Novagram founder Peter Dean interviewed by Creativepool

Creativepool – a network for the creative industry – recently featured Novagram founder Peter Dean in an interview published on its site. We reproduce the article in full here:

Peter Dean on Building Brands That Last, the Future of Design, and Running Novagram

For more than 25 years, Peter Dean has been shaping brands and designing logos that stand the test of time. As the Founder of Novagram, a London-based brand, design and digital agency, Peter combines a meticulous, detail-driven approach with big-picture strategy. His work reflects not only his dedication to design craft but also his belief in creating meaningful solutions that go beyond trends.

In this conversation, Peter shares his journey from studying Typography & Graphic Communication at Reading University to running his own agency, his thoughts on AI and the future of creativity, and his advice for aspiring designers trying to break into a competitive industry. With a philosophy rooted in both logic and imagination, Peter offers insights into what truly sets exceptional creatives apart and why adaptability is the secret to lasting success in design.

How did you first get into the industry?

I studied Typography & Graphic Communication at Reading University and took a job straight after that with an alumnus of the same course who ran a brand consultancy in London.

Where are you based now and who do you work for?

I’m still based in London and I now run Novagram, which is a brand, design and digital agency.

What is your personal background and what role did it play in your career?

At school I was pretty good at both creative and academic subjects and had a wide range of interests, all of which made it hard for me to choose a career path. I ended up deciding to do an art foundation year after A-levels, to see if that would help make up my mind. When the graphic design module of that course came around, everything just clicked into place. That was the point at which I knew I wanted to work in design.

If you weren’t in your current industry, what would you be doing?

On one hand, I think I might have veered either towards a more logical, structured existence as a lawyer or engineer… on the other hand, an even more creative career perhaps as a musician or artist. Running a creative agency, for me, represents something of a mid-point between these possible paths. Possibly just a massive compromise!

Can you explain your creative process?

There’s a line we use in Novagram’s marketing: “Logical approach. Magical results,” which is an attempt to distil my own left-brain/right-brain way of thinking. I have to have all the information before being able to come up with a solution, so that means I always ask a lot of questions upfront about where a project fits into a client’s strategy, why it’s important to them and what they want to get out of it. I try hard to see things not only from the perspective of our clients, but also from the perspective of their clients. After all, that last group is the real audience for our work.

Once I’m satisfied that we have everything we need – a full picture of the client’s issue, their marketplace, and their strategy – we brainstorm and iterate endlessly, looking for that sweet spot that fulfils the brief (or goes beyond it), delights the client, and satisfies our own desire to produce something thoughtful, original and effective.

At Novagram now, we’re opening up the creative process for clients on certain types of projects. Instead of disappearing for a period of time and then showing up and delivering a big surprise, we meet frequently, talk them through our work-in-progress and rationalise next steps together. In this way projects never lose momentum, clients see continual progress and we also get to build a stronger working relationship with our clients. It’s a win-win.

How would you describe your style?

I’m a walking contradiction – detail-focused but also big-picture and strategy-oriented. Personally, my design inclinations lead me to search for the optimum balance between simplicity and impact, with a view to my work also standing the test of time. I’m lucky to work with others at Novagram that bring complementary styles to the table too – producing design that can be more modern, abstract, whimsical and knowingly rule-breaking. So as a company we can be quite chameleonic and work in any style necessitated by a particular project.

Which individuals do you gain inspiration from? Do you have any heroes in the industry?

In terms of design, there’s a long list of rather obvious names, including the likes of Michael Bierut, Alan Fletcher, Saul Bass, Paul Rand, and Milton Glaser. And I’m a big fan of identity specialists Chermayeff & Geismar & Haviv in New York. Their work is deceptively simple – people don’t realise how much effort it takes to create simple brand identities like that and simultaneously retain, even enhance, meaning – and their work really hits home for me.

Most of my inspiration these days comes from outside the creative industry. I’m currently enjoying Dwarkesh Patel’s podcast (particularly episodes focused on emerging technology), and Shane Parrish’s mind-expanding writing.

What tips would you give to aspiring creatives looking for work?

Last time we hired a designer for Novagram, there were over 500 applicants. Going through that many CVs is enough to drive anyone insane, and you very quickly realise that certain things really matter at that stage. I have developed zero tolerance for people that don’t include requested information in an application and for those that don’t proof-read their own CV – so read the full job description and proof-read like your life depends on it!

Your talent as a designer should also be evident in the design and content of your CV. It never ceases to amaze me how many designers have objectively awful-looking CVs full of typos and inconsistencies. Don’t skimp on the cover note either – I want to see some evidence of your personality if we’re going to be working together. Be memorable.

As for the work itself, I love to see personal projects as well as client work.

What tips would you give to other professionals to get more clients?

Go the extra mile for your current clients. Build trust and loyalty. When you’ve got this, you will unlock the best method of getting new clients – direct referrals.

What’s your secret to staying inspired and motivated?

I probably struggle with these things as much as most people. But what works for me is to get away from screens and spend time outdoors, keep fit and read lots of (paper) books. I’ve also found that motivation is so much easier to find once you’ve started – it’s not something you should wait for.

What’s the work achievement you’re most proud of?
I’ve been creating brands and designing logos for more than 25 years. In that time, not a single logo I’ve created has yet been replaced. I get a kick out of creating work that lasts.

As someone with experience in the industry, what trends do you foresee shaping the future of creativity?

AI is going to shape our industry, just as it will shape all others. Right now it’s an incredibly useful tool that can assist us with research, brainstorming, checking for originality of ideas etc. But it doesn’t reliably deliver the finished product. That will change though and, at the same time, I think we’ll see design trends that constantly steer away from anything that AI can easily produce. That may mean we’ll see more organic-looking and idiosyncratic work in the near future. Right up until AI masters that too.

What do you think sets apart truly exceptional creatives from the rest of the pack?

It’s about quality of thought and the ability to synthesise multiple inputs into a single, original solution that works on many levels. Truly exceptional creatives are often articulate as well, being able to rationalise their own work as well as matters of design in general.

How do you think technology has influenced the creative industries and how have you adapted to these changes?

During my career, I’ve seen so much change; the mass adoption of desktop publishing and digital printing, the explosive growth of internet and mobile use, social media and streaming platforms. And today we’re contending with the rise of AI. As someone slightly obsessed with technology, I’ve been enjoying the ride.

I’ve been lucky to have been involved in projects that have pushed the boundaries of what’s been possible at the time. Technology has opened new doors for creatives (like designing websites) but closed others (like designing fewer brochures) and it constantly throws new challenges our way – from having to learn new skills and techniques to having to design with ever-shortening attention spans in mind. The principle of ‘evolve or die’ has been the way designers have worked for decades and we’re not giving up just yet.