Interview with Istanbul French Fries

Istanbul French Fries Creative Communication Agency is a creative studio based in Istanbul specializing in high-end brand identity, professional packaging design, advertising, digital, retail, and…

Istanbul French Fries

Designer of the Day Interview

19 September 2026

As a professional with over fifteen years of practical experience in graphic design and art direction, I have shaped my career around branding, packaging, and advertising design. In my work with various international clients at Istanbul French Fries, I leverage my expertise in packaging design and premium brand communication to bridge the gap between strategic message architecture and refined visual systems.

I was always drawn to visual details, drawing, and re-imagining everyday objects. While I didn't explicitly label it as 'design' back then, an innate curiosity for visual storytelling and structure was definitely present from an early age.

What are your priorities, techniques, and style when designing?
"My three top priorities are a clear brief, a realistic deadline, and a clear mind. My design process begins with defining a strategic direction before moving on to digital software like Adobe Illustrator and Photoshop. I establish a perspective on how we can differentiate ourselves from competitor products or other brands in the market. Then, I refine the design direction and visual language through rough sketches. Finally, I move on to working on the computer."

The design process evokes a sense of deep focus and intellectual curiosity. The most exciting stage is that pivotal moment when strategic research transforms into a singular, elegant visual metaphor. "The greatest satisfaction comes from seeing a physical packaging design come to life on store shelves."

Design is in a constant state of flux; it inherently involves continuous change and innovation. That is precisely what I love most about it. Ever since I was young, I have wanted a profession that is dynamic and alive. Perhaps I was preparing myself for this all along.

My path for growth involves adapting to evolving technologies and creating new work while adhering to graphic design principles. I want to remain deeply involved in graphic design in the future. If a day comes when I can design without financial concerns, I would like to create something for the benefit of humanity—designs that touch people's lives and bring a smile to a child's face.

My path for growth involves adapting to evolving technologies and creating new work while adhering to graphic design principles. Publishing a book on this subject is also one of my dreams. I want to remain deeply involved in graphic design in the future. If a time comes when I can design without financial concerns, I would love to create something for the benefit of humanity—designs that touch people's lives and bring a smile to a child's face.

Master the discipline of restraint. The most powerful designs often emerge from stripping away non-essential elements until only the purest conceptual essence remains. And then, try to enjoy the process; work done with enjoyment is invariably far better.

My day usually starts early with a freshly brewed cup of coffee, accompanied by reviewing design news and global visual trends. My morning hours are dedicated to uninterrupted and in-depth creative work, conceptualizing and designing fundamental elements. In the afternoon, I focus on client collaboration, team cohesion, and refining technical production details; I end the day with quiet time dedicated to personal creative research and inspiration.

Design trends are crucial. In an era where mass communication moves at an incredible pace, everything is in a constant state of flux. People change, and naturally, everything else changes along with them; consequently, designs evolve as well. Keeping up with the design landscape is not merely a choice but a necessity—it needs to become a routine.

Good design emerges from the seamless harmony of form, function, and narrative. A design that reflects its purpose and is visually pleasing is a successful one. Neither visual appeal nor functionality alone is sufficient. People want to look at beautiful things; this is an innate trait. If you can also convey the necessary information and message, that design works perfectly.

A design is considered complete when the removal or addition of any element would weaken its core message and aesthetics. Personally, I usually take a break when I feel the design is finished—essentially giving my mind a rest. When I return to the design after a while, anything that bothers me about it inevitably stands out. Finalizing the design after these steps leads to a better result.

Every job has its own significance. There are projects I love dearly and truly enjoy working on. I don't necessarily categorize my work by singling out one specific project as the "greatest," but the coffee packaging design I created for Blend 1601 stands out as a significant milestone in my design journey.

I cannot name just one person, but right now, I draw inspiration from many—ranging from Ellen Lupton’s typographic narratives to Paul Rand’s branding work, and from the creations of Russian Constructivist artists to Basquiat’s paintings.

Living and creating in Istanbul—a city where continents, rich historical layers, and modern, dynamic energy converge—deeply influences my interest in contrasts and narrative depth. Incorporating mindful rituals, music, and local craftsmanship into my daily routine fuels a continuous process of creative thinking.

At Istanbul French Fries (IFF), we cultivate a collaborative, transparent, and strategy-driven work culture. We seek partners and clients who value authentic storytelling, open communication, and high-quality craftsmanship. A good designer needs to possess empathy, rigorous discipline, and artistic conviction—and, ultimately, must enjoy the work they do.

