This begs the questions: With credentials being tossed around willy-nilly and so many college drop outs getting some nice projects, does it really matter? I’ll be honest, I’m a high school drop out and never wanted for work or even some high profile projects, so my viewpoint is a bit one-sided, but let’s explore both sides of the issue and see where it leads.

The Educational System

A problem many people cite in the educational system is that with years required to approve a curriculum and subsequently the years you spend attending the class and learning – you may come out two or four years behind in your field.

Areas where it helps to take formal courses – or at least to do rigorous and serious self study might be the psychology behind design, elements of design theory, and even type. These are things that don’t change, or at least, don’t change fast and give you some leeway to learn without risk of being left behind.

Technology changes very fast, so even if you take a course in Photoshop, you’ll come out knowing the basics but may still wind up with a learning curve if you’re a couple versions off (and hey, if you can live with an older version, more power to you. I still use CS3.)

Another area where credentials may help out is in securing a job at a respected design agency, where they want to know you take your work seriously and at least some guarantee you know what you say you do. But even then, many agencies may hire you based on your work portfolio or past clients, regardless of any degree.

On the subject of curriculum, it can be beneficial – or at least time saving – because you’ve had learned professionals already do the prep work and figure out what is relevant to the program and what isn’t. You learn mostly only what’s of benefit to your field, and largely ignore what isn’t.

The Unconventional Way

Learning something from scratch is hard work, and time consuming. In effect, you must decide on and then fulfill your own curriculum. This can be beneficial because you ultimately decide exactly what direction you want to go in. If you’ve already got a good sense of where you want to be and what you need to know, this is good and can give you some great freedoms. However, if you’re unfamiliar with the field in question you might end up leaving out vital information you’d otherwise get through the educational system.

For example, whereas a conventional course may include whole sections on type design (which is amazingly subtle and detailed), if you know you won’t be dealing with type at all (or very, very little) you can toss this altogether. At least, you can put it on the shelf for a later date – you’re not forced to cover it at a set time when you’d rather be getting some meatier stuff somewhere else.

Whereas some people may crave the regimented method of attending classes, others like to learn at their own pace – and you simply can’t do that in a classroom. The old saying “the class moves as fast as the dumbest student may have some truth after all.

Have Your Cake, Also Eat It

Picking one over the other (and likely you’ve already made your decision or are all through with the really BIG learning curve) doesn’t preclude having some perks. It’s great for you that the design community loves to share information and to teach. Push all the “inspiration” blogs aside for a moment and focus on the few really good ones that teach: Smashing Magazine, Six Revisions, even personal blogs run by such designers as Jacob Cass, Brian Hoff and David Airey can be great resources for learning.

The social learning perks applies to the business whether you have a degree or not; regardless of any piece of paper, if you want to learn the information is there. Often in the “global knowledge” type of sense (eg: you won’t find extensive, college-like free courses online – but there again: even if you take the course online, is it still conventional education?) Benefits you can have regardless of where you learn include

• Social media & interaction with other designers
• Access to relevant forums & communities
• Ability to ask or connect with specific people over specific problems
• Access to the same software (albeit perhaps without the financial incentives)

Increasingly, as more people come online, more people learn online, more people need websites or other design work done, and less agencies require a degree and focus more on work, having a degree will become less necessary. Even now, a college is not mandatory to find a good job and more and more people are finding cool jobs and getting enough work having taught themselves.

And the difference between the two really isn’t so great after all: You still learn the same material, cover the same ground, and use the same tools to do your work. The difference is in perceived value (college system) versus ability to learn at your own pace (teaching yourself), and in many cases, to learn faster and learn practical application a bit quicker.

Some people even go so far as to perceive college is the real way to learn, the serious way, and teaching yourself is for lazy students or someone with special needs. It isn’t this way at all. I kept my nose in a book(s) for years as I learned HTML, Javascript, PHP, using Photoshop, learning design theory, copywriting, and brand/identity. I’m not wealthy, but then again I don’t do badly either. I have my office: It’s aluminum, folds up when I’m not using it and (literally) goes with me wherever I want to take it. I can roll into your city, head to a wireless cafe, and I’m at work.

We all have to find the methods we need to reach our own success.

Thanks for reading This Is Inspired! Catch more inspiration online at ThisIsInspired.com and share comments and feedback.

