Saturday, October 16, 2021
Friday, October 08, 2021
Q: Please tell us a little bit about your background and education, and how you came to be a graphic designer.
A: I was born and raised in the Bronx, NYC and lived in the projects until we moved to Co-Op City. As far as I can remember, I was always drawing or copying pictures from American History, comic books and Mad Magazine.
Living in the projects, you tend to stay inside a lot because it’s safer and you stay out of trouble and to take up the time, I volunteered for all the painting assignments in school, like stage decoration, lobby paintings for various subject matter or events like the holidays. Junior High School was tough, so I used to draw nude girls for the gang members in school and they left me alone. After getting reported by a teacher, I was sent to the guidance office in school, and they asked me to stop drawing the pictures but encouraged me to try out for the High School of Art and Design in Manhattan.
My art teacher was my mentor who reviewed with me what I needed for a portfolio and other requirements for testing at the art school. I was accepted and that was the start of my career. I had other school mentors and the high school had many professional artists to help me decide where my strengths were, and I went into graphic design.
I was accepted in 1971 to Parsons School of Design and did my degree work at the New School for Social Research. My parents and grandparents were always very supportive, and my dad would always ask people he knew if they might help me to get art supplies. To help my family, I was also working odd jobs and selling artwork since 1968.
After graduating Parsons in 1974, my first job was as package designer at Doyle Dane Bernbach. DDB was the agency that started the creative revolution in advertising with the “Think Small” ad for VW.
Q: You worked for Hasbro, on Hungry Hippos and Superman and Batman board games. Can you tell us about your work on each of those projects, and what you contributed to them?
A: Every year Hasbro would assign an agency to design that year’s toy line. I just got a job at Werbin and Morill and handled many packaging projects, including Hasbro. This was always a group project with a few other designers, but I was lead designer. We created the “arrow” graphic that started at the top of the package below the Hasbro logo and went down the right side of all boxes.
Being a good packaging firm, the graphics and photography were well done. You have to understand, toy packaging assignments had tiny budgets and the worst designers started in that field. We would get a written briefing from Hasbro product managers about each toy, the problem/concerns, and redesign according to the brief.
On Superman and Batman, they were redesigns of the older board games and the bad guys, graphics, art were upgraded to be more exciting and the game itself was changed to be exciting. Similar to updating a food package. Make it appeal to kids. I also designed Terron for the Action Team, part of GI Joe line. That was fun, and I did some work on Charlie’s Angels tree house and accessories.
Q: In the late 1970’s you began to work for Bandai. What was your experience with the company? What were your tasks as graphic designer and marketer?
A: I was freelancing and looking for a full-time job when Sue Motsumoto (Design) offered me a 6-month freelance job for $18,000. I agreed and I started redesigning all the toys for LJN Toy Co. On a side note, a low budget toy named Silly Sammy the Seagull became a cult type toy for some reason. Nobody knows that the box art was done by the great cartoonist, Jack Davis. I don’t have the toy, but I still have the artwork from Jack Davis.
Bandai approached Sue to work on Bandai’s line of new products to be introduced under their American distributor, Bandai America. They included Bandai Electronics, and some other children’s games. In my portfolio are some sell sheets of the toys. Most were for 5 and up children.
Saturday, October 02, 2021
In “Spacewrecked,” John Blackstar’s lover, Katana follows his trajectory by tracing the photon vapor trail from his ship. It leads through ...