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Brian Hoff runs a full time independent studio in Brooklyn, publishes The Design Cubicle, speaks at design conferences and has been featured in several industry publications. It’s fair to say that we at FUEL are big fans. Brian has been busy with Mojo Themes and their recent stellar re-design. I had a chance to pick Brian’s brain about the process:

CE: What was the overall goal of the re-design and how did you aim to make Mojo Themes stand out?

BH: There were three major tasks at hand when redesigning and rethinking the Mojo experience: Improved usability, simplified navigation / browsing experience /marketplace, and creating a better and more enjoyable experience that was lacking.
At first, we found ourselves moving far away from the brand that Mojo-Themes had already established. It took us a few weeks of swimming in the wrong direction in order to see where we needed to head to take the effort a touch further. With a fresh, lively coat of paint, beautified typography using webfonts (Proxima Nova), more engaging headlines and copy, dynamic and unique experiences from page to page, improved marketplace browsing, and rich interactions, including the Mojo Monster.

CE: Did you start the process with wireframes, moodboards, and loads background research or after the initial talks did you have a pretty clear cut idea in your head on where you wanted to take the design?

BH: Yes. A good portion of any project effort I take on starts off with extremely rough wireframes on paper and progressing into a more detailed mockup of the layout which focuses on tone, hierarchy, typography and flow of the page – so basically no color or texture comes into play in the early stages.

The tones early on consisted of blacks, various shades of grey, and white, which allowed me to map out importance through tone and contrast. The hierarchy and “flow” through emerged through typographic means – size, style (italics, bolds), all-caps. Beyond being a lovely, lovely typeface, Proxima Nova also has a very large family of fonts which helped us further extend the typographic hierarchy a bit more than your average family.

The project started off great, but took a bit of a sideways turn for about 3 weeks until I finally was able to see the direction it needed to head in. I remember calling the Mojo fellas (Brady Nord and JR Farr) explaining to them that I was sorry I wasted 3 extra weeks of their time, but I knew the new vision was something they would equally be excited and proud of. That’s the funny thing about design: it often takes going in the wrong direction for weeks on end to finally find the right path.

CE: What was the biggest challenge or hardest thing you had to work through in the design?

BH: The biggest challenge by far was not moving too far away from the “Mojo brand.” This was one of the main reasons we got lost for a few weeks. Although everyone was happy with the visual direction of the site, something didn’t feel quite “Mojo” about it.

There were periods of both myself and the guys over at Mojo saying, “well let’s change this to see if that works,” or “how about we change this color to see if that works better.” I typically find, especially if I’m saying things like this to myself, that it needs to go into an entirely new direction. Luckily, the guys behind the scenes at Mojo Themes were more than understanding and valued the process and much as the end result and were happy to extend the initial timeframe we set out for. Overall I find that great or even better ideas tend to transcend and evolve over rigorous thinking and re-thinking the original thoughts. This is why I tend to stay away from unrealistic deadlines.

CE: The details are what separate the men from the boys. The design has outstanding little details as well as beautiful typography. How much emphasis did you make sure you kept on these attributes?

BH: Thank you. Typography is certainly the backbone of great design and as a bit of a type nerd (and by bit, I mean that’s a bit of an understatement), I tend to focus on the typography from the very early stages of the design. When I have a mood in mind I tend to look for a typeface to match it first in addition to also making sure it fits the medium and function well.

The same goes for the tiny details. They tend to make the work unforgettable and experience more wonderful. Although it’s important to note that one shouldn’t go overboard with detail as well. Figuring out where to deploy the fine details and when to leave the unnecessary behind is key. Another important note in detail is on the development side (something I tend to worry about if I hand off files to other developers), but the people over at Mojo did an impeccable job. The PSD and the fully developed site overlay each other beautifully. Pixel perfection and precision.

CE: This design/implementation of this site comes at a time where there is a huge drive for being standards compliant & using responsible web-design practices. How conscious were you of making sure that this would be able to be carried out throughout the project?

BH: Knowing your medium and understanding the audience a bit plays a huge role in the responsibility of any web designer. All of my work focuses around simple, beautiful things that “work” for their intended use, while also pushing boundaries where possible. Just because something is “standard” or “responsible” doesn’t mean they can’t be approached from a different angle while still remaining “responsible.” The Mojo Themes website was designed around these same principles and processes.

CE: What are the highlights of the new design?

Here’s (pretty much) the full list of what we changed, added and improved upon:

• Landing page: More emphasis on the themes and seller interaction
• Dynamic page layouts: Each page has a unique layout to match the content
• More compelling headlines and copyrighting improvements
• More Monster: We gave the Mojo Monster (hover over him on the home page) more personality as a friendly guide and companion.
• Strong Typography: More focus on readability, hierarchy and personality
• A footer with charm and action. Useful links and a new way to sign up for newsletters.
• Simplified, restructured and much deserved Forum spring cleansing.
• More engaging and customizable blog to highlight the various authors that write for the blog
• More comprehensive Check Out process
• Fully redesigned Marketplace experience through re-thought category browsing and filtering
• Powerful and engaging interactive elements
• More streamlined sign in and sign up experience
• Achieved an overall mood that kept the to Mojo’s playfulness, yet raised a new standard and polish for all Marketplace companies online to rise to the (nav)bar – this is where the home page’s headline came from. Overall we found that you can be both playful and sophisticated at the same time.

LANDING PAGE

Actual size: http://cl.ly/652r

LOG IN AND NAVIGATION DROPDOWN DETAIL

Actual size: http://cl.ly/4phd

Actual size: http://cl.ly/4p5g

MARKETPLACE BROWSING

Actual size: http://cl.ly/4p82

SHOPPING CART

Actual size: http://cl.ly/4ozR

CUSTOM CHARTS

Actual size: http://cl.ly/4qKc

MAKING A DEPOSIT / PROFILE BALANCE

Actual size: http://cl.ly/4pcw

BLOG

Actual size: http://cl.ly/4qHw

MOJO Themes aims to create an open marketplace for top rated designers/developers to shine in a world where design is going down hill quicker then we know and where someone can find, rate and buy quality themes & templates all in one trusted place.

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David-Michel Davies is the Executive Director of The Webby Awards and the International Academy of Digital Arts & Sciences. He has devoted his career to championing and celebrating the very best of Internet culture. The International Academy of Digital Arts & Sciences (IADAS) is a network comprised of more than 1,000 Internet experts who sift through cat photos, political blogs, robot videos, celebrity tweets, and more to uncover the most innovative work on the Internet. We recently had the opportunity to pick his brain about the recent addition of several categories that focus on apps and bringing them to the awesome Webby Awards stage.

Is incorporating the world of apps into The Webbys an exciting change?

The world of apps is definitely one of the most exciting changes we’ve seen in the way people interact with the Internet in all the years we’ve been doing this. It’s pretty exciting, and it’s definitely a big change and a really a big change for consumers. It’s really why we re-oriented and re-launched a whole bunch of new categories to honor this stuff, because we think it’s pretty significant.

At what point did you realize you were going to have to incorporate apps into The Webbys?

The big change in the last year has been the iPad. Certainly there’re apps for other tablets, but, the way that the iPhone was the game changer for handheld devices, the iPad is for tablets.

It basically made tablets something consumers were interested in for the first time, and what does that mean? That means people are sitting on their couches touching the Internet and being relaxed, being social and sharing while sitting in their home environment and not at their desk. That’s not to say people weren’t interacting with their mobile phones, but the size of the handheld screen makes it more of a utilitarian action. It’s a new space that people are interacting with, and that was definitely a big element on how we incorporated this in the Webbys. The game and content was changing so quickly.

A recent wired article talked about the death of the internet and how people are shifting towards using apps instead of the internet as a whole. Do you think in the future things will be shifted more towards apps like Facebook, twitter and Skype?

I think that two different things are going on right now. Apps are providing a really rich user experience and are much more immersive than what you would find in most traditional websites. That’s something that consumers respond to and have a much more emotional connection to, and I think that part is here to stay.

But I am not as bullish on the delivery method of this experience. Right now we’re looking at downloading all these apps on all these different devices, and until HTML5 and some of that stuff catches up and has widespread appeal with browser functionality, the downloadable apps model will continue.

In the long-term, it’s difficult for closed systems like that to compete with open systems. It does create a lot of work and overhead for developers with so many different types of apps for all these platforms. I think when http can deliver that kind of immersive experience, it will pick up traction again and have a good shot at being the long-term model.

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Even before her New York-walking adventure transformed into the architectural guide City Walks Architecture: New York (Chronicle Books, 2009) last year, Alissa Walker has been walking and writing. The car-less Los Angeles resident has been writing about design, architecture, cities, transportation and food for outlets such as Fast Company, GOOD, Dwell, and KCRW’s “DnA: Design and Architecture,” where she is an associate producer. In addition to walking and writing, Alissa is also an avid gelato eater, which she tries to perfect the art of eating of, whenever she can.

Some of my favorite writings that you’ve covered include the Fast Company piece about the design of LA transit, the appearance of architectural dining spots in Downtown in Dwell, and the fake freeway sign that you wrote about for GOOD Magazine. Los Angeles in general seems to be a large component in your writing. How does the City of Angels influence and inspire your ideas?

