You pour your heart and soul into a set of creative ideas to present to a client. They choose one to be developed and that idea launches into the world to promote cause/product/publication/event/organisation X. (In an ideal scenario that is).
But then, the client asks you to do it again. The next year. Hooray for more business. But how do you reset your thought process to come up with new ideas?
Yes, lots of us have worked on brand campaigns that reinvent themselves cyclically, or publications that are part of a series. I was interested to chat with creatives to hear how they stay inspired when faced with a similar brief for the same client, again.
Thank you to Amir Saidani, Katherine West, Kieron Lewis, Sana Iqbal and Stuart Radford for sharing their strategies for tackling recurring briefs.
Amir Saidani
Amir is a graphic designer and educator, working across a broad design spectrum, but with a keen interest in identity design. A graduate of Glasgow School of Art, and Royal College of Art, after studying he spent 6 years as a designer for BBC Creative, working from an intern to senior. While there he worked on a range of projects from the BBC Rebrand to Women in Sport brand campaigns to the title art of Dracula. He is currently a lecturer in Graphic Design at Kingston University, where he is year lead for the Level 6 cohort.
More on Amir: Instagram
Q1: How do you reset your thought process for a recurring brief?
Amir: For me, the important aspect of my process is the notion of a constantly enriched, shifting worldview. I try to keep my mind active and stimulated so that when a brief comes in, I have an interesting wealth of knowledge to draw from. This often comes from contemporary sources like keeping up to date with Instagram and blogs such as The Brand Identity, but I also like to investigate digital archives and repositories. The Arabic Design Archive and Fonts in Use are major sources for me. Additionally, I’m a big advocate for visiting museums and archives. There are some great ones in London, like Bishopsgate, St Bride's, and the V&A.
I also think it’s important to challenge our Western understanding of design and explore design from different societal positions and eras. This exploration unlocks many interesting visual quirks that I sometimes think we have lost in modern-day production, given the tools at our disposal and the rampant pressure we can be under.
I also try to ensure that my thought and design processes aren’t solely based on sitting at a computer or in a studio. I’m an avid swimmer, and I think some of my best creative ideas have come to me in the pool. This can be through just thinking, but I’ve also gleaned inspiration from mundane things, like watching water droplets form on my watch, which once gave me an interesting idea about materiality for a project.
So, I think it’s less about having a clean reset of the thought process and more about always challenging yourself, keeping your mind fresh and active, and maintaining a sense of wonder and exploration in how you see the world. Then, when you approach recurring briefs, you have a new perspective to augment the project with.
It’s about taking a small, crucial element and pushing it just a little bit forward, thereby shifting its perspective, that usually keeps hold of the energy of the original but allows space for something new to grow alongside it.
Q2: It’s a sequel. How do you create a take 2, take 3 (or more) as effective as take 1?
Amir: I’m a big believer, especially in repeat projects, in not reinventing the wheel unless it’s really called for. During my time at the BBC, I was incredibly lucky to work on their ‘Women in Sport’ brand campaign, which we refreshed twice during my tenure. Part of the second iteration of the Women in Sport project included an updated manifesto, which subtly shifted the tone of the project. This change provided a new perspective and metaphor for us to play around with in the design. We explored the most dynamic elements of the project, focusing on the bold typography we’d used in the first, and pushed that element to fit the new narrative.
I remember negotiating and working with the marketing team, where we produced a range of options. These options ranged from small changes, such as keeping the typography roughly the same, to significant changes, like altering the typography and its materiality. However, the fundamental focus always remained on a central idea or motif established in the initial execution of the project.
As graphic designers, we sometimes have a habit of overcomplicating things, worrying that if something isn’t dramatically different from what came before, it’s not valid. While there is space for dramatic changes, there is real skill in recognising and understanding the graphic heart of a project. It's about taking a small, crucial element and pushing it just a little bit forward, thereby shifting its perspective, that usually keeps hold of the energy of the original but allows space for something new to grow alongside it.
Q3: ‘Same but different’ is always a tricky ask from a client. How do you maintain brand/design continuity but still achieve standout with recurring briefs?
Amir: Design, to me, is about a balancing act, and it relates to recognising the key element as I spoke about above. Maintaining continuity involves understanding the elements that make up a project. When working on recurring projects, you need to assess these elements, weigh them up, and shift them in a balanced way that doesn’t tip the scales into obscurity.
