That moment sparked a lifelong obsession with advertising—and a journey that would eventually take him down the halls of BBDO, where he now serves as SVP and creative director.

We caught up with Matthew to talk about lessons learned, the power of simplicity, and why creative bravery is still the secret sauce.

STILLS: You started as a copywriter and are now a creative director at a large agency. Walk us through your journey to BBDO.

Matthew Low: I knew I wanted to work in advertising when I was 10.

Before every sports season, I’d head to Sports Authority to pick out new gear—always curious why I was drawn to one pair of cleats over another.

That’s when I first experienced the power of advertising and how words, colors, pictures, and taglines could sway a decision.

RELATED READS: The Power of Images: Behind the Scenes of &Walsh’s Iconic Campaigns

In my senior year of high school, I interned for a contractor in my town, learning how to build homes and problem-solve on the fly. A year later, I enrolled at Syracuse University, majoring in Creative Advertising at Newhouse and minoring in Sports Management.

After graduation, I used my portfolio to land an internship at BBDO. I’ve been here ever since.

What are some of the things you learned as a copywriter that help you in your role as SVP and creative director?

Matthew Low: Ten years in, a few lessons stand out:

• Simplify. If you can’t explain your idea in a tweet, it’s probably too complicated.
• Let go. Great ideas die. Learn to fight for them, but also know when to move on.
• Don’t be a jerk. This job is hard enough; no one wants to work with an asshole. 
• Surround yourself with smart people. Advertising is a team sport. If you try doing it alone, you’ll burn out, and the work will suffer. 
• Touch grass. Sometimes, the best ideas come when you step away. 
• Bad ideas are part of the process.  I try hard to judge people by their best ideas, not their worst ones.
• Use culture and trending topics as inspiration: Some of the best ideas are simple responses to what’s happening around us.  

Talk to us about your creative process. How do you go from brief to brainstorm and then to the finished deliverable?

Matthew Low: Everyone has their process—it’s what made me fall in love with this industry. There’s no single playbook.

Some creatives think better at a desk.

Some prefer to grab a drink at a bar.

Some people are better in the morning, while others are better at concepting at night.

The secret is finding what works for you.

For me, I like to write down my initial thoughts right after the briefing, then step away. I’ll work on another project, go to the gym, maybe watch a movie, or even go for a good dinner. The moment I disconnect is usually when the ideas start flowing, so I’ll use the notes app on my iPhone, which syncs to my laptop.

The next day, I revisit everything with fresh eyes. Some ideas hold up, others don’t. I repeat that a few times, as the best ideas rise to the top. 

Once the concepting phase is over, I prefer to bring clients in early. Collaboration is so important to making great work, and I find that ideas get better when a client can help mold them with us. 

RELATED READS: Leta Sobierajski on Creative Influence and Collaboration

You’ve worked with iconic brands with storied histories. How do you balance maintaining a brand’s legacy with pushing creative boundaries?

Matthew Low: I recently sat on a panel for the Clios, where I discussed building brands that are timeless and timely. 

At BBDO, we work with some of the world’s most iconic brands. The pressure is real, but so is the opportunity to ensure their continued cultural relevance. Our focus is on big ideas. When you unlock a brand’s real human truth, it becomes easy to maintain its iconic legacy while pushing it into new boundaries.  

Sure, helping our clients understand the latest tech will continue to be important. But landing a big creative platform gives us permission to work fast, play into relevant trends, and take risks. If anything, the trust we have built with our longstanding clients is what allows us to push boundaries and present ideas that make them a bit uncomfortable.  

As the great Virgil Abloh once said, “It’s important your brand speaks to the purists—and the tourists.”

Of course, you need to make sure your most loyal fans (purists) continue to love you, but our goal every day is to attract new customers (tourists) by pushing creative boundaries and maintaining relevancy. 

RELATED READS: Beyond Aesthetics: How Joe Diver Balances Vision with Brand Legacy

How do you navigate the balance between creative work and business strategy?

Matthew Low: I’m a strong believer that if the creative output doesn’t solve a business problem, it’s not worth pursuing. Creative agencies often get a bad rap because clients feel that we are ultimately selling ideas to win awards. At BBDO, everything starts with a business problem. 

I also just completed the CLIMB (credential in leadership, impact, and management in business) program at Harvard Business School, where I learned about business and finance to complement the right side of my brain. 

RELATED READS: How Photos Can Communicate Your Message

What I learned has been super helpful in finding a healthy balance between my most creative ideas and the most pressing business issues.

What are the essential elements for creating impactful and memorable campaigns?

Matthew Low: The first is a big idea based on a real human truth or what’s happening in culture. Then, it’s looking in the mirror and being honest with yourself about whether people will actually care about your work.

Will it stop their scroll?

Will it grab their attention?

Will people want to share your idea in a group chat?

The next essential element is knowing who you’re talking to, how you want to reach them, and what you want to say. 

Only once you’ve done the above can you begin to think about execution. If you have complicated visuals, make sure what you’re saying is simple. If what you’re saying is complicated, make sure your visuals are simple.

One of my favorite quotes is “the best advertising ideas are simple in concept but extremely difficult in execution.”

RELATED READS: Award-Winning CD David Stevanov on Building Great Campaigns

Are there any industry changes that excite you? Are there any that concern you?

Matthew Low: The ones that excite me are also the ones that scare me. Generative AI is currently the industry’s new baby. Unfortunately, we often get blinded by the shiny new tools in the room instead of sticking to what we do best: conceptualizing big ideas that break through culture. 

