doesn’t distinguish between “beautiful” or “ugly”
work—he’s interested in what it says. “I am just realizing the full
potential of my work and I want to wield it like a large club with nails in
it,” he continued, describing what would ultimately form the basis for Print’s
cover in 2010. Here, Victore details his interpretation
of the image of the club, discusses the role of the designer, and says sometimes
you just have to do the damn job and get paid.
The club is a literal translation of an idea I have had
about the potential, the force, we as designers have.
So how long have you had this idea of the club as a
translation for designer’s potential?
Historically, design has been used at its best to inspire
young men to enlist and donate their bodies to war, while inciting others to
protest and end war. Our talents and tools can either be used for good or bad.
This is the potential that I aspire to.
But the club is also, in many ways, a symbol of violence and
brute force. Should designers exercise their potential in that (sort of
This club is not a weapon—it’s an idea that gets stuck in
your brain. It’s a stunning, beautiful image that won’t go away or a powerful
sexy memorable poster that you want to steal. You take me too literal. This is
the force, the ability we have. We cannot only fulfill the objective of selling
some product or idea; we can inject our work with social, political and
cultural ideas, make them pregnant with meaning. This is the power we have—if
we take it. Freedom is not given, it must be taken.
Did you make the club yourself? Or did you buy it?
We made the club. We are designers, we can do anything.
There was some debate
about the materials you used. Some thought it was paper-maché. Another thought
it was Foamcore.
It’s carved from wood. Foamcore would be cheating.
It would have been easier to make the thing out of cheaper
materials and do some Photoshopping, right? Why the emphasis on craft?
I got involved in this business because I liked making things with my hands—and
will take any opportunity to do so.
Did you look at any historical examples for inspiration?
We don’t need no stinkin’ research. We are designers! We are
What was the process of selecting the photographer Tom
Besides being a longtime friend, Tom is one of the best
photographers in the business. He is smart, easy to work with, and makes all of
my work better.
How do you deal with being art-directed? Or are you given free
reign at this point in your career?
I generally work with smart people whom I listen to and respect. With others, I
just get the damn job done and get paid.
What’s the biggest difference between designing a magazine cover and a book
cover? Do you have a preference?
Posters, book jackets and stamps are all the same to me. Formats change, but
the visual impact and clarity I seek is always the same.