Meet AIGA Member: Eric Torres, ‘Nonsense Specialist’ & Artist / Designer
Phoenix native Eric Torres is a multi-disciplined creative. His experience as a designer and illustrator spans collaborations with non-profits, agencies, and international brands. From his home studio, Eric Imagines, he publishes original content and accepts client commissions. What sets Eric apart is his practice of travel-by-imagination and deep appreciation of experiences that promote real connection. His social mission involves supporting and learning from the next generation of creatives.
As we kick off our very first Membership Spotlight, we were delighted to sit down with Eric for a candid talk about all things AIGA, personal growth, and the value of a creative community!
I understand you worked 12 years as an in-house Design Director and Project Manager. In your own words, tell us about your career. How and where did you cut your teeth?
I cut my teeth in a tiny print shop; it was all pure production work. At first the boss had me running an AB Dick printing press, one with ink and rollers and gears moving and all that. There was no training, just a quick 15-minute demo. I was pretty terrible at running that printer, but eventually I started helping the boss make the jump to computers and digital printing. I also ran errands, made deliveries, cut paper and vinyl, stocked shelves — all sorts of stuff.
Well, skipping-skipping…after lots of other jobs and experiences, I most recently ended a 12-year span working as a Design Director for an international material science company – W.L. Gore & Associates. Project management was also a big part of my role there. These days I run my own creative studio Eric Imagines full-time, which I incorporated in 2007. No matter who I’ve worked for over the years, I always negotiated being able to take on side projects. I never accepted a role that would limit my creative growth outside of work.
Eric’s home studio: Eric Imagines
Looking back on my career I feel like each role prepared me for the next. As a print production guy, I learned how important details are in delivering great work. As a house cleaner and pest technician while I was in college, I learned about timing, customer service, and reliability. Working for various agencies and in-house teams taught me the value of collaboration. My most recent role with Gore taught me more about the business of creativity, hiring great team members, supporting external partners, and leadership vs management. Education never ends though — there’s so much I’d still like to learn.
What were some of your biggest challenges early on in your career, and how do you think that applies to young professionals today?
Early on I lacked confidence. I know this is a struggle for many people. And some believe confidence is about projecting charisma or being some sort of aggressor.
“To me confidence is about how I feel inside, not so much the outside appearance. It’s about honesty, knowing my limits, holding to principles. It’s about quiet determination.”
Related to confidence is using one’s voice. In my younger years I didn’t speak up about things that were important to me. Over time I’ve learned to be less passive and more decisive. It took time and practice using my voice. I’ve also had some great guidance from older ones over the years.
Young professionals today deserve time to grow confidence and soft skills. They need support (not control) from experienced ones, and also clear expectations in their roles. Business leaders can feel good about going the extra mile for those who have a collaborative spirit and demonstrate respect for team members.
Written in Dust – Life and Love in a Desert Otherworld
We discussed the evolutionary nature that our creative paths often take and how it’s much like a spiral — we tend to return to where we started with a deeper understanding or shift in perspective. Can you tell us how your early work translates to what you’re working on today?
I was already learning about illustration and design during high school. But by 21 I was married, with no clear path to affording college. At 23 my wife and I had a child. At this point I knew I had to commit to getting a degree if I wanted to do something with my home-grown abilities. Thankfully it worked out, but it was tough! All told, I had a very non-linear, non-traditional path to entering the design field with a visual communications degree at 25.
My early work was (and still is) illustrative and iconographic. I was inspired by the superflat art movement, art deco, geometric patterns, tessellations – those sorts of things. But I was working for a beverage distribution company as a Production Artist, creating banners that read “Happy Hour – Wednesdays – $3 Shots.” It was a hectic job and not so creative. So, I started making my own ideas happen at night and sometimes on weekends. These included works of fiction, art books, prints, and later on tabletop games.
