NB studio interview

NB studio interview – alan dye and nick finney

designboom talks to alan dye and nick finney, creative directors of NB studio, which specializes in branding and communication.

DB: please could you tell us briefly about your backgrounds?
NB: we met at pentagram. although we worked with different partners, our chairs were back to back, so we started talking. we’d been at pentagram for 5 or 6 years, putting in late nights and giving the job everything. we started to realise that we could be putting all that effort into our own game, and on our own ideas. also, pentagram is the best finishing school in the design industry and it’s true – we couldn’t imagine where we’d go from there other than to set up by ourselves.

top image: london’s kerning – typographic map

london’s kerning – typographic map (detail)

DB: how did you came to work on the type of projects you do now?
NB: we’ve worked in lots of different sectors over the years, from the cultural sector to corporate b2b, retail and education. we’ve always worked hard to really understand our clients, and that’s allowed us to cultivate long term relationships with them. when you really immerse yourself in a sector you tend to be in a good position to attract more clients in the same sector. we’re proud that our client list is still as varied as it was at the start.

white pencil campaign for D&AD

DB: how many people work at NB studio?
NB: there’s 10 of us, plus whichever interns, freelancers and collaborators we have passing through the studio. we really enjoy having a mix of experience and disciplines in the studio, not just designers.

DB: how do you share / divide your workload between studio members?
NB: we’re lucky to have a team with a really varied skillset, so often we start a project with a clear idea that x or y would be perfect to work on it. we’re an open plan studio however, and one of the best things about us as a studio is that everyone shares idea, offers a solution, or sits down as a team to solve a problem together.

knopka branding – packaging

knopka branding – mobile site

DB: how would you describe your work to someone who hasn’t seen it before?
NB: we’ve started to think about what we do – how we approach design – rather than what the end result looks like. this little film might be the best way to describe it:

DB: what is the attraction of designing identities for you?
NB: it’s fantastic to have the opportunity to meet a client and go through the whole process of building their identity with them, from the ground up. it tends to be more rewarding and effective than coming in at a later stage in the process. that’s not to say working on existing brands is not enjoyable, it’s just exciting when you can get involved with the ‘what if?’ stage of forming an identity.

‘get to know more cards’ for the more partnership (illustrated by ryan todd)

‘get to know more cards’ for the more partnership

DB: are you able to finalize an identity much quicker than you used to, or does it remain a matter of trial and error?
NB: we spend more time on what we tend to call the ‘wonder’ stage now – the getting to know what makes the client tick, what’s the latest thing in their industry, what’s the next big thing they haven’t even thought of yet. it’s more rigorous, and means when we hit the designing stage, things can move quicker. it does still take a lot of hard work to make something look effortless however.

stamps for royal mail – to celebrate 150 years of the london underground

DB: what mistakes or ‘traps’ should a young designer avoid when working on an identity system?
NB: ‘don’t call it an identity system’ – think bigger, ask bigger questions, really push to understand the client’s needs. it’s not just a set of boring guidelines, it’s about inspiring people. it’s important to remember not to design it for yourself. remember your audience. don’t overcomplicate things. and finally, don’t forget the ‘idea’ – if an ‘identity’ has a hook, something to leverage, it’s easier for the audience to engage with.

chivas regal packaging

DB: what are your thoughts on specialisation vs generalisation?
NB: we like to think that we specialise in diversity! but actually, what tends to happen is that we spend time specialising in thinking in a certain way – how to best work with charities, or for retail organisations etc. what we don’t have is a ‘packaging approach’ or ‘charity approach’ which clients seem to like. we cross-pollinate, and suggest things that an agency who are more specialised probably wouldn’t consider. in some ways being a bit more general is a blessing.

knoll – advertisment

knoll – promotional image

DB: do you think it’s important for a graphic designer to be able to draw?
NB: no. a designer needs to be visually creative, and to be able to see a picture in their mind’s eye. and recognise people who can really draw.

mothercare – packaging

‘a’ is for apple – poster for blanka

DB: how do you think the popularity of online design resources have influenced the design being produced today?
NB: it’s made a huge difference. everything’s so accessible and immediate. we try to encourage our team to get away from their desks occasionally, to remember that google isn’t the only source of inspiration. we have a great library, and frequently go back to certain books time and again.

DB: besides design, what are you both passionate about and why?
NB: in some ways it’s the list of usual things – our families, music, film, travel.
the other way of looking at it is we’re both passionate about being interested in everything. because being open-minded feeds the beast called design, and you never know what’s going to keep you inspired.

self promotional ‘card-for-all-occasions’