I’m less interested in our clients being the first to use a new tool (Generative AI, NFTs, Metaverse, etc), and more interested in doing something great and unforgettable—even if that means being 4th or 5th to market. 

What recent project are you most proud of? What contributed to its success?

Matthew Low: I recently worked on a Pepsi campaign where we helped people sneak Pepsi into the fast food chains that don’t serve it. Coke has secured big contracts with McDonald’s, Burger King, and Wendy’s, so we hijacked their intellectual property and recreated the logos on their iconic cups to feature Pepsi logos so that we could prove Pepsi makes their burgers taste better. 

The majority of the success goes to our brave clients who agreed to take a risk and do something this bold. 

How do you see your role evolving in the next few years, and what are your goals moving forward?

Matthew Low: I hope to continue climbing the ranks at BBDO. For 10 years, this place has been my home. I’ve been challenged, given great opportunities, and had big at-bats with some of the most iconic brands in the world.

I hope to continue creating great work, building client relationships, and leading teams to make the best work of their career under my guidance.  

What advice would you give aspiring creative directors looking to work at an agency like BBDO?

Matthew Low: Buckle up. Our industry is hard. We work endless hours and have demanding clients. But there is nothing more rewarding than being at a bar with your friends and watching something you poured your blood, sweat, and tears into show up on TV. 

What do you like about Stills? Why would you recommend it as a resource for brands and designers?

Matthew Low: Words on a page can only do so much. When presenting, it’s just as important to have visuals that paint a picture for clients. The collection that Stills brings is premium and really nuanced so that you can find almost exactly what you’re looking for.

With the rise of AI and MidJourney, it’s also easier than ever for people to generate images on their own, so having a company like Stills is really important to continue giving real photographers a voice. 

RELATED READS: Dani Hunt on Cracking the Code to Commercial Success

Stills Selections from Matthew Low

The post Why BBDO’s Matthew Low Believes Simplicity Makes Big Ideas Stick appeared first on Stills Blog.

Read her interview to learn more about her design process, where she finds inspiration, and her go-to strategy for overcoming creative burnout.

Stills: What is your design process like? How has it changed as you’ve evolved in your career?

Amy Pearson: My process has expanded and evolved hugely over the years and continues to do so with every project, but no two will ever be exactly the same.

For SUN MOTHER, it always begins with deep strategy work, which is the bedrock of most successful client projects. Strategy work allows you to narrow in on your vision, the client’s vision, and what the audience needs without being distracted by the million new thoughts and ideas we creatives can get during a project.

I also start by sketching before I get to the screen. Even if I think I know what I want to do, sketching it out helps me process options before I get stuck in the Illustrator vortex.

RELATED READS: Designer Q&A: Samantha Glassman’s Creative Process

Where do you look for inspiration?

Amy Pearson: I’ll admit I do the standard internet scroll—usually Behance, Type Wolf, and Onepagelove.

I also spend a lot of time sourcing inspiration from outside the screen. I love retro matchboxes, posters, and album art, and I’m a huge type nerd. I’m always looking for or noticing type. I like taking photos of packaging at the supermarket, finding old book covers and records at op shops, and noticing design work in movies.

I live in the bush, so I’m always looking at the color combos that nature offers. We have the most beautiful birds visiting us daily: blue fairy wrens, rosellas, black cockatoos, galahs, kookaburras, and king parrots. You don’t get that on Pinterest.

How do you get your head back in the game when feeling burnt out?

Amy Pearson: I’ve experienced severe burnout in my time, and as the owner of a home design studio, who also happens to be a mum of two, it’s the absolute worst. So now I have a few things in place to prevent this from happening. 

Firstly, I take on fewer projects. A higher price point means you can take on fewer clients and spend more time getting deep into one project at a time, which also means the best outcome for your clients. 

I also allow myself a lot of space for dreaming and curiosity. Curiosity and play are huge values of SUN MOTHER, and without the time to let your brain wander, process, and explore ideas, it’s really difficult to do good work, and you end up burning out. Creativity is not infinite, believe it or not; sometimes you hit a wall.

If you’re already burnt out, you need time and space away. You need to accept that the work won’t be good if you keep pushing on. Let yourself detach for a while; return to it when you’re refreshed. 

RELATED READS: Hayden Everitt on Creativity, Burnout, and Building a Unique Design Identity

What is your “secret weapon” when creating? How did you develop this skill?

Amy Pearson: My big vision ability and constant ideas. It can be a negative thing sometimes—when you’re getting a million exciting ideas at once. It can be tricky to pin down a single idea without getting distracted. But this is where strategy comes in.

I now pair my quickfire brain with strategy and structure, which allows me to hone in on my ideas clearly. My process of using the single-concept method has proven time and time again that it works.

RELATED READS: Dani Hunt on Cracking the Code to Commercial Success

What are some hurdles you had to overcome?

Amy Pearson: Charging too low, especially in the beginning. Learning how to manage client projects in the early days was tricky. Both things make for a pretty difficult business, and it’s tough when your kids also need you. It can feel like you’re being pulled in 20 directions at once, with everyone needing something from you.

But eventually, this calms down. You raise your prices, learn to manage people, and figure out how to magnetize your ideal clients. It’s all part of figuring out business and life!

What do you like about Stills? How is it a good resource for designers?

Amy Pearson: The quality of the images is unmatched. Fun fact: I’m actually a photographer, too. This was my career until I opened SUN MOTHER and returned to design.

