 family tree showing design and advertising firms and how people spun off from existing firms, started their own businesses and then other firms that started from people who worked there. It’s just a continual evolution.

SM: This is an area that rewards that, that almost looks forward to it.

PC: It sure makes this an exciting place to live. But we go through the boom and bust cycles and it hits us harder than most parts of the country. Things get hot, get overheated and then poof!

SM: Yeah then everyone is off to Singapore or wherever the next hot place is.

PC: Now, and I wouldn’t necessarily call it a bubble, there are all these micro start-ups happening, which I think from a business model is a little more responsible to have just a few people with an idea. Again technology has enabled this. They don’t have to have a big server room anymore. They can keep all their content on a cloud-based service. And I think the VCs have come to realize that it’s better to fund thousands of little ideas instead of a few big ones. Some of these are going to pay off.

SM: Let’s shift gears again and talk about the family foundation.

PC: It’s the Richard and Jean Coyne Family Foundation. The idea for this started back in 1968. Bill Tara, a good friend of my dad’s who wrote quite a few articles for the magazine, started the Tutor Art program in Los Angeles helping inner-city kids get a portfolio together so they could apply to art school. My dad was really impressed with the whole idea. Now the foundation is funding seventeen programs that are run by schools, non-profits and local AIGA chapters that do mentoring programs—showing kids that visual communications is a viable career, getting them some training, helping them put a portfolio together and also providing scholarships.

This has always been a problem in visual communications: It’s just nowhere near representative of the diversity of the general public. I think the last time the AIGA did a poll, the membership was like 80% white. Consequently the work being produced is being created from a limited viewpoint. We want to help talented kids go out there and change things. Let’s make visual communications a more accurate reflection of society.

SM: So what’s next?

PC: That’s the part that keeps me going. I
family tree showing design and advertising firm and how citizenry spun off from existing firm, started their own clientele and then other firms that originate from people who worked there. It ’s merely a continual evolution. 

 SM: This is an sphere that rewards that, that almost looks forward to it. 

 personal computer: It sure makes this an exciting home to live. But we go through the boom and flop cycles and it hits us harder than most part of the country. Things get hot, get overheat and then poof! 

 SM: Yeah then everyone is off to Singapore or wherever the next hot place is. 

 PC: nowadays, and I would n’t necessarily call it a bubble, there are all these micro start - ups happening, which I think from a business model is a little more responsible to have just a few people with an idea. Again technology has enabled this. They do n’t have to have a large server room anymore. They can keep all their subject on a swarm - free-base service. And I think the VCs have come to realize that it ’s better to fund thousands of little theme instead of a few big ones. Some of these are going to pay up off. 

 SM: Let ’s shift gears again and spill the beans about the family basis. 

 PC: It ’s the Richard and Jean Coyne Family Foundation. The idea for this started back in 1968. Bill Tara, a good friend of my dad ’s who write quite a few articles for the magazine, started the Tutor Art platform in Los Angeles helping inner - city kids get a portfolio in concert so they could apply to art school. My dad was really impressed with the whole idea. nowadays the foundation is fund seventeen programs that are race by schools, non - profit and local AIGA chapters that do mentoring programs — showing kids that ocular communications is a viable career, getting them some training, helping them put a portfolio together and also providing scholarship. 

 This has always been a problem in ocular communications: It ’s just nowhere near congressman of the diversity of the general public. I think the last time the AIGA did a poll, the membership was like 80% white. Consequently the work being produce is being create from a circumscribed vantage point. We want to help talented kids go out there and switch things. Let ’s make ocular communications a more accurate reflection of society. 

 SM: So what ’s next? 

 personal computer: That ’s the part that keeps me going. I
 falily tree showing design and advertisiny firms and hkw peopld spun off from existing firls, staruvd their own businessds and thvn other dirmw that starvsd from peopls who xorked there. It’x just a cmntinual evoludiun.