No topic inspires me more than LA! It’s a vast, complex, beautiful place. I’ve lived here for almost nine years and I don’t think a day has gone by when I haven’t thought about how lucky I am to live here. I think partially because it has such a bad reputation in the minds of, like, everyone else in the world, and suffers from all these stereotypes, that I feel a responsibility to share these really amazing stories about the people and places I come across.

Los Angeles has so much to offer in terms of culture. Do you feel the design industry reflects that as well?

I think the really cool thing about LA’s design industry is that it’s the result of so many creative overlays. There’s, of course, the film industry, a heavy street art influence, an awesome DIY community, the tech aspects of the gaming and animation industries, most of the country’s auto design studios, and probably the most innovative architects in the world. Combine all that with lots of space for people to experiment, a history of manufacturing and fabrication, and an authentic focus on sustainability, and you’ve got what I think is the most diverse and exciting design industry on the planet.

Alissa's article about Fake Urbanism in GOOD Magazine's Neighborhoods Issue.

You also write about creativity outside of LA. Throughout the nation, have you noticed any emerging trends in design?

I get really excited about the work that designers are doing in service of their cities. I’m seeing designers get involved in real policy issues, launching projects around big issues like public transit and urban farming. This is something we’ve tried to catalyze through the GOOD Design program where we have events in cities that pair designers with urban problems as proposed by city leaders. We’ve done programs in LA, San Francisco and New York and I just got back from Sarasota, Florida where I saw the presentations made at our second student event, where Ringling College of Art & Design students presented three solutions for conserving and celebrating water. We also just launched a school garden design contest with LAUSD, and we’re going to build the winning designs.

It’s great that designers are out there wanting to make a change in their surroundings. What is it about creative thinking and processes do you feel, bring people together?

I think there’s a real camaraderie between creatives because there’s always that possibility to collaborate, which is usually what ends up happening when you get them together enough. I organize a monthly design party named de LaB where we have events that range from making t-shirts and posters at a screenprinting shop, to holding a fundraiser at the house of the architect Richard Neutra, to a tour of Chinatown galleries on bikes (with a stop for dim sum of course)…and recently we organized a pop-up shop for people to sell whatever items they’ve been making. These events are so fun because they expose all these different creatives to other people’s practices, and to each other, and we’ve heard so many stories of people going on to work together. It kind of goes beyond networking.

You’re in the midst of working on a new design site for Fast Company, which is very exciting. How is that going?

Especially now as we continue to hear bad news about everything magazine-related, it’s pretty amazing that Fast Company is able to launch this new experience for its readers. The design content has been the fastest-growing part of Fast Company as far as traffic and it makes sense to corral it into its own curated site. I will be editing it along with the amazing Cliff Kuang, who I’ve been working alongside for a year, and we’re going to break news and report stories where most blogs just publish pretty photos (but we’ll still have photos!). Also, the site was designed by my friend Scott Thomas, who was the person behind all the beautiful and smart Obama campaign websites. That’s about all I can say about it now, but it’s launching soon, so you’ll see for yourself!

Why do you think design content has been the most popular?

Design has finally been embraced as a way of thinking, not necessarily this obsession with pretty stuff. Fast Company has done an excellent job of not only positioning design as problem solving, but also challenging the typical “business” angle when it comes to the kinds of stories they publish—our editors really push us to show how design can translate to everyday life, or be applied to more mainstream stories. I think that’s the common thread through all Fast Company’s stories—unexpected and innovative solutions for all kinds of problems, from product launches to social issues, executed by really creative people. I think people understand that creativity is good for business.

You’ve been writing under the moniker, Gelatobaby, for years. As an expert gelato-eater, what’s your best memory of eating gelato?

There are so many! There’s the “original” best memory—the reason that I named my site Gelatobaby in the first place—which was a summer I was kind of aimlessly touring around Europe by myself trying to decide what to do next. I crossed from France into Italy on the train and got off Vernazza, this tiny town that everyone knows about in the Cinque Terre, and could not believe my eyes. There was gelato sold on every corner. There were gelaterias next door to gelaterias and across the street from another gelateria. No one had prepared me for this! No one told me Italy in the summer is basically this technicolor ice cream wonderland. I truly spent the next three weeks eating as much gelato as I could (sometimes three, four times a day) and found myself so creatively fulfilled that I knew there was a correlation.

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Seth Godin publishes a marketing blog with over 500,000 daily readers, has authored several best-selling Marketing books, and created an entire publishing platform with Squidoo. Its fair to say that we at FUEL are big fans. We were stoked for the opportunity to sit down and have this interview with him about his new book “Linchpin: Are you Indispensable?” which will be released tomorrow, January 26th.

CE: Your new book, Linchpin: Are you Indispensable, lives up to its name by going so far as to say “you must” make the hard changes necessary to “stand up and choose to make a difference”. When thinking about it as a concept I couldn’t help but hear Brad Pitts rant in the movie Fight Club… “We’ve all been raised on television to believe that one day we’d all be millionaires, and movie gods, and rock stars.” Although I agree that the age of ‘falling in line’ has reached an end, not everyone can be a linchpin. Right? Do you see a world where every person can be ‘indispensable’? Or is it an ideal which when pursued will make our lives and the world better?

SG: Not buying the “not everyone” line. What chance is there that everyone will do something brave and generous and insightful? I’m not arguing that everyone should do this. I’m arguing that YOU should.

CE: To illustrate the concept of the linchpin pursuit, you reference Charlie Chaplin, Shepard Fairey, Thomas Hawk and others; people with both singular and life long accomplishments.  Is the concept of being a ‘Linchpin’ a destination or a lifelong pursuit?

SG: I’m pretty sure it has to be forever. Once you decide to do work that matters, to be generous, to make a difference and to connect and lead, it’s hard to go back to being a cog in the machine, focusing on compliance. I’m not saying you should quit your job, but I am arguing that you should quit complying with your perception of the status quo.

CE: Your books often analyze peoples behaviors and how those behaviors impact a particular product or business theorem, Linchpin seems to be speaking more directly to the people themselves. In fact you state that “It’s a book for you, your boss and your employees”.  What motivated the shift in focus?

SG: What I found from the thousands of conversations I have every month is that strategy and systems will only take us so far. If the underlying belief system is flawed, if we’re building on top of a broken mindset, then the strategy can’t and won’t work. People read Tribes and said, “this makes sense, but I can’t do it,” and my only answer was to ask, “why not?”

CE: We aren’t going to lie, you left us intrigued but confused with your chapter on the Lizard Brain.  Where was the idea of the lizard brain conceived? What points are you really trying to build or break into by using the Lizard Brain metaphor?

SG: The science is clear: our amygdalla is the prehistoric brain, the part of our brain that worries about fear and survival and revenge. And that function is activated whenever you consider giving a speech, making a change, taking a risk. Most of us were brainwashed into believing that the safe thing to do is listen to the lizard, keep our heads down and fit in. Nonsense! That might have been true when there were saber tooth tigers, but not now. In fact, now the way we succeed and thrive and reach our goals is to do precisely the opposite of what the lizard proposes.

Steven Pressfield calls it the resistance. The voice that shoots us down, that creates writer’s block and holds us back. Elizabeth Gilbert points out that people don’t get “engineering block.” How come? It’s because that activity doesn’t feel risky. Alas, all that’s left to make a living from is work that feels risky, work that offends the lizard.

CE: “The lizard brain cares what everyone else thinks, because status in the tribe is essential to its survival.” You make a clear distinction between survival & success. (Survival being the primary goal of ‘the lizard brain’). Do you have a definition of success?

SG: I think success is getting your share at the same time you elevate the community. Success is spreading your ideas, getting paid what you’re worth and making a difference for (and to) other people. I don’t think success is showing up, doing what you’re told and then going home and watching television.

CE: As a blogging network we have seen the amazing power of giving, in fact many of our articles are submissions from people who are giving back in the form of advice, insight and experience, to their respective communities. In your chapter, ‘GIVING, RECEIVING, GIVING’, you share some of the positive cultures associated with giving. There is however a counter culture which has arisen; for every honest attempt to give, 10 disengenuos avenues spring up looking to exploit. We have seen the floodgate open on people wanting the benefits of giving but do so just by easily replicating the actions of actual givers.  It has resulted in a devaluation of all the content. What happens in the linchpin economy when the gift system doesn’t return the benefits?

SG: The posers aren’t going to go away, nor are they going to get what they seek. Those that give as a front for selfish behavior won’t get very far, even less once the cloak of anonymity is taken away. Thomas Hawk continues to give, so does Gina Trapani and so does Jacqueline Novogratz. There’s no confusion about these guys. We like them, we appreciate them and we trust them. So they succeed because they help us thrive.

CE: You reference some truly creative examples of reaching out, however part of what makes it wonderful and successful is that it is out of the norm -Do you believe that this giving mentality could work for the whole of society?  Wouldn’t it then become status-quo and loose momentum for everyone?

SG: I’m not optimistic that we could reach that point, but if we did, I’ll have a party and invite you. Wouldn’t it be cool if the new status quo was talented artists who gave as much as they could and tried to change our community for the better at every turn?

