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mirko-ilic

Success Secrets from Mirko Ilic:

  • If you don’t enjoy what you’re doing, they can never pay you enough.
  • It’s much easier to think for 8 hours and work for 2, than the opposite.
  • Follow your dream. Do whatever it takes. If it happens, that’s great. And if it doesn’t, at least you’ll know you tried. That’s how I built my business.
  • Getting good clients is like dating. It’s about building a personal relationship, building trust.

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Torture
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Early beginnings:

Going into art was just easier. I was not good at sports. I’m okay in mathematics and in most other things, but somehow art was much easier for me than anything else.  It was a simple decision.

When I first started out, at that time I was living in Yugoslavia, I was leaving my illustrations at different newspapers.  The first illustration that was published, didn’t even have my credit line. I was so eager to publish, that I was leaving the illustrations around without my name on them.

They liked them, (Laughter) but they didn’t know who to give the credit to. I showed up a week later and said, “Oh, that was my illustration.”  They said, “Great, do more.”

That was basically how I started, going round and knocking on the doors.  When you’re young and arrogant, you don’t have anything to lose. So why not?

NYT opEd: Pafko at the Wall (1992). Art direction, design, illustration: Mirko Ilic.
Pafko at the Wall
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Broadway Book War
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Russia Comes Apart
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Starting his career:

I was born in a Communist country and the only employment available at that time was working for a government controlled company. So instead, I chose to freelance. I was one of the few, maybe even one of the first freelancers in my country.

Since I didn’t want to work for the government, it turned out that my first full-time job was when I became art director at Time magazine for all the international editions. I was 31 at the time.

I was there only 6 months. I quit, disagreeing with the look of the redesign of Time magazine. I was supposed to use the new look in Time International, which I was in charge of.  A few months later, I got an offer from the New York Times op-ed pages.

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Canada
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Germany
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Influential figures from design:

During different periods, I’ve been influenced by different people.  As I grew up things changed, and over the years, I enjoyed many styles and many professions.

I gained lots of influence from European designers and illustrators because I was born there, but also from Americans.  I didn’t know much about famous designers, but the American underground had quite a huge influence on me too.

In 1972, I saw the illustration work of Brad Holland published in a Graphis Annual. It was so powerful. I figured that illustration was serious business and I started to pay much more attention.

Then around 1974 a friend of mine showed me Milton Glaser’s book. When I saw his work I thought, “Wow, I could be an illustrator and a designer at the same time!”  After that, I found my passion.

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The Anatomy of Design
Gate-fold book by Mirko Ilic & Steven Heller uncovering the influences of graphic design (Rockport).
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Thoughts on planning:

When I was 19, I made a list of the 10 most important comics. I promised myself that I would publish my work there, and everybody was laughing.  But by the time I was 26, I had published in all of those magazines.

When I came to the United States, I had a list that included The New York Times, Time magazine and Playboy.  (chuckling)

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Apple’s Growing Ecosystems
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This is a funny story.  My first week in New York, I got to do cover sketches for Time magazine.  During my second week I got to do an illustration for The New York Times.  But Playboy was in Chicago. So I didn’t get to do Playboy at that time.

Then, maybe three or four years ago I mentioned this fact to someone in an interview and I got call from Playboy! Now I’m regularly drawing and doing illustrations for them.

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Darfurposter
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Mirko’s thoughts on changing directions:

I get bored doing one kind of thing for too long.  For example, I was doing editorial illustrations for a long time, but I wanted to do book design. And somehow I muscled myself into designing books.  Most often you need to have designed a book to be able to show around because everybody wants to see something before they give you a job. Fortunately for me, I stumbled into that first assignment and it got me started.

Then because I was designing books, I started to write books.  Then one of the people for whom I was designing a book, architect Adam Tihany, asked me if I wanted to graphically design a hotel with him. Of course I said, “Yes.”  And now I’m designing hotels, buildings and restaurants, and that is something that, if you’d asked me at that time, I would have said, “Are you crazy?”

But I like it.  And now I’m pursuing that.  And I’m getting some awards, and publishing some work here and there.

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Le Cirque (restaurant)
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Favorite accomplishments:

There is no one thing that’s my most favorite accomplishment.  The most exciting things, for me, tend to happen at first: my first illustration, my first designed book, my first cover for Time magazine, my first illustration for The New York Times. It’s all quite amazing. Those sorts of thrills allow me to run empty for quite some time.  (Laughter.)

There are some things that I like more than others, of course.  But I’m quite happy with a few of the books that I wrote. The Design of Dissent: Socially and Politically Driven Graphics, which I co-authored with Milton Glaser, is a kind of achievement which is very dear and important to me. Not to mention the pleasure of working with Milton.

Also, I’m very pleased with my latest book, The Anatomy of Design: Uncovering the Influences and Inspirations in Modern Graphic Design.” I did that one with Steven Heller. We managed to squeeze almost 2,000 pieces of art into the book, which is quite an achievement.

