 3. Simple arrangements. Nothing screams "CLASS" like something simple. Sleek. Elegant. On your next card project, convince the client to go with the "less is more" approach. The card will look sophisticated and expensive without the extra price. Got some special design tricks of your own? I'd love to hear them!

As creative professionals its easy to get stuck in a particular style or genre of art that we personally like or gravitate towards. We've all seen art and said, "That's a so-n-so". How do we determine the artist based on the piece? By their individual style.

 

This style, while a necessity in fine arts, can get in the way of the modern graphic artist. If you are working with clients, chances are they are wanting something truly unique for their business.

 

Recently one of my students asked, after looking at some of my sample Web sites, how we managed to have such a variety of styles . . . The question took me by surprise, but I quickly recovered and shot off a few answers.

 

As a designer, what can we do to continue to come up with uniquely creative ideas and stay out of the rut of same ol' design?

 

Let's look closely at what I told him:

1. Keep learning. We should constantly be looking at magazines, books and websites for new designs and creative inspiration. Sometimes seeing something new will inspire you greater than any amount of thinking and studying.

 

2. Learn the Software. The better you know the ins and outs of your design software, the more creative your work will become. Nothing hinders a good design faster than not knowing what is available to you.

3. Collaborate with your Peers. A lot of designers are afraid to bounce ideas off their peers, for fear of stolen ideas and competitive proposals. Find some creatives you can trust and bounce your ideas off of them. A mixture of perspectives and ideas will do wonders to boost your creativity.

4. Listen to your clients. Remember that art is subjective to a certain extent. So while I may think that my designs are incredible, the client may have had something totally different in mind. The more you listen, the more flexible your designs will become.

 

5. Try new things. Constantly come up with ways to create a look that has never been done before. Don't allow fear to keep you from stepping out there and coming up with "the next big thing". You can do it!

 

The list could go on and on. . . . tell me what you do to stay creative and keep your designs fluid!

Every designer deals with the concepting process differently, some even refer to it differently, often calling it Comps, Sketches or Thumbnails. Regardless, how you refer to it, if you are a designer, you definitely do it.

 

Concepting is the beginning stage of any design. Most clients expect to see a couple of options or variations before choosing artwork for their piece. How you supply these concepts may differ.

 

Personally, when I concept I throw together a piece in Photoshop, preserving all layers in case I need to refer to them later. If Stock photos are involved, I'm very careful to leave any photo alterations (Hue, Saturation, etc.) In separate layers so they can easily be dealt with.

 

How Many? The number of concepts that you will provide for your client should be discussed and clearly defined at the beginning of the process. Then, as you're working if you get an "extra" idea, you have the opportunity to include that as well. The key to client relations is "under promise and over deliver!"

 

Let the client feel like their opinion is important (after all they are paying the bill). Make the specified number of revisions and finalize the "best" idea. They will love you for it!

 

 

Recently, while a myriad of projects have been flying across my desk, some who deem their life's mission to criticize have been heard flippantly saying, "Design is easy, they just throw on a stock photo and some text."

 

After first hearing this blatant misspeak I was enraged. But then I laughed. Why? Because it's absurd. If a laymen REALLY thinks that's all there is to it, then more power to them, they should try it out sometime and see how they do. Chances are before long, they would start to realize that every piece they design would look exactly the same. I mean, with a "stock photo and text" how much variety can you have?

 

Recently I encountered one of these nay-sayers. Long story short, in the end, I was asked to design the piece as originally intended. Sometimes your client just may need a little "real-world' experience to see the reason why designers have to go to classes for years and stay immersed in the newest theory and changes of the industry to stay cutting-edge. It really IS more than just photos and fonts.

 

Had a similar situation? Remember, that their ignorance is not a reflection on your ability. It just means they don't value you yet. You may be able to stick it out, or you might want to move on, either way, you'll take your knowledge base with you. Keep designing and do your job. You'll be glad you did.

 

 

I recently picked up a new client. A ministry in Michigan. Currently, we are in the process of converting all of her old cassette tape messages to CD series. This has given me  a great opportunity to do some rather challenging design work for them on a pretty quick turnaround basis.

Another challenge that I face working with ministries specifically is the abstract nature of the titles. It's always a stretching activity to come up with another cover for "Christianity, Faith or Healing."