Hi Dave, long time no speak! How are things?
Lovely to see you, Liam. Where would you like to start?
Can you introduce yourself and tell me about your background?
Sure, no problem. I’m Dave Coates, a freelance brand designer and hands-on creative. I work with a range of creative agencies across London alongside my own clients, with whom I work directly on projects.
If we’re starting at the beginning, I was born in Africa before moving to Sutton Coldfield on the outskirts of Birmingham when I was about two years old. That’s where my love of Aston Villa comes from. When I was about 10, we then moved down to the South Coast between Winchester and Southampton, so I moved about a bit when I was younger.
I was always aware of brands, particularly sports brands, through a love of football, rugby and basketball from an early age. Similarly, music had a significant influence on me growing up, and the usual CD covers, tour posters, and T-shirts were always a great source of inspiration and exposure to Graphic design, as well as type and typography.
After A-levels, I completed a Foundation course at Winchester School of Art, where I gravitated towards the graphic design side of things. I then secured a place at Kingston University to study for a BA (Hons) in Graphic Design. I loved living in the Kingston area — and I still do! It’s close enough to London to get in and out without being right in the centre of things all of the time.
In those days, Typography was a module and through formal exercises and ‘briefs’ it was taught on the course, which I guess my interest in the intricacies and the craft of typography stemmed from. Having successfully completed the ISTD students briefs at Kingston, I’ve come full circle in teaching and running the ISTD briefs a visiting lecturer, which is nice and freelancing has allowed me the time to explore design in different avenues and pathways.
In a sideline voluntary role, I serve as a director and past Chair of the International Society of Typographic Designers (ISTD), and I continue to oversee some of the behind-the-scenes secretariat work, as well as the Society’s Membership programme.
I believe I first met you through ISTD, almost 20 years ago. Can you tell me more about ISTD?
ISTD is run by and for typographers, designers and educators who are committed to raising the bar and inspiring a love for all forms of typography. In addition to talks and events, we set student briefs each year, which become part of the curriculum for universities and institutions worldwide. I’ve also given talks and run typography workshops as a visiting lecturer.
It was through the ISTD briefs and assessments at Kingston University that I landed my first job. We had a visiting lecturer Pete Dawson, who you know well, that I got on well with and he worked at a small agency called 400. After graduating, Pete and 400 offered me a placement, which led to my first job as a designer with them and Paul Dennis, who has since taken over the business. I worked in a very small team and remain great friends with them to this day.
Have you designed many typefaces?
Over the years, I’ve designed numerous brand identities, creating many logos and bespoke typographic workmarks — some of which have evolved into typefaces.
Funnily enough, an idea that came from a recent project has snowballed into a typeface, and I’ve roped in Stu De Rozario, a proper typographer friend of mine, to help. He’s ex-Font Smith and has taken over Foundry Types with esteemed designer David Quay. Together, we’re working on a typeface that’s in the very early stages, but we’re bouncing ideas off each other and seeing where it goes. It’s great fun and isn’t too taxing, so we’ll see what happens. Watch this space!
What’s been your biggest challenge?
Apart from a Glasweigan wife, a sassy daughter who’s 8 going on 18 and a loopy spaniel with a gland problem, you mean?
As a creative, yes…
Gotcha… as a freelancer, one of my biggest challenges is juggling work and family life. It’s a battle to find continuous work. In our line of work, it can be peaks and troughs in that you have really busy periods and then quieter spells. The trick is to try to keep on an even keel with a succession of work and projects lined up one after another, but that’s easier said than done!
That said, working from home has enabled me to be on hand for ‘Daddy duties’. I like doing the school run and story time, and generally being around a bit more than perhaps I would have been previously. I’m not keen on the term, but having that work/life balance is important to me. It’s particularly important to try and find time for yourself, doing something completely different, outside of design, like running or going to the gym, as you do yourself.
I find, as a freelancer working on my own projects, that I have to cover many roles. One moment you’re a Creative Director, the next you’re a new business person, a finance person chasing payments and invoices, as well as doing the admin and business side, in effect running a small business.
So I’ve had to learn a lot and adapt to the business side of things. I suppose it has been healthy for me and weirdly enjoyable learning and doing tax returns, for example, which I did for years myself to get to grips with the process. I like to know what’s coming in and out of the business. Now that I’m comfortable with it all, I’ve realised that it’s money well spent to pay an accountant to do that for you, so I can concentrate on doing the work. Again, it’s all part of the learning and growing process.
Dealing with clients on my own can be challenging. It’s not always easy to navigate client expectations without a team around you. It’s our job to add value by solving big, often complex business problems, so being able to navigate a solution, backed by sound thinking, a watertight strategy, and rationale, really only comes with experience. It can be challenging to deliver all of that on your own.
Day-to-day challenges at agencies vary from the usual tight deadlines, ropey briefs or client curveballs. Freelancers are often brought in when teams are up against it and need extra resource quickly to turn things around, so there is always a bit of added pressure. However, on the whole, you work collaboratively with people you know who trust and appreciate you. Experience means you can add value by bringing something different and trying to make a job or project the best it can be.
Good or bad, it’s all experience. I’ve had my fair share of awful roles and placements! I’ve also worked at some great agencies, collaborating with talented people on award-winning projects, which has always been my dream scenario. The challenge is to maintain those high standards and exceed expectations, while building relationships with colleagues and clients, so you secure repeat work and enjoy it at the same time.
What principles underpin your work?
As we discussed earlier, working at the big agencies gave me insight into how they approach projects and pitches. It’s been very valuable to me. I’ve taken bits of learning and applied them to my own process in developing a definite ‘problem-solving approach’ to get to the root of the problem behind the brief, before I even think about designing.
