FAIRspot

Interview

Joshua Smith | Hydro74

The next time you're at a design conference and you run into a tough looking rocker with lots of tattoos, you might want to think twice about asking him for his "Hydro74" autograph-because you've got the wrong guy. The real HydroSeventyFour, or Joshua M. Smith as many know him, is not tatted (even though he could draw you something amazing), and is probably one of the coolest, most talented and by far the most down to earth guys you'll ever meet in this industry.

FAIRspot recently caught up with Joshua between travels to chat about his upcoming plans for Hydro74 and to give our readers more insight into how Joshua works and how he's been able to remain at the top of his game for so many years, when most fall by the wayside. We hope you enjoy reading this as much as we enjoyed presenting it!

FAIRspot: Where are you from and where are you living?

Joshua Smith: I'm actually from Indiana of all places. During my career and when I was getting started, I lived all through-out the midwest (Michigan, Ohio, Indiana, etc...). I currently live in Orlando Florida and it seems like that is going to be [the place] for quite a while. The weather is fantastic.

FS: Did you grow up with a background in art? Ever attend school for art?

JS: Not really. I honestly only went to school for Elementry Education. My second year of college is when I began to become frustrated with the program and decided to switch over to Liberal Arts. During that time I took a few classes in Drawing and Painting because they were easy 'A's'-and kept my GPA average. It wasn't until I took a few classes in Visual Communications that I discovered software and the digital side of design. So many arguments later with my Fine Art's Professor that I chose to stick with Graphic Design.

FS: What made you want to pursue a career in art and design?

JS: Bitterness. I had no intention of becoming a graphic designer. I always assumed artists' were unprofessional and I wanted a career in something that was a bit more professional, where I could wear a tie each day. Among various issues and between various things at the college, a strange form of bitterness started to take place.

It was my Junior year of college when I decided to take independent studies on various software-this is where my rage and frustration took place. My advisor (Fine Art's Professor) told me I should focus more on Drawing and Painting. I debated with him on how those classes could assist me in getting a job after college. To me that was the main point of college. So he scratched my requests for independent studies, but I revolted and "half-assed it" in the drawing and painting classes, and spent many hours in the computer lab pushing myself to learn Photoshop, Illustrator, Freehand and Quark. I actually started to get a few freelance projects during that time and that really encouraged it.

FS: Where did you derive the name 'HydroSeventyFour'? What does it mean?

JS: That's the million dollar question. It has no true reference. I had a site once that was hard to spell because I was being overly creative. I decided to go with Hydro because it was easier to spell, and the '74' is the year I was born. Besides, to me, '74' over the years has become the main focal point. The funny thing is that with my alias, I believe I have helped to influence a trend. A friend of mine always points out various sites that have a simple word and number set in their name.

FS: Much of your work has a street, urban and graffiti-inspired look and feel. Where you ever writing graffiti or tagging growing up?

JS: I actually don't agree with graffiti or sticker art culture. That doesn't mean I don't respect it, nor disrespect those who have found a visual voice in it, but I've never been a fan. These days-with it being over-glorified with the massive amounts of books, magazines and artist doing it-it seems like most nice sections of cities are getting over-run with shitty tags and stickers. Those who do it well (Brisk One, Dyse One, Seventh Letter, etc...) kill it when they do it, and it's an art form. However, a lot of other people tag or "sticker it up", just to push some stupid iconic thing they hope to market from later on. Everyone today wants to be the next "Obey".

So no, I don't tag and never have. But, I am influenced by it and very influenced by those who have computer skills to back it (Maxx242, OG Abel, Seventh Letter, etc...).

FS: Your illustrations are so clean and detailed, something you would expect more from a tattoo artist rather than a traditional graphic designer. Have you ever tattooed or been commissioned for tattoo's?

JS: I always get requests for tattoo work, or people will request a larger version of my art so they can get it tattooed. It's very flattering. I do have a high respect for that culture, however I am one of the few designers who lacks tattoos. Mostly because I focus so hard on marketing and how trends come and go. A great example; look at tribal or barb wire wraps that were popular in the late 90's. Now they look out of place and most people who wear them, you'd expect to have a mullet as well. So I'm always wondering, mostly due to technology and the changes in art and styles, "Will these styles today become much the same as those tribal ones?"

A quick story; when I was in late Elementry, I remember a friend of my mom's (I grew up in a biker culture with my family), saw some of my doodles. They were not that great-by any means-but he wanted me to start drawing and learn how to tattoo, so by the time I hit High School, I would know the ins-and-outs of tattooing. I'm happy I never did that, but it was funny that my drawings were noticed at such an early age.

FS: Are you able to compose sketches directly from ideas in your head or do you need to reference inspirations from other sources?

