Episode Transcript
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Scarlett 2i2 USB (00:00):
Brand of brothers is coming back next
(00:01):
year.
In the meantime, here's aninterview from the vault
recorded back in November of2020, please welcome the amazing
Derek Deal.
Former motion designer turnedcreative director at universal
studios.
Doug Berger (00:13):
Sorry.
I'm like bringing up thequestions and such.
Oh, it's all good.
All right, here we go.
Hey, Derek.
Thanks for joining us.
Derek Deal (00:24):
Thank you.
Happy to be
Doug Berger (00:25):
here.
So, let's, uh, let's dive rightin.
Um, So, we all end up, and thisis especially true for
creatives, just findingourselves in the world of
design.
For some, this is through a sortof early discovery, and, and
others, It happens a littlelater in life.
(00:47):
You obviously figured it outprior to going to art school.
Do you remember how you stumbledinto this realization, you know,
that you're an artist?
And when did you make thedecision to pursue some sort of
an art oriented craft?
Derek Deal (01:00):
Uh, well, I always was really into drawing when I
was a kid.
Um, and, uh, I would just spend,you know, Hours just drawing
from comic books, drawingcartoon characters, just stuff I
liked, like shit I was into, um,and I think as I kind of, you
know, got older and progressedin school, um, more people kind
(01:22):
of, um, reacted to my drawingsand, uh, responded to them like
in a really positive way, askingme to, you know, draw things for
them and like, Hey, can you helpme with a project?
And I started, uh, I don't know,I started getting kind of like
recognition from it and, um, Iguess a little bit more
attention, um, which is always,you know, a good incentive for a
(01:42):
kid to keep doing something.
Um, so, I mean, that's basicallyhow it started.
It wasn't until later, um, Iguess I was in high school where
I thought that maybe I couldactually make a career out of
it.
I mean, there was never reallyanother thing.
Like there was never other thingthat I was like super good at.
Shitty at math, like okay,student.
(02:02):
Um, otherwise, um, but there wasnever really anything that, uh,
kind of, uh, uh, seemed like theright path for me other than
art.
So I am really thankful in thatregard because I always kind of
knew that I wanted a career inthe arts.
I didn't necessarily know howthat was going to manifest
(02:23):
itself.
Um, I've course correctedseveral times.
in my career.
Um, just because there's lots ofstuff that I'm into and lots of
things that I like to explore.
Um, but it's always been a thingthat I've, that's been kind of a
part of who I am and somethingthat I wanted to pursue.
So there was never like a lightbulb moment.
Um, it was just always feltnatural to me.
Doug Berger (02:45):
Sure.
So you mentioned the whole comicbook thing and there's
definitely a comic book vibethat seems to be evident across
your array of designs.
You know, whether it's in a flatand graphic context or a shaded
and dimensional, uh,perspective, even in your motion
graphics, um, what do you, whatdo you find has inspired your
(03:07):
overall aesthetic?
Derek Deal (03:09):
Well, I'm, I'm a kid of the, uh, the eighties and
nineties.
So, I mean, all that, you know,really cool visceral stuff of
the era.
I mean, I was really intoGarbage Pail Kids and Madballs
and, um, uh, Punk rock and, um,animation, I mean, I, I feel
like I've probably watched everyLooney Tunes that exists.
(03:30):
Uh, I mean, all that stuff, Iwas just a, you know, a pop
culture sponge in those days.
Um, when my parents would worklong hours, I would spend long
hours in front of the TV orNintendo, so.
All that stuff just kind of, uh,manipulated my brain.
And, uh, that's the stuff thatI'm usually drawn to.
(03:50):
Um, and then as I, as Imentioned earlier, I spent a lot
of time drawing.
So I would, you know, crackopen, um, Mad Magazine or, or
Cracked or, uh, Marvel Comics.
And I would just like spend along time just trying to draw,
learning to draw from, fromthose characters, um, on those
pages.
Um, and then like, as I gotolder, um, I just.
(04:13):
And like the skills kind of, youknow, uh, started adapting.
Um, I still like to kind ofrevisit that stuff cause I just
find it really fun to draw.
I mean, um, as I got more intolike music, I still saw a lot of
kind of, um, correlation betweenthe things that I was really
(04:34):
into when a kid with the stuffthat would, that I would see on
the album artwork and t shirtsand, you know, And all that kind
of stuff.
So as I got older, I kind of gotinto more, um, drawing in that
style for, for, for bands andmerch and album covers and
things like that.
Doug Berger (04:52):
And did you ever get the chance to do that kind
of stuff with regard to playingwith album covers and merch?
I know that, that you actuallyhave merch available on your
website, but, um, did you everget to play with stuff in the
music industry?
Derek Deal (05:09):
Um, I spent several years basically just doing
illustration for the musicindustry.
Um, uh, poster designs, albumcovers, t shirts, um, mostly
like in that kind of, uh, skaterpunk type of genre.
I've done a few, you know, metalbands, uh, rock man.
I've done a couple of big acts.
(05:30):
Um, There was a, there was awebsite for a while called
empties.
com, which was basically likejust this hub for, um, merch
designers and, um, clothinglines.
And it was like a, a big kind ofsource of revenue for a lot of
us, um, uh, to make like really,um, interesting merch designs.
