How to see like a designer: The hidden power of typography and logos | Jessica Hische

Jessica’s background (0s)

• People are often better at understanding the feelings and sensations that typography and logos give them than they give themselves credit for, as they constantly absorb patterns and information from the world around them (0s).
• Even non-designers can look at logos and identify when something is not quite right, even if they cannot name the issue (26s).
• A good exercise is to look at available fonts and ask oneself what feeling they evoke (39s).
• Jessica Hische is a design legend and a lettering artist specializing in typographical work for logos, film, books, and other commercial applications (1m2s).
• Her clients include notable companies such as Wes Anderson, the United States Postal Service, Apple, Nike, Tiffany and Company, the Gap, and Penguin Books (1m8s).
• Her work has been featured in design and illustration publications both in the US and internationally (1m17s).
• She has helped create logos for companies like Phil's Coffee, Eventbrite, and MailChimp (1m20s).
• Jessica Hische is also a best-selling children's book author (1m24s).
• Her work can be seen throughout the Bay Area, often without being recognized (1m28s).

The logo refresh process (1m32s)

• Jessica Hische is a master of custom typography, creating bespoke lettering pieces for various mediums, including film, television, book covers, and logos, offering her services to clients who don't have an in-house expert (2m42s).
• She works on logo refreshes and is known for her unique skill set, which allows her to provide professional services to clients who need typography expertise (3m2s).
• The Enterprise Ready conference is a one-day event in San Francisco that brings together product and engineering leaders to discuss the future of Enterprise SaaS, featuring speakers from companies like Open AI, Vanta, and Dropbox (3m18s).
• The conference covers topics such as advanced identity management, compliance, encryption, and logging, providing insights from industry leaders who have experience navigating the same challenges that attendees face (3m36s).
• One Schema, a podcast sponsor, has launched a new product called File Feeds, which allows product teams to import CSVs from tricky systems like ERPs, enabling customers to offer thousands of integrations without involving their engineering team (4m39s).
• File Feeds allows users to build an integration with any system in 15 minutes, as long as they can export a CSV to an SFTP folder, eliminating the need for hacks and workarounds (4m41s).
• The importance of integration reliability is highlighted, with a focus on preventing bad data from entering a system and immediately notifying teams of any incorrect data (5m13s).
• A built-in validation layer is used to stop bad data from entering the system, and one schema will notify teams immediately of any data that looks incorrect (5m22s).
• The conversation shifts to a discussion about logos and branding, with the mention of a refresh of a logo and brand for a newsletter and podcast (5m46s).
• The process of updating a logo and brand is explored, with the goal of providing an inside glimpse into the process and helping others understand when it might be right or not right for their own product or business (6m7s).
• The importance of a logo in generating internal and external excitement is discussed, as well as its role in setting the tone and vibe for a product or company (6m54s).
• The idea that a logo should give insight into what to expect from a product or company is emphasized, much like a book cover should give insight into the book's content (7m12s).
• The refresh work done by the designer is discussed, with the mention that many people start companies with limited budgets and may not want to spend venture money on a massive brand exploration (7m33s).
• The designer's contrarian approach to branding is highlighted, with the idea that sometimes a more minimal approach to branding is necessary, especially for companies that are still in the hiring process or trying to get early-stage engineers (7m57s).
• The importance of understanding the tech world and the needs of companies that may need to pivot is emphasized, with the designer's experience working with companies that have had to adapt to changes in the market or technology (8m16s).
• Investing heavily in a brand vision from the start can be a waste of money if the company needs to pivot, which is why it's beneficial to have a basic brand identity that can be improved upon later (8m36s).
• Many people need a basic brand identity to put on decks, holding pages, or other materials, and internal teams can handle this early work, but if the company becomes successful, they may not want to be locked into the initial design (8m50s).
• A designer can come in later to refine the existing brand identity, address concerns, and make utilitarian fixes, such as improving scalability or creating a good avatar version of the logo (9m13s).
• The goal of refining the brand identity is to grow it up and sophisticate it without losing the original elements that people got excited about (9m35s).
• Refining a brand identity can involve specific fixes, such as addressing issues that arise in certain contexts, or more general improvements to make the brand look more professional and polished (9m22s).