So if anyone will appreciate stunning imagery for design work, it’s absolutely me, and Stills has nailed it!

The post Amy Pearson on Vision, Strategy, and Charging Your Worth appeared first on Stills Blog.

Stills: Tell us about your journey as a creative director and how you found your way to New York.

David Stevanov: I started my creative journey in Singapore, my second home. I finished college shortly after the 2008 financial crisis hit, but companies weren’t hiring.

I wanted to join Ogilvy Singapore, so I interned, hoping that I could be converted to full-time when they resumed hiring.

After a few months, I realized I couldn’t survive with an intern’s pay, but I didn’t want to let go of this opportunity.

A branding design company on another floor was looking for a junior designer.

I thought this could be a win-win solution because I could learn the craft of branding design while being close enough to check in on Ogilvy and pay the bills.

The opportunity at Ogilvy finally came 10 months later, and I’ve been in the adland since.

In 2017, it was the right time to move on to another country and a bigger market.

It became more urgent, as my wife became pregnant with our first child.

Now or never, I thought.

Luckily, the stars were aligned, and I had a great opportunity in Chicago.

We loved our time there and met so many wonderful people, most of whom I still keep in touch with today.

However, saying no to New York City was impossible when an opportunity came knocking in 2019.

We moved again and have been calling New York home since then because my wife made it clear that this would be the last move for at least a few years.

RELATED READS: Designer Q&A: Ethan Tran on Finding Your Path

You’ve worked with iconic brands like Samsung and McDonald’s. What unique challenges do you face when creating campaigns for such well-established companies?

The main challenges of working with iconic brands usually involve balancing the brand’s expectations and its audience.

I must be mindful and respectful when the brand has years or decades of history. I can’t just make some changes just because they’re trendy.

At the same time, the brand needs to evolve and be perceived as modern. So we have to figure out how to move the brand forward without taking away its soul.

Another challenge is because of their sheer scale: iconic brands command a vast and diverse audience.

Each member of their audience has varying levels of emotional attachment towards these brands.

The question is how can you come up with a big, all-encompassing campaign idea and yet still be engaging to each of their target audience. 

RELATED READS: Beyond Aesthetics: How Joe Diver Balances Vision with Brand Legacy

You achieved significant recognition early in your career, including the D&AD Yellow Pencil. What contributed to your rapid success?

At that time, Ogilvy Singapore had one of, if not the best, creative department in the region.

You could find some of the most accomplished creatives, so the standard was extremely high.

At that time, the Chief Creative Officer for Asia Pacific, Eugene Cheong, built a special place where creativity was encouraged and championed.

I was so fortunate to be surrounded by many great creatives I could learn from daily, but I had still to put in the work and the hours to keep up with everyone else.

I never dreamed one of my projects would pick up international acclaim, especially the D&AD Yellow Pencil. We’re talking about the D&AD Yellow Pencil.

I told some friends I could die happy if I won just one D&AD Yellow Pencil in my career.

Right after winning all these accolades, I learned one of the most important lessons in my career.

One of my mentors told me that all these accolades were great but consistency was more important in producing great work year after year because you wouldn’t want to be seen as a one-hit wonder.

This helped to keep me grounded, stay consistent, and never let any success get to my head.  

What have you learned from working with such a diverse range of clients, and how has that experience shaped your perspective as a creative director?

The diverse range of clients always helps bring in new perspectives and challenges.

In the long run, the diversity helped me widen my horizons and help me as a creative.

It’s also interesting that, after a while, some of the learnings I gathered from working on one brand would help me when working on another, completely unrelated brand. 

What are the essential elements for creating impactful and memorable campaigns?

A great campaign usually has these three combos:

Relevant human insight, a simple idea with tension, and a surprising and unexpected execution.

These three elements are interconnected, with human insight being the foundation.

Of course, this oversimplifies what makes an impactful and memorable campaign because each element will have some derivatives.

But if you hit all three, you’ll have a winner.

“A great campaign usually has these three combos: Relevant human insight, a simple idea with tension, and a surprising and unexpected execution.”

David Stevanov

Who are the biggest influences on your work in the creative industry?

In college, I always flipped through those award show annuals. The beautiful art direction and clever copywriting displayed through the pages mesmerized me.

I was lucky to spend my formative years learning firsthand from the masters of their crafts in art direction and copywriting.

There was this legendary creative director/art director named Eric Yeo. He was responsible for producing some of the most beautifully art-directed advertisements in the region, and I was lucky to have him as a mentor.

I remember I used to do 40-50 different layouts, and if I could get an “okay” from him for one layout, I’d be happy.

He would then demonstrate how to elevate these “okay” layouts to a few amazing ones within minutes.

The other person I’m lucky to call a mentor is Eugene Cheong, a legendary copywriter. He is one of the copywriters featured in D&AD’s The Copy Book.

I’m a visual person, but I was always amazed by great copy and how a string of words could move someone in a way that visuals could never do.

I could never write to save my life, but Eugene taught me about great copywriting.

Over the years, I learned about creative leadership from him.

RELATED READS: Gabby Lord on Fostering Creative Culture

How do you approach creative blocks or moments when inspiration feels elusive? 

Whenever I have any creative block, I read more.

I usually encounter creative blocks when I don’t have much information. So I’ll go back to the brief and re-read everything from the beginning, highlighting keywords and writing down thoughts or questions from the brief.

Most of the time, I discover some new things that I might have missed or didn’t previously pay too much attention to.

It may raise more questions because it opens new doors that may lead to a creative solution.