It is a great honor for our work to be recognized by such an organization. We are receiving valuable congratulations—both personally and for our agency, Istanbul French Fries (IFF). Such awards serve as a tremendous source of motivation for my team and me. I am grateful to my entire agency and my client for their belief in the project.

Design Legend Interview

19 September 2026

My professional background combines graphic design and strategic art management. I completed my undergraduate studies at Marmara University, followed by master's degrees at Haliç University and Lusofona University. I have also worked for various advertising agencies and magazines.

I believe design is a dynamic and constantly changing profession. That's why I became a designer.

I became a designer out of the bottom of my heart.

I want to create all kinds of designs that will bring a smile to people's faces.

Focus on mastering conceptual thinking and narrative structure before relying solely on software tools. Cultivate deep empathy for the end user, study classical design fundamentals, and remain persistently curious about surrounding disciplines like architecture, literature, and material science.

A good designer creates visually appealing products that fulfill the given task. A great designer, however, deeply understands the commercial and human strategy behind the demand, asking the right questions to offer solutions that are not only beautiful but also transform the brand's position in the market.

A design becomes extraordinary when it strikes a perfect balance between aesthetic simplicity, functional clarity, and material intelligence. When evaluating a design, I question whether each element serves a clear purpose, whether the visual hierarchy is effortless, and whether it evokes a genuine emotional response.

Good design is not a cosmetic expense, but a vital business strategy. It instantly builds trust, seamlessly communicates brand values, and directly increases long-term business value and customer loyalty by differentiating products in crowded markets.

If there were no time or financial constraints, I would love to work within my field alongside people who are doing things to improve and enhance the lives of others.

I have two notebooks full of typographic sketches related to the letter R. I would like to add them to my portfolio as digital work.

I have no secret. The only thing is feeling good.

I draw inspiration from many people, from Ellen Lupton's typographic narratives to Paul Rand's branding works; from the works of Russian constructivist artists to Basquiat's paintings.

The 'Blend 1601' coffee packaging design holds a special place in my portfolio. What makes it standout is the delicate balance between minimalist modern typography and rich tactile finishing, turning a daily commodity into a sophisticated sensory experience.

I would probably have become a craftsman.

Design is a necessity, like water and food, that makes life worth living.

My family and my passion.

Navigating tight commercial constraints, balancing subjective client expectations with artistic integrity, and mastering the technical variables of print production were significant learning curves that ultimately built my design resilience.

They should showcase the work that best reflects their art. It doesn't have to be just published work. They must show the work that best represents them, even if it's work they designed solely for themselves.

My ultimate goal is to create designs that bring a smile to the consumer's face and stand the test of time.

People expect continuous innovation, uncompromised quality, and strategic clarity. As designers, our duty is to consistently push creative boundaries while delivering practical, functional, and ethically sound design solutions.

Design shapes better societies by enhancing clarity, accessibility, and human interaction in daily life. Through intuitive visual hierarchies and responsible messaging, design eliminates unnecessary waste, reduces cognitive friction, and elevates the cultural visual standard.

Projects like 'Blend 1601' gave me immense satisfaction because they allowed for complete synergy between strategic storytelling and meticulous packaging details. Transforming a routine commodity into a tactile, memorable brand ritual is always deeply rewarding.

I would like to see a shift away from superficial, trend-driven aesthetics toward meaningful, long-term conceptual thinking and genuine environmental accountability. The industry needs to prioritize circular material choices without compromising visual elegance.

The design field is moving toward a hybrid model where AI and automation handle repetitive technical tasks, elevating the designer's role to high-level strategic curation, emotional storytelling, and sensory material craftsmanship.

A comprehensive identity or packaging project typically takes between 4 to 8 weeks. This timeframe ensures thorough strategic research, conceptual iteration, client alignment, tactile prototyping, and final pre-press print preparation.

It starts with a conversation with my client. A sincere conversation is much more than you might think.

Looking at beauty makes you feel good.

True, visionary design sets trends by solving problems in novel, unexpected ways. While commercial design often responds to existing cultural shifts, legendary work leads the market by defining new aesthetic standards and user expectations.

Technology serves more as an empowering tool than as the engine of creativity. Our brains and feelings remain the source of our work. Computers only speed things up. If computers ever become unusable, we will pick up paper and paint again.

Adobe Creative Suite (Photoshop, Illustrator, InDesign, Lightroom)

Color sets the emotional tone, materials define the tactile experience, and ambient lighting shapes how form and depth are perceived. In packaging especially, the interplay between matte paper textures, subtle metallic foils, and ambient light transforms a functional container into an inviting sensory ritual.

