Name: Justin Parnell
Title: Brand Marketing Designer; Freelance Graphic & Web Designer
Location: Denver, CO
Tell us about your educational/professional background.
I graduated with a bachelor’s degree in Communications at Regis University here in Denver in 2006. My entire life I wanted to be a writer, so my primary focus throughout college was journalism and public relations. My sophomore year I took up an internship with Exclusive Resorts (ER) as a copywriter developing member and employee communication materials. Around the same time, I became editor-in-chief for the university’s newspaper, which kick-started my initial passion for design.
Despite having no technical training and education in graphic design, I jumped at an opportunity to become an in-house designer with Exclusive Resorts after graduating. Working in such a rapid-paced, young, and enthusiastic work environment, I actually doubted my decision for several months. One of my personal peeves is lacking tools and knowledge to do something, especially in a field I feel so passionate about. With the patience and critique of my two former design teammates, literature, blogs, and reverse engineering every ounce of creative I could get my hands on, I was quickly able to gain confidence in becoming a well-established designer.
Tell us about your current job.
I hardly consider what I do a job . . . or work, for that matter. Design really has become my hobby and just an extension of who I really am. I’m very fortunate to be one of two designers at Exclusive Resorts, working alongside a team of writers, managers, and strategists.
As an in-house designer at ER, I’d like to say I make a living from removing excessive spaces after a period. Aside from this mischief, I assist or lead the concept, design, and production of all prospect marketing, member communication, and employee communication. Much of this includes print and online advertising, sales collateral, product collateral, direct mail, e-mail marketing, and monthly newsletters.
When my fingers are not typesetting, coding, color correcting, or drawing in Adobe Creative Suite, they are leading the art direction on architectural photo shoots. The obvious gem of my company is the product itself—stunning luxury homes in some of the world’s greatest destinations. I’ve had the great honor of directing shoots at The Arrabelle in Vail, Colorado, the Fairmont Heritage Place at Ghirardelli Square in San Francisco, California, Ho’olei in Wailea, Maui, and The Ritz-Carlton Club and Residences in Kapalua Bay, Maui alongside truly remarkable photographers, Eric Jamison of Studio J and Tony Novak-Clifford.
What does a typical day look like for you?
Despite normally being allergic to routine, I’ve basically had the same morning tradition ever since I was a little kid. I cannot leave my place without eating breakfast and consuming as much news as possible. I absolutely love getting ink on my fingers while flipping through the paper and having CNN on in the background. During my bus commute (yes, I’m one of those people . . . and love it), Pandora, Last.fm, NPR, or one of my several favorite bands become my morning soundtrack while I’m reading the New York Times, RSS feed, or Twitter on the iPhone.
Like most designers, I get most of my work done before and after hours. That doesn’t mean I’m a morning person though—it takes a solid cup of coffee from any place that doesn’t begin with “Star” and end with “bucks” to really get me going.
Since I work in a rather unique and unconventional work atmosphere, I really don’t have a set schedule of what my day looks like. Aside from the occasional project status meetings and creative kickoffs, I immediately dive into my project queue. Often times I reserve my mornings to tweak or scratch a project because I thought of a new layout or type treatment overnight that’s scribbled into my Moleskine or noted in my phone.
Exclusive Resorts (ER) is often like a hospital’s emergency room—very fast paced with several components moving in many different directions. Working there for almost six years, I’ve learned to adjust and appreciate the spectacle. In a weird way, the energy is actually quite addicting. Since art is so subjective and everyone wants to get their hands on it and critique it, I have a lot of direct contact with the executive team and those normally not involved in the creative world. At the end of the day, I love producing pieces that are showcases of everyone’s personalities and hard work—it’s all a team effort. It would be completely selfish to say that I’m a designer only for myself. (Though never pin me as a pushover—my work is like my children.)
