It’s the Most Wonderful Time of the Year!!

A ‘Fresh Ziggy’ Introduction to this week’s offers!!

With apologies to all the rabid Andy Williams fans out there, I am in fact NOT referring to the Christmas holidays. Oh no, instead this is a date that I look forward to MUCH MORE than receiving a few pairs of new socks and a bad tie or two. Many of you know my pain; many of you still blindly continue the activities that will only continue to exacerbate this situation.

No, I am instead preparing the champagne and a resounding chorus of halleluiahs because, yes fans, this Thursday is the first day back to school for the wee ones!! Oh goodness, can there be any more wonderful day for a parent than finally greeting the end of summer and it’s endless worries of destruction of every possession, bone or square inch of skin they have when playing outside (weather permitting) or even the destruction of every possession, bone or square inch of skin they OR I HAVE when playing inside (weather permitting… and I mean, as the summer progresses it has to be BAD outside to not allow their exit!!).

Still, you gotta love ‘em, don’t you? At least that is what this court-order and that lady that visits from Social Services keep telling me.

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All kidding aside (really, I was… mostly), it is in fact a pleasure to introduce this week someone that is indeed quite skilled at entertaining and bringing enjoyment to kids of all ages. We at ZN HQ are very pleased to introduce to you:

It's Time to Get Things Started
An interview with Illustrator Amy ‘Mimi’ Mebberson
or copy-taste this bit into your browser: http://ziggynixon.blogspot.com/2010/08/its-time-to-get-things-started_31.html

I think you are all going to really enjoy Amy’s illustrations, cartoons and her valuable insight into the worlds she explores on a daily basis. And I apologize in advance if my introduction seems like an over-the-top praise-a-thon for the late, great Jim Henson, but after all, who deserves it more?

No kidding, Amy’s stuff is top-notch, but don’t just take my word for it!!

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So moving on to this week’s ‘Shout Out’s’:

SHOUTOUTS-SHOUTOUTS-SHOUTOUTS

Our first shout out goes to Kevin ‘Loki’ Lo, an all-round neato, socially minded guy and proud possessor of his first rad tat (I have no idea what that means, but my kids tell me it’s cool). Not only is Kevin setting out on an exciting new stage in his professional career – moving on next week and leaving behind his ‘day job’ to focus on teaching and his own projects – but he’s continuing to do terrific work with his ‘zine’, ‘Four Minutes to Midnight’.

In fact, if you’re in the Montreal area in the next days, then check out: ‘Uncle Bad Touch, Desert Owls & Griefer: 2356 Benefit Show!’ Kevin and co. report that they’re very excited (quote: ‘freaked actually!’) to present Uncle Bad Touch‘s first Montreal show, with guests Desert Owls and Griefer, this Friday night (Sept. 3) at La Sala Rossa. The show is a fundraiser to help the gang put out their next issue which is very nearing completion (also very exciting after a year and a half of hard work!).

For more information, you can also check out the Facebook event page here. Enjoy, eh? Yes, yes, that same tired old Canadian joke, so sue me…

To read more about Kevin, please take a peek at his interview here!

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The second in our usual trio of shouting out and about’s actually comes by way of the folks that bring you Original Sin Cider. If this name rings a bell, then it’s probably that you remember these fine folks as being one of the main outlets for none other than R.Black, illustrator extraordinaire, that has created a plethora (count them!!) of awesome posters for OSC!

And in the grand spirit of fair play and bringing together beautiful people’s everywhere, Original Sin Cider and R.Black in conjunction with Small Bar - Chicago will be holding a contest for the next Original Sin Pin-Up poster model at the Small Bar Fullerton Ave, on September 21st. R.Black will be coming in all the way from Oakland, CA, to help judge along with Heather Stumpf of Vavoom Pin-ups and others (we’d list them but we kept passing out after looking a bit deeper into the artistic excellence of the Vavoom offers!!).

Remember: Chicago is a great place to enjoy Sin!! Or so we’ve heard.

To learn more about R.Black, his work for OSC and more, check out his recent interview here!!

