With a catalogue, for example, research is the starting point—research about the artistic work and the artist’s biography. If possible, we also visit the artist in his or her studio in order to get an idea of the atmosphere in which his or her art is being developed. I try to be open to the background noises—for the traces that the artists leave in their environment. Something supposedly neglected on the ground or the wall can be inspirational. In one case, we found intriguing telephone sketches, for example.
    At that point, I start to interpret what I experience and try to go beyond the obvious level of basic research. My aim is to convey parts of the artist’s context and personality, next to his or her artistic work. But this part of the design process doesn’t follow a specific procedure. The process becomes vague, in a positive sense. Xiao Mage

Transparency and change are important notions for my work. As graphic designers, we have the responsibility to be truthful. Sometimes clients come to us with a heroic picture of themselves that they want us wrap a design around. We always try to analyze what is behind that desire and what a client’s real qualities are. We discuss these issues openly with our clients, because we believe that only transparency is viable in the long run.
Change is important to me because visual communication needs to be developed in Thailand. We have to enhance our visual tradition and communicative mindset by applying experiences and knowledge from the U.S. and Europe. Therefore, we always try to push boundaries in our work—we don’t go for the common, safe solution. Vorathit (Tap) Kruavanichkit