This multifaceted designer and self-confessed type geek knows the value of making a strong impression – something his work does with ease.
If you could change one thing about your industry, what would it be?
The wages… I’m joking of course. But in all honesty there’s nothing I would change. The great thing about working in this industry is that every day is different. You never know what to expect tomorrow and I love that; it keeps you on your toes.
We presume that you're an out-and-proud type geek – which type designer do you think deserves more recognition than they currently receive?
I would probably say Margaret Calvert & Jock Kinneir. I know many designers realise the significance of their work but it’s quite clear nine times out of ten the average person doesn’t have a clue. Put it this way, my dad doesn’t know who they are and he’s on the motorway pretty much every day. The road system they created does so much for so many people, it’s scary to think what it’d be like if they hadn’t been involved.
You're only allowed to use one typeface for the rest of your career – what do you pick and why?
Akzidenz Grotesk. Don’t get me wrong, there’re lots of typefaces I like at the moment but I just don’t think many of them have that genuine individuality about them that will enable them to last the test of time; many seem trendy and I’d bet my life on it that I won’t use any of them three to four years down the line. Akzidenz just has a timeless quality to it. Having said that, I'd hate to use the same typeface for everything for the rest of my career. Akzidenz can't be the right choice for every brief.
How do you develop your concepts – where do you start and how do you know when to stop?
I really don’t think there is a particular method I use to develop concepts. Every brief I get is completely different so following some sort of formula has never occurred to me. I’d usually just familiarise myself with the brief, get a bunch of research together and use that as best I can to come up with strong ideas. I then execute those concepts and see what the client thinks. I suppose that there is never an end-point – anything can be pushed further if you put your mind to it. You can always put those ideas in the locker for when the client comes back to you with a new brief.
The most important mistake you've ever made as a designer?
Misjudging a Pantone swatch for a large print run. However, I feel mistakes should be embraced so you know what not to do next time (shame the creative director didn't see it that way). That's what this whole design malarky’s about anyway, isn’t it?
What are you working on right now?
I can’t say too much right now or I might get the boot, but I’m working on an identity pitch at the studio where I work, for a new development in central London. In terms of work outside of the studio, I’ve just got out of the starting blocks on an identity for an illustrator and printmaker based in London as well as getting lots of content together for a series of poetry books I’m creating.
What’s the best advice you’ve ever received?
You make your own luck.
Tell us a trade secret.
I know it’s an obvious one but wherever you are always leave a strong impression. From my experience it definitely helps you out in the long run.
If you could collaborate with anyone, who would it be?
Easy, Jeff Jank.
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