JS: I do both honestly. I haven't formally sketched in a while. If I do sketch, I sketch enough to have a perspective and style, and give myself full creative control in Illustrator. I would rather start in illustrator than sketch because I view it as a waste of time when I'm on a deadline. There are times when I would rather have photos or other realistic references, just so I can get the best perspective qualities out of the piece. I'll normally do a really rough trace with circles and lines so I know where things are at, then allow myself to just go nuts in a piece. I have been sketching a lot more lately, only because I do miss that in my work, and I've been wanting to get my hand skills back up to par.

FS: What's your studio setup?

JS: Nothing overly fancy. I have a Mac, 2 x 2.66 GHz Dual Intel, Two flat screen Mac monitors, along with the Adobe Creative Suite (CS3). I plugged in 2 gigs of memory with it. As far as markers, I have a ton of Sharpies and Microns. My desk is cluttered with stickers, magazines, G.I. Joes and Starbucks coffee cups.

FS: There are a ton of artists that are amazing freehand illustrators, but not many of them are able to break into the mainstream. How were you able to transition into working with major record labels and action sport companies like Quiksilver, Vans, Billabong and Reef?

JS: My main goal as a designer was to first figure out where I wanted to be as a designer. A lot of designers I talk with never set goals, but my main goal was to break into the action sports market and stay there. A great example is comparing design to a football (U.S.). Each side has a point with a thick center. Each side is the extreme of this career, as in one side is high level progressive and the other is super professional. I decided, rather than trying to live in the middle, to shoot for the progressive side of the market and focus my development there. I believe that is what helped me get noticed. When I first started out, I remember going to the mall and checking out stores like Pac Sun and taking my sketchbooks. I would check out the styles that were out, go outside, sketch some down, then head over to the bookstore and doing the same. I would study what was working and what wasn't, and study where trends were going. I would even email a few people who were doing it [the work] to give props-and if the relationship allowed me to ask-I would ask minor, none agressive questions, as in, "Any font sites worth checking out?", or "Any sites or forums worth checking out?".

With all that said, my first legit freelance project was via my friend Mike Morton at Split. He took a chance to work with me and it was pretty successful. My first style transistion was while working for Endeavor Snowboards, on a set. Comp after comp, I started to play around with these mecha animals (influenced by Anime and nature), and all of a sudden, I completely understood how Illustrator worked.

The biggest problem a lot of new designers have is that they expect to automatically break into that market with very limited work in their portfolio. I've gained the respect of many, and networking is key. Most of the clients either knew of me, or have known me directly (or indirectly) through the years of working with other companies. The one core value is-for a while-I was a major influence, style-wise, in many areas and focused my attack on typography and stylized clip art. Granted, there are others who can do this better than I can, but due to established connections, I was able to work with these companies-thus a namesake between designs and brand where established.

After years of working with this market, my next push is to break out of the market a little and focus on bigger companies with better budgets for research and development. I still enjoy working with these brands [action sports], but the time that I can invest has become minimal due to demand. This year I am focusing on only a few brands where I can have complete control over a section of their line, but I also expect growth from this. With Burton, Dragon, Nike and a few others, it looks like it's going to be an exciting year, where I can focus more directly on pieces rather than random pitches to see if something sticks.

FS: Do you ever make pitches to companies without them requesting them first?

JS: I haven't done a pitch in years. I will put together proposals if someone requests it, but I haven't pitched in ages. The way I set things up are pretty simple. I set goals each season on who I would like to work with. Thus in the back of my mind, I start researching styles that best reflect where those brands are going. Eventually I'll get an opportunity to meet with someone who is directly involved via a trade show or through networking with other clients. But at the end, I have them seeking me out, rather than me seeking them.

Besides-and I think this is very important-if you pursue a client, rather than having a client pursue you, expectations are always different. They are more demanding and have different expectations. But if they pursue you, they are just happy to be working with you, thus the demands are a little less. It makes the project less stressful in the end because of the mutal respect between designer and client.

FS: Are there advantages to working with large companies?

JS: Yes. The advantages are great because in this market, people are superficial. You can be amazingly talented, but if you have no name behind you, then they assume you can't produce at that level or you might be hard to work with. Since my client list has a nice line of various companies I've worked with, it makes it easier to work with new clients because they know I'm suited to fit their demands. Granted, the work always speaks for itself in the end, but having client names gains more trust in the future relationships you'll produce.

FS: Are you able to make your own royalty and licensing deals?

JS: It was only recently that I started working-out royalty deals with a few clients. Most of them are not directly involved in the action sports market, but more-so on the outside of it. It's rewarding because if the design(s) sell well, then you know you'll get 5-10x the amount that you would normally get. So the benefits are worth it by taking a cut in the beginning of the project.

FS: Have you found success selling your stock vectors? How do you feel seeing your assets being used in other artists' work?

