This is a public-service ad for the Sussex Safer Roads Partnership. Produced by Sarah Alexander.

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©2010 Before & After | Design Talk. All Rights Reserved.

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I’ve been away from the office for a while, on vacation. On our anniversary, Gaye and I packed our van and headed out to see America — 7,029 miles’ worth, in 30 days. I’d tell you about it — I’d love to tell you about it — about the Grand Canyon and Oklahoma and Gateway Arch and the straits of Mackinac and the Badlands and Black Hills and the buffalo herds and Yellowstone and Grand Teton — but we don’t have five hours’ worth of space here.

I did bring pictures, though.

Have you ever been to Mt. Rushmore? I hadn’t. It’s terrific. It looks just like its pictures, except heavy, as in tonnage, as in a million tons of granite looming overhead. That’s awesome. But part of the experience — and this was captivating — came with the realization that once upon a time the great stone faces weren’t there. This means a designer was involved. It’s obvious if you think about it; it’s just that I never had.

Before 1927, Mt. Rushmore was a natural mountain, extremely old, extremely hard, well situated, and blank. But where others who looked at it saw a big rock, sculptor Gutzon Borglum saw — imagine this — a blank page. It was to be his calling; he would spend the rest of his life blasting the titanic faces of four U.S. presidents out of ancient granite in South Dakota’s beautiful Black Hills.

I’ve designed thousands of pages in my career and never have I gotten one right the first time. This used to weigh on me; the designs I admired always looked so easy, so smooth, so done. Other designers were gods. Me, I’d toil over an ordinary page, pushing and shoving, feeling clumsier and more anxious by the minute, one eye on the clock, wondering how they did it, just certain that it was easier for them.

But it isn’t. The designer may start with a vision, but the labor — the carving it into the rock — is a process of trial and error that slowly but inexorably bends to reality; like the format that works as a mockup but doesn’t fit the copy.

It’s like this for everyone. The Mt. Rushmore we know today — this American icon — was not Mr. Borglum’s first design. Nor was it his second, nor even his third. For 14 years he adjusted his models for what the rock and his artistic eye would allow. He fussed and he cussed and he made tries that failed. His original vision had Jefferson on Washington’s right, but he began carving against engineering advice that the

rock there would not hold. When his crew was stopped by the bad rock, he — aarrgh! — did the only thing possible: he set dynamite and blew his baby out of America’s history books.

That’s how it goes. On the mountain, on the computer, it’s all the same. The greats are the ones who don’t give up.

©2010 Before & After | Design Talk. All Rights Reserved.

But they were stuck.

What they’d hoped for was an image that would convey three character attributes of their company — integrity, resilience and commitment. These are wonderful qualities. Problem is, any one of them is almost impossible to convey in a graphic (quick! what does resilience look like?), not to mention all three.

Not only that, but they’re inward-facing; that is, they have meaning not to the customer but only to the company.

My recommendation: Turn and face the customer. One hundred years in business, all by itself, speaks plenty about values and vision. The company has stood the test of time and all that that implies — and the customer will get it.

I cobbled together a rough and said how about if we picture it this way:

It’s a Model T wheel and a modern car wheel, a compact image that spans a century of automobiles. Use it as a badge and stick it on everything all year — Web site, stationery, print advertising, signs, posters, invoices, all of it, wherever the company name or logo also appears.

It of course needs refinement, and whether they use the image or not remains to be seen, but I pass along the idea because I’m sure there are many old-new topics that can be depicted in a similar way.

Think about yours.

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©2010 Before & After | Design Talk. All Rights Reserved.

Tritura is new to my library. It’s the best distressed, blackletter typeface maybe ever, full of antiquity, grandeur, weight, and with immense power. The distress is designed in, not added on, and it’s really ragged, some letters approaching illegibility unless they’re in context. A set of small caps is available. I use Tritura for everything I can find an excuse for. Be sure to experiment with subtle color gradations (note, below, the initial cap and first line), which add a rich and even more weathered patina.

The second is LeibeFish, which couldn’t be more different and is only technically a “font.” I’ll just quote from the Web site: “LiebeFish is a collection of 172 individually hand-drawn fish. Each has its very own personality; some are happy, some are sad. Some like company, some are bored, most are cute and a few are weird. If you look closely, some fish will surely look like people you know.” Like a normal font, the fish are available via the keyboard, so file size is tiny and they’re easy to type, although, practically speaking, they’re too detailed for much below 60 pt. Converted to outlines, they become regular art that you can scale easily and color however you choose.