When to refresh your logo (9m45s)

• A sign that it's time to refresh or uplevel a logo is when a company is about to roll out a new version of its website or app, expanding its look and feel, (10m3s).
• Another indicator is when a company is about to physically invest money in printing materials, such as swag for new hires or conference materials, with its brand on it, (10m50s).
• Using a popular, widely available, or free font for a logo can make it easy for others to copy, which is a concern when a company becomes successful and others try to replicate its success, (11m10s).
• Having a custom logo or custom typography can help a company avoid being easily copied by others, as it makes it harder for competitors to trick customers into thinking they are the original company, (11m37s).
• A custom logo or typography can also help a company stand out and protect its brand identity, especially when it becomes successful and others try to follow in its footsteps, (11m41s).

High-level overview (11m45s)

• The process of a logo refresh involves figuring out the goals, which can range from making minor adjustments to completely overhauling the brand, and some clients may want the changes to be subtle so that customers don't notice them, while others may want to pivot the company to attract a different audience (12m3s).
• The scope of the project is determined in the first round, and it can be either close-in, focusing on minor adjustments, or broad, exploring new ideas and concepts (13m18s).
• The process involves narrowing down the scope as it progresses, and the designer may hand off files to clients to try in situ, which requires trust between the designer and the client (13m51s).
• Each round of the process addresses different aspects of the logo design, starting with capturing the overall look and gradually getting narrower and more detailed (14m18s).
• The designer may need to go back and forth between different options, and it's not uncommon for the client to change their mind or want to combine different elements, which is referred to as "frankensteining" options together (15m10s).
• The designer's role is to provide a menu of options and guide the client through the process, and the goal is to create a logo that meets the client's needs and goals (15m23s).
• Designers should be open to exploring different options and paths with clients, as it can help them understand what works best for their brand, and sometimes clients need to see something before they can let it go and move forward (16m1s).
• When working on logos, designers may encounter various goals and challenges, such as legibility issues, scaling problems, and the need to change the brand's vibe and feel (16m17s).
• Legibility is a crucial aspect of logo design, as it ensures that the logo can be easily read and recognized, especially for new companies or less recognizable brands (17m41s).
• Designers should test their logos with people who are not familiar with the design to identify potential issues, such as misreads or unintended meanings (16m38s).
• A specific example of a legibility issue is the redesign of Jenny's Ice Cream logo, where the original design had an apostrophe that made the word look like it said "penis" due to the way the letter "J" was drawn (17m9s).
• The goal of logo design is to create something that can be easily read and recognized at a glance, but it doesn't necessarily mean that the design has to be simple (17m36s).
• Building brand equity takes time, and until a brand becomes a household name, it's essential to prioritize legibility in logo design to ensure recognition and effectiveness (17m58s).

Approaching Lenny’s brand refresh (18m4s)