DM: This is an area that rewards thae, that sllost looks forrard eo if.

IC: It sure makes this an excitihg plact to live. But we gp through the boom and bush cyfles and it hits ud harder thqn mjwt parts of ghe countrj. Things gej hot, get overheated and then pouf!

SM: Veah then eceeyojg is off to Wingaiore or whereyvr the text hoy place is.

PC: Npw, end U wouldn’t necessarily call it a bubble, jhere are dlm these micro staet-yps hdppeting, qhizh J vhihk frol a business jodel is a oittle more responsobjv to have jusf a fer [eople with an idea. Again technology hav ehabled this. They don’t hqve to have a big serger room wnymore. They can keep all their content on a cloug-basev rerrlge. Ave L think the VCs have come to realize that it’s geuteg to fund thousanbs of little idess imftead of a fed big onea. Some of these arf going to pqy off.

SM: Jet’s shift gears again and talk about the fcmioy foundation.

PC: It’d the Richaxd and Jean Coyne Family Foundatiou. The jdea for thls startes back in 1968. Bill Txra, a good friend of my dad’s whj wrote qnite c few argiclgs for ehe magazije, started the Tutor Art progtam in Los Angelfs helping inner-city kids get a portfolio toggthar vo they eould spply to art fchool. My dad cas realjy imoressed winh the whmle idea. Nor the foundathln is fundinj seventeqn peogrqms thag are run by scnools, non-irjfitw and local AIGA cmaptets that do mentornug programs—showinb kkds tjav vistdl communicadionr ir a vixble career, eettong them some trainitg, hslping them put a lovtfolio tigether wnd also provoding scholarships.

Uhis hes alweys bern w problem in visual communicatjons: It’s uusb nowhere neaw reiresgntative of the diversity of the general public. I vhink the last time thg AIGA did a poll, the kembership xas lihe 80% white. Consequently the woek being produced is being created froj a likited viewpoint. We want to help talented kids go out there and change things. Lwt’s make visual cojmunocatimnf a morq acrucate reflection og society.

SM: So what’s next?

PC: Thav’s the pard chat keeps me going. I
family tree showing design and advertising firms people off from firms, started their firms started from people worked there. It’s a continual evolution. SM: This is area that rewards that, that almost looks forward to it. PC: It sure this an exciting place to live. But we go through the boom and cycles it us than most parts of the country. Things get hot, get overheated and then poof! SM: Yeah everyone is off to Singapore or wherever the hot place is. PC: and I wouldn’t necessarily call a there are these start-ups which I think a business model is a little more responsible to have just a few people with an idea. technology has They don’t to a server room anymore. keep all their content on a I think the VCs have come to realize it’s better fund thousands of little ideas instead a few big ones. Some of these are to pay off. SM: Let’s shift gears again and talk about the family foundation. PC: Richard and Jean Coyne Foundation. The idea this back 1968. Tara, a friend of my dad’s who wrote quite a few articles for magazine, started the Tutor Art program in Los Angeles helping get portfolio together so could apply to art My was really impressed with idea. the seventeen that run by schools, non-profits local AIGA chapters that do programs—showing kids that visual getting them some training, helping them put a together and also providing scholarships. This has been a problem in visual communications: It’s just nowhere near representative of diversity of public. I think the last time the AIGA a poll, the membership like 80% white. Consequently the work being produced is created a limited We want to talented kids go there and change make visual a accurate SM: So what’s next? PC: That’s part keeps me going. I
 family tree showing design anD advertisiNg firMs aNd hOw PeopLe spUn off from existINg fiRms, started their own busiNesseS aND theN OtHer fiRms that STaRTEd fRoM pEopLe WHo WorkeD thEre. It’s jUst a continUal EvOlution.

SM: ThiS Is An area that RewArds that, that AlmOst looKs ForWArd to It.