Related posts:

1. 7 Reasons Why Bulleted Lists Make Great Design Blog Articles
2. Part 1: Using an ISSN for Your Design Blog: Is It Really Worth It?
3. 4 Quick & Easy Design Theory Tips

NOTE: While the process is the same for any periodical publication, we’ll consider it from the standpoint of an online, digital serial.

First, How Much Does It Cost?

Getting an ISSN number for any publication, whether you’re MacAddict or ThisIsInspired (eg, big or small, millions of readers or just a few thousand) you still have to apply to the Library of Congress to have a number assigned and the record established.

And the BIG surprise is that for a government agency, getting an ISSN assignment doesn’t cost anything. There is no cost for the number and no cost for the paperwork required to file it. Apparently, the Library of Congress has only the highest educational ideals and feels at no cost it may encourage more people to write and teach.

How Long Does It Take?

Here’s where things get more governmental and official. Any paperwork that needs doing always takes a while, even when you do it yourself. Having someone else do it takes more time, and having a government office do it, well…

When I filed for an ISSN assignment last October for this magazine, if expected it would take a few weeks at the earliest, kind of like a file-taxes-early-yet-still-wait-six-weeks type of thing.

It took about seven or eight weeks for a reply to get back to me. I was just starting to think my application hadn’t been approved and they simply didn’t contact the rejects.

So you file, and then you just have to wait. Make sure you plan around this wait time if you need your ISSN for a certain publication date. Incorporate enough time for slow downs or hang ups in between as well.

What Actually Happens When I Request an ISSN?

When you submit your application for an ISSN, someone on the other end (imagine Michael Palin in “Brazil”) receives the application and then checks out the blog to see if it matches the other information you’ve provided. From their dimly lit, smoke-filled government office (or maybe they just work in a cubicle and eat donuts), they make sure the blog itself, if it’s already in publication, lines up with what you say it does, publishes what you say it does, and doesn’t violate any laws. If you’re awaiting an ISSN prior to publishing, they’ll at least verify what information you provide and do their best to make sure it’s accurate. Just because it’s free doesn’t mean it’s easy or they can be sloppy about it.

if you haven’t started publication of your blog yet while you wait for the ISSN, attach mockups or article samples with the application when you email it in. They need to review the content itself as part of the approval process, and obviously if you haven’t published anything yet they’ll have no content to read. Send in two or three samples of what content you’ll be publishing.

If you’ve checked and double-checked your application before sending it in, there’s no reason to suspect it will be rejected or they’ll have a problem accepting it.

What Happens Next?

You wait.

But don’t be inactive! In the meantime, it’s best that you stay busy keeping track of your blog, interacting with your visitors, building repartee and encouraging link ups and feedback. Spend the time writing and publishing new articles, building your Twitter list, Facebook group, Flickrstream, etc. Anything to let people know you’re in publication – even if the ISSN isn’t there yet.

If you’re waiting for an ISSN assignment before you begin publishing, by all means spend extra time organizing what content you already have line up. Proof your articles, check spelling, grammar, images, and links. Work up a few interviews, build a backlog of scheduled articles, etc. Don’t sit idle waiting for the government!

How Long Does An ISSN Registration Last?

Unlike other registrations – for cars, for patents, for copyrights, etc – ISSN registrations do not need renewal. Once you receive your number you’re golden, at least until you make any minor change to your publication.

The instant you change anything from the title (even just a little bit) to the direction you take your articles and writing, you have to reapply and get an entirely new ISSN. Every time you make a change, you get a new one and repeat this process. But this isn’t a problem at all if you know where you’re going with your blog before you request an ISSN.

Where Do I Get An ISSN?

Here’s the big question, and the big answer. To file an application, you download the PDF form the Library of Congress website, fill it out, and email it back to them. It’s painless and you can do it all on your computer, no printer required. Here’s the link for the application form in PDF:

ISSN Application Form

Once you have the form filled out (just one page, so it doesn’t take much time), email it back to the Library of Congress at this email address:

issn@loc.gov

It’s that simple! Once you’ve finished the application process, you’ll need to know where to put it. You can hardly start plastering it all over the place willy-nilly – the ISSN needs to be more prominent than a TM symbol or copyright mark, but of course can’t be so overwhelming that your existing brand or identity suffers. In the the next installment, I’ll demonstrate practical, effective ways to implements your new ISSN and shows examples from popular blogs that do it right.