(05:53):
So that I was kind of, I wasdoing a lot of that kind of
work, um, in the middle of mycareer.
Right on.
Care
Doug Berger (06:01):
to name drop?
Derek Deal (06:03):
Uh, I'm trying, you know it's funny because some of
these, um, these merch places,um, they'll just throw like a
bunch of big name acts for you,at you, and you'll generate
designs, um, uh, basically for akill fee sometimes, like you'll
get like 150 bucks just to likeproduce a comp, um, and they may
(06:25):
not pick it up or whatnot.
Um, so I've done a ton of thingsfor artists that never actually
got bought and I can't evenremember which ones did but I
know I've done designs for likeMotley Crue, ZZ Top, I did a
design for Shakira, uh, I did adesign for um, Oh, what's that
chick?
Who's the one that Seinfelddidn't want to hug?
(06:47):
Uh, you know what I'm talkingabout?
I can't remember
Doug Berger (06:50):
her name.
I totally remember when it comesup to him, and he's like, can I
have a hug?
And he's like, no.
No, I don't want to.
Derek Deal (06:58):
Yeah, I can't remember her name now, which is
classic.
Doug Berger (07:00):
The reporter was like, do you know who that was?
And he's like, no.
Okay, well.
Yeah, Kesha,
Derek Deal (07:07):
it's Kesha.
Yeah, I did that.
Doug Berger (07:11):
Well, I don't know if I'd want to hug her either.
I don't know.
I don't think so, yeah.
Well, so one of my, my personalfavorite designs of yours, and
to be completely candid, Ididn't even know who did it when
I saw the poster at my friendNick's print shop back in like
2010 or so.
Um, So I totally fell in lovewith it.
I framed it.
In fact, it's still hanging inmy studio somewhere.
(07:32):
I think it's in the lobby orsomewhere.
Um, but anyhow, I'm talkingabout the, and, and forgive me
if I got the title wrong, theAmerican gentleman, the one, the
Boston Terrier, um, can youfirst, can you describe it to
our listeners?
Um, I, you sound like youremember it.
And then for selfish reasons,um, may you please tell me the
(07:55):
story behind it?
Derek Deal (07:56):
Yeah, it's a, um, it's a poster design I did.
It's a Boston Terrier.
Um, and he is a, uh, very smuglooking Boston Terrier.
He has a monocle and a top hat.
And he's, uh, he's, uh, dressedto the nines in a tuxedo.
And, uh, I think he's smoking acigar.
I don't remember.
Um, but yeah, I mean, it's a,it's a poster I did for my dog.
(08:21):
I had a, um, I had a BostonTerrier for many years.
Oops.
Sorry, got an alarm going off inmy phone.
Uh, yeah, he's my BostonTerrier.
His name was Meatloaf.
Um, unfortunately, he's nolonger with us, but, uh, it was
kind of my tribute to him.
Uh, apparently, Bostons havethis, uh, surname of the
American Gentleman, because itlooks like they're always
wearing a tux.
(08:41):
So, I thought that was kind of afun image to play with.
Um, he's one of the first, uh,illustrations that I, I forced
myself to do that illustrationbecause I was becoming really
reliant on like the hard blackoutlines and it, I wanted to
kind of play around with justbreaking away from those and
playing more with shape.
(09:02):
Um, it's, it's still a lot likemy other illustration work, but
I really kind of forced myselfto, to push away from that.
And then since then I do alittle bit more kind of flat,
like, like, um, area based likeIllustrations a little not like
your comic book or like yourmocha inspired like hard outline
type illustration stuff
Doug Berger (09:23):
Sure So thank you for for Pandering to me.
I appreciate that
Derek Deal (09:30):
No, it's cool that you you have that poster like
it's always it's stillflattering to me when I hear
that someone actually like Has apiece of mind in their house
Where they have to look at itevery day.
Like I could never do thatbecause I see all the flaws,
but, uh, it's great thatsomebody else has an
appreciation for it.
Doug Berger (09:49):
Yeah, in my studio, we don't have any of the work
that we've actually done.
It's all work that's been doneby other designers, um, ranging
from, uh, Charles SpencerAnderson, uh, to, uh, Art
Chantry and, and, you know, soyou happen to be among those
and, and, uh, and it's prettygreat.
(10:10):
Um, so, uh, I want to delve alittle bit deeper into story
time.
Um, we've spent quite a bittalking about your two
dimensional and static work, butyou studied computer art at
SCAD, and for those who aren'tfamiliar, that's the Savannah
College of Art and Design, andyou started doing motion design
straight out of art school.
(10:30):
How did you get introduced tomotion design and what
influenced your decision to be amotion designer rather than, um,
dare I say, a lowly graphicdesigner like me?
Derek Deal (10:44):
Um, so I, I grew up in central Florida and, you
know, Disney is, you know, arock's throwaway.
And I guess, you know, a kid wholoves to draw, um, I guess my
idea of success was to become aDisney animator.
Like, that was no, you know,large feat.
Um, uh, Disney, um, But when I,when I got to school, like I
(11:08):
kind of realized that there wasa lot more things that I was, I
was interested in.
Um, a lot of my friends were inthe film and video department.
So, uh, I was really into film.