Often, what a client thinks they want has been interpreted, so first and foremost, it’s about interrogating the brief, getting as much information and context as possible. That way I get a proper understanding and I’m able to ask the right questions in order to be able to approach a project in the smartest way.
In an ideal world, I’d have time and contact with the decision makers and stakeholders, but it isn’t always possible. ‘Clear communication’ is a key principle, with open conversations between members of the project or design teams I’m involved with, helping to steer and adjust as we go.
‘Collaboration’ is another principle. Whether it be working directly with a client or Creative Director, overseeing and working with younger designers, it’s clichéd but I definitely enjoy the ‘teamwork’ side of things. I love working with different characters and disciplines within an agency, as it makes it that much more enjoyable. That’s what I miss about working independently, so I try to link up with people as much as I can.
As a hands-on designer, ‘Creativity’ is obviously an important principle, too. Finding an insight that takes you down a creative path that perhaps wasn’t expected. Pushing an approach and idea, tweaking and refining it to be the best it can be within the parameters of the brief or brand’s expression.
What themes or ideas are valuable to you?
We touched on it earlier, but in pushing a design or project creatively, I always want it to be new, fresh and genuinely innovative. Again, it’s overused, and so many brands claim it as their values. However, having a unique perspective, standing out and being different is essential.
That ties into ‘Authenticity’ too. Speaking from firsthand experience, agencies, companies, and brands can be swayed by trends, and I can see right through it — and more importantly, customers or consumers can see right through it. So it’s about having the integrity and being genuine.
‘Courage’ is also a theme that resonates with me. Whether it’s a brand or agency having the courage to try something left-field, or personally having the courage to stand by my conviction in what I believe is the right approach. It takes some effort and often all of my powers of persuasion, but the result is usually far better. Being brave about your work can positively change your perception of yourself or your client’s brand in the process.
What brings you joy?
Tied into the previous answer on the work-front, the nature of the industry means I don’t get to do as much print these days. But I work with a paper company (with a mutual friend of ours Justin) and keep my hand in doing little bits and pieces, promoting their nice papers.
It was very quick football-related piece which I always love doing. But to get a nicely printed piece of work back, that looks great, the client (and friend in this case) is delighted with, turned around really quickly for an event that will be seen by many is particularly rewarding.
If all jobs were this easy, I’d be living the dream, rather than the sceptical and cantankerous stickler that I’m turning into!
How do you stay inspired?
Oooo, good question.
Ultimately, doing or seeing as many different things as possible. I try to get as much stimulus as I can, be it going to concerts or festivals, or galleries and films.
For me, post-COVID, and with a family and dog in the mix now, it’s about getting out as much as I can. It seems too simple, but it’s symptomatic of how my life has changed! I used to hate commuting, and still do to an extent. However, working from home can be very isolating and intense, with no clear boundary between work and home life. As a result, going into an office is something I now actually look forward to.
Being around people from all walks of life and backgrounds in a friendly, lively studio is great. Thursdays are usually social drinks, so it’s tactical to offset schlepping in on the train and home a bit later. But for me, it’s healthy and a small reward for working hard, especially when the ‘grind’ can feel like it at times.
I try to limit my doom-scrolling but an hour/hour and a half one train means I’ve picked up on all manner of podcasts, reading books/ebooks again and there I some useful and worthy content on socials.
How has studio culture changed during your career?
Covid obviously had a major effect, both bad and good I think.
Working remotely has become the norm, which I welcome. It gives me a lot more flexibility. Most agencies work a 3-day minimum, which I think is a good balance. It doesn’t kill a creative studio’s culture completely, and it gives enough trust and flexibility to the staff. It helps to mix things up and break the routine of the week.
I do quite a bit of writing and presentations, so being able to work from home, where it’s quiet, works for me. I can shut myself away and get my head down.
Every studio is different, but for me, being around people, working collaboratively, and catching up with others is incredibly important to our industry. It’s a huge part of what we do. Design doesn’t happen in a vacuum, so I feel you need to be around people. The social side of design is so important — the personalities, the banter and the fun we all have making things together. That only comes from seeing people in person.
Who’s doing phenomenal work right now.
Ooo, there are lots of nice, ‘up and coming’ and small agencies mixing it with the big boys, as it were. I’m not sure if you’ve signed up for the Pentagram newsletter, but a regular update to your inbox of the work they’ve put out that week is impressive.
On the type front, ‘Sawdust’ is a small company that consistently produces beautifully crafted yet boundary-pushing typography work.
I always like ‘Nomad’ for their sports-based work, and the founders, Stu Watson and Terry Stevens, are good guys. As much as I’m not keen on the promotion of sports betting, they’ve done the identity that appears on my team, Villa’s shirts. If you need a sponsor, at least it’s a nicely designed logo!
What advice would you give to someone at the start of their career?
As we touched on earlier, try to get as much stimulus as you can. Go to events and talks, tap up new and future colleagues, and get involved in as many things as you can. Get your name out there.
It’s important to have an opinion. You’ve not just been employed for your work abilities alone, but for your personality and what you bring to an agency or company.
Easier said than done, perhaps, but having a voice and an informed opinion, rather than being a wallflower builds confidence in yourself and in others that you’re up to it.
Speaking from a massive personal experience faux pas: Don’t eat anyone else’s lunch. Especially as a freelancer!
That still haunts me…
Thanks, Dave, that was great fun. Looking forward to catching up again soon.
Any time. Best of luck with your other interviews!
