Core 77 /
Dave Seliger showcases selected comic book covers on Core 77 and includes our Filth campaign for DC Comics as one of "six current cover artists who exemplify the aesthetics of good design and product identity".
Filth is a limited-edition comic book series released thru DC Comics by Grant Morrison, Chris Weston and Gary Erskine. A variety of covers were designed, as well as the initial first years' launch with collector slipcases.
Carlos Segura has been inducted as a "Special Member" of the Korean Society of Typography. This recognition is an absolute honor, and we are extremely grateful.
Their website will be up soon and there will be much more to come, but in the meantime, below are just a few of their promotional materials and events.
"We have recognized your remarkable performances and achievements in typography society. As part of the effort to improve our organization, we would like to invite you as a special member and we strongly believe Korean Society of Typography will be more brightened by your participation. I would like to ask your support and encouragement for our organization."
-The President of Korean Society of Typography
Carlos Segura is known for his award-winning typographic work on big brands such as Harley-Davidson, Nissan and Jack Daniels. It was the potential he saw in signage by lesser-known artists, though, that sparked the idea to showcase signs held on busy sidewalks by the most poorly paid commercial artists in the world-the homeless.
The Streets of Sadness project idea: buy those cardboard posters that the homeless design to solicit donations, and assemble a traveling exhibit.
All designers have the power to connect their professional influence with what's most meaningful in their personal lives, combining their experience and opportunity to find how they can best help create a better world.
For Segura, the desire to help impoverished souls stems from his childhood in a family that owned next to nothing. In 1965, 8-year-old Segura, his parents and four siblings were forced to leave Cuba forever, with just the clothes on their backs and without the wedding ring his mother once wore on her finger. Peso-less and stranded in a Mexican airport en route to Florida, Segura's family benefited from the kindness of a wealthy couple, who helped them make it to Miami. Now, a lifetime away from the one-room apartment he grew up in with 19 others in Little Havana, he's both lived the indignities of poverty and experienced the potential of the American Dream. Today, Segura and his partner, Sun Segura, run a highly successful virtual design firm.
Segura describes the first time he offered to buy a cardboard sign from a homeless person (instead of offering a handful of change) as "awkward." "I stuck my head out the window of my Porsche at a stoplight and asked this guy, 'How much for your sign? A strange look and five bucks later, his collection of commercial street art began.
Since then, the designer has refined his approach for acquiring art. He now solicits the homeless near the end of their day, making it easier for them to produce a replacement poster in time for the next shift.
Will turning the tables on spare change create lasting change in the world? Segura sums it up from his perspective: "I really don't know if this will make a difference, but trying is better than not."
Call To Action.
How can you contribute to Streets of Sadness? Carlos Segura says it's easy. Approach a homeless person who is brandishing a sign and ask the price of their work, thus changing begging into a more respectful trade of goods. Then, ship your sign to Segura's Chicago or Barcelona office. You'll find the address at Streets of Sadness
Written by expert speaker and thought leader David Berman, an ethics chair for graphic design in Canada, and has been named a special advisor to the United Nations on how to use design to improve humanity's condition. Read the first 40 pages of his book "Do Good Design".
You can donate via PayPal here
Five of Segura Inc's projects have been included in this Instructor's Edition of Graphic Design Solutions by Robin Landa, and published by Wadsworth. They include branding for Plungees and Lightflow, to event design of the Q101 Slime Ball concert series, to CDs for both Lesley Pencer titled Authentic Flavors, as well as Willie Nelson's "Teatro" release.
The Germans have a saying that you have to be on fire yourself to light one. Many designers are driven by a special kind of dedication, both professionally and personally. In addition to craft and creativity, bringing passion to the job is the key to success. Passion gives us the power to act. It is the foundation of change and of progress.
Carlos Segura will speak at TYPO 2010, May 20-22, 2010 along with some 50 designers and creatives that will show how easy success can be if you trust in your passion.
