Today we have a Designer Interview With Henry Alvarez. Henry is a Creative Director from New York. During his colourful, award-winning career, Henry’s well-rounded understanding of branding, problem-solving and art direction have made him a standout creative professional. He has developed creative for a wide range of markets, from consumer products to sports marketing. He has been referred to as a creative chameleon, always adapting his mindset to better understand his audience and deliver visually engaging creative.
Henry’s creative journey started when he was a young fan of comic books and artists such as Frank Frazetta, Jack Kirby and Neal Adams. He studied art in high school and moved on to study fine arts history in college as well as undertaking subjects such as sculpture, photography, painting and life drawing.
By the time Henry had received his associate’s degree in fine arts, He had already learned about iconic designers like Saul Bass, Paul Rand, Herb Lubalin, and Milton Glaser. Henry’s teachers suggested that he would do well in the advertising industry because he was so inspired by the movie posters and identity design Saul Bass had developed, so he set his sights on continuing his education in this related field.
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Creative block is an unavoidable and unfortunate side-effect of being a graphic designer, however when you design for a living then you can’t afford to stop working while you wait for your muse to return. Fortunately, creative block is a temporary ailment that can be overcome quickly if the right measurements are taken.
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Very few managed to do for esthetic of advertisement and pop-culture of the second half of the XX century as much in general, as graphic designer Saul Ross did. Martin Scorsese called him a person who found and distilled poetic of the modern industrial world. Apart from Scorsese, the designer managed to work with Hitchcock, Preminger, Kubrick and Billy Wilder for over 40 years of his career, created about 100 of movie posters, was a filmmaker, made several the most recognizable logotypes of American corporations, which are popular until now.
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Today a designer interview with Alina Wheeler who is a design director and in-demand branding consultant to marketing executives and design consultancies, a frequent speaker and highly regarded author of the ever-popular book “Designing Brand Identity: an essential guide for the whole branding team” which is now in the 5th edition of writing this article but I’m certain if ever there was a new release in years to come it would be just as popular as the last.
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Today a Designer Interview With Phillip VanDusen a highly accomplished creative leader from the Greater New York City Area with two decades of experience in strategic branding, graphic design and product development for some of the worlds biggest and successful global companies. Philip is the Principal of Verhaal Brand Design, a strategic design & brand consultancy that specializes in visual identity system design and brand strategy.
Previously Philip held positions of Vice President, Head of Design for Global Snacks at PepsiCo and responsible for the identification, creation, management and execution of comprehensive brand design strategies working on the following Frito-Lay portfolio including – Lay’s Potato Chips, Doritos, Cheetos, Sun Chips, Tostitos, Sunbites, Grainwaves and Twistos.
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What do you say when a prospect or client asks, “What’s your hourly rate?”
Do you instantly capitulate and respond with a number? Or do you take the lead in the conversation and respond with your “qualifying questions,” which are designed to help you determine if this client is a good fit for you?
I know what you’re thinking: “If they ask for my hourly rate, don’t I have to tell them?”
Well, no, actually, you don’t!.
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Mark Richardson is the owner of Superfried, studio alias of the self-taught designer. He originally founded Superfried in a London bedroom in 2007 and is now based in the centre of Manchester specialising in brand identity and typographic solutions for print and digital across all sectors.
His clients vary in both scale and location from start-ups in Russia to larger global brands in New York, LA and London including Fast Company, Faber & Faber, Sadler’s Wells and the Leonardo DiCaprio Foundation. His continued experimentation with letterforms has lead to the commercial release of 15 display typefaces. Mark has also given a talk at Shillington Creative College in Manchester.
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Today a Designer Interview With Rob Clarke a British type designer and letterer based near London.
He designs logos and custom fonts both directly for clients and through collaboration with design and advertising agencies. I have followed Rob Clarke’s work for a number of years and you may not be familiar with his work, but you will be surprised. It would be hard to live in Britain and not be familiar with the logos he has created
He has worked on some of the world’s largest brands including Air Asia, Dulux, Sainsbury’s, Tesco, Reckitt Benckiser, Carlsberg Export, Polo Mints, Quality Streets, Cadbury and Capitol Records.
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Today’s designer interview is with Paul von Excite who is a professional logo designer specialising in type & lettering working from the Netherlands. His work has been featured on such sites as BrandNew Underconsideration, Abduzeedo, Daily Inspiration, InspirationHut, Logopond, Moo.com, Creative Market, Goodtype, Logomoose, Fromupnorth, Adobe Illustrator, AIGA Gallery, Adobe, Designinspiration.net, LOGOED, Wacom Gallery, Goodtype Book 1, Talenthouse, Student Show, Typography Served, Logo Lounge 9, 365 Awesome Designers and many more.
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As part of our collaboration with Birmingham-based digital design agency KIJO, we’ve delved into the world of ironic typography. This imaginative, often hilarious project can really get your creative juices flowing as you try to come up with disconcerting combinations of messages and fonts.
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