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Finally, we’d like to thank everyone again for all their nice inputs about Vince Chui’s work!! Inputs rolled in from fans of about every genre, including even one person who took some exception at my less-than-glowing inputs about ‘Land of the Lost’ and ‘The Love Guru’!! But overall it was very positive so thanks for that!!

As a reminder, keep checking back regularly under the Sketch Motel link or Vince’s own blog for on-going new pieces!! And if you feel like someone might be covertly sketching you the next time you’re in a Starbucks enjoying your double latte’ crappucino (sp?) plus colon-blowing bran muffin and you feel like someone is watching you, even sketching you, well it could be none other than our talented friend himself (see new sketch here)!!

So please read his very interesting input as found right here, still to-date one of our favorite blog titles ever!!

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FAVORITE-DESIGN-STORY-OF-THE-WEEK!!

Now many of you in the know (or stuck perhaps in the mud, who knows) might think this story more apt for what has become one of my all-time favorite and ‘must visit’ sites for each and every day, namely ‘Ultra-Gross’. And without getting into too much detail it is indeed very funny and indeed very aptly named (and I should also note with good faith they are the victims, I mean, the providers of the neat school sign I included above).

No, we found this instead on one of those sites that includes, well, ‘stuff’. And sometimes with ‘stuff’, you feel a need to learn more. And then your regret the heck out of doing that.

But no, bravely, I strode ahead as much as one can stride on GOOGLE and learned more about one James Gilpin and his Gilpin Family Whisk(e)y (alternate spellings provided for those that get weirded out by how we Americans totally scru up da Engliss langooage, especially the Scots – who I have nothing but the highest regard for, especially as then tend to be mean little buggers with short tempers and long memories).

It seems James is a designer and researcher with a specific interest in the future of health care and the implementation of new biomedical technologies. He utilizes both products and services as mechanisms to discuss issues of socioeconomic and cultural importance. Through this process of emersion and debate he aims to evoke considered implementation of technology in tomorrow's techno-social society. Interestingly, and not at all perhaps surprising after that glorious introduction, James is currently completing his masters at the RCA in Design Interactions.

James goes on to introduce the Gilpin Family Whisky with this mouth- watering introduction:
Large amounts of sugar are excreted on a daily basis by type-two diabetic patients especially amongst the upper end of our aging population. As a result of this, diabetic patients’ toilets often have unusual scale build up in the basin due and rapid mould growths as the sugar put into the system acts as nutrients for mould and bacteria growth. Is it plausible to suggest that we start utilizing our water purification systems in order to harvest the biological resources that our elderly already process in abundance?

In other words, if you're a connoisseur of fine whisky, here's a DESIGNER suggesting an exciting new brand to be made from the urine of elderly diabetic patients, including even his own grandmother.

Apparently, James - who is himself diabetic - filters the urine using the same processes used to purify water, removing the sugars in the process, which are then used in the fermentation stages of making his whisky. Now according to various reports found on the topic, James is NOT planning to market the pee whisky commercially - instead, it's more of an art project. But if you really fancy sampling some of the stuff, Gilpin will be showing it off at the 100% Materials design event in London in September - complete with tasting opportunities.

WOW ANYONE WANT TO SHARE A ROOM? I’m booking my tickets now!!

Be good and keep smiling, it’ll make everyone think you’ve been up to no good!!
Ziggy

It's 23:56! Do You Know Where Your Designer Is?

An Interview with Graphic Designer and Art Director

Kevin Yuen Kit Lo
Click on any image to enlarge it to original size

Part 1 of 2 (link to Part 2)

At first glance, you might think that Montreal-based graphic designer and art director Kevin Yuen Kit Lo is either trying to pull your leg or even perhaps get you a tad riled up about something.