Um, uh, I started understandingwhat design was when I went to
school.
Like before I thought it wasjust, you know, like page
layout, but, uh, Found out thatit's, you know, it's
(11:31):
composition, it's color, it'sbranding.
It's like all these, thesethings that I'm, I'm really
into.
Um, and, uh, and I found thatmotion design was kind of like
this really cool marriage of allthose things, like the
filmmaking, the design, and evensometimes the illustration.
So I felt like it was kind oflike a really cool, uh, niche
(11:52):
where I didn't have to get pitchand hold into one particular
thing.
Particular medium, and I didn'thave to, you know, draw all day
long, which was something Ifound that I didn't really have
the patience for.
Um, I think I might have gotteninto 3D animation, but at the
time, like we're talking, um, Iguess, you know, late 90s, early
(12:13):
2000s.
So it was still kind of clunkyand laborious to produce 3D.
So, um, it's not as accessibleas it is now.
Um, But yeah, it was calledbroadcast design at the time.
And I thought you only could doit on television, which was the
case.
Um, but it's interesting becauseas I've, as the industry has
(12:36):
kind of changed and video hasbecome more ubiquitous with
everything we do, um, it's, it'sreally like fortuitous that I
went down that path becausethere's just so many
opportunities for video.
It's, it's, you know, it's onour phones, it's in front of our
faces all day long.
So, uh, I kind of like went inand out of broadcast design,
(12:58):
like throughout my career, likeI didn't, I did a little bit of
it right after I got out ofschool, but it's something that
I keep kind of circling back to,um, because of all the reasons I
stated before, because there'sso much you can do with it.
So, yeah, it's, it's interestingthat, um, I kind of picked it
back then, and it's, it's endedup being kind of, uh, this
through line through my entirecareer.
Doug Berger (13:20):
Right on.
So.
Well, obviously, after doingthis for a couple of decades,
um, you know, refining yourcraft, uh, along the way, you've
undoubtedly experienced, uh, twothings that, uh, you may or may
not want to talk about.
So, first Can you talk to meabout what you might think is
(13:44):
your most epic and, andpotentially most unprofessional
fuck up?
And, uh, and then can you tellme about your greatest success
or successes?
Derek Deal (13:56):
Oh, man.
Uh.
Doug Berger (14:00):
I know people love talking about this.
It's
Derek Deal (14:02):
so, it's, it's good that you bring it up though.
I mean, because we all havethem.
Um.
I don't, I don't know that I'veever really screwed the pooch
with a client.
Um, thankfully, I mean, we'veall forgotten to save and lost,
you know, a day's worth of work,right?
Um, so that's happened a fewtimes.
Um, okay, so one, one time Iremember that I, I still think
(14:24):
about, like, and get cold sweatsevery once in a while.
Um, is, uh, I was working atTime Warner and there was, uh,
Like a restructuring and, um,like me and a lot of people in
the group I was in, we were kindof looking at our options.
Um, so I reached out to one ofthe recruiters that were on
staff and, um, HBO was a, um,was a, uh, subsidiary of ours.
(14:47):
So I was kind of asking like,Hey, like, do you know if
there's any opportunities atHBO?
And she's like, well, let me,let me ask my recruiter friend
over there and see if I can findanything for you.
Um, so sure enough, likerecruiter hits me up says, Hey,
you know, do you have time nextweek?
Come by chat.
Um, yada, yada, yada.
And I'm like, yeah, cool.
Great.
Sounds awesome.
So I go down there and I don'tknow if I missed an email or
(15:10):
what, but I didn't bring aportfolio.
Uh, I was not prepared at all.
I thought I was just going to gohave a chat, uh, with a
recruiter.
And it so happens that they hadlined up eight different
interviews for that day.
Um, starting with someone in HRand then ramping all the way up
to the executive and creativedirector.
(15:31):
So I was like, okay, great.
Uh, so I had one interview afteranother and every single time,
uh, they wanted to see myportfolio.
Didn't have one, had to explainwhy I didn't have one and had to
like rehash the story andbasically look like a complete
asshole because I lookedarrogant.
I felt like I looked arrogantbecause I just came in without a
portfolio.
I looked unprepared.
(15:52):
Um, so I had to do this foreight different people, like all
the way up to the, the creativedirector.
And I mean, to their credit,like everybody was, was super
nice and, um, understanding.
Um, but to me, I just felt likethe biggest fuck up in the
world.
And obviously I never got a callafterwards.
So, I mean, I still think aboutit all the time because like,
(16:15):
uh, ever since that day, like, Ijust always make sure that I
have my shit together.
Um, I, I never assume anything.
Um, and, uh, And usually it'sbecause, like, I'll make sure to
follow up beforehand to makesure that, like, my
understanding is correct.
Um, but, uh, but yeah, everyonce in a while, I still, I
still, like, kind of havenightmares about that whole
(16:36):
experience.
And think of what might havebeen if I actually took a
portfolio to HBO that day.
Doug Berger (16:44):
Well, you know, it, it, it, In this context,
certainly no regrets, right?
You've, you've ended, no doubt,in, in a great position, and so,
it all worked out for the best,and, and lesson learned, um, so,
now let's flip it.
(17:05):
What would you qualify asperhaps your greatest success or
successes?