When I was at the BBC, I was heavily involved in the rebrand, and it was my job to keep the design work on brand, but make sure that was done in a way that didn’t become boring. We had a framework consisting of elements like colour, type, and image. I used to see them as levers; when designers and creatives wanted to use the system, they could be more adventurous in one area, but in other areas, it was about solidifying and consolidating the rules. In my mind, pulling one lever meant having to push another one up to balance it.
There is nuance to this; recognising when you may have pushed it too far or miscalculated an idea. Ultimately, it’s about balance, and that is the real skill of the designer, especially those interested in brand design. It involves finding the ability to recognise which elements can be changed, where you can incorporate your research or inspiration, evolving through that lens, and taking that risk in the quest for standout work. Yet, it’s also about knowing where to stop, reflect and balance it back out.
My biggest advice to designers (and this is general advice) is to be discursive. Have conversations, be open, and be willing to share. This discursive quality is key to seeing beyond what’s in front of you, and that’s how you perfect these kinds of projects.
Katherine West
Katherine is a senior branding designer at Magpie Studio, London. Her design practice focuses on strategic brand identities spanning cultural, food & drink, lifestyle and not-for-profit organisations. Katherine believes in giving back to the industry, she has delivered talks at various arts institutions and currently she is a guest lecturer at Norwich University of the Arts.
More on Katherine: Website; Magpie Studio
Q1: How do you reset your thought process for a recurring brief?
Katherine: I find taking a break and returning to the brief with fresh eyes can help me identify what worked well and what didn’t last time around. This usually helps inform how I should approach the brief differently and set new design objectives. I've also found that collaborating with design colleagues who were not involved in the previous brief and getting their thoughts can be really useful.
Understanding which parts of the brand are fixed and which are flexible is really important. Once I know these it helps me to be able to push the boundaries and explore new ideas.
Q2: It's a sequel. How do you create a take 2, take 3 (or more) as effective as take 1?
Katherine: I think it's important to stay true to the brand's narrative and story they're setting out to tell. Whilst also making sure to add something new and interesting that's pushing the brief's boundaries. Most importantly though it's making sure that you're not losing what was most successful in the previous versions.
Q3: ‘Same but different’ is always a tricky ask from a client. How do you maintain brand/design continuity but still achieve standout with recurring briefs?
Katherine: Design constraints, whilst sometimes challenging, can be really useful in defining the brief and establishing clear design criteria. I've found that understanding which parts of the brand are fixed and which are flexible is really important. Once I know these it helps me to be able to push the boundaries and explore new ideas.
For instance, recently at Magpie Studio we revamped Plenish's shots packaging, we decided that the logo and typographic layout should remain consistent with the rest of the range to ensure brand continuity. However, we identified that the ingredient photography and the benefit messaging could be developed further, to ensure clarity and impact in a crowded market.
By keeping core brand elements consistent, we could focus our creative ideas on making the ingredients feel vibrant, heroic and impactful. This approach not only maintained the brand's integrity but also ensured Plenish’s commitment to quality and nutrition shines through, setting them apart on the functional drinks shelf.
Kieron Lewis
Kieron is a south-London-born freelance graphic designer, host on Adobe Live, host for the D&AD Awards 24' and public speaker with a BA (Hons) in Graphic Design, Marketing & Branding. Predominantly his area of expertise is in Editorial design.
With over a decade of experience in design, Kieron has successfully implemented several self-directed and client-based projects. His client list includes the Victoria & Albert Museum, Harper Collins and the South London Gallery. He has also designed an award-winning publication for Chronicles Books.
Kieron is also an active guest lecturer through his collaboration with various educational institutions including, Ravensbourne University London, University of the Arts London and Kingston University.
More on Kieron: Website; LinkedIn; Instagram; X (Twitter)
Q1: How do you reset your thought process for a recurring brief?
Kieron: The best way to illustrate my point is to compare it to marriage.
Working with the same client is the equivalent of being in a marriage. It's essential that you still find ways to keep the relationship alive. Not every day will be exciting, but it is important that both parties must try hard to reach a common goal. This is a great way to view a similar brief with the same client.
Yes, you might have the same brief come your way, but it's crucial that you find interesting and engaging ways it could be delivered. I do my best to look back on previous projects with a client and find ways we could have improved upon them. It's easy to look back on a project and bask in the glory but to look back on a project and find ways you could have made it more impactful is much harder to find.
