There is a rich history of beautifully illustrated magazine covers showcased in the UCDA Design Awards. So, it was no surprise when I came upon the stunning entry submitted by Fort Lewis College. I was struck by the color, craftsmanship and design and found myself wanting to know more about the creation of this piece.
To answer those questions (and more) I reached out to FLC Art Director Anna McBrayer and Dine' Artist/Cultural Mentor Garrett Etsitty. Both Anna and Garrett were kind enough to share the story behind the piece that would grace the cover of the FLC Voices alumni magazine.
Can you tell us a bit about the path that has brought you to where you are now in your career?
Anna: I began as a studio artist and graduated with a BA in art. I minored in graphic design for practical purposes and it has become my career, however, I think that my experience with art offered me a unique insight into design especially when it comes to visualizing illustration for editorial purposes like in this case working with Garrett.
Garrett: I observed my elders creating ceremonial art and had an interest in creating art since I was five years old. I loved the geometric shapes on my grandmother's textiles and would try to mimic her patterns on a piece of paper. Some of those patterns I will use in my art and graphic design.
How did you come to the decision that illustration was right for the cover of this issue of your magazine?
Anna: This issue was our first themed issue, and we really wanted the front of the magazine to encompass the many aspects of land that we were covering in our feature well given its prominent position for the magazine. I have to say also that I have been inspired by all of the magazine illustrations I have seen in the Design Show over the years at the annual conference. This was one of those opportunities to use that inspiration from the conference in my own work as Art Director and designer of FLC Voices.
How did you select Garrett as the artist for this project?
Anna: Garrett is an alum of Fort Lewis College. His art was made known to me through the Pivot: Skateboard Deck Art show that was in the gallery at the Center for Southwest Studies at Fort Lewis College. I reached out to the curator for a list of artists from the show and Garrett’s work and affiliation with the college dovetailed in a special opportunity for us both.
What was your reaction when you learned that your illustration/painting was selected as an award winner and would be displayed in the UCDA Design Awards show?
Anna: Honestly, I was not at all surprised that this piece stood out in the multitude of entries.
Garrett: I was excited to be part of the UCDA Design competition and honored to receive an award.
Can you talk about the collaboration process between art director and artist and how you took the words of the feature story and brought them to life (visually)?
Anna: I started by giving Garrett a synopsis of all of the feature stories. The opening feature discussed the land acknowledgment and then moved into undergraduate research in biology and the search for permafrost in the high country as well as the local watershed. Next, the importance that bison wallows play in the health of the soil in surrounding areas as well as a new program called Farmers in Training at our agricultural campus where students are learning about regenerative farming techniques. There were pieces about native plants, both as art installations and an actual garden on campus. I encouraged Garrett to weave in as many representations of these topics into the piece as possible. He took it from there and had a great vision for the project.
Garrett: With the great explanation from Anna on the beautiful feature stories in the magazine I wove these stories together to create this great design.
Commissioning an illustration can be a bit of a mystery for a lot of designers — what tips would you give designers who are new to the process?
Anna: First, I think researching artists and finding someone that has the style of illustration you are looking for is the first step. In this specific case, however, we wanted someone with a unique connection to our Native population given the opening topic of the Land acknowledgment, and having one of our own Alumni, who had a vested interest in the school just felt like the authenticity we were looking for. The fact that Garrett is a capable and thoughtful artist made the collaboration a recipe for success.
From the perspective of the artist, what tips would you share on how best to work with illustrators/artists?
Garrett: First, learning about the process of creating graphics and having a deep appreciation of the illustration process. Experimenting and communication are key to being a successful designer.
Commentary from the judges about your work included: “...color scheme, use of elements and arrangement of principles of design work extremely well with the concept.” Can you unpack this a bit for our readers? How did you determine the colors and visual elements that make up this work, and your art in general? Can you discuss any “principles of design” that influence your creative process?
Garrett: During the process, I referenced the Southwest’s vivid colors, from the landscapes to the plants. I then added multiple layers of indigenous geometric patterns to represent the articles in the magazine. During the process, I had a vision to create a cover page that would reflect a oneness with nature and the beauty of the natural environment.
Were there any notable challenges in the creation of this piece?|
Anna: At first, Garrett focused on the physical land the college sits on, the architecture, and the school colors. He initially illustrated our iconic clock tower in blue and gold. However, I realized, it was just a miscommunication on just how much opportunity for his vision I was wanting from him. With a quick phone call for clarification (pick up the phone! It’s easier to communicate in these circumstances than email) and by articulating better the level of artistic license both in colors and graphic representation I wanted him to take advantage of — my feedback was honest, articulate and was very well received. Garrett took another shot at the illustration which was entirely different from his first rendering, and what you see is his second attempt which we published. Finding that balance of the artist’s creativity and art director’s vision can be tricky but acknowledging that challenge, figuring out where on the spectrum you are willing to land as well as being open to feedback, is an important factor in the success of a project like this.
Garrett: When I received the information about the project, I incorporated the college’s iconic clock into the illustration. I completed the illustration page and thought they wanted the cover page to represent the college with some plants in the background and the school colors. It was just a miscommunication, but it was fixed with a quick phone call and clarification. After speaking with Anna, she gave me the green light to do whatever design, patterns, and colors I wanted for the project.
How do you stay creatively inspired?
Anna: I have always loved painting since a very young age. Unfortunately, career and kids and life can get in the way of anything that isn’t part of your day-to-day obligations. I have recently begun to set aside time to paint again, and it has been so rewarding to concentrate on the process rather than the end product. I find it is giving me the headspace to be better at my Art Direction. And in all honesty, as much as I love being an Art Director and guiding both designers and illustrators, I am a bit jealous of illustrators like Garrett who have managed to devote enough time to hone their craft and make a life from it alone.
Garrett: I try to keep my mind young. Playing with unique styles of art and repeating the process to be better. I love creating and watch my visions come alive. I have always loved creating.
Bonus: What is the best thing you’ve watched recently? (tv, movie, whatever!)
Anna: I just read a book titled Picture This: How Pictures Work by Molly Bang. She breaks down storytelling through illustration to the most basic of shapes, colors, sizes, and positions and how those relationships can play a major role in the viewer's emotional reaction to a piece. I can’t wait to begin looking at things, illustrations, photos, paintings, and design, that I like as well as things I don’t care for through this new lens. I believe this may hold the key to unpacking the why’s behind design and composition that I believe to be the most successful at storytelling and emotional impact.
Garrett: I recently watched Chef’s Table “Pizza” on Netflix. I loved the episode with Chris Bianco, on how became one of the best pizza makers in the world. Chris Bianco started out in New York and moved to the Southwest to create a unique style of pizza. Chris’s pizza consists of natural herbs and produce from the southwest desert.
Matt Krob is the Director of Design Services at Saint Louis University and has survived 20+ years in higher ed design. Career highlights include serving as the 2016 President of UCDA and 2020 UCDA Design Awards Chair.
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