Spend a few days under the spell of their passions and attack your own work with new fire in your belly. TYPO will inspire you to delve into the creative resources you harbour inside yourself. Stay connected via their Facebook page.
Erwin K. Bauer
Niels Shoe Meulman
Erik van Blokland
Paul van der Laan
Uta von Debschitz
Thilo von Debschitz
Life In Perpetual Beta - a documentary produced and directed by Melissa Pierce.
Showcasing the thoughts, views and opinions of (in order of appearance) Chris Saad, Jeffrey Zeldman, Baratunde Thurston, Juliette Powell, Seth Godin, Biz Stone, Brian Solis, Liz Danzico, Xuanlan Nguygen, Carin Goldberg, Lorem Feldman, Jeff Pulver, Gary Vaynerchuk, Liz Strauss, Jim Coudal, Jake Nickell, Jeffrey Kalmikoff, Jason Fried, Tatiana DeMaria, Nova Spivack, Carlos Segura, Kevin Lyman and Dan Pink, Life In Perpetual Beta poses the question: Is the planned life worth living anymore?
Carlos was also interviewed by Melissa Pierce at at the 3rd Seed Conference in Chicago.
About Life In Perpetual Beta.
"Life In Perpetual Beta is not a film about the very rich and very poor, but rather, it's the first documentary to study those artists and entrepreneurs in the middle whose passions power the economy, creating new businesses, new business categories, and occasionally entire creative ecosystems - those whose efforts to live a more creative and authentic life create opportunities not just for themselves but for dozens and sometimes thousands of others. Whether they create web software, design posters, perform as musicians, or run entire musical tours, what unites these disparate creative entrepreneurs is their ability to sell their work without selling their souls.
About Melissa Pierce.
I feel like, "First time caller long time listener" pretty much sums it all up for me. I'm a first time filmmaker who reinvented myself while creating a documentary about other people who have done the same: reinvented themselves as creative entrepreneurs.
Before this film, I was a fairly successful life coach who home-schooled her teenage son while simultaneously parenting two preschoolers. In other words, I had a very busy life and really had no business even thinking about making a film, but I was so passionate about the themes of my film, there was just no way I could NOT make it.
I learned so much in the process of making this movie, about technology, the creative process, human nature, social behavior, and myself - now I'm on a mission to share my findings with the world, which is why I'm producing this documentary.
Carlos Segura will join Carlos Perez of Elastic People, Paul Forat, VP A&R Sony Music, Photographer Mateo Garcia, and Ed Agudelo, account director at Universal Music as part of the panel discussion at AIGA Miami's Parallels Audio Visual on Thursday, March 18, 2010 in Miami's Design District, at 4141 NE 2nd Avenue #104.
Creative Presentation: Elastic People. Moderator: Leila Cobo - Billboard Magazine. Guest DJ: DJ Le Spam from the Spam Allstars
Sponsors: AIGA, Elastic People, Segura Inc., Nupress, Don Q, Billboard, Latin Grammy, DJ Spam and NPS2 Valet
Time: 7:00 - 10:00 post meridian time
Segura is showcased in the 8th issue of Indonesia's Versus Magazine focusing on client relations. Ismiaji Cahyono interviews Carlos Segura in the March 2010 issue.
Below are just a few of the Q&A bits.
1. What is good design?
Design is not just a "visual" medium. It is a complete experience, one which draws emotion from intelligence and makes the experience a memorable one, which in turn drives you to act.
2. What is the Carlos Segura signature design?
I'd like to think that it is process more than a visual fingerprint. I work pretty hard at it.
When I am introduced to a new project, the deciding factor for me, on whether it makes me feel interested or not, is if I will be able to make a noticeable point of difference. Not just doing a job to get it done, or to make money, or to even simply answer an assignment. It is to truly do something that has not been done before. I tall order these days.
I also try to step out of the moment and try to put aside the actual process so I can move forward to the user experience. This redirects our ideas to focus on how we would like to feel in someone else's shoes, something that is sometimes lost in the heat of creating.
A good design is nice to look at, but an idea makes you look at good design.
