• What’s the skinny on you? Tell us your story.
I’m Jeff Fisher, the Engineer of Creative Identity for the Portland-based firm Jeff Fisher LogoMotives , and the author of "Identity Crisis!: 50 redesigns that transformed stale identities into successful brands" (HOW Books, 2007). I’ve worked professionally as a designer for over 30 years. My work – primarily logo designs - has been honored with over 600 regional, national and international design awards and is featured in over 100 books about logos, the design business, and small business marketing. My first book, "The Savvy Designer's Guide to Success" was released in 2004 and has been reissued as a PDF on CD from HOWBookstore.com. I’m currently writing a new volume, with the working title of "LogoType", on the topic of typography in identity design. I also write for HOW Magazine, other industry publications, and many webzines and blogs. In addition, I make numerous presentations each year to design organizations, design schools, universities and business groups. Graphic Design: USA (GUUSA) magazine named me one of the design industry “People to Watch” for 2009.
I’m a sixth-generation Oregonian and I work, for clients around the world, from my home-based studio in Portland.
• What is it that drew you to a life of graphic design?
From the time I was in grade school I wanted “to be an artist” when I grew up. Of course, most people around me constantly reminded me that it would be no way to make a living. In high school I became the first person in my city’s school district to be put on independent study in art. As a teenager, I began getting contract design and art projects. In early 1974 I came across Milton Glaser’s book “Graphic Design” in the public library. It gave a name to my career goal and showed me that someone could make a living in the profession. In college I took on many independent design clients and worked as the graphic designer for the advertising department of the college’s daily newspaper. I left school with a portfolio of “real world” work.
• Where did you collect your design education?
My design education started in the Fine Arts department of the University of Oregon. I absolutely hated the program at the time. The instructors were distracted by personal projects and other commitments. The main design professor was really cruel in his critiques of student – especially women. In his 1974 world, he felt that women had no place in design and was determined to make life miserable for them in class. I was ready to quit school, until a friend mentioned I should talk to Roy Paul Nelson, a professor in the School of Journalism. He had written the book “The Design of Advertising.” When we met he asked, “What the hell are you doing in Fine Arts?” Soon afterwards, I was taking all of the journalism course work to be able to take courses in advertising design, publication design, typography, cartooning, public relations, and more. The end result was being a much more marketable designer when I moved beyond college. Still, my design education has never ended. I continue to learn daily.
• Are you a team player, or are you a solo creative?
I always say that "It's not that I don't play well with others; it's just that I want to choose where, when and with whom I play." I am primarily a solo creative. Since I can write, design, illustrate and more; many of my project efforts are truly independent ventures. However, I do enjoy working with others – especially when it requires me to shower, get dressed and get out of my home-based studio. I just completed a website re-design for a client that involved working with a copywriter, a marketing specialist, a web developer and the client. It was a great collaboration. I appreciate having the option to choose my partners on a project.
• Are there any qualities you wish for in a project, or, describe your dream job?
I really like creative challenges – and that’s the quality I like best in a project. That challenge may be distilling an incredible amount of information about a business down to the simplest logo form possible to convey the greatest message to a target market – or perhaps working with a ridiculously small nonprofit budget and seeing much can be produced with such restrictions. I thoroughly enjoy working with start-up clients with the enthusiasm and vested interested they have in the business and design project outcome. I appreciate the client who may not know what they want – but are very sure about what they don’t like.
I currently have my dream job. Several years ago I told my sister that I had become what I wanted to be when I grew up – and I got to do it without growing up. I basically pick and choose the projects on which I want to work. I set my own hours. I write books and articles. I get to travel the world and work from wherever I may be. What’s not to like about that scenario?
Project-wise, my favorite project was probably designing and branding a hotel back 1992. I designed everything for the hotel and restaurant over a period of about six months – including identities, stationery, computer paper, coasters, posters, print ads, and so much more. It was incredible to see the entire project come together. I suppose a future dream project would be to take on another hotel project – preferably in some tropical location.
• What primes your creative pump? Where do you find your best inspiration?
A designer needs to push themselves away from their computer and get out into the world. My inspiration comes from traveling – especially to Italy, visiting museums and galleries, reading everything I can get my hands on, seeing films, checking out new retail establishments and restaurants, or photographing all I see while walking the streets of a city. My greatest inspiration comes from my best therapy – gardening. I can lose myself in gardening and find a particularly difficult design challenge solved when I am done.
• We have all had projects that didn’t go well or were quite the challenge. What have you learned from these scenarios?
The projects that have gone oh so wrong over the years have taught me one major lesson – to trust my own “gut instincts.” If something, just one little tiny thing, doesn’t feel right, I will not go there. When I haven’t listened to the guiding voice within myself I have gotten into negative situations. There is no shame in telling a potential client, “I just don’t think I’m the right designer for your project” and walking away.
• If you happened upon enough cash flow to retire today, what would you do?
I already know that I will never completely retire. I’m just not built that way. With finances not a concern, I suppose I would just do much the same as today. However, I would allow myself to be even pickier about the projects I take on – seeking those design efforts that may truly make a difference in the world, or at least one person’s life. I would write and travel even more than today. My dream is to live in Portland half of each year and somewhere else the rest of the year – probably Italy or Hawaii.
• Any advice you care to divulge to students who are currently in training?
As you leave school behind, the swinging door of that learning experience will hit you in the ass and your actual design education will begin. So many students come out of school thinking they know it all. In fact, it is just the very beginning of your never-ending design career education. Be a sponge and learn absolutely everything you can each day – in the years after you leave school.
• Last chance, is there anything we missed you’d like to impart?
Three things:
- After 31 years as a professional designer, I still am passionate about what I do. If you don’t truly enjoy your career choice find your passion and follow that path.
- I work to live; rather than living to work. Make sure you have great work-life balance. It will make you a happier and more successful designer.
- Challenge yourself outside of your chosen profession. This year, at the age of 53, I went to clown school. It was one of the most unique and satisfying experiences of my life. Not only did I accomplish something I never thought I would do; I expanded by networking circle by meeting a large number of incredible people I would not have met elsewhere, my creativity was directed in an unusual way, and it made me much more confident in my presentation and speaking abilities.
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