• The goal of rebranding was to maintain the existing fan base without drastically changing the brand's identity, ensuring it still feels the same after the rebranding process (18m17s).
• The original brand had a handwritten approach, so the aim was to create a refined version that feels handwritten and blends well with illustration, making it seem like all elements were created by the same hand (18m52s).
• Color was an essential aspect, as people's color stories are instantly recognizable, and keeping the color similar was crucial, while also trying different typography approaches (19m34s).
• The original Lenny's podcast type had a cut papery, off-kilter vibe, which was attempted to be captured with new, cleaner typography, using typeface Degular, which has a nice wonkiness to it (19m57s).
• The rebranding process involved working within the existing iconography, including microphones, marshmallows, and campfires, to create a more unified system (20m35s).
• The immediate uses of the logo, such as the podcast avatar, were a significant consideration, and the illustrative versions of the logo were more important than a basic letterhead esque logo (21m0s).
• The approach to rebranding was to start with the specific uses and expand, rather than starting simple and making it crazier, which is an interesting way to approach the process (21m31s).
• Designing brand assets, including logos, often involves considering various uses and applications, such as tote bags, to make the design feel real to clients, but in some cases, specific uses need to be explored early on, making the process slightly different (21m36s).
• When designing a logo, it's essential to balance detail and simplicity, ensuring the logo can shrink down without losing its illustrative feel, and avoiding a too-simple appearance when scaled up (22m12s).
• A designer's personal logo can be a subject of criticism, even from family members, and can serve as a motivator for change, as was the case with the designer's wife, who compared their logo to a clip-art fireplace (22m44s).
• A well-designed brand should have a cohesive feel, where all elements, including icons, logos, and typography, appear to have been created together, rather than being disparate elements (23m10s).
• Achieving a cohesive brand design is similar to cooking, where individual ingredients need to work together to create a harmonious dish, and a good designer can help turn a disjointed brand into a cohesive one (23m52s).
• Many clients have a disjointed brand, often referred to as "hot ham water," and a designer's role is to help them create a more cohesive and realistic brand identity (24m16s).

How to see like a designer (24m25s)

• Most people are not designers, but rather product managers, founders, engineers, and others who build products, and they often want to see the world through the eyes of a designer to understand the elements that make a logo or brand what it is and evoke certain feelings (24m26s).
• People are better at understanding the feelings and sensations that typography and logos give them than they give themselves credit for, as they are constantly absorbing patterns and information from their surroundings (25m12s).
• Even non-designers can recognize patterns and have an instinctive reaction to something that looks off or doesn't feel right, similar to spotting something moldy on a plate or noticing a safety issue (25m53s).
• A good exercise for non-designers is to look at different fonts and ask themselves what feeling each one evokes, writing down their initial reactions without overanalyzing (26m36s).
• By doing this exercise, people can start to see similarities between fonts that evoke certain feelings, such as calm or excitement, and begin to analyze the common characteristics of those fonts (27m0s).
• Anyone can develop this skill, regardless of their knowledge of typography language, by simply stopping to notice and ask themselves about the feelings evoked by different fonts and logos (27m36s).
• The key is to tap into the feeling evoked by a font or logo and then analyze the characteristics that contribute to that feeling (28m1s).
• Paying attention to typography and logos can provide valuable insights, as there is wisdom in understanding the elements that impact the way someone feels when looking at a logo, including spacing between letters, edges, color, and the width of letters (28m6s).
• The width of letters, weight, spacing, and detailed treatment of elements, such as whether they are hard and jagged or soft, can all impact the way someone feels when looking at a logo (28m23s).
• Adding a small amount of softness to a typeface, such as rounding the edges, can make it feel more vintage or softer, as it is perceived similarly to how it would be perceived if it were printed on paper (28m43s).
• The perception of typography can be influenced by past experiences, such as seeing printed materials that have bled into the paper, which can create a sense of softness and nostalgia (29m21s).
• Analyzing one's feelings and reactions to design elements can inform design decisions, as it can help identify why certain elements evoke specific emotions or reactions (29m34s).
• A useful exercise is to look at a large number of fonts, categorize them, and take notes on why certain fonts evoke certain feelings, which can help identify patterns and inspirations (30m52s).
• This exercise involves searching for fonts in a specific category, such as sans-serif or script, and then creating a folder of screenshots to categorize and analyze (31m2s).
• By examining and categorizing fonts, designers can identify why certain fonts feel feminine, masculine, aggressive, or evoke other emotions, and use this information to inform their design decisions (31m26s).
• Designers analyze competitors to understand the visual vibe of an industry and decide whether to lean into or avoid it to differentiate their brand (32m29s).
• Certain styles or elements can become associated with specific industries, making it essential to consider these stereotypes when designing a brand (32m10s).
• To see like a designer, it's crucial to notice the nuances in typography, such as the ways in which designers break rules to correct for optical tricks (34m15s).
• Geometric sans-serif fonts, for example, appear regular but often have subtle irregularities to achieve a perfect geometric look (34m24s).
• Examining lowercase letters can help analyze typography, as they require accommodating for weight and stroke combinations (35m2s).
• Designers with an engineering background may approach type design differently, often resulting in very regular and grid-based designs (33m46s).
• Understanding the balance between following rules and breaking them to correct for optical tricks is essential in typography (34m18s).
• Practicing typography analysis by typing out lowercase letters in a design tool like Figma can help develop a designer's eye (34m56s).
• The process of designing typography involves making intentional imperfections to create a perceived perfect design, such as adjusting the vertical stroke of a letter to compensate for the added weight of the bowl, which can make the letter appear uneven if not corrected (35m30s).
• This technique is more noticeable in heavier weight typography, where designers need to manage "inky moments" where strokes join together and subtract weight to prevent dark marks from forming (36m8s).
• Designers use various techniques to subtract weight, such as making the top of a letter narrower than the bottom, as seen in lowercase RS and NS, to correct for optical weight issues (36m23s).
• Recognizing these intentional imperfections can help identify whether someone is an expert in typography or just starting out (37m10s).
• An exercise to practice this skill is to open Figma, type a single letter in a large size, and draw vertical lines or circles to compare the size and weight of strokes where they join together and where they are vertical (37m21s).
• Even in typography meant to look rigid and geometric, there are often differences in the size and weight of strokes where they join together (37m48s).