Derek Deal (17:09):
Um, I don't know.
I mean, it's hard to kind ofdistill it.
There's been a few that I'mlike, I still get chuffed about
when I think about, um, I, I dida poster for, for, uh, a Weird
Al Yankovic show at gallery in1988.
And that poster ended up in hisbiography.
Um, like an actual hard boundbook that you can flip through
(17:30):
and see my work in, which isamazing being a huge fan of his
growing up.
Um, I also did a poster for, uh,Eastbound and down that TV show
on HBO that ended up being, uh,uh, the cover art for the
soundtrack.
Um, there's just like littlethings like that, that, that
give me pleasure to think backon.
And then, I mean, ultimately,you know, now I'm, I'm working
(17:53):
at Universal Orlando, which isjust, I've always been a dream
of mine to work in the themepark industry, just having been
a child of, you know, this, thisarea.
Um, so those are big successes.
Um, I, and I take the small winstoo.
Like anytime I get somethingapproved, like I'm, I'm happy.
(18:14):
So, so, uh, it, like the bigstuff is nice, but I mean, just
knowing that I have a job in, inthis field is, is reward.
Doug Berger (18:25):
I can totally relate.
So now one of the cool thingsabout what you've done.
is that you sometimes get to seethe work out in the wild, much
like what you were just talkingabout.
And you even get to perhapswitness people experiencing your
work.
But, and, and again, maybe it'sone of the things you just
(18:45):
mentioned.
What, what is the most rewardingaspect of what you do?
Like, what makes you want tokeep creating?
What fuels your creativedesires?
Derek Deal (18:53):
You know, it's, uh, I, I've been thinking about
this.
And, you know, it seems likesuch a cliche, but I really do
love the process.
Like, I really lovecollaborating and, um,
discovering that, that, thatidea.
And then once you have the idea,it's fighting through the
(19:16):
execution.
Um, And then ultimately it's,uh, it's that stamp of approval
you get from either the, theclients or, or the leadership
or, or whoever it is that, thatcontrols the decision making
it's, it's getting that, like,um, that confirmation that you,
you know, you did a good job andit's gonna work and everybody's
(19:39):
happy.
Like that's when I can relax andhave a beer and just chill and
not think about it and, and thenthe other stuff is just gravy,
right?
Like, I mean.
So many things can happenbetween when a project is
completed and when it's actuallyin the environment.
I mean, I've seen things nevergo live.
I've seen things, uh, beportrayed in a way that isn't
(20:00):
the way you intended.
Um, so I don't like resting, youknow, my happiness on, you know,
on that final piece of, of theproduction.
Like I am just happy when it'sdone, to be honest with you.
It's like, it's always, it'salways a fight.
So it's, I'm just.
I breathe a sigh of relief whenit's done, and that's when I'm
(20:21):
happy.
Doug Berger (20:22):
Awesome.
Well, Derek, thank you so muchfor dropping by.
Do you have any words, uh, youcare to impart before we go?
Derek Deal (20:30):
Uh, is this like the advice portion of the show for
like young designers and stuff,or were you?
Sure.
I don't know.
Okay.
Um, yeah, I don't know.
I mean, like, uh, I look, I lookat people who, um, who have,
I've had careers where they've,um, where they've really kind of
(20:51):
latched on to a personal styleand then that becomes, you know,
uh, the ethos of their, theircareer.
And I've, I've always had a lotof adulation for that.
Um, but that's not, you know,the path for everybody.
I mean, my, my path certainlyhasn't been a straight line.
And I think if.
You know, if, if you're justgetting out of school or you're,
(21:14):
maybe you're not going toschool, but you want to pursue
a, um, a career in the arts, ormaybe if you're just in a rut,
like I would say, you know, um,like just keep working on what
it is that you love doing, youknow, like just keep making
stuff and then use that momentumfrom that project to ramp up
into another project and justkeep learning and growing and
(21:37):
doing your thing.
And.
Uh, growing and having fun withwhat you do.
And eventually, hopefully,you'll end up somewhere that,
you know, that, that makes youhappy and somewhere that's, uh,
fruitful for you as, as acreator.
Um, but, you know, don't worryabout, like, you know, going to
school, getting the internship,getting the job, and then
(21:59):
hopping around, you know,leveling up constantly.
Like, I think there's more joyin, uh, pursuing the things that
interest you.
Um, and developing those skillsthan there is and constantly
trying to get to that, you know,that creative director level
where you feel it's like thepinnacle of the design world.
Like it's, it's not important.
(22:21):
What's important is just lovingwhat you do.
Doug Berger (22:24):
And I think that you can even strip away the
creative aspect of what you'retalking about.
And I feel like it appliesuniversally to everyone.
Absolutely.
If you focus on what brings youhappiness, the success will just
fall into place.
And just go with what willfulfill you.
(22:46):
Yeah, I believe that.
Derek Deal (22:47):
Yeah, I believe good things come to you whenever
you're just Following the paththat makes the most sense to you
personally.
Absolutely.
Thank you
Doug Berger (22:55):
again for coming by today.
Derek Deal (22:56):
Thanks for asking.
I mean, this is actually myfirst podcast, so not listening,
but, uh, talking on one, soright on.
So thank you.
Doug Berger (23:07):
Yeah, it's, it's been a pleasure.
