The dignity of design

Conceptualizing the creative thought process used to design delightful visual identity and brand.

“Without dignity, identity is erased.” ― Laura Hillenbrand

Update: On September 18 , 2014. After the rebrand and weeks of preparation Markhor launched the first of its kind Kickstarter campaign from the region with a pledge and goal of $15,000. On November 7, 2014 Markhor raised $107,286 from 503 backers, recruiting several craftsmen full-time and bringing back dignity to this almost lost labor of love.

In 2013 I completed an in-kind rebrand and visual identity project for a small startup called Markhor. During my year as an Acumen Global Fellow, assigned in Pakistan I inadvertently connected with the founders of (known then as) Hometown. The young founders came to me exploring ways to take their handmade-shoes startup to the world and provide their village based artisan craftsmen with a brighter future and better opportunity. This a story of the labor of love, from an unlikely place — and of how design meets impact.

Camouflaged amidst poverty and hardship that surrounds this region is an incredible history of artisan craft that has been passed on from generation to generation. Sitting in small dusty shacks tormented with everyday uncertainty that comes with inconsistent work and a lack of opportunity, these talented craftsmen work long hours for little reward. Their story is one of grit, determination and an unconditional love for why they do what they do.

One of these crafts is an 1800 year old tradition of handmade leather shoes. Markhor is a grassroots project that is helping these shoemakers and craftsmen to keep alive a centuries old tradition by providing them with access to world markets, a better way of life and dignity through opportunity.

Whilst presenting design ideas for Markhor’s new visual identity and during one of the many team discussions, it became obvious that we shared a deep passion for why we did what we did — me as a designer, and they as craftsmen. I was convinced by the rest of the Markhor team to share and write about why I did what I did. More specifically, my creative thought process when working with clients and then developing their visual designs.

As a designer, I must consider many factors when developing visual identity or a new brand. In this post, I will discuss my interpretation of the most important themes during this process. These themes may roughly be divided up as: the importance of knowing your client, the importance of knowing your client’s audience, and finally, translating this complex due diligence into a simple and distinct identity. It is assumed, throughout this piece, that the reader is a designer, artist or someone who appreciates design thinking.

To make sure this does not turn into an abstract discourse of thought, I will use an adaptation of Simon Sineks “Start With Why” concept (Why, How, What). I use this process in most of my design projects, I also share the concept with clients to make sure they appreciate the value of visual identity.

WHY I DO WHAT I DO

My curiosity for logo development started a long time ago. However, for the past decade my focus has been web design and more recently, I have taught myself front-end code. I seemed to get the same excitement from web developing as I did from graphic design, so I found myself drawn to it. However, I feel visual identity development is where I feel most at home. Creation, even that of a logo, is inherently emotionally fulfilling unlike web design or code, which have a much shorter lifespan. The sense of nurturing and care required to create a logo is not dissimilar to observing a growing child.

I don’t attempt to be a Jack of all trades, but I believe in the importance of understanding and learning creative skills which intersect, with the sole purpose of being better at what I do. For example, to compliment each others’ strengths web designers must understand developers, and vice versa. Or to understand diligence of the creative process, marketing departments must learn the significance of time and space required by designers to think creatively. They can also facilitate the process by sharing their expectations and not necessarily telling or doing the thinking for the designer.

HOW I ENGAGE DESIGN THINKING

In almost all (digital) creative work there is consensus that fundamental design thinking starts with the process of identifying your user. The aim is to think like the user who is intuitive and smart. Once defined, give your wholehearted attention to the client to understand why, how and what they do. In essence, you live the experience of creating the visual identity through both active and passive engagement.

Active engagement with the client for the purpose of creating a powerful visual identity requires knowing them from the inside, as part of their collective whole. Like detectives or investigators, it’s your duty to infiltrate your client and to understand their values, their thought process, their belief systems, and the operations. Going beyond the call of duty is an understatement. A designer’s aim is to think like their clients and use that creative empathy to step outside of that role as required, to offer a perspective that is befitting as well as mindful, creative and innovative.