My ideal design partner would be a curious, strategically minded, creative individual who values clarity of expression and attention to detail. I can't name a specific person. I would prefer someone who possesses these qualities.

Simon Grafield's Just My Type and Helen Armstrong's Graphic Design Theory.

Always looking at beautiful things and drawing. I never want to be sitting in front of a blank sheet of paper.

Recognition and awards like the A' Design Award are deeply humbling validation for our team's commitment to quality. Rather than seeking fame, I view these accolades as a platform to build credibility, connect with international peers, and take on even more ambitious creative briefs.

Color: Dark blue, White, Yellow

Place: Everywhere my family is.

Food: Freshly brewed specialty coffee and my wife's cooking.

Season: Spring

Item: A well-designed, high-textured sketchbook.

Brand: Apple.

A great day involves unlocking a breakthrough concept that perfectly resolves a complex client brief. I motivate myself by seeking out fresh visual art, engaging in creative exchange with my team, and focusing on the tangible impact our designs will have in the real world

Within a thousand years, physical design and digital reality will likely merge seamlessly to create fluid, responsive environments. However, jobs with the most human intervention will remain more valuable. No one prefers a machine-made carpet to a hand-woven one. We humans always desire things produced by humans. Of course, the means of production may change, but humanity remains fundamentally the same.

I want to express deep gratitude for everyone supporting our journey. Design for us at IFF is about authenticity, strategic purpose, and uncompromised craftsmanship. We will continue pushing creative boundaries to bring inspiring, sustainable solutions to life.

Designer Interview

19 September 2026

Since childhood, crayons and paper have always been my closest friends. The source of my passion for design is my desire to always find beauty and aesthetics in life. While building a career bridging art direction and graphic design, I have always viewed design not just as an aesthetic endeavor, but as a strategic language of storytelling. From the earliest stages of my creativity, I was captivated by the idea of transforming complex briefs into memorable, visually and emotionally engaging experiences. Over the years, working in various creative fields, from packaging and advertising campaigns to brand strategy, has refined my approach to creating functional yet emotionally resonant design solutions that stand out in competitive markets.

Istanbul French Fries (IFF) is a dynamic creative agency and design studio based in Istanbul. We specialize in end-to-end brand identity, packaging design, integrated advertising campaigns, and strategic creative communications. At IFF, we blend creative storytelling with sharp commercial insight, helping local and international brands articulate their core values through distinctive visual expressions. Our approach prioritizes conceptual clarity, high-end craftsmanship, and functional elegance—ensuring that every project we deliver drives real business value while setting new standards in visual excellence.

For me, design is something that makes life livable, like food or water. In a narrower sense, it's a purposeful synthesis of strategic communication and visual harmony. At its core, it's a problem-solving process that transforms abstract brand values and functional requirements into tangible, intuitive experiences. Great design shouldn't just be visually captivating; it should also create an immediate emotional connection and provide seamless functionality for the end-user. Design isn't mathematics where formulas are applied; it's actually about feeling deeply.

I particularly enjoy working on packaging design, poster design, comprehensive branding, and visual identity systems. Packaging is unique because it lies at the very intersection of tactile physical experience and brand strategy. Bringing the essence of a brand to life on the shelf where the consumer interacts directly, through physical textures, typography, and structural details, is incredibly satisfying. The pleasure I feel when I see the product on the shelf and pick it up is especially wonderful.

One of my favorite projects is 'Blend 1601', an award-winning coffee packaging concept. This design stands out to me because it harmonizes minimalist typography with a rich, tactile aesthetic, reflecting both handcrafted quality and modern packaging elegance. It embodies my philosophy that packaging should act as an inviting narrative even before the customer opens the product.

I did some BTL work for a food company's launch. As far as I remember, I designed T-shirts and bags.

My preferred medium is primarily print. Being able to hold and touch my work is very important to me. After that, of course, due to the necessities of our time, is the digital medium.

There's no specific time when I feel creative. It's something that's homogeneously spread throughout every moment and every second of my life. It's part of how I see life. That's why ideas can come to me at any moment, even while I'm sleeping.

I primarily focus on clarity, narrative depth, and practical functionality. Visual aesthetics and attention-grabbing elements are very important to me. Working with strict adherence to the requirements of graphic design ensures the project functions seamlessly within real-world contexts.

In the initial stages, I feel an intense focus and dynamic curiosity as I explore the various visual aspects. As the core concept crystallizes, this feeling transforms into a profound satisfaction and flow as strategic ideas are translated into definite visual forms.