Brand of brothers is coming back next
(00:01):
year.
In the meantime, here's aninterview from the vault
recorded back in November of2020, please welcome the amazing
Derek Deal.
Former motion designer turnedcreative director at universal
studios.
Doug Berger (00:13):
Sorry.
I'm like bringing up thequestions and such.
Oh, it's all good.
All right, here we go.
Hey, Derek.
Thanks for joining us.
Derek Deal (00:24):
Thank you.
Happy to be
Doug Berger (00:25):
here.
So, let's, uh, let's dive rightin.
Um, So, we all end up, and thisis especially true for
creatives, just findingourselves in the world of
design.
For some, this is through a sortof early discovery, and, and
others, It happens a littlelater in life.
(00:47):
You obviously figured it outprior to going to art school.
Do you remember how you stumbledinto this realization, you know,
that you're an artist?
And when did you make thedecision to pursue some sort of
an art oriented craft?
Derek Deal (01:00):
Uh, well, I always was really into drawing when I
was a kid.
Um, and, uh, I would just spend,you know, Hours just drawing
from comic books, drawingcartoon characters, just stuff I
liked, like shit I was into, um,and I think as I kind of, you
know, got older and progressedin school, um, more people kind
(01:22):
of, um, reacted to my drawingsand, uh, responded to them like
in a really positive way, askingme to, you know, draw things for
them and like, Hey, can you helpme with a project?
And I started, uh, I don't know,I started getting kind of like
recognition from it and, um, Iguess a little bit more
attention, um, which is always,you know, a good incentive for a
(01:42):
kid to keep doing something.
Um, so, I mean, that's basicallyhow it started.
It wasn't until later, um, Iguess I was in high school where
I thought that maybe I couldactually make a career out of
it.
I mean, there was never reallyanother thing.
Like there was never other thingthat I was like super good at.
Shitty at math, like okay,student.
(02:02):
Um, otherwise, um, but there wasnever really anything that, uh,
kind of, uh, uh, seemed like theright path for me other than
art.
So I am really thankful in thatregard because I always kind of
knew that I wanted a career inthe arts.
I didn't necessarily know howthat was going to manifest
(02:23):
itself.
Um, I've course correctedseveral times.
in my career.
Um, just because there's lots ofstuff that I'm into and lots of
things that I like to explore.
Um, but it's always been a thingthat I've, that's been kind of a
part of who I am and somethingthat I wanted to pursue.
So there was never like a lightbulb moment.
Um, it was just always feltnatural to me.
Doug Berger (02:45):
Sure.
So you mentioned the whole comicbook thing and there's
definitely a comic book vibethat seems to be evident across
your array of designs.
You know, whether it's in a flatand graphic context or a shaded
and dimensional, uh,perspective, even in your motion
graphics, um, what do you, whatdo you find has inspired your
(03:07):
overall aesthetic?
Derek Deal (03:09):
Well, I'm, I'm a kid of the, uh, the eighties and
nineties.
So, I mean, all that, you know,really cool visceral stuff of
the era.
I mean, I was really intoGarbage Pail Kids and Madballs
and, um, uh, Punk rock and, um,animation, I mean, I, I feel
like I've probably watched everyLooney Tunes that exists.
(03:30):
Uh, I mean, all that stuff, Iwas just a, you know, a pop
culture sponge in those days.
Um, when my parents would worklong hours, I would spend long
hours in front of the TV orNintendo, so.
All that stuff just kind of, uh,manipulated my brain.
And, uh, that's the stuff thatI'm usually drawn to.
(03:50):
Um, and then as I, as Imentioned earlier, I spent a lot
of time drawing.
So I would, you know, crackopen, um, Mad Magazine or, or
Cracked or, uh, Marvel Comics.
And I would just like spend along time just trying to draw,
learning to draw from, fromthose characters, um, on those
pages.
Um, and then like, as I gotolder, um, I just.
(04:13):
And like the skills kind of, youknow, uh, started adapting.
Um, I still like to kind ofrevisit that stuff cause I just
find it really fun to draw.
I mean, um, as I got more intolike music, I still saw a lot of
kind of, um, correlation betweenthe things that I was really
(04:34):
into when a kid with the stuffthat would, that I would see on
the album artwork and t shirtsand, you know, And all that kind
of stuff.
So as I got older, I kind of gotinto more, um, drawing in that
style for, for, for bands andmerch and album covers and
things like that.
Doug Berger (04:52):
And did you ever get the chance to do that kind
of stuff with regard to playingwith album covers and merch?
I know that, that you actuallyhave merch available on your
website, but, um, did you everget to play with stuff in the
music industry?
Derek Deal (05:09):
Um, I spent several years basically just doing
illustration for the musicindustry.
Um, uh, poster designs, albumcovers, t shirts, um, mostly
like in that kind of, uh, skaterpunk type of genre.
I've done a few, you know, metalbands, uh, rock man.
I've done a couple of big acts.
(05:30):
Um, There was a, there was awebsite for a while called
empties.
com, which was basically likejust this hub for, um, merch
designers and, um, clothinglines.
And it was like a, a big kind ofsource of revenue for a lot of
us, um, uh, to make like really,um, interesting merch designs.
