From Blank Canvas to Brand Magic: A Conversation with Kevin Parker

Our goal when designing projects is that they communicate with purpose, creativity, context, and clarity. This kind of connection becomes visible and tangible. What’s less apparent is the work that’s gone into designing it, and the time spent on research and ideation. 

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What inspired you to pursue a career in design?

As far back as I can remember, I’ve always loved to draw and create things. Paired with my interest in architecture, that love led me to the world of design, where my creative energy could be combined with a social component—working toward shared goals for positive impact while continuing to find value in the artistry and craft itself.

What kind of conversation or information kicks off the design process?

When we first meet with a client, my goal is to understand the message and tone they want to convey, and the feeling they hope to evoke. Sometimes they state all of this directly. Other times, we dig into the personality and culture of the brand or company, qualities of their services or products, or attributes of the place to find meaningful messages. When we’re discussing architectural graphics, signage and wayfinding projects, I also want to see the space and the surroundings, and any architecture or interior design work that has already been developed. Even if a primary visual identity already exists and we’re tasked with bringing it to life in new ways, it’s crucial to understand this foundation, and important to make time for research before drawing and designing. 

What kind of research do you do?

I look for color, pattern, and typography influences that might not be directly related to the visual identity or signage design but that are relevant to the personality and culture I’m trying to bring out. Regional and historic references are often good sources of inspiration too, particularly those that may have been constrained by more analog tools and methods of the past. I make a point of pulling from a wide variety of inputs from a diverse set of sources to avoid the common trends that are baked into online algorithms. Cooper Hewitt’s online collection, for example, is a great source with a lot of depth and diversity. 

Can you share an example?

We recently designed the brand identity for the new restaurant at the Waldorf Astoria Beverly Hills. Of course, the hotel has a strong existing brand and culture, and the client had already named the restaurant, Espelette—a reference to the French village and its distinctive red “espelette” chili peppers. So, seeking inspiration, I researched the Basque region of France and its nature and culture. My early design concepts included illustrations of a flower only found in this one small area of the world, before ultimately landing on a representation of the distinctive way that the peppers are hung to dry on the exteriors of homes and shops in the region. 

What process do you go through to get from early idea to final design?

I find hand drawing to be the most natural way to brainstorm thoughts and ideas in design, so I always start with sketching. This is how I can explore most freely, without the friction or tendency toward perfectionism that can come from working with a mouse and keyboard. I’ll pull together a mood board of the visuals gathered during the research process and keep them nearby while drawing, both for inspiration and to reset my thinking when needed. I often alternate between traditional and digital tools, either sketching on paper and taking photos of the result, or working in the Procreate app on my iPad. In both cases, I end up moving into Adobe Illustrator or Photoshop for further development. 

How has technology shifted the way you work?

In today’s world of AI and generative models, it may seem outdated to spend so much time using pencils and paper, but all of our work is custom designed from scratch for our clients and their specific needs. Taking the time to consider numerous ideas is necessary. My hope is that the finished product will retain the unique human qualities of my initial hand-drawn sketches. But it’s very rare for my first idea to be the idea. The kind of design Altitude delivers is creative and iterative, and though the tools have changed over time, the thought process hasn’t. 

What kind of tools and technologies do you use?

For digital drawing, I either work directly on my desktop using Adobe software and a Wacom drawing tablet and pen, or Procreate on the iPad, which can sit within a custom wooden drawing surface that I received as a gift. I’m always looking to shorten the distance between the idea on paper and reaching the finished work, so digital drawing can often help save a step and maintain that character throughout the process. 

Can you share another example?

For Silverado Resort in Napa Valley, where we developed a new signage and wayfinding program throughout the resort, I took numerous photos on a site visit, including pictures of specific sign locations. Later, back in the office, I was able to quickly draw over these photos and make sure every design would be context-specific. We provided these visuals to the client to communicate our design concepts, and in turn they used them in meetings with other stakeholders to secure the needed approvals. The final installations now closely resemble the early schematic designs as a result of that up-front process. 

Does this process vary for different project types or locations?

The up-front process is similar whether we’re designing for a commercial office building, a hospital, or a retail brand. The research, sketching and planning stage is important in all cases. The process begins to diverge as we consider each project’s specific goals and constraints, such as the audience or users, the scale of a brand program, or the materials that will ultimately be used in fabrication. Location matters too, with regional and local context influencing our design. We work with clients, fabricators and installers across the country, so this simply puts a bigger emphasis on clear communication and on building trust, which we prioritize no matter where we’re working. 

What’s your favorite part of being a designer?

I love creating things from scratch—pulling together thoughts, feelings, and aspirations into something that didn’t exist before, and seeing that initial idea get out into the world for others to enjoy. 

Kevin Parker leads the design of environmental graphics, branding, signage and placemaking projects for clients across the country. With more than ten years of experience, Kevin brings thoughtful design solutions to life as he works on projects from proposal to implementation, and from concept sketches to construction administration. He’s created imaginative and innovative environmental graphics and branding for a variety of places from commercial developments to residential communities, and for a wide range of applications from print and digital to physical space. He skillfully contributes his expertise in research, brand storytelling, illustration, hand lettering, data visualization, and photography to each project. Working closely with architects, designers and all project stakeholders, Kevin successfully collaborates across disciplines through each project phase to enhance and clarify the built environment, and to build positive relationships.