After the in-house gig, I typically head to my favorite coffeehouse to freelance. Much of my projects include creating a complete brand package (logos, business cards, web design, stationary, brand guidelines) for various clients. On a rare night off, I’m out exploring Denver’s and Boulder’s increasingly growing dining and art scenes; reading the New York Times, books, blogs, or magazines; watching the Yankees, Mad Men, Arrested Development, 30 Rock, It’s Always Sunny in Philadelphia, or Top Chef; or working on several personal side design projects.
What kinds of documents do you produce?
In a word: everything. From decals for golf carts in Grand Cayman to ads for magazines. Somewhere between these extremes, I’ve worked on direct mail campaigns for a number of partners like American Express and Marquis Jet and high-end collateral pieces for new products my company is launching. My company also produces newsletters for three difference audiences: prospective clients, members, and employees—all of which I handle on the design front. Over the past couple of years, I’ve seen my job shift dramatically from print over to web. Without the luxury of having a web developer, I taught myself web design and how to code in order to translate much of our normal print materials into the online world.
What communication skills are needed for your job?
I was granted large ears, not only because I’m from a boisterous Italian family, but because I love to listen and soak in as much information as possible. Without a doubt, listening is one the most critical components in being a designer. Tuning in to what my colleagues and clients have to say about a particular project has strengthened my approach to design.
Sometimes as designers we’re too focused on trying to pass “Go” and collect our $200 without taking the time to shift our paradigms as being well-rounded business thinkers. We tend to only collaborate with people who are experts in our creative field, but it’s only when we open ourselves to those outside our walls that we evolve as mature designers. It’s often too difficult, I find, to then sell your concepts to a client if you have sheltered yourself throughout the process.
How did you prepare for your job?
When I first got into design, I was very anxious. Largely taking on projects that were way over my skill level and never saying no to any opportunities. Despite feeling extremely under qualified, I thoroughly enjoyed the thrill and challenge of diving head first into design by simply just “playing around” in InDesign, Illustrator, and Photoshop. Basically I was like a child sitting in the cockpit of a jet wondering what every button does. The permanent student in me was constantly researching design techniques, reverse engineering projects that were created before me, and studying every type treatment and layout in magazines, catalogues, and newspapers. To be honest, I’m still that eager little kid.
List three of your favorite professional resources/references/tools and tell us why they’re your favorite.
Smashing Magazine: An incredible free resource for web professionals. This site has been become my new Bible for information and inspiration since entering the web design and programming world.
The Type Studio: A few years ago I attended one of their Gourmet Typography workshops in New York. I attribute my healthy addiction to type to this one particular workshop and blog. The Type Studio really taught me that the best design lies in the finest of details, even if it’s in the kerning. Seems like elementary advice to most in my field, but this workshop provides you new set of eyeballs to really see the difference between seamless and broken design.
Magazines: These are my textbooks. It really doesn’t matter if they are necessarily creative magazines (i.e. HOW, Print, etc.), I’m constantly studying their elements. Magazines are the finest showcases of photography, storytelling, typography, and layouts. The Departures, GQ, Vanity Fair, Architectural Digest, GOOD magazines of the world have spreads that are basically works of art that entice people to cut them out because there is a seamless harmony between all the design components.
How do you stay up to date in your field?
Twitter has been my key outlet into the design community. Having so much information thrown at me in a constant stream has really opened me up to reading more blogs than I can handle. It’s actually a nice problem and luxury to have. I’m also constantly tuning in to the Behance Network, HOW, Print, Design Observer, AIGA, New York Times, and GOOD to stay on top of the latest insights in my profession.
How would you define professional writing?
Professional writing is precise, well-groomed communication that understands its audience, but provokes thought and discussion.
Do you have any tips to share with other professional writers/editors/designers?
Despite your experience level, you should maintain a level of anxiety. Anxiety is too often translated as unorganized and unconfident in business, but I’ve always viewed it as severe bleeding of passion. This passion will force you to remain invaluable by never saying no to projects or the smallest of tasks. It will also leave you hungry for ideas and make you want to keep learning.
Tags: branding, freelance, graphic design, In the Workplace, marketing