1. Gather insight(s), which include the client's objectives and a competitive analysis. Your solution is dependent on the initial input used to guide it. Know your mediums thoroughly, too. Meet with a client, establish a relationship. You'll be dealing with a lot of narrowed perspectives: Your client, the market and any other estranged opinion(s) that may need to see the work. The relationship is critical. You're part of a larger team, even though you may be the wrist, there are many heads.

2. Iterate, but keep it collaborative–at the least, without driving yourself insane. Be confident in what you present and provide well-reasoned and rationale explanations. Some clients see it, others need to hear it. A good presentation supports both parties.

3. Establish timelines, milestones and cost of everything before hand. Granted, you can't scope a project without knowing the details, but once you've figured out what the project requires–forecast a timeline. You would be surprised in how easy it is to lose money at the end of the year. Your client should be aware of the time allocated for every step. Including a set of guidelines for revisions or when/if a project exceeds the initial launch date. Also, don't be afraid to implement a kill-fee.
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Uniquely The Epitome

Creativity is the combining of two or more elements in order to synthesize something new. We all demonstrate creative thinking, daily, hourly, minute-by-minute.

Hello people on the internet. I have been busy designing, building, creating, making, and running.

I'm also modifying the design of the blog, and should have this completed within the next two weeks.

In the meantime; Feel free to try out a few products I've been working on.

I was asked on Quora, What is the history of design?

Which was followed by a video that proposed it knew the origin, as if it were a succinct, concise point in time. I'm not going to post the video, but I find these types of broad and over generalized answers really confuse people.

What is the difference?

In my professional opinion; nothing.

They're both over-intellectualized representations of contemporary identity creation practices.

Can we bill based on contingency-based arrangements?

No, not in my experience.

Who would agree to such a structure—based solely on emotional responses and an individual's unique perception of each brand experience?

The logical fallacy in this question is: Brand equity is not quantifiable.

With recent events, involving government and hackers alike, I'm disturbed by the amount of rhetoric circulating online the perpetuates the notion that Free services or products mean a trade-off or the sacrifice of your privacy.

I'm currently trying my hand at it (well, for almost two years, on a super personal project), so this rhetoric comes from a beginner:

Writing Sci-fi is difficult. The future is expected to be perfect or better than, so you're forced to juxtapose contemporary drama over it.

Concordance is the most common rule that I'm aware of. But most importantly, balance and symmetry in the blocks of copy they create.

When objectively defining type pairs, I think it's important to consider the type of content, space it's being seen in, and the message it's communicating.

A logo is the introduction, and the sign-off. Nothing more than familiarity, thereafter.

It is the epistemological value most associated with a brand, and how the person has experienced the idea, product or service (ips) of a brand.

I do not believe roles should always be adhered to, or rigid in executional aspects. Especially given that seasoned designers have learned a great deal more about design and have the ability to overalp, negating the need for other positions.

I was recently asked about my personal identity—if I have one; how often it's updated; the process behind it.

The short, concise answer:

My work is my identity.

A client recently hired me to create a few options to an extremely dense web-based Saas app. This is a small design job, a lot of pixel pushing and color models. Sometimes fun, depending on the application's theme, if it has one. If it doesn't, I often pretend it does.

It's not easy getting one of your pieces published. I was recently humbled by learning that I have four logos published in "I Heart Logos", Vol. 3. It's an amazing privilege being featured along side talented designers from around the world. Pick up a copy if you're around a bookstore.

Security and Authenticity will be the new commodity

The Web/Cloud is posed to resolve and de-throne the hucksters within this area of expertise. And Google has a few things brewing that could be really great for all of us, or really bad.

Through an email recently, someone asked me what I thought about a campaign they we're presenting. They wanted to know what I felt about it. And If it needed 'more.'

–felt?

To be honest, I didn't feel anything.

Watch the video below or vist their site→ for more information.

It almost seems like the logical way to experience a movie.

I've been utilizing a lot of these types of models within the past 6 months, as I'm sure a lot of other designers are doing. Here a few of the models that have been introduced to the masses with little resistance and a low learning curve.

I like this YouTube campaign.

Phone functionality on your desktop. Corrects the term mobile OS. Nice.

Someone can be talented at both, expert in both and innovator in both. The real talent comes in doing them at the same time, within the same project and timelines. The same can be said for that of a writer who understands the context of their story well enough to doodle their vision on paper.

Graphic designers generally have a concise message they want to communicate and might employee an illustrator to help create elements that solve the design problem.

You can only evaluate work based on the work you've seen by others. This is were the challenge starts and ends. Art is nothing more than a contrast that either resonates with you or goes completely unnoticed by an equal to, or greater contrast. Two great words; Skeuomorph→ and Umwelt→.

Fonts are the tools or devices used to recreate, publish or show a typeface. So this post title should actually read, "Best typefaces for printed documents." A font is used to reproduce a typeface, digital or analog.

Wisdom and experience often only provide polished iterations. In order to do something new, it's best to forget the rules long enough to break the old ones, subsequently creating new ones. Technique is making the perfect mistake. Play allows for this.

I think it is okay. We have enough critics as it is. ;)

I think most do not comment for fear that said marketer or creative agency may one day be their employer.

I do not believe you can instantly teach design. I do not think a few workshops will help either. Not without repeated practical hands-on demonstrations (a class).

My thoughts on the title, wether implicitly used or discreetly managed, on working with Junior or Senior creative people; Seniors provide well-reasoned and rationale solutions based on strategic thinking.

Semiotics and it's 3 branches;

▪ Semantics:

Relation between signs and the things to which

they refer; their denotata, or meaning

▪ Syntactics:

Relations among signs in formal structures

▪ Pragmatics:

Relation between signs and the effects they

have on the people who use them

I've written a

1. Gather insight(s), which include the client's objectives and a competitive analysis. Your solution is dependent on the initial input used to guide it. Know your mediums thoroughly, too. Meet with a client, establish a relationship.

Carl Sagan:

"Look again at that dot. That’s here. That’s home. That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives.

I find it interesting when people within the agency and marketing world congratulate themselves on a successful strategy or creative idea. I find it extremely funny listening to the comments when a strategy or creative idea fails.

Actelion Imagery Wizard from onformative on Vimeo.

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