Kory Jordan is a San Francisco–based Art Director and designer focused on culturally rooted brand storytelling. His work blends typographic restraint with expressive systems that translate strategy into bold, human visuals across campaigns and identities. He is currently a Senior Graphic Designer at Apple

How did you first find your way into design, and what continues to draw you to it?

Originally growing up I thought I wanted to be a doctor; I was always good with math & sciences. I then got a camera in my last year of high-school and some creative friends, and that led me into my own practice of creativity. Once I got into college, I pivoted from pre-med major to a design major.

Now what draws me to it, is still what drew me to it before being able to directly shape the world around with you. I think it’s interesting that the world we live in is made from people who are no different than we are. Design is the intention behind the creation.

What does a typical day look like for you as a designer working in-house?

Typical day in house is different depending on the projects we have on the plate. For where I’m working currently it’s exciting and there’s always a new challenge everyday. I appreciate working with my team and other creatives to push the work.

How has working within a large creative team shaped the way you think about collaboration and visual systems?

I love collaboration. I started with creating with others when I was young, so collaboration was always something that grew with me. I think in terms of design within the industry and even without collaboration is necessary for great work. You may be able to do great things individually, sure, but to do things with scale and impact I think you need to be a good collaborator.

What are some qualities you value most in design work either your own or others?

I think authenticity is important and knowing what you’re trying to communicate. I lean more so to using design as tool for communication instead of just a service. So I think it’s key that design looks good, but most importantly to who or what it’s supposed to look good for. I think we’re missing a lot of authenticity today with the rise of digital tools at our footprints, and homogenous thinking. I think our individual stories that we bring into the work we do help others see themselves in it as well.

When you’re starting a new project, what’s your first step in shaping the visual language?

My very first step is honestly to think about what’s important to the project. The message or the brief is the key. I think then that can shape any visual you’d like if you know the story that you’re trying to say.

How do you approach typography, and what role does it play in setting the tone of your work?

Typography is important, but I do think the rules we have on type can be strict sometimes. I think in the right cases, such as accessibility and legibility, it makes sense to have clear constraints. I do think type can be either artful, expressive, clear, or play a role at times as subtle context to the visual container it’s paired with.

Are there particular references, designers, or movements that have influenced your visual sensibility?

I’m inspired a lot by things that are from my culture that aren’t “graphic designed”. Films, books, music play a huge inspiration. In regard to visual design, I’m inspired a lot by the Harlem Renaissance, Mid century modern, but also the current post-modern modernism era we’re in. I’m a big fan of the mix of culture & design, and I think key designers like Virgil, Hassan Rahim, Dieter Rams (I’m missing others) play a role into the tension of design restraints while also playing.

Outside of your professional work, how do you stay creatively engaged or recharge your eye?

I think staying constantly creatively engaged can be a challenge and also unrealistic in today’s climate. I try to keep my eye open to what makes me curious. Most of the time, that comes from life itself, but also for me it comes from storytelling and visuals combined. I tend to find that mix in films and music, where different forms of design sonically and visually combine.

What advice would you give younger designers who want to build a refined, systems-driven approach to design?

My advice when it comes to systems is practicality. Yes, your system looks great, but the best system works in all moments for those who use it. If your system is beautiful, but not useful it’s almost a relic or just an art piece.

How do you define success in your work what makes a project feel complete or resolved to you?

I’m still working on that answer to be honest in regard to what success looks like for myself. I can say for when projects feel complete, is when the person I designed something for finds delight from it and joy, and they can actually use it. I think those moments are the most impactful and give legs for the work to grow.