Then, I do a deep dive into the topic or issue at hand, trying to feed as much information as possible to the brain.

After that, I take a break and let my subconscious mind synthesize all of these. And hopefully, it sparks something. 

RELATED READS: Hayden Everitt on Creativity, Burnout, and Building a Unique Design Identity

How do you ensure that your creative concepts stay aligned with the strategic goals of a project or brand?

Collaboration is key, especially among the core team members.

I like having regular, informal check-ins with my team. I wouldn’t even call it a check-in because I walk over to them and ask what they think of our rough ideas.

This is helpful in more ways than one.

Not only can we ensure the creative ideas are on the right track, but they can also contribute to the ideation process so the ideas become richer and better.

RELATED READS: Leta Sobierajski on Creative Influence and Collaboration

What do you like about Stills? Why would you recommend it as a resource for brands/designers?

When working with other art directors and designers, I always emphasize visuals that elevate the page they’re on.

I can always go on Stills to find those images.

And with AI being all the rage, it’s even more important to recommend images that feel human to brands.

It’s something that you can find on every single image on Stills.

Explore a curated Board of David Stevanov’s favorite imagery—all available to license on Stills.

The post Award-Winning CD David Stevanov on Building Great Campaigns appeared first on Stills Blog.

In this exclusive interview, Hill delves into his creative process, shares his advice for aspiring designers, and discusses his thoughts on the role of stock imagery in the design industry.

Stills: How would you describe your design process?

Dan George Hill: I see it as a healthy mix of structure and flexibility as my approaches change between personal projects and client work.

For my projects, I prefer to let the work grow more organically, which helps take some pressure off the conceptual side of the design. I lean heavily on photography, using images as the piece’s foundation and building assets around them. I’ve always favored digital methods, and I usually dive right into editing without much, if any, brainstorming. I’ve discovered that experimenting digitally can often lead to surprising outcomes if you use the available features.

For my client work, everything starts with discussions and ideation before I open any software. Ensuring that our visions align is key to success in these projects, and staying transparent throughout the process is essential. A lot of successful client work comes from being open-minded. While a strong concept makes any design easier to develop, and I always strive for it before starting, happy accidents exist, and experimentation can lead to great results; you just need to be open enough to spot them.

Your unique design style is almost like a callback to the grunge aesthetics of the ‘90s. Where do you draw inspiration?

The grunge aesthetic brings a charm that can add character to almost anything. During my school years, I studied photography, which deepened my appreciation for architecture—especially in black and white, where you can focus on the details. You start to notice textures that give buildings their unique feel. That shaped my design approach, making me obsessed with structure, with grids, scale, and texture at the center. This naturally feeds into my love for editorial design, where those principles apply. I saw a project by Matt Wiley for The New York Times Magazine called “Life Above 800 Feet,” where the pages were rotated 90º to capture the full vertical scale of the print. It was like seeing all of my visual interests blended into one project, and I still use this project as a design reference, even 8 or so years later! I love how the grunge aesthetic lets you blend grit with beauty, and it’s become an essential part of my design style.

What advice would you give someone looking to develop their unique visual style?

This is a question I get a lot from newer designers or people just beginning to explore the graphic design field. I find it interesting because needing a “style” can be counterproductive—it often discourages people from starting. Before I began my 365-poster challenge, I struggled with this concept. I wasn’t sure where I wanted to go, what to create, or even where I fit in the design field. There’s a big push toward “finding your niche,” encouraging designers to stick to one format or style. While that can be helpful once you’re more experienced, when you’re just starting, the best thing you can do is simply create, create, create.

A “design style” isn’t something you actively work towards; instead, it’s the techniques and visual qualities you naturally return to and reuse. The 365-poster challenge was pivotal in cementing my style because I designed every day, experimented with new techniques, and explored fresh ideas. As you try different approaches, you start noticing what you enjoy and what becomes integral to most of your work. To sum it up, my advice is to do something daily without pressuring yourself to produce high-quality results. Just try new things—your skills will develop faster than you’d think, and you’ll naturally discover what works for you and doesn’t.

How do you approach the initial brainstorming phase when working on a new design?

When designing for clients, I tend to take a more comprehensive approach—moodboards, images, associated visuals, discussions, etc. I try to understand the vision and work towards this end goal. I offer solutions along the way, be open to feedback, and try to keep my mind open.

In my personal work, I often take the opposite angle. I let the design lead me, making it more of a subconscious exercise. Photography plays a crucial part in my work, and many of my pieces are created around the images themselves, with very little, if any, brainstorming. I like letting the ideas lead themselves, as it can often test my design skills and adaptability.

How do you collaborate with clients?

Collaboration is crucial in any design process; honesty is always the key to making it work well. When clients come in with a fixed idea, there are times when you know it can be improved, and it’s important to be open about that and find a way to present those improvements in a way that resonates with them. It’s easy to deliver what’s asked of you, but fulfillment comes from knowing you’ve created the best possible outcome. I strive further toward this idea with each project.

Are there any design tools you’d recommend for a new designer?

Instagram is a great start. Pinterest as well. Gather heaps of creative inspiration and ideas, and start to play around with your ideas. Google Fonts/Adobe Fonts are great for new typefaces. 

How do you break out of a creative rut?

A key for me is taking the time to recharge. Working as a freelancer, it’s very easy to get caught up in your work at all times, and it can be a struggle to disconnect, especially in the later hours, for some annoying reason. I’ve played video games since I was younger, and they’re my go-to to help me forget about work for a while. Taking some time to go outside always helps, and if it’s a bigger creative rut, I’ll take some time to look through some of my older work. It seems to spark some motivation to see how much your eye for design can change over periods.

