Simorka Designs

Feature Gallery

The Feature Gallery is a space to showcase latest works, industry news and artist spotlights.

Artist Spotlight: Lindsay Taylor

Interview and photographs by Steve Simorka

November 26, 2016


Lindsay Taylor


Brooklyn-based artist , Lindsay Taylor, on the realities and rewards of making art as a form of meditation, what she’s learning from exploring new processes and using her installations to further a meaningful conversation with herself and the audience.

Tell me where you got your start.

I got started in painting young. I was emphatic with all the art classes I was taking in school; I think specifically I started taking oil painting young. (Laughing) I don’t know if that was smart because it’s more hazardous than acrylic paint but I started oil painting when I was in middle school. I had some great art teachers that help me to become as excited about art making as I am now. I would take after school classes; I would do some nude figure paintings.

What was it about painting, rather than other forms of median, that drew you in?

I guess to be totally honest, I found it to be the easiest to begin with. Drawing at that time when I was real young and trying to understand art and art making, it just seemed like it was a precursor to a final peace. I don’t feel the same way about it now but drawing never felt like a finalized form of art making when I was younger. Painting was the other main tool that my teachers taught us, so to me it was just a natural progression. I found it to be the most calming.

oh shit! I can draw the person sitting in front of me. That’s pretty cool!

What were your works like back then?

(Laughing) I mostly focused on figure work, I did a lot of Sailor Moon drawings and I had to be perfect at them! Figure work has stayed with me ever since. I was naturally interested in the human figure, so from copying cartoons I started realizing “hey there are human beings I can draw upon and hone my skills.”  When I was younger, I focused on being the best I could with my technical skills and that is what led me into doing figure work. (Smiling) I’d also have to do the occasional landscape but I wasn’t happy with that.

How was the transition from Sailor Moon to a more natural human form?

I’ve always been an observant person so it was almost like an expansion of knowledge that I already had. When I was doing Sailor Moon drawings, that was in like 4th grade and I didn’t understand that there was other art beyond that because all I had at my disposal were my brother’s comic books. So it was an eye-opening moment for me, like “oh shit! I can draw the person sitting in front of me. That’s pretty cool!”

Did you use this new expansion of knowledge to help you with your education?

(Laughing) Yeah and I also didn’t think I was good at anything else. But I remember thinking about college back in high school, that it was my turn to pick what I want to learn about every day and art was the only thing I cared about doing. So, it was a no-brainer that I was going to do my undergrad in art and painting. It even carried on after college into my residency programs at School of Visual Arts, so it never really stopped.

That was inspirational to be in that kind of environment where everyone was exchanging ideas and being creative together.

How was the transition from college to the residency programs?

It was hard at first but the residency programs proved to be the most valuable experience that I’ve ever had.

How so?

Well, it was in the context of real-life. I was meeting other professionals that were going through the same experiences or had already gone through it years before which they shared with me. Also in school, there’s this bubble where you’re trying to make everything pristine and I always had it in my mind, that I was going to be this great artist. After graduation, there I was and it didn’t happen! But I joined the residency program and I met other people that were so real, honest and were just as confused as I was. That was inspirational to be in that kind of environment where everyone was exchanging ideas and being creative together.

Being in the residency, how do you feel that experience has changed your process?

It totally changed, like a 180. Two days after I graduated I moved to the city and started my residency at SVA. I was super depressed that school was over and I still had that undergrad mentality. I felt like I should keep making projects with an objective, that are due on a certain date and I was going to get it reviewed by someone. But it wasn’t until I started doing work at the residency that I realized that I don’t have to do that anymore, I don’t have to make projects for a professor. I can make whatever the fuck I want!

I wanted to have a freeing experience without my own objectives, without my own perceptions

After this realization, what kind of work did you start making?

It’s funny because I feel like from the moment that hit me, up until about a year ago I was struggling with what to make. I focused mostly on process, my work from this realization has been about getting to that place where I care deeply about what I’m creating. Or trying to understand why I’m creating something. I focused on a lot of art therapy, meditation and trying to work intuitively.

You were working with art to be more of a meditation?

I would use the act of making art as a type of meditation and I was taking the extra step of meditating before starting to work. I wanted to have a freeing experience without my own objectives, without my own perceptions and work in this place of subconscious to see what happens. From there I would fine tune the work and kind of investigate where I was going with it. I think that was freeing and I honestly needed to do that, otherwise I was just going to sit in my room doing the same thing I was doing in college.