JS: YWFT (http://www.youworkforthem.com) is great. They produced the means for me to completely break away from needing a job and go fully independent to focus on my goals with HydroSevenFour. I actually like it. I haven't produced anything in a while because I didn't want to be the 'clip art' designer, but I always love seeing my work out there. When I produce clip art for anything, I hardly use it because I have personal issues using my own work. There have been times I've seen apparel produced soley off of my clip art, and have been asked, "Does that make you mad?'. My answer is "No". It doesn't bother me because I think people will recognize the work, and it's free marketing-if you will-for me.

FS: How do you like the freelance life? Do you ever find yourself struggling to find work or considering working for an agency?

JS: I rather hate the term 'freelance' since I'm trying to sort this into an actual agency. But I love working independently and being able to make my own choices. I've worked for a few agencies over my career and passion levels are always different. There it's a job, here it's my life. Thus I'm more passionate about the projects I decide to take on.

As of right now, I haven't had any rough months. Work and the actual [amount of] projects always go up each year. It's to the point I have to turn down projects because of time frames, or if I do take it on, I pass it off to my freelancers. As of right now, HydroSevenFour has been an utter blessing and I'm flattered and stoked to be able to do what I do each day.

FS: What are you doing to promote yourself and get new work?

JS: Nothing, I've been too busy to promote.

FS: What's your average ratio of personal work to client work?

JS: Ha! What is personal work? I try to slip a personal project in once a month if I can get around to it. But even then, personal work turns into commerical work.

FS: What type of projects would you like to work on in the future?

JS: I would like to get more involved in the production side and focus on the embellishments that are needed to really make a piece pop. As of right now, the main projects I take on are with clients that I know we can share quality-time back and forth.

FS: What's a normal day like for you?

JS: Wake up around 7am. Drink coffee, get my girls ready for school (as long as I didn't stay up until 3 A.M. the night before), then as my wife takes them to school, I do a meal replacement shake, take some superfood suppliments, have a quick smoke, then head to my office. I work close to noon or 1, take a small break, do another meal replacement shake, some more green superfood suppliments (I'm on a diet right now), then work till 6 P.M.. I spend time with the kids, do dinner, then get back on the computer around 9pm till midnight (when I'm busy). Some days I'm on the phone all day. Other days it's quiet so I can focus on work.

FS: What do you like to do when you're not working?

JS: Think about work. Actually trying to read more, focus on my girls, do some shopping to check out style trends.

FS: What's the heavy rotation on your iPod?

JS: Ha! I only use an iPod when I'm traveling. But in iTunes: Cinematic Orchestra, Cloud Cult, Editors, Mew, Front 242, Appleseed Cast, London Symphony Orchestra, Arvo Part, & Mahogany.

FS: What advice would you give to new artists trying to make a name for themselves?

JS: First and foremost, don't email people and ask them how they do stuff or where they got stuff or how to contact clients. I get so annoyed by that. Rather, realize it takes time. There isn't an easy solution. Pay your dues. Respect isn't given, it's earned. Be patient. Also, don't copy, or retrace someones work so you can pitch it to someone else. That will not set a good standard for a long career. Rather, be influenced and emulate tones, but not styles.

FS: What's coming up for HydroSeventyFour in 2008?

JS: Well, there are hints of an apparel line going live, as well as getting the agency sorted. There is also going to be a focus on pushing the name into some different areas for marketing with different companies. My true goal is to keep working, flowing, produce new and exciting artwork, maintain and hope that the growth is a bi-product of the success.

Thank you for the opportunity to interview, I really appreciate it.

Sincerely,
Joshua

 

Like what you see?
All works above are produced by and copyrighted by Joshua M. Smith (HydroSeventyFour, Hydro74). To view more of Joshua's work, please visit his online portfolio at Hydro74.com. Want more? Check out the insanely good Hydro74 vector sets available at YWFT or buy Hydro74 tee's, posters and fonts HERE.

 

2 Comments

Other Stuff

• » Spotlights
  • Interview: James White | Signalnoise
  • Interview: Edvard Scott
  • Interview: David Kamp
  • Interview: The Hejz
  • Interview: Hillman Curtis
  • Interview: Timo Boese | Lowerground
  • Interview: Radim Malinic | Brand Nu
  • Interview: Tom Muller
  • Feature: Noah Kalina
  • Interview: Joshua Smith | Hydro74
  • Interview: Stefan Lucut
  • Interview: Carole Guevin | Netdiver
  • Feature: 2007 Year End Highlights
  • Interview: Carlos Fabián Camargo
  • Feature: Emil Kozak
• Competitions
• FAQs
• About FAIRspot.com
• Submission Guidelines
• Newsletter
• Terms & Conditions
• Privacy Policy

Link to Our Spot

If you find this site useful and want to tell others about it, we encourage you to link to our site. It's easy! Just create a text-link written as "FAIRspot.com" or download our logo and buttons below:



Download the FAIRspot.com Promo Pack

 

Contact

FAIRspot.com
14770 Caminito Orense Oeste
San Diego, CA 92129

hello@fairspot.com