CE: “An artist is an individual who creates art. The more people you change, the more you change them, the more effective your art is.” – from chapter ‘Artists who Can’t Draw’ – Seth Godin

FYC’s audience is made up of a large group of people deemed ‘creatives’ and include Creative Directors, Freelancers of all sorts, Designers, Photographers, Fine Artists and Marketing people. This groups livelihood hinges on the ability to create various forms of art, and in many cases they CAN draw. As a group should we be looking inward to our professions to become Linchpins, or can it only be achieved by reaching outward?

SG: I think many of the people in this community aren’t artists, actually, but people working hard to do a job or please a client. Artists do more than that. They inflame critics and they make change and they do things that make themselves and others uncomfortable. Art is not about decoration, it’s about change. And to your point, it’s both inward and outward, but it takes passion and commitment and restlessness.

CE: We have really enjoyed this today but we cant finish the interview before calling you out on one of the statements you make in your chapter, ‘Reality’. You claim that “you couldn’t have written this book ten years ago, because ten years ago, the economy wanted you to fit in”.  Yet, for over 10 years you have held and propagated this well received (albeit radical) position against just ‘fitting in’. Which leads us to the obvious question… Are you a prophet?

SG: Nah, prophets are mostly dead. I think I notice things that are happening and point them out to people who realize that yeah, I’m right. This time, though, we need to hurry. There’s a revolution happening and this is our chance to run with it.

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What drove DIBI conference to become a reality instead of just a dream in someones head?

Gavin Elliott is the creative mind behind DIBI conference. What exactly is this magical DIBI conference? We will get to that in a minute along with a promo code for the conference and a wicked competition to win a free ticket. But, first we are going behind the scenes with Gavin Elliott- you can also follow him on twitter.

The Skinny on Gavin

Gavin has some notable facts to bring him into the role that he is in today. He worked as a civil servant, a soldier in the Royal Corps of Engineers & ran his own business.

He now works at Codeworks as the Marketing & Creative Executive where he primarily works on looking after the Thinking Digital Conference and other projects within Codeworks.

What is your typical daily routine?

Typical doesn’t happen for me that often. Every day is usually different. I’ll generally get up at approximately 6.30am get things sorted and make myself a coffee (Starbucks ground coffee FTW) for the trip into the office. I’ll arrive around 7:40am and look over Twitter, I still don’t use an RSS feed and Twitter seems to work well for me. I like to get my emails sorted as soon as I sit down, so the music goes on and before 9am and I can usually have all of my replies done. I’ll check my diary to see if I have any meetings but my work pretty much is around the creative and ‘social’ side of Thinking Digital, DIBI then working with the other teams within Codeworks. I get up to alsorts whether it’s designing or writing. I’m pretty much busy all day. Head back home approximately 5pm before getting in to other projects or more writing. I love what I do so I probably seem like a workaholic.

What are the three things you could not live without?

1. My macbook and macbook pro (we’ll count those as one)

2. Basecamp (For managing my daily life and all the project I’m involved with).

3. My notebook where I draw or make notes. (I carry this pretty much everywhere these days.)

Do you find time to devote to all of your creative endeavors?

I do, I often think of ideas on the fly and quickly have to tell someone. I’ve set up various blogs over the years but am starting to tailor these back. I write quite often about design on my personal blog and have just had an article published in .net (Practical Web Design in the US). I enjoy writing and joining the Project 52 I’ll be publishing a specific post every week. Working out the time between design and writing can be somewhat cumbersome. I’ll be working on a small personal project over the next few months which the design community can use which I’m definitely looking forward to getting started on.

What do you think we will see in the design community in 2010?

I’m hoping there will be a lot more collaboration between designers. I think we’re now finally starting to see the community coming together and learning from each other. In past years there have been a select few who’ve been fortunate to build strong bonds with others but now with all of the social apps we’re seeing more communication with the community as a whole. I would say that the financial climate doesn’t seem to have hit the design/development community so bad over the past year or so however a lot of companies and freelancers have upped their game to hone their skills and decide what is exactly for them and then price themselves accordingly for being a professional in that particular field. 2010 could bring some very specialised designers in to the public spotlight. On top of that we’ll definitely see a surge in mobile design.

What drove DIBI conference to become a reality instead of just a dream in someones head?

We have a lot of web conferences in the UK including the likes of dConstruct, FOWA, FOWD, UX London and Build. Generally though, the conferences never reach further than Leeds/Manchester. Build took place in Northern Ireland last year so when you look at it, conferences have never been taken further North to the likes of Newcastle upon Tyne/Gateshead where DIBI will be taking place. We have a vibrant web community in the North East of England and it is an ideal place for people to travel to. With an international airport, train and ferry links it is an ideal location.

DIBI has a unique cast of characters speaking. Most of which are very prevalent in the web design community, how is it important to make sure you get people to present who are on top of their game?

We thought long and hard about what we wanted to achieve with the conference. It’s highly prevalent that you must reach out to speakers which are either doing something new or leading various areas of the industry to new places. It’s all well and good saying that you want to set a conference up but when looking at the finer details you want to create longevity and a good sense of hype and communication with the people who will be attending. Codeworks have a long standing commitment with the digital agencies in the North East of England and regularly hold ‘Think and a Drink’ evening events on a monthly basis.

What are you trying to make your audience aware of? Is it more of a conference where you talk about current trends and happenings or something that will educate them as a whole?

Definitely education. Whilst we’re expecting lots of attendees who are on top of their game, there is always the opportunity for people to learn more. Making sure that the topics are correct for the audience is paramount, attendees expect something different which is what we’re hoping to achieve with DIBI.

Will the success of DIBI determine the if the conference will be around next year or do you already have ideas of doing another?

Codeworks have had major success with other conferences such as Thinking Digital and GameHorizon and we’ll be looking to achieve the same with DIBI. Definitely look out for DIBI being around again next year.

How does DIBI set itself apart from other conferences? It seems the age of the speakers at DIBI is less than others. What else?

DIBI is one of the first two-track web conferences that we know of. The tickets are limited to 350 and we’re hoping for an equal amount of designers and developers attending. They will then form the DIBI 350, a unique set of professionals taking part in the first North East of England Web Conference. It’s unusual to bring both designers and developers together at the same time, we hope that whilst they’re in the same place as each other, relationships can be made and collaborations can happen. With regards to the speakers, we looked around to see who was available so that we could provide a good amount of variation from other conferences. The DIBI Conference itself will be running from 9am till approx 5pm then we’ll be moving on to a Think and a Drink/After Party in Newcastle upon Tyne.

THE GIVEAWAY

Here’s where you get a chance to win a free ticket to DIBI! Now, all you need to do is put the most creative reason why you want to go to DIBI (and a valid email in the comment box) and we will handle the rest. Do you want to go to learn? Network? See long lost friends? Tell us and you have a chance to get a free ticket!

Need More DIBI?

Site: dibiconference.com

Twitter: twitter.com/dibiconf

Discount for being a reader: Promo Code: “DIBI_hohoho”

*Winner Update**

This is quite possibly the hardest choice I have ever had to make on who wins based on a comment. There were so many good ones to pick from that I couldn’t make up my mind. So, I went to a proven system to help me pick. “The hat method”. I printed everyones name out, put it in a hat and stirred them all around. The winner came out to be Paddy Donnelly.

Thank you all for entering and I hope you all get to go to the DIBI Conference!

Thank you all for participating

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Editor’s Note. Due to a slight error on my part, the interview went up with some missing info and changes that were overlooked, and we have corrected the info. Once again, Rogie, thanks for your time, patience, and understanding.

We recently had the opportunity to ask some questions of SpectrumDNA’s Rogie King. Rogie is a web interface designer and developer who works ‘outta his home’ in picturesque Helena Montana. This playful D/D’er describes what he does in the following way, ‘In laymen’s terms, I obsess over pushing around pretty pixels and then use CSS/HTML and JavaScript to make it work.’. For more from this talented creative, check out the interview below.

Please tell us more about your art and design background and what made you become an artist and designer?

Quite honestly, my art and design background is uber non-impressive. I don’t have any formal education in design and I’m not proud of it – I’d totally love to goto design school, but, time doesn’t warrant that right now. I received a double major in Mathematics and Computer Science from Carroll College in Helena, Montana. My goal was to be a video game programmer. (go Street Fighter!)

Really, design started as as a love of mine when I was young. I love the art of Disney. On any given day, you would find me pausing Disney movies from “The Lion King” to a recording of “Darkwing Duck” and sketching the characters. It was this love thats driven me back into design. As much as I love the programming I learned in college, I love design even more and it is this innate love that drove me to be an artist (if you can call me one) and a designer.

What are you currently working on (that you can tell us about)?

I designed the UI and developed the UX for memetagger.com – an instance of my employer SpectrumDNA’s [spectrumdna.com] social “nicheworking” software PlanetTagger. However, at the current moment, I am also working on a mobile web application for iPhone/iPod devices of MEMETagger.

For Komodo Media, I am working on my version 5 redesign and a brand new icon set that will hopefully be for sale early 2010.