What do you like about Stills? How is it a good resource for designers?

Stock imagery is always a struggle in the design space, as visuals need to be specific to cater to what you need–there are endless options, but you never seem to hit the right ones. Stills targets this issue. There is such an emphasis on luxury imagery and a huge range of filtering options to find your ideal visuals. The search categories are incredibly helpful, as they take the pressure away from searching for the perfect ‘prompt,’ opening you up to a broader range of options.

The post Dan George Hill on Disrupting Your Own Creative Process appeared first on Stills Blog.

Read his interview below to learn more about his design process, how he beats creative burnout, and why he considers Stills to be a top resource for designers.

Stills: What is your design process like, and how has it evolved?

Hayden Everitt: When I started, it was pure chaos. I would throw every idea I could think of at the wall and see what worked. I’ve never enjoyed being trapped in a certain style or medium. I’m always looking for a new avenue to explore.

My design process is a lot more structured now, but it still has that little pinch of chaos which makes it exciting for me.

I have clients whose work is completely organized, and I work through proper research and development stages with fancy-style books and graphic packages. I also have clients who don’t know what they want—they just like my style and want smaller graphic pieces that are more disorganized and casual.

The most fun I have is with my Instagram. Every time I go into making a poster, I already know exactly what I want. My brain comes up with a poster idea, and it’s all I can think about until it’s made, which is great because I love being in the flow of creating.

There are downsides, though—especially after it’s been 8-12 hours and I realize I should probably drink some water and touch some grass. So, I’d say I have a process where structure and disorder work in an odd harmony.

Where do you look for inspiration?

Hayden Everitt: Most of my inspiration comes from reading manga and old comic books. I think there’s such a treasure trove of design in them that people don’t truly appreciate.

The rest of my inspiration comes from Instagram. The whole reason I got into the graphic design industry is because @nicknortham’s posters inspired me. There are so many incredible creative minds and visionaries on that platform. It pushes me to try and be better.

We’re all so different, weird, and wonderful. But Instagram gives every one of us the chance to show our work to the world. It’s impossible not to find it inspiring. 

How do you get back in the game when feeling burnt out?

Hayden Everitt: The best way to realign myself is to go outside and meet people. Going to the local pub with some mates or going out and exploring completely recharges me. I wouldn’t be in this position without those around me who force me to go out when I’ve been designing at my desk all day.

Just getting out there, experiencing life more, and taking that pressure off can ensure I return to doing client work feeling refreshed and creatively fulfilled.

Even if they’re not creatives, people can open your mind to new ideas and versatile ways to create content. 

What is your “secret weapon” when creating, and how did you develop it?

Hayden Everitt: Putting myself and my identity into my work. Everyone is creative. So when I create, I try to put my essence into my work and create things that are truly unique to me.

Whether it’s through my texturing or composition, I try to make things that people look at and say, “Yeah, that’s Hayden’s.”

I really enjoy the style I create, but I don’t think it’s something I’ll keep for a long time. So when I do switch things up and try new things, I want to make sure that the visual identity I create is still a part of that.

Just create things that are unique to you and put your identity into your work.

What are some hurdles you had to overcome?

Hayden Everitt: The biggest hurdle I face is myself to be honest. When you’re in a sea of creators it’s difficult to feel as if you bring value to people, especially when my content is somewhat “faceless.”

When I started this, I wanted to reach and connect with people, and that’s still true to this day. My biggest fear is not being able to connect with people and just throwing work into the void.

Part of being a creative is knowing you’ll face imposter syndrome and that feeling of inadequacy. It’s something I’m working on and getting better with by the day. The saying that “you are your biggest critic” really is true!

What do you like about Stills? How is it a good resource for designers?

Hayden Everitt: The creative industries can often lack transparency and fair compensation. But the reason Stills caught my attention was that it does the opposite. Ensuring photographers are compensated and recognized is an important cause, especially when using their creative vision and imagery for your projects.

I also love the ability to find photos based on their hex color code, it’s a feature I never knew I needed until I tried it. It really is built with a crazy amount of love and care for the design community.

I’ve been keeping my eye on Stills since its launch last year. It’s now an essential platform for me to find high-quality visuals for my projects.

—

Explore a curated Board of Hayden’s favorite imagery—all immediately ready to license for your projects on Stills.

The post Hayden Everitt on Creativity, Burnout, and Building a Unique Design Identity appeared first on Stills Blog.

Read her exclusive interview below to learn more about her creative process, her secret weapon for conquering self-doubt, and how resources like Stills inspire her to keep creating.

Stills: What is your design process like, and how has it changed as you’ve evolved in your career?

Melina K: My approach to design varies depending on whether I’m working on personal passion projects or client commissions. Neither method is particularly elaborate. I rarely even sketch out ideas (at least not initially)! Typically, I jot down keywords, phrases, or visual concepts related to the main idea. When I’m feeling inspired, I often piece these elements together fairly quickly to create something that aligns with my vision. In the past, when design was just a hobby, I could afford to skip the brainstorming phase and dive straight into an empty Photoshop artboard. However, as I’ve evolved as a designer, I’ve learned to be more intentional in my creative process. I want to put out stuff that really matters to me.

Where do you look for inspiration?