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Energy Roundtable
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Energy Independence
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Mirko’s thoughts on lifelong education:

Throughout my life, I’ve done what I call continuous education – educating myself whenever I can. I notice how lots of kids, especially here in the United States, don’t know much about design history. We all stand on somebody’s shoulders.

I decided to create books for kids so they can learn a little bit about the past. And it’s quite achievement for somebody who can barely speak English and is dyslexic. (Laughter.)

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The Sexual Male
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Mirko’s thoughts on the keys to success:

In my class in school, there were two extremely talented kids who became my friends.  They were able to draw blindfolded. I figured that only way to equal them was to work harder and try to be brighter. Then I discovered that working is not enough.  One needs to think about what one is doing. I discovered that it’s much easier to think for 8 hours and work for 2, than the opposite.

Thinking about what I do before I sit in front of a white table or computer screen is really, really important. Then once when I have the idea, I work like a dog.  (Laughter.)

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The Scent of War
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Not Much Has Changed in a System that Failed
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The Havoc in Yugoslavia
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On doing things differently:

I would love to build, be an engineer and build bridges.  I think bridges are amazing.  They’re like birds that fly on the ground.  They connect people. They’re such positive things. They’re like sculptures, floating in air.  It’s quite amazing.

Mirko’s Toughest Challenge:

Probably the toughest creatively challenging period was in 1991 when civil war broke out in the former Yugoslavia. I managed to see my primary school in my small home town in Bosnia on CNN, which was showing Serbian militiamen killing women who lay face down on the sidewalk in front of the school. As war was spreading, I was glued to the television set for days and nights, trying to reach my mother on the phone, who was still living there. It was very hard to find reasons to draw or create pretty images.

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Liberty and Justice
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Mirko’s hobbies:

I collect old books.  I visit all the book fairs, and collect magazines.  I do research.  I’m especially interested in the 20’s and 30’s.  I have lots of Russian Dada. I enjoy old papers.  I enjoy touching them and playing with them.  And I think that’s my biggest hobby.

Thoughts for someone just starting out:

It’s very tricky because our industry is in a big shift. It doesn’t seem to have a clear future at this point in time. We are now focused on the promise of new technology while we’re forgetting that there are still ideas that might be left behind.

There seems to be too many vice presidents making the design decisions instead of the designers.

But one thing’s for sure, if you don’t enjoy what you’re doing, they can never pay you enough. You must feel pleasure.  You must feel like you want to wake somebody up and show them what you’ve done.  You must feel like you’d like to run out and say, “Look, look, look, look what I did.”  That kind of feeling is more important than any amount of money.

I think when one sees the design of another person and thinks, “Wow, why didn’t I come up with that one?”  That’s the kind of design you should strive to create.

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SVA: To Help See Possibilities
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Thoughts on getting good clients:

Getting good clients is like dating.  It’s about building a personal relationship, building trust.

It’s tough, especially today, when most of us communicate through the internet and we don’t even see the faces of the people we’re working with. And sometimes they’re just two blocks away.

If you like what your client is doing, if you like their product, and if they like what you’re doing, if they feel the same kind of honesty from you, I think you have a chance to build a relationship.  And look, I arrived in this country in 1986, and I still work with 5-10 of the people whom I met during the very first year.

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Tihany Design (booklet)
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Ideas for people just starting out:

Follow your dream. Do whatever it takes. If it happens, that’s great. And if it doesn’t happen, at least you’ll know you tried. That’s how I built my business. Now, of course, I’m old and tired, actually mostly lazy; I wait for the telephone to ring or the internet to beep.  Here and there I push a little bit, but mostly the telephone rings or the internet beeps.

Additional thoughts:

It’s very important to introduce new ideas into your design. When you’re listening to music, going out to the theater, visiting museums, socializing with friends, and so forth, you will accumulate additional ideas, and from some place other than looking at other designers’ work or at the design annuals. The best ideas come from cross-pollination. Not from just recycling the same crap again and again.

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Sav Taj Crtez (All Those Drawings)
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About Mirko Ilic:

Mirko Ilic published his first works in 1973, and has since been publishing comics and illustrations in magazines, such as Omladinski tjednik, Modra Lasta, Tina, Pitanja, and has become the art and comics editor of the students’ magazine Polet in 1976. That’s when he helped organize an informal organization of the comic book creators Novi kvadrat (The New Square), that has been widely connected to the Novi val musical movement in Zagreb. That connection also allowed Ilic to design album covers for some of the most prominent Yugoslav bands of the time, such as Bijelo dugme, U škripcu, Prljavo kazalište, Parni Valjak, Parlament, and many others. He also wrote the song Covjek za sutra on the first album of Prljavo kazalište, but he wasn’t given the credits for the authorship. Ilic appears in Sretno dijete, Igor Mirkovi?’s documentary about the Novi val movement in Zagreb, as one of the most prominent figures of the movement.

