My Salad days were in print; now I am rooted online


offline
My salad days were spent creating graphic design for print. My training was in print and my background in magazines and marketing. Over the last few years - as with much of the industry - I focused increasingly on online and new media. My time at Google may have had something to do with this. At Google I continue to create offline and DM campaigns along with online work.
Online is exciting - these are exciting times. So online is the new offline - but I still do the same: managing creative projects from brief to concept to delivery - all very hands-on; designing or overseeing a team of designers to deliver design solutions / make it good; and always to strict deadlines... the disciplines involved in this have not changed.
Some people take their graphic design very personally. Like art. 
All projects start with a client; the client wants an idea expressed, a brand sold; this idea might be heard best if communicated illegibly, or in dry academia, or clean, or high-production or grunge. Designers should get the purpose, not the portfolio piece. Personally a piece of design that is successful in it's primary function is very beautiful, very clever, very impressive. Showing technical aptitude at an outstanding level is obviously good too, but unlike the arts there is a genuine, trackable objective to most design projects - I hesitate to say it - but it's about results.
It is not an abstract, it shouldn't be precious and 99.9% is tomorrows recycling (or if it isn't it should be).
online
In the beginning I was part of a dotcom startup; it was great but the ride was short. Since then I've been involved in sites for the Royal Academy Magazine and a complete rebuild of the Christian Aid site. Now I find myself at Google building a creative team for marketing across EMEA. During the intervening years the future of the internet has moved from a revolutionary vision to a (potentially) more viable corporate one; in my view Google holds true to the freedom and purity of much of that original vision.
Increasingly I see my role bridging the gap between the technically literate who are carrying us, and the users - to whom it is as comprehensible as nuclear fusion. Visually trends have swung back and forth between form and content as new technologies and innovations such as mash-ups, CSS, Ajax, Web2.0 and the rise of rich media have stormily transformed the way we interact online. Yet this storm barely ripples the brow(ser) of 99% of internet consumers.
Design should clarify the space between end users, the client and the engineers behind the servers. I code my visuals into CSS, javascript and HTML, know my DOM from my DHTML, I've worked on complex API integrations and (understandably) can mash Google apps into a Goo.
words
It's important to know your strengths, and those of others. So I'm not the greatest copy-writer, not the greatest editor. I cannot compare with some of the writers I have known, who can drive and direct our extraordinary language, morph meanings into your subconscious and make words move you. But I do love words.
What I am good at is storyboards, ideas, creative, and first drafts. Then I bring in an expert.
I am still trying to establish whether this is genuine or just a lack of confidence.
brand work
creativenessity
Creativity is bottled and sold everyday. It's not that special, but it does appear to be quite expensive.
I like creativity. I like thinking around things, generating approaches, associations and angles. The best creativity is yours obviously. Everyone has lots of creativity; we simply forget where to find it and that can be a little tricky. Relocating it can be an energising exercise. A free-thinking team will have millions of bad ideas, but is much more enjoyable and efficient for it. Left-field ideas are easily as important as right-field ones and they're normally funnier too.
Meanwhile not encouraging creativity is just, well, miserable.
So I like new ideas just like I like words. Ideas light up the world, they illuminate and excite, they challenge and conflict and coerce and then disappear. Even the random ones.
work flows
Design management sounds boring.
It's not boring, it's just unusual; design isn't a field that managers naturally gravitate towards and is often un–planned and fragmented and not given the consideration or structure that would go into an IT resource or a finance resource.
There is also a scarcity of design managers with a practical grasp of what their staff are actually doing or are capable of. Design crosses everything from creative brainstorming to back–end coding, information architecture to print buying, InDesign to Final Cut, PHP to PPT. Often there just isn't time to step back and think about this.
Organising your design and managing your resources properly saves you money; organised by someone who understands design improves quality; managed by a good design manager... well, everyday is springtime.