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| English | Japanese |



Davis Ngarupe and JP Haynie / Actual Source
Interview (2022)
 




First, we would like to ask about your origins. Please tell us about your background, including what kind of environment you grew up, and what kind of culture you were into at that time.
DavisI grew in the Cook Islands (where my dad is from) until moving to California (where my mom is from) in grade school. Growing up, our Māori culture and drums were a huge part of our family life. I was also interested in drawing but wasn’t really exposed to much art. In Junior High, I started skateboarding and a lot of my interests, music, and art taste grew from skaters, videos and companies I admired. 
JP I grew up in Utah. I come from a big family of seven kids who were not necessarily artistic but very musical. I grew up learning music, and through music developed my interest in art and making things.
How did you become interested in graphic design?
DavisI became interested in graphic design through two former roommates, Jon Troutman and Bardhi Haliti, in 2005-6 who were studying it in Utah. Their student projects inspired me and guided me to apply to art schools, and to move back to Los Angeles to study at Otis College of Art and Design.
JPI was always interested in making things. Printing, in general. I thought I wanted to work in printing and did for a while, but then I found out about graphic design and started my education.
You both went to the same design school a few years after you met, right?
JPWe attended different design schools. We were friends for many years before we started our studies, and both had similar interest in typography and book design. It was exciting to have a close friend who we could share design projects and interests with.
After that, you founded the studio together. How did you start the studio, and what kind of design studio did you want to be in the beginning?
JPOur plan since we were in school was to start a studio together. In 2015, we were presented with some opportunities that made us feel (naively) confident in the idea so we decided to try. We really wanted to get book commissions but we had very little experience designing / producing books. That is when we decided to start publishing— by designing and publishing our own books, we would gain an education and a body of work that would (hopefully) lead to getting commissions to design books for others. We are still publishing and we are now getting some nice book commissions.
DavisThrough publishing, and specifically from our publication Shoplifters, we met many thoughtful, fun, funny, and intelligent designers who were very open with us and shared a lot of their knowledge. These people have influenced the way we learn and as a result have changed our method of working, which is always progressing. And because of that, our goals for the studio are always changing.
What is it about printed materials, especially books, that keeps you fascinated?
JPWe gravitate towards books because it is the ideal way to interface with a subject— plus we love collecting/being around them. We made a t-shirt last year that says “Why Books?”. That answers it pretty well.
You have also been working on web design. The technologies related to graphic design continue to transform and diversify, but how have you been able to keep up with these evolutions?
JPWe are interested in it so we try to do it as often as we can. We also need these skills to run our book store so it is something that we talk about often.
Why did you choose Utah as your base instead of the big city?
JPWe really like living in Utah. The mountains and being near family are important to us. When we started our practice, [we] both had kids and homes, which made leaving Utah seem impossible at the time.
How have your preferences as a graphic designer matured as you’ve acquired a lot of experience and practice.
JPWe are less influenced by / interested in graphic design which has helped our practice.
At the same time, is there a philosophy or attitude you have maintained from the start of your activities until the present day?
JPWe try to pursue our interests as much as we can, educate ourselves along the way, and try to work with people we enjoy being with.
Currently, Actual Source functions not only as a design studio, but also as a publisher, bookstore, and even releases apparel. Was this multifaceted development planned from the beginning? It must take a lot of time and work to create just one design, but how do you make all these activities possible?
JPIt is something that we planned from the beginning. We have to try really hard to make time for our own projects. If we are not careful we can get completely consumed with commissions. We are happiest when we have a balance between the two, so we try to make that happen.
Do you normally work together from the beginning to the end of a project?
JPWe have been sitting next to each other for the past eight years. We are always working on projects together— whether it’s exploring different directions, talking about what’s working and not working, helping develop each other’s ideas, telling jokes, or just hanging out.
How do you normally approach projects commissioned by clients? Are they different from Actual Source Books’ projects?
JPEvery client project is different from an Actual Source Books’ project. When we do our own books, it’s usually only us making decisions. It’s also great to work with others that can help push us in directions we normally wouldn’t find.
While you have international clients such as Nike, the designs you create are in stark contrast to major design agencies, which are traditional but with playfulness hidden in the details and a handmade feel. Is such production possible because you are an independent studio? What is your view on this?
JPOur method of working is what produces the outcome, not our independence. We have been working together a long time and we have a way of thinking and collaborating that produces something that could have only come from us.
What are the fundamental elements of your expression and aesthetics?
JPTypography is our main writing, drawing, coloring, and compositional tool.
In terms of typography, what criteria do you both share, from the choice of typeface to the text layout?
JPIt changes totally from project to project.
This pandemic has brought about major changes in the world, but what changes are you experiencing in the design field?
JPIt hasn’t been easy for anyone these past couple of years. We’re all learning how to work with friends and clients remotely. There is a different energy with online communication, but it has become more normal.
Tell us about your daily life these days. What do you find enjoyment in?
JPTrying to find hobbies outside of design.
Please tell us about your future plans and prospects, including your personal hopes.
JPWe are always trying to work on a bigger scale. We are hoping to publish more books, hopefully work on a shoe, and to get better at type design. Last year, we tried to focus on having a better work/life balance and we hope to continue that moving forward.