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Bunch 53
The agency was
established in 2002
by Denis Kovac and
Paulo Silva. It spread
organically from London
to Zagreb and then to
Singapore. Talented
friends joined, and
the union formed the
multi-disciplinary
design practice that
is the Bunch of today.
Bunch uses their wide
range of specializations
to create intelligent
and consistent brands
for diverse clients. As
designers they believe
that creativity, clarity,
and consistency are
the keys to successful
design. Some of their
latest projects include
an identity for Institut
Parfumeur Flores, work
for 55DSL, HBO, MTV
as well as the BBC and
Nike’s retail design for
the launch of their new
Windrunner metallic
range, including in-store
graphics and point of
sale displays as well as
retail layouts.
Bunch
www.bunchdesign.com
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54 1,000 Ideas by 100 Graphic Designers
111 IDEA-GENESIS. This is a combination
of sitting, pacing, strolling, scribbling, head
rubbing, pencil chewing, and paper throwing,
really. Quite often reading the brief then
sleeping on it helps. When the mind is relaxed
ideas seem to come a bit easier.
112 T
RY TO REACH THE “EUREKA MOMENT.”
Depending on what the idea is and where I am,
I may need to photograph something on my
phone, or doodle on a napkin or leave myself
a voice mail. All depends on when the “eureka
moment” happens. But it all begins in the mind,
then spreads out to whatever medium I have
close to hand. Then that may translate to the
computer for development, depending on the
needs of the idea.
113 P
ROJECT ACQUISITION IS A COMBINATION
OF GENTLE PRODDING AND UNASHAMED BEGGING. It’s
a balance of reminding your existing clients
you’re still there, you’re still brilliant at what
you do, whilst chasing that new piece of new
business to raise your profi le or open doors to
new industries. With new clients, I fi nd that it’s
good to set up a face-to-face meeting. They’ll
remember you in that way. But you have to
maintain client relationships by e-mailing and
calling occasionally, without being intrusive.
114 T
HERE’S A TIME AND PLACE FOR BEING
BOTH SERIOUS AND FRIENDLY. It’s easy enough to
be friendly at the start of a project, but as
the deadline edges closer, the work days get
longer, and the client’s requests seem more like
demands, it’s so much harder to maintain that
same level of friendliness. If a client is being
unreasonable then it’s important to don your
serious face and stand up to them. But then
fi nish with a smile.
115
A
NY ACTIVITY OUTSIDE THE STUDIO STIMULATES
CREATIVITY. Sleep is one of my favorite
pastimes and research has shown that
it defi nitely aids the creative thought
process. But on a more serious note,
our ideas are unique to us because
of our own individual experiences
and preferences. That’s why no two
designers would ever come up with
exactly the same solution to a brief.
It’s incredibly important to have a good
work/life balance so that both sides can
feed off each other.
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Bunch 55
n
116 KEEP CONNECTED. If only it could be
possible by means of tin can and string! The
global nature of Bunch has meant relying on the
Internet to communicate. MSN, iChat, Skype—
all play a big part in the way we communicate
with each other. We work between London,
Zagreb, and Singapore so instant messaging
is incredibly important in our day-to-day work.
Video calling is great, as you do tend to miss the
sight of your colleagues in the other studios too.
117 U
SE ‘EM, DON’T ABUSE ‘EM. Plug-ins and
add-ons can be great but lots of designers can
get a bit obsessed with a new one they’ve just
discovered. I try to be aware of what’s going on
in that world, but not to rely on it.
118 H
AVE A FAVORITE PRINTER. For us it’s
Kratis. They’re simply amazing. We’re a bit
biased as they’re now our friends, but they
really do know their business inside and out.
119 P
RESENTING YOUR WORK. We have the
conventional digital forms of website and PDFs.
But we don’t really print our portfolio in the
usual way. Since we started, we’ve had books
as our portfolio.
Chapter 1
, as we called it, was
a slim volume printed in 2005. We used to take
it to new clients so they had a physical Bunch
presence in their offi ce once we’d left.
Chapter
2
was a much more ambitious venture, at least
four times as thick with multi-colored spines.
They’re great to have as its lovely to fl ick
through and see how far we’ve journeyed.
120 I
T’S ALL VERY SIMPLE. You begin with a
great idea. And then you execute the hell out of
it. When you look at any great piece of design,
there is something quite wonderful about it
that you can’t quite place. It’s not one specifi c
element, but more the whole. The concept, the
execution, the fi nite detail within that binds the
whole piece to strike a careful balance between
form and function.
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125
L
OOK BEHIND YOU. “Always look behind you.” I
was once told by a photographer that when
he shoots, after getting what he wants, he
turns around. Because often what’s going
on behind him is just as interesting if not
more than what’s in front of him. I think it
applies to design very well.
121 READ. Anything on Chinese
landscape painting. Amazing stuff.
122 P
UT EVERYTHING IN WRITING.
E-mail, e-mail, e-mail…your best
friend.
123 I
F YOU’RE WORKING HARD, GO TO
LUNCH. It’s good to take a break, get
out, and get recharged.
124 G
ET A GOOD PRINTER. Have a
good and fast printer for quick tests.
56 1,000 Ideas by 100 Graphic Designers
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126 STRIVE FOR GOOD WORK. You
should be striving to do work that
inspires and makes you proud,
otherwise there is no point.
127 C
HECK YOUR COPY. Always
double check the copy for errors,
then check it again. Then have
someone else check it.
128 C
OLLECT INSPIRATION. Books,
digital screenshots and JPEGs,
magazine clippings—for when you
need an idea.
129 M
USIC AND SPACE. It helps to
have good music to work to. Also, the
space you work in has to be conducive
to your creativity.
130 K
NOWLEDGE. Nobody really
knows what they’re doing (especially
you). So don’t be afraid to ask for
help and to try something else.
Carlos Tarrats 57
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