Nature speaks volumes! It’s constantly changing, yet the beauty never fades. All we gotta do is open our eyes and take it in. When I really pay attention, inspiration can hit me from all sides: from the tiny details of a blooming flower to the hustle and bustle of wildlife. And those colors! But what gets me going is that feeling of peace and wonder you get from being out in nature. I’m lucky to have this awesome botanical garden just a short walk from my place. I feel refreshed and ready to get creative every time I go there. Bookstores and record stores are another great source of inspiration for me. I’m constantly snapping pictures left and right of covers for later inspiration.

How do you get your head back in the game when feeling burnt out?

Stepping away from the laptop works wonders for me about 99% of the time. There’s just something about breaking free from the familiar environment, the same position, the same chair, and staring at the same screen that requires a reset to get my creative juices flowing again. I’m fortunate enough to have the flexibility to take a day off or slow down to recharge whenever I feel a bit stressed. I make use of that opportunity to engage in activities other than work. However, I’m confident it’s a temporary phase, so I don’t beat myself up for taking a break. Usually, within a day or two, I’m refreshed and ready to dive back in.

What is your ‘secret weapon’ when creating? How did you develop this skill?

Paying no mind to rules and you-can’t-do-this and you-shouldn’t-do-thats as a graphic designer. There are tons of opinions flying around, but at the end of the day, I just want to create stuff that excites me! When I first started, I was way more uptight about it. I used to worry so much about what people would think of my work if they pointed out something I did that rubbed them the wrong way. But now, I just shrug off the opinions that don’t matter and do what feels right to my designer soul.

What are some hurdles you had to overcome that impacted you?

I’ve battled with a ton of self-doubt and imposter syndrome, and it’s still something I grapple with, though not as intensely as before. When I graduated from school, I didn’t think I had what it takes to pursue anything in design. But one day, I just said, “I’m gonna give this another shot.” Taking on my first design job took a lot of guts, and I had to believe in myself to make it happen. There were setbacks, but I’ve learned that progress beats perfection every time. Now, I’m all about moving forward and getting better. 

What do you like about Stills? How is it a good resource for designers?

Stills is awesome, especially when it comes to finding a specific image. That’s hands down my favorite feature about the platform: the color picker. It’s rare to stumble upon a bad image—I’ve lost count of the hours I’ve spent scrolling through the most aesthetically pleasing pictures and curating my Board. It’’s a game-changer for teams of designers, especially when it comes to pitching and creating mood boards, making the whole pre-production process that much more efficient.

The post Melina K on Finding Your Creative Flow appeared first on Stills Blog.

Stills: What is your design process like, and how has it changed as you’ve evolved in your career?

Dani Hunt: The strongest creative projects are backed by solid strategy and commercial intelligence. So, I always begin with a deep dive into that realm. Once that’s locked and loaded, my design process has a natural ebb and flow.

First, I collect massive volumes of visual inspiration and artfully distill that into a tight, original aesthetic (mood board). Next, I welcome a wave of creative exploration and experimentation and identify the strongest concepts to take forward. Finally, I push the leading concept to its limits and refine it into a polished creative outcome that excites and commercially delivers.

My design process has always followed a similar rhythm, but I move through it with more flow and assuredness these days. I know when I’ve struck creative gold and how to dress it for commercial success.

Where do you look for inspiration?

Keeping talented, creative folk in your sights and circle is a surefire source of motivation and inspiration. I also keep my eyes on a few creative haunts, specifically AIGA Eye On Design, The Brand Identity, Site Inspire, and Internet Gems. When a project demands ‘Inspiration, now!’ you can’t beat Dribble, Pinterest, or Savee.

How do you get your head back in the game when feeling burnt out?

Rest is the ultimate cure for burnout. When the creative juices aren’t flowing, stepping back (with confidence in your creative skill set) is key. It’s also completely incompatible with early parenthood and an inefficient use of the precious pocket of time you’ve managed to extract from the day. So, a quick tea break and a blast of Aussie hip-hop while the kettle boils is my current go-to. Music is the ultimate mood-lifter and never fails to reset a funk. Some sensible, ‘grown-up’ decisions should follow at bedtime.

What is your ‘secret weapon’ when creating? How did you develop this skill?

Clients seek me out because I’ve cracked the code for merging creativity with commercial success. This is my superpower: my ability to create an engaging piece of design that performs powerfully in a commercial setting. I froth on the intersection of design and commerce and adore packaging projects. I’m a very practical and methodical person, and print media takes no prisoners. If your product doesn’t scan correctly or meet local labeling standards, you risk being booted from the shelf. Each project has brought more knowledge and expertise in this realm.

Looking back, what are some hurdles you had to overcome that impacted you? 

Having kids has been a doozy! In a former life, I would sink into the creative process and luxuriate in the freedom to emerge at a point of neat resolution. Throw a small human (or two) into the mix, and it calls for a completely different way of working. Your windows of time are more disjointed and prized. I’ve learned to work in a different (and far more efficient) way… to switch my creative brain on and off in an instant, work in bite-sized chunks, and use those ‘in-between’ moments when I’m with my kids to simmer on a concept or idea. I’ve milked 40-minute naps to their full potential and sketched logos on misty shower screens. Capacity is stretched by parenthood, but creativity never wanes.

What do you like about Stills? How is it a good resource for designers?

The minute you load the page, Stills feels different. The layout and the high-quality images tell you you’re in good company among peers. The greatest difference (in terms of the photographic content) is the emotive interplay of light and shadow. Photography’s role in design is to bring warmth, realness, and texture, and the Stills collection effortlessly delivers. In an AI landscape, this is crucial.

