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Chris Ro 59
Originally from Seattle,
Washington, Chris finds
very much delight in all
that can be classified
as extremely complex
yet ultimately, very
simple. He enjoys the
occasional blending of
two dimensions with
three dimensions.
Currently on a quest
to find that which is
that, you may find Chris
in great love with fine
typography, tinkering
with some experimental
photography or
consuming the West
coast burrito. Prior to
his graduate studies,
Chris held posts at
a healthy handful of
international design
studios: ATTIK in San
Francisco, New York and
Leeds, Fork Unstable
Media in Hamburg and
Berlin and Fluid in San
Francisco. Chris holds
an undergraduate
degree in Architecture
from UC Berkeley. Chris
is also a member of the
AIGA. In his spare time,
he’s also a contributor
for the graphic design
journal
GraphicHug
™.
Chris Ro
www.adearfriend.com
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131 PROCESS AND IDEA. I start with
an internal dialog where I sort out
some of the foundational issues in the
project and further, conceptualize
how a solution can be found. I often
just sit down with any sort of word
processing application and just start
to pour forth my ideas. Eventually,
they start to formalize some concrete
thoughts and scenarios that I can
lay down as groundwork for every
project.
132 S
KETCH AND WRITE. I begin to
just do some quick sketches to apply
some visual language on some of this
writing. Whether it be just a quick
idea, or something that is lingering
in my mind in terms of feel, I try to
put it down. I think it is in this unison,
where both written thoughts and
visual thoughts meld, where any
project begins to take some shape.
133 V
ISIONS VERSUS CLIENTS. I think
my ideal client would be somebody
who could see happiness. As
designers, we often pour ourselves
into projects. We truly get engrossed
in the process and actually put our
hearts into it. We get lost in the
making. We fi nd ourselves at home in
a moment of discovery. And I often
wish clients could see this.
134 O
RDER VERSUS CHAOS. I think
I am internally torn by the same
components. I have a practical,
pragmatic side that sees only the
logical solution in it all. But I feel
that any logical solution needs an
irrational side; something that is
refl ective of you inside the project.
Otherwise, the project could have
been done by anybody else. It is only
when you are able to give yourself
to a project that it can take a life of
its own.
135 B
ALANCE AND STIMULATION.
Testing that balance between just
enough organization and just enough
chaos to keep things fl uid. So that,
at any given point, I can fi nd what
I am looking for. But it is never too
far from my reach and it is never
too much to stifl e any creativity. Just
enough visual stimulation and clutter
to go with a sensible organization.
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140
G
RIDS AND INTRICACIES. I love grids
when they are broken. When they are
stretched to capacity. When they let
the intricacies of human nature pour
in and defi ne or undefi ne them.
136 SERIOUS VERSUS FRIENDLY. An
interestingly contradictory scenario.
And I wonder if the two can really
be compared. For at heart, I know
myself to be more friendly than
serious. But when it comes to things
dealing with businesses and folks
investing in anything creative, I feel
there is a serious side that needs to
come out. Perhaps one that I am even
less comfortable with.
137 D
ISCOVERY AND ITERATION.
Pushing something, pushing a method,
pushing a form to become something
else. To see what else can happen
with it. To see if it can be moved in
another direction. I think I would liken
this to sculpture in many ways.
138 S
CREEN VERSUS PRINT. As much
as I spend time and enjoy designing
for interactive, I also miss the tactility
of the print world. The nature of
touching, feeling, and truly controlling
an interaction with a printed piece.
There is something that is so much
more palpable in the sensory nature
in interacting with a book, a print, or
a craft. And it is this that I miss in
the screen.
139 R
ESEARCH AND WAIT. Research
only fuels a more informed and
thorough solution or result. I’d say
this takes place in tandem with the
writing portion of a project. I’ll
look up materials, writings, other
relevant data if it does inform the
brief and inform the actual end
result of the project. And it goes
back and forth. I fi nd something,
write a bit about it. Then fi nd
something else and write some more.
I think the best part of this process
is the “a-ha” moment. The moment
where you reach an epiphany and it
triggers something internally.
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141 Be patient.
142 Act gentle though straightforward.
143 Know what you can and can’t do.
144 Go for a walk.
145 Go for a beer.
62 1,000 Ideas by 100 Graphic Designers
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146 Be able to reason your design
decisions (and if you can’t, know that there
is no point to your design).
147 Don’t mind starting all over again.
148 Don’t wait for people to do things
for you (it will take more energy than doing
it yourself).
149 Don’t listen to me (but study
thoroughly your idols).
150
Make it beautiful, meaningful,
exciting, original, and simple!
Claudia Doms 63
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