BEAST

A

THE 72 DPI MAGAZINE THAT IS NOW A 96 DPI MAGAZINE ISSUE

PUBLISHED+ DESIGN+ COPYRIGHT 2001 BEAST@THS.NU WWW.THS.NU/BEAST/

05

of 12

DATE: 29=NOVEMBER=2001

BY {THS} THOMAS SCHOSTOK

NO B ANNER NO SP ONSORS NO ADS

N O AWA RDS

NO NO NO DON’T NO CONTE NT NO VAG ROUN DED

LEGAL copyrights in the works of art compiled her e i n reside with the individual a r tists. The works may not be copied, published or distributed without the artist’’’s perm is s iT on .ses B E A S u p i c ts u r e s an nd i l l u t r a t o s tio le n fn ri o ms d f f e r e t s o r c s . cN og R eu p r oe d in w hs o tu mi its iu on !p e r -

01 - 03 TITEL / INTRODUCING... / INSIDE { THS } 04 WANTED HANS 25 BLOWN OUT 2002 05 INSUFFICIENT FUNDS ANTHONY F. YANKOVIC III JAY DAVID JUNKDRAWER.S5.COM WWW.EXPLOSION.NU 26 / 27 AMY ’ S LAUGH / DISTRACTIONS 06 - 07 DESIGN IS NOT... MICHAEL TUSSEY JOHN BAICHTAL (TEXT) WWW.SHODOWN.NET + { THS } (DESIGN) 28 WWW.FAMISHED.ORG EDUARDO RECIFE 08 - 09 WWW.MISPRINTEDTYPE.CJB.NET KERRY ROPER 29 DDVIL WWW.YOUAREBEAUTIFUL.CO.UK DANIEL MOTTA CARVALHO 10 - 13 KELLY BUNDY WWW.AGAINST.COM.BR { THS } 30 14 DREW HEFFRON EDUARDO RECIFE WWW.CUTTING=GRASS.COM WWW.MISPRINTEDTYPE.CJB.NET 31-34 {{ BORN LUCKY }} 15 2 IS MY FUCKING NAME PAUL DROHAN SUPERDEUX WWW.D5IVE.COM WWW.SUPERDEUX.COM 35-36 2 (TWO) 16 DER FALL 84 MARTIN CALLANAN { THS } WWW.ITAKEPHOTOS.CO.UK 17 LIFE MOVES REAL FAST: PART 1 & 2 37 PAUL DROHAN DREW HEFFRON WWW.D5IVE.COM WWW.CUTTING=GRASS.COM 18 38 WINTER CAT RENTAL OLI GOLDSMITH STEFAN CLAUDIUS WWW.BACKYARDCIRCUS.COM WWW.PHANTOMPOWER.DE 19 39 HAPPY BIRTCHDAY BITCH DREW HEFFRON MEL CHAN WWW.CUTTING=GRASS.COM M.ANTITREND.NET 20 DOMESTIC EXCITEMENT 2002 40 JC PENNEY 2002 ANTHONY F. YANKOVIC III ANTHONY F. YANKOVIC III JUNKDRAWER.S5.COM JUNKDRAWER.S5.COM 21 41 YOURS OLI GOLDSMITH { THS } WWW.BACKYARDCIRCUS.COM 42 22 TRAEGER & TRAEGER JOHN BAICHTAL TRAEGER.U.TRAEGER @ T=ONLINE.DE WWW.FAMISHED.ORG 43 WHAT COULD HAVE BEEN 23 MY SICK SISTER WRESTLING WITH ANOTHER MINISTER BARD HOLE STANDAL { THS } WWW.PURIFIED.ORG 24 44 HELP , I LOVE TWINS OLI GOLDSMITH { THS } WWW.BACKYARDCIRCUS.COM 45 ROCK THE WORLD 2 MEL CHAN M.ANTITREND.NET 46 ACTION SEQUENCE { THS } 47 UND OUR LIFES WILL BE LIVED FOR THE THRILLS { THS }

2

THEME:

I N SIDE

Design

is nOt

but it crystalized for me the other day. There is bad -- but dividing good, there is work into these two camps is up to the whim of the observer, and as we know, everyone has an opinion. It's easy enough to claim that monolithic or homogenous. someone who doesn't like your work is ignorant I think I had known this fact for a while, and unsophisticated. Certainly, we'd all like to have clients and CRITICS WHO WERE EDUCATED AND INTELLIGENT. AND, MORE TO THE POINT, WHO'D LIKE OUR STUFF. I THINK A BETTER DIVISION (ASSUMING THE WORK ISN'T SLOPPY) IS WORK THAT'S RIGHT FOR THE CLIENT OR WRONG FOR THE CLIENT. EVERYONE HAS DIFFERENT TASTES, and for some people, having their brochure or business card look different than all their competitors is profoundly frightening. Look at

lawyers -- which one wants to be the w i l d , w a c k y a n d h i p l a w y e r ? The answer is, none of them. Some professions and some people
want to be the same as everyone else, and if they come across as different than their competitors, THEY WANT THE MES-

SAGE TO BE THAT THEY'RE THE SAME

-- oNLy

better. ette
These businesspeople aren't dumb. It's just that their priorities and target market are different. A hip design firm needs to come across as fresh, daring and original. A bankruptcy lawyer or a bank needs to present the image of conservatism, responsibility and sobriety. If I, as the designer, refuse to do that sort of work because it's not cool enough, then I should expect to lose the account. OF COURSE, IT’S NOT AS SIMPLE AS THAT. Some clients, through ignorance, choose the wrong atmosphere for their business. Or, they have an opportunity to carve a particular niche for themselves with the use of unique design. Then the designer must argue with the client and advocate something a little more daring. However, I think these clients are in the minority. Most have a clear

idea of what they want, and good reasons for wanting it. T h e g r e a t e s t m i s t a k e a

designer can make is subordinate the client’s needs for the designer’s own.
This whole thought process came together the other day. I was interviewing for a design job, with a portfolio chock full of (I’d like to think) daring and innovative work.

The interviewer wasn’t interested. He suggested that if I wanted a job at his shop, that I put stuff in my book more closely

resembling the work he did. Fair enough. The only problem was that his stuff
was incredibly boring, rife with cheesy stock photos and dimestore fonts. It was lame, vanilla, and predictable. So what gives? THE GUY HAD BEEN DOING WORK LIKE THAT FOR TWENTY YEARS. HE HAD HIS OWN BUSINESS and take a chance, rather than aping wh at they assume to AND PUT HIS SON THROUGH HARVARD. HE be the standard look and feel for their industry. Look at the MADE HIS SUCCESS BY WORKING WITH Miller Lite ads that Fallon McElligott did. They CLIENTS WHO SHARED HIS CREATIVE VISION.

Sometimes it doesn’t work.

More po wer to him.
W O R D S : www.famished.org BORING DESIGN: ths

I JUST HAVE TO A C C E P T THE AND THAT’S THE FACT that I don’t want to work for those W A Y I T A L W A Y S W I L L B E .
clients. Or those clients’ design shops. I want to work for clients who NEED COOL,

were awesome, but totally wrong for that client and that market. Miller Lite went back to BIG TITS and “TASTES GREAT” and made m o r e m o n e y . Fallon found cooler clients.

ORIGINAL AND INNOVATIVE CONCEPTS. Who are willing to rock the boat

THE LAST TIME I

S A W
L I K E

Y O U

T H I S

ACT
WE WERE

KIDS.

M er

ci ,

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