What is the best way to describe the style and type of work your company is recognised for?
We try our best not to have a style – but address every project as requiring its own approach. Despite this noble intention, reoccurring elements emerge which, over time, became a unconscious signature of the studio. We’re too close to the process to accurately describe these characteristics. As a broad statement, the desirable virtues in our work is a care for detail, a passion for the field and an awareness of the social and cultural position of graphic design and typography within a wider community.
Why did you choose the current location for your design studio?
We’re on the top floor of a beautiful old (1908) emporium in Brunswick (10 minutes out of the city). Its huge arched windows offer a view as far as the Dandenong Mountains. Here in Brunswick we sense the same vibe that Flinders Lane had in the mid 1990s – a feeling of change, community and above all, diversity. There’s also a great choice of coffee and food. And nearly every one of those saw-tooth factories we see from our office is in fact full of artist studios.
Do you expect a certain level of education from an employee?
An undergraduate qualification is a minimum. We tend to employ designers who have a few years under their belts and have travelled and generally lived a life. They’re a lot more relaxed and comfortable in their own skin. Personality is a massive part of the criteria for employment – after all, often more time is spent with colleagues than one’s own family.
What are the key elements you look for when interviewing prospective employees?
A broad exposure to life. A good sense of humour and a sense of a life outside of graphic design.
What attributes and abilities do you think makes an outstanding designer?
Passion along with the attributes listed in the last answer. Smiling on the way to work in the morning.
What do you do as a designer to develop and increase your creativity and skills while working in the industry?
Try to work on things outside of the industry. That brings clarity. Exposure to change. Avoiding formulas.
Do you having any tips for removing creative block?
Go for a swim or a walk. Somewhere where there’s no type (yes, I know that’s getting harder).
How important is it to be able to discuss you work and ideas with others?
It’s important and it’s a process that has taken a while to develop within a small studio.
How do you balance attention to detail with meeting the deadline?
Being hyper-organised (thankfully this is a personality trait along with a typical ‘graphic designer control-freak’ aspect in there as well).
What type of projects do you enjoy working on the most?
The ones where there is a mutual respect and things don’t have to be said (like a good relationship). It’s not necessarily the ones that offer ‘artistic freedom’.
What does an average day/week look like for you in terms of hours, tasks, meetings etc?
Meetings are kept to a minimum. Time is split between the studio and academic commitments. We often work on about 10-15 projects at once (plus Character and our typo-merchandise). That might sound a lot but they are all at different stages – some awaiting approval, some active etc. There is a stupid old myth that you have to work really late and nearly kill yourselves to be successful. This martyrdom is silly if not dangerous for those who would believe it. You just need to be organised. People who work here leave at 5.30 pm on the dot. I work a little later doing planning for the next day. A life outside graphic design brings great richness to your work.
How many people are currently employed? What are the majority of positions?
That depends on what’s going on. The studio is a bit like an accordian – going from highly compressed to extreme expansion. We do have a core of people who are here from project to project. Sarah Findlay takes care of studio management. We intentionally run a small operation. It’s a lot more fun and allows us to do our own projects as well as the ones that pay us money.
How did the name Letterbox evolve?
Although we do a range of design work, our emphasis (and primary passion) is type. The name Letterbox is derived from two basic ideas – Letter being what we do whilst the entire name Letterbox comes from the fact that I’ve always been intrigued by how Australians express themselves through their domestic letterboxes. And after a few years the name sticks and the rest, as they say, is history.
What are the things about Letterbox that you classify as Australian design?
We are way too close to our own operations to see these things. Maybe it is best left for others to see these things.
What is it about typography that you find intriguing?
Its intrinsic connection with language – and through this to culture. Its multiplicity. The capacity for fine-tuning to say exactly the right thing in exactly the right tone.
And from the studio’s perspective, what makes good typography good?
Appropriateness is paramount. Terms like good and bad can be unhelpful as they presuppose that a font is bad by its very nature. Every font has a purpose and a role to play.
What are the management or work process systems like at Letterbox? (Management roles, the process that is taken throughout projects).
This is a very small studio so that is less demarcation between management and design roles. The designer always meets with the client to enable a direct communication. It also forces the designer to discuss the project in non-design terms (quite a skill). We work on a lot of projects at any one time (some client-led, others studio-led) and never work back late.
Where do you think graphic design will lead to in the near future?
We’re eternally optimistic about Australian design. Having practiced for nearly 20 years, we have seen it blossom and flourish. As Australian designers become more confident we will not be so obsessed with our ranking of ‘us vs them’. This is a very exciting time to be a designer – the cross-pollination of design is exciting and the revival of craft (just in time).
What is your favourite font?
It’s an unfair question really. Fonts are like children. We have to love them all no matter how ugly. Note to interviewers: Please do not ask this question.