First of all, one is struck by the name of his Montreal-based creative studio: LOKi design. The studio was founded in 2001 in response to the reissuing of the First Things First Manifesto and specifically out of Kevin’s very real desire to explore alternative approaches to design practice. As a designer, Kevin does his best to couple intensive design research with a commitment to progressive social objectives and values, seeking to create work that seeks to bridge the gap between art and activism. He also works diligently to maintain his traditional graphic design practice – balancing as well a job in the field of interactive communication with the design firm Fjord Interactive (as it’s known in Canada) and also teaching part-time at Concordia University.

But if we’re going to get the clichés started: that is all perhaps easier said than done. By his own admission, Kevin wishes he would draw more. What, you ask, a skilled graphic designer that doesn’t engage in or practice regularly his drawing? In addition, he readily admits that he has a general disdain for the advertising industry as a whole, apparent from not only several of his prints but also his hauntingly reflective film Warover. Still, as mentioned, does he not remain gainfully employed by a very successful advertising agency (albeit a somewhat loosely stated description there)? Is there not some contradiction here?

Even the award-winning, self-published ‘zine, ‘Four Minutes to Midnight’ or ’23:56’ that Kevin produces with John W. Stuart is brimming with contradiction and challenge. As one recent review stated: ‘For the design aficionado with a ‘progressive’ leaning, 23:56 is a satisfying, well-crafted typographic and compositional piece. The typography utilizes a limited base set of stylish contemporary faces, which imply “serious reading” without being staid... however, there is a constant sense of menace, of gravity about the content... The issue as a whole mixes light and dark: day is invoked along with night. A tempering and counter-pointing of emotions occurs throughout. But shadows are always looming.’

Again then, perhaps it lies in the very nature of the name of Kevin’s venture. Whether you adhere to the more staid descriptives of the great tomes of Norse mythology and it’s poetic renderings, or get your opinion from his long-standing appearance as the nemesis of Thor the God of Thunder of comics fame, it seems to be clear that Loki was (or ‘is’, depending on your own beliefs) a person of great mischief, often stirring up troubles and even going so far as to delight in the misery – and demise – of others.

But alas ... we do not and indeed can not offer up someone as devious as this Loki in this interview. Instead, we are happy to introduce Kevin as a very well-educated young designer looking to make a difference in the world around him. His works are both extremely creative as well as very thought provoking and his following continues to grow with each new offer. Besides, you’ve got to love it when the publishers throw great release parties for every issue of their magazines, no?

Ziggy Nixon is very pleased to have caught up with this fast rising star:

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Kevin, welcome. First of all – and I hope this isn’t taken wrong or seems rude – but is Kevin your given name? It’s just that I’ve always had a bit of a problem with various cultures insistence that Asians take a ‘Anglo-Saxon’ name.
Well, from my perspective, your question does come off a little strange. Kevin is my given name, I was born and raised in Canada, and pretty much consider myself Canadian. Of course, my heritage and background is Chinese, and I do keep Yuen-Kit in my official name. I certainly don't take offence to questions about nationality. I also have a serious dislike for the homogenisation / Westernisation of culture these days.

Still, your question actually did make me think a bit. I mean, it is something that I regret slightly in terms of not keeping up as well as I could have with my Chinese heritage, you know like learning the language better. But it certainly wasn't a conscious choice.

Can you tell us more about yourself and how you’ve found your way to a career in design? Also, after reading some of your on-line biographical information, I’m dying to know about what it was like living on a mountain!
Well, again, I’m Canadian. I was born here, and raised in this culture, alongside my Chinese culture.

As for the mountain, that’s a looooong story. But basically I attended an alternative school at a young age in Nova Scotia. Didn’t much have to do with being Canadian or anything like that, but I certainly learned my fair share of wilderness survival skills. I think the perspective I gained that year has stuck with me in many ways. But it was definitely a bit of an adjustment learning how to socialise and ‘fit in’ again coming back to Toronto in grade 7. A challenging time to say the least.

As to my choice of career in design, I didn’t even realise that this sort of profession existed when I was growing up. It basically came down to a love of drawing balanced by an understanding that I would probably also need to make money. And when I saw the program description while applying for the University, well this thing called graphic design seemed to fit the bill.

