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After studying
Printmaking Arts and
obtaining a MA in
Interdisciplinary Arts,
Margus is now a PhD
fellow at the Eesti
Kunstiakadeemia Tartu
(Estonian Academy of
Arts). His research
topic is Interventionism
(known also as tactical
media or culture
jamming or neo-
situationism or artivism
or post-activism). Along
with graphic design he
is also a performance/
installation artist and
a university lecturer.
His work experience
encompasses 12 years
as an art director in
different advertising
agencies Publicis, Young
and Rubicam, DDB.
Moreover, thanks to his
doctoral project he has
become increasingly
interested in critical
writing and curatorial
practices–recently
curating Artishok Annual
Exhibition, presenting
an overview of emerging
younger generation
Estonian art, arranged
under the aegis of the
art and criticism blog
Artishok.
Margus Tamm
www.tammtamm.net
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551 BE THE CLIENT; MAKE THE PROJECT. I
make designs for my own exhibitions, for
events organized by my friends, for the
parties I’m planning to visit. Most of the
projects viewed on my homepage, are self-
initiated projects.
552 B
E INVOLVED. If you are involved
in arranging the event and the design
for it, those two can evolve as parallels,
supporting and supplementing each
other. If graphic design bounds with just
illustrative functions, this can be considered
as under-usage of design potential.
553 B
E TRUE TO GRAPHIC DESIGN. I don’t
see anything controversial in self-initiated
projects. As I see it, graphic design is an
independent semantic discipline with its own
inner logic. And that means that there are
also problems raised only by the discipline
itself and questions to be answered only
inside this discipline. Graphic design does
not always have to present something else
to be itself.
554 T
RY TO DESIGN FOR DIFFERENT SETTINGS.
After all, all is one. For example, when
working intensely with some art project,
it is usual that during this process I get
also some design ideas as side effects. And
vice versa, some ideas that were counted
out during the design process may become
useful in another art project. And it’s
equally as rewarding. But that doesn’t mean
that design is art. Design is design. There
may not be a difference for myself
but the end results go to different boxes.
555 E
XPAND YOUR BORDERS. I fi nd
multidisciplinarity quite interesting and
inspiring and I’ll never erase borders
between different roles or different
disciplines, because these can serve
as very effective tools.
186 1,000 Ideas by 100 Graphic Designers
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560
N
EVER LOOK BACK. One day before the
deadline, when everything is fi nished
and just waiting to be published you
reach the point where everything
you’ve made seems weak and pointless
and you feel great tension to remake
everything. Don’t.
556 DESIGN WITH LESS. Because most
of my projects are non-budgetary, the
less expensive media is also the favorite
one. Sometimes we’re talking about the
possibilities offered by copy-machine. On
one hand it is a practical necessity, on the
other creating from limited possibilities is
also a conceptual choice: the playground is
smaller, more basic and more complicated,
but the end result will also be stronger,
because it carries both aesthetical and
practical arguments. That makes design
look somehow inevitable.
557 C
OMMUNICATE. Use Skype!
558 G
ET STARTED EASILY. With doodling
and googling.
559 K
EEP WORKING. It may take many
miles of walking in your room before you
get somewhere. Then you stop and start
digging, until you fi nally fi nd something. If
it makes you feel happy then it is the right
thing. Then you show it to your signifi cant
others. Then it’s ready.
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561 MUSIC/ART/LITERATURE/CINEMA.
Respectively: Radiohead/Francis Bacon/
José Saramago/David Lynch.
562 A
S A DESIGNER YOU SHOULD READ. And
not only design books: try
White Noise
by
Don DeLillo. It’s a funny and interesting
commentary on consumerism.
563 I
GNORE YOUR SURROUNDINGS WHILE
WORKING. My workspace changes drastically
from the beginning to the end of a project.
I start with a clean, super-organized desk,
but by the end it’s always littered with piles
of printouts and used coffee cups.
564 S
MART, BUT SNEAKER-Y. I dress
relatively casual for interviews and client
meetings. I usually wear jeans and a
button-up shirt. For more formal meetings,
I’ll wear dress shoes, but usually I wear
sneakers.
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570
Love letterpress. The tactile
quality of pressed type.
565 GRIDS ARE NECESSARY. Absolutely.
100% of the time.
566 F
ONTS. I despise Copperplate. It’s
so ugly and clunky, yet it’s impossible to go a
day without seeing it on a restaurant menu
or a storefront window.
567 M
ORE THAN CMYK. I used nothing but
CMYK, but lately I’ve been playing around
with earth tones. Right now I’m working on
a poster where I only use different shades
of brown.
568 A
UTO-ADVERTISE. I’ve received a lot
of publicity by submitting my portfolio to
design blogs. It’s an easy (and free) way
of getting your name out there.
569 L
ESS IS MORE. I think design has the
biggest impact when it can communicate its
message without superfl uous elements.
Martin Dominguez 189
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