Approach & Process FAQs
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Describe your process and how that determines the results.
My process is fueled by idea, collaboration and craft. The allure of my work comes from a concept through completion mentality. I spend a lot of time scrutinizing every detail throughout the design process, sourcing unique materials and finding quality production specialist. The job is not over for me until my files have been produced adhering to the highest quality production standards.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
How do you begin to approach a project and what's your process?
I approach most projects with a strategic brief which is a list of questions that inform the creative. The questions in the brief touch on details that should be considered throughout the creative process.
Once my client has completed the brief, I coordinate a kickoff meeting to review the brief in detail with them. Following the kickoff meeting, I begin my research and concept exploration. While I’m exploring, I’m writing down differentiating details and sketching concepts that will distinguish my client from others.
After I've exhausted my resource library and archives, I proceed to work up the agreed upon amount of design directions. At this point, I scrutinize every detail such as typography, color theory, layout, concept, craft execution and production. As I'm working up the directions, I'm focused on the vision, core values, and business objectives of my clients. Consequently making my creative efforts strategically relevant and tailored-to-fit each client's needs.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Describe your ideas on the role communication graphics play in society.
During the summer of 2005, Hurricane Katrina hit the United States. In response to the devastation, Leif Steiner launched The Hurricane Poster Project (THPP). THPP sought limited edition sets of hurricane-related posters from high-profile and up-and-coming artists, designers, and firms from the United States and abroad. The donated posters were sold online, and all profits went directly to the Red Cross. This was the first of many times I would then design and donate my poster artwork to a cause either to raise money/and or awareness. THPP sparked a life-long passion in my heart for cause-related design and doing something for the greater good. To date, I've commemorated the following: Hurricane Katrina, Genocide in Darfur, Orphans affected by HIV/AIDS, California Wildfires of 2007, Campus Violence, Nuclear Power and The Haiti Earthquake of 2010.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
How do you handle clients who are indecisive?
I’ve found if a client becomes indecisive it’s usually because they have been excluded from the design process. The key is to keep your client involved with collaboration and project milestones.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What lesson(s) did you take away from your education?
• Memorable design is about strategy, relevancy and idea
• Give a damn and take a stand when it matters
• You're only as good as your last project
• Stay out of your comfort level
• Design is as much about writing as it is executing
• Inspire others and be inspired
• Keep a journal
• Trust your gut
• Sacrifice for the good of your work
• Build and always grow your inspirational resource library
• Constantly sell your passion to clients and colleagues
• Update your portfolio weekly
• Take as much ownership of your work as possible
• Experiment often
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What kinds of people, places or experiences drive your creativity?
I'm inspired by the photography of Andy Anderson and Hans Gissinger, the illustration of Marc Burckhardt, the design of Stefan Sagmeister, the blogging of Armin Vit, the book jackets of Chip Kidd, the humor of Robynne Raye and Mike Strassburger; the visual experimentation of Rick Valicenti, the film intros of Kyle Cooper, the architecture of Craig Dykers; the typography of Marian Bantjes, the letterpress printing of Hatch Show Print. No matter where I go, I'm subconsciously aware of my workload and always looking for inspiration to make my projects more thoughtful and unique.
In an effort to maintain a global perspective on good design practice, I frequently enrich by attending workshops and lectures held by The American Institute of Graphic Arts (AIGA), The Society of Design (SOD) and The American Advertising Federation (AAF). I have had the pleasure of hearing key presentations by Mark Goldstein, BBDO; Sean Tresvant, Nike; Armin Vit, UnderConsideration; Luke Hayman, Pentagram; Michael Rock, 2x4; Steven Heller, School of Visual Arts; Chip Kidd, Alfred A. Knopf; Robynne Raye and Mike Strassburger, Modern Dog; Michael Bierut, Pentagram; Dan LaCivita, Firstborn Multimedia; Jake and Pum Lefebure, Design Army; Rick Valicenti, Thirst; Nessim Higson, I Am Always Hungary; Kyle Cooper, Prologue; Michael Strassburger, Modern Dog; Craig E. Dykers, Snohetta Architects; Ricky Oh, 3 fish in a tree; and Jim Sherraden, Hatch Show Print.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What advice would you give to students about to enter the Graphic Design field?
The resume is often overlooked, however it’s often a persons first impression of you. It's a great opportunity to show a potential employer what you can do with a single piece of paper and typography. When creating your resume, keep in mind content hierarchy, paper selection, typography and copywriting. Every detail counts however don't over design your resume. Its main function is to show your credentials.
Concept an unforgettable self-promo. Your self-promo will function as a mailer and leave behind. As for your portfolio presentation, I always recommend shooting your work on white or gray seamless paper or plexiglass. This will give your presentation a clean cohesiveness and save you much time in the future.
Stay versatile and complete a variety of jobs that a potential employer could associate with. Make sure every project you complete has a concept and always showcases a range of capabilities. Complete school projects as realistically as possible. Be mindful of the production details as well.
