Jeff Fisher has been in the business of graphic design for almost three decades. In that time he has been known as the "Engineer of Creative Identity" for hundreds of companies, from mom and pop shops to professional sports teams and international corporations; he has accumulated more than 600 design awards, spoken in front of many audiences, been featured in logo design books, and written two books of his own. Jeff also sits on the board of multiple design publications, including HOW Magazine. We were pleased to have the opportunity to interview him!

You got your start out of college in 1980. You're now "Jeff Fisher LogoMotives," and it's 2008 -- what was it like to be a graphic designer through three decades of surging technological development?

I started design while in high school during the early 1970's and then began working as a professional designer in the late 70's. It was an incredibly different time - and I have the X-acto knife scars all over my fingers to prove it. Design tools at the time included rubylith, rapidiograph pens, hot wax and spray adhesives, India ink, rub down type and so much more.

I think most pre-computer designers had a much greater understand of typography, as they were required to "spec" all project type before sending their order off to a typesetter. The creation and production of physical project mechanicals made design a truly "hands on" effort. There was much more personal interaction with pre-press and print professionals, as it was often necessary to collaborate closely to figure out how to produce the desired print effects.

When my first computer appeared on my desk in 1990, I had already been working professionally as a designer for 13 years. I certainly didn't like the look of most design in those early days. It looked so "clunky" and "desktop publishy" - rather than artistic and designerly. The greatest challenge for me in attempting to design, was making use of the computer as a tool, without having my end results looking as if they had been designed on a computer.

On that note, what tools do you use now? Do you do everything on the computer, or do you still carry around a sketch-pad?

I have never been one to carry around a sketch-pad at all. Instead, I am often scribbling and doodling on whatever I may find around me. I've been going through over 30 years of design concept files I've saved during my career. The "excavated artifacts" I've found include rough design concepts on old envelopes, meeting notes, memo pads, Post-It notes and much more.

My best design ideas seldom come to me while sitting at a desk, Most often my most successful concepts come to me while gardening, driving, taking a shower, riding my bike or doing some other activity totally unrelated to my work. In many such cases, I will then go immediately to the computer to translate my mental image into a digital reality. In about 80% of my identity projects, the final design is very closely related to that initial design concept.

Being primarily a logo designer, what are the three most important things you consider before you first start drawing up ideas?

My first major consideration with any identity design project is to collect as much information about the client's business or organization as possible. I do this, in the most part, through a questionnaire customized for each client. Sometimes the information is gathered through phone calls or in-person meetings, but with 80-85% of my business being done with long-distance clients, it is most often accomplished via email.

Secondly, since many of my identity projects are re-design or updates of existing logos, I pay a great deal of attention to the historical perspective of an existing identity. What was the initial directive to the original designer in creating the logo? Did the logo accomplish the desired in identifying the client? How has the logo failed, or not worked as a business identifier? Why is the identity being changed? Are there elements of the logo that should be retained in redefining the image of the business or organization?

The third consideration in initiating a logo design project is to remind myself that I am creating the final image to meet the business or organization's needs in regards to the target market of the entity being identified. The logo is not specifically being designed for the business owner, and I need to encourage them to step back from the project to view the process and result as a customer of their business. I'm not designing the logo for myself - so, I need to avoid letting my ego or personal tastes get in the way of what will best serve the client's business requirements. The project is also not being designed for the satisfaction or critique of design industry peers. How other designers perceive the end result of a design often has very little relation to the effectiveness or success of a completed design effort.

How do you handle clients who want to "back-seat drive" their designs, but nevertheless aren't very good designers?

I don't seem to have a great many "back-seat driver" clients. That's in part to usually trusting my "gut instinct" in accepting client projects. Most of my clientele contract with me due to my experience, expertise and talent - and then allow me to do my job. Occasionally there are situations in which I need to deliver EXACTLY what a client requests - or thinks they need - to show them why their idea will not work for their business or organization.

In working with many clients I am very upfront about making sure they are aware I am not an expert about their business industry, and they need to realize that they are not an expert when it comes to design. Therefore, for the best design project result, we need to collaborate in sharing, and making the most of, each other's strengths.

How often is your final product something that you are not totally happy with?