Thanks for reading This Is Inspired! Catch more inspiration online at ThisIsInspired.com and share comments and feedback.

Related posts:

1. Part 1: Using an ISSN for Your Design Blog: Is It Really Worth It?
2. 7 Reasons Why Bulleted Lists Make Great Design Blog Articles
3. Quick: 1 Fantastic Way to Block Spam on a Wordpress Blog

Books have ISBN’s, magazines and periodicals have an ISSN. Any publication that will be published in editions, basically, gets an ISSN and everything thing that only get published once (books, for example) get an ISBN. These numbers are registered with the Library of Congress, and are a record of the basic information about the publication. Stuff like title, description, and publisher are the types of basic information that go in this record. These numbers are unique to each book and publication; every one is different, everyone is unique. Like your personal phone number (including all the international country codes). Someone dials the number, you answer the phone. It’s the same with an ISBN or ISSN. We’ll stick with ISSN’s from now on since these deal with periodicals, which apply to web blogs.

ISBN and ISSN numbers are primarily used to track these publications in an information-based setting, like a database (searchable in a library card catalogue, for example). This is the main benefit of having one. However, as it pertains to a blog this benefit doesn’t really mean much of anything. So what are the benefits of having an ISSN for your blog? Is it right for you? Read on.

Having an ISSN Lends Credibility to the Publication

Having an ISSN for your blog puts you squarely in the realm of any other periodical. Granted, you won’t have the readership of Wired Magazine, but you are recognized as a periodical by the Library of Congress, your viewers recognize you are a real magazine, and this lends credibility to the content you publish. How you leverage this credibility (or if you blow it out of the water altogether) is up to you, but it’s a good foot in the door, so to speak.

Keep in mind that if you published erratically (look who’s talking) then this can, in some instances, detract. Do your best to stick to a schedule of publication. More on building this credibility later.

Having an ISSN Lets Readers Know You’re Serious

By registering your blog for an ISSN also tells your readers that you are serious about what you do. People associate those official-looking numbers with official-looking publications (the majority of which are actually official). In a sweet carry over from the tangible, print world, having an ISSN suggests to the reader that you have worthy content, that you know what you’re doing about your topics, and you have a market position that isn’t going anywhere anytime soon. In other words that you’re a good, trustworthy spot to spend time and learn stuff. Nobody likes a fly-by-night. An ISSN kind of stops that idea in its tracks.

Having an ISSN Suggests Readership

Having an ISSN registration also subtly suggest to your readers that you also have your fair share of readers (whether this is true or not). This is a purely superficial benefit, but adds to credibility in it’s own way. People like to be where other people are; we’re social creatures. We put more oomph into things that others are participating in and enjoying.

The suggestion of wider readership also can be a great way to attract guest writers and interviews (note that This Is Inspired has had interviewees long before we had an ISSN assignment).

Having an ISSN Is Free & There’s Nothing to Lose

in other circles this might be known as cheating, doing something just because you can, or just jumping on the Gimme Gimme Gimme bandwagon, but there really are benefits to be had and there really is nothing to lose. Basically, if you’re serious about publication, get an ISSN registration. If you know you’re going to be publishing content that people like to read, content that teaches or inspires, and you’ll be doing so on a regular basis then by all means go for it.

The only instance where you shouldn’t, or even where you may just want to wait and see for a bit, is if you’re just getting your feet wet with blogging. When you start out, it’s easy to get all gung-ho and jump in with both feet, but! but, the water is cold at first. It’s not exactly easy work, and it certainly doesn’t pay that well (at least for the first several, several months). If you have any doubt as to whether you’re going to be able to stick it out and make it work, then don’t register. At least, hold off for a while and see if you like publishing.

Ways to Leverage Credibility as a Periodical

• Be consistent in publishing content. Whether you post major articles every month or every two days, be as consistent as you possibly can.
• Stick to a certain day for publishing articles of a certain type or in a certain category. Wired Magazine, Better Homes & Gardens, and Dog Toe Nail Clippers Bi-Annually stick to certain consistent types of articles, called Departments, that they publish in every article. You can count on these. Do the same with your blog.
• Place the ISSN in a recognized, accepted place. Don’t go flaunting it and throwing it in your readers’ faces. You can make it stand out a bit, but don’t violate the accepted terms of where it really belongs. In small type underneath your header, in the footer, etc. Don’t make your readers confused as to whether the name of the blog is “Design Love Quarterly” or “1449-0076.” It is acceptable to include it in RSS feeds, if you wish, but again do so in an inconspicuous way.
• Set a schedule for publication, and have sub-schedules for publishing certain types of content. Let people know they can count on a how-to on Monday morning, or they can wrap up their workweek with a wallpaper giveaway, or whatever — but be consistent. For example, This Is Inspired publishes interviews every two weeks (we try to) and even then only on Monday (it was Thursdays initially, but last month we switched to Mondays).