How much has the design landscape changed since you first began in the field? What are the biggest improvements and pitfalls to come from these changes?

I came into design at the tail end of HTML Table based layouts, an overuse of inappropriate Flash use and the beginning of the push toward web standards. CSS galleries were just starting and were needed to raise awareness. The power and relevancy of CSS based layouts needed to be shown to help people transition from the table’s they loved. Foundational libraries like Prototype were in their infancy and as a result coding JavaScript was a huge pain.

I’d say there are two huge improvements. For one, JavaScript libraries such as jQuery and YUI have made our lives all easier. As developers, we now have a single way to use Ajax,find DOM object widths and coordinates, etc. In the same way, the push to standards-compliance has led way to more standard implementations of CSS rules in modern browsers. As a result, our lives are so much easier and the time taken to pull off a brilliant UI is much decreased.

I think pitfalls lie in the areas where technologies are new to us. For instance, with the introduction of better JavaScript libraries, we have faster, more mindless access to animation, but at a cost. Now we are making all of the same animation mistakes that beginning Flash users were doing. Mature Flash developers have now nailed subtle, appropriate animations while us native webbies are in gaudy, inappropriate animation land. We’ll grow up. It’s ok.

What do you feel are the most important skills for a designer to have/develop?

Attention to detail, persistence and commitment to learning and quality. Oh yeah, and the key one: humility.

On your site, Komodo Media, you mention you get giddy over using CSS, what gets you the most excited about CSS3?

I love that once you nail CSS, the possibilities are endless. It becomes so easy to pull off interfaces. I love the set of features being currently added to CSS3 like text-shadow, rgba colors, border-images, attribute selectors and embedded fonts. And yes, yes I do love webkit transitions. I believe subtle animations and transitions do have a place in CSS as a style.

Do you have any favorite websites for interacting with others in the design community? (flickr, twitter etc)

Twitter (@rogieking) is my number one. I use Flickr on a somewhat regular basic, but it never took ahold of me like Twitter. Honestly, I’m a bit oldskool and I really love using Skype. I am known to call designers without notice, asking for critique of my design and sometimes, if they are lucky, serenade them with Little Mermaid’s “Part of your World”.

What is the one design lesson that you learned the hard way that you wish someone had told you about when you got started?

I’d say the hardest lesson has been repeated twice. Many designers have had to deal with this. The lesson is to NOT abandon the discovery phase where you find what the client wants. You may be tempted to start on the design immediately. Perhaps you can see design in your head and have inspiration to start. The simple fact is that the client wants what the client wants. As designers we must use every means necessary to gather their vision and only when we know that vision clearly is when we should start design.

What does your typical day look like?

7:00 – Help get my wife and two sons going. This means feeding little Jackson oatmeal, apples or whatever and tossing him a few Baby Mum Mums. Get Jameson dressed and ready for his day and give him mega-loves.

7:30 – Get some strong coffee going. Not a whole pot, just a bit of strong strong coffee. One day I’ll get an espresso machine I think to myself. Oh, well, for now I’ll keep this old pot going.

I settle into my chair, still in my PJs, knowing I should take a shower (I read that it’s better to take a shower and get dressed up once on a blog), but I don’t. I fire up Twitter and manically press “Get Mail” in Apple Mail – for the record, I don’t know if I’ve ever hit inbox zero.

At this point, nerd senses are tingling and I’m reading up on blogs or carrying away with whatever fancies my interest on the internet.

8:00 – Coffee’s done. I’ll take it black and in my custom Ryan Labar pottery mug or my wife’s Disney Goofy mug. Time for more reading and general internet merriment. Time flies.

8:30 – 9:00 – I’m working full time right now, so I check in on any tasks I might need to do and get going on work.

9-Noon – My general habits at this point are to put on my Logitech G35’s and crank up iTunes…LOUD, drink my coffee and focus on tasks. Twitter always gets in the way, so some times I’ll go in “stealth” mode, which means turn off Adium, Skype, Twitter and — basically keep away from anything that will remove focus.

Noon – Lunch time. I pop out of the cave and help make lunch for my babies and wife. We chat a bit about her day and what’s going on with me and work. That’s about it and back to work.

Noon-1 – This SHOULD be the time I go work out. Should. Typically afternoons can get a bit distracted for me. I tend to solve distractions by either having a bit of chocolate or totally following the distraction. Nine times out of ten that distraction is Skyping someone and talking to a very real person. I’m a social bug and this part about working from home grates on me a bit.

1-4 – I tend to get back in the groove and go into “stealth” mode at this time. The same combination of electronic music and drink keep me strong. I switch to water though.

4-5 – I lose my focus toward the end of the day and once again get a bit distracted. My 3 year old is tugging at me and wanting me to play. My wife is trying to pass the 7 month old off for some much needed rest. I love my family so I give in at times.

I gotta wrap up, so I commit any changes done in Subversion and email any last minute status reports needed. Peace out!

Who would you consider to be the biggest influences on your design career?

Jesus Christ, Walt Disney, Apple Interfaces, the designers for the IconFactory and Douglas Bowman.

What are the tools you couldn’t live without? (softwares, invoicing tools, time/task-management apps, pen/paper, online etc…)

I use Adobe Fireworks CS4 for all of my mockups, icon design, etc, Adobe Illustrator comes in handy when I need to edit illustrator files or convert files to use in Fireworks. Panic Coda is my main text editor/ftp client of choice – I happen to use the websites feature, but not the terminal, preview, CSS or books feature. MacRabbit CSSEdit is my main CSS editor of choice due to its grouping/folder organization and autocomplete for CSS properties. I test my websites and apps on Sun VirtualBox with Debian Server and Windows XP images with IE6, 7 and 8. Sequel Pro is used for connection to MySQL databases and running SQL statements. I dig CloudApp for communicating concepts and mockups to co-workers and clients. FIrebug is my chief JavaScript testing and debugging tool. FirePHP is a killer plugin as well that enables PHP debugging with Firebug.

Other applications I can’t live without are Tunnelblick for OpenVPN connections, CoverSutra , LittleSnapper, Tweetie, Dropbox, Skype, iTunes, Google mail, contacts and documents. I use Blinksale for invoicing and paper and pen for tasks.

And that is all he wrote…a big FYC thanks once more to SpectrumDNA’s Rogie King. We appreciate all that you do, Rogie.

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We are very excited to be interviewing Ingo Ramin, CEO of award winning 247 media studios whose works have been featured on July’s edition of Web Designing – one of Japan’s leading design magazines.

― Could you please tell us about yourself & the creative team behind your company?

A: After a venturesome vocational past (I was working as a stage designer for our local theater and TV station, spend a few years as special effects coordinator at the Bavaria film studios in Munich for several movies, including 20th century fox “enemy mine” , worked as sales and marketing manager for Siemens and every now and then as a studio musician/composer for several German music acts) I founded 247 media studios back in 2001 and became one of the numerous ‘bedroom designers’ with the vision to have one day my own web design agency.

Today, 247 is a creative web design studio with a rather atypical structure; we are an open company of talented designers and programmers forming a collective, sharing projects and ideas.This in turn leads us to create work for an eclectic group of clients such as SQUARE ENIX (Japan), Eidos (UK), National Geographics, Miley Cyrus (Hannah Montana), Bushido, Universal Music, Paramount Pictures, rosenstolz, Unicef, red bull and the FIA to name a few.

This freedom to explore what we like, leads to some immersive and powerful results for web design, multimedia and cross media productions. Our unique graphic style which has influenced many other designers worldwide was mentioned in numerous web design related books and magazines and honored us with some of the most prestigious awards in the design world such as:

- Promax BDA miami, 2001
- 11 FWA awards between 2002 – 2008
- Macromedia Site of the Month 2003
- Flash Film Festival San Francisco, 2004
- Animago, winner, 2005
- London International Awards, 2006
- Flash Forward Boston, 2007
- 38th Annual Creativity Race Day Awards 2008

So as for now, we have in-house one fantastic skilled programmer who is able to do wonderful things with all sorts of lines and codes and such (I actually have no idea what he’s doing…but it always works), one maniac who is responsible for 3D modeling, animation and all sorts of motion graphics, my wife Xantine Ramin (winner of the above mentioned BDA/Promax 2001 in Miami) who is taking care of concepts and copy writing and myself creating all the graphics seen in our 250+ portfolio. We also have 2 trainees and every 6 month an intern from all over the world (besides obvious Germans, we had interns form Brazil, America, France, UK and Sweden).

Small but effective team.

― What is your typical day like?

A: In order of appearance:

- Waking up (oh, really?)
- Having coffee
- Going for a walk with my four dogs
- Having coffee
- Walking to the office (with at least 3 dogs)
- Starting the computers and thinking about buying a mac
- Having some more coffee
- Checking emails
- Checking twitter
- Double checking emails
- Back to twitter
- Creating 3 stunning layouts and 2 amazing websites
- Writing emails
- Checking if twitter is still online
- Writing invoices
- Paying invoices
- Noticing that too much coffee can harm your health
- Leaving the office with 2 dogs
- Going back to the office to get the other missing dog
- Going home to my wife and son
- Going for a run
- Playing Xbox or PStriple (gamertag and ID: wonderwaffe)
- Falling asleep (right after checking twitter and my mails for sure)

― Have you been to Japan?