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I have a favor to ask. It’s a big favor. If you’ve bought one of our books, I’d really appreciate you leaving some feedback on the bookseller’s Web site.

To help you (and, I hope, give you something in return), I offer six questions from Sean D’Souza that are worded to yield the kind of specific information that makes great, incisive testimonials. You’ll see this when you start writing, so be sure to ask them of your own (or your clients’) customers, too.

1) What would have prevented you from buying?
2) What did you find as a result of buying?
3) What specific things do you like the most?
4) Can you name three main benefits?
5) Would you recommend the book? Why?
6) Is there anything else you’d like to add?

Links to the booksellers:
Amazon
Peachpit
Barnes & Noble
Borders

Thank you very much.

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©2010 Before & After | Design Talk. All Rights Reserved.

Dear readers: A colleague — a non-designer — wrote to me last week asking for help in hiring a “creative services lead” to head up a new project for his business. What should he look for in a designer? Here are the eight qualities I like.

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1) Passion, vision and self-motivation. Without these, you’ll be dragging a rock. You need someone who shares your vision. Nothing’s worse than a “what-do-you-want-me-to-do-next?” kind of designer. Well, no, yes there is. One who’s touchy and confusing, too.

2) Vocabulary. A creative lead should be able to articulate what’s happening and why, in language that you and your staff can understand. If you start hearing vague terms like “pop” and “impact,” make him explain what he means. Listen for, “If we do A and B, we can expect C.” This is not trivial.

3) Inquisitive intelligence. Look for someone who’s curious about almost everything and approaches life with a sense of wonder. Similarly, I want someone who’s taken the time to learn about my company and whose questions are perceptive.

4) Good conceptual skills. There are many ways to achieve any stated design goal. Conceptual skills find the new and interesting ones. You might articulate a hypothetical situation and ask her to describe three possible directions. Prepare to get out of your box. The best concepts are often unrecognized at first.

5) A portfolio. You’ll know in 15 seconds the designer’s skill level. Compare his work to excellence that you’ve seen, and don’t compromise. If it’s below what you’re seeking, end the interview right there. Politely, please.

6) Projects. If you see a lot of one-off stuff, no matter how attractive, it won’t tell you much; most designers can do nice, single pieces. Look for complete projects — Web site, print material and stationery, for example — that share a common look and purpose. Such work is more difficult to visualize, organize, and execute.

7) Real-world experience. The emphasis here is on “real.” Always ask under what conditions a design was achieved. How did the designer interact with the client? What was the role of each? Time frame? Revisions? Budget? Fantastic “portfolio pieces” are less desirable than solid design done under realistic conditions. If you find both, cheer!

8) Production skills. Your person will need production skills or know how to hire them. Nothing will slow you quicker than not being able to make something happen that you want to happen. Also, someone who understands typography is preferable to someone who can just type. Likewise, someone who understands the guts of Web coding is preferable to someone who can just run Dreamweaver.

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Miscellaneous notes:

It goes without saying that personalities must be compatible. Never hire an otherwise perfect candidate assuming that “he’ll change,” or that “you’ll change her.” You can usually feel the vibe right away. Trust it.

Even if you (both) like the vibe, it’s a good idea to establish a trial period. A person can be qualified and compatible, but for one reason or another can’t get the work done. You’re out of rhythm. Your work styles don’t jell. Something was misunderstood. Whatever the case, give yourselves at least a 90-day period in which either of you can terminate employment at will, for no cause at all. This is good for both of you. Creative work comes from love, passion and relationship. It can’t be faked.

Consider hiring and working long distance. Design is perfect for this, what with live chat and e-mail and FTP sites. I’ve worked with designers for 20 years who I’ve yet to meet face to face! If face time is really important, fly in once a month. That said, remember that it’s a slow market, and you may find the perfect someone who’d love to transfer to your area!

If your designer works from home, arrange for a trial period. I had a designer who tried working from home and his productivity plummeted, yet another thrives at home.

Last thing. I don’t look for a college degree. About 50% of my lifetime hires have had degrees. The average difference in skills is slight. The ones who’d been in good design programs were better than those who hadn’t, but such programs are not plentiful. I have observed, speaking broadly, that the college people tend to show better discipline in their work.

There are, of course, exceptions to all of this.

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©2010 Before & After | Design Talk. All Rights Reserved.

Do you recognize this typeface?

Catull is a calligraphic-style font created for Berthold in 1982 by type designer Gustav Jaeger. Its faintly curved strokes and flat-nib serifs and terminals are natural characteristics of handwriting and convey a sense of age, warmth and intimacy — the opposite of cool, modern and digital.

