A psychologist turned journalist turned design agency founder, Edmund Wee is today the managing and creative director of Epigram, the company he started from a spare bedroom nearly 18 years ago.

Edmund came to the field of design only after stints in several other areas. He had aspired to be a mathematician as a child but studied criminology at school and spent some years working as a government psychologist. He then moved to the news daily. The Straits Times and stayed for 12 years as a lead writer, reporter, news editor and eventually as design editor before leaving to start Epigram. Although Edmund does not have formal training in design, his multidisciplinary beginnings have given him a very practical, hands-on education in design that continues to influence the way the agency is run.

In Epigram’s early years, Edmund found himself playing multiple roles, from creative director, copywriter and designer to receptionist and delivery clerk. Since then, the agency has gone from strength to strength. Its current work ranges from corporate collaterals, magazines and newsletters to corporate and retail identities and environmental wayfinding and signages. It is also increasingly active in book publishing, which Edmund describes as ‘inevitable’ given the agency’s expertise in editorial development and design capability. Notable Epigram publications include A Gardener’s Log by Thien, which features exposed binding to reveal its ‘roots’; and Irene’s Peranakan Recipes, an unusual one-colour cookbook that includes pages for shopping lists, measuring rules and four ribbon bookmarks.

In particular, Epigram is regarded as having revolutionized the art of annual report design in Singapore. From the start, the agency has chosen to create for clients who are themselves intent on making a difference. Instead of the conventional book form, Epigram’s annual reports over the years have appeared as an X-box game, DVD, coffee-table book, laptop, board game, airport lounge novel, travel guidebook and tabloid newspaper supplement, among others. Above all, as one admirer noted, ‘They are witty, almost always well photographed and beautifully produced, with great attention to getting the message across.’ As Edmund explains, ‘An annual report should not only present the company’s financial results, it should also reflect the company’s spirit.’

For inspiration, Edmund draws on ‘elegant writing, enchanting architecture and engrossing art’. He spends much time in bookstores, both in person and on=line, and visits contemporary art museums and galleries. His sources of influence reflect the diversity of his interests. Designers, artists or bodies whose work have made an impression on him include Apple, Bilbao Guggenheim, Atul Gawande, Andreas Gursky, Hiroshi Sugimoto, Ai Weiwei, Jamie Oliver, the New York Times, Santiago Calatrava and Herzog & de Meuron.

The result is a design philosophy that is almost austere in its simplicity. At its base, ‘It starts from the desire to make things beautiful or better in order to engage or touch the viewer… Less is more. Make your words sing. Let your pictures shine.’

For someone whose works are known for their strong ideas and visual impact, part of Edmund’s approach also seems to hark back to his newspaper days. ‘It is essential to articulate key messages in words before developing any visual or physical solutions.’ The name of the agency reflects that thinking. ‘Epigram means a witty remark or poem. We started in publication design and I felt then that good design had to recognize the critical role words play in communication. Before any visual solution, we had to get the words right and frequently that meant we had to be witty.’

The creative process that follows unfolds organically. ‘We start by asking a lot of questions of our clients about what they are trying to achieve, some obvious and silly and some not so obvious or silly. We do a lot of research on the client and on the subject. We narrow onto the target audience. Sometimes we will gather to brainstorm, other times we will squirrel away in our corners to contemplate. If necessary, we will lie on the floor, sit in the loo, have a coffee outside the office or solve a cryptic crossword puzzle. A solution will appear.’

Today, the 20-strong consultancy continues to uphold its founder’s belief that ‘there is no greater power than the force of a great idea’. Says Edmund, ‘Unlike other design companies that avoided rocking the boat, I was adamant Epigram would stand for something extraordinary/’ For Edmund and his colleagues, work is more than just design, and is treated very personally. Edmund believes this sets Epigram part from other creative agencies. ‘Our success is due to the group of designers and staff in Epigram who share an uncompromising belief in good design.’

He acknowledges that this ideal may not resonate with every client. ‘Our highs come from clients who support our efforts. Our lows come from our failure to convince our clients of the value of good design. So our daily challenge is to convince the client to buy our concepts.’ However, he notes that this approach has stood the test of time. ‘How do we know we have been successful? The client comes back for more. Success is being hired again the next year.’