Focus on getting into a firm or agency whose work you have the utmost respect for. It is the creative direction you receive early on that helps you develop a solid foundation and molds you as a designer. Don't push any one style - that will come with time. Simply prove your a conceptual thinker. If you do this, you will always be in control of your career path.
Create a clean, simple to update, timeline portfolio website. I recommend simply buying your name unless you're launching a studio. Many young designers are using http://www.indexhibit.org/. Your website is important for job searching, legitimizing yourself as a professional and maintaining an updated portfolio.
Finally, be your own brand ambassador. You've been professionally trained to promote so promote yourself. At the same time, complete internships and attend networking functions through your local AIGA, Production Club, Advertising Association and so on.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
How would you describe your style?
Rather than focusing on a particular style, I’ve always focused my time on searching for unique concepts which separate my clients from others. Once I find the concept, I let the idea drive the execution.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
How would you handle a circumstance where you would require more time than originally agreed? Does your answer change if it's the clients' fault? (Last minute changes)
If I'm working with a client that exceeds the agreed upon rounds of revisions from my signed service agreement, I issue a change order which is a form that outlines what the extra costs will be and why they are necessary.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
I noticed a generous portion of illustration in your work- (I’m thinking of the sea-horse projector in particular) Do you consider illustration and graphic design to be separate entities or is it a more cohesive relationship?
Yes, I feel illustration and graphic design can be a cohesive relationship. From the illustration of a logo to the creation of a typeface, they all require the discipline of illustration to some degree.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What is it that gets you to show up to a design function?
What brings me to any career related event is my search for professional refinement. I'm always looking to learn a new process to enhance my creativity and efficiency.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
If you could go to any kind of design event, what would you want to get from it?
To walk away seeing something from a different POV.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Do you keep subscriptions to design periodicals? Which ones?
I have subscriptions with Baseline, Communication Arts, Creative Review, Lüerzer's Archive and Print. Sometimes students can get discounted subscriptions from the publications directly or through Amazon and Ebay.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What makes your work different or unique compared to the rest of the profession?
I view every project as a creative opportunity, large and small. I could be designing a logo for a clothier or a 150-page lookbook, both get the same quality of thinking from me. Ultimately, every one of my projects are a reflection of my offerings. I strive to deliver work that both exceeds my clients business objectives and represents the quality of design I want to continue to work on.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What kind of approval process do you go through?
Generally, I provide 3 unique design directions which include up to 2 rounds of revisions. I will recommend paper and printing techniques in the creative presentation. Once I have an approved design, deliverables include print-ready files, high or low resolution pdfs and sometimes printouts.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
How do you find clients?
I'm always evaluating everything that I see. If I see a product, service or brand that has potential but is currently being represented badly, I will approach the potential prospect and explain how they could benefit from my help.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Do you schedule a payment plan with your clients?
I do not. I require 50% of my fee up front and the remainder due when I release the art files.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
If you could only use 5 fonts for remainder of your career, which would you choose?
The five fonts I find myself using most often are Trade Gothic, Futura, Avenir, Meta and Akzidenz Grotesk. However, I do have a core set I use on a daily basis. By adhering to this set, I eliminate much of the counterproductive time which results from searching through thousands of fonts. I recommend you start building your core set of fonts immediately. When you find something that works, add it to your set.
The fonts I find myself using often and recommend are Bodoni, Frutiger, Helvetica, Franklin Gothic, Walbaum, Univers, Mrs Eaves, Kaatskill, Trajan, Interstate, Garamond, Duty, Din, Scala, Conduit, Filosophia, Bembo, Sabon, Baskerville, Vag Rounded, Adobe Caslon, Excelsior, Minion, Perpetua, Stempel Schneidler, Centaur, Fedra Sans, Georgia, Hoefler Text, and News Gothic. Of course, your hand can make interesting fonts as well.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What is the most important lesson you have learned as a communication designer?
The most important lesson that I've learned is to have guts.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
What kinds of design to you like best (identity, posters, etc.) and why?
I love to design everything. Early on in my career I made conscious decision to never focus on just one speciality because I did not want to get pigeonholed. Over time I've found I thrive with change. In fact, I take on almost any design job as long as it has creative merit or feels like a fresh opportunity.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Should I bid freelance jobs per project or by the hour?
Either way you will make the same fee. If a client wants you to bid per project, simply estimate the amount of hours you think it will take you to complete the job and times that by your hourly rate. Of course, if you underestimate your time you will have to eat the additional costs if you go over on hours.
Be sure to have a clause in your service agreement or statement of work stating that if the client exceeds the agreed upon rounds of revisions that you will have to issue a "change order". If I'm working with a client that exceeds the agreed upon rounds of revisions from my signed service agreement or statement of work, I always issue a change order which is a form that outlines what the extra costs will be and why they are necessary. I require 50% of my fee up front and the remainder due when I release the art files especially with new clients.
Check out these books for additional help:
For Pricing and Deliverables:
Graphic Artist's Guild Handbook of Pricing
For Contract Writing Reference:
Business and Legal Forms for Designers
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Back to Top