You have done your residency; you have explored your process.

What is the next thing that’s got you excited?

I’m super excited to make more installation work. It’s been something that I have been a little hesitant about doing at first but I’m excited now because it’s new territory. My work has never been so encompassing, but I have always made large paintings to be expansive and to fill a room. I want you as a viewer to feel what I’m feeling. It was just a natural progression that led to thinking more about the space I was working in.

I’m trying to think more about what the dialogue between what I show the viewer and what I try to cover up.

Moving off the canvas and into the space itself, how have installations changed your process?

I feel like it hasn’t, (laughing) maybe isn’t the best thing...

Well I guess the one aspect that has changed is; I neglect the fact that painting is on a static surface. It doesn’t matter to me anymore. I started to feel that the conversation I was having with myself was getting too expansive for a static frame. What I’m doing now is painting on Mylar Sheets and when I’m done, I then cut it up. I do this a couple of times with other paintings and I’d use the pieces to create a new narrative in the space. I’m making a conversation that has meaning then cutting it into pieces with no meaning and finally making a new conversation with those pieces.

Elaborate about what you mean when you say “conversation.”

Well I just sit in my studio and I have a full-blown chat with myself! (Laughing) “Lindsay, what are you doing? This looks like shit!”

No, it’s more of an internal conversation with the personal things that are going on in my life or what is going on in the world that I need to get out. How can all these things that are important or have meaning in my life interact with each other. I’ll ask myself, “what are the major players in the painting right now?” I’ll cut those out and from there I’ll ask “what are the less important ones?” And I may go back in and work over it or cover it up with paint. After that those pieces will get cut out and I lay everything on the floor and start piecing things together. I do everything temporarily so I’ll start taping things to the wall and see how it’s all interacting with each other. I may change or move it, the installation in my studio has gone through 7 different iterations because the conversation I’m having with it is never the same.

Do you consider the viewer to be a part of the conversation?

That’s a great question. As I was saying before, my work right after school was more of a meditation or a tool to understand what to make. Now that I’m getting more into installations and it’s all about the space your building, I’m trying to think more about what the dialogue between what I show the viewer and what I try to cover up.

See more of Lindsay's work here.


Stanford University School of Medicine's award-winning blog, Scope is getting a fresh new look.

See the new face of medical research here.

National Conservation Lands — Simorka Designs

With 2016 marking the 100 Year Anniversary of our nation's National Parks, the National Conservation Lands is showcasing the nation's beauty through a social media campaign. Their mission is to protect, restore and expand 35 million acres of natural, historical and archaeological sites throughout the country.

See the campaign here.

Designer Spotlight: Kate Ling

Interview by Steve Simorka

September 17, 2016

Kate Ling

Graphic Designer

New York-based Graphic Designer, Kate Ling, recalls how her crafting youth gave way to a love for design in years to come. She reflects on how learning hand lettering has fueled her creative process, and challenges all of us to “just produce work.

Tell me where you got started.

My art background started when I was growing up in Malaysia. Back then there really wasn’t a design scene in Malaysia but I was really into crafting. I would go to art bazaars and learned how to make my own Japanese Sunny Dolls out of fabric and Ping-Pong balls. I would take pictures of them and posted them online and I sold some!

When I was sixteen an ex-boyfriend got me into photography. He told me I had a good eye, so I borrowed his DSLR and joined photography forums. Our group would invite models to do shoots. Sometimes we would go hiking so I could experiment with portraits and landscapes. I learned to make compositions through my photos and having to tell the models how to position themselves.

How did you make the transition from crafting and photography to graphic design?

So I always knew I wanted to do design but I actually thought about doing product design but that's an expensive degree and I also suck at math, so I didn’t end up doing that. But being exposed to the arts and crafts scene you find that there is a lot of design that goes along with crafting. If you’re making a miniature house, you have to figure out how the furniture is going to look. You have to figure out how it’s all going to fit and look together.’s nice doing this because I can actually feel like I’m producing something you can hold.
Paper quilling

Paper quilling

You gotta push yourself to do something like that.

So we met when we were both designing ads for M&C Saatchi Mobile, we have both since moved on from there. Tell me about your journey since then.