3. What is good design business?
Like any business. Success. But success doesn't just appear at your front door one day. Success only comes with very hard work. And, it takes time.
You have to know what you want and who you want to be as a business. I know that we all want to be involved in different disciplines (I am guilty of that myself sometimes) but I think it is best to focus and be great at one thing rather than mediocre at alot of things.
4. How is good design related to good design business, in terms of creativity and client relations? Approaches and strategies?
I do not subscribe to the idea that design is a "service industry". I make an effort to lead, to educate and to elevate the deliverable.
This comes with many pitfalls. Clients tend to ask for what they want, not for what they need. They don't mean to do it. It is often a response to the competition, or to what others are doing, or to even clearing their "to-do" list so they can get to the next problem they have to solve.
Some solutions take time to mature. This takes a certain amount of vision and commitment from the client. Today's market makes this quite difficult, since we all want instant returns.
An observation we've had is that when offering this guidance to your client, it might not be welcomed and so this becomes a moment that defines the relationship. Primarily because it brings up a choice. If the client does not agree to do what you recommend, you can either do it his way or your way, but you must select. Recognize this because that selection will define you.
It will also come with risks. The trick is to accept the risks of making a decision. That might mean getting fired. The people who are crazy and think they can change the world are the ones who do - (A quote in an Apple ad).
I have found that companies often behave like humans. Sometimes they make the wrong choice out of negligence and purpose, but most times they do it as a measure of insecurity. They do admirable things and they have faults that raise their ugly head from time to time. I have been in countless meetings were the "boss" says something completely idiotic. Somehow, everyone in the room knows it, except him, but the process continues down the wrong path because no one is secure enough to speak out.
A common experience we have usually brings this to light... when a company wants (or thinks it needs) a new logo.
The first mistake they make it thinking that a new logo will make them a new company. But you can't change and stay the same. Becoming someone new is a bi-product of your complete behavior and that is not captured in a logo.
This can get tricky when guiding your client because it could be interpreted that you are saying this to turn the assignment into a bigger effort. Your reputation will play a role here because if there is trust in the relationship, then there is a greater possibility of the two parties agreeing to a mutual goal.
The same with advertising. There are so many companies saying the same thing. In most cases, you could change the logo and it would make no difference whatsoever.
Everybody is somebody, but nobody wants to be themselves. (Gnarls Barkley)
5. How do you feel about pitching? What's your attitude toward clients who requests free ones (in Indonesia this is a huge problem because most pitches aren't compensated and considered a norm).
I quit my last agency, before starting my own business, over this very issue.
I do not, have never and will never do free work. Period. It is ridiculous to ask someone to do this. No client that asks you to do this will do it for you. It is disrespectful, devalues our industry and the talent in it. People only value things they pay for. So, if they want your work for free, then they don't think very highly of you.
Spec work is considered a norm there because you normally do it. Stop it, and that will become the norm.
6. I know you also love making typefaces. Is creating and selling products just as important as offering design as solution?
It is important, but it is also very different. It is a truly individual experience because you are living a raw moment of creation. It is your expression. The ones who like it will buy it, and the ones who do not won't. But the critical experience is that no one is telling you what to do and it make you feel truly free.
7. How do you see the creative world, specifically graphic design in say 10 years?
This is a very complicated question. It seems that many aspects of our industry are turning into a commodity. It isn't special anymore (certainly as viewed by the people who ask for free work... as you mention above).
Additionally, more and more people are getting into this field, so the stage is very crowed.
Here is a great TV spot that speaks to a similar issue...
For the "uneducated consumer", it is becoming increasingly difficult to weed-out the good ones from the bad ones, although having said that, there will always the the masters that rise to the top.
The great side of this too, is that it is giving a platform for creatives that would have otherwise not had the opportunity to be seen. Human creativity is an incredible power and will never suffer. We are built for it. We always want to improve our surroundings.
8. What's your advice to aspiring young Indonesian graphic designers?
Look at everything from many different angles and soon you?ll have an angle of your own. Don?t let things happen to you. Make things happen for you. If you?re going to dream, dream big, it?s free.