The post Dani Hunt on Cracking the Code to Commercial Success appeared first on Stills Blog.

Read his exclusive interview below to learn how his creative approach has evolved over the years, what’s inspiring him lately, and why he recommends Stills as a top resource for designers.

Stills: What is your design process like? 

Charley Pangus: My design process is pretty chaotic and sometimes unorganized. My work relies heavily on imagery and photo manipulation, so I often start by blending images through various compositing techniques using adjustment layers, layer masking, and more. I always wanted my designs to have some dimensionality, so I try to avoid anything that looks too flat. 

I achieve this by adding shadows and highlights to my work to sell that depth of field. Depending on the composition, this process can take me a few hours or more. At the point where I’m happy with my competition, it’s not over yet. I still have to add textures and various processing methods to add the final touches, such as halftone patterns, filter gallery, grain, threshold, and much more.

How has it changed as you’ve evolved in your career?

I began my career by designing logos, badges, and other vector art. As time passed, I developed a passion for photography, significantly influencing my current style. In the past, my work was somewhat one-dimensional, but nowadays, I avoid one-dimensional designs unless necessary for a client’s requirements or the piece’s visual appeal.

Where do you look for inspiration? 

I often draw inspiration from different sources like Pinterest, movies, and my everyday surroundings. Our life experiences and upbringing play a significant role in shaping our style. Being born in the ‘90s, my work often has a vintage feel or vibe. We all have unique preferences, and we should embrace what we like. 

I just watched Dune II, and now I love those desert dune tones and anything sci-fi, but I can’t give all the credit to this movie alone. I grew up watching movies like Coneheads, Alien, Spaceballs, Star Trek, and Star Wars.

How do you get your head back in the game when feeling burnt out? 

Whenever I feel burnt out, I’m not pushing myself out of my comfort zone enough. It’s easy to get used to a specific template, texture, set of photos, or even the methods I use to work on my projects. 

I try to change different factors to break out of that cycle and overcome this. However, there are times when I need a break, and I have learned to accept that it’s okay to take a breather. Sometimes, all it takes is a quick drive to a coffee shop or a change of environment to reinvigorate my creative energy. Despite being a creature of habit, I thrive best in my office.

What is your ‘secret weapon’ when creating? How did you develop this skill? 

I don’t have a secret weapon, but I use many tools more frequently than others. One of those toolsets is the filter gallery in Photoshop. While this is a well-known tool, some of the filters provided by Photoshop can be cheesy. 

However, I’ve learned how to make the most of this tool over the years. I also understand that manual labor is essential. For example, I sometimes use tonal ranges and a filter gallery to manually separate colors. While this takes more time, it often yields interesting results that I love nine out of ten times.

What are some hurdles you had to overcome?

Finding my style and trying not to let other people’s success or work negatively affect me. Staying true to myself has always been my main priority. Like everything in life, it’s always easier said than done.

Social media makes this even more difficult, but it seems like a necessary evil. I know that to be relevant, I have to share my work and spread the word, but at the same time, I see other people’s work and immediately judge myself. We all do this even if we don’t want to admit it. 

What do you like about Stills?

I like and enjoy Stills’ interface and the simple and refreshing design. Many designers, including myself, struggle with finding high-quality images with the correct licensing. Initially, I used to download images from Google without much thought, but I quickly learned to be cautious of this approach. 

Fortunately, websites like Stills are incredibly useful for professionals who want to streamline their searches and easily find high-quality stock images every time.

How is it a good resource for designers? 

The convenience of being able to search for an image effortlessly and knowing that the results will always be high quality is incredibly helpful.

In the past, I would sometimes spend hours or even days searching for the right images to use in my designs. It is a game changer to save that time and allocate it towards actual designing. If you value time, quality, and great photography, use Stills. It’s that simple.

The post Charley Pangus on Owning Your Design Style appeared first on Stills Blog.

Read her exclusive interview below to learn more about her design process, how she overcomes burnout, and why she relies on Stills for imagery to inspire and elevate her projects.

Stills: Describe your design process and how it’s changed as you’ve evolved.

Alishbah Masood: My process involves hands-on and organic techniques. I begin by finding my take on the project and aligning my style with the project’s scope. Regarding client work, I always like to research and find inspiration. Once I have a direction, my favorite part of my process is letting all my thoughts go into my sketchbook. With the collection of research, inspiration, and the client’s vision, I allow myself to sketch ideas that come to my mind freely.  From there, I work with clients to narrow down to one direction that best fits their vision.

My personal work is a similar process. Rather than focusing on researching or finding a certain aesthetic, my designs are a mix of ideas that come to my mind when I feel inspired by everyday experiences—a quote I read, a picture I took, or a new design style. From there, I combine my organic artistic techniques with my digital and graphic design knowledge. Since starting my career, my design process has evolved from being structured to letting myself have more freedom. In the beginning, I often focused on producing precisely the vision I planned. Now, I find the best designs come from letting your creativity wander and working with the mindset that your completed design is what came to you naturally. It’s a reflection of your style. 

Where do you look for inspiration?

My go-to places to find inspiration are Pinterest and Instagram. Besides social media, I also love writing my ideas in my notes based on everyday inspiration. I’ll find myself walking past a restaurant with cool signage and taking a picture, coming across a unique color palette and using it in my next design, or having a conversation with someone who inspires a quote for a poster design. I’m constantly grabbing my phone to take pictures and writing notes to gather inspiration. The thing I love about creative inspiration is that it can be translated from one medium to another. Disciplines like fashion and interior design spark creativity in my digital or traditional artwork.

