Designer Collectors: Stub culture

What do you collect?

For 20+ years, I’ve curated a resource library—physical binders filled with printed samples that I keep on my bookshelf. From covers to column layouts, torn out ads, catalogues, flattened packaging and one with all things AEC: the industry that started my career. Ticket stubs, being a form of information design, became part of the collection over time. 

The cliché is true: you spend the first half of your life collecting things, second half paring down. When I moved across Canada, what couldn’t fit in the car—couldn’t come. My binders were priority! In them, I’ve collected all kinds of tickets: sporting events, theatre, museums and galleries, trade show badges, admission to theme parks, as well as plane tickets whenever I travelled.

When did you start?

June 5, 1989—the Toronto Blue Jays first opener game at SkyDome. And my first ticket I ever saved as graphic memorabilia. I grew up before the internet, in a scrap booking era when having a collection meant something. Something tactile. At 10-years-old, I knew it marked a day in history and I was part of the experience. Unknowingly, it also became the price of admission to a career in print and design. Fast-forward to 2003, I started working for the late Rod Robbie—architect, dear friend (and mentor) who designed the stadium (now Rogers Centre).

How does your collection inspire you as a designer?

The legacy of documenting not only my own life; but, juxtaposition and timeline of the history of print. Adding a foil stamping detail for interest or printing on coloured stock to reflect brand value. Ticket design has fallen by the wayside, becoming less graphic and more minimalist in our digital era. I come home from concerts now and rather than save my stub, I just delete the Eventbrite email. Which isn’t anything worth saving…just a black QR code on a white background. 

What inspires me is the power design holds to make something memorable! QR codes offer a different kind of ‘information design’ with the potential to create more immersive online experiences. I’d love to see e-tickets collab with local creatives—artists, designers, videographers and writers (could be some very cool motion typography)—and license their work for both exposure and earn a royalty. To bring back the collector appeal.

What is your favourite item in your collection (at this moment)?

The 2.5”x1” ticket I purchased to ride the Métro in Paris (2007). It cost me EUR 5,50. It’s my favourite because of the printed security feature. When reflected, a narrow holographic strip projects tiny illustrated icons of tourist attractions. So much design packed into a constricted space. Less is more. 

What is the dream item you aspire to have in your collection?

My name, penned by a calligrapher, integrated into the design. Or perhaps something regal, like an official ticket to an Order of Canada Investiture Ceremony with a wax seal. Sounds like I’m just looking for an invitation?!  

Now, I’m more critical of what makes it in the collection. It has to be STELLAR—something I would give a 10/10! Something, that if I showed it to you, I’d want to tell you the story of how I got it or why it’s good design.