Ask Matthew

I'm always happy to answer any questions you might have. The following are some of the most frequently asked.

Q: What is “Good” design?

We believe that “Good” Design is characterized by a triad of beauty, necessity, and virtue. Taking a rose as an example, it’s beauty is simultaneously defined by the necessity and virtues of it’s formal manifestation. Its’ symmetries, variations in color and scents, the thorns on its' stem, and abilities for self-proliferation through cooperation with the wind and the bees, have a cumulative effect on the mind and it’s archetypal representation of the rose. The result is the perception of beauty. This system of appreciation for the “Good” has a cyclical characteristic, which functions as a sieve, allowing the designer or beholder, to filter their perceptions and decision making processes, when the object of their goal is the appreciation or manifestation of ‘Good’ design.

Q: How do I become a designer?

Fundamentally, being a designer is a matter of refining one’s tastes, one’s capacity for technical demonstration, and a having a well-defined sense of personal identity, which is the basis of creativity. The key is to understand yourself, and the environmental context which enables you to do your best work, in a persistent fashion, while existing in the most creatively challenging environment. Some people are able to do this independently, through deep study, and others need direct contact with others more skilled than themselves. Our best advice is to seek out the persons whose work you admire, and ask them directly about their path, as this yields the best insights and firmly entrenches the possibility of personal achievement in your own mind.

Q: What are the creative differences between the Feature Film and Automotive Industries?

Both industries have essentially the same workflow, but with different constraint systems and different mitigating contextual factors. In Feature Film, product design and development is generally dictated by the script, the aesthetic vision of the Production Designer and Director, as well as budgetary issues, which fall into the realm of the Producers and supervising Art Director. In Automotive design for OEM manufacturers, marketing is currently the dominating force, followed by engineering, and lastly design. With feature film, there is a broader opportunity for creative expression and a relatively fast development period from concept to execution, when contrasted with the typical 5 year development process for a production automobile .

As a result, a lot of design in feature films has the appearance of being more unique but ‘rushed’, or not entirely resolved, when viewed through the lens of industrial production. That being said, an illustrator in feature film has a relatively high level of autonomy, and there is a very good chance that his work will be seen by a large number of people. An illustrator in the car design business has a less predictable level of influence on the final product, depending on the constraints of production feasibility, the influence of marketing, and the degrees of managerial influence. A car designer’s work is more rigorous and requires a delicate balance of constraint systems, and as a result has a less predictable chance of being seen by the public in it's original form, apart from publicity oriented projects such as showcars or intra studio design competitions. However, there is a great satisfaction in collaborating with such a broad range of experts in the studio environment on a product as complex as the modern automobile. In most instances, the team effort and comradery in both industries is rewarding enough by itself.

Q: Are you hiring ?

At the present moment, we are not hiring any new staff. We currently use our broader professional network to fulfill any additional needs on a per project basis. This may change in the near future. Interested parties may contact Matthew via the contact form, or on Linkedin and Facebook.

Q: Is your primary focus on concept development, design, or 3d modeling?

Our primary focus is on concept development, design, and 3D modeling. We believe that these skills are not mutually exclusive, and that by practicing one discipline, the others are strengthened. A well rounded designer should be proficient in all three.

Q: What are your favorite cars of all time?

The Pininfarina Modulo designed by Paolo Martin, the Talbot Lago by Figoni & Falaschi, the Willy's Jeep, and almost anything by Larry Shinoda.

Q: What is your favorite movie?


Q: What size are the shut lines on a late model car?

2 millimeters for plastic fascias, 4 millimeters for doors, and 6 millimeters for trunk and hood shut lines.