The Gigasavvy creative crew might be small, but their impact on client projects is anything but. When they’re not crafting compelling work for clients, they’re out in the world creating in ways that might surprise you. Continuing our designer feature series, we’re pulling back the curtain on the people behind the work, from their paths into design to their creative philosophies and the passions that fuel them outside the office. This time, we’re sitting down with Gunnar Olson.
What led you to a career in design?
My path to design was shaped by a childhood rooted in creativity and a curious relationship with media. Growing up in rural Wisconsin, I was raised drawing and painting, with no small thanks to a grandmother who nurtured my love of the arts. When it came time for college, I initially pursued kinesiology, but switched early on in favor of a more creative life.
I also grew up without a TV, which might sound strange, but it actually shaped the way I see design. When I did encounter commercials, whether at a friend’s house or a relative’s, I was captivated. While my friends ran off to play, I stayed glued to the screen, fascinated by the little stories each ad told and the way brands used aesthetics to convey meaning.
How would you describe your design style?
Pinning myself to a single aesthetic feels like putting a ceiling on what I can do. Instead, I strive to be adaptive, holistic, and concept-driven. What stays consistent for me is a love of hidden details: what I call “Easter eggs.” Small, intentional touches that reward the observant: a message tucked into packaging, a flash of color on the inside of a belt loop. For me, these details are a form of care.
Where do you find inspiration, and is there an artist you admire?
For me, inspiration has no hierarchy. It lives everywhere, from the polish of a Super Bowl ad down to the etchings on a dive bar bathroom wall.
I think it’s important to notice not just what you like, but what you don’t like, and to understand why. That’s just as valuable.
When it comes to designers I look up to, I credit Aaron Draplin as an early influence who helped shape my eye. These days, I’m particularly inspired by Jessica Walsh and her studio &Walsh.
What type of projects would you work on full-time if you could?
Honestly, I love the variety too much to pick just one; that’s what keeps agency life exciting. But if I had to choose, I would point to motion design as something I’m increasingly passionate about. Motion adds a level of storytelling that static design just can’t replicate.
Tell us about your hobbies and what you enjoy outside of work.
Outside the studio, I play hockey and hike, but painting is where most of my time goes. I work almost exclusively en plein air, painting on location in the open air rather than from photographs or in a studio. It’s about observation and presence: going outside, finding a scene, and listening to what it’s saying. That connection to nature runs deep, rooted in a childhood spent outdoors on a lake in rural Wisconsin, learning about the land the way outdoorsmen do.
It was actually a happy accident that got me painting seriously. After graduating, I found the cheapest apartment on Craigslist in Laguna Beach, California. 275 square feet. A little sliver of ocean view. I had no idea it was an art destination until I walked the streets and found galleries everywhere.
I realized: oh, people actually do this for a living. I had no idea. Where I grew up, I only knew of painting as a hobby or a personal passion. I had no idea there were living, professional artists out there making a career of it.
So I picked up my brushes, started going outside, and never really stopped.