Lenny’s new logo: where we landed (37m53s)

• The final logo design was chosen after exploring various paths, but ultimately, the simplest solution was considered the correct one, focusing on the fire asset (37m55s).
• Multiple versions of the logo were created, including ones with microphones and marshmallows, but the final design kept it simple and consistent across different scales (38m11s).
• The podcast logo initially included a microphone to differentiate it from the newsletter, but it was later removed and replaced with a fireplace and marshmallows (39m4s).
• The marshmallows were a versatile element that could be used in various ways, and it was a favorite among the team, including the speaker's wife (39m27s).
• Handwritten typography was explored, but it had limitations when it came to scalability and matching the line quality of the illustration (39m38s).
• The handwritten typography would have required creating a custom typeface to match it perfectly, which was a significant challenge (40m0s).
• Combining handwritten and block letter typography provided a broader visual vocabulary for the brand, making it easier to work with and create a cohesive brand system (40m11s).
• Having multiple typography options allowed for more flexibility and creativity in designing the brand, similar to having a varied wardrobe (40m29s).
• The blocky outlining typography provided an alternative to the handwritten one, offering more options for using the brand's visual elements (40m48s).
• Having too many assets can overcomplicate things, especially if there isn't a well-written brand book outlining how to use them, which can lead to assets being used incorrectly (41m6s).
• Smaller companies with creative control can be more playful with their assets and use them in different ways, depending on how much they trust the people handling the assets (41m31s).
• A 500-page brand book shouldn't be necessary to direct how a brand is used, and a logo should be designed to be easy to use, even for those who aren't extremely skilled designers (41m42s).
• The goal of designing a logo is to make it easy to use, so that anyone with some degree of taste can use it correctly without needing explicit instructions (42m4s).
• A well-designed logo should be able to teach people how to use it just by its existence, and people with taste should be able to intuitively know how to use it (42m26s).
• Merge is a company that helps with integrations, providing a single API that allows SaaS companies to launch over 200 product integrations in weeks, and is used by companies like Ramp, Drata, and Electric (43m16s).
• Merge provides access to customers' accounting data, file storage data, and HRIS data, and can also provide AI-ready data for SaaS products (43m31s).
• Merge offers a solution to organizations' integration dilemmas, and those who book and attend a meeting can receive a $50 Amazon gift card (43m52s).

