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After a happy childhood
playing in the streets
of Damascus, Jihad
grew up observing and
absorbing thousands of
years of accumulated
culture. His infatuation
with art began when
he watched his father
copying masterpieces
by Van Gogh, Claude
Monet, Pierre-Auguste
Renoir, and Alfred Sisley.
At the age of eleven his
art school submitted
one of his pieces for a
competition, and to his
surprise he was picked
as one of the top 200
young artists in the
world. His interests in
visual communication
developed going through
freshman year in college.
Jihad has won several
competitions and honors
including the Trustee
Scholarship and the
Rockport International
Industrial Design student
competition for two
consecutive years. His
work experience includes
companies in Syria,
Dubai, Saudi Arabia,
and the US including
J.A.M.P.tv, Yellow Hits,
and EA games.
Jihad Lahham
www.jihadlahham.com
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431 LET THE BEAUTY OF THE TYPEFACE SHOW.
Don’t kill it with too many treatments. Good
typefaces have been immaculately developed
and designed to look good on their own on a
white page, so some minimal treatment might
not be a bad idea, but that has to really be
minimal, otherwise it would compromise the
integrity of the typeface. Keep in mind every
case has an exception, but stay faithful to the
spirit of the text.
432 S
HOW, DON’T TELL. In this technological
age people tend not to read as much as they
used too. Designers have to make reading
a much more pleasurable experience by
providing as many visuals as possible. I
would take that a step further by replacing
textual context with visuals as long as
it doesn’t compromise the clarity of the
information.
433 C
ONTRAST AND RHYTHM CREATE INTEREST.
Contrast dark with bright, loud with quiet,
fast with slow, complex with simple, etc. The
rhythm of the contrast is very important. It
constitutes the order in which the design
elements create visual play without creating
anxiety for the viewer.
434 L
ET THE RESEARCH LEAD YOUR CREATIVITY,
AND DON’T LET YOUR CREATIVITY LEAD YOUR RESEARCH.
The worst mistake designers make is to
formulate preconceived ideas as soon as
they read the brief. These limit design to
the predictable. Inspiration comes from
everywhere, and that’s why it’s highly
recommendable to research fi rst and to
make this research as broad as possible.
Idea making starts after having researched
everything about the subject, product, and
campaign.
150 1,000 Ideas by 100 Graphic Designers
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435 READ, READ, READ. And by reading I
don’t mean just design books, I mean any
kind of reading. What comes out of our heads
is nothing but a result of what we put in it.
Reading enriches our imagination and makes
our ideation process far more sophisticated.
436 L
ISTEN TO MUSIC WHILE WORKING. Music
is one of the greatest inspirations that
designers use. Besides getting inspired,
music reduces the sense of design’s heavy,
slow pace. Consequently it allows us to stay
for a longer time working on a project. I
prefer a slow beat when I’m working. It’s
important to still be able to think as you
work, loud music can get distracting.
437 E
XHAUST YOUR OPTIONS. We always
tend to fall back on what we know, repeating
ourselves over and over. The best work
comes usually after throwing out the fi rst ten
attempts. Usually those are the ten solutions
that you have experimented with in the
past and they are safe. Reach beyond your
comfort zone.
438 D
ESIGNER’S BLOCK HAPPENS VERY OFTEN
AND YOU SHOULDN’T LET IT STOP YOU. The best work
comes after major blocks. The best way to
deal with designer’s block is to step away
from the computer and do something else.
I personally think that reading helps a lot,
I completely stop thinking about my project
when I read. On the other hand every time
I step away from my block and read, I fi nd
something in my reading that inspires me and
solves my problem.
439 “D
ON’T TRY TO BE ORIGINAL, JUST TRY
TO BE GOOD” (PAUL RAND). As depressing as
it sounds, everything has been done, so
don’t try to make it original, just try to make
it good. If you happen to come up with
something original as you’re going through
your process, it will all be added value.
440
God is in the details. Details are
what set the good designer apart
from the incredible designer. Well-
composed artwork will make a strong
impression. The subtle details draw
the viewer closer, maintaining viewer
curiosity Details are very much like
spices: you can’t really taste them
on their own when used in food, but
once they’re missing, the recipe loses
its fl avor.
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441 BALANCE. Keeping centered is
everything. At every stage of the design
process ask yourself if the choices you
made and make are in balance with the rest.
A strong and winning design is the result
of perfectly balanced ingredients, just like
cooking.
442 S
TORYTELLING. Start with a
story. What story do you want to tell, to
what audience? The design is a logical
consequence of this story, not the other way
around.
443 I
NSPIRATION. Seek it everywhere
and always. One source is copying, a
thousand sources is inspiration. Your
search for inspiration needs to have insane
proportions.
444 I
DEA. Share them—they are not
yours anyway. An idea is a sum of parts,
you’re only the collector, the composer of
these parts.
445 C
OLLABORATE. One plus one is
three, the outcome is bigger than the sum
of the parts. By collaborating you will see
new shades, new ways of thinking, new
directions and together you will create new
destinations.
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450
Write down your goals—what do
you want to achieve in one year, in
fi ve and in ten years. You can’t reach
your destination without a proper
direction plan.
446 VISIBILITY. The web has endless
possibilities to promote your work, share
your thoughts and create a world you want
to work and live in.
447 R
ELEVANT. Make it relevant. To make
a bottle black to give it a premium feel is
easy, but it will not work when the story
behind it is missing. Always ask yourself and
your client: “Why?”
448 L
OVE. Do the things you love or
create love for the things you do. Don’t
accept jobs where you will not learn
something you can use to reach your goals.
It’s better to do the worst job in the best
place, than the best job in the worst place.
449 C
ELEBRATE. Celebrate the things
you do, see it as a gift and be curious with
all your senses to what may come. And be
thankful to your network, they have brought
you there. The future is yours!
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