The ironic thing is now I can hardly draw anymore, which is something I’ve been trying to motivate myself to correct for a while now.

Okay, I have to ask: why Loki design? Does it have to do more with your name (pronunciation or otherwise), or is there some sort of connection to the fact that ‘he’ is the Norse god of mischief, as your ‘logo’ and site header certainly seems to play up the Norse connection as well?
You’re spot on there. It’s basically a combination of my name and a direct reference the Norse god of mischief/chaos.

In addition, one of the most interesting aspects of art (and design) to me is it’s capacity to act as a catalyst for change and transformation, and in many ways that was Loki's role as well.

Now one of the most difficult aspects of doing ‘research’ on you and your work is trying to peg it down, so that you can be neatly placed in one of these carefully arranged boxes that the general public (and bloggers) always like to put clever folks like yourself into. You’re a graphic designer, magazine producer, teacher, poet, web-site designer, artistic manager, and much more. How would you best describe then to someone just meeting you what you do?
If I were to chose a title, it would be 'graphic designer'. I think that's a broad enough term to encompass all the various interests and practices I have.

However, most people still don't really understand what it is that graphic designers do, so I don't know if the term helps that much. Basically, I would say I work with words and images in order to give them form and meaning. And if that's still too abstract for someone, I'll add that I make websites, and books, too, as well as posters and logos.

Also, how would you best describe what a ‘visual poet’ is, and how did you and your colleague and co-editor John W. Stuart really get started with this?
I think visual poetry can be best described as poetry that investigates and exploits the materiality of language, of words and letters themselves, where the visual (or physical in some cases) aspects of the poem play an intrinsic role.

I'm certainly not the best person to describe it though, as I entered the world of visual poetry rather obliquely. It seemed that my design approach with Four Minutes to Midnight spoke to a certain audience of practitioners. My interest in the form has blossomed since then, but generally from the perspective of a graphic designer as opposed to as a poet. I wish my writing was stronger, but it isn't so I tend to focus on the visual side of things.

On the other hand, John's got an incredible talent for both the written word and it’s visual interpretation. So it’s been a natural fit working on these kinds of projects with him.

(ZN: our apologies to John, however, we did not find a link to him prior to publication of this interview. If we can rectify that, we will immediately update the blog)

As you’re at least co-editor for two released font-types, I’m interested in what is meant by ‘experimental typography’? Isn’t that in some way redundant?
No, I don't really see it as redundant. Typography (and type design) can certainly be classical or traditional, and there are many beautiful typefaces designed in this fashion, with practical goals of legibility, consistency and elegance alongside the myriad of technological factors that are taken into consideration.

Experimental typography, for me, is using type (design) to explore and express certain ideas, with those traditional goals tossed aside (at least for the moment). The fonts I designed are certainly raw, conceptual, experiments, with the aim of exploring visual/cultural trends and archetypes through type.

Just briefly:

Hel is an exploration on the parallel preponderance of Blackletter and Helvetica in contemporary culture.

Paranoid is a commentary on the still-growing trend of bold, counterless and geometric typography.

When you work, are you able to keep the various aspects of your design ‘practice’ separate, when needed (if at all)? For example, if you’re working on a typography solution to meet a client’s needs, do you drift in and out of your poetic mind-zone?
I'm generally able to keep things separate, especially for the work I do for my day job. There's not much room for poetry in the commercial sphere (though I do look for the cracks whenever I can).

On the other hand, when I’m working on my own projects, a lot of my interests will overlap. But there's generally a clear communication objective that places one aspect of my work above another.

Is it important for you to combine different aspects in new ways, including poetry with visual performance, or even through film and other media?
I'm not so much interested in the new as the expressive. In the end, I'm just trying to communicate something visually, and I'll use whatever skills or media I have at hand to do so.

For example, even though I'm interested in film as a viewer, I've never really worked in the medium, and don't know if I ever will. On one side, the technical aspect intimidates me, and on the other I find there's something so much more satisfying in creating a physical object. Of course, I do a lot of work on the web, but my true passion still resides in making something that you can hold and smell.

