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Nathanaël Hamon is the
graphic designer behind
Studio Slang. Born in
France, he relocated to
the US with his family at
the tender age of ten.
After earning a BA in Art
History, he continued his
lifelong interest in visual
creation and started
working in graphic
design. Berlin has been
his home since 2000.
Why Slang? The linguistic
definition shares
characteristics with his
approach and sensibility–
fresh, playful, and
constantly reinventing
himself. A slang is a vivid
and informal language,
heartfelt and true to
particular groups of
people. So far, he’s put
his signature on lots of
posters, record and CD
covers, books, typefaces,
illustration; mainly
dedicated to music, arts,
and culture. Examples
of his work can also be
seen in books, magazines
and...on walls.
Slang
www.slanginternational.org
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815
Photocopy. Zoom in, zoom out,
lighten, darken. Repeat.
811 DO SOMETHING FOR OTHERS.
What effect does your work have on
society? What are you contributing?
What is your message? Does it make
people think? Does it encourage
discussion? Do you believe in it?
812 U
SE A THESAURUS. It can help
you fi nd interesting associations and
trigger unexpected ideas.
813 C
OLLECT. Build up a collection
of texts, quotations, and statements
you fi nd inspiring or that could
become the driving idea for future
projects.
814 E
XPLAIN. Be willing to educate
your clients about design. Be aware
that they don’t think about design all
day and that it might be quite foreign
to them.
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816 IT’S LIKE A GAME. Defi ne
parameters and decide on a few rules
by which it is to be played. This helps
you be clear about what the focus of
each project is and what space you
can explore.
817 M
IX IT UP. Keep your work
fresh by taking on projects for a
variety of reasons: creative freedom,
exposure, reference, money, portfolio,
context, personal interest, volunteer,
collaboration, fun, etc.
818 D
O IT YOUR WAY. Everybody
has a different sensibility, different
eyes, different voice, different fi lter,
different edit. Express yourself.
819 C
OLLABORATE. Two, three, or
four heads are usually better than
one. Build a network of people to
work with.
820 T
AKE A BREAK. If you’re stuck,
put it away, close it, quit it, shut it
down.
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821
W
E THINK THAT DESIGN IS MOSTLY UGLY.
A very famous designer told us once
that almost everything he does for
pay looks very bad. Be prepared to
have to make ugly things also.
822 WE THINK THAT NOTHING IS WORSE
THAN THE SILENCE AFTER TELLING AN UNFUNNY
JOKE. A good design concept can be
a tiny source of joy that brightens
the day of your audience. And that
brightens the day of your clients.
To make sure your concepts are
coherent, we suggest describing
yours idea in prose. If an idea isn’t
clear in writing, it won’t communicate
as a design.
823 W
E THINK THAT THE JPEG OF YOUR
LATEST PROJECT LOOKS FANTASTIC ON YOUR
PORTFOLIO WEBSITE. How does it look in
real life? A design’s success should
be measured by its actual usage.
824 W
E THINK THAT IF YOU WANT TO BE
LUCKY YOU HAVE GOT TO SMILE. A folk song
taught us this.
825 W
E THINK THAT DESIGN IS
FUNDAMENTALLY A FASHION INDUSTRY.
Though it is most apparent in
women’s clothing, all design work
exists in relation to the tastes of the
time. Having an understanding of
how new tastes develop can help you
fi gure out how to avoid irrelevancy.
For this we recommend the economist
Thorstein Veblen’s
The Theory of the
Leisure Class
.
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826 WE THINK YOU NEED TO TAKE CARE
OF YOUR FRIENDS. We don’t think this will
necessarily help your career. It may
even hurt it a little.
827 W
E THINK YOU NEED A HOBBY.
At one point design was your
hobby, but now it is your job. That is
because you are probably a fantastic
designer. Now, you need to love doing
something that you are terrible at.
This will keep you humble.
828 W
E THINK YOU NEED TO WORK
ON YOUR CREATIVE DEVELOPMENT. Design
is your job, but remember when it
was your hobby? It was so much
fun. An exciting new project without
the concessions of clients work will
surely take you back to your salad
days. Perhaps you should start a
self-initiated project or do some pro
bono work in exchange for creative
freedom?
829 W
E THINK THAT YOUR HEART HAS
SOMETHING TO SAY TO YOU. When you are
fi nally creating the work you were
meant to create, you will feel a warm,
encouraging burst of energy. You
should try to be happy in the making
of things, not with the results.
830 W
E THINK THAT YOU MUST BE
FREE. You may fi nd yourself down
some road that you wish you hadn’t
ended up on. Don’t ever hesitate
to change your work, change your
style, change your job, change your
name, and get yourself free.
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