Since 2000 I’ve continued to view my portfolio as a chance to make fun things to share with others. This led to more opportunities, which in turn led to new employers seeing my work and further roles as Graphic Designer, Senior Designer, and Design Director. One project called World of Rynaga (rin-ah-gah) helped me secure my role at Gore. During my time in art school, an instructor wrote this equation on a white board: “Inspired initiative + entrepreneurial spirit = more opportunities.” I’ve found this to be true time and time again.
Needleyum’s Ramen Run Crewneck
On this note, we also discussed the value of personal projects. Why is producing work for yourself important?
Well, I acknowledge that creating personal projects is not for everyone. And I certainly don’t advocate for a “hustle culture” where every minute of every hour is spent obsessing over money-making. That said, when I look closer – between binge-watching shows, living my best video game life, and scrolling funny videos on social media – I have more time than I think. The things I create speak to my personal reasons for existing. I don’t expect others to feel as I do. But I’ve found deep meaning and fulfillment in personal work.
What kind of work do you look forward to doing more of?
Illustrated fiction. In various forms, such as novels or narrative poetry. I’m still working on the writing style and how things would be visualized. I’ve always enjoyed exploring reality through the lens of unreality.
“Exploring “what-if” scenarios intrigues me. Just one project can make all the difference in a career or personal quest for meaning. I’ve experienced how important it is to keep trying new things and experimenting.”
Animation, film, music, and video games are also on the list. I’ll be as ambitious as I can be. Why not, right?
Can you tell us about your latest project? What are you working on now?
As a vector artist and enjoyer of esoteric moods, I finished a project called Escape Station – Vector Transmission. The collection includes a two-player card game and a companion zine. But it’s a message at its core, one that needs to be held in-hand and pondered to be truly “received.” I’m excited about this project but also don’t want to spoil things too much. I’ll be sharing more over time at in-person events, presentations, and gaming meetups.
Escape Station – Vector Transmission zine and game card set
Love that! And we are looking forward to you hosting GAME NIGHT on July 17th (Get Your Tickets). With that, how can design be a tool for community building and meaning making?
Admittedly, I have too much to say on these topics. Particularly on “meaning making.” I’ll just say this:
“Creatives need to cultivate a strong sense of identity in this age we live in. It involves work.”
Creativity is part of the human experience. Think about a world where people believe creativity is typing words into generative AI. How will we build a community around that? Where is the meaning? Look at it this way, there are thriving communities built around cooking as a skill, passion, and love. Microwaves? Not so much.
Advice for students?
Slow down. Unplug from phones. Create your own sense of identity. Be part of communities but don’t follow crowds.
Advice for business owners?
Well, my goal has always been to run a small company that produces goods people love and do right by vendors, partners, and customers. I need to make enough money for my family and I’d like to have fun doing it. But running an independently owned business is a challenge and we’re all in the same boat trying to find our way. So I don’t have much advice, as much as I’d say keep going and keep trying to bring good into the world.
Samples from Phoenix Art Museum’s Family Fun Day augmented reality installation
How has AIGA helped you in your creative journey? Why do you think creative communities are important?
While I enjoy my solitude, the thought of working in a silo scares me. To be into my own creativity without having any objectivity. Having peers and colleagues to talk to through AIGA has helped me refine ideas and make things that mean something to others.
“We need people around us who challenge us, pose questions that make us reconsider our preconceived notions, and are honest with us when we ask for feedback. Creative communities keep us objective and help us grow.”
Couldn’t agree more…and with that, any final thoughts you’d like to share with the community?
Only that I’m available to chat / message with other creatives. I invite dialogue and strive to remain accessible as much as I can within reason. We all know it – social media is entertainment, not connection! Communities are built on conversations. That’s how we understand each other. The future depends on dialogue.
👇Connect with Eric Torres
Don’t Miss Out on Game Night Hosted by Eric Torres & AIGA Arizona
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AIGA Arizona is a 501(c)(3) nonprofit organization, sustained by the support of our members. Our creative community fuels everything we do — and it’s your passion and involvement that make AIGA Arizona a place to grow, connect, and inspire.