John and I have both performed different parts of Four Minutes to Midnight before, and that has always been fun. It's really interesting to see the relationship between the visual treatment and it’s auditory component.

One thing that is often covered in various interviews and inputs on the web about your work is your adherence if you will to the ‘First Things First Manifesto’ or better said perhaps it’s re-issuance. Can you describe to us what this manifesto entails and how you use it or follow it to help guide your own work?
The reissuing of the First Things First (FTF) Manifesto in 2000 was basically a call to arms for designers to work for the social good instead of squandering their skills just trying to sell things. It criticised the role of design in fostering a commodity-based culture and at the time, sparked a lot of debate within the profession. For me, it really hit home.

And though I've tried to follow it in practice, it's been difficult to say the least. Unless you're very lucky, I think it's hard these days to put enough bread on the table without flirting with the advertising industry. Nonetheless, I do as much work as I can on the side that I hope will contribute to our culture in a different, more positive way. At times, when I'm discouraged, I think back to the idealism I had at the time of FTF, and with a mix of nostalgia and optimism, use it to keep truckin' on.

I'd like to add that there are a lot of successful alternative practices out there, exploring design outside of the commercial sphere. I just haven't found how to make it work out for me yet. But I'm still trying.

I was also struck by your comment : ‘I owe a lot to my professors at Concordia University, who exposed us to the social and political dimension of graphic design.’ How would summarise what this dimension encompasses or perhaps even ‘expects’ of a designer today?
On a very basic level, I think it's simply about being aware of the importance of our visual environment, how it reflects upon and shapes society. Once you genuinely understand this, I would hope your responsibility as a creator of images and messages becomes clear.

Its about asking questions, questions like does your work propagate harmful stereotypes or encourage diversity? Does it limit the realm of thought and action or instead does it open up possibilities? Obviously, there's a lot of complexity in asking these questions, a vast grey area, but I think it's important for designers to at least start asking them.

A couple of my professors at Concordia were very good at opening up and supporting this line of questioning. In truth, many of my fellow students were critical of this approach, as it didn't seem very practical. But I really appreciated the depth that it lent to my conception of design, allowing me to develop a passion for it that has since grown into a rather unique ‘career’.

You’re also involved with quite an impressive design agency, that is, Fjord Marketing. It seems as well that you’ve had a lot of success with this group, with several projects where you played a key role in their realisation receiving prestigious awards (see for example here and here). How are you able to balance your ‘professional’ career with Fjord with your other activities or even beliefs and ideals?
It's a tough balance for sure. I struggle quite a bit to find the time and energy to commit to doing my independent projects.

So basically, I end up working a lot, including in the evenings and on weekends. I'm hoping to take some time soon to step back and THINK about what it is I want to do next, that would be great.

Does it sometimes ever seem to you that with your work at essentially a large Corporate advertising agency implies that you’re, for lack of a better term, ‘sleeping with the enemy’? I mean, after all, they have a Mission Statement and everything! To put it a little differently, do you sometimes feel conflicted in terms of your activist views or works and your role at Fjord?
The short answer is yes, I do feel conflicted at times. I think there are far more important and interesting things I could be putting my skills to use for on a day to day basis.

As mentioned earlier, I have a general disdain for the advertising industry as a whole. But luckily my work at Fjord is mainly focused on the art direction and design of websites, which I find a little less nefarious than traditional advertising. This being said, I've also mellowed a bit with age, and when it comes down to it, a job is a job.

And with the way things are today, I'm happy to have one right now where I can still be creative and get paid for it.

Continued in Part 2

Kindly note that all images are used with the express written consent of Kevin Yuen Kit Lo and may not be reproduced or otherwise used without permission of the artist. For further information, see http://lokidesign.net/2356/ for more.

It's 23:56! Do You Know Where Your Designer Is?

