6 Life lessons for Designers

The path to creative success is unique for all of us, and the following life lessons are by no means a definitive list, with no absolutes (except for the rule that there are no absolutes). But these strategies have proved successful for many experienced designers, and will hopefully provide inspiration and insight to younger talent.

1. Know current trends

This beautiful typography for Modus magazine shows how Sawdust became famous by creating their own unique aesthetic. Now that every other creative in the world is available to you via the phone in your pocket, originality is the most powerful currency.

Sawdust has established a world-wide reputation with their unique typography, and when Computer Arts spoke to co-founder Jonathan Quainton, he was unequivocal about how new talent should make their mark: "Don’t follow trends... find your own source of inspiration. The more obscure the better."

Design legend Milton Glaser – perhaps most famous for his ‘I heart NY’ design – has also encouraged creatives to aim higher than simply following contemporary styles. "I think the best designers have a kind of broader look and don’t change with the prevailing wind," he told us when we interviewed him back in 2010. "If you’re serious about design, you have to be more concerned about durability and ideas that go beyond the moment."

2. Take risks with your career

Radical shifts in career or projects that initially seem too challenging can be terrifying, but the stock cliche – we regret what we didn’t do in life, not what we did – holds pretty true for creatives looking back on their careers.

Despite having single-handedly reinvigorated magazine design through his innovative work at Bloomberg Businessweek, designer Richard Turley abandoned print (and his native UK) at the very peak of his success to take a job in America making TV indents and campaigns for MTV.

His self-proclaimed "clusterfuck of visual content" re-energised him, exposed his talent to an enormous new audience and showed his understanding of the importance to grow and develop as a creative. Designers who stand still stagnate. Forward progression is everything if you are to develop a long-lasting career.

3. Understand your influences

Whatever your chosen area of interest, you need to know and understand it better than anyone else. Radical experiments in typography are unlikely to yield rewards if you don’t know which rules you’re breaking. Colour theory cannot be challenged without a basic comprehension of the common principles. More than ever, we exist and create in a richly connected world. The DNA and heritage of your ascendents need to be absorbed.

Peter Saville did not just stumble on his radical design aesthetic for Factory Records. The deliberately provocative borrowing of high art aesthetics and subtle identity building were triggered by the realisation, when he was due to leave Manchester Polytechnic in 1977, that he didn’t know enough about the history that underpinned graphic design.

4. Deliver a solution, not options

If your work is in any way client-based, there will inevitably come a point where you are required to communicate what you aim to deliver. Whether this is a campaign, illustration or logo, young creatives will be tempted to show a range of options that the client can choose from, a nervous symptom of wanting to ‘show your workings’.

Don’t. Remember that you are being hired to offer a solution, not to engage in debate. Choose a direction and execute it with maximum confidence. Don’t make the mistake of using client meetings to help search for direction. Your indecision will be noted.

The unspoken law of all client-based design is that if offered a choice, your client will pick wrong. Don’t give them the chance. You should have been living a breathing this project know what the best solution is. Sell with confidence and listen with humility.

05. Ignore disciplines

Specialist disciplines are fading fast. When Computer Arts interviewed design icon Mario Hugo, no single title could encompass his diverse range of work (designer, art director and illustrator had to do) and he was dismissive of any notion of specialism in contemporary design. “It feels very limiting to call yourself one thing or another,” he told CA. “Those in the emerging world of design would prefer to broaden their horizons.”

Graphic designer and Pentagram partner Natasha Jen raised some eyebrows at this year’s Design Indaba with her provocatively entitled talk: Design Thinking is Bullshit. But throughout her career of innovative, multi-discipline client work, she has always spoken her mind, championing the polymathic nature of design and encouraging each new designer "to think and operate like a renaissance man".

6. Mentoring talent can be rewarding

Young creatives are often ruthlessly (and rightly) self-focused, but when opportunities arise to develop and nurture younger talent, altruism has its own rewards. To guide a younger talent past pitfalls, help nurture their skills or simply offer practical support is fulfilling in its own right, especially if we see new talent benefit from our mentoring.

As creatives we tend to live in our own heads, following processes that are often intuitive. Dragging our ideas and theories to the surface to share with others often leads to a sharper self-awareness and a better understanding of our own methods. Experience cannot be taught via a YouTube tutorial or faked with youthful exuberance, but it can be shared.

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