Seldom do you meet a veteran graphic designer that’s done more than create stunning visuals. But Jeff Fisher has managed to maintain a highly successful career while positioning himself as an industry expert—and author.

Hailing from Oregon, this savvy designer has a knack for business development, promotion—and Friday’s off. Read on to find out the secrets to Jeff’s continuing achievements.

Kristen Fischer: Tell us a little about how you got started as a designer.
Jeff Fisher: As a kid I was always artistic—and the one told “you will never make a living as an artist.” Still, art was a major part of my early education and I got a great deal of support from teachers and others in the community. In 1974, as a senior in high school I saw Milton Glaser’s book Graphic Design at the public library and knew that is what I wanted to do for a living.

I went to college to study graphic design and detested the program offered through the Fine Arts School. A friend suggested taking the coursework taught by Roy Paul Nelson in the Journalism School. It involved publication design, advertising design, type design, and all of the requirements of the journalism program including copywriting, public relations and marketing classes.

When I got out of school in 1980 I had no intention of working independently. I wanted to work in a large design firm or advertising agency, but there were no jobs to be had. I spend a lot of time doing informational interviews and talking with anyone who would take the time. That investment in time and energy led to a lot referrals for contract design work.

KF: You’ve taken your expertise in design and gone above and beyond, turning into an industry expert. How’d you do it?
JF: A large part of that success is due to understanding the importance of marketing and promoting oneself. I come from a family of public relations professionals, so perhaps part of my success is genetic. I always sign off my press release with “If I don’t ‘toot! my own horn, no one else will!” and I think it is important for designers to understand that there is a difference between the bragging we were scolded about a kids and effective self-promotion efforts.

KF: Great point! Do you think that’s a vital step for designers?
JF: I don’t think it is vital for all designers to establish themselves as an “industry expert.” However, I do think they have an obligation to themselves to learn and understand as much as possible about the business of graphic design. Sharing that knowledge with those coming up in the industry helps define and maintain graphic design as a valid and healthy profession option.

KF: Again, your reach has gone beyond client work–and into books, too. What’s the gist behind Identity Crisis? Did you come up with all of the branding yourself? How did you find contributors for the book?
JF: In 2004, my first book The Savvy Designer’s Guide to Success was published. At the time it wasn’t really the book I wanted to write—but it was what I was asked to write. When I felt I was ready to take on another book project, I proposed writing a volume about the redesign of business and organization identities. I wanted to showcase the efforts of one-person design firms to major design entities, with projects from start-ups to major corporations. That proposal was approved by my publisher HOW Books and Identity Crisis! was the result.

I initially invited about 200 designers and firms to participate in the book (Crisis) project. Nearly 100 expressed interest in submitting case studies to the book. In the end about 60 firms actually made submissions to the book. My editor Amy Schell and I made the final selections as the book concept was altered from 100 case studies to the 50 included in the final volume.

My major contribution to the branding of the book was the addition of the exclamation point to the title. I wanted the book’s title on the spine to scream from shelves—and it does. HOW Books designer Grace Ring did an incredible job of designing the book cover and content.

With my first book project, author Ilise Benun told me that, even with access to the marketing department of a major publisher, an author is going to need to do a major portion of a book’s promotion themselves. I took what was created by the publisher and created my own marketing program for the book, including the Identity Crisis! blog. In doing so, I have created a very strong brand for the book itself. Designers, and book reviewers, are already suggesting that Identity Crisis! become a series of future books.

KF: Why do you think redesigning existing identities is so fundamental for designers, and what tips do you have when clients need this service?
BF: Designers are constantly facing the challenges of recreating, revamping or re-energizing existing business or organization identities. The process can be much more intense than creating a new business image from scratch. When taking on such a redesign effort, I always suggest that designers consider the historical aspects of the existing logo; give thought to the emotional attachment of owners, employees and the customer base; and determine if existing design elements are appropriate to include in the new identity as part of a seemingly natural design evolution. The first thing I usually say to a designer about such projects is “Never tell your client their logo sucks.” If you make that statement you can be assured that the logo was created by the client, their spouse, their child, or the kid next door—and your potential business relationship with that client is already damaged.