An Interview with Graphic Designer and Art Director

Kevin Yuen Kit Lo
Click on any image to enlarge it to original size

Part 2 of 2 (link to Part 1)

Kevin, this may go into the collection of strange questions I’ve asked so far, but do you or your colleagues ever feel that there is even something innately conflicting for anyone producing ‘activist’ work that gets paid for it or receives in other ways exposure, income, etc. (noting as you say, we all of course have to put bread on the table...)?
To put it simply, no, not at all. I don't see any problem with getting paid for work, be it commercial or 'activist'. If we could all get paid for doing something we believe in and enjoy doing, I think the world would be a much better place.

How about turning that around: do you think that your ‘day-time employers’ at Fjord ever want to kind of tell you to turn it back a bit and if yes, how did/would you respond? What do you think the reaction, even backlash, might be if Fjord lost an account with a big corporate account because they didn’t want to be associated with this platform of opinions you’re presenting?
So far, I really haven't had to deal with this, and to be honest, I don't think I will. I try to do good work for Fjord and if my activities outside of work ever became an issue for them, I wouldn't want to work there anyway.

Again, I don't think this would happen. I have the utmost respect for the people I work with, and I'd like to think that respect is mutual. Anyway, I don't think anything I do (at this point at least!) is really controversial or radical enough to cause any serious problems.

With the Obama election and the successful use by his campaign of branding and advertising, even logos, have these fields moved into a new arena of significance?
I don't think they've necessarily moved into a new arena of significance per se. I've always thought they were incredibly significant.

Still, I do credit the Obama campaign and current administration for recognising the importance of good design and taking full advantage of new communications tools to communicate with the American public.

How do we differentiate then something like the ‘Hope’ or ‘Yes We Can’ posters from propaganda posters of other regimes, or perhaps not to be so extreme, with viewpoints that we don’t necessarily agree with or support? For example, is it any more right or wrong for someone to counter your own ‘pro-Gaza’ poster perhaps with an anti-terrorist poster or some other theme or work in support of what Israel’s activities?
Objectively, we shouldn't differentiate. Questions of right and wrong are up to the individual – though they are obviously shaped, and enforced, by the moral/legal fabric of a given society. This is obviously where things can get muddy, because in general the media, and propaganda specifically, plays a large role here.

So personally, if someone created a poster calling for the elimination of the Palestinians, I would find that repugnant and 'wrong' (hopefully, most people would), just as some people have reacted strongly to my poster calling for a Boycott.

This being said, I think there are (semi-)objective ways in order to evaluate a piece of communication as either ‘good’ or ‘bad’ on an ethical level. First and foremost, we have to ask ourselves: does the message lie? Obviously, the truth is debatable, but there are clear differences between saying something truthfully and untruthfully. Also, there's the fine but very important line between being persuasive and manipulative.

The bottom line is that it's up to each of us to make up our own minds. My problem with advertising and the media is that they often don't provide us with the information needed to do this. The political economy of the communications sphere is a really interesting subject, and something I'd love to explore further, especially in relation to design practice.

In fact, I started looking at this for my graduate certificate thesis. It was during the research phase of this project that I developed a short Flash animation entitled Warover in order to present my concept to my tutors. It turned out that this animation worked very well in it’s own right – remaining still very relevant today! It was featured on several design, art and/or political web-sites and was even screened on national television (on CBC’s ZeD).

If you want, you can download my complete thesis here. (ZN : Achtung! 12.1 mb / 114 page file!)

You have enjoyed some success – and also less successful times – throughout your education that has ultimately led you to where you are today. What advice would you give someone just starting out in ANY field of design or communication?
First of all, develop a critical eye. Look around you and question why things are the way they are. This applies as much to a coffee shop's logo as to the way a news program is structured to the current fashion trends. Find meaning and draw connections, as this ability will provide you with an invaluable toolbox to express your own messages in the future.

Also: work for love, not money. I think this cliché is pretty self-explanatory; but design is not an easy profession to work in, and if you're working for love, you're not likely to give up as easily. Which ties in to my last and most important piece of advice: don't give up.