Seeing a concept transform from a digital canvas into a tangible, physical product is incredibly rewarding and provides immense pride. Witnessing consumers interact with the finished product in their daily lives is truly rewarding.

A design is considered successful when it strikes a harmonious balance between commercial effectiveness and artistic integrity. It should solve a specific problem, create an emotional connection with its target audience, and be memorable over time without being tied to fleeting trends.

First, I assess conceptual clarity; that is, whether the core message is immediately understood. Then, I examine the execution: typographical precision, color harmony, spatial balance, and how well the physical or digital medium is used.

Everything in the world is for people. If a design is successful, then that work becomes valuable to people. Surrounding ourselves with good designs makes our lives more valuable. A designer should prioritize making a difference in people's lives, rather than just making money.

The design world is rapidly evolving with the integration of AI tools and digital media, and the designer's role is shifting towards strategic curation and high-level creative direction. Of course, AI is an undeniable reality, and I accept that. But I believe the human touch will always be more valuable. No one would prefer a machine-woven rug to a hand-woven one.

My work has been exhibited in many parts of the world. Most recently, two of my posters were exhibited in Warsaw at an international poster competition. Soon, one of my posters will also be exhibited in Romania.

My inspiration comes from everyday interactions, music, and the tactile textures found in nature. I nourish my creativity by constantly exploring various creative disciplines such as photography, publishing, and fine arts, and by analyzing how cultural signals are transformed into visual languages.

I would describe my style as refined, modern, and concept-oriented, placing great emphasis on typographic harmony and structural elegance. My approach focuses on eliminating unnecessary clutter and allowing the brand's core narrative to stand out through clean composition and careful material selection.

I live in Istanbul, a vibrant metropolis that unites East and West. This rich cultural heritage profoundly influences my work, instilling in me an appreciation for historical crafts, patterns, and storytelling. Living in such a dynamic, intercultural environment provides an endless source of creative inspiration, but coping with fast-paced commercial demands requires constant focus and adaptability.

I approach client collaborations as strategic partnerships. We begin with a comprehensive exploration phase to ensure alignment on brand vision, target audience, and business goals. Throughout the project, I maintain transparent communication, provide clear design rationale, and work closely to bring concepts to life.

Instead of focusing on fleeting visual trends, companies should seek designers who ask deep strategic questions about their brands. For a successful collaboration, I recommend providing a clear and goal-oriented creative briefing while giving the designer sufficient creative freedom to explore innovative visual solutions.

My work process follows a structured path: a pleasant conversation with the company, if possible. This is followed by research and strategic positioning, concept exploration and moodboard creation, iterative sketching, digital refinement, and final prototyping/production setup. Each stage is guided by testing how well the design conveys the intended narrative and how well it functions in the physical or digital environment.

1. The record player and records inherited from my father.
2. My fountain pen.
3. Paintings by artist Ibrahim Balaban.
4. My design books.
5. School objects from my childhood that hold sentimental value.

Before starting software development, focus on developing strong conceptual thinking skills. Mastering tools is important, but a clear idea behind a design is what adds real value. Maintain your curiosity towards different creative disciplines, learn how to clearly communicate your reasoning to your clients, and view every feedback round as an opportunity to improve your problem-solving skills.

Its greatest advantage is its ability to transform abstract ideas into tangible, impactful experiences that people touch and interact with daily. The main challenge, however, is balancing personal creative vision with subjective customer expectations and tight business deadlines; this requires constant mental adjustment and patience.

Enjoy the work you do. If it seems impossible to enjoy it, create opportunities to enjoy it.

The most important skill is to constantly look for beautiful things. The better you train your eye, the more your skill will develop.

My core toolset includes Adobe Creative Cloud tools (Illustrator, Photoshop, InDesign). On the physical side, I rely on sketchbook drawings, Pantone color guides, and tactile material samples. For inspiration, I constantly consult design monographs, typography archives, and design portals like Behance. As book recommendations, I suggest Simon Grafield's Just My Type and Helen Armstrong's Graphic Design Theory for those interested in typography.

I manage my time on my projects by dividing them into different phases such as research, concept development, implementation, and final touches. Setting strict time limits for conceptual exploration in the early stages prevents overthinking, while structured milestones ensure the technical production phase progresses smoothly without unnecessary delays.

A comprehensive packaging or corporate identity project typically takes 4 to 8 weeks, depending on its complexity and scope. This timeframe includes initial strategic research, conceptual iteration, client engagement, tactile prototyping, and final prepress preparation.