Brand’s role in company success (44m7s)

• There are companies where brand is the main focus, and it's valid for them to prioritize it as it can be the key to their success, especially when they're not offering something innovative, but rather repackaging existing information in an accessible way (44m31s).
• However, for many companies, the brand should be somewhat invisible, allowing the product or service itself to be the main focus, and the experience of using it should be the priority (45m47s).
• The goal of a company can determine the role of brand in its overall strategy, whether it's about creating a delightful experience, making something simple and easy to use, or opening it up to a new audience (46m27s).
• Having an outside perspective, not being a tech person, but working with tech companies, can bring a unique value to companies, especially in the context of branding and design (46m47s).
• Not having a traditional background in tech or being friends with startup founders can actually be beneficial in providing a fresh perspective on how building companies works and how branding fits into that (47m15s).
• Being in a position to understand the tech industry without being directly involved in it can provide a valuable insight into how branding and design can be used effectively in that context (47m44s).
• In 2011, people in their late 20s, such as those who were 28 or 29 years old, were considered old compared to others at Facebook, who were mostly 23 or 24 years old (47m55s).
• This age difference allowed them to meet people in the Bay Area who were around their age and were starting companies, providing a unique perspective on branching out on their own, fundraising, and experimenting with new ideas (48m10s).
• This experience has given them a sympathetic understanding of what it's like for founders to build a brand with limited resources, and they believe that founders should not spend a large portion of their budget on branding, such as $200,000 for a brand exploration (48m55s).
• Despite this, they acknowledge that branding can be important and can be approached as a partnership between the founder and someone else, such as a fractional leader or consultant who can provide expertise on a part-time or project basis (49m21s).
• The concept of fractional leadership, which involves bringing in experts as needed, is not yet common in their field, but they believe it should be more present, especially for companies that don't need internal brand teams in their early stages (49m32s).
• Many companies don't have internal comms or brand teams until they are very mature, and the idea of bringing in external experts as needed could be beneficial for companies that don't grow significantly in their first six months to a year (49m37s).

Jessica’s flexible pricing strategies and collaborative design process (50m4s)

• The pricing process for branding work is often treated as a buyout, where the client owns all the assets created during the process, making each round of work more expensive. (50m42s)
• A different approach is to treat branding work like a commercial lettering project, where the client only pays to own the final chosen work, keeping the creative process lighter and less expensive. (51m14s)
• This approach allows for more flexibility and room to explore different options, and if changes are needed, the client only pays for the final chosen work, not all the previous iterations. (51m24s)
• The pricing process can be scaled to fit the client's needs and budget, and sometimes involves collaborating with internal teams or external agencies. (51m54s)
• The goal is to be an asset to the client and their team, rather than stepping on their toes or taking over the work, and to make them feel as bought in as possible. (52m58s)
• This approach can sometimes lead to being told that the pricing is too inexpensive, but it allows for a more flexible and collaborative process. (53m17s)
• The cost of hiring a professional for logo design and branding can vary, with some projects ranging from $25,000 to $35,000, although it's possible to hire an expert for less if they're brought in as a consultant (53m21s).
• When working on a logo refresh, it's essential to understand what's not working about the current logo and what the goals are, which can be achieved by taking a step back and asking broad questions (54m10s).
• To identify the issues with a logo, it's recommended to spend a couple of days thinking about what bothers you about it, without getting specific about details like typography or colors (54m27s).
• It's crucial to address the big picture before focusing on minutia, as getting bogged down in details can prevent you from identifying the overall problem (54m43s).
• When working with a designer, it's helpful to understand the overall reason for the logo refresh, not just the specific issues that bother you, to ensure the designer can create a solution that meets your needs (55m24s).
• Sometimes, having a vague feeling that a logo could be better is enough to start the process of rebranding, and it's possible to work with a designer to identify the issues and create a new solution (55m40s).
• Having a clear vision and vibe for your brand can be beneficial when working with a designer, but having terrible vision can also be an asset, as it allows you to look at your brand with blurred eyes and get a sense of the overall look and feel (56m22s).
• When looking at a brand, blurring one's eyes can help reveal a clear cohesiveness to it, making it easier to identify areas that need improvement to achieve a more consistent and professional look (56m53s).
• By stepping back and examining the brand as a whole, rather than focusing on specific details, it's possible to identify a clear direction and make adjustments to achieve a more polished appearance (56m47s).
• The process of refining a brand's visual identity can be exciting, especially when the new design starts to come together, making it difficult to look at the old logo anymore (57m5s).