Passive engagement entails going out and conducting secondary research. By understanding the consumers’ lifestyle and values, you will begin to form a better understanding of what is expected of the organization. Other secondary research includes understanding the value proposition, market dynamics and competitor behavior. Read and comprehend the company’s mission and vision statement. If you cannot find it, ask them what it is because chances are, that even though it may not be immediately apparent, it will be somewhere.

Once established into an organization, people can become creatures of habit and forget to put themselves in the position of their customers. Their values are driven from the outside in and no longer from the inside out. Because designers see the world differently it’s important for them to engage, communicate and share this type of design thinking with their clients. Ultimately, this will also help the relationship and your design pitch.

That said, the output of the final work depends on the client, regardless of how talented the designer is. The relationship has to be two-way, which is why it’s important to be conscious when choosing clients or companies. For me, the alpha-company is not thinking about making a quick profit, but rather about what they believe in, what drives them and what makes their product or service delightful, unique and consumer-focused. And if the company has a social impact or environmental initiative associated with it, all the better.

WHAT I DO TO BRING THIS TO LIFE

What I have discussed so far may sound like a due diligence exercise for a business strategy document rather than the creative development of a visual identity. However, from my experience, this thorough process of research and engagement prior to firing up Adobe Illustrator, eventually makes for an incredibly impactful brand that will accentuate heritage and foster affinity.

Before I sit down with my computer, I spend a considerable amount of time sketching. In the past I would almost certainly jump to my computer and start iterating immediately in Adobe Illustrator. When I did this I spent more time on precision and trying to work towards a finished design, this, ultimately resulted in a lot of redundant designs and a significant amount of wasted time.

Over the past few years, I have learnt to appreciate the ease and simplicity of sketching. It’s the only true way of rapid prototyping. Through the simplicity of using pencil and paper, you minimize noise and interference; for example, you do not think about color, fonts, perspectives and angles; you minimize perfection and your focus is truly on being creative. Until I have a clear direction, all I keep beside me is my sketch pad. Once I have a vision and concept for the logo, only then do I take my sketches and redraw them in Adobe Illustrator to bring them to life.

The Markhor visual identity needed to communicate and represent the grit, determination and spirit of Pakistan’s craftsmen. Therefore there was little debate among the team that the markhor (Capra falconeri), Pakistan’s national animal, symbolizes the artisan craftsmen of Pakistan. This large species of wild goat is found in the northern regions of the country. Classified as endangered, its struggle to survive is analogous to the people of the region and the preservation of their artisan heritage. And thus, from its iconic horns and a wild majestic beauty, the Markhor visual identity was born.

The logo is only one element of a company’s overall brand, it is through the logo that the company is able to influence its brand. Having a great logo does not mean instant success; the way in which it is worn is just as important as the design process. Smart and future-proof companies use their logo to develop a brand that shows and does not tell. They find comfort in a space where less is more; through simplicity they are able to project a clear message. The process of a seed that grows into a tree has longevity — your logo embodies the seed. To elaborate on this analogy, imagine you’re decorating your lovely new home and searching for a plant. You can either go to an organic farm and buy seeds, plant them, water them and see them flourish (with love and ownership) or you can go to a local store and buy a fully grown plant, where all the work is done for you. Because little or no attention has been given to this fully grown store-bought plant, it becomes merely a decoration piece, therefore there is little connection, ownership and accountability.

It’s the research that happens behind the scenes that defines creativity, which eventually leads to a design that informs and inspires. It’s important for designers to give the logo development process the diligence it deserves and organizations to understand the significance of investing long-term in their visual identity. Exceptional brands are grown and lasting legacies established through the intelligent use of their visual identity, values and vision to become brands that lead with example. And that, precisely, is the dignity of design.