Sean Tejaratchi is an American graphic designer, art director and writer.
He is currently based in Los Angeles, but cut his teeth working on alt-weeklies in Portland, Oregon in the 90s.
Sean is known for creating the clip art zine Crap Hound, and was voted one of "The 25 Funniest People on Twitter" by Rolling Stone in 2012. He also is known for the blog LiarTownUSA that defined what a modern satirist is in the early 2000s.
My Secret Shame
Figuring that if I gave birth to a watermelon, Iíd want to weigh it, I broke down and counted the images of the first and subsequent editions. I even made a handy chart for you, above.
Although Death, Phones, and Scissors were featured in the debut of Crap Hound, back in 1994, subsequent editions were far more than a reprint. More than 85% of the imagery in here is new, combined with the contents of the first issue and reformatted into completely different layouts. Only page seven remains unaltered, since I dig that crazy radial symmetry. Subject matter like tombstones, hearses, and war dead were absent from the first issue but now appear on several pages.
I constantly imagine myself as the end user of Crap Hound, and all the hours Iíve ever spent looking for the right image reference at just the right angle come back to me whenever Iím tempted to remove or withhold a picture. Nine times out of ten I include it, and I usually make room by dismantling and restructuring existing layouts. Many pages, especially those in the Death section, went through two or even three incarnations so I could accommodate additions or consolidate space elsewhere. This meant more time to discover new pictures, which led to further shuffling, and so on in a sordid little cycle that resulted in great density but greater delays.
If youíre among those who havenít seen the first issue, youíre not missing much besides a remarkably cranky introduction. I still wince at the vast rivers of white space that flow through those dull layouts. Itís not my ďfinest work.Ē
In later editions, I was able to fill the pages according to priorities that have been refined and rearranged over the years. Iím very satisfied with the final results, both in the look of the pages, the wide range of images, and the issueís potential as a visual resource for others.