Nate Voss
Designer + illustrator

em. nate { @ } vossome { . } com
ph. 402-850-0856
tw. @vossome

popular articles.

In a Troubled Economy, Why Logo Design Contests and Crowdsourcing Can Do More Harm Than Good.

Case Study: Bringing Retro-Future Cool to Meet the Pros 2010

Case Study: Meet the Pros 2008: The Un-Poster

Case Study: Omaha Fiesta Bus

NATE'S BIO.

Nate Vosis a designer, illustrator, talkshow host and design journalist. Working in Omaha since 2001, Nate served four years on the Board of Directors for AIGA Nebraska and currently teaches design for Metropolitan Community College in addition to his freelance work. Nate has interviewed design luminaries such as Kit Hinrichs, Debbie Millman, Joe Duffy, Marian Bantjes, Chip Kidd, Ann Willoughby, and many others. Currently, Nate's work can be seen here at Vossome.com and at 36Point.com, where he maintains the webcomic 1PT.Rule and hosts The Reflex Blue Show. In 2009, Nate became the only person to guest host Design Matters with Debbie Millman, a leading industry talkshow focusing on design and contemporary culture. Nate has also illustrated two children's books, The Legend of Lil' Red and Tiny and His Big Adventures.

:: Previous Work ::

 

A new section of work samples is on the way! For now, please visit the old portfolio page. Thanks and check back soon!

:: The Vossome Blog ::

 

Tuesday, February 2, 2010

Pardon my Dust!

Hello! Please excuse the mess while I redecorate Vossome.com. Things should be straightened out in just a few days. Until then, feel free to read a few articles or visit the old portfolio section by clicking the link to the right. Thanks!

from Nate Voss to you.


Monday, November 30, 2009

Case Study: Bringing Retro-Future Cool to Meet the Pros 2010


I am thrilled to finally be able to unveil the work behind the Meet the Pros 2010 poster! This is a project I have taken on twice in the past (you can read about the last one here) and this year I was ready to bring something really special to the table.

Meet the Pros is a two-day student-focused advertising and design event built to strengthen students' portfolios and interview skills before they approach the job market after graduation. It made a huge difference when I attended (many moons ago!) and I'm happy to be able to give something back to the event when I can.

The litmus test for any poster that is going to stand in front advertising and design students is to get their attention. This is often much harder than it looks — these kids are nothing but visually hungry idea-vampires (note to self: 2011 poster idea), so you really have to pull out all the stops. Previously I've done metallic-print zombies and full-wrapping manga comics, and this time around it was all about the year: 2010. The future.


The initial sketch of the poster, with notes on typography.

The concept started out with the viewpoint of the mid-to-late eighties looking at the year 2010 as the far-flung future. Anyone who lived through this time knows nothing but disappointment anytime the idea of flying cars is mentioned, because we were all certain we'd have those by now. Due to my upbringing the movie Tron, soon to receive a big-budget sequel, came immediately to mind. The first step to presenting the concept—unlike previous years, this was the only concept presented—was to flesh it out with a mood-board and tighter sketch.


The mood board was comprised of retro-styled graphics, some from the time period in question, but many from more contemporary designers. This set the tone of the piece, and was coupled with…


…this much more refined sketch of the idea. Basic ideas for tag-lines, composition, and typography are roughed in.

The committee behind the event loved the idea, and I was able to enlist superstar Omaha photographer Scott Dobry to shoot it. I've worked with Scott before, and we always seem to get to collaborate on the coolest projects. He's got a fantastic eye and is absolutely terrific when it comes to working with people.


Liz, the heroine of the poster, gets ready to strike a powerful pose. Note the lack of a Tron-suit and blue leggings at this point.


Liz gets touched up before her next shot.

We spent a long night shooting our three stars: Liz, the heroine of the poster, and Jon and Kim, the two big heads for the background (required of almost any Hollywood poster). We set Liz up in a skin-tight runner's shirt and blue leggings; due to a time-crunch, we weren't able to create a full-blown Tron suit ahead of time. After the shoot I did a rough composition to play with an off-balance placement of the big heads and try some of the suit effects on our main character. These effects were done freehand with a Wacom tablet, and proved I've have to create the suit in Adobe Illustrator to get the right visual.


