Sarah Boris, 26, is a French graphic designer who was born in London. She studied in Paris, first at Olivier de Serres at Foundation level, and then at Estienne School of Art where she undertook a Typography Design course. She graduated in 2004 with an MA in Typo/Graphic Studies at London College of Printing, now known as London College of Communication. Since then Sarah has worked in London for a range of organisations including the Royal Philharmonic Society, the Barbican, and currently, the ICA. Here, Sarah sheds some light on what it?s like to work for a client rather than an agency.

YCN: What were you doing before joining the ICA?

Sarah Boris: I worked at the Barbican as part of the design team as well as freelancing for different arts organisations in London and Paris before joining the ICA in 2007.

YCN: What inspired you to become a graphic designer?

SB: I have always been interested in communications and how a message can be clarified through choice of layout, imagery, typography and hierarchy of information. A two year typography course at Estienne in Paris confirmed my desire to become a graphic designer.

YCN: Describe an average day at the ICA.

SB: An average day at the ICA consists of lots of design work for lots of different people, brainstorming, meetings with the programmers, editor and marketing team as well as at least one phone call a day with my regular printers and paper suppliers.

YCN: Do you think working in-house restricts your creative freedom more than working for an agency? How much creative freedom are you granted?

SB: Working in-house does not restrict your creative freedom any more than working under the client-led orders of an art director at an agency would - especially if you work in such a creative and inspiring environment as an Arts institution. As you get to know the institution?s needs you find that there are always new ways to be creative and innovative.

I am granted creative freedom as people know my work and trust me. People at the ICA are open to new options and brand evolution. Sometimes there is a lack of time to convince them to go for the most creative option though. Time is often an issue as we work to tight deadlines.

The guidelines for the ICA are not the strictest guidelines I have come across and allow space for development. I am working on refreshing and reviewing the brand?s look and feel at the moment.

One of the first jobs I did for the ICA was concept-led and is a demonstration of how you can remain creative whilst respecting a brand?s identity guidelines. The project was a winner at the 2007 Shout awards which were judged by the likes of Nigel Davies from 300million and James Littlewood from Design Project. These two design studios produce great work so it was a real honour to win.

YCN: Does the constant focus on one brand ever become tiring?

SB: I don?t feel there is ever a constant focus on one brand as since I have been at the ICA I have created identities for quite a few sub-brands, festivals and events. The focus on one brand presents the challenge of having to always make the brand look fresh and dynamic whilst keeping it consistent. As I am in charge of design at the ICA I also have the opportunity to develop other important areas such as producing sustainable design through the use carefully selected printers and papers.

Working on personal projects and accepting commissions on the side also helps to keep things interesting and allows me to prove to myself that I am still diverse and creative in other contexts. I am currently working on a small exhibition commission as well as a self-initiated publishing project which are both very exciting for me.

YCN: What are the advantages of working in-house?

SB: You get to know the place inside out. The main advantage for a graphic designer to work in-house is that it gives you a true opportunity to understand the company?s needs and be at the centre of its communication strategies. This allows you to better understand client needs and their way of functioning.

Working in-house gives you a great insight of people?s roles and you have a real chance to develop relationships with those you create the designs for since you work with them on a day-to-day basis. It allows you to develop a strong relationship and collaborative process that is not always possible if you are an external designer.

Detail from launch invitation as part of identity creation for CinematICA at the ICA

Bag designs as part of Nought to Sixty, a series of shows at the ICA presenting 60 artists over six months

Identity design and launch card for creative networking programme,?A-Frame at the ICA