Ask Jeff Fisher what he does for a living and he'll likely reply, "I'm a logo designer." Well now ... that's pretty digestible and straight-forward. It might also be a wee bit simplistic, considering Fisher's 25+ year career, over 450 awards and being featured in more than 60 books and publications. A testament to Fisher's success is his ability to schedule projects months in advance in an economy that has many creatives eating antacids like candy.

The train's leaving the station
Always excelling in artistic endeavors, Fisher began his "official" career while he was a student at the University of Oregon. This came on the heels of winning several painting and drawing awards in grade school. In high school, his work was displayed and sold in both galleries and one-man shows. The University of Oregon newspaper, The Oregon Daily Emerald, became Fisher's boot camp along with several other very successful designers such as Steve Sandstrom of Sandstrom Design (think Tazo Tea). Jeff immersed himself in the fast-paced world of newspaper ads for an array of clientele. He quickly learned the ropes and began laying the foundation for what would later become Jeff Fisher LogoMotives.

All aboard for Portland
Fisher moved to Portland after college with a gleam in his eye and his portfolio in hand, ready to knock the local ad/design community on their collective butts. In a display of uncanny cracker-jack timing, he landed in town right when many ad agencies were literally closing their doors due to a poor economy and designers were being laid off left and right. "I didn't go into business for myself because I wanted to; I did so because I needed to make a living," said Jeff. He got to work doing interviews with whomever would talk to him. That lead to a load of contract work resulting in three squares and the occasional new pair of shoes.

"For almost 17 years I took on any and all design projects that came my way — publications, illustration projects, brochures, billboards, transit advertising, etc. You name it and I probably did it at one time or another," Fisher noted. But, behind the scenes, was a gnawing passion for logo and identity design. It was his sister, owner of her own advertising and PR firm, who slapped him upside the head in 1995 by asking why he wasn't focusing on the aspect of design he enjoyed most. That was the epiphany that greatly increased his enthusiasm, and the amount of work coming in the door. Jeff Fisher LogoMotives was born.

Steam engine or bullet train?
When asked what he believes separates his one-man show from the rest of the pack, Jeff said, "The fact that I refer to my one-person business venture as a "firm" often surprises potential clients and other designers. Many assume that I am the front man for a much larger operation. I was once asked to make a presentation to a government agency and they asked how many of my "team" would be attending the meeting. They were shocked to learn I was a one-person staff. The fact that I detest the word "freelance" led me to always refer to my business as a design firm."

He added, "When a client contracts my firm for a project they get the undivided attention of myself — owner, designer, accountant executive, marketing director, receptionist and janitor. That is a big plus to many business owners requiring the services of a designer. They are hiring a one-person firm with an understanding of marketing, advertising, public relations, design, the printing process and an ability to write a complete sentence. In dealing with only one contact; the person creating and producing the end product; the client has little concerns that their requirements and wants are going to get lost in a corporate communications information relay. My years of experience, including over a decade of pre-computer hands-on design, is also seen as an asset to many clients."

Although Jeff concentrates on identity design, that's often the spring board for a myriad of other projects. "I put myself out there primarily as a designer of logos and corporate identity because that is the work I want to see come my way. I often find myself developing long-term client relationships based on the initial need for a business identity. The new logo is then carried throughout a complete identity program and then the client wants me to create all collateral materials, signage, internal and external publications, trade show exhibits and whatever else may need to be created," said Fisher.

For Jeff, his greatest joy is when it all comes together and "clicks" — when he can sit back and say to himself, "Damn, that is a great design." On occasion the "click" is so strong he'll only present one design. Now that's having confidence in the solution. Often these moments come on projects for clients with the smallest budgets and the greatest ability to arouse his passion with a nonprofit cause.

Derailing the challenges
When asked about his biggest challenge, Jeff replied, "The biggest challenge I face as a designer involves the education of the client or potential client — and that's been the case since I started working in the field. About 50% of my clients have not previously worked with a graphic designer. There is often an intensive education learning curve in conveying what you will and won't be doing for a given client, as well as the on-going teaching about the design, production and printing process while those things are in progress."

He continued, "It's also always a challenge to try to convince some clients of the value of graphic design — as a tool to increase the success of their business and in what they should expect to pay for services. These days it's evident early on when a "cheap" potential client is not for me. Someone only concerned with budget is not going to value any other aspect of a designer's work and I'll pass on their project. I'd much rather work for a client with a small budget, passion for their project, some understanding of the design process, and appreciation for the value of a designer's work.

Almost 80% of Fisher's clientele are outside his local area. Most communications are handled by email, fax and overnight delivery services. Many times he'll never even speak to them on the phone, let alone meet them face-to-face. "But," Jeff added, "there are occasionally "speed bumps" in the communication process of such business relationships."

Getting to the station on time
With regard to the effect graphic design has on the business community at-large, Jeff said, "Those business people understanding the principles of design, marketing and advertising often see their companies taken to a higher level through the use of professional design services - and are more than happy to give design some degree of credit for the success."

He added, "Business owners without expertise in the field of design need to take a "don't try this at home" attitude and hire a professional to assist them in creating an appropriate image for their business. Many designers can then help coordinate the marketing and promotion efforts of that image toward even great exposure and success for that business venture."

