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50 excerpts on the topic “Advice”
Ada Sokół
[…] Build your own style and stick to it, so no one can copy-cat you. Do that to stand out. […]
Marc Armand
[…] “Pick your battles wisely”. It’s imperative, especially when working with other people, not to waste energy. […]
Marc Armand
[…] The art of the brief is difficult. A brief both clear and precise is rare. For a designer, deciphering a brief is the challenge. It’s not the client’s job to prepare briefs, except for communications managers. Which brings me to another piece of advice I would give: learn to decipher a brief, ask the client loads of questions, interest yourself in their business, the better to understand them. What does the client want beyond what they are telling you? […]
Elizaveta Porodina
[…] it’s really important to work really hard and to practice as much as possible. Because by really working, and really being internally motivated, and being truly obsessed by what you do, this is how you set off the best results. It sounds banal and simple, but what I have observed in a lot of young people and people who studied under my mentorship when I was teaching photography courses, is that a lot of people don’t actually do what they want to do. Many people wait, instead of doing things. Many people are scared of themselves and they’re scared of the potentials instead of just setting off things and doing them. […]
Random Studio
[…] DL
If a younger person asks me for advice: “What should I do? Should I start my own company?” I would say: “Do five different jobs first, or three at least”. […]
Random Studio
[…] DL
We look at ourselves, our own patterns (…) On our personal and work life. You can’t separate these. My fears will be projected on my sons as well as our staff, clients. etc. And vice versa. It really helped to start understanding my own dynamics. […]
Random Studio
[…] DL
If you’re young it’s hard to have your own style immediately. I talked to a film director once and he said: “I copied work for seven years before finding my own signature”. I think it would be good for people to not look at all the blogs, not look at Instagram, but rather do work, really try to do it from their own intuition and just make stuff and not be afraid of what anyone in the design community would feel.
Work that you haven’t seen before or that touches something new is always more interesting. It would be better to create your own references. […]
OK-RM
[…] OK
When you’re starting something it’s always useful to have a counterpoint, or something you’re rejecting. I think we definitely started with a strong realisation that we needed to do something differently than what we had experienced. […]
OK-RM
[…] RM
The best advice that we give is just really take your time. I know that we’re in crucial times, and there’s a real urgency, and we can feel it. But still, when you’re young and embarking on a career in design, especially in education, you should definitely take your time. Don’t see productivity just as a way to gauge work. It takes time to understand what’s happening around you, and that’s something you really only learn when you’re older, right? Annoyingly. Run around in circles for years, then… […]
OK-RM
[…] OK
Find a project. I don’t mean a commission. What is it that you want to spend your life working within? I think it’s one of the big questions for design, because you can be a designer on millions of different types of projects, with different messages. What is it, as a designer, that you believe? (…) It’s more about a discipline within which you operate. Because design is a tool at the end of the day. […]
Tomorrow Bureau
[…] JF
The nature of things is that there’s constant flux and change and to be flexible with that reality is a far more effective way of navigating a career. […]
Tomorrow Bureau
[…] JE
you have to be willing to tear things down and start again. As hard as that can be, it can be very rewarding. Both personally, as a business and creatively, you have to be willing to tear things down. […]
Tomorrow Bureau
[…] JF
Just study the career of Aphex Twin and you will learn a lot about the meaning of creativity. […]
Tomorrow Bureau
[…] JE
Find a business partner or mentor. Someone else you really strongly agree with. Don’t make it about you, cause you limit yourself then. […]
Tomorrow Bureau
[…] JF
Try and build your studio around the work and not your identity would be a good start.
(…) It’s about your work and not your opinions, I think. (…) And take creative risks. Think you’ll have to take creative risks, otherwise, you’re not going to make an impact. And the other thing that I would say is to choose your business partner very carefully. […]
Services Généraux
[…] A
Work for free not for cheap […]
Services Généraux
[…] A
Nobody is expecting us once we graduate. There really is a huge gulf between student and professional life. My advice to anyone who wants to work in the creative industry, either as an employee or entrepreneur is to begin some light prospecting before you graduate so you can get an idea of what’s going on. […]
John Pawson
[…] I’ve always resisted and fought being business‑like. Luckily Catherine, my wife, has a very good sense of money in and money out. When I first met her, I was taking taxis and eating in restaurants and I had no money. She was like: “The first thing you stop is eating out and taking taxis. You get the bus and you have a sandwich”. I was like: “Oh, wow”. That’s all you need to know: money in, money out. And the money in has to be more than the money out, I guess. […]
John Pawson
[…] The most important thing is that people should do what they want to do, regardless of money or what their parents or friends say. […]
John Pawson
[…] You’ve just got to do what you want to do. The satisfaction will follow – not necessarily the money, but the satisfaction. You just need a client and it’s quite good to have somebody to work with, because it’s quite lonely otherwise […]
Golgotha
[…] MD
If you do something do it honestly. It’s really a question of sincerity, to feel profoundly what you really dig and be able to identify it. In order to stake a claim for yourself in this crazy modern graphic design world, you have to have a strong personality […]
Golgotha
[…] GH
If you get out of school and go to work for someone, even if it’s going well and you’re happy you will never say to yourself that you’re going to launch a studio. It’s too late. Whereas the opposite is possible: try it out and if you fail you can go work elsewhere, no hard feelings. […]
Golgotha
[…] MD
If you want to be original and get noticed I think you have to psychoanalyse yourself a little. I know what I like because I took the time to think about it. […]
Brian Roettinger
[…] just stay curious and expand your horizon, where you go, what you see, how you navigate. […]
Brian Roettinger
[…] Always make work for yourself even if you have a job. Make sure you don’t just clock and do
work and go home and not make anything. It’s important to always use your time as a designer, it’s a form of your own expression, how you use your work to be personal, whether no one sees it or not. […]
Brian Roettinger
[…] Travel, be curious, and don’t worry if things are good or bad, or right or wrong. Just make it and see what happens. Don’t worry about making mistakes, it’s really easy for designers to get
tensed and caught up, especially early, and think about whether it’s going to be wrong.