A: No. Now that was easy to answer.

BUT I WOULD LOVE TO. Really, this is one of my biggest dreams to visit Japan one day and spend all of my non existing money in Akihabara (major shopping area for electronic, computer & anime)…if i could only fight my fear of flying.

― What do you think of the design community in Japan?

A: I have a huge respect for Japanese designers and I have never seen more beautiful art when it comes to web design.

Teddies in Space – View Project

― I’m especially impressed by your interactive flash web designs. Where do you get your fun & creative ideas from?

A: Most of my ideas come from video games and mother nature. hm?…Ok, forget about that mother nature thing, I was only trying to be political correct: IT’S ONLY VIDEO GAMES. I own nearly every console ever made and while I save the world and kick some alien butts or become the greatest rally driver in the world, I really feel how I fuel up my inspiration tanks with ideas and images provided by those small digital worlds. While I write these lines, I have to say that some ideas are coming from mother nature as well…

― We see that you have international clients from Japan, America, Europe. Could you tell us what are some of the important points in taking your company further into international markets?

A: Especially the German market is a bit afraid of anything beside the “normal” corporate website. Coming up with something like our teddies in space webbernet, might have scared the **** out of some decision makers. But we love to think a bit outside of the box, therefore especially America was a huge playground for us (bigger, badder, bolder). Due to my love for video games, I was able to reach one of my favorite video game company SQUARE ENIX in Japan and now I’m waiting for some love letters from Capcom, Konami, Namco, Clover (we luv you)…!

― What are your 5 favorite sites online?

A: Oh, that’s easy. Mine, mine, mine, and my own.
Nah, just kiddin’ ;-) My all time favorite site is still the original ‘Ray of Light’ by Yasuto Suga (ok, it’s not online anymore , but i have it backup on my server).

For the rest in no particular order:
- Leo Burnett
- E616 Extreme
- Litfuse Design
- And for sure the one and only daily time waster: 247 media studios @ twitter

Kangubo – View Project

― What are the tools you couldn’t live without?

A: Photoshop is definitely the most important and powerful tool for me, followed by flash (even if I’m a bit in war with AS3), zBrush (the greatest invention since sliced bread), Cinema 4D (because it’s the only 3D program even an 50 yr old like me can handle) and Adobe Audition for all those little whoosh and sizzle sounds. So far it’s the normal designers toolbox, but beside that, some of those nasty little tools and apps in my iPhone are so much fun that I could hardly think of to live without them.

― How do you typically start a new project?

A: After a long briefing via mail, skype or phone (like mentioned before, most of my clients are from overseas), I try to get myself into the right mood for the project (for example: playing through Final Fantasy I – XI when I have to design the Final Fantasy XII website, or listening to Glenn Miller if there is a retro project coming up).

Then it’s up for some sketches using old school pen and paper. Next are some rough drafts to check if I’m on the same track with my client. If i have a ‘go’ here, I switch to the back-end programming (form follows function…at least I try to do so sometimes).

If the technical part is done and approved, I go back to finalize the design, showing the webbernet to the client, listening to him saying: ‘oh, we luv it. it’s perfect…just a few minor changes’. Spending the next 2 weeks to go for those few minor changes, thinking about charging more next time and ending up with a happy client and a tired designer.

Hope you had some fun reading this and now visit my website and hire me for your next project…or follow me on twitter. hm?……maybe i should check my emails now.

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About a month ago we were contacted by Ricardo Chiappe (@6omma) with a query to put to the design community. So we sent the question out as a group interview through the channels and we heard back from several designers. We know everyone is busy right now, so we really appreciate those who were able to get back to us with their responses, and we apologize to those who did not have enough time to get them into us. However, after you read the fantastic answers to Ricardo’s wonderful question, please feel free to take a few moments and leave your own answer in the comment section below the post. We would love to hear from other members of the community on this as well. We hope you enjoy the answers provided as much as we did.

The Question

What is your process from the initial project query to starting your design? In essence, what do you do to get yourself organized, what steps you take to get the project into the designer’s hands and rolling?

Brian Yerkes

@brianyerkes | BrianYerkes.com

Let’s say the lead comes in from our website, Brian Joseph Studios, we respond by phone or email (depending on what option they chose in their form submission) . This email thanks them and asks them a few questions about their needs… do they have a current site/logo etc. This email also introduces our company a little more, and tries to build that instant relationship. They are given one person to speak with that will be their project manager throughout the entire project.

The potential client responds with some answers, and we determine whether or not we want to take on the project or not. We have an interview process that we put the client through, and many fail at this step. I think it is extremely important to take on clients that are similar in their professionalism as you and your company.

It can even be down to small things… like if they don’t start an email addressing a name with something like “Hi John…” or anything like that. Small things like that can say a lot about the type of client they will be if you take them on, especially if you understand the truth behind some of the things that clients will say to you!

So, we begin the sales process. If the client is local or somewhat close to our area, we will arrange a meeting in person with them. This gives us the chance to really build a relationship on a personal level, beyond emails and phone calls.
We get to know the client, their business and their needs in detail. We listen to them and we provide solutions. After the meeting, we draw up a proposal outlining the solution for their project.

If they like it, we send the contract along and ask them to fax it back. We then invoice 50% of the project total and begin the project once that 50% is received.

The details in the contract, along with any notes taken by the sales person are then put together and loaded into our project management system for the designer to start working on.

Once the project starts, we keep in regular contact with the client, and ensure that they are involved in the design and development process throughout. We ask for feedback at all stages of the development and once they are happy with the final design we invoice the final 50% before we send final production files.

The client pays the final 50%, they receive the final files, (we upload the files to our server if it is a website project) and they are ready to roll with their brand new logo, website, or piece of print design.

After they are finished with the project, we still keep in touch with them regularly to keep that relationship with them and to help them with any needs in the future. This way we build up a strong and loyal client base, and we do not have to take on a huge amount of new clients to pay the bills and project costs.

If you work with 5 loyal, professional clients that have their stuff together, and understand the importance of your services, those 5 clients will always be more profitable than taking on 20 new clients of all different types. Ever heard of the Pareto Principle (80 / 20) rule? It works perfectly and has done for quite some time!

Chris Spooner

@chrisspooner | Blog Spoon Graphics

I guess every lead starts with an email. I try to direct clients to supplying plenty of info, such as project details, budget etc. This all helps give a good indication of what’s involved so I can estimate a number of hours or morning/afternoon sessions that would be required for the job, this is simply multiplied by my hourly rate. After which an estimate document is sent out, that contains an overview of the price and a list of terms. Once accepted an invoice for 50% is supplied, after payment is made it’s down to me to get cracking!

My process starts with some further research into any initial ideas I’ve had, I’ll create a client folder and save various text snippets from their email and images I come across online in a ‘Research’ folder. Next up, I’ll often dig out the pen and notepad to sketch out some ideas. Then things eventually move into Illustrator or Photoshop to continue the design in digital format.

Liam McKay

@liammckay | Function

For me, when I receive a request for a quote I send them a PDF file with costings on. I tend to stick to set prices per project so this makes this part very easy. Anyone who hasn’t been scared off will get in touch, and if they’re with me at this point it tends to be a good sign. Then I ask them for as much information as they think is relevant and can help with with the design, the usual things everything from photos to colour ideas. Anything that has been missed out or is up for discussion is sorted out via email or Gmail. Once I’ve got a clear idea of the direction it’s a quick wire-frame & mood-board to show what’s in my head, and find out if it matches what the client had in mind.

Only once all of these stages are done will I start, it’s really about me being comfortable with the process. I can’t start on something I’ve got doubts or uncertainties with so the process is really about me clearing up things and helping me understand the needs. It’s also worth mentioning I make sure to get a deposit before I start the design, and sometimes before I do a wire-frame.

If I’m working with a client I’ve worked with before I don’t always need to do all of the steps mentioned above as I tend to understand the requirements and expectations without the need for a mood-board etc, and likewise they feel comfortable enough to trust me. But generally this is my process for most new clients and projects.

Jon Phillips

@jophillips | Spyre Studios

In most cases, for a new client I’ll start by asking questions and try to figure out what the client is looking for. For an existing client, since we have a history and I already have an idea of what they like and dislike, it’s usually faster. I’ll often ask the client to show me some examples of sites they like and what they like (and don’t like) about them. Some clients will also have a design brief which is always helpful.

I use my own folder-based system on my computer to keep track of client infos, files, images, screenshots and inspiration material. When both me and the client are ready to move forward with the project I’ll send a quote and ask for 50% in advance (and the remaining 50% when project is complete)

Then when everything is good, I’ll grab my Moleskine notebook and start drawing wireframes and I’ll brainstorm some ideas focussed on the branding and the audience. My process will also be very different whether I’m working on a blog or on a small business website.