Very seldom am I not happy with the end result of one of my projects. That is primarily due to not showing clients project concepts with which I am not pleased. Back in 2000 an identity client was adamant about having a "swoosh" in a business logo. No matter how much I protested, and how many reasons I provided for not adding the then-overused element - associated so closely to failed dot coms - the client was determined. I finally gave in, added the "swoosh," and simply don't show the final logo in any portfolio.

What is your most valuable source of new business (e.g., word of mouth, website, blogs, etc.)?

The world-wide exposure I have received from design competitions, and the resulting books in which my work has been printed, has been my most valuable form of marketing and self-promotion for over a decade. Most potential clients contacting me, begin their comments with, "I saw your work in a logo book at my local bookstore..."

Are there certain aspects of "the brand" that many companies fail to develop to their potential? How far does "the brand" go?

Consistency in a brand seems to be where most companies fail with an identity. I suppose that any major business should make use of in-house "design police" to make sure that all brand elements are used properly. As a designer, I often find myself needing to remind smaller clients of how to make use of consistency in all branding efforts.

In regards to the question of "how far does 'the brand' go?" - I would think the brand is applied consistently as far as necessary for the business, product or service to be clearly identified and recognized by the defined target market. A business of any size can, and needs to, establish a "brand" for themselves. The exposure of that brand may be determined by precise needs, very hopeful desires, the limitations of a budget, and more.

In the lectures you've given throughout your career, what is the most common question you get? What's your usual answer?

The most often asked question is "How do I get my foot in the door of a design firm, advertising agency or other potential employer?"

My immediate answer is always, "You should want to get more than just your foot in the door."

So often designers set themselves up to be shut down by potential employers. If you ask a company representative "Do you have any jobs available?" or "Are you currently hiring?;" the easiest and most likely response will be "No!" - end of discussion. However, if you contact a business and ask to talk with someone about the work of the firm, the local design or advertising market, how to plan for a design career, or some related topic; you may be welcomed into the business offices (your entire body, not just your foot) for a very valuable informational interview - with possible very positive long-term results.

You've written two books (the Savvy Designer's Guide to Success & Identity Crisis), spoken at many events, and received more awards; your career as a designer has had a wide reach. Most would say "you've made it." Do you agree? If so, when/how did you finally realize it?

In 2004, with the release of "The Savvy Designer's Guide to Success," I was being asked to speak around the country, I had received some level of peer recognition, and I was in the position to pick and choose which projects to take on in many situations. One day I mentioned to my sister, the owner of an advertising and public relations firm at the time, that "I had finally become what I wanted to be when I grew up." I was an "overnight success" - after over 25 years in the business! Actually, I now think that the greatest measure of my success is still being passionate about my chosen career after 30 years as a graphic designer.

Finally, what words of wisdom can you offer to those who are still trying to carve out their spot?

I always encourage designers to completely trust their "gut instincts" in all aspects of their career. Whether it be accepting a traditional employment position, taking on a specific client, deciding what concepts to present to a client, or any other potential challenge - trust that little inner voice and what it is saying to you. If something doesn't "feel" right, you need to trust yourself to go with that feeling.

I often hear designers questioning the rates they are charging for their work. My standard "rule of thumb" is, if you wonder if you are charging enough for your design efforts you need to raise your rates. Work less - charge more.

If you are not having fun as a designer - and have an on-going passion for your work - find another career option or a design-related profession. Life is too short to be miserable in your career choice. I recently reviewed the portfolio of a graduating design student who express concerns about being a career designer. In discussing the situation further, and determining the individual's strengths, we both realized a career in project coordination or design management would be a much better track for the person in question. In making that discovery, there was suddenly passion and excitement for a future in a design-related career path.

Concentrate of what you enjoy doing most, or is your strength as a designer. For the first 17 years of my career I took on every , and all, design project that came my way. I was experiencing a mid-career burnout. I was expressing my frustration to my sister and she asked "Why aren't you doing what you are best at and enjoy most?" I kind of stared at her, and she added, "Logo design." She gave me permission to follow my passion, when I should have been able to allow myself to make that decision. I simply needed to have someone else present me with the obvious solution.