Is An ISSN Right For You?

Is it worthwhile to register your blog for an ISSN? The choice is yours, and while it’s not something to be taken lightly, there’s really no reason why not. If you’re regular in publication, love what you do, want to continue doing it (and are ready to make that commitment), then go ahead and apply for one for your blog.

Coming Up Next…

In Part 2 we’ll go through the necessary steps it takes to get one going (as well as how long to wait), and where to go to get the forms and submit them. In the meantime, consider it carefully; weigh your options, and remember that having one doesn’t legally bind you to keep up with it, but does tell your readers you’re serious and that you’re making a commitment to keep them informed and entertained.

Thanks for reading This Is Inspired! Catch more inspiration online at ThisIsInspired.com and share comments and feedback.

Related posts:

1. Part 2: Using an ISSN for Your Design Blog: How Do I Get One?
2. 7 Reasons Why Bulleted Lists Make Great Design Blog Articles
3. Quick: 1 Fantastic Way to Block Spam on a Wordpress Blog

Thanks for reading This Is Inspired! Catch more inspiration online at ThisIsInspired.com and share comments and feedback.

Related posts:

1. Quick: 1 Fantastic Way to Block Spam on a Wordpress Blog
2. Quick: Dynamically Open External Links in a New Window
3. 4 Quick & Easy Design Theory Tips

Who is Devin Liddell?

Devin Liddell is a Brand Strategist at one of the Northwest’s most respected design firms and has been involved in branding for a decade. He got started working for The Leonhardt Group, then moved to FITCH, and most recently has been working at Phinney Biscoff Design House in Seattle, WA, where he is the Director of Brand Strategy. Devin’s unique perspectives on brand design and strategy have been featured in Brandweek, and Brand Strategy (both great publications for those interested in brand), HOW Magazine, and has been featured frequently in Black Book, where in 2006 he had three features in the top 100 for design collaboration & copywriting. Devin also is a known speaker for the American Marketing Association, and lectures for the University of Washington Design Studies Program. One final thing: He’s a family man and loves to cook in his free time. (free time?)

The Interview

ThisIsInspired
How did you get started, what made you choose brand work in the first place, and what passion keeps you interested in it?

Devin Liddell
When I started at The Leonhardt Group in 1999, I really had no idea what I was doing. I remember gorging on design magazines in the weeks leading up to my start, which I don’t think helped at all, but I enjoyed it. I had almost no sense of what brand strategy really entailed, and that was okay because I had wonderful mentors and the firm valued critical thinking, and I knew I could do that. More than anything, I really had this overwhelming desire to be around designers. That was the inspiration. And that affection and affinity for designers and what they do turned out to be really important for my career, because I essentially made a living for the first few years by being an effective bridge between senior strategists who didn’t interface well with designers, and designers who didn’t know what the hell these strategists were talking about. So being a bridge really helped hone my perspective on both strategic principles as well as how strategy is brought to life through design. That relationship remains fundamental to me, and explains why I would never work for a firm that did not feature designers. I love strategy, but even the best strategy is absolutely meaningless unless a creative team takes that idea and makes it into something that exists in the real world.

“I love strategy, but even the best strategy is absolutely meaningless unless a creative team takes that idea and makes it into something that exists in the real world.”

Strategy without design is just a PowerPoint. And, for the record, I don’t ever present strategy through slides. I use big, oversized sheets of paper. I want to start clients down the path of making these ideas real right away. This passion for taking strategy and using creative to turn it into something meaningful is what keeps me engaged. It’s also why I love being a copywriter. Plus, agency life reminds me of the best parts of college. You don’t like a certain project? Eh, it’ll be over in six weeks and you’ll start something new.