Once I’m getting somewhere with my wireframing I’ll open up Adobe Fireworks (I prefer Fireworks over Photoshop for website mock-ups) and start working on different layouts and grids. Then it’s just a matter of doing a couple more mock-ups, coding and voila! :)

Franz Jeitz

@fudgegraphics | Fudge Graphics

The initial design process depends on factors such as type of project and location of the client. If possible I try to meet up with the client over a cup of coffee to discuss the project. Prior to the meeting I will have compiled a list of questions to ask. It is important to get as much information as possible. Furthermore I’ll present some examples to show the client. This enables me to get an idea of what they like and dislike. For non-local clients this will all be done via e-mail or Skype. Once the ground outlines of the job have been set I will give them a quote. Upon approval I will start with the actual design work.

Now It’s Your Turn

Don’t forget to take a few minutes, if you feel like it, and tell us about your process in the comments.

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We recently had the opportunity to interview Tomás Fliess of NNSS Visual Universes. This talented designer from Buenos Aires, Argentina, focuses his expertise in the Identity, Print Design, Packaging, and Interactive Design arenas. We want to thank Tomás for not only agreeing to the interview, but for taking the time to answer the questions, we really do appreciate it. So without further ado, here is a closer look inside one of the creative minds behind NNSS Visual Universes.

Are you a freelancer?

No, I am not a freelancer, together with my partner, Federico Engelmann, we have been working during the last ten years in our own project, NNSS visual universes. A design studio that aims excellence in graphics and concept design.

What are your best methods for finding/attracting clients?

I imagine there must be a lots of methods. We usually try to be concious that a good work will attract new clients and projects. That is why we believe that having a good portfolio is basic for clients to trust us. We have to consider that we offer something that is intangible, something they can’t see or touch when they buy our services. Besides selling creativity and design, we have to transmit trust and confidence and one way of doing so is having a good portfolio. We believe every work has to be considered the most important one. And doing so, makes us achieve great results, helping us attract new clients.

Another important part of finding new clients is to maximize all the channels of communication. And there, internet plays a critical role. We try to use internet as a part of our communication as much as possible. That is why we try to update the web constantly, and to create a database with all the people who contact the studio. Specially to send them information about new projects or news.

We also try to post our works in blogs, so people get to know who we are, and what we do. Specially other design studios.

Please tell us more about your art and design background and what made you become an artist and designer?

Particularly for me, since I was a kid, I was attracted to everything that had to do with manual and creative stuff (drawing, painting, building and un building products, fixing devices , etc).

I come from a family of artists, we have architects, designers, make up artists, etc. Mi mother studied arts and crafts. I imagine we carry it in our blood.

I entered to study graphic design without knowing much about what it really was and I loved it. I live design all day long. I think is really important to observe and to have passion. It is a work, a profession, but above all, a hobby that I love. And when your job is your hobby, everything is easier.

In our studio we always try to generate in every project a strong concept that it is achieved after an intensive analysis and research of the essence of the client. We always try to create a story around a brand. That is why we talk about visual universes when we refer to corporate identity.

We try to generate in each case, a new and attractive universe that talks about the essence of the company with a personal and unique design. That is why we always say we just don’t want to create nice and beautiful designs; we look for something deeper, more powerful and creative.

When you first began your career in design, what were some unique challenges you faced? Were there any misconceptions that you had about the design industry back then? How has your perception changed now in hindsight?

In Argentina usually what is creative provoques a little bit of fear, because it is different to what we are used to see. Instead of taking it as an added value to distinguish and position themselves, business men are afraid to do something that it is different to what their competitors are doing.

I think we still have to build a design and innovation consciousness as I see other countries have.

What was your very first job or the first paid project you performed as a graphic designer? How did you land this project?

It was a brand I developed for a Pet Shop I used to worked while I was studying in the University.

What do you feel are the most important skills for a designer to have/develop?

I believe the designer must be an observer. We have to be like sponges that absorb everything.

Learn how to listen to our clients, to understand what they need and what they look for and be able to bring them a proper solution. We have to develop our empathy. To be able to understand our client’s mind. We are not 100% artist that we can create what we like. It’s true that we always put something of us in our work, but we have to understand that we are working for someone who has special needs and objectives.

Another important point for me, is that we have to learn to defend our thoughts and ideas. That is why we usually say everything has to have a why. We always have to explain why we did it that way. There is always a reason on every decision we take. And every reason helps us to defend our point of view and explain the client why we did it that way.

Where do you go for design inspiration?

I believe that the best thing to do during the creative process, is to get out of the computer for a while. The computer must be just a tool we use once we have a clear idea of what we want to do.

To get out of the computer and sit on a quiet place with a pencil and paper, is a good option. But I don’t have a special place for that.

How do you typically start a new project?

The first step is to organize a meeting with all the members in NNSS. Tell them what the project is about, who the client is, what they do, and what they would like. After that, we begin to do a research about the company, the market where they are inmersed, their competitors, etc.

We usually do this to understand the essence of the company. We do a brain storming, and propose alternative ways to talk about it. Once we decide which way best represents the enterprise, we start to look for a graphics adecuated for that unvierse.

Do you have any favorite websites for interacting with others in the design community? (flickr, twitter etc)

We began to be in contact with the design world through Graphicexchange.com blog.

This blog was the one who motivated us. We started to look for other websites and investigate design sites. Logolovedesign is another interesting blog with a lot of interaction. In Argentina, facebook is growing bigger every day, but it is not a designer community. A few days ago we discovered a site similar to facebook but related to design (creativefolks.net). We are starting to use it.

What does your typical day look like?

I arrive to the studio at 10 a.m. I drink my coffee while I check my mails. We see which are the activities of the day and in which stage each project is. We start to work while we listen to the radio. We usually take an hour to have lunch, ande then we continue working till 6 p.m. in the afternoon approximately.

What are your 5 favorite sites online?

Who, in the online world, would you say has had the biggest influence on you? (designer, blogger, entrepreneur, etc…)

Graphic Exchange it is a blog where we usually find top quality design. We usually enter the blog to see new projects and studios.

Non-Format, Páprika, Arsthanea are studios that have an amazing level and we admire.

What are the tools you couldn’t live without? (softwares, invoicing tools, time/task-management apps, pen/paper, online etc…)

These are some of the tools I use 90% of the time in work:

Paper and pencil
Photoshop
Illustrator
Outlook
Internet Explorer

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We were lucky enough, here at FYC, to be able to have the opportunity to ask a few questions of Michael Stinson recently, the creative mind behind Ramp Creative and much more. This talented visual storyteller, has delighted both clients and fans for years, and so we are equally delighted to have this chance to provide some insight into the creative genius that we know him to be. We hope that our readers enjoy this interview as much as we did, so without further ado, we give you a look into the mind of Michael Stinson.

1. First of all, thank you so much for agreeing to and taking the time for this interview. So what first drew you to the world of design?

Engineering. Drawing. Painting. And, um probably Legos. Not in that order of course. Ha! I only played with one toy as a kid, which was Lego. I would draw out things I’d seen, build them and them refine the drawings and adjust the final assembly. Started drawing and painting at age 7, then interested in drafting and architecture in high school, then physics and aerospace engineering in college. Switched to design mid-way through college and then started taking classes at Art Center on the side. With the kind of problem solving education you get in aerospace, design then came pretty easy to me. I’ve always enjoyed the challenge of figuring things out, mathematically, structurally, artistically.

2. Ramp has such a dynamic and diverse portfolio, what have you found to be the most effective ways to market yourselves to potential clients?

I was told that the best way to market yourself is do to do what you do best and be yourself. I am the typical engineering nerd, even though I may not look it. Rachel, my partner, is more of our PR personality and she’s the one that opens the doors for us. We have this saying to our friends and clients, “Rachel opens the doors and I close them”. Ha! That’s pretty much what we’ve been doing since we opened in 2002. Being honest about our ability to create unique solutions for our clients by wielding a thinking style of design. By holding true to problem solving and letting the concept drive the art, we’ve been able to attract clients that collaborate with us on the direction for their design solutions.

3. With the growth you have experienced in the years you have been in operation, where do you hope to see Ramp grow to in the coming years?

We would ultimately like slow and relatively small growth. We want to be able to keep our hands on the work to keep our quality up. This has also been a benefactor in attracting clients (pertaining to the previous question) that are looking to do business with the partners of the firm, not an account person or staff managers. In all, hopefully no more than five people at the most in the next 10 years.

4. Have you ever had difficulty with clients not trusting your artistic instincts? If so, how did you handle that?

We have and the answer is education. If we show patience and guide our clients through the design process while explaining the fundamentals of good design practice, we can usually convince them to see things our way. There has been other occasions where, no matter how rational and thorough the demonstration of proof is, the client just wants to go their own direction. This hasn’t happened to us often but the work usually suffers and results in a loss in integrity.

5. Could you tell us a bit about your work with Quiksilver and how it played into the launch of Ramp Creative (if it indeed did)

When I worked for a small design firm in Orange County (just south of Los Angeles), one of my first assignments was to design the Quiksilver annual report for that year. In getting to know the CEO Bob McKnight, I found that he had a lot to say, although at the time the Quiksilver brand had not. The brand had mostly been very visual up to that point—concentrating efforts on advertising with short slogans and quick reads. So when it came to designing the annual report, I found myself writing in a “story-board” kind of style. I fell into this storytelling by being engulfed with their images from that year’s shoot, AND all the other images they’ve compiled over the years. So, with the help of a vast image library, I could write short stories that spoke of the brand with an investor voice. This made for great flow and pacing in the annual report. After that, every annual report has been approached the same way for me—story/concept written through a short brief and then design.