What prompted you to also put into writing various thoughts about your time and experiences from Post St. Joost in Breda (NL)?
I went through a very trying time in my life while I was in Breda, but ultimately the piece is not about that, it just starts there.

I think I wrote the piece because I felt lucky that I had managed to meet (or at least communicate with in the case of Graham Wood and Stuart Ewen) so many amazing people. I felt I had learned a lot over the course of those two years (that I spent in Breda and London). It was so interesting to me how the personal and professional connected. So I decided that in one way or another, I just needed to get it out.

Also, I’m just curious as you’re not the first person I’ve interviewed with their own design ‘zine and I’ve seen you also contribute even to others (e.g. allmaple). Why do you think so many design students or design-oriented professionals are interested in creating outlets for their work like this?
As a professional designer, there's a lot of the process that you don't control, not least of which is the origination of the message. I think it’s therefore only natural for creative people to want to express themselves and have control over the various aspects of their work. And the self-directed work comes from that drive.

At the same time, most of the work in Four Minutes to Midnight is not created by me: there's a process of collaboration and remixing involved that I really enjoy. I don't have the natural talents of a writer or visual artist, but I do think my design and editorial skills can add something to a work and bring out new forms and meaning.

What is it do you think they – or specifically you – are looking to achieve? Isn’t the market pretty much flooded with such endeavours and if yes, how does one manage to raise their own flag out from under the stampede of the various offers available (noting I did see as well that you both won the first Expozine award for the Best English Language zine)?
It's a good question. There certainly is a lot of stuff out there, and I do often ask myself why I'm making more, killing trees as it were.

As I mention above, I think I (and many others) just have a drive to create and hopefully connect with an audience. It seems far better than doing nothing. I'm not looking for fame and fortune (though it might be nice), I just want to lead a meaningful and fulfilling life. And making things that communicate responds to this for me. I'm at my lowest when I don't have something I want to be working on.

As for getting noticed, I haven't found the answer to this one yet. Despite your kindly mentions of my success, I still have boxes of ‘zines sitting in my apartment (ZN: order now! Operators are waiting on your calls!).

A key aspect of both your work with 23:56 and also work you do in terms of politics relies so heavily on the ‘community of artists’ either locally or around the world. Why do you think this aspect is so strongly pronounced in terms of the communication, sharing and contributions designers make to one another?
Community is something that's really important to me, however, I also think that it's something that is sadly lacking in our modern world.

Not to go on too much of a rant, but Capitalism (with an uppercase ‘C’) succeeds by isolating individuals and turning them into consumers rather than actors. Nurturing your communities – be it geographically, ideologically, or creatively – is an effective way to fight back.

On a practical level, I don't see any way anyone can really have any success without the help and support of others. And in order to get this support, you generally need to help others as well. Sharing is caring...

I also see that you have participated as a Jury member for Memefest, correct? What is that like, having to judge others work and in many ways, affecting their careers or even future motivations?
I judge work constantly, that's part of developing the ‘critical eye’ I mentioned earlier. More specifically as a professor, but also as a working professional, knowing how to evaluate work is a basic and necessary skill. But I really doubt that I had that much of an affect in the careers of the students and artists that submitted works to Memefest. I was judging the work, not the individual and I hope my comments (both positive and negative) weren't taken personally.

It's true that I may have been quite critical of a lot of the work I judged (Memefest gives tough briefs and accepts everything submitted). But what's really special about Memefest is that the judging involves feedback, and as critical as my feedback may have been at times, it was always constructive. Hopefully in the long term it helps breed better, more conscious, designers.

Ultimately, if you had to pick one and only one (gasp) aspect of what you do in design today at the expense of all the others, what would it be and why?
This is a tough question. I would have to say drawing, even though I don't do much of it these days. I really wish I drew more and more naturally.

At this point it's something I need to force myself to do. But when I was younger I would draw all the time, and it was such a satisfying, freeing form of expression. Yeah, I really need to draw again.

I see you’re also looking for a potential internship?
I'm not actually looking for an internship, but an artist's residency. I’m trying to ‘swing’ my work as an artist in order to see if I have the chops to get out of the rat race. I have to admit though that I really don't understand the process of applying for these.