"Those who do "get it," he continued, "are able to take advantage of a vast array of media to get their message across to the public. If anything good came out of the dot doom at the turn-of-the-century I think an awareness of the power of graphic design was introduced to those tuned in to receive that message. Many a long gone dot.com made a major visual impact in a very short period of time due to a willingness of cyber-business to push the limits a bit and project edgy, powerful messages out into the marketplace. Perhaps a greater value, or awareness, of professional graphic design is a result."

"Graphic design offers client companies the opportunity to communicate information, about their products or services, in a visually stimulating, sophisticated and memorable manner. The more professional and fine-tuned that message; the greater the possibility it is being communicated strongly and successfully. In a society conditioned to have a short attention span the initial presentation made to a potential client base is extremely valuable to any business concern. A well-designed first impression may entice the consumer to take a second look at an offered product or service, eventually leading to the desired purchase."

Getting from the Engine to the Caboose
Jeff's work and style has been deeply influenced by the Milton Glaser. As a matter of fact, it was Glaser's book, Graphic Design, that taught Fisher, that what he wanted to be when he grew up not only had a name, but someone had successfully been making a living while doing it. While speaking at the 2003 HOW Design Conference, Jeff had a chance to briefly meet the master. Talk on the street is that he set fire to his Pantone book as a burnt offering. Please note that there's not hard confirmation on this. But, there were those colorful ashes outside the "Designers In Handcuffs" presentation room …

Other Fisher influences read like a who's who of graphic design: Paul Rand; Saul Bass; John Sayles; Ivan Chermayeff and Tom Geismar; Herb Lubalin and Nigel Holmes. Fisher commented, "The common link through their work is an ability to distill any design concept down to the bare necessities and produce an image with maximum impact and a unique longevity."

Jeff believes his business style is more marketing-based than many designers. He comes from a family of public relations professionals, so it's pretty much in his blood. Regarding marketing and self promotion, Fisher states, "When it comes to promoting my business I have adopted an attitude of 'why pay for something when you can get it for free.' My PR efforts have always been very successful. Traditional methods of marketing, like direct mail and paid advertising, have never produced results for me."

As for business operations, he added, "In my day-to-day business operations it took me a long time to realize I was not the wisest business person. For any design business it takes a team of business professionals to make the company a success. Bookkeepers, accountants, tax professionals, financial planners and business coaches can all play an important role in a business. When I 'let go' of the business operations I did not enjoy, and hired professionals to handle those duties, my business became more successful."

Getting Up Enough Steam for the Long Haul
The economy isn't exactly perky these days. Maybe you've noticed. But, Fisher's business is thriving. Why? Jeff says, "A major mistake I see many designers and design firms making is waiting until no business is coming in the door to attempt to market themselves. Panic and desperation are not good qualities to then add to a marketing campaign. The time it takes for results from any marketing effort will mean an additional time of no potential work. I've always been in a constant process of marketing, which has resulted in projects on the schedule months in advance even in bad economic times."

Beyond promotion and marketing, Jeff shared some words about other challenges that affect designers. "The speed at which technology is advancing is somewhat of a challenge to all designers. It's almost impossible to keep up with all advances in hardware, software, the Internet, wireless technology and whatever they may announce tomorrow. While the financial impact can be huge on any designer's business budget, I think the greater challenge is just finding the time and energy to try to keep up with the constant technological changes impacting the design industry."

"It's interesting to now read and hear about web designers expressing their concerns and frustrations in regards to anyone with a computer and the necessary software calling themselves a 'web designer.' Isn't this the same (and on-going) gripe graphic designers have been venting over since the first personal computers appeared on desks in the 1980s and early 1990s? It is a challenge for any professional designer to compete with those less educated, less experienced and less business savvy in a world where anyone can call themselves a designer and charge $19 for a logo. The ongoing debate about professional certification will probably not result in anything that is going to change the situation dramatically overnight. For many designers, a better use of their time would be to get off their butts, learn a bit more about the business of graphic design, determine their actual target market and then promote the hell out of their own talents and skills."

As for client companies, Jeff observed, "In the current economic climate the biggest challenge for clients seems to be allocating the funds needed to keep design resources at a level providing the highest quality marketing and promotion materials. With an economic downturn the in-house design department, outside design firm or contracted individual designer are often the first to be cut as an 'unnecessary expense.' Nothing could be further from the truth — businesses need to be marketing and promoting themselves continuously and effectively through good and bad economic conditions."

What's in store down the track?
We asked Jeff to pull out his crystal ball and take a peek at what's down the road. Here are his thoughts on where the role of design in the business mix moving:

"Technology and communication are becoming increasingly visual, bringing about an even greater need for good design. Print, television and static outdoor advertising were the primary media of the past. Visual stimulation opportunities today include PDAs, cell phones with video displays, electronic billboards, the vast frontier of the Internet and who knows what else. All require design, and hopefully good design will rise above the schlock to successfully convey the messages of business to the end result of a vibrant economy."