This way of designing ultimately honed my conceptual skills and started to approach every project through a conceptual viewpoint every time. Like I always tell the students, if the piece has no idea/concept, then it probably won’t have much integrity either.

6. What does your average workday look like?

Well, our average day starts just like any other in the creative business I assume. Lots of coffee, or tea for me, and a short 2-block walk down the street to the office. After all the stress of the day is over we either hit the gym, if there’s any energy left, or more research and reading at home.

7. Which do you prefer with developing an identity for your clients, starting from scratch or having them provide a strong base from which you must work? Why?

I think we prefer to start from scratch but sometimes the client may not need and full ID. Sometimes they may need just a refresh of what they have, a tune-up, so to speak. We see either way as a challenge but we try to read to the client on their request for a refresh and recommend what they might do. If they like what we have to say, they hire us. If they don’t, they won’t.

8. Is there an area of the creative world you wish you were more active in?

We were just saying the other day how much we love the research part of our work. Ok maybe that was Rachel a little more and I was saying more packaging, since I like to work with my hands building things. Ha! Anyway, we both agree that one of the best parts of the design profession is figuring things out through research and discovery. This keeps our creative edge fresh. I tell my students (from a typography class this last spring) that one of the best assets you can have in design is a curious mind.

9. With the many disciplines that Ramp works in, which has been your favorite to explore? For what reasons?

Recently, we’ve noticed that a lot of our work has brought about many great ideas just by studying language and words. So much so, we’ve integrated the process of language to find a certain voice for our branding clients. This also has led us down a path of more influential writing within our creative briefs at the forefront of each project. Yielding a greater approach to design and guidance for our clients.

10. What is the most effective marketing trend you have seen flourish during your years in business?

I would have to say social networking. Or even before that, online marketing I imagine. We receive a lot of inquiries about our website just from people searching for design in Los Angeles. They also love the topics that Rachel writes about on our blog and the contests that I put together as well. But again, the inquiries come in through to Rachel on the receiving end, we get a meeting and I sell our capabilities and away we go on a project.

11. What advice would you give to any young creatives looking to take on the challenges of marketing a client or product as you have so effectively done at Ramp?

To keep a competitive edge in the back of your mind. My mentor said that “It’s all been done before. Now it’s up to you to show the world how to handle it differently”. Or something to that effect. There are a lot of great designers out there now doing really wonderful work. So I’ve told my students to be confident and focused on exactly what they want to accomplish. My dad told me once, “chose one thing and do it better than anyone else. The accolades, and money of course, will start to follow you around”.

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Who is designing where?!

What’s all this talk about the ‘Drifting Creatives‘ floating around on twitter & facebook? 

Come to find out, Gavin Braman & Martin Hooper are pretty cool guys trying to solve a common problem in this economy; joblessness. Here at the Fuel Brand Group we support a growing network of creatives. As soon as we heard about them and what they are trying to do (not to mention some cool ideas they are brewing too!) we wanted to support them by sponsoring the Drifting Creatives & help spread the word across the community.

Ok guys…What’s the deal?

After we graduated we thought we were done with school. Wrong. We both love design and we realize that there is so much to learn still. Since neither one of us had a job at the time, we decided we should try and design our way across the country, soaking every experience up along the way. We have been designing for smaller businesses that may not have access to big design firms. We don’t charge much because all we need is food/gas and a place to sleep. There are amazing designers all over the world. We want to meet them all. We would love to talk with them and work with them on cool projects or…even not-so cool projects. We don’t mind. And then maybe they can let us sleep on their couch.

-Gavin & Martin

 

What is your plan of attack? I mean-everyone has a plan, don’t they?

This is our current plan (as of today) which is highly subject to change! Check out the projected route. If you have a couch, job or you just want to hang out, get in touch! 

Who came up with this idea?

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Today we are interviewing Web Designer, Ryan Downie who currently lives in Lancaster, England. Ryan is very talented and loves working with ExpressionEngine. He works full time at BFInternet.

What does your typical day look like?

My typical day is I get up at 06:30 and do the rounds as I call it (facebook, timesonline, skysports, twitter and google reader). I then get a shower and set of to work. I work 09:15 till 17:15 and can consist of working on e-commerce sites, html, cms, design work or just minor edits to our client base. I get home around 18:00 and get some food and then get working on some projects or read some interesting RSS feeds before relaxing around 23:00 and watching a tv show like 24, house or heros before bed.

Do you have any favorite websites for interacting with others in the design community?

I use twitter more then I should. 

What are your 5 favorite sites online?

twitter, facebook, google reader, skysports and timesonline

What are the tools you couldn’t live without? 

Sketch book, pen, Photoshop, Coda (when on mac), Illustrator and firebug.

Are you currently freelancing?

Not a the moment, I am contracted to the design agency BFinternet full time.

Best part of freelancing?

Having freelanced before and now that I am working for an agency I can see benefits to doing aspects of both. When I was freelancing I liked picking my own projects that came in, the hours that I worked and also being able to take twenty minutes or so to go cook something for dinner. As a agency worker I like being around people who are in the same field everyday and the fact that everyone has a different way of doing things. I also like not having to do the admin side of things and looking to bring work in, oh and getting paid at the end of the week even when we are not busy.

What are your best methods for finding/attracting clients?

When I was freelancing I was lucky as a lot of people found me. Mostly due to my version one of my website going across all the design galleries real fast and getting featured in some creative posts such as the Webdesigner Wall’s trends of 2008 and Steven Snells Vandelay Design creative navigation posts respectively. Nowadays if I do take on any freelance work it is via word of mouth and it is mostly my own projects or for friends (that I have met online) as my time is limited.

Please tell us more about your art and design background and what made you become an artist and designer?

As only a few people who read this will know me, might not realize that I have only been designing for around sixteen months. I fell in to design by accident. I lost my job and decided I wanted to do something worth while (and I did do multimedia design for a few months in college before dropping out). So I started playing around with photoshop and got some books on design and css and went to work so to say. My first full layout was my first version of my site, and I have to give credit due to Elliot Jay Stocks as he was really helpful in this period as he gave me some great feedback through the process. I then won the Boagworld podcast to go down and spend some time with Andy Budd and some like minded people on his CSS Mastery workshop just over twelve months ago now.

 
When you first began your career in design, what were some unique challenges you faced? 

When I started out I didn’t have ideas or expectations on what to expect, I just went with the flow and if it didn’t work out it was not to be. Some unique challenges I faced was trying to get the design that I could see in my mind in to photoshop and then on to a page. But with experience this has come. Another challenge that I faced was the design’s that I was creating where not based on the clients needs. I just ran with a design and put the content in second. Thats why a few of my designs were getting rejected. Again this comes with experience and good and proper research. I can not stress that research needs to done before even thinking of the design.

What was your very first job or the first paid project you performed as a designer? 

My first job as a graphic designer was working freelance for a client in America creating banners. I really started to hate this towards the end of this as I was just pixel pushing and not creating layouts like I wanted to. I think I landed the project via some website like the sitepoint marketplace but not sure.

What do you feel are the most important skills for a web designer to have/develop?

As a webdesigner the most important skill to me is to be able to code clean sematic HTML and CSS. It really annoys me when people call themselves a webdesigner and they dont code. Its kind of like working at McDonalds and calling yourself a chef! Also the web is mostly typography so learning about grids, layout and design fundamentals is a must. You must be able to get the balance of a appealing design and still make the design useable for the target audience.

 
Where do you go for design inspiration?

I get my design ideas from from mainly galleries such as cssmania, patterntap etc to get that sudden spark. However I am now looking at a lot of print material and getting ideas from that. Weatherspoon’s and bar menus are starting to get some really good designs. My friends catch me now and again putting menus in my pocket (not a good sign!). 

How do you typically start a new project?

I typically start a new project by having a brief chat with the client if I have not been given the creative brief and then go and load google up and spend a couple of hours researching competitors and similar sites. I then draw down a wireframe in a sketch book and if it is required I will then move to illustrator and wireframe that up to send to the client. Then it is on to photoshop.

Regarding starting a development project (HTML/CSS E-Commerce, Expression Engine or BFInternets in-house CMS)   I start off with a base file that I have created outlying the meta, css (big fan of YUI fonts, reset and base) and basic areas set out. h1 with an id of logo, wrapper, main-content etc.

Who, in the online world, would you say has had the biggest influence on you? 

I would have to say a few people if thats ok. first off would have to go to Elliot Jay Stocks as without his encouraging feedback when I was starting out, I would probably have not realized the potential that I had and wouldn’t be where I am today. Secondly would have to be Chris my project manager for giving me time to progress at BFinternet and continually giving me feedback on all aspects of my work. Lastly Andy Clarke as he has inspired me on many occasions to use use progressive enhancement in now all my webdesigns. If it wasn’t for him continually pushing and blogging about it I wouldn’t use microforms, css3 and now HTML5 in my work.