I try to think of ways the deliverable could be executed. This could be through exploring different print methods or experimenting more within digital space. I’ve personally tried to upscale by self-teaching on the programs, such as Premier Pro. I come from a print background, however by giving myself a better understanding of how video editing works, allows me to think of different outcomes for a brief. It also challenges both my way of thinking and the client as it gives them different perspectives on how we could explore outcomes.
The fact that you have to create something new or different pushes you to try ideas that you feel less comfortable or safe.
Q2: It’s a sequel. How do you create a take 2, take 3 (or more) as effective as take 1?
Kieron: In this case, I tend to play with families of colours and textures. I mainly work with books, so I would be developing a complementary colour scheme that is still related to the initial project. The same with the paper stock – some playfulness with the materiality of ‘take 2’. Working in a sequel gives you room to be more explorative because somehow in ‘take 1’ you put all your ‘good to go knowledge’. But the fact that you have to create something new or different pushes you to try ideas that you feel less comfortable or safe. I am also often seeking visual and material inspiration in exhibitions and book publications. So many ideas come from this and when a project comes my way I get very excited to put them into practice.
Q3: ‘Same but different’ is always a tricky ask from a client. How do you maintain brand/design continuity but still achieve standout with recurring briefs?
Kieron: I maintain the brand/design continuity by ensuring the brand guidelines are always upheld. However, I do my best to put ideas forward for how we could approach the final deliverable. Trying to find the best method of execution through different mediums i.e. print or digital is an essential way to ensure that we have the most effective impact possible.
Sana Iqbal
Sana is the founder of Studio Sana, a UK-based strategic design studio creating beautiful brands and campaigns that change hearts and minds. She enjoys working with people and organisations striving to make the world a better place, and has creatively led on winning election campaigns in the UK and USA. Clients include the Students Organising for Sustainability UK, AmplifyChange and Reproductive Justice Initiative. She was a judge for D&AD White Pencil 2024 and Creative Review Annual Awards 2023.
Q1: How do you reset your thought process for a recurring brief?
Sana: Having a step-by-step process helps to reset and focus the mind. We focus on the strategy and story, and then the design work begins. This ensures the campaign or brand is always adapting to the current needs and environment.
I also revisit similar work we’ve produced to analyse the strengths and weaknesses, and to avoid repetition. The learnings brought over make the next project stronger.
Our world is always changing so you have to pivot the past branding and messaging to suit the needs now.
Q2: It’s a sequel. How do you create a take 2, take 3 (or more) as effective as take 1?
Sana: You treat it like a story. You weave through the essentials but adapt for the next chapter. Our world is always changing so you have to pivot the past branding and messaging to suit the needs now.
When working on election campaigns, I like to build upon previous successes. It's very tempting to do something brand new, but a consistent campaign amplifies stability and strengthens recognition. However, you can push the boundaries by building around the core narrative and visual elements. When previously working with the UK Labour Party, their narrative was to offer hope in a time of national crisis. Two years ago, we used breath-taking photography of sunrises, the feedback was positive and so the party used this visual language going forward. However, the party washed down progressive policies and took immoral stances before the general election. So whilst we visually tried to build a hopeful narrative, many in the public saw through this. Instead the narrative moved to the UK Labour Party being seen as the lesser of two evils, rather than a real option for hope. It's vital all organisations back their brand story with action.
Q3: ‘Same but different’ is always a tricky ask from a client. How do you maintain brand/design continuity but still achieve standout with recurring briefs?
Sana: I often have clients referencing work I’ve done before, but I explain how their needs differ and so the same solution would not be wise.
For example, when it comes to candidate branding, many want to reuse designs associated with a successful campaign in the hope it’ll deliver success for them. However, it was a strong brand because it followed a strategic process, and frankly good design alone cannot win an election.The candidate branding for Miatta Fahnbulleh’s selection campaign worked because of her heritage and reflected the creativity of Camberwell and Peckham. The hot pink linked her to Labour whilst making her stand out from her opponents. Compare this with the candidate branding for Leanne Mohamad, who had to differentiate herself from the entire establishment. The sunrise symbolised hope and a new dawn of people-powered politics. The purple-pink hues stood out against the saturated political space and showed her independence.
Both campaigns needed the same elements, but they were radically different because they had different stories, audiences and needs.
Stuart Radford
Stuart is a multi-award winning Executive Creative Director. His projects include rebranding BBC Two, BBC Three, Nasa Artemis, London Symphony Orchestra and Aston Martin.
