Brandon Murphy, Principal at Caliber Creative in Dallas, TX answers our student questions from the designer’s standpoint.
1. What made you decide to become an designer/illustrator?
Always drew growing up and was one of the only things that I enjoyed doing that I felt I was any better than (most) at. I was a good student and had high GPA, but nothing was really a passion. Spoke with a counselor in High School about it and was pointed towards a degree in art.
2. What’s your process for conceiving a new design?
Actually, pretty linear. Usually gather as much info as possible. Research what others (in similar industry or subject) have done — and cross-reference that with what make my client (or subject) better or different than those. Try to use what others do as a guide of how to be different — to know if they “zigged” — then I’ve got to “zag”.
3. What do you regret not learning while you were in school?
I was paying my own way through school and graduated with the exact number of hours required by my degree. Exact on the number. I went into college with a lot of AP test credits that later were turned into elective credits. So I feel like I missed out on the ability to “play a little” with other classes. Would like have taken some more painting courses and some 3-D art (as in sculpture, metal or wood working).
4. What’s the most valuable ability in a designer? i.e. conceptualization, hand/computer skills, etc.
Tough. Easy answer is to have both of course.
Many believe that the concept is the only driver of what is important. That without concept — you have fluffy, meaningless design. But, I’ve seen many “good concepts” — fall right on their ass because the designer was not astute enough (or technically savvy enough) to pull it off well.
Example — Sci-Fi movies —— a great story (without good special effects) — well, just another crappy Sci-Fi Channel movie. But, have a great story with enough talent for the graphics — and you get Star Wars or the recent Star Trek reboot.
I’m of the opinion that great design (style) can often be “good enough, great enough, different enough” —- to carry even poor concept.
But again — depends upon who’s at the wheel and what the venue is. Ads and quick messaging need quick wit and great concept. Longer mediums (brochures or motion graphics) rely and need heavier style and better design flow.
5. What is the most exciting aspect of the art/design world right now?
Man — it’s Wild West out there right now. What I’m seeing is that Designers are learning photography and motion graphics ——– web guys are learning video —- and photographers are shooting movies. Everyone is trying to add a new skill set to their resume. Just smart.
6. If you move anywhere right now, in consideration of the art/design scene, where would you go?
Like new city or here in town (to new job)? If city — actually — Dallas is sitting better than most (no income tax, least hit by housing crunch, more Fortune 500 companies) — where the money is (or at least some money is).
7. If you were a freelance designer/illustrator what would be your daily routine?
Would survey magazines (print and online) for any trends or hints at changes (agency gets big job or something). Would send out promos (not dailey) but would try to have something in the mail (printed) and in the email — about every two months.
8. What’s the best advice anyone has ever given you, regarding design or otherwise?
Know your limitations and ask for help (or hire it) when you need it.
9. If you were to start your very own design company from the ground up, what would be your first few steps?
Better stay away from that one.
10. In illustration/design is it more important to have a very distinct and solid style or have more of a range of styles?
Tough again.
Their are innovative (design – illustrators) — or hybrids throughout history and working today. Saul Bass and Paul Rand had distinctive approaches and styles that relied heavily on their own illustration styles. As being an illustrator was part of being a designer back then. Currently, you have Charles Anderson, Vanderbyle, Duffy, Kit Hindrichs (I’m killing the spelling here) —- but all these guys have a look. Go to layouts, colors, fonts or illustration styles they are known for. Even locally, Sibley Peteet was known for years by a signature use of PMS 123 —- to where I can’t use that color now without thinking of them for their use of it. Barfoot falls into this camp of a recognizable style and approach.
I’ve personally tried to use a lot of styles and approaches to design, but I fall prey to “safe harbors” of layout and design too. I don’t think I have a style —- but others say I do.