Which is something that designer Ruth Kedar had in mind in 1999 when she chose Catull for her famous logo . . .

Said she, “Catull borrows elements from traditional writing instruments such as the quill and chisel, with a modern twist. Search, by nature, is an activity that requires we look into the past. Therefore, Catull’s historical ties seemed appropriate, as did the bridging between the old analog world and the new emerging digital era.

“It must be remembered,” she told Haaretz.com, “that at the time, many people were afraid to use the Internet, and it was important to broadcast something user-friendly both on the home page and in the logo. Something simple, that you didn’t need to be scared of, something catchy and full of life.”

Hmmmm.

I see the reasoning, but . . .

Had you made Google’s connection between new and old? I hadn’t. Not even subliminally. The cues are too subtle. A word that looks like goggle and sounds like oogle and feels like giggle in colors like kindergarten isn’t going to connect historically unless the connection is obvious, more like this . . .

I exaggerate, but only a little.

It’s something to keep in mind. This is a case where the appeal is in the word itself. G-o-o-g-l-e. When you find yourself here, generally speaking you don’t want to add a visual trick. And understatement, as in this case, rarely works either.

I think Google would be better off with a typeface that looks, well, googly.

For more on the development of Google’s logo, check out Wired magazine.

For more on how to design a text-only logotype, check out our article.

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©2010 Before & After | Design Talk. All Rights Reserved.

©2010 Before & After | Design Talk. All Rights Reserved.

Dear readers: Every design for a client starts with a creative brief. You can read about that here, but do it later; the short version is something like this:

Rule #1: Listen.
Rule #2: Understand and embrace the client’s vision.
Rule #3: Write it down. You and the client sign it.
Rule #4: Design that. Don’t design something else.

The process of making the brief can sometimes be shortcut but usually not. For time’s sake, I usually try. It rarely works.

The following will be an audience-participation project. It begins as a conversation between Gayle Heatherington — executive director of the Ars Viva Symphony Orchestra — and me. I publish it because I want you to hear the question-answer process that leads up to the creative brief. Keep in mind that we’re corresponding long distance — she in Illinois and I in California — which requires questions that an on-site meeting may not. At the end, I’ll ask for volunteers to work on a design solution.

Gayle begins: I love your discussions of logos and wonder if you (and your readers) would be interested in commenting on ours. Our name is actually our logo. It is made up of two fonts: Linotext Std and Van Dijk Std.

The name of the orchestra is Ars Viva, which means “living art.” Our concerts often juxtapose beloved masterworks with less-familiar repertoire. Hence, the current logo has Ars in an old-style font and Viva in a modern, forward-looking font with an exclamation mark. This is to represent the old and the new. Trite?

I would be interested in investigating whether a change would helps us brand our image better. Also, the name itself is a challenge for most people, and they don’t know what it means. I have wondered if an actual logo in addition to the name might help make us more easily recognizable.

The orchestra was founded by our music director (my husband!) 15 years ago. One of its distinctives is that he gives friendly, informative remarks to the audience from the stage that provide context for the music and establish a welcoming atmosphere at each concert. Also, the orchestra is comprised of many of the finest musicians in Chicago, including members of the world-renowned Chicago Symphony Orchestra. Therefore, the quality is extremely high, yet not “stuffy” and unapproachable.

In case you wish to take this project on, you can find more information about the orchestra at our web site: www.arsviva.org. [Readers: While you're there, don't miss this essay.]

I would appreciate any comments you may have about our current logo and any thoughts you and your readers may have about alternative logos.

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Hi Gayle,

Thank you for your great story.

Questions:

When you say your name is a “challenge for most people,” is the challenge . . .

1) that they have trouble pronouncing it?
2) that they don’t know what it means?
3) that they can’t position it in their minds? (i.e.: I understand what the Chicago Symphony Orchestra is, but what’s the Ars Viva Symphony Orchestra? Public? Private? Big? Small? Professional? Amateur? And so on.)
4) Other?

When you wonder if a change “would help us brand our image better,” it sounds like you’re referring to #3 above.

When you wonder about an “actual logo,” I presume you have in mind a mark like the Chicago Symphony Orchestra’s, in addition to your name. Yes? No?

Is Ars Viva something like the Boston Pops?

John

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Dear John,

Here are the answers to your questions.

When you say your name is a “challenge for most people,” is the challenge

1) that they have trouble pronouncing it?