KF: So, when it comes to designing logos, what do you think are the biggest mistakes a designer can make?
JF: The vast majority of designers forget to incorporate basic design principles when creating logos. In many cases those designing logos have never been taught design basics and it shows in the final work. The most successful and memorable logos are most often the simplest designs. Many designers try to convey too much information in a logo design. I like designing images that make the viewer want to know more information about a business, organization or event.

I recently posted the following on a design forum:

The personal computer and the accompanying software programs have been incredibly detrimental to identity design over the past two decades. Anyone with a computer, Photoshop, Comic Sans and Papyrus, a clip art book, and someone willing to pay for work, now calls themselves a “professional logo designer.” The primary things missing are often talent, true design skills and an understanding of basic design principles.

Software “special effects” seldom add much to a logo design. Instead, distractions are created that get in the way of the message the logo needs to communicate.

Following design industry trends is another mistake made by many logo creators. By the time something is declared a trend it has usually already been seen too much. A logo making use of trends will soon be dated.

KF: You’ve gotten tons of awards in addition to positioning yourself as an industry expert. How can designers (and other freelancers in general) get out there and do the same?
JF: In 1995, I realized that most of my traditional paid advertising and marketing was ineffective. I decided to invest my money, time and energy into participating in respected industry design competitions. The awards, and publication in design annuals, provided worldwide exposure to my work and gave me the added bonus of opportunities to promote myself via press releases announcing the award news. There are many online resources, including my own bLog-oMotives, that publish international calls for entries for such competitions—and some charge no entry fees at all.

KF: You’re also featured in a slew of books. How did those opportunities come about?
JF: Exposure begets exposure. Publication in books results in requests for work examples to be included in additional books. Sending out press releases about one’s accomplishments brings about the publication of such information on websites and in magazines. That media coverage results in other writers and authors making contact for editorial content, quotes or illustrative submissions.

I also write a great deal myself. The journalism training I had in high school and college has been very helpful when writing articles, reviews, blogs, and books. My own writing then creates additional marketing and promotion opportunities. At some point, it all seems to take on a life of its own.

KF: Tell us how you feel about the jump from a creative career in design into publishing. How has this helped your business, and what has it done for you personally? How do you like the overall vibe of publishing?
JF: For me, there has not been a major “jump” from one to the other. As far back as high school, when I was designing and editing the high schools newspaper, my design and writing efforts have co-existed. Throughout my career I have written and designed ads, brochures and other materials. The progression into writing design articles seemed very natural to me. Writing books was just the next step in my career.

I truly enjoy writing, and the results have given much greater exposure to my design work. Incredible opportunities have come my way as a result. I appreciate the fact that I don’t have to choose one over the other. I assume that I will continue to do both for many years.

Publishing is a totally unique beast. Again, my marketing, promotion and public relation skills have come in very handy in regards to my books. Still, I think success in publishing requires the cultivation of successful, and valuable, personal and professional relationships. With publishing relationships going back only seven or eight years I suppose I’m still a newbie. Design relationships of over 20 years probably qualifies me as a design-o-saur.

KF: Because you have all this other stuff going on, in addition to your business, do you find that you spend less time with clients now? Are you more selective in choosing clients?
JF: After 30 years as a professional designer, I have reached a point where I can usually pick and choose clients. I get to take on projects that are truly of interest to me, rather than absolutely everything that comes my way.

I spend very little face-to-face time with clients. Most of my client projects are conducted almost entirely by email. Very little time is spent in client meetings with even local clients.

I also have no client contact at all on Fridays. My office hours are Monday through Thursday, 8:00 to 5:00. Fridays are usually spent on marketing efforts of doing work-related paper work.

KF: Brilliant idea. So who is your biggest source of inspiration?
JF: There really is no one “who.” Milton Glaser has always been the person who inspired me to be a designer. However, designers, artists, and writers in general provide me constant and varied inspiration. Having the support of my partner of 17.5 years, Ed, is a major source of inspiration.

My work inspiration seldom comes from sitting at my desk in my home-based studio. Pushing myself away from the computer and getting out in the world provides inspiration. Gardening, travel, time with my friends, reading everything I can get my hands on, and “creative field trips” to galleries, museums and great retail establishments all provide inspiration for my design efforts.

Kristen Fischer is a copywriter and author living in New Jersey. Check out more on her copywriting business at http://www.kristenfischer.com.