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Tom Crawshaw
www.tomcrawshaw.co.uk
A UK graphic designer
working primarily
in print with a main
focus on identity and
branding, Tom is in love
with logos, typography,
greyboard, books, and
the smell of fresh litho
print. His approach is
to always begin with an
idea, even if this can
take many forms, be
it in the way a design
looks aesthetically, what
materials are used,
or how the production
and manufacture is
applied. It is often
apparent in his work
that a simple approach
is far more powerful in
communicating the core
message. Tom tends to
strip away anything that
is unnecessary, much like
a process of distillation
and refinement. His
latest projects include:
invites and wedding
stationery for Jane &
Dean Watts, a poster
for The National Autistic
Society, and identity for
the band Molly Makes
Mistakes.
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891 RESEARCH AS MUCH AS POSSIBLE
INTO THE SUBJECT YOU ARE DESIGNING FOR.
The more information, no matter
how general or subject-related, will
ultimately give you better scope for
developing ideas.
892 I
N THE DESIGN PROCESS, THE
IDEA DOESN’T ALWAYS HAVE TO BE AN OVERT
CONCEPT-DRIVEN SOLUTION. For example,
using a relevant or unique material,
or perhaps a printing method can
form the basis of an idea.
893 I
T’S ALWAYS BETTER TO HAVE FUN
WHEN BEGINNING THE DESIGN PROCESS. If
you’re not enjoying it, this will be
apparent in the work and the quality
will suffer.
894 K
EEP UP TO SPEED WITH WHAT
IS CURRENT. The wealth of design-
based blogs is a great way to get
regular bursts of inspiration and also
keep you informed of what’s new in
the design world be it typography,
photography, 3D & moving image,
web design, packaging, editorial,
architecture, illustration, and more.
895
EXPERIMENT WITH PRINTING
TECHNIQUES AND FINISHES. It’s always
more interesting to employ a different
process and this can help emphasize
a concept or add an extra dimension
to the project. Unfortunately, this will
almost always have an impact on cost.
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896 IT ISN’T ALWAYS BENEFICIAL
TO COME UP WITH LOTS OF INITIAL IDEAS
ON A PROJECT. If a great idea comes
along, present it to the client. If they
like it then you may well have saved
everyone a lot of time and money.
If not, work on some alternatives,
taking into account any feedback. This
approach doesn’t work for every client
but can often be a great way to build a
good relationship and instill trust.
897 G
ET OTHER PEOPLE TO LOOK AT
YOUR WORK. If you’ve spent a long
time working on something, you
often become immersed to the point
where you cannot spot mistakes or
weaker aspects of a design. Letting
others see the work will give you an
alternative perspective.
898 W
HEN PUTTING TOGETHER A
PORTFOLIO, HAVE IT IN AS MANY FORMATS
AS POSSIBLE. It is always good to
have a printed version to mail out to
prospective clients or employees, as
well as a PDF version. In addition,
having printed portfolio boards are a
good way to show many aspects of a
project. My personal portfolio for use
in meetings is A3-sized but I wouldn’t
recommend anything bigger.
899 T
RY AND SKETCH IDEAS FIRST.
Time can sometimes be a problem but
if you have it, working through ideas
on paper fi rst always helps. Drawing
type is another good habit to get into,
as it helps you to understand the
detail of letterforms.
900
B
RAND YOURSELF. It is always good
to treat yourself as the client and
design a branding package for
yourself. It’s one of the hardest
things to do but if you can’t do it
for yourself, then any prospective
clients or employees will not have
great confi dence that you can do it
for them.
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901 For me, being a good writer
has been more important than being
a good designer.
902 Question all design decisions.
Why that pattern? Why that font?
903 To pass on a quote I read
from typographer Donald Young:
“Don’t wait for inspiration, get
to work!” (himself quoting Twyla
Thorpe).
904 The only way to fi nd out is to
do it.
905 Take drawing classes, and
draw regularly.
290 1,000 Ideas by 100 Graphic Designers
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906 Your creative voice will
evolve from your natural interests
and intuition, but you have to be
patient and make lots of stuff you
don’t like too much along the way.
There’s no shortcut.
907 As a designer, typography
and design history are the two most
important subjects you will ever
study.
908 Control your inner critic:
turn it off when you need to fi nd
ideas; turn it on when you start
applying your ideas and refi ning
concepts.
909 Experiment with typeface
pairings. Lately, my favorite combo is
Neutraface by House Industries with
Archer, by Hoeffl er Frere-Jones. It is
recommendable to avoid handwritten
style fonts.
910
Surround yourself with
creative people. When I
was alone in my creative
pursuits, someone told me to
start having breakfast with
similar-minded people as me.
This became one of the most
important things I did to set
me off on my creative journey.
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