Chapter Two:
- "There are at least two options when building a design career: working for someone or working for oneself."
- solo freelance is technically a safe option because you can drop out or switch careers on a dime, but it also involves taking care of everything yourself
- joining a studio means coworkers to show you the ropes and being part of a team but you also share credit
- studio names should be interesting and trendy but be careful which niche you fall into or which crowds you scare away with your title
Interview One: Allison Henry Aver
- "The term 'graphic designer' felt like a misnomer for those of us working [at the studio]. We worked so holistically with all our clients. We didn’t just affect the design, but we thought about the content, the copy, and the experience."
- learned through experience that graphic design is so much more than organizing things to look pretty on a page
- "I also look for a strong cultural fit when hiring. I need people who love what they are working on, to be cheerleaders for the product, and in many instances be the target consumer themselves."
Chapter Six:
- "It is the book designer’s job to cast the text and images in an accessible and pleasing manner; it is the book jacket designer’s job to create an alluring wrapper. Book and book jacket designers have more creative license than most food and hardware package designers, but the goal is the same: to move a product off the shelves."
- two fields in book design: book designer (interior), and jacket design (exterior)
- three main categories are commercial, professional, and textbook. DESIGN YOUR BOOK ACCORDINGLY
- big publishers may hire freelance designers if they get swamped with titles, a good opportunity because you may get to design everything related to the book
Interview Two: Scott-Martin Kosofsky
- started out doing analogue books composing metal type, adapted just fine when things started going digital
- learned to do everything himself
- pays close attention to materials even in commercial fields where "fine printing" isn't involved
- "If you work for fees alone, it’s very difficult to make a living. I did that for years, then, after a bad experience, I changed my business model entirely."
Interview Three: Michael Carabetta
- creative director of Chronicle Books
- "I can take some credit for the aesthetic appeal of the Chronicle Books you own, though I would be quick to point out that all due credit should go to the design team, those who design and/or art direct the cadre of freelance designers we work with."
- e-books are just as marketable as physical books, but most publishers aren't equipped to sell online so they partner with companies like Amazon
- "There are any number of qualities that would make for a great designer, but for me, the most important quality, is curiosity. If you have curiosity, it can lead to exploration, experimentation, and insights to solve design or communication problems, whether in the print or digital realms."
Interview Four: Jim Heimann
- executive editor of Taschen America
- lots of collecting, visual research, and collages are involved in his creative process
- "From the day I graduated from college, I felt I could and had to do multiple things. I felt being just a designer or just an illustrator was too confining. I wanted to do it all. And I did. I sought out clients and publishers. I licensed, lectured, and taught."
- there's no such thing as a stupid question; if you don't know something, ask. Research. Network. Ask all the questions.
