It may be normal for every editor to be a bit nervous about what “design” is going to come up with, but it is my philosophy that the visual solution to EVERY story is IN the story the writers/editors provide.
Let me give you an example. The editor gave me “Zora Agheli / Rush Graphic story is ‘the evolutionary tale of mixing art and technology in print.’”
Staff for this issue was in three different states so we met via Zoom to brainstorm. There was lively discussion and multiple solutions, but the one we settled on was the idea of the owner photographed against a beautiful New York City skyline to establish context and personality.
Unfortunately when you ask someone to interrupt a busy life and pose for an environmental photo shoot, it is dicey.
On the day of, the City was having a color cold day with bad atmospherics. It happens. Fortunately we had an aggressive photographer (yay) who gave us options and great help from pre-press with color correction (yay) so that an alternative shot didn’t just work, it became the opening spread.
The photo that anchored the that spread caught my eye because of its visual drama. The next decision was to add a type solution as dramatic as the opening pose and the strong architecture in the background. Mirroring that, a judicious use of white space to bring real focus to some of the company’s work and the editor and I were well on the way to establishing the visuals for the story..
Editors and magazine staff depend on me to do the visuals and provide out of the box solutions but I’m always quick to remind them that without the story, there’s no design.
If you’re looking for a remote worker who can save you money over an in-house employee and is well practiced at being part of a distributed team, give me a call.