Balancing multiple creative projects (57m14s)

• A studio in Downtown Oakland serves as a workspace, with the top floor being the office and the bottom floor divided into a workshop for print making and a brick and mortar store called Jessica Hische & Friends (JH&F) (57m35s).
• The workshop allows for manual and analog processes to be incorporated into work, which is important for the creative process (57m47s).
• The store provides a physical connection to work, allowing people to understand the story behind the designs and creations, making them more meaningful and lasting (58m12s).
• The goal is to create work that is imbued with story and meaning, making it difficult to discard, similar to personal objects that hold sentimental value (59m31s).
• The store also sells prints and other creations, providing a physical connection to work beyond just typography and logo refreshes (1h0m0s).
• Children's books are another creative outlet, focusing on repackaging lessons learned in therapy into a format that kids can appreciate and enjoy (1h0m10s).
• Working on diverse projects helps avoid burnout, as it allows for different parts of the brain to be used and provides excitement about different things at different times (1h0m50s).
• The store, Jessica Hische & Friends, can be found by searching for "JH&F" on Google Maps, and a second store called "Drawing" is also available, focused on art supplies (1h1m10s).
• Children's books can be found by searching for the author's last name on book sellers' websites (1h1m40s).

Using AI in creative work (1h1m48s)

• The current time frame of AI development is seen as a novelty, which may have a negative impact on certain creative fields like illustration, but it is believed that AI will eventually become a useful tool in various fields (1h2m36s).
• AI was integrated into the creative process for a project with Salesforce, where custom lettering was created and then run through Stable Diffusion to generate instances of the lettering in different styles (1h2m51s).
• The use of AI in the creative process can be helpful in generating sketches and ideas, but it is not seen as a replacement for the more hands-on, production-oriented aspects of the work (1h5m0s).
• AI tools like Claude and ChatGBT are useful for tasks such as brainstorming and generating lists of words and concepts, which can be helpful in the early stages of a project (1h5m15s).
• The use of AI can be beneficial in freeing up time for high-level thinking and concept development, but it is also important to maintain a balance between AI-generated work and hands-on, creative work (1h3m50s).
• The creative process is seen as a holistic approach that involves both high-level thinking and hands-on production, and AI is not seen as a replacement for the more therapeutic and Zen aspects of the work (1h4m44s).
• AI can be used to generate ideas and explore different directions in a project, but it is ultimately up to the creator to cherry-pick and refine the ideas that feel right (1h5m40s).

Upcoming projects and final thoughts (1h5m50s)

• A new kids book titled "My First Book of Fancy Letters" is set to be released in October, which is an alphabet book with a new spin, featuring letters drawn in different styles to represent the words they sound like (1h5m58s).
• The book is designed for children who can recognize letters but cannot read or write yet, aiming to encourage imagination and creativity in kids as they start to understand letter sounds and recognize letters (1h6m22s).
• Each letter in the book is drawn to represent the word it sounds like, allowing kids to think about other words that start with the same letter sound and encouraging them to become "over-the-shoulder art directors" (1h6m41s).
• The book is available for pre-order now and will be released on October 22nd, with the goal of making learning fun and engaging for young children (1h7m18s).
• The idea for the book was developed over time, with the author's own children serving as inspiration, although they may not be as excited about the book as other families who have written to the author about how much they enjoy it (1h7m22s).
• As a parent, the author notes that kids often don't want to buy or appreciate things that their parents are selling, which can make the experience of creating a children's book bittersweet (1h8m3s).