ThisIsInspired
Anyone who knows you knows you like to cook, and creative people don’t take a break from imagination. Can you look at both cooking and brand work and point to similarities, creatively speaking?

Devin Liddell
That’s interesting, and I’ve never considered how they’re similar. But they are. Both are process-driven, which I think is important. Not that you should be shackled to process, but process can effectively organize your thoughts in how to get from start to finish without getting stuck. Plus, the best kind of process actually sets the table for the unexpected, which is what you want. Another important similarity is that both brand work and cooking push you creatively to try new things. To take calculated risks. Neuroscience shows that even doing something simple in a different way—using your left hand if you’re right-handed, for example—stimulates your brain. Think about what cooking a new dish must do. You’re dealing with perhaps unfamiliar ingredients, maybe a different process, and you have yet to achieve the desired outcome. That is creative risk. Plus, there is a pleasure in cooking, and that sensation is similar to what I feel as I move through a brand development process. Finally, and not to get too weird here, but while cooking and brand work can be beautiful, the best outcome is to arrive at the inside of people’s guts. I want food to go there. And I want my clients to take the brand and ingest it into their organization, so that it’s a part of their organizational being. 

ThisIsInspired
Does the type of project you’re working on at work have an effect on what things you cook? (eg: A highly creative project at work means you’ll take a break at home, sort of thing)

Devin Liddell
My wife and I have two young sons, ages 4 and 2. Keeping up with them requires a lot of energy, and occasionally we are so tired after putting them to bed that we will opt for a “cereal night.” For the same reason, if I’m creatively taxed with a big project or lots of small projects, I’m less likely to cook anything adventurous or complex at home. That’s the time for comfort food. One relationship between work and cooking at home that I’ve done for a long time is eating fish the night before a big presentation. Fish is great for your brain, so I always eat fish the night before a big meeting. It’s probably evolved into a bit of a superstition for me.

ThisIsInspired
The Northwest United States is a gorgeous area, for wildlife and the Great Outdoors, but Seattle’s also got a reputation for rainy weather. Does the world around you have any creative impact on what you do at work?

Devin Liddell
It is beautiful here. The rain also keeps everything very clean and green. The only kind of weather here in the Northwest that drives me bonkers is what I call “high altitude gray.” It’s not raining, it’s not foggy—it’s just this high layer of gray clouds that sits there doing nothing. That weather makes me anxious. After 18 years here, though, I’m maybe a bit less affected by the weather than I used to be. Several years ago, we did set a record with something like 99 straight days of rain, and that was the only time I ever thought to myself, “Really? This is where you want to spend your time?” But I don’t think it’s a coincidence that Seattle is rainy and can be somewhat dreary, but is also celebrated for its creative industries. We’re all inside working on something!

ThisIsInspired
There are cliches all over, in any type of creative work: All-caps Helvetica is overused, certain taglines or phrases are just variants of so many others, etc. In a sea of stuff like this, how do you stay on track with originality?

Devin Liddell
I think we all know when we are treading on territory that is well-worn, or even when we’re resorting to a particular “trick.” But, in general, I think most people in the industry don’t struggle with how to come up with original ideas. We’re sort of wired to do that. What I think we struggle with more is getting clients to buy into those original ideas. And here’s the kicker: it’s usually not the client’s fault. Our industry is too absorbed with the notion that we are the magic-makers and clients are the party-poopers. That’s an easy excuse, and it’s not true anyway.

“Our industry is too absorbed with the notion that we are the magic-makers and clients are the party-poopers. That’s an easy excuse, and it’s not true anyway.”

If you’re dedicated to originality, then you have to be dedicated to evangelizing how that originality will drive someone’s business forward. Those are usually easy arguments to make, just look at the competitive landscape, but a lot of people are not comfortable arguing with their clients, or at least really pushing them hard. I tell my clients all the time, “If you are really uncomfortable, that means we are doing something right.” Radical differentiation should not feel comfortable. Why would we expect radical differentiation—which is a necessity for the success of a brand—to feel comfortable? In fact, I tell our clients during the pitch process that we expect to argue and push each other. The other thing is that we need to invite clients into the creative process. Involving them in the creative process helps them take ownership of original ideas. Originality can’t be a bomb we drop on them. They have to be invested in originality, and that means they have to be integral to the process.

ThisIsInspired
What do you do for inspiration? In your opinion, why does your muse work for you when it might not work for someone else?