In 1977, Ilic started publishing his works in the established comics magazines outside Yugoslavia, such as Alter Alter, Métal Hurlant and Heavy Metal. In 1980, Novi kvadrat ceaseed to exist and Ilic entirely stopped working on comics, focusing upon illustration and graphic design. In 1982, he started working for the Italian magazine Panorama, as well as for the Croatian magazine Danas. in March 1986 he left Yugoslavia and went to New York “with $1,500 in the pocket and no idea what to do upon getting there.” He soon started publishing his illustrations in Time, The New York Times, Los Angeles Times, Wall Street Journal, and many other prominent and influential newspapers and magazines. In 1991, he became art director of Time International, and the following year he became art director of the op-eds in The New York Times.

In 1993, Ilic became one of the co-founders of Oko & Mano Inc. graphic design studio, and in 1995 he founded Mirko Ilic Corp., a graphic design and 3-D computer graphics and motion picture title studio. In 1998, he created the title sequence for the romantic comedy You’ve Got Mail.

He is a co-author of several books about graphic design: Genius Moves: 100 Icons of Graphic Design, Handwritten – expressive lettering in digital age, and Anatomy of design (all of them co-authored with Steven Heller) and Design of Dissent (with Milton Glaser).

Mirko Ilic Corp.
207 E 32nd Street
New York, NY 10016
Tel. 212.481.9737
Fax. 212.481.7088
Credits:
Torture
Client:
Best Life Magazine
Published: 2005
Art director: Chris Dougherty
Illustrator: Mirko Ilic Corp.
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New York Times Op-Ed
Year: 1992
Title: Pafko at the Wall
Design: Mirko Ilic
Illustration: Mirko Ilic
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New York Times Op-Ed
Year: 1992
Title: Broadway Book War
Art direction: Mirko Ilic
Design: Mirko Ilic
Illustration: Mirko Ilic
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New York Times Op-Ed
Year: 1992
Title: Russia Comes Apart
Art direction: Mirko Ilic
Design: Mirko Ilic
Illustration: Mirko Ilic
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Time Magazine cover “Canada”
Art Director: Rudolph Hoglund
Illustrator: Mirko Ilic
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Time Magazine cover “Germany”
Art director: Mirko Ilic
Designer: Mirko Ilic
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The Anatomy of Design
Art director : Mirko Ilic
Designers: Mirko Ilic, Kunal Bhat
Description: Gate-fold book by Mirko Ilic & Steven Heller uncovering the influences of graphic design (Rockport).
Client: Rockport
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Apple’s Growing Ecosystems
Client:
Business Week
Published: 2007
Art Director: Steven Taylor
Illustrator: Mirko Ilic Corp.
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Darfur poster
art director : Mirko Ilic
designers: Mirko Ilic, Daniel Young
description: Poster to help raise awareness of Darfur crisis
client: Paradoxy Products
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Le Cirque (restaurant)
Art director : Mirko Ilic
Designer: Mirko Ilic
Description: plates, stationary, and other graphics for the restaurant
Client: Le Cirque
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Energy Roundtable
Client: Stanford University
Art director: Amy Shroads
Illustrator: Mirko Ilic Corp.
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Energy Independence
Client: Mother Jones magazine
Art director: Tim Luddy
Illustrator: Mirko Ilic Corp.
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The Sexual Male
Client:
Playboy Magazine
Art director: Rob Wilson
Illustrator: Mirko Ilic Corp.
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The Scent of War
Client:
Village Voice
Year 2002
Art director: Minh Uong
Illustrator: Mirko Ilic Corp.
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Not Much Has Changed in a System that Failed
Client:
The New York Times, 2002
Art director: Tom Bodkin
Illustrator: Mirko Ilic Corp.
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The Havoc in Yugoslavia
Published: 1996
Client:
The New York Times Book Review
Art director: Steven Heller
Illustrator: Mirko Ilic Corp.
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Liberty and Justice
Client:
Village Voice
Art director: Min Uong
Illustrator : Mirko Ilic Corp.
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SVA: To Help See Possibilities
Client: The School of Visual Arts
Creative director : Anthony P. Rhodes
Art director: Michael J. Walsh
Designer: Mirko Ilic
Illustrators: Youngmin Kim, Mirko Ilic
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Tihany Design (booklet)
Client: Tihany Design
Art director : Mirko Ilic
Designer: Mirko Ilic
Description: Look-book & stationary set for interior-design firm
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Sav Taj Crtez (All Those Drawings)
Client: Museum of Modern and Contemporary Art, Rijeka, Croatia
Published: 2009
Art director: Mirko Ilic
Designer: Mirko Ilic
Illustrator: Mirko Ilic, Lauren de Napoli
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