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inspiration from vintage kids books and timeless modern graphic design Hybrid Design interview
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Hybrid Design was formed by the husband and wife design team of Brian Flynn and Dora Drimalas. The San Francisco based firm has worked with a diverse body of clients including Nike, Upper Playground and Vans. The dynamic duo are also the brains behind Super 7 and Hybrid Home.
In today’s interview Brian reveals some of his influences, shares insights on managing a design firm, and even manages to squeeze in a somewhat obscure reference to Cameo.
Hybrid’s studio space
Where are you from originally?
Dora and I are both from Texas, although technically Dora is actually from Greece, but grew up in Texas. I think that upbringing shapes a lot of what we do and who we are. In the pre-internet age, you had to really seek out information and opportunities, you couldn’t Google the answer. If you wanted something outside the norm you had to invest yourself 100% in finding it. By working that hard and taking those risks, we were able to do what we wanted. We weren’t afraid to fail, as failing only meant we were in the same place we were before, so any potential change -even 10% was 10% more than we already had. Even failing was a win. We were willing to take chances and move for opportunities, and that allowed us to get where the opportunities could keep building on top of each other. I knew a lot of talented designers who ended up working crap jobs because they were too scared to quit and move someplace unfamiliar for a better opportunity or scared of the risks of trying something out of their comfort zone. When we look at job applicants, we always take a look at this too. What did it take this person to get here? Someone who grew up in SF may not have had to work near as hard as someone from Kansas to arrive where they are today.
Hybrid’s branding campaign for Impact Teen Drivers recently took first place in Print’s international design competition. Image via Print.
When and how did you come to be interested in graphic design?
I did not know what graphic design was. My Grandmother was an art teacher in rural west Texas (who knows everything about everything), so when I told her I was going to “art school” in college (whatever that meant) she kept telling me to take graphic design classes as a back up. I ended up at the University of North Texas taking printmaking, art history, painting, watercolor and graphic design classes trying to figure out where I fit. I still really didn’t put all the pieces together until a year before I graduated. In an illus
Cover for The Bad Sleep Well (1960) - Directed by Akira Kurosawa
The Criterion Collection is well-known for restoring rare, unique and cult classic films from famed directors like Akira Kurosawa, Jean-Luc Godard, Luis Buñuel, and Wes Anderson. Equally respected is their cover art and supplements to their DVDs. For 25 years, Criterion Collection has been pairing art house films with strong design. From typography to photography, they elevate box art to poster art with work that never cease to impress.
Georges Franju - Eyes Without a Face (1960)
Jaques Tati - Mon Oncle (1958)
Jean-Luc Godard - A Woman is a Woman (1961)
Jean-Luc Godard - 2 or 3 Things I Know About Her (1967)
Pen Pencil Stencil is the online home and physical workspace of Mark Giglio. Mark is an amazing illustrator/ designer who’s worked on projects with a diverse mix of companies including: 2k by Gingham, Apple, Dwell, GSP, Nike, Tolleson Design, and others. Recently I had the pleasure of hanging out with Mark at his Oakland based studio.
How do you like working in Oakland?
I really like working in Oakland. I like the slower pace is has to San
Francisco and the weather is warmer too. I’ve been here for 17 years now
so I’m kind of attached to it.
What do you like most about your space?
Having my own space to work in. Being at my studio is my favorite place to
be. All my favorite objects, books and personal projects are there. It’s
my place to experiment and think. If I have to work outside my studio on a
project for someone it is always the best feeling to return to it again.
What are some of your favorite objects in your studio?
My favorite things hands down in my studio are my books. I love books and
love the books I’ve collected. I can go to public libraries for hours and
search for things. Then the best thing on my bookshelf that isn’t a book
would have to be my La Fonda Del Sol menu designed by Alexander Girard.
La Fonda Del Sol Menu - Designed by Alexander Girard
This week’s poster pick was made possible by the creative minds that make up Doublenaut. Doublenaut is stationed in Toronto, Canada and is made up of brothers Andrew and Matt McCracken.
This is a swell season (totally intended) to admire the beauty around us and in this poster. I’m looking forward to seeing more work from these guys.
You can purchase this week’s poster pick at the Poster Cabaret.
Posters for the International Design Center Berlin (IDZ)
Herbert Kapitzki, a former student of Willi Baumeister, conceived and designed exhibitions for the state industrial inspection board (Landesgewerbeamt) in Stuttgart in the 1950s and the early 1960s. He developed a distinct language of forms modelled on constructive forerunners, and campaigned for the popularisation of functional graphic design. His own groundbreaking work was exemplary in this respect.
Full-page advertisements in the “Stuttgarter Nachrichten” a German newspaper.
System of signs for sporting and leisure pursuits, 1969
Contribution for the Federal Republic of Germany to the Montreal International Exhibition
1967
When Otl Aicher asked him to teach at the Academy of Design in Ulm, where he remained until the closing of the school in 1968, he already possessed mature creative solutions and precise concepts of modern information design.
The interdisciplinary discussions about actual and future ways of communication of the Stuttgart ‘group 56′ inspired Herbert Kapitzki. He was a pioneer in exploring the visualisation of information through graphic symbols or systems of codes to meet the needs of modern mass communication in times of mobility.
With his pictograms and orientation systems for airports he set international standards for a lingua franca which nowadays seems self-evident to us. Systematic form design remained the central theme of his teaching in Ulm and in Berlin, where he taught at the Academy of Arts from 1970 until his retirement in 1990.