Stuart’s work has been recognised with over 250 of the industry’s most prestigious awards including 43 D&AD pencils (with two coveted Yellow Pencils and the special Collaboration Pencil), plus Golds from The One Show, Clios, Art Directors Club and New York Festivals, to name but a few.
He judges regularly including D&AD, Cannes Lions and Clios, and is active in education, most recently with D&AD Shift.
Stuart is a frequent creative speaker for D&AD, Fast Company, V&A, Typographic Circle, DesignYatra and Monotype, among others.
More on Stuart: Instagram; Design Bridge and Partners
Q1: How do you reset your thought process for a recurring brief?
Stuart: Outdo yourself.
I quite like a repeat brief, it's a great opportunity to do something better than you did last time. Even if you did a brilliant job previously - even if you even picked up a few awards - I think you can use that as a benchmark to challenge yourself to push the work further. It has to be better – otherwise you risk going backwards, and no-one wants that._
Don’t think of it as a continuation.
I try NOT to think of the brief as being the same. I embrace the challenge of finding something new. Yes, it’s the same brand, and maybe even the same event, but there’s always something different you can find. I try to identify any opportunities in the brief to find a new angle which will give us a new story to express. Sometimes this is a strategic matter as much as a creative one, so often I’ll work with a strategist to explore the possibilities. We also do this in partnership with our client – as much as it’s important for us to have a different story to tell, it’s extremely important that the client/brand has a new and appropriate story. We always go through this process before we begin designing – which saves a lot of lovely ideas dying unnecessarily.
The combination of creatives who know the project, brand and client well, working with designers who are fresh to the work and client, is a great way to inject some new thinking.
Q2: It’s a sequel. How do you create a take 2, take 3 (or more) as effective as take 1?
Stuart: Bring new designers onto the team.
The combination of creatives who know the project, brand and client well, working with designers who are fresh to the work and client, is a great way to inject some new thinking, whilst keeping the insights and knowledge in the mix. This is something we’ve done on London Symphony Orchestra work, which is great for the work and it’s been wonderful for me, as I get to work with different designers every year!
Partner with new collaborators.
Also, we have been lucky enough to collaborate with some of the best talent in digital animation to help us bring to life our ideas for each season, which never fails to bring something new and unique to each campaign.
Q3: ‘Same but different’ is always a tricky ask from a client. How do you maintain brand/design continuity but still achieve standout with recurring briefs?
Stuart: What you can flex versus what you need to keep consistent is so important for repeat campaigns. The best example, from my experience, is our London Symphony Orchestra work.
We launched a new identity and season campaign for London Symphony Orchestra in 2017; since then we have created 7 new annual campaigns for them.Each campaign has been different, yet they express the same creative idea, and they all employ recognisable consistent assets.
Key to the success of the approach was developing a brand idea and creative expression which could be re-interpreted time and again, whilst the key assets of the visual identity ensured our different campaigns would be immediately identified as London Symphony Orchestra campaigns. So, our brand idea, Always Moving, was created to reflect the LSO’s reputation as a pioneering orchestra and the emotional power of their renowned performances. The creative expression brings Sir Simon Rattle into the heart of the brand, with a visual identity that’s literally conducted by him. We captured his conducting movements using motion tracking data and worked with a different digital artist year on year to create a new visual expression that reflects the season’s theme.
For example, in 2019, our theme was Roots and Origins so the season’s film was an interpretation of a full-bloom scene that traces its way back to the seed, following the precise movement of the conductor (from the motion data).
The 2022 theme, Master Conductor, celebrates Sir Simon’s last year as Chief Conductor. The film draws a parallel between music and art. Rattle’s gestures create an expressive art piece, painterly in texture with a sculptural physicality. The piece builds following his every move (again from the motion data) until the crescendo, when the sculpture dramatically drops to the floor – symbolising the end of an era.
In all our season campaigns, the films consistently use the motion data from the conductor. In addition, we bring consistency and recognition with a unique typeface which continues to employ the movement of the conductor, which sweeps and cuts through the letterforms to create a distinctive font. In conjunction with simple composition principles and logo (the letters L,S,O create the shape of a conductor), this typeface provides the visual glue to ensure our different themed season films and stills can be instantly identified as LSO’s campaigns.
Thanks again to Amir, Katherine, Kieron, Sana and Stuart for chatting with me.
Images courtesy of the contributors and/or their studios.
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