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Apple Creative Service
Creative Director
Cupertino, CA

I remembered hearing Apple described as a place of refuge for corporate misfits and non-conformers. Looking back at this period, Apple made the most significant and profound influence on me as a designer. Call it Koolaid 101 or whatever businessism-du-jour, Apple provided me an invaluable life-lesson in entrepreneurship. It showed me that design is not only a form of expression, but also a method of action to accomplish a purpose and satisfy a need. The journey itself was just as important as the destination.

Back then, anarchy seemed to be the modus operati inside Apple. It was not the easiest place to work but it was a place where ideas were more important than one's work experience or positions within the organization. Good ideas always trumped constraints imposed by the 'real world'. In a strange way, Apple was a displaced hippie commune that just happened to be in Cupertino. It's important to note that Apple did not actively pursue the crazies and the dreamers. They came because of the idea Apple stands for— the believe that the individual matters and that given the opportunity they can and will change the world. My tenure at Apple was just that opportunity I was looking for.

It was during this period that I was exposed to the challenge of explaining and introducing new concepts into a technophobic world. It required an integrated multidisciplinary approach and a willingness to cast away closely held assumptions. These forms of collaboration have since become the core of my design practice.

Having helped launch the Macintosh computer, the Desktop Publishing revolution and HyperCard for Apple, I am convinced that designers have to take an active role in shaping the tools that are transforming electronic communications. If the new medium is not designed, someone less astute will engineer it.

1 9 8 2
• Joined Apple Creative Service as Art Director on Steve Jobs's Macintosh product launch team.

1 9 8 3
• Developed design guidelines for the Macintosh user-documentation— this later became Apple's user documentation standards.
February — December
• During this period, I collaborated and worked with Chiat/Day, Tom Hughes, frogdesign and John Casado in developing designs of all brand and promo materials for the launch of the Macintosh. The look'n'feel of the Macintosh product launch campaign ultimately ended up being the defacto graphic standards for Apple Computer.
• Collaborated with Susan Kare and Bill Atkinson in writting and designing the MacPaint Manual.

1 9 8 4
• Macintosh was launched
• Promoted to Creative Director Corporate supporting John Sculley, CEO of Apple Computer.
• Directed and designed the $4 million launch of the Apple IIc at Moscone Center. This included a portable Apple museum and exhibit booths for 100 software vendor ( see Communication Arts article Mar./April 1995 )

1 9 8 5
• Evolved and implemented the new Apple corporate identity program
• Assume management of Apple Creative Service Department after a company-wide layoff. Took on design management of Corporate Communication, Education and Event Marketing — programs and support materials which accounted for 50% of Apple's business.

1 9 8 6
• Directed the $4M AppleWorld Conference in San Francisco. This was the company's first media event since the ousting of Steve Jobs. Apple wanted to portray a disciplined company with its focus on desktop-publishing.
• The Apple merchandise and license business hit $3 million revenue. 25% of the increased revenue is attributed to design effort.

1 9 8 7
• Designed introduction materials for HyperCard
• Designed a digital supplement to Apple's 1987 Annual Report in HyperCard. This might have been the world's first annual report delivered in interactive media format.

1 9 8 8
• After five full years, with 1000-plus projects and numerous important awards and citations, I decided to start a new challenge — my own business. I resigned my position on April 15, 1988 and started a new life as Clement Mok designs, Inc.

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