Mistakes, that’s how you learn and how you get better. […]
Yorgo Tloupas
[…] Get good lawyers. Image rights are where it’s at. It seems like an incredibly litigious thing to say, but when you have a good lawyer you can sleep soundly and get going on new projects, lock them down with contracts with everything on the up and up. […]
Yorgo Tloupas
[…] The advice I would give the 30‑year‑old me might be: “Partner with the right people” […]
Yorgo Tloupas
[…] Never Assume (…) It’s not just a business philosophy by the way. Never assume things are going to go well. Never presuppose. […]
Mirko Borsche
[…] But, you’re never going to do the whole thing in your whole life, or you’re just a one-man-show. I mean, obviously you can do everything alone but coming from graffiti, I always used to be in a group, or working together with a lot of people, being inspired and learning from the way others work. It’s more fun to be creative in a group of people rather than sitting alone at home and thinking that you’re a genius. […]
Liza Enebeis
[…] Long-term focus really helps you, and it helps you personally. […]
Liza Enebeis
[…] The advice is that you need to study well the company, learn from it, look at its history, the future plans, and most of all really grasp their true mentality, culture, and personality, understand what your own culture might risk, but also what it can gain. […]
Liza Enebeis
[…] Having a sense of humour, not taking things to heavily is also very important. We can make jokes about our work and tell each other it’s shit. (laugh) Humour is essential. […]
Liza Enebeis
[…] following trends and fashion is not bad, there is a reason for it, and it comes and goes. But it’s just you need to be conscious of it and try to create your own answer and reality, that’s what is important. […]
Liza Enebeis
[…] Do what you love, no matter what, even if you don’t pursue a creative career. […]
Scheltens & Abbenes
[…] (LA) Time helps making an idea fuller. Making decisions only based on time is a pity. […]
Scheltens & Abbenes
[…] (LA) When we teach students, we always advise them to be quite straight from the start in what they choose to do. It will get out and thereby it will be stuff you we’ll be asked for. You may be trapped if you want to be part of everything, it gets fussy. […]
Scheltens & Abbenes
[…] (LA) A strategy is not a guarantee of success…
(MS)…Sometimes producing work is the best thing to do! […]
Scheltens & Abbenes
[…] (LA) Don’t bother with what other people think! (…) As time goes by, you have less interest in what other people think and that provides you a feeling of freedom. Unfortunately, to get there you have to get older. (laugh) […]
Scheltens & Abbenes
[…] (MS) Make things. Its not about making a lot but in the end we feel that you should not talk and think and write too much about it – at least in our approach, and of course everybody has their own approach – but that you can only talk about your work when you’ve made it and also get experience as you make it […]
Jean-Baptiste Levée
[…] I would have liked to know that what I was being told was true, that is to say that our work was much more valuable than we thought. That’s what people kept telling us, yet our experience appeared to contradict that. […]
Jean-Baptiste Levée
[…] Critical distance, introspection, and a talent for self-criticism — these things are essential. […]
Jean-Baptiste Levée
[…] Grow and expand your network. If purchasing databases was all you needed, then everyone would be successful. Essentially it all boils down to being a nice, fun and interesting guy to meet, someone who not only doesn’t waste your time but actually brings something to the table. You’ve got to have humanity, that quality that makes meeting you a pleasant experience. […]
Jean-Baptiste Levée
[…] When you’re starting out, always assume the client is giving you a vote of confidence. But this can only happen if you exude self-confidence. […]
Jean-Baptiste Levée
[…] You’ve got to go whole hog. It’s all or nothing. You’ve got to give yourself entirely over to the project, be as demanding with it as you are in your approach to typography — what I mean is perfection or nothing, no middle ground. You’ve got to have that goal. I don’t mean to be too peremptory by saying “give me excellence or give me death,” but you must in any case aim for excellence and enjoy the process of attempting to attain it. Because otherwise you’re either a dilettante or an amateur. […]
Willo Perron
[…] My advice for anybody is just to make things, you have to engage in things. […]
Willo Perron
[…] just make stuff, keep making stuff. […]
Willo Perron
[…] Remember your work, your ideas have value, and you shouldn’t be giving your shit away. I’m not precious about the ideas, if it’s not good then move on, but I just don’t think you should be giving shit away for other people to do something with it. […]
Willo Perron
[…] just make things!
People want to see your opinion, that’s what I care about when I look at people’s work, I want to see their opinion. […]
Stephanie D’heygere
[…] Get experience. And when you think of your brand, there are so many things on the market it’s a little egocentric to say that yours is going to be successful (…) You shouldn’t be afraid to go for it but you’ve got to be prepared and you’ve got to understand what that means. You have people who believe in you, people you invite to the showroom, journalists, so it’s tough when it doesn’t work out. But you have to believe, you have to give yourself a little time. […]

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