Devin Liddell
I’m a big fan on Francis Bacon’s essay “Of Studies.” In this essay, he says that reading makes you full, conversation makes you ready, and writing makes you exact. So, if you want to be a real live wire, you should read a lot, have a lot of interesting conversations, and write a lot. It might sound corny for me to say this, but those are truly words to live by. I think those three really constitute most everyone’s “muse” in some form or another. As for my muse, and why it only works for me, it comes down to an employer-employee relationship. I’ve told my muse before, “I love you, and I think we have a good thing going on. But don’t forget you work for me, not someone down the hall. If you ever leave me, I’ll kill you.” Luckily, my muse does not take me very seriously. 

ThisIsInspired
Imagine you have a free day to yourself. No jobs on the table, no calls, no email. How would you live that one day to rejuvenate your mind and be ready again tomorrow?

Devin Liddell
Wow, now I’m panting. I’d probably watch soccer. There is something hypnotic to me about really fantastic soccer. There is a lot of geometry and angles in the game. And the attacking side is all about constantly probing, trying to find its way to the goal. I’d say you’re more likely to hear the word “creative” while watching soccer than any other sport. Soccer is wonderful to watch, and it’s a running clock, so you get completely absorbed in the action. I’m also a huge fan of going to movies by yourself, especially during the day. That can be very rejuvenating, because it’s only the story in front of you. You’re not thinking about anything else. But if I’m being really honest with myself, that kind of day may not be very helpful to me. I need a little bit of activity to keep me on my toes. One of the side effects of agency life is that it’s made me almost completely worthless in the absence of deadlines. At home, I have to create arbitrary deadlines just to get things done. 

ThisIsInspired
It’s funny how good design can work at any level. A business card, for example, can be completely minimal and bare-bones but carry a very distinct sense of place and brand whereas an equally minimal card that’s poorly designed just flops. What’s the key attribute, to you, that underlies why some designs succeed?

Devin Liddell
Well, a great designer. I know that sounds blunt, but a great designer is what separates a sublime minimalist card from a crappy one. We’d like to think there is some formal distinction, but really it’s a distinction of talent, of intuitive know-how. I think it also generally has to do with how successfully a single attribute is exaggerated. Total intentionality, with as few compromises as possible, is what stands out. When you consider that we’re subjected to more than 30,000 marketing messages per day, the question across every touchpoint becomes, “Why should anyone notice this?” For me, the more exaggerated presence a design has, the more it commands that notice.  

ThisIsInspired
The internet is “instant!” in the minds of so many people. How, would you say, has this “instantaneousness” [sic] changed brand design or at least people’s perception of brand, if at all?

Devin Liddell
One interesting effect is that it has created this sense of fluidity. Before, brand identities were primarily designed for the sides of big buildings and retail environments and the like. So, fairly inflexible applications. If you hoisted a big logo onto the side of the building, you wouldn’t want to change it anytime soon. Same goes for retail applications. But the Web is never finished. It’s always changing. Look at how Google treats its logo on its homepage every day. Ten years ago, just the idea of that would’ve given night sweats to the brand police inside every organization. So that’s the big one for me. Brands now are treated a bit more fluidly. The best web sites are never “finished” or “launched.” They change every day, certainly with content, but maybe even a bit in look and feel. A smaller effect is that the Web is generally supposed to be a friendly and welcoming place, so brand identities are reflecting that. The use of type to communicate “serious business” is giving way to a more warm and human presence. Look at the old Walmart logo compared to the new one. 

ThisIsInspired
Designers have the ability to look at a given design and get an idea of the process that went into making that design what it is. Removing the tangible, calculable process, can you look at a design and get a feel for the inspiration of the designer? (kind of like working the design process in reverse, if that makes sense..)

Devin Liddell
Almost never. There’s part of me that wishes otherwise, but outside of having direct exposure to the designer’s thinking, mostly I see a design as an embodiment all its own, separate from the designer. Writers have a sense for this as well, the idea that the text takes on a life all its own that is separate from the writer. This is actually the goal, I think. When I see a design that is the perfect embodiment or reflection or expression of a brand, that is what is should be—not a reflection of the designer. To me, the designer is an outsider that has a very specific gift for illuminating precisely what the brand aspires to be.

“To me, the designer is an outsider that has a very specific gift for illuminating precisely what the brand aspires to be.”

