David Airey needs no introduction in graphic design circles. But, in case you haven’t yet come across David’s work, he describes himself as “a graphic designer and occasional author [of the books Logo Design Love and Work for Money, Design for Love] who specialises in designing brand identities.” He lives in Northern Ireland, but his clients are scattered across the far reaches of the planet. David was kind enough to answer a few questions for today’s blog post.
You’re a well-known graphic designer & blogger [Logo Design Love, David Airey.com & Identity Designed], how is it that you’re able to take time to answer questions from somebody you’ve never met?
If someone takes the time to contact me, I do all I can to help with whatever he or she asks. It’s not always possible, unfortunately — I receive a ton of email as a result of my websites — but much of my time is spent replying to messages.
How did you get into logo design?
After my GCSEs I went to a local college to study art and design. From there, it was obvious I enjoyed design more than art, and my focus shifted to graphic design. Creating logos was a favourite part of my course, then after further studies and some time in general design employment, I made the switch to self-employment where I could focus solely on brand identity work.
Should every business have a logo?
From a designer’s viewpoint I’d say it depends on your definition of logo. For me (my definitions have changed during my learning, and perhaps will again), a logo is the combination of a wordmark and a symbol. A business doesn’t need both. Often, a wordmark is enough, particularly when the brand name is distinctive, such as Google or Sony or Honda.
Who and what inspires your design work?
Nature, architecture, engineering, my parents, my peers… I think you can find inspiration in almost anything if you’re curious enough.
Many of your logos are very clean and contemporary. What do you think of the trend towards ornate and embellished logos in recent years?
I often see various styles classified as recent trends, but if you look to the past, the styles have been done already. It’s just that people don’t immediately remember, so they think it’s new. The more simplistic the appearance, the easier it is to remember at a quick glance, and the more enduring the design becomes, hence my favoured style.
Do you always start design projects with a pencil sketch?
I start by asking questions. Lots of them. But a pencil is always used when it comes to recording preliminary ideas.
What was your favorite project?
I really don’t know. I’ve had a lot of fun working with most of my clients. I couldn’t pick one over the rest.
You grew up in Bangor, Northern Ireland, do you think there’s anything “Irish” about your designs? For that matter, is there any “regional flavour” in contemporary design at all?
I hope there’s nothing more Irish about my work than the fact that it’s the designer’s nationality. Most of my clients are overseas, and none have an Irish product. But the “regional flavour” you mention could be important depending on the project. If a product or service was (and always would be) distinct to a geographic location, then it lends itself well to a design style that locals are familiar with. The Peru identity comes to mind.
To quote sign-painter Ira Coyne: “If the guy who’s been working at some job that he hates moves on and opens that coffee shop or store he has always wanted to own, that will change the landscape of America.” What advice would you have for someone starting a small business (Clearly yours has been a success)?
In the words of Nicholas Bate, “Be brilliant at the basics”. Here’s a short excerpt from his free PDF:
What’s the best logo ever?
Tough one. A few of my favourites are listed on this Creative Review piece, but there are many more I could reel off.
Thanks a lot for your time, David.
Now, for some of David’s work:
David’s newest book, Work for Money, Design for Love, published last year.