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Today we have a special surprise for our Fuel Brand Network team (illustration below) because of this extremely talented Illustrator, Ricardo Gimenes. We saw his new project ‘Behind the Website’ and thought it was such a unique idea. We love great ideas and thought this would be a awesome interview to get ‘Behind Ricardo’ and show his talents off. He currently lives in São Paulo, Brazil.

Follow Ricardo on Twitter | Visit his portfolio  | Visit ‘Behind the Website’

Tell us about your new project, ‘Behind the Website’.

This project will illustrate what people think about some websites. Everyweek (day) a new illustration will come up here. Be part of it and let me know what you think about ‘Behind the Website’.

Did you go to school for Illustration or are you self-taught?

Both. I`ve been studying since I was thirteen. I later graduated in Art and Communication from the Panamericana School of Art and Design in São Paulo. More recently I have taken courses in Digital Cinema and Art Direction. Besides that, I have learnt quite a lot of computer skills myself, like Illustrator, Photoshop, Flash, etc. 

Do you work Full Time or Freelance?

Free as a bird!

How did you get started in art and illustration?

Ever since I was young boy, I liked to draw. My dream was to draw the Coca-Cola truck. However, at the time my drawing skills weren’t great, so my mom enrolled me to take drawing lessons. I was thirteen at the time and I spent 6 months learning how to draw circles, animals, mouth, hands, light and shadows… but no Coca-Cola truck. I continued for the next 3 years, during which time I learned basic paste-up skills for commercial ads. It was 1991 and I didn’t have a computer yet. It was also around that time that I really got into copying cartoon characters like Turma da Monica, a creation of Mauricio de Souza, one of the most famous Brazilian cartoonists.

I think my interest in drawing started with examples I had at home. My mom has always painted portraits… and my sister, she was like an art ninja, painted everything from nails to T-shirts and art crafts. 

You have initiated a lot of your own illustration projects. How does this compare (pros/cons) to clients commissioning you to do work?

To be honest I can hardly distinguish work from leisure. I’m very comfortable working with the two models. I try to make a job fun. It doesn’t matter if it comes from a client brief or from my own head, because in the end both will have my style.

What is your favorite type of commercial project and why?

It is a teaser movie to an epic book called GOAT (Greatest of All Time) – A Tribute to Muhammad Ali, published by Taschen. 

I was living in London at the time and I had been out with some friends. When I came back home late at night, I found a Taxi driver standing at my door with a message for me. I realized that my mobile phone battery was flat – so my friend, Julius Wiedemann, Editor in Charge at Taschen in Cologne, Germany, had called for a taxi and asked the driver to wait for me to arrive to deliver the message to call him back as soon as possible. I did so and Julius told me that I had a flight booked at 7am in the next morning to Frankfurt, where I would prepare a movie presentation about the Muhammad Ali book at the Frankfurt Book Fair, which would be shown at 5pm. So we worked very hard and at 5pm the movie to the book launch was ready. People liked it a lot and at the end of the day I came back very satisfied for making such a good job to a very tight deadline… and I even got to meet Muhammad Ali in person. Sometimes the events surrounding the job become more important than the job itself.

What would you tell young illustrators trying to break into the business?

Practice, practice and practice again. Don’t worry about finding your own style quickly. It will happen naturally by practicing. Expose yourself! Send your artwork to magazines, sites, blogs, etc. Make your own website or blog. Finally, even if a job seems to be boring, try to learn and see the positive side of it. As Eric Idle says, “Always look on the light side of life.” And if possible, go abroad and experience different cultures. 

Who are some of your favorite illustrators and why?

Definitely Arthur de Pins. His illustrations are fantastic… amazing drawings; sexy and funny … a master of shading. 

Where do you go for inspiration?

Bookshops. I can easily spend a whole day inside a book shop just with a coffee; and, of course, reading my daily feeds. 

What are the tools you couldn’t live without?

Adobe, Apple, Wacom… and, of course, the Internet.

Follow Ricardo on Twitter | Visit his portfolio  | Visit ‘Behind the Website’

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Today we are interviewing designer Serhat Nasırlıoglu, co-founder of Anativa. He lives in Istanbul, Turkey. Serhat’s design focus is on digital/print design along with photography, video, painting & sculpting.

Are you a freelancer?

I’ve been a freelancer since 2001 and this year we’ve launched Anativa.com (I’m co-founder of Anativa)

What is the best part about being a freelancer?

I think the best part is controlling the power about the hours. You can work at night without thinking of the next day. At nights world is spinning slow for me, because all the people are sleeping, lights are off, and there is silence..Night time has more creativity.

What are your best methods for finding/attracting clients?

Actualy my best power is showing my past works to clients. Also for new clients, I like word of mouth way, so you can have many other new clients.

Please tell us more about your art and design background and what made you become an artist and designer?

I was a child like 9 years old, I’ve copied too many Marvel Comics characters every day, after years I’ve found myself trying to draw perfect circle on the paper again and again. At 1996 I’ve joined university of Traditional Sculpting Arts but after 4 years I’ve quit.My first design platform was with Pencil/Paper and Sculpting materials like Stones/Sculpting Dirt etc. At the same time with university education i found Photoshop and i was amazed… i m in passionate with Classic arts and I’m fan of old Painters and Sculpting artists like Michelangelo, Rodin, Raphael… and for a long time i wanted to be like them… with computer I’ve found Digital Artists on the internet and i thought they were new Michelangelo’s… and i just think that new design era is digital arts and then i started my career on this area. early stage after 4 years working with design agency i want to create my own work as a freelancer and i just quit agency. Between 2001-2003 I’ve met with photography and video . i worked 2 years in production companies and just work for knowledge and i had never got any earnings for 2 years,it was a deal to work and get knowledge as a payment =). I’ve learned photography and video shooting/editing features. Now i know all things about light / photography / shooting and i became professional. i worked for several brands as a photographer but i never make this ability primary in my life. From 2003 to this day I focused on web/multimedia design and I’ve done like 200+ works. yes i know all of my works are not good but i m trying to improve my level up and up for every new work. I’m curious to learn different design and visual disciplines and for final results. i ‘m trying to merge them all.

When you first began your career in design, what were some unique challenges you faced? Were there any misconceptions that you had about the design industry back then? How has your perception changed now in hindsight?

Working for a client is first challenge, because clients must be happy for your work but they have ideas about your work. For this reason you are limited with your client’s vision. if your client’s vision is bad , now u are in trouble with your work and creativity. I wanted my clients to trust me but after years and years i can get this trust with the help of my successful works that i show from past years.

What was your very first job or the first paid project you performed as a graphic designer? How did you land this project?

Actually it was a long time ago but i remembered a little. It was a small web project. i just thought so much about this work and then i was able to find right way in couple of days. Because i did not decide where i could start, it was my first work! and sure i missed the deadline of the project =)… finally I’ve created something and i got my first freelancer payment then I’ve run to computer shop for a new mouse =)

What do you feel are the most important skills for a designer to have/develop?

Curiosity and vision are the most important things. If u are designer you must see every detail every form in your life. I think thegood designers are the good watchers/viewers of the world because of nature’s having all the design elements in it.

Where do you go for design inspiration?

Actually everything can be inspiration for me. Movies or music, the shape or curve of my monitor or my leather wallet…. if u think about concepts, it just starts from details like popcorn. You can create fantastic concepts from popcorn. White and circles, inner shadows on it and separated around randomly etc.. =) You know what i m taking about. There is only a critical point, ‘Is popcorn right concept for your client ??’ . Just find this.

How do you typically start a new project?

I start in my mind with mind notes and drawing on paper. When i found right style/concept for my work, then i start to collect materials from the net or i take photographs. If all the things are ready, i start to build on Photoshop and it really takes a little time.

Do you have any favorite websites for interacting with others in the design community?

I’m trying to use any lifestream tools like friendfeed, linked, stumbleupon, and I’m surfing CSS design galleries, FWA, design books, blogs like FYC =)

What does your typical day look like?

6 hours of sleeping then when i wake up if i don’t have any meeting or social activity, i m checking my past work and mails. if i m free for an hour, i’m surfing design portals randomly and trying to find new things…generally i’m working for 12 -13 hours a day =)

What are your 5 favorite sites online?

FI
The FWA
Linked In
Smashing Magazine
and lots of blogs!

Who, in the online world, would you say has had the biggest influence on you?

hmm.. It is very hard to answer, starting with Michelangelo, Alex Gray, Albert Einstein, Mustafa Kemal Ataturkand goes on…but never ends =) World has too
many good and talented people and I’m just a follower/student..

What are the tools you couldn’t live without?

I can use anything for design but at first i need my hands! =) and sure pencil, paper, photoshop and other editing tools are the most important tools for my life.

]]> http://www.fuelyourcreativity.com/interview-with-serhat-nasirlioglu/feed/ 14 http://www.fuelyourcreativity.com/interview-with-designer-graham-smith/ http://www.fuelyourcreativity.com/interview-with-designer-graham-smith/#comments Tue, 23 Dec 2008 17:30:39 +0000 Michelle Krasniak Oxman http://www.fuelyourcreativity.com/?p=1974

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