On turnstiles and towing engines
Jeff is one of those guys who's always willing to help out those new to the field. He's active on several online forums and always has relevant, informative answers to questions and a willingness to share his experience and knowledge — the definitive mark of the seasoned professional. In this vein, Jeff commented, "I would recommend that designers in school not expect their in-school education to truly prepare them for a career in the 'real' world. They need to take it upon themselves to gain knowledge and understanding of marketing, promotion, networking, pre-press skills (we have not yet seen the end of paper), and the business aspects of design. Designers should know how to write well. I'm stunned at the poorly written cover letters, resumes and promotional materials that often cross my desk. It's not enough for a designer to be able to communicate effectively through visual media; they also need excellent written and oral communication skills to be successful in business."

In a recent interview Jeff held with Jack Anderson, of Hornall Anderson Design Works, he found they shared a common amazement of what Anderson referred to as the sense of "righteous entitlement" expressed by a large number of designers currently coming out of design school or fairly new to the design business.

Elaborating on this, Fisher said, "Many seem to think they are owed the world without having to 'pay their dues' or put out any effort in their chosen profession. In design school, it is not unusual to have praise heaped upon oneself by instructors and peers. However, those designers need to 'get over' themselves quickly when entering the 'real' world of the design industry. Your design education has just begun and, at some level, a respect of those with years in the industry should be maintained. While I would never recommend a designer follow the work directive of 'well, we've always done it that way here,' as a response to all design issues, I would suggest learning as much as possible from the way things have been done in the past and then putting a personal spin on updating the issue toward a solution to a given design problem. Be a sponge in learning everything you can about design and then combine that knowledge with your own schooling and talents. How can a newly schooled designer claim to know all they need for a successful career when many designers with decades of experience (myself included) are not afraid to admit they are still learning every day?"

"Professionalism and manners seem to be a thing of the past with many designers. You can still be professional in the industry and have fun at what you are doing. I have a major pet peeve with those in the industry who seem to have an inability to say 'thank you' to others in a civilized manner. I may curse the training of my mother each time I scribble out a hand-written thank you note but, it is a business courtesy that is always appreciated and remembered."

As for the client side of things, Jeff believes they should take the time to learn about the basic design process to help clearly communicate their goals and desires. Education about typical fees in your local market, and gaining an understanding of the value of professional design's potential impact on your business success are also part of the mix.

He suggests the potential client research a designer. Just because somebody waltzes into your office, decked out in an all black ensemble, doesn't mean they're talented … or credible. Just like there are all types of client companies, products and services, there are also all types of designers. Ask for some referrals and do a little investigating to determine if the designer in question is a good fit for your needs. Give credit where credit is due. Very seldom do designers hear that their work really made a successful impact on a business. Tell the designer — and everyone else you know — how pleased you were with their work.

Next stop …
During the interview, Jeff was asked where he sees his business in 5-10 years. He whipped out his trusty crystal ball one more time, peered in like a true seer and shared his thoughts. "At the end of the 'Designers in Handcuffs' panel discussion at the 2003 HOW Design Conference one of the attendees asked for the mantras of the panelists. My response of 'work less; charge more' got a great deal of applause from the 600+ designers attending the session. I do see myself working less with 'high maintenance' clients in the future. I seem to have reached a point in my career where I have the opportunity to pick and choose my clients. I would hope my work efforts will be for a clientele with greater social impact, rather than those that are basically part of a large uncaring corporate culture. It's great to see design result in success for a corporate, or profit-focused, business. However, there is so much more satisfaction in experiencing the impact of design on individuals or groups of people in serious need."

He continued, "As I have been able to successfully work for clients around the world, from wherever I may be at the time, I do see myself traveling even more while still being able to maintain a clientele. Hopefully I will be able to live and work in Portland half the year and from some exotic or favorite local the other six months each year."

"I will be writing more. Other book possibilities are on the horizon. I will also be doing more writing for magazines and webzines. One webzine is interested in having me occasionally write about business issues and travel. With the writing comes additional speaking engagements. I will be doing additional speaking to schools, business organizations and at design industry events."

And there you have it — a blueprint for your future success from one who's "made it." Let's do a quick recap. Win a bunch of drawing contests in elementary school. Throw a few one-man shows in high school. Slave over a hot drafting table (designers didn't have keyboards in the olden days) at your college newspaper. Move to a bigger city at the worst possible time. Then, simple change your focus after about 17 years. Pretty easy, eh? Oh, and a couple of minor things. Promote the heck out of yourself on every possible occasion while you let your team of professionals handle and advise you about the stuff on which you don't have expertise. Piece of cake.

Please watch your step as you're leaving …

If you didn't have a chance (or the dough) to catch Mr Fisher, sporting a simply stunning Hawaiian shirt, at the 2003 HOW Design Conference this past June, fret not. You can get your Jeff quotient abundantly refilled when his book, (tentatively titled) The Savvy Designer's Guide to Success: Ideas and tactics for a killer career, hits the shelves of your local bookseller some time in 2004. The book, published by HOW Design Books, is a sometimes irreverent look at the business of graphic design. Considering the brilliant talent and irreverence of its author, this tome ought to be a run away bestseller.

Now, go ye forth and promote, promote, promote.