Also, way too many lines. This rough used a different big-head version of Kim than appeared in the final design.

Here's the suit, drawn in Illustrator, without lighting effects.


To capture the right look, Cindy Morgan's suit from the movie Tron was referenced. Many callbacks to the original design appear on the outfit, with some new additions as well.

Once the images started coming together, the rest of the poster had to be built. For the conference logo I wanted to reflect that eighties motion-graphic look so perfectly captured in the video for DVNO (kudos is you remember any of the originals lampooned in that vid).


The logo, in progress. Here you can see many of the building blocks used to create each character from scratch.

The first draft of the logo was deemed a bit too wild for the committee behind the event, and some of the more experimental bits were removed in favor of greater readability. There was definitely a trade off between style and substance at this stage. While the final logo definitely conveys the information, I miss the way the letters moved in and out of each other and the way the numeral "2" just goes straight off to the southwest and never looks back. I've put the before and after below.


Before: Daring and experimental. After: Usable for the real world.

Then we were finally prepared to bring it all together. Subsequent drafts of the design reigned tighter and tighter on the details, for instance; the first draft that contained body copy (the information needed by students to register for the event) was largely unreadable. You can even see my transparent attempt to keep the old logo alive by repeating the title "Meet the Pros 2010" in the copy area (if your designer ever does this, he's cheating and he knows better). Once the logo came to its final form, the size of the poster was adjusted and the copy was balanced.


Top Left: First rough, no type or effects. Top Right: First appearance of body copy, unreadable by almost anyone. Bottom Left: Near-final design. Bottom Right: Resized poster, with a greater emphasis on registration information on the bottom half.

And here we have the finished poster (click on it for a much, much larger version). This has been mailed out and will be hung soon — if not already — in schools across the midwest. The event is in a few months, and you can learn more about it here. Thanks to everyone who helped make this poster a reality!


from Nate Voss to you.


Wednesday, November 25, 2009

New Work: Tiny and His Big Adventures!

Work recently wrapped on my new children's book, Tiny and His Big Adventures, available early 2010 from publisher Mascot Books. This is my second book, following 2008's The Legend of Lil' Red, and it follows the life of Tiny, a very small Chihuahua, from his mother to his adoption to his eventual life on the stage (!!).

As before, I worked with an author and editor on the book — that's my way of saying 'I did not write it' — and the experience was pretty great. I completed a full 30 illustrations for the book, samples of which can be seen below and on my Work Page. Happy Thanksgiving!





from Nate Voss to you.


Wednesday, November 4, 2009

Life in Abundance Print awarded by the Society of Typographic Arts


I'm honored and humbled to announce that the benefit print I helped create with Justin Ahrens, Donovan Beery, Steve Hartman and Christine Taylor (along with the amazing folks at Spark Stationery and Neenah Paper) has been accepted into the Chicago Design Archive by the Society of Typographic Arts. Only 44 entries out of the hundreds submitted were accepted.

To learn more about our commemorative print, or to purchase one (100% of the proceeds go to Life in Abundance), please visit alastingimprint.org.

from Nate Voss to you.


Thursday, September 24, 2009

Hoops&Yoyo and 36 Point Wallpapers!

Hello everyone! I had a few more posts planned for this week, but life and a crazy workload dictate that this be the one that sees the light of day! First up is a Hoops&Yoyo piece I did for 36 Point's interview with their creators at Hallmark (very fun, be sure to give it a listen!) These characters are amazing, and it was a lot of fun to try to capture their overabundance of life in a non-animated form.


And addition, I've been slowly adding to the wallpaper section of the downloads page to 36 Point over the past few months. I used to give away some freebies over here, but then 36 Point switched to give everything away for free anyway, so it lost its point. Head on over to the downloads page to pull these for your desktop and your iPhone!




from Nate Voss to you.


Friday, August 7, 2009

Life In Abundance Print Featured on FPO



There's a great writeup on FPO about the poster/print we made last Spring benefitting Life In Abundance. Do check it out, or head over to their store to purchase one for you home or office, and help impoverished communities in Northeast Africa.

from Nate Voss to you.


Thursday, August 6, 2009

Personal Work: Hermione Granger



Here's a piece I just wrapped more-or-less as a 'licensed-character' portfolio-builder: An Azkaban-era Hermione Granger illustration. (Not for sale ~ha!)