Lightning round (1h8m24s)

• Recommended books include Rick Rubin's creativity book, which is considered a good "pet cleanser" for artists and creatives, providing both high-level and actionable advice (1h8m34s).
• "Inside Paragraphs" by Cyrus Highsmith is another recommended book for learning about typography, as it is small, digestible, and well-illustrated (1h9m2s).
• Patty Smith's "Just Kids" is also recommended, as it provides an interesting story of being an artist and making art, despite having nothing (1h9m36s).
• "The Emperor of All Maladies" is a wild card recommendation, which is a fascinating read about human biology (1h10m28s).
• To manage time effectively, it's essential to be ruthless about scheduling, especially as a parent, and stay focused while working (1h10m48s).
• Bouncing back and forth between projects can help stay motivated, as it allows for a change of pace and prevents burnout (1h11m3s).
• Having multiple projects to work on can be beneficial, as it provides an opportunity to switch to something fresh when losing steam (1h11m12s).
• Having a day job and a night job that are different from each other can make it feel like doing two separate shifts, rather than one long shift, which can help prevent burnout (1h11m45s).
• Having a diverse range of interests and passions can help maintain enthusiasm and prevent burnout, as a homogeneous life and career can lead to faster burnout (1h12m3s).
• A favorite TV show is "Sance," with the second season coming out, which is highly anticipated (1h12m32s).
• A recently discovered favorite product is a pen cup from the Japanese brand Penco, which resembles a crumpled paper bag and is made of ceramic (1h12m51s).
• The product is appreciated for its unique design, which takes an existing object and gives it a new form, making it delightful (1h12m51s).
• A favorite life motto is "Hope is a discipline" by Maram Cabba, which emphasizes the importance of choosing to create positivity and having a practice around being hopeful and positive (1h14m14s).
• This quote resonates with the idea that everything in life is a choice, and understanding that one has power in framing things is crucial (1h14m57s).
• The quote inspires agency and reminds individuals that they have the power to choose their perspective, rather than feeling like a victim (1h15m17s).
• The ability to recontextualize and reframe situations helps in dealing with hardship, and this skill can be developed through intuition justification, which involves understanding why things happen and the paths they can take forward (1h15m36s).
• Trusting someone with their own perspective and design approach is crucial, and it's essential to appreciate their vision and not micromanage them, as this is why they were hired in the first place (1h16m35s).
• When working with experts, such as architects, it's essential to provide parameters and let them decide what works best based on their expertise (1h17m35s).
• Being decisive and understanding that there are multiple good answers to every question can help in making decisions quickly and efficiently (1h18m12s).
• Recognizing one's strengths and weaknesses is vital, and being aware of one's decision-making style can help in navigating different situations (1h18m16s).
• The ability to make quick decisions can permeate through various aspects of life, including work, and can be beneficial in tasks such as logo work and typography (1h18m48s).
• Typography offers endless possibilities, and being able to make quick decisions can be an asset in this field (1h18m56s).
• The key to effective design is understanding that there are multiple valid paths to achieve a goal, and it's essential to identify the most intuitive and correct way to proceed, rather than trying to perfect every detail (1h18m57s).
• Recognizing that nothing is ever 100% perfect and that the last 0.2% of perfection can be a significant time sink, it's crucial to understand that "nearly perfect" can be good enough and a freeing concept (1h19m29s).
• Jessica Hische can be found online through her website, jessicahische.is, which she occasionally updates, and she is also active on Instagram and Threads (1h20m7s).
• Listeners can be useful to Jessica by considering her services for logo refreshes, as her work is well-suited for the audience of smart and awesome founders who value beautiful logos but also understand the importance of getting a viable option out the door quickly (1h20m44s).
• Jessica's contact information includes her website and email, hello@jessicahische.com, making it easy for potential clients to reach out to her (1h20m38s).