I have quite a few, but one recent comment by Chris Economaki makes it all come together. "Don't waste time getting ready. Stay ready".
Remember... small minds kill big ideas.
The Tokyo Type Directors Club's 2009 Annual Awards competition has recognized Cartype out of 3,316 entries from all around the world.
The Tokyo Type Directors Club (Tokyo TDC) was founded on December 17, 1987 to realize their vision, which was to firmly establish the field of "typedirection."
The primary activities of the club include an annual international design competition, the publication of the yearbook and the production of exhibitions.
The UK's Computer Arts has included Segura in their "Design Icons" series and is featured in an interview in the December 2008 issue. (Photography by Lindsay Gallup).
The Design Icons series is a celebration of the world's best designers - print and interactive - discussing their careers and current creative projects. It's basically a definitive guide to the best designers out there! An honor to be in this good company, because past interviews include Stefan Sagmeister, Jonathan Barnbrook, David Carson, Vince Frost, Deanne Cheuk, Brendan Dawes, John Maeda and Neville Brody.
Segura inc's comprehensiove rebranding of Corbis is one of the case histories featured in this Taschen 2007 edition of "Logo Designs", in additional to multiple logos for other Segura clients.
This exhaustive guide brings together diverse logos from over 30 countries, organized into chapters by theme, such as media, retailers, events, regions, service and agencies. A full index provided at the end of the book lists each logo`s company, designer, and designer`s website. Also included is a case study section, concentrating on logo application and development.
RockShox, a company owned by SRAM (based in Chicago) asked us to position the brand and develop their new products catalog for the 2007 model year of front and rear shocks. Our first task was to develope a tag line to be used across the board on their advertising campaign (which we also did), as well as all collateral materials. "The Earth Is Not Flat" led us to visually materialize the catalog "footprint" to represent not only the concept of the tagline, but also the product benefit of their "first to market" bike shocks.
Look at This: Contemporary Brochures, Catalogues & Documents, by Adrian Shaughnessy is a book that features the best of contemporary printed literature.
It offers a critical survey of current graphic design, showing work by leading practitioners from the USA, Europe and Japan. Arranged in a designer-by-designer format and accompanied by interviews with some of the designers responsible for the featured work, this book offers a complete and informative picture of this popular subject.
One of the many pieces we did for Corbis called CACP is featured. Not only are we honored, but also grateful for the very kind words describing our heartfelt effort.
It reads as follows...
"Segura Inc was briefed by long-standing client Corbis to design a catalog to announce the launch of the company's Assignment and reservation services.
Corbis was now moving into the area of specific assignments. A powerful statement was needed to launch the new range of services to an image hungry market.
With characteristic élan Segura Inc. created a striking document. It comes in a large, well-proportioned boxing contains a handsome book with oddball graphics and off-kilter imagery.
As with nearly all Segura Inc's work for Corbis, it is more an event than a document: receiving something from Corbis, when its been designed by Segura, is like receiving a piece of theatre.
The substantial body of impressive print work that Segura Inc has built up for Corbis in recent years appears almost to be an anomaly. Surely at a time when image libraries are moving to a near total reliance on the internet?
Carlos Segura has no doubts about the importance of print: 'Humans require the interaction of feeling a document' he states. 'Print will never die"
Adrian Shaughnessy is co-founder of London design consultancy Intro. He writes for numerous design journals including Eye, Creative Review and Grafik, is a guest contributor to Design Observer, the leading design blog.
The Crop series of large format catalogs created for Corbis continues to win. The Tokyo Type Directors Club has honered us with inclusion in the 2006 annual.
"CROP" is a large format product catalogue series for the client Corbis Stock Photography. There have been seven produced to date as part of a re-branding effort. Segura Inc. have been involved with the client for almost two years. While the catalogues are free, print runs are limited to 30,000 and include an extraordinary number of different papers, printing techniques and varied content, all in specially produced packaging.