Azkaban was always my favorite Harry Potter movie, and just gets edged-out by Goblet of Fire as my favorite book. But it certainly was the book that finally pulled me in deep to the Harry-verse. I finished it on the first two days of a Colorado vacation, and made my wife take me to the nearest book store to immediately buy the next book, which I devoured over the rest of the trip, finally picking up Order of the Phoenix on the way out of town. This really happened. It was one of those relaxing vacations, so chilling outside in the Colorado mountain air reading for hours on end seemed a perfect fit.


from Nate Voss to you.


Thursday, July 16, 2009

I'll Be On Veer, Sometime This Year?

I like Veer, quite a bit, actually. More so than other stock image sites like Getty or Corbis (well, Corbis proper, they own Veer), because Veer has personality. They have style. And above all they "get" the design community. You see it in all the promos they send out, which normally are tossed into the junk/recycle bin, but instead were always hounded in my offices — "oh, new Veer catalog! Awesome!"

So, as a working illustrator, when the time came to put together some work for stock, going with Veer was an easy choice. It's a good fit for me. It was made an even better fit a few weeks back when they announced their Contributor program and upcoming microstock section. Yes, "microstock" is a fancy word for "iStock," in the same way "tissue" really means "Kleenex." But iStock is the Wal-Mart of the image industry. Sure it may be a titan, and we've all had to stick out heads in from time to time, but nobody really enjoys shopping there, and when you leave you feel like you need to wash your hands.

So I signed up and submitted a series of illustrations, and a few days later the good news came back — approved! So, later this summer (which is as close to a release date as I've found), you'll be able to pick up some authentic Nate Voss artwork for your design project (both in color and black-and-white coloring-book style) for affordable prices — just make sure you pick up the proper license with it!

Below is a quick tease of what will be available:


from Nate Voss to you.


Monday, May 4, 2009

May Freebies: Conrad, the Wandering Design Ninja

Last month I gave away some special bonuses for people who either follow me on Twitter or are a part of the 36 Point group on Facebook. Well there's no such thing as too much love, so I'm doing it again! In addition to the same goodies from last month (ie: this iPhone wallpaper:

And this iChat/AIM/Buddy icon…)

… I also wanted to go ahead and give you a real, live, full-size Paper Dummy of Conrad, the Wandering Design Ninja himself. So, unlike last month, when you click on this image you'll get a link to the actual PDF and you can build your very own Conrad to watch over you at your desk, and threaten you with deadly ninja moves when your logo is the wrong size.



There's already a Newton up at 36 Point if you want the full dynamic duo and more will appear each month! Again, full access to 36 Point's downloads page is available to anyone who supports the site with a tiny, miniscule Paypal donation. All proceeds go to help us keep up on hosting costs and other necessities to keep the best graphic design site in the world stay strong! HUGZ.

from Nate Voss to you.


Monday, April 20, 2009

In a Troubled Economy, Why Logo Design Contests and Crowdsourcing Can Do More Harm Than Good.

During tough economic times, many businesses big and small have tough choices to make. Often some of the first programs to be cut are marketing and design services, despite proven research to the contrary. Call it "protecting the core," if you will; focusing on your key business practices while stripping away excess in order to sustain a viable company. While this can be a sound economic strategy in some cases (cutting back on office supplies and employee perks, for example), it can be disastrous in the case of marketing and visual branding. (If no one knows about your company's products or services, no one can pay you for them!)

This line of thinking has been gaining traction in American businesses for the past several months after studies have shown companies who promote their way through a recession often come out the other side in a stronger market position than they went in with. But this still raises the question: "How do I pay for this work when money is so tight?"

Problem One: Your business needs a new logo or an updated look to attract new customers.
This problem surfaces a lot with startups and relatively new businesses who have been struggling to make it to the next level. It is not uncommon in these cases to put together a temporary company logo — something like a placeholder — to get the job done until you can afford to do it right. But now that time has arrived, and you've read enough articles to understand your need for better brand positioning, but there's no money to hire a design firm.