Yes, a lot of people don’t realize it is two Latin words, and they think the first word is simply three letters, and they call us A-R-S Viva, which, of course, means nothing.

2) that they don’t know what it means?

Yes, we have often been asked by patrons what the name means. This gives us a chance to explain the “old and new” music concept, but only to those who ask!

3) that they can’t position it in their minds? (i.e., I understand what the Chicago Symphony Orchestra is, but what’s the Ars Viva Symphony Orchestra? Public? Private? Big? Small? Professional? Amateur? And so on.)

Correct here, too.

When you wonder if a change “would help us brand our image better,” it sounds like you’re referring to number 3 above.

Really all three. But number 3 is much more challenging. We don’t have a location to call home: Chicago Symphony, Elgin Symphony, Rockford Symphony, St. Paul Chamber Orchestra, etc. We perform in Skokie, Illinois, but we are a regional orchestra, and Skokie is not really our home town. Skokie already has an amateur orchestra (Skokie Valley Symphony), and we don’t want to be confused with them.

An organization like Music of the Baroque has a name that clearly explains what you can expect when you attend one of their concerts, and it was a very good name for building this organization. But we don’t perform just one style of music — in fact, quite the opposite!

When you wonder about an “actual logo,” I presume you have in mind a mark like the Chicago Symphony Orchestra’s, in addition to your name. Yes? No?

Yes. Maybe if the name is confusing, at least people can get used to seeing the logo and recognize us that way.

Is Ars Viva something like the Boston Pops?

Well, if you mean performing pops repertoire, then no. In the sense that we have a lot of the same players as the CSO, then yes. But the Boston Pops is run by the Boston Symphony, and we are a completely independent organization. We are more like the St. Paul Chamber Orchestra. We are a chamber-size orchestra (though we have not called ourselves that), and we perform in a smaller space than the CSO — more intimate — and the rapport with the audience when my husband talks to them is relaxed, entertaining and informative. But the music is serious, not pops. We offer people in the suburbs the opportunity to hear a world-class orchestra close to home. The commute to Chicago is daunting for many! Even if they are subscribers to the CSO, they can see many of the same players on our stage and hear interesting music that they don’t often play downtown.

Gayle

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Hi Gayle,

Your current logo is built on an interesting typographic concept [old and new], but its rendering is rough. Easiest place to start is to polish your idea to see if better typography will help. Attached are three possibilities, all similar. The colors are derived from your Web site. It may take some time for my fantasy to catch up to your reality. Just give me a reaction.

John

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Dear John,

Of the three examples, I like #3 best.  #1 — the Viva is too hard to read. It could look like Ars Uiua. #2 is okay but doesn’t jump out at me. I like the Viva font in #3.

Reduced to the size they would be on a letterhead, return envelope, small print ad, etc., I suspect that there would be a real problem reading Alan’s name. Also, the very thin lines of the typeface for the “Ars” would disappear in printing. I often print our logo reversed on a black background, and the very thin lines would be swallowed up with black ink.

Because Alan is the founding music director of our orchestra, his name should be more prominent. He is actually part of our image. He is very well known in the Chicago area, and so his name actually is pretty important. His name could even be on top of the logo!  :+)

Ideally, I would like a logo that can be reduced, stacked, printed in color, black or white. The design restrictions for multicolor logos present too many problems. The man who designed our logo originally had the Viva! in a rainbow of colors — like your “After.” I liked it but quickly had to drop it for practical reasons.

We also used to have a byline that we often printed near our logo that read Making music come to life. Much like your How to design cool stuff. It was printed under a treble clef that had a leaf growing out of it. I don’t know if this helped explain the name or not. The treble clef was actually an S in some font turned around! See below.

We used different words underneath: Discover it! Share it! Experience it! But soon just dropped that part.

Gayle

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Hi Gayle,

Thanks for the helpful feedback.

I should have been clearer. My interest at this early stage is only in the form factor, that is, what the typefaces alone convey. Color, size, usability — that will come later. Same for Alan’s name.

The final logo will be usable in all sizes, colors, resolutions, etc. In this case, the fonts have heavier-line versions for reproduction under more difficult conditions.

I like the Viva font in #3.

That’s the one we did first. Do you like your original concept of a two-typeface logo? If so, our job will be to find the right two typefaces. Or are you hoping for a new direction?

We also used to have a byline that we often printed near our logo that read “Making music come to life.”

I like this image and the byline. It doesn’t explain your name, but it gives me a sense of what you’re about.