Do you feel even that there’s something missing from your portfolio that you’d like to add in the coming moons?
There's a lot missing. And I don't want to sound too self-effacing, but I'd love to see myself produce some great work, something that would make me stop and really appreciate it. I haven't achieved that yet.

How about any last messages you’d like to share? What’s next for Kevin Yuen Kit Lo?
Well, I would like to add that I’m currently working on two important projects:

One, is that I’m involved with Artivistic, where we’re looking to raise money for the TURN*ON Solidarity P2P Fund. This is a great thing! To give you the ‘mission statement’, TURN*ON’s p2p (peer-to-peer) solidarity funding project is meant to help participants – who for various reasons have less access to funds – receive support from their peers or supporters, other participants, sister organisations and/or affinity groups.

Secondly, of course, we’re busy trying to get together the next issue of 23:56. There’s issues left ready to distribute of past issues as well! We’re getting a lot of really good feedback and we’re really looking forward to continuing full steam ahead!

So in both cases, if you have any extra money laying around (under the bed, between seat cushions, etc.) please consider donating to these two important projects!

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In conclusion, we’re going to ‘ghost write’ over a very concise and entertaining summary Kevin once provided about himself with some other added bits and bobs included. In deference to his own tendency to talk in the third person, we’ve changed the pronouns slightly (to protect the innocent and all that rot). Note that nothing has been cut from the original text (when there’s a full-stop, it’s a full-stop!). Enjoy:

Kevin Yuen Kit Lo was born in Toronto, Ontario, Canada in 1978. In 1989, he lived on a mountain. He moved to Montréal in 1996 to attend Concordia University's design art program (where) he learned all sorts of stuff. As an apparently willing victim of intense education, he holds an MA in Typographic Studies from the London College of Printing and a BFA in Design Art from Concordia University.

He mentions that he had a professor that made him and his classmates watch a MBanx commercial 12 times in a row to force them to realise how manipulative and co-optive advertising is (apparently it worked). Very importantly, he learned design is not advertising.

He became interested in Communication Theory and Political Science and their relationship with culture. He graduated in 2000 and returned to Toronto to work for a small marketing company.

In April 2001, he went to Quebec City to protest a trade agreement and was gassed and chased by jackbooted police officers. To quote Tibor Kalman: "What I witnessed that day was ugly and nasty, and it radicalised me."

In September 2001, he returned to Montréal to do a graduate certificate in Digital technologies in Design Art Practice. He wrote a thesis on the social and political context within which graphic design operates, graduating with Honours in August 2002.

2001 must have been busy for him, because that same year he participated as an organising member of the Declarations Design Symposium in Montreal. He has also worked with the Artivistic collective since 2006. His professional and personal work has been widely exhibited, recognised and awarded, including certificates of design excellence from Print and Communication Arts Magazine.

As mentioned, he publishes along with his pal John W. Stuart the ‘zine (cool-speak for magazine... we think) ‘Four Minutes to Midnight’. This is published annually, exploring the intersections of experimental typography, poetics and politics. He is also a part-time faculty member at Concordia University where he teaches classes in typography. He must be a cool professor because he also took time to post work by his first class. If you must know more, you can download his CV also known as résumé here.

He continues to work and try to consistently put bread on the table. You see, he is not a robot... not a robot... not a robooooo...*

This is his current Facebook avatar and yes, we think this is significant. He is in a relationship with code-name (or given name?) Danger Cat.

Thank you and have a pleasant tomorrow.

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For more about Kevin, we highly recommend checking out his home web-site or also this very well presented article. If you want to keep up with his various web offerings, then type fast, because more comes out all the time! For one recent campaign he was involved in, please see here. And to answer your next question: yes, beer counts as a good cause! And good beer all the more so...



Kindly note that all images are used with the express written consent of Kevin Yuen Kit Lo and may not be reproduced or otherwise used without permission of the artist. For further information, see http://lokidesign.net/2356/ for more.