Problematic Solution: Hold a logo-design contest or utilize a "crowdsourcing" website.
Guaranteed to always sound like a good idea at the time, logo-design contests can seem like a low-risk, low-cost way to solve your identity crisis. They're ubiquitous enough that everyone knows the drill: You put out a call for entries and entice them with a snazzy prize, usually a couple hundred bucks in cash or services that your company provides (own a mall or a store? how about gift-certificates?). Then local artists go to work and send you tens if not hundreds of options to choose from. You pick your favorite, trade the prize for the artwork, and off you go! What problems could there possibly be?

First, thank you for continuing to read the article despite the last paragraph's glowing picture. Logo contests and crowdsourcing, although different in their approach, both yield similar enough results that we can look at them as a singular problem. The potential downsides are clear-cut, and some can even be devastating to your business:
  • Craftsmanship: Anyone entering a contest knows they are working only for a chance at winning, not for a guaranteed paycheck. As such, the Risk vs. Reward ratio on the project is high on risk, low on reward. So it does not make sense for them to spend a lot of time on it — and the same goes for crowdsourcing. At the end of the day, this leaves you and your business with an identifying mark that was rushed through the design process. Even if you have a hard time distinguishing between a polished and a rushed logo, your customers' subconscious reaction will pick up on the missed cues and lack of attention to detail in your logo, and begin to associate them with how you do business.
  • Craftsmanship Part 2: Professionals vs. Amateurs. The vast majority of professional designers wouldn't touch what they call "Spec" (speculative) work with a 20-foot pole. For them it is a professional discourtesy to ask them to give away for free a process of design that they have built a viable business upon. Many see the very thought of it as damaging to their profession. But who cares? If you can get the same quality product, let's say pencils or other office supplies, for a cheaper rate, why not? Simply put, because your company's main identifying face — its logo — is not a commodity. There is a big difference in both quality and longevity between professional and amateur design that comes from a learned process, not to mention the hours and hours of research and planning that generally come with hiring a professional. So in the end, if all the professionals are staying away from your contest, who do you think is going to be left applying to create your logo?
  • Originality: Designers who frequent crowdsourcing websites know the only way to turn a profit is to enter as many Call-for-Submissions as possible in hopes of striking gold. As even a halfway decent mark can take hours to create, it doesn't make sense to them to create something wholly new and original for each contest. From their perspective, entering the same design several (possibly hundred) times with a different company's name attached gives them more chances to win. The end result here is that your company's logo has nothing at all to do with your company, your goals, or your position in the competitive market. A logo shouldn't be a brochure for your company, but if it doesn't pay attention to those three key factors, it's a waste of your money and could potential sink your business.
  • Originality Part 2: Image Theft. A somewhat new phenomenon in this game is the advent of cheap, affordable stock art and illustrations from websites like iStock. The problem for you is that legally many, if not most of these websites do not allow the artwork on sale to be used in company logos. Problem is, this can be very difficult to identify, and if you accidentally pick a winner based on a royalty-free stock image you're going to wind up in legal hot water when the owners of the image come knocking. Some crowdsourcing websites have policies against this, but again, it can be a very difficult thing to police, and the policy is in place more to protect them than to protect you.
Beneficial Solution: Find an experienced professional designer to work through your logo with you.
By working with a designer or design firm with experience in company identity design you can avoid all of the potential pitfalls listed above. If you don't know anyone with more than three-to-five years of experience, find local companies with great logos, whether they are in your industry or not, and ask them who they hired. Or, visit a local AIGA chapter's website and ask them.

Be sure to contact at least two or three designers either by phone or by e-mail and let them know the basic particulars of you logo project, and ask them about their pricing structure. If their prices turn out too high, ask either about ways to reduce the cost, or if they would recommend someone in your price range — most designers would be happy to do so. Be sure whoever you choose to work with has an established professional reputation and samples of their previous work available for you to see on their website. Meet with them in person at least once, if possible, before beginning the project.

Do be aware that asking to "see some ideas" before committing to the project can turn a lot of designers off. In their business, their creativity is their product, so asking to get it for free is basically against their business model. Instead, use their past work examples to get a feel for what they can create for you, and be sure to ask a lot of questions until you feel comfortable.

Most logo-only projects will take a short few weeks to complete and you should see a few rounds of in-progress work along the way. In the end you can be confident that you have paid a fair price for the perfect logo for your new company, one that will be attuned to your business's goals and future, and built to last for years to come.

from Nate Voss to you.