I understand your name. That’s because you told me up front that it means living art. You also explained the kind of music you play, and your husband’s role not only as founder and director but as something of a curator for the audience.

The impression I’ve formed, therefore, is of a warm, rich, light, comfortable, educational, music experience — very appealing. Your Web site conveys this.

You have two sets of goals. One is to have a logo. The other is to tell your story in its various ways. The logo can tell the story but doesn’t have to.

Tell me more.

John

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[Dear readers: In trying to shortcut this process, I omitted several developmental steps and assumed, without thinking, that Gayle could read my mind, which, of course, she couldn't. Her first impression, therefore, was formed like yours -- she saw what's on the page, accurately, and responded to it. First impressions are strong. Her sense that this logotype has problems -- observed from experience, obviously -- taints it. Now, elements that should have been presented up front -- black & white, robust type, etc. -- may be seen as "corrections" rather than integral parts of the image. That's an uphill road that neither you nor the client should have to climb. Beginner's mistake.]

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John,

I should have been clearer. My interest at this early stage is only in the form factor; that is, what the typefaces alone convey. Color, size, usability — those will come later. Same for Alan’s name.

Tell me more.

Well, I’ll try. It is hard for me not to look at something as a finished product, having never been through this process before! I got one response from a friend that the “Ars” font impressed her as Art Deco, which would not really work for us.

Do you like your original concept of a two-typeface logo? If so, our job will be to find the right two typefaces. Or are you hoping for a new direction?

Your probing questions have caused us to think about what we really want our name to convey. The consensus is that the concept of “old and new” (types of music we perform) is not as important as conveying excellence, energy, intimacy, excitement, newness, variety, freshness and a sense of “classiness but not stuffiness.” So, to answer your question, two typefaces are not necessary.

The impression I’ve formed, therefore, is of a warm, rich, light, comfortable, educational music experience — very appealing.

These words are all very good at describing the Ars Viva experience! You have captured the essence of what we are about. I might only add that the performers are world-class musicians who perform at a very high artistic level. Ars Viva gives you great music and musicians who are accessible.

Gayle

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Hi Gayle,

Before I lose this iteration entirely, here’s a modified version. For now, we’re looking only at the signature. This one’s minus the color, it has a clearer V, and the hint of Art Deco is gone. The Ars typeface is classic Garamond, which was in use in the 18th and 19th centuries and probably advertised some of these original performances!Moving on, the logo below on the left is for an upcoming Before & After project that has the same initials as Ars Viva. You’d need different colors, but does the form factor appeal to you? If so, can you picture it as the basis of a logo for the orchestra? The image below on the right is a pure ligature — a more organic image that takes advantage of the natural fit of your two letters.

John

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Dear John,

I like it and can picture it, an offhand impression. My husband thinks it is harsh and angular and doesn’t represent Ars Viva. Alan says the one on the right is going in the right direction — “it has flow and looks musical.”

Gayle

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Hi Gayle,

“It has flow and looks musical.” That’s a clue.

Let’s return to the beginning. I’ve attached our article “Design from a creative brief.” Please read it, especially pages 3 and 4, then with your husband and whoever else you’d like, do your best to describe your logo project and its goals, and get back to me.

Thank you!

John

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Hi John,

While “Design from a creative brief” seems to start with an image (dragonfly) and go from there, I have tried to use its format here:

Audience: Mostly over 50. Affluent.
Core target: Empty-nesters who have disposable time and income. Many of them played a musical instrument or sang when they were young.
Secondary target: Parents of young children (we have a special Music for Life program that targets 4- to 11-year-olds and brings in 20 or so young families to each concert.)
Tertiary targets: Corporations and foundations (especially important when applying for a grant)

Goals/Project Objectives:
Attract interest and respect and a sense of uniqueness.
Make the name more understandable (if possible) and readable.

Message:
“Approachable Excellence.” This is the phrase we came up with to describe Ars Viva in a nutshell.

Other words:
Professional, world-class, exciting, lively, fresh, new, elegant, classical, unique

We want to convey to the typical classical music concert-goer that we stand for the quality they expect from the Chicago Symphony; i.e., professionalism, trust, credibility.

However, we want to convey that their experience will be more personal, immediate, “up close,” and that the music and the musicians are approachable.   The conductor speaks to the audience from the stage (often with humorous comments) and makes the whole experience terribly enjoyable. The music is enjoyed more because it has been “unwrapped” for the audience before they hear it. But I digress . . .