(05:53):
So that I was kind of, I wasdoing a lot of that kind of
work, um, in the middle of mycareer.
Right on.
Care
Doug Berger (06:01):
to name drop?
Derek Deal (06:03):
Uh, I'm trying, you know it's funny because some of
these, um, these merch places,um, they'll just throw like a
bunch of big name acts for you,at you, and you'll generate
designs, um, uh, basically for akill fee sometimes, like you'll
get like 150 bucks just to likeproduce a comp, um, and they may
(06:25):
not pick it up or whatnot.
Um, so I've done a ton of thingsfor artists that never actually
got bought and I can't evenremember which ones did but I
know I've done designs for likeMotley Crue, ZZ Top, I did a
design for Shakira, uh, I did adesign for um, Oh, what's that
chick?
Who's the one that Seinfelddidn't want to hug?
(06:47):
Uh, you know what I'm talkingabout?
I can't remember
Doug Berger (06:50):
her name.
I totally remember when it comesup to him, and he's like, can I
have a hug?
And he's like, no.
No, I don't want to.
Derek Deal (06:58):
Yeah, I can't remember her name now, which is
classic.
Doug Berger (07:00):
The reporter was like, do you know who that was?
And he's like, no.
Okay, well.
Yeah, Kesha,
Derek Deal (07:07):
it's Kesha.
Yeah, I did that.
Doug Berger (07:11):
Well, I don't know if I'd want to hug her either.
I don't know.
I don't think so, yeah.
Well, so one of my, my personalfavorite designs of yours, and
to be completely candid, Ididn't even know who did it when
I saw the poster at my friendNick's print shop back in like
2010 or so.
Um, So I totally fell in lovewith it.
I framed it.
In fact, it's still hanging inmy studio somewhere.
(07:32):
I think it's in the lobby orsomewhere.
Um, but anyhow, I'm talkingabout the, and, and forgive me
if I got the title wrong, theAmerican gentleman, the one, the
Boston Terrier, um, can youfirst, can you describe it to
our listeners?
Um, I, you sound like youremember it.
And then for selfish reasons,um, may you please tell me the
(07:55):
story behind it?
Derek Deal (07:56):
Yeah, it's a, um, it's a poster design I did.
It's a Boston Terrier.
Um, and he is a, uh, very smuglooking Boston Terrier.
He has a monocle and a top hat.
And he's, uh, he's, uh, dressedto the nines in a tuxedo.
And, uh, I think he's smoking acigar.
I don't remember.
Um, but yeah, I mean, it's a,it's a poster I did for my dog.
(08:21):
I had a, um, I had a BostonTerrier for many years.
Oops.
Sorry, got an alarm going off inmy phone.
Uh, yeah, he's my BostonTerrier.
His name was Meatloaf.
Um, unfortunately, he's nolonger with us, but, uh, it was
kind of my tribute to him.
Uh, apparently, Bostons havethis, uh, surname of the
American Gentleman, because itlooks like they're always
wearing a tux.
(08:41):
So, I thought that was kind of afun image to play with.
Um, he's one of the first, uh,illustrations that I, I forced
myself to do that illustrationbecause I was becoming really
reliant on like the hard blackoutlines and it, I wanted to
kind of play around with justbreaking away from those and
playing more with shape.
(09:02):
Um, it's, it's still a lot likemy other illustration work, but
I really kind of forced myselfto, to push away from that.
And then since then I do alittle bit more kind of flat,
like, like, um, area based likeIllustrations a little not like
your comic book or like yourmocha inspired like hard outline
type illustration stuff
Doug Berger (09:23):
Sure So thank you for for Pandering to me.
I appreciate that
Derek Deal (09:30):
No, it's cool that you you have that poster like
it's always it's stillflattering to me when I hear
that someone actually like Has apiece of mind in their house
Where they have to look at itevery day.
Like I could never do thatbecause I see all the flaws,
but, uh, it's great thatsomebody else has an
appreciation for it.
Doug Berger (09:49):
Yeah, in my studio, we don't have any of the work
that we've actually done.
It's all work that's been doneby other designers, um, ranging
from, uh, Charles SpencerAnderson, uh, to, uh, Art
Chantry and, and, you know, soyou happen to be among those
and, and, uh, and it's prettygreat.
(10:10):
Um, so, uh, I want to delve alittle bit deeper into story
time.
Um, we've spent quite a bittalking about your two
dimensional and static work, butyou studied computer art at
SCAD, and for those who aren'tfamiliar, that's the Savannah
College of Art and Design, andyou started doing motion design
straight out of art school.
(10:30):
How did you get introduced tomotion design and what
influenced your decision to be amotion designer rather than, um,
dare I say, a lowly graphicdesigner like me?
Derek Deal (10:44):
Um, so I, I grew up in central Florida and, you
know, Disney is, you know, arock's throwaway.
And I guess, you know, a kid wholoves to draw, um, I guess my
idea of success was to become aDisney animator.
Like, that was no, you know,large feat.
Um, uh, Disney, um, But when I,when I got to school, like I
(11:08):
kind of realized that there wasa lot more things that I was, I
was interested in.
Um, a lot of my friends were inthe film and video department.
So, uh, I was really into film.
Um, uh, I started understandingwhat design was when I went to
school.