When I’m copywriting for a brand, I don’t write in my voice. I write in the voice of the brand, which is separate from my own, but facilitated through me. Similarly, the designer works to reveal the brand’s true self.

We can’t inject ourselves into the brand. That would be virus-like.

…

I’d like to thank Devin for his time and attention for the interview. He’s not only busy at work but at home as well. Devin, thank you. :)

Thanks for reading This Is Inspired! Catch more inspiration online at ThisIsInspired.com and share comments and feedback.

Related posts:

1. ThisIsInspired Chats About Brand with David Ansett

#1: Don’t Try Too Hard

The truth is, it seems, the harder we try to do something the harder or longer it takes to get it going. Sometimes the solution is staring us right in the face and we’re too close to see it.

So, get your mind active on something else – something different or something related doesn’t matter, just something else. If you’re trying to get a layout to come together (and it won’t) switch speeds a bit and try coding for a while, or switch gears altogether and watch the birds out the window.

Hint, hint: Don’t open up Wikipedia, because you’ll lose a few hours before you know it.

#2: Pump Off the Rusty Water

Creative author Danny Gregory says everyone needs to “pump off the rusty water” to get to the fresh stuff, creatively speaking. So instead of switch gears entirely (#1, above) and rather than working on the same project do something else creative. Why do you think so many personal spaces of fellow designers have a guitar hanging on the wall? Going from code creation to music creation can be a great way to stay in the creative groove without letting your mind go numb from repetitive tasks or troubleshooting.

#3: Give Your Brain a Break

Thinking too hard can, literally, make your head hurt. If you’re running in circle over a design, over a layout, a piece of code, a project proposal, whatever, try walking away from it completely – but don’t move on to something else. Make another cup of coffee or tea, and take ten minutes to sit and enjoy unwinding your mind. ten minutes won’t make or break a project, and the rejuvenation will probably help you work faster or resolve issues easier once you get back to work.

#4: Interact With Other People

Oftentimes the reason the brain gets wound up so tight is because it’s too focused on one tiny, minute detail or task. Interacting with others forces you to break out of that mode and use an entirely different part of the brain: Language and communication, not art and creativity. If you work with others in an office, take three minutes and banter (if they’re also in brain-dead mode), or, if allowed by your employer, go use the communal foosball or pool table for a few minutes. Just get up, get away for a bit and interact.

Why do you think so many design houses and/or major companies have game rooms? Parliament, in Portland, Oregon, has a pool table smack-plunk in the middle of their studio.

#5: I was Going to Say Power Nap, But You Already Knew That

…and then there are times when the brain is just tired and needs to reboot. Forget forty winks – even if you only grab a handful of winks you can give the brain a literal shut down and come back on more powered up than before. Sleep clears the head. The brain can think better, plan better, create better when it’s rested.

This isn’t a new thought; there are many people – creative or otherwise – who recognize the power of a quick nap. The relevant thing isn’t that “because you’re asleep you’re wasting time” it’s “after I snooze I think better and work more efficiently.”

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Reason #1: Freedom of Time

Working as a freelancer — whether it is in a home office or indeed from your coffee table — allows you to set your own hours, by and large. It’s important to note that “setting your own hours” doesn’t mean laziness, as it seems to be the idea of some. It means you don’t have to punch a time clock. If you feel like getting up an hour early and giving your best time to a project, that’s setting your own hours. If you finish up the project early, take the extra time to (a) Either have a second cup of coffee, or (b) Spend extra time double-checking and re-resting your work, you have the freedom to do that.

Your time is flexible for each task and each project as a whole. Punching a time clock largely removes this aspect of creative work.

Reason #2: Freedom of Expression

Personal Viewoint: I’ve worked in offices with designers and in a home office (where I currently work now, mostly). For many creatives, working with other people, even if each is immersed in his or her task at hand, put somewhat of a damper on expression. For me, I had trouble loosening up around other people, in the creative sense. I do my best work when things are quiet and the personal sphere is undisturbed.

Freedom of expression is having the easiness in your surroundings to talk to oneself about a problem without worry of disturbing the creative time of others. Listen to music without distracting your fellow. Get more involved in a given design without being disturbed or distracted oneself.