How do you get your head back in the game when feeling burnt out?

As a creative, it’s so common and normal to have phases of burnout and lack of inspiration. During this time, I take a break from pushing myself to create when I lack motivation. To get back to creating, I focus on self-care and putting myself in places that will clear my head and spark new ideas, like going on solo outings, seeing friends, or planning something fun to change my environment. Once I have a clearer headspace, I go back to my curation of ideas, looking at my notes, sketchbook, social media, and boards to get myself passionate about creating again.

What is your ‘secret weapon’ when creating? How did you develop this skill?

Adding to my design process, my ‘secret weapon’ when creating is embracing freedom and detaching from rigid plans. By gathering different mediums, putting them together, and being content with the direction I took naturally. When designing, sometimes there’s pressure to create exactly what you envisioned, and when you can’t execute it, you become hard on yourself. Developing the skill of being proud of the work I create takes time, but it’s all about shifting your mindset. When you’re kind to yourself, you end up creating something even better than you could’ve planned out. 

Looking back, what are some hurdles you had to overcome? 

Two main hurdles I had to overcome were societal perceptions of creative careers and finding my unique design style. When choosing to study graphic design in college, I had a lot of support, but I also felt like there was a stigma around choosing a creative path when it came to success. It was challenging to ignore those thoughts in my head that made me think maybe I was making the wrong choice. Thankfully, I trusted my gut and continued to push myself to a point where I’m now grateful to be in this position and have had the opportunity to work on such amazing and fulfilling projects. 

I also had to overcome the pressure of finding my unique style. I felt lost when I realized that many designers had distinct design styles and couldn’t find my own. I am now learning to find what reflects me. The core of my creative process is freedom, which has naturally started to show in my work.

What do you like about Stills? How is it a good resource for designers?

I love the variety and quality of images Stills has, especially the usability it has for designers. It’s a resource I know I can rely on for unique and high-quality images to enhance my projects. I also appreciate the platform being a place to support creatives, allowing photographers to leverage their work while also building a community that uplifts a diverse group of creators. Stills’ ability to serve as a platform for different disciplines of design is such a valuable resource in the creative space.

Explore a curated Board of Alishbah’s favorite imagery—all available to license on Stills.

The post Alishbah Masood on Mastering a Creative Mindset appeared first on Stills Blog.

Stills: What is your design process like? How has it changed as you’ve evolved in your career?

Cass Floroff: My design process is always different! It usually depends on the type of project I’m working on. When creating something for fun, there are no rules or order to anything. But I get more structured when it comes to client work. It’s hard to force creativity, but that’s the nice part of visual identity design. The first stage doesn’t require much creativity per se. The strategy phase gets me thinking, which can spark inspiration later. As my career has grown, I’ve increasingly enjoyed the strategy phase. I find that I dedicate more time to research, which has been such a smart move because it often results in a design that comes more naturally. So then, I feel confident enough to head into the design phase with a clear concept. It prevents me from feeling like I’m pulling ideas out of thin air and brings more “ahh, that’s the one!” moments. 

What is your ‘secret weapon’ when creating, and how did you develop it?

I do my best work when I set myself up for success. Understanding that surrounding yourself and creating an environment that puts you in a good mood is important. Having a good playlist, a clean space, and a nice outdoor view helps put me in the zone. When I realized this, I’d knocked out most of my task list!

Where do you look for inspiration?

Inspiration finds everyone differently! For me, that usually involves visiting a grocery store for packaging design and walking in the city to observe all the business logos. A lot of the time, it involves doing something unrelated to design, like going on a hike with my dog. But usually, it’s talking with my clients. As a business owner and the brand’s designer, nothing is more inspirational than hearing the back stories, the ups and downs of how other people’s businesses came to be. Knowing they’ve decided to trust me with their business makes them passionate about their craft. I am grateful for it, and with that comes inspiration to create.

How do you get your head back in the game when feeling burnt out?

I’ve been burnt out for the past year. A break from whatever burnt you out in the first place is the most important. And unfortunately, the longer you neglect your personal needs, the longer you’ll need a break. To get back, I switch up the type of art/design I’m doing. I’ve been interested in playing with polymer clay lately. Exploring a physical art form, stepping back from the screen, or touching some grass is refreshing!

What are some hurdles you had to overcome?

Social media has been a double-edged sword. I’m grateful for all the connections I’ve made, but it also brought on a lot of internal struggles. Once you put yourself out there, you can’t help but compare yourself and feel intense pressure to be online all the time. And that time and energy will have to come from somewhere else. It was my mental health. Learning to let go of this expectation that I must always show up online has been one of the most liberating feelings. Don’t get me wrong, there’s admiration for the accountability of being present, but there’s also respect in understanding it’s not the end of the world if I don’t post 3 times this week. It’s actually kind of silly now that I think about how much pressure I would put on myself to do that in the past. I’m happy that I’m reevaluating my priorities and delegating my energy to what serves me at this point in time.

What do you like about Stills? How is it a good resource for designers?

Stills is THE photo resource for creatives. It just brings this certain aesthetic that is hard to capture, and all the photographers on there get it. You’re not going to find boring or robotic shots on Stills. Each image can stand on its own. I mainly turn to it for poster designs, mockups, and brand photography for clients because the images have so much more substance than your average stock photo.

Explore a curated Board of Cass’ favorite imagery—all available to license on Stills.

The post How Cass Floroff Finds Balance in the Digital World appeared first on Stills Blog.