Like before I thought it wasjust, you know, like page
layout, but, uh, Found out thatit's, you know, it's
(11:31):
composition, it's color, it'sbranding.
It's like all these, thesethings that I'm, I'm really
into.
Um, and, uh, and I found thatmotion design was kind of like
this really cool marriage of allthose things, like the
filmmaking, the design, and evensometimes the illustration.
So I felt like it was kind oflike a really cool, uh, niche
(11:52):
where I didn't have to get pitchand hold into one particular
thing.
Particular medium, and I didn'thave to, you know, draw all day
long, which was something Ifound that I didn't really have
the patience for.
Um, I think I might have gotteninto 3D animation, but at the
time, like we're talking, um, Iguess, you know, late 90s, early
(12:13):
2000s.
So it was still kind of clunkyand laborious to produce 3D.
So, um, it's not as accessibleas it is now.
Um, But yeah, it was calledbroadcast design at the time.
And I thought you only could doit on television, which was the
case.
Um, but it's interesting becauseas I've, as the industry has
(12:36):
kind of changed and video hasbecome more ubiquitous with
everything we do, um, it's, it'sreally like fortuitous that I
went down that path becausethere's just so many
opportunities for video.
It's, it's, you know, it's onour phones, it's in front of our
faces all day long.
So, uh, I kind of like went inand out of broadcast design,
(12:58):
like throughout my career, likeI didn't, I did a little bit of
it right after I got out ofschool, but it's something that
I keep kind of circling back to,um, because of all the reasons I
stated before, because there'sso much you can do with it.
So, yeah, it's, it's interestingthat, um, I kind of picked it
back then, and it's, it's endedup being kind of, uh, this
through line through my entirecareer.
Doug Berger (13:20):
Right on.
So.
Well, obviously, after doingthis for a couple of decades,
um, you know, refining yourcraft, uh, along the way, you've
undoubtedly experienced, uh, twothings that, uh, you may or may
not want to talk about.
So, first Can you talk to meabout what you might think is
(13:44):
your most epic and, andpotentially most unprofessional
fuck up?
And, uh, and then can you tellme about your greatest success
or successes?
Derek Deal (13:56):
Oh, man.
Uh.
Doug Berger (14:00):
I know people love talking about this.
It's
Derek Deal (14:02):
so, it's, it's good that you bring it up though.
I mean, because we all havethem.
Um.
I don't, I don't know that I'veever really screwed the pooch
with a client.
Um, thankfully, I mean, we'veall forgotten to save and lost,
you know, a day's worth of work,right?
Um, so that's happened a fewtimes.
Um, okay, so one, one time Iremember that I, I still think
(14:24):
about, like, and get cold sweatsevery once in a while.
Um, is, uh, I was working atTime Warner and there was, uh,
Like a restructuring and, um,like me and a lot of people in
the group I was in, we were kindof looking at our options.
Um, so I reached out to one ofthe recruiters that were on
staff and, um, HBO was a, um,was a, uh, subsidiary of ours.
(14:47):
So I was kind of asking like,Hey, like, do you know if
there's any opportunities atHBO?
And she's like, well, let me,let me ask my recruiter friend
over there and see if I can findanything for you.
Um, so sure enough, likerecruiter hits me up says, Hey,
you know, do you have time nextweek?
Come by chat.
Um, yada, yada, yada.
And I'm like, yeah, cool.
Great.
Sounds awesome.
So I go down there and I don'tknow if I missed an email or
(15:10):
what, but I didn't bring aportfolio.
Uh, I was not prepared at all.
I thought I was just going to gohave a chat, uh, with a
recruiter.
And it so happens that they hadlined up eight different
interviews for that day.
Um, starting with someone in HRand then ramping all the way up
to the executive and creativedirector.
(15:31):
So I was like, okay, great.
Uh, so I had one interview afteranother and every single time,
uh, they wanted to see myportfolio.
Didn't have one, had to explainwhy I didn't have one and had to
like rehash the story andbasically look like a complete
asshole because I lookedarrogant.
I felt like I looked arrogantbecause I just came in without a
portfolio.
I looked unprepared.
(15:52):
Um, so I had to do this foreight different people, like all
the way up to the, the creativedirector.
And I mean, to their credit,like everybody was, was super
nice and, um, understanding.
Um, but to me, I just felt likethe biggest fuck up in the
world.
And obviously I never got a callafterwards.
So, I mean, I still think aboutit all the time because like,
(16:15):
uh, ever since that day, like, Ijust always make sure that I
have my shit together.
Um, I, I never assume anything.
Um, and, uh, And usually it'sbecause, like, I'll make sure to
follow up beforehand to makesure that, like, my
understanding is correct.
Um, but, uh, but yeah, everyonce in a while, I still, I
still, like, kind of havenightmares about that whole
(16:36):
experience.
And think of what might havebeen if I actually took a
portfolio to HBO that day.
Doug Berger (16:44):
Well, you know, it, it, it, In this context,
certainly no regrets, right?
You've, you've ended, no doubt,in, in a great position, and so,
it all worked out for the best,and, and lesson learned, um, so,
now let's flip it.
(17:05):
What would you qualify asperhaps your greatest success or
successes?
Derek Deal (17:09):
Um, I don't know.