Reason #3: Freedom to Move

When you punch a time clock, it is (rightfully) expected that you finished certain tasks before taking a break. Sometimes, though, you needs to stretch your legs as you work out a problem. Some think better or more analytically when they’re moving, others when they’re making/drinking a cup of tea, etc etc. There’s no end to the activities we each use to help our brains get around a problem or seek inspiration.

Freedom to move is being able to jump up and have a jog if that’s what works. No guarantees, no promises. Just creativity.

Reason #4: Freedom to Multitask

This may be a blessing and a curse – but having the freedom to do two things at once can be beneficial, especially when nearing a deadline. Some of us work better being single-minded and intensely focused, but most jobs require some sort of multiple tasks. Having freedom to multitask is great because when one task slows we can easily switch to another without loss of productivity. (and hey, who said working on your coffeet table was easy?)

Reason #5: Freedom to Work In Your Jammies

if you check in at an office there’s a dress code. Granted, a lot of design firms seem to be quite relaxed in this regard, but there still abound those design houses that require slacks or a dress shirt. Whatever the dress code is, you can’t walk in the front door with a bathrobe on.

Of course, working from home doesn’t mean being lazy, but the point is if you do great creative work in with more relaxed togs, a home office is perfect. This is not to say if someone works from a home they shouldn’t take it seriously – and there are recommendations that even if you work from home you dress the part, and if that means a dress shirt and slacks you wear a dress shirt and slacks. It really depends on the type of designer or developer, but who can argue that some of us do better work when we’re not so uptight?

Reason #6: Freedom to Power Nap

The brain gets tired if it overworks. Big corporations (Google, for one) have recognized the importance of the Power Nap. Most design houses, however, aren’t going to let you get some sleep on the job. If you work from home, you have the freedom to let the brain rest if it needs to. The only requirement is that the jobs is done on time, not that you work constantly from 9 to 5, clocking a carefully tracked number of hours each week.

(Check out more about how power naps boost brain power)

Reason #7: Freedom to Decorate Your Office

When you work in an office with others, it’s often okay if you have a picture of your wife and kids. Or cat. But the your decorative prowess ends there, for better or worse. This is good, in a sense, because it keeps the agency’s offices on track with their brand, and presents a cohesive, well-designed image to clients and potential clients. It also keeps everyone on the same page when they’re at work. When you work from a home office, however, you can decorate the room(s) however you please; to suit yourself, or at least to suit your own business style.

This isn’t a free pass to be messy, or go hog wild with weird decoration ideas you’d never get away with in an office with other people – because even though you work from home you’re still a professional and it’s by sticking to a businesslike style and look that you can stay serious about what you do.

You have a say over (even minor) things that can have a big impact on your creativity.

Things like what style of furniture, what chair (I prefer Aeron) what style of desk (I like those big, glass-topped “drafting” desks), and so on. Even what kind of lighting and whether you get to keep one of those little mug warmers for your coffee.

Reason #8: Freedom to Blow Off Steam

Qualifier: This doesn’t effect everyone
Sometimes there’s a glitch in the code; or your target practice with shooting trouble is a bit off. Things get tense, you get testy (not you you, but you in general. You know who you are.)

Simply put, if you work with yourself you can shout and holler obscenities all you like. Some folks find this helpful. At the very least, you more have freedom to talk to yourself as you work out a problem. I do this myself, but at the times I’ve worked at an office I couldn’t do this because it was a disturbance.

Reason #9: Freedom to Respond Immediately to Events

If you work from 9 to 5, most events and goings-on are going to happen when you’re at work. This entails giving the boss notice, finishing up key tasks (if the event in question isn’t exactly a life-and-death emergency) and explaining next steps and procedures to someone else, if need be.

If you work from your couch or your home office, when something arises you can just get up and leave to respond to it. I’m not suggesting at the drop of a hat you can run off to some minor occurrence, but the time to respond to more serious things is greatly reduced if you work from home. This is true because you don’t have to explain any process to anyone else; you know where you left off and where you have to pick it up when you get back. You can explain to clients directly what happened (if need be).

Reason #10 that I forgot to Mention…

The tenth (and final) freedom of working from a home office if being able to have a cat. I know, I know, or a dog. But you can have Photoshop open, you can cut up a mock, and you can talk to clients with a cat on your lap. This little, simple pleasure you just don’t get working in a traditional office.

Thanks for reading This Is Inspired! Catch more inspiration online at ThisIsInspired.com and share comments and feedback.

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