We want to convey that our music performances are fresh and new — living and relevant (not to be confused with “contemporary” and “far out.” At Ars Viva, you might hear a symphony that you’ve heard all of your life, but it will feel like a new experience. There is a lot of energy and excitement at our performances.

Approaches:
Ars Viva Symphony Orchestra
Ars Viva Symphony
AVSO
AVS

All of these are okay. The only requirement is that the name must include: “Alan Heatherington, Music Director.”

If you work on a logo (separate from the name), you could use a musical symbol (baton, treble clef, bass clef, violin, etc. Other symbols would also be fine — a leaf or vine or tree or bird — something from nature that conveys the “living” aspect.

We would like the logo to be used in color and black & white. As a practical matter, I would prefer only one or two colors. When I asked the board what color they thought AV represented, I got “blue” and “green” or “teal.” But this is open to any suggestion of yours.

The following is from an earlier email, and I liked it, so I have copied it again here:

The consensus is that the concept of “old and new” (types of music we perform) is not as important as conveying excellence, energy, intimacy, excitement, newness, variety, freshness and a sense of “classiness but not stuffiness.” So, to answer your question, two typefaces are not necessary.

The impression I’ve formed, therefore, is of a warm, rich, light, comfortable, educational, music experience — very appealing.

These words are all very good at describing the Ars Viva experience! You have captured the essence of what we are about. I might only add that the performers are world-class musicians who perform at a very high artistic level. Ars Viva gives you great music and musicians who are accessible.

Okay, that is what we have so far. If you need more information, please let me know.

Gayle

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Dear readers: There you have it. Although there’s no substitute for meeting the principals face to face and (in this case) experiencing a live performance — we have a good creative brief. Gayle’s patient descriptions, plus her Web site, provide a clear look at the goals ahead. Feel free to comment on what you’ve just read. Feel free to submit your own creative brief questions. And feel free to try your hand designing a new logotype for the symphony. Do this only if you’re serious. If you have questions or want clarifications, ask. Send your work directly to me. We’ll select several for critique.

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©2010 Before & After | Design Talk. All Rights Reserved.

The iPad will cause change. No one knows in what way, though. That’s what makes it fun. It’s an unwritten story, full of possibilities.

What’s this have to do with design? Only everything. But before we go there, let’s talk about vision, and I’ll start by digressing.

One of the thrills of youth is that everything is possible. At 18, you can attend any school, follow any profession, travel anywhere, marry anyone or no one. There are practical restrictions but no conceptual ones. The freedom is exhilarating!

As you make choices, the possibilities diminish. Choose one school and you eliminate a thousand others. Marry one girl, and you forsake all ­others. Travel here, and you can’t afford there. Find a profession, and it becomes what you do. The better you get, the more distant alternative professions become. There is some irony in this. As you build your life, decision by decision, the possibilities of youth go away.

For some, this is a good thing. Possibilities are unsettling. Certainty, predictability, routine create a comfort zone. Life feels secure. These people become product reviewers.

But this is not you.

You have a life.

Interviewing Apple’s Steve Jobs for the April 1 issue of Time magazine, author Stephen Fry writes,

“In five years, Jobs has emerged from two serious health scares. His obituaries had been written, much as Apple’s had been back in 1997. ‘Is this then the curtain dropping on your third act?’ I ask. ‘Will you perhaps leave Apple on this high, a fitting end to your career here?’ ‘I don’t think of my life as a career,’ he says. ‘I do stuff. I respond to stuff. That’s not a career — it’s a life!’ ”

Indeed.

Jobs’ vision is not clair­voyance. It’s belief. Call it your gut, call it the love of the game. You do the work and put it out there, then watch the world respond. The combined response is what makes tomorrow happen. What it will become is too complex and inter­woven for any but the most superficial guesswork. Tomorrow is the story that we — you, me, everyone — write together.

So how do you design for this? Make your work beautiful. Make it simple. Make it clear. Put it out there. Cast off the illusion that you can control the results. People respond by comparing to things they already know, so prepare for criticism. Ignore most of it. Listen to the bits that resonate. Understand that the more original your work is, the less others will be able to help you.

Your design may be an iteration of one that has gone before. This is fine. But when you truly envision something new, when you feel that vibe, don’t back off. That’s the one that may change things.

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The post above is my back-page publisher’s letter from print issue 49, which is currently in the mail. The publisher’s letter has been a staple of Before & After for 20 years and is one difference between our print and PDF formats.
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©2010 Before & After | Design Talk. All Rights Reserved.

©2010 Before & After | Design Talk. All Rights Reserved.