I wanted to do something different and took a break from working and went back to school for UX. I took a program at New York Code + Design Academy. The principles of UX is really different from ad design. Ads you’re looking at client’s needs and not necessarily looking at your audience. User Experience is a balance of both with a focus on the User. Everything is user-centric and without that focus you wouldn’t have a product that anyone would want to use. So that’s always in the back of my mind now when I design.

After learning UX, did you find that it is something you want to gravitate towards?

I was thinking, do I really want to do this for a living? I wouldn’t mind it, I could get into Wire framing or User Research, there are these really narrow paths you can go down within User Experience. I have a working knowledge, I can do a lot of things with those skills and that’s good to have but I don’t necessarily want to focus on it.


When you freelance you don’t really interact with too many people. You get a job, and you finish it, and you’re on to the next one. (laughing) Here are the files, Byee! But you know, full time you are a part of a team. You have to bond with them, so you know how you work together. The demand is different.


In freelancing they want you there to just execute a job. Where in full-time they want you there to build a team.


I feel like I thrive in both but I really don’t know yet.


I’m really excited to be designing for Godiva’s Paid Social Campaigns. I love typography, so I’m going to be doing a lot of hand lettering with images of chocolate. I think in Q4 they want to come up with Thanksgiving and Christmas designs because there already done with Halloween. I think I can do some cool stuff with Godiva. I’m going to have so much fun, I know it!

You got to show them that you can actually do it.

Tell me more about your love of typography and hand lettering.

So I read a book called “Show Your Work!” By Austin Kleon. It’s been motivating me to just produce work and not to think, "oh my god, my works sucks!" Just do it and at least you're putting something in front of people. You can tell people that, I can do this, I can do that. You got to show them that you can actually do it. So I did it!

I’ve been practicing my hand lettering, I actually wanted to take a calligraphy class because I feel like it’s going to help me in, I want to say my career, but it will help me in my passion to doodle. (laughing) That’s why I call myself Doodle Ling, but it’s a skill that I’d like to master someday.

What are some of the works you find yourself producing now?

I’ve been doing hand lettering and embossing. I bought all those pretty powdery inks and an embossing tool. I also got a lot of card stock because you want card stock verses regular paper with embossing because you want something thicker. I feel like such a nerd right now! But you get a glue pen, hand letter something. Then pour on the powder, it’s kind of like sand art, then emboss it with a heater and you get a brand new birthday card! So I started making thank you cards and holiday cards for my friends. You gotta push yourself to do something like that.

It looks like your work is coming full circle.

Yeah, now that I do a lot of digital work, I don’t get to touch paper as much but it’s nice doing this because I can actually feel like I’m producing something you can hold.

See more of Kate's work here.

Simorka Designs New Site Layout

Oh hello!

As you can tell by the title, received a much needed face lift. My first blog post is dedicated to the new features, and to introduce whats in store for Simorka Designs. 

So why the change?

Great question! Over the past year I've gained great insight by using the site to show my work to clients, while keeping up on it's analytics.  The trend I noticed was that people were having navigation problems, hell, I was having navigation problems! Nothing is more embarrassing than showing your work to an AD and getting stuck in a home page loop because the menu bar had a hover state instead of a one click drop down. It soon became clear that people were having trouble getting to the good stuff.

Whats new with the site and whats in store for the future?

I thought you'd never ask!

Cleaner and easier to use main menu. The site has been broken down by Illustration and Web. Making it easier to get to the different bodies of work across the site.

The main menu is much more direct. The site is now broken down into two categories, Illustration and Web. This makes it easier to access the different bodies of work across the site.

New section headers help viewers identified where they are on the site. Also giving a taste of what to expect.

I've added new section headers that allow viewers to identify where they are on the site, while giving them a taste of what to expect. 

Footer navigation helps visitors continue moving through the site without having to go back to a main menu.

New footer navigation helps visitors continue moving through the site without having to go back to a main menu.


Welcome to the biggest overhaul on the site: the new Feature Gallery. I am happy to announce The Gallery will be sharing industry news and artist spot lights, while remaining a space to showcase my latest work and give insight into my process.

So there you have it!

Go check out whats new, and enjoy free downloads peppered throughout the site.


Follow me on Instagram for new illustrations and animation posted daily. @stevesimorka