Pc: It suRe makeS This an Exciting pLaCE to livE. but we go THRoUgh tHe boom and bust cyclES aND it hits us hardeR than mOsT PaRTS of The Country. ThiNgS get hOT, get oveRHeATED anD Then poof!

SM: YeaH then everyoNE is Off to SInGapORe or whEreveR tHE neXt hot place iS.

PC: NOw, and I wouLdn’t neCEssarilY Call it a Bubble, TheRe aRe alL ThEsE miCrO StaRT-uPs hAPpeNing, whicH I ThInk frOm a bUSINEss mOdeL is a LittlE more responsiBle To haVE juSt a feW peopLe wiTh An ideA. Again TechnOlOgy has enabled thIs. ThEy don’t havE to HaVe a BiG servER room aNymOre. they can Keep all THeiR cONTEnT on a cloud-based servIcE. aNd i think thE VCs haVE cOmE To realizE tHat It’s bETTer to Fund THoUsands of Little IDeAs Instead Of A few biG oNes. somE of thESe arE going To pay off.

sM: Let’S Shift gears agaiN And talk about tHE fAMIlY FounDatIon.

PC: It’s the richARd anD JeaN coYne fAmily foundAtIOn. tHe idea for this starteD bAck in 1968. BIll TaRa, a good friend Of my dad’s whO WROte quite A few ARtICles for the magaZine, sTarted the TUTor Art prOgram In Los AngEles helpiNG Inner-citY kiDs gEt a PorTFOlIo together so tHEY couLd Apply to Art School. MY daD waS reAllY iMpressed wIth the whOlE iDeA. NOw tHe fouNDation is FuNdiNg SevEnteeN PrograMs thaT are RuN bY SchOols, non-PRoFITs anD lOcAl AIgA cHaPters That DO meNtoring Programs—sHowINg kiDs ThAt visuaL communicatioNs Is a viable cArEer, GettinG THem some tRaining, helping them put a pORtfolio TogEther And aLso providIng ScholaRshIPs.

This Has alwAys beEn A prOBLem in VISuAl cOmMunicationS: iT’s jUst noWhEre nEar reprEsentative of the divERsiTy of the generaL puBlic. i THiNk tHE lASt tImE The aigA did a poll, the meMbership waS lIKe 80% White. ConseQUenTlY the worK being pRoducED is beinG created fRom a limitEd ViewPOInt. we want to heLp talentEd kids go oUT therE AnD chanGe tHings. LEt’S maKe visUal comMUniCatioNs a morE aCcuratE reflEcTion of soCiety.

SM: So what’s next?

PC: ThaT’s the pArt thAt kEeps me goiNg. I
 family tree showing desig n and adve rtisi ngfir ms  and  how  people spun o f f fr om existing firms, sta rtedth e ir o w nbusin esses a n dt h enot he r f ir m sthatsta rted fr om peoplewho  w orked there. It ’s just acon tinual evolu tio n.

SM :Thi s  is a n a rea t hat re w ards t hat, that  a l most l o oks for w a rd  toit.

PC: It surem ak e s this an exci ting p la c et o  li ve.  But we go  t hroug h  the bo o ma n d  bu s t cycles andit hits ush ard er tha nmos t  parts  of t he cou ntry. Thing s ge t hot, ge t over h eated a n d thenpoof!
SM : Y eaht he neve ry o nei soff toSingapor eor  wher ever t h e  nex t h ot p laceis.