The most frequent question I get from my clients is: 'How can we make our product stand out on a crowded shelf?' My answer always hinges on clarity, original storytelling, and differentiation from the competition, focusing on creating a bold and memorable visual element that instantly connects with the consumer by eliminating visual clutter.

Through my agency Istanbul French Fries (IFF), I work with leading global brands such as Shell, Singer, Vileda, and Cargill.

I enjoy integrated packaging and brand identity design the most. Packaging represents the physical point of contact where brand strategy meets sensory experience. Creating a tangible product that consumers hold, interact with, and value on a daily basis is incredibly satisfying.

Looking ahead, I am focused on expanding our studio's global footprint, undertaking more international packaging and branding system projects, and participating in prestigious design forums.

At IFF, I work within a highly collaborative agency structure, alongside copywriters, strategists, and designers.

You can reach out to me via email at sahinburak1@gmail.com, or connect with our agency through our official communication channels and digital portfolios.

I would like to express my gratitude to the A' Design Award committee and the international jury for appreciating our work. Platforms like these play a crucial role in raising global design standards, fostering creative dialogue, and connecting designers with international audiences.

Interview about Blend 1601 Coffee Packaging Design Grand Interview

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Interview with Istanbul French Fries

Designer of the Day Interview

Could you please tell us about your experience as a designer, artist, architect or creator?

How did you become a designer?

What are your priorities, technique and style when designing?

Which emotions do you feel when designing?

What particular aspects of your background shaped you as a designer?

What is your growth path? What are your future plans? What is your dream design project?

What are your advices to designers who are at the beginning of their career?

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

What is your day to day look like?

How do you keep up with latest design trends? To what extent do design trends matter?

How do you know if a product or project is well designed? How do you define good design?

How do you decide if your design is ready?

What is your biggest design work?

Who is your favourite designer?

Would you tell us a bit about your lifestyle and culture?

Would you tell us more about your work culture and business philosophy?

What positive experiences you had when you attend the A' Design Award?

Design Legend Interview

Could you please tell us a bit about your design background and education?

What motivates you to design in general, why did you become a designer?

Did you choose to become a designer, or you were forced to become one?

What do you design, what type of designs do you wish to design more of?

What should young designers do to become a design legend like you?

What distinguishes between a good designer and a great designer?

What makes a good design a really good design, how do you evaluate good design?

What is the value of good design? Why should everyone invest in good design?

What would you design and who would you design for if you had the time?

What is the dream project you haven't yet had time to realize?

What is your secret recipe of success in design, what is your secret ingredient?

Who are some other design masters and legends you get inspired from?

What is your greatest design, which aspects of that design makes you think it is great?

If you hadn't become a designer, what would you have done?

How do you define design, what is design for you?

What helped you to become a great designer?

What were the obstacles you faced before becoming a design master?

How do you think designers should present their work?

What's your ultimate goal as a designer?

What people expect from an esteemed designer such as yourself?

How does design help create a better society?

Which design projects gave you the most satisfaction, why?

What would you like to see changed in design industry in the coming years?

Where do you think the design field is headed next?

How long does it take you to finalize a design project?

When you have a new design project, where do you start?

What is your life motto as a designer?

Do you think design sets the trends or trends set the designs?

What is the role of technology when you design?

What kind of design software and equipment do you use in your work?

What is the role of the color, materials and ambient in design?

Who is your ideal design partner? Do you believe in co-design?

Which books you read had the most effect on your design?

How did you develop your skills as a master designer?

How do you feel about all the awards and recognition you had, is it hard to be famous?

What is your favorite color, place, food, season, thing and brand?

What makes your day great as a designer, how do you motivate yourself?

When you were a little child, was it obvious that you would become a great designer?

What do you think about future; what do you see will happen in thousand years from now?

Please tell us anything you wish your fans to know about you, your design and anything else?

Designer Interview

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?

Can you tell us more about your company / design studio?

What is "design" for you?

What kinds of works do you like designing most?

What is your most favorite design, could you please tell more about it?

What was the first thing you designed for a company?

What is your favorite material / platform / technology?

When do you feel the most creative?

Which aspects of a design do you focus more during designing?

What kind of emotions do you feel when you design?

What kind of emotions do you feel when your designs are realized?

What makes a design successful?

When judging a design as good or bad, which aspects do you consider first?

From your point of view, what are the responsibilities of a designer for society and environment?

How do you think the "design field" is evolving? What is the future of design?

When was your last exhibition and where was it? And when do you want to hold your next exhibition?

Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?

How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?

Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?