Dora Drimalas

He likes to talk about a factory system of design.

And that's how we internally think about the very rigid, this is our phase.

We don't change our phases.

A client, get on board.

This is how we have to work together.

You almost get to check out and not engage as a creative if everything is so rigid.

And that's the worst thing that you can do as a creative.

But to explore, to even be brave enough to ask questions of really brilliant minds that are sitting in these rooms across tables from you, sometimes that you get to meet, there can't be fear.

You have to say, I'm going to be the vulnerable one and I'm going to ask all these questions.

These are the right questions to ask.

And we'll all get further.

But you can't do good work if you're afraid.

The process is pretty democratic, I would say.

And there were many, so many rounds of design that we did.

But when we got to the end of the process, it was clear that some projects had too much love, too many pages, and other projects hadn't even made the book yet.

And my hope was to be sure that we had the range, the range of clients, the range of projects represented, and to be sure that we represented 24 years.

That was really important to me.

And if someone was working on the book that hadn't been here that whole time, maybe they didn't know.

I had a very fortunate role of designers doing the layouts and the hard work.

I got to look at the whole thing, which is wonderful to look at it in pieces and then be able to step back.