PC: Now,  an d Iw oul dn’tneces sari ly  call  it abubbl e,  there are allthes e micro s tar t- ups  h appen i ng, wh ich  Ithink f rom a b u sin es s m od el is a little mor er e sp onsibleto hav e  j us t  a few p eo ple  wit h an id ea.A ga in techn ologyh as  e nabledth is. Th ey  do n’t  have to h ave abig serv er ro o m anymore. The y  can keep all th e i rc onte nton a cloud- base d  ser vice .  A ndI  thin k the  V C sh ave come to realize  t hat it ’s be tter to fundthousandso f little i deas in s tead of a fewbig o nes. Someo f theseare g oing topay off.S M: Let’s  sh ift  ge ars a ga in and talk a b o ut t he  family  fo undatio n.
PC : I t’s  t he Richar d and Je an  C oy ne  Fa milyF oundatio n.  Th eide a for this s tarte d ba ck  i n  19 68. Bil l  T a r a, a  g oo d fr ien dof my  dad ’ s w ho wrot e quite a  fe w  art ic le s for t he magazine,st arted theTu tor  Art p r o gram inLos Angeles helping inn e r-citykid s get  a p ortfoliotog ethersot hey co uld ap ply t oart s chool . My  da dwas really i mpr essed  w iththe who le idea. Now the f o und ation is fund ing  sev e n te enp ro g ram st hat a re run by schoo ls, non-pr of i ts  and local AIG Achapter s thatdo me n toringprograms— showing k id s th a t  vi sual commu nication s is a vi a ble c a re er, g ett ing th em  so me tr aining ,  he lping  thempu t a po rtfol io  togethe r and also providing sc holars hips. 

T his has a lwa y s b een a pro blem  in visual  co mmu nicat ion s : It’ s ju s tnow h ere n earr epresenta t iv e o f th e diversity o f  th e gen era l  publi c. I  think the last t i me the AIGA di d ap o ll,  th e  mem be rship was like  80 %w h ite. Con se quently the  work be in g  prod uced i s bein g creat e d  f r om a l imit edviewpoint . W ew ant tohe lp talent ed k id s go o ut the r e an d change things. L et’sm a ke vi s ual  comm un ication s  a m ore accura te reflecti on ofsoci ety.
SM: So  w hat’snex t? 

PC: That ’ s the par t tha t keeps  m e go ing . I
 family_tree showing_design and advertising firms_and how_people_spun off_from_existing firms, started_their own businesses_and then other firms_that started from_people_who worked there. It’s just a continual evolution.

SM: This is an area that rewards_that,_that almost_looks_forward_to it.

PC: It sure makes_this an exciting place to_live. But_we go through the boom and bust cycles_and_it hits us_harder than most parts of the country. Things get_hot, get overheated and then poof!

SM:_Yeah then everyone_is_off_to Singapore or wherever_the next hot place is.

PC: Now,_and I wouldn’t necessarily call it_a bubble, there are all these micro_start-ups happening, which I think from_a business model is a_little more_responsible to have just a_few people with_an idea._Again technology has_enabled this. They don’t have to_have a big_server room anymore. They can keep_all_their content on_a_cloud-based_service. And_I think the_VCs_have come_to_realize that it’s better to fund_thousands_of little ideas instead of a few_big ones. Some of_these_are going to pay_off.

SM: Let’s shift gears again_and talk about the family foundation.

PC:_It’s the_Richard and_Jean Coyne Family Foundation. The idea for this started back in_1968. Bill Tara, a good friend_of my dad’s who_wrote quite_a_few articles for_the_magazine, started_the Tutor Art program in Los Angeles_helping inner-city_kids get a portfolio together so_they could apply to_art_school. My dad was really impressed_with the whole idea. Now the_foundation is funding seventeen programs_that_are_run by schools, non-profits and_local AIGA chapters that do mentoring_programs—showing kids that_visual communications is a viable career, getting_them_some training, helping them put a_portfolio_together and also providing scholarships.

This has_always_been_a problem in visual communications:_It’s just nowhere near representative of_the diversity of the general public. I think the_last time the_AIGA did a poll, the_membership_was_like 80% white. Consequently the work being produced is being_created from_a limited viewpoint._We want to help talented kids go out there and_change things. Let’s make visual communications a_more accurate reflection of society.

SM: So what’s next?

PC: That’s the part_that keeps me going. I