I mean, it's hard to kind ofdistill it.
There's been a few that I'mlike, I still get chuffed about
when I think about, um, I, I dida poster for, for, uh, a Weird
Al Yankovic show at gallery in1988.
And that poster ended up in hisbiography.
Um, like an actual hard boundbook that you can flip through
(17:30):
and see my work in, which isamazing being a huge fan of his
growing up.
Um, I also did a poster for, uh,Eastbound and down that TV show
on HBO that ended up being, uh,uh, the cover art for the
soundtrack.
Um, there's just like littlethings like that, that, that
give me pleasure to think backon.
And then, I mean, ultimately,you know, now I'm, I'm working
(17:53):
at Universal Orlando, which isjust, I've always been a dream
of mine to work in the themepark industry, just having been
a child of, you know, this, thisarea.
Um, so those are big successes.
Um, I, and I take the small winstoo.
Like anytime I get somethingapproved, like I'm, I'm happy.
(18:14):
So, so, uh, it, like the bigstuff is nice, but I mean, just
knowing that I have a job in, inthis field is, is reward.
Doug Berger (18:25):
I can totally relate.
So now one of the cool thingsabout what you've done.
is that you sometimes get to seethe work out in the wild, much
like what you were just talkingabout.
And you even get to perhapswitness people experiencing your
work.
But, and, and again, maybe it'sone of the things you just
(18:45):
mentioned.
What, what is the most rewardingaspect of what you do?
Like, what makes you want tokeep creating?
What fuels your creativedesires?
Derek Deal (18:53):
You know, it's, uh, I, I've been thinking about
this.
And, you know, it seems likesuch a cliche, but I really do
love the process.
Like, I really lovecollaborating and, um,
discovering that, that, thatidea.
And then once you have the idea,it's fighting through the
(19:16):
execution.
Um, And then ultimately it's,uh, it's that stamp of approval
you get from either the, theclients or, or the leadership
or, or whoever it is that, thatcontrols the decision making
it's, it's getting that, like,um, that confirmation that you,
you know, you did a good job andit's gonna work and everybody's
(19:39):
happy.
Like that's when I can relax andhave a beer and just chill and
not think about it and, and thenthe other stuff is just gravy,
right?
Like, I mean.
So many things can happenbetween when a project is
completed and when it's actuallyin the environment.
I mean, I've seen things nevergo live.
I've seen things, uh, beportrayed in a way that isn't
(20:00):
the way you intended.
Um, so I don't like resting, youknow, my happiness on, you know,
on that final piece of, of theproduction.
Like I am just happy when it'sdone, to be honest with you.
It's like, it's always, it'salways a fight.
So it's, I'm just.
I breathe a sigh of relief whenit's done, and that's when I'm
(20:21):
happy.
Doug Berger (20:22):
Awesome.
Well, Derek, thank you so muchfor dropping by.
Do you have any words, uh, youcare to impart before we go?
Derek Deal (20:30):
Uh, is this like the advice portion of the show for
like young designers and stuff,or were you?
Sure.
I don't know.
Okay.
Um, yeah, I don't know.
I mean, like, uh, I look, I lookat people who, um, who have,
I've had careers where they've,um, where they've really kind of
(20:51):
latched on to a personal styleand then that becomes, you know,
uh, the ethos of their, theircareer.
And I've, I've always had a lotof adulation for that.
Um, but that's not, you know,the path for everybody.
I mean, my, my path certainlyhasn't been a straight line.
And I think if.
You know, if, if you're justgetting out of school or you're,
(21:14):
maybe you're not going toschool, but you want to pursue
a, um, a career in the arts, ormaybe if you're just in a rut,
like I would say, you know, um,like just keep working on what
it is that you love doing, youknow, like just keep making
stuff and then use that momentumfrom that project to ramp up
into another project and justkeep learning and growing and
(21:37):
doing your thing.
And.
Uh, growing and having fun withwhat you do.
And eventually, hopefully,you'll end up somewhere that,
you know, that, that makes youhappy and somewhere that's, uh,
fruitful for you as, as acreator.
Um, but, you know, don't worryabout, like, you know, going to
school, getting the internship,getting the job, and then
(21:59):
hopping around, you know,leveling up constantly.
Like, I think there's more joyin, uh, pursuing the things that
interest you.
Um, and developing those skillsthan there is and constantly
trying to get to that, you know,that creative director level
where you feel it's like thepinnacle of the design world.
Like it's, it's not important.
(22:21):
What's important is just lovingwhat you do.
Doug Berger (22:24):
And I think that you can even strip away the
creative aspect of what you'retalking about.
And I feel like it appliesuniversally to everyone.
Absolutely.
If you focus on what brings youhappiness, the success will just
fall into place.
And just go with what willfulfill you.
(22:46):
Yeah, I believe that.
Derek Deal (22:47):
Yeah, I believe good things come to you whenever
you're just Following the paththat makes the most sense to you
personally.
Absolutely.
Thank you
Doug Berger (22:55):
again for coming by today.
Derek Deal (22:56):
Thanks for asking.
I mean, this is actually myfirst podcast, so not listening,
but, uh, talking on one, soright on.
So thank you.
Doug Berger (23:07):
Yeah, it's, it's been a pleasure.
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