![]() Oakley understands that, in order to create something great, one must scrape the surface of what one knows, take everything off the board, and start from ground zero. Part of the appeal of joining forces with Oakley, post-ArtCenter, is that we share an interest in transformation. ![]() Dave Marek had an almost painterly approach, one that I was utterly mesmerized by. Strother MacMinn understood the basics of the craft, and was a pillar of grassroots automotive thinking. Norm Sherman helped me unlock ideas I didn’t know were achievable. Some of my greatest mentors, I found in ArtCenter’s Automotive Design program. There would be no time for screwing around. At ArtCenter, I very quickly realized I was in another league – of brilliance. In the four years between attending Long Beach State and ArtCenter, I worked as a paper mechanic at a pop-up children’s bookstore, suffering all manner of paper cuts and X-acto knife wounds while learning about things like budgetary constraints that would serve me well later in my career. ![]() ![]() Thankfully, I came to learn the ins and outs of Industrial Design during those years, even if the scope of that discipline was not immediately clear to me. She was kind enough to look at my high school art portfolio back when the idea of a design career was a mere pipe dream. I was fortunate enough to receive guidance from Ray Eames some years before she passed. Being within proximity of those great minds had a profound impact on me. I used to take the bus from my native Santa Monica to neighboring Abbott Kinney to visit my mother at work. I couldn’t have been older than six or seven at the time. My mother held several jobs throughout her life, including a stint where she worked for Charles and Ray Eames. I was born in Southern California, the child of academics. ![]() Since I was young, I’ve enjoyed a certain peace of mind in knowing I was destined for a creative life. Storyboard: Nick Garfias Clarity and the Creative Hustle ![]()
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