Warning: Graphic (design) content
Above: DESIGNER’S ADVICE: Graphic designer Noelle Shuck stands at the Georgia Museum of Art. Shuck graduated from CCHS in 2007 and believes that it is crucial for young people to focus on their purpose. “Don't forget why you became a designer, which for me, it was just like, it's fun. Never stop having fun, if you can help it,” Shuck said. Photo courtesy of the Georgia Museum of Art.
Noelle Shuck, ODYSSEY alumna and Clarke Central High School class of 2007 graduate, speaks with iliad Editor-in-Chief Kaija Gilbertson Hall about her experience as a graphic designer.
Kaija Gilbertson Hall:
So what initially drew you to design and how did you start?
Noelle Shuck:
I didn't get into design until I had declared my major at UGA as photojournalism, because of the Odyssey. And then I came to orientation and I was like, “No, I don't think so. Doesn't feel right.” My mom had been a graphic designer for a while so I had done some things, but I wasn't good at it all. But I liked it, it felt like putting a puzzle together and I really love solving puzzles. So I was like, I'm an art major and I'm going to be a graphic designer. And that's what I, at orientation, decided, very last minute shift.
KGH:
That's really cool.
NS:
Yeah, and school taught me design theory and then my internship at the Adsmith- I worked there for eight years before moving to the museum- gave me all the skills, like the more technical side of things. But also I mean, design theory- they're geniuses over there.
KGH:
Do you have a favorite project you've done?
NS:
Yes, this green book, (Reckonings and Reconstructions). It's my first photography book. And then redesigning Facet was great, because I got to work on the old big version with two covers. So I started designing this with the Adsmith, (which is) a graphic design and web creative agency on Milledge. That's where I had my internship in college and then they hired me out of college because I was already working there. After I left to go work for the museum, which I'd already done some work for, we redesigned Facet smaller, and gave a little more space to the art itself. Yeah. And so that was another one of my favorite projects because I got to really dig in and develop something myself. I kind of inherited this format from another designer, Wendy Garfinkel Gold, who went to RISD, she was a big deal and a genius. So I kind of inherited the format from her. Obviously, I put my own spin on it, but that's one of the other favorite projects I've had probably is getting to 2.0 that.
KGH:
How'd you get to the Georgia Museum of Art?
NS:
So I did a lot of work for (the Georgia Museum of Art) at the Adsmith, (one of which was a) purple book, it's Catherine the Great's art patronage. So, it's a bunch of Russian decorative objects, like jewel encrusted chalices and dinnerware, just really fancy, boujee stuff. I was working on Facet, and so when they created the graphic designer position, I was feeling burnt out because it was long weeks (and) a lot of different clients. And (working at the Georgia Museum of Art) would mean, I just had one mission, one entity to work on. And it was working with like, really beautiful art. It's been a nice transition, because the Adsmith was really nice, it kind of felt like Madmen, in a 'bam, bam, bam,' always moving way, you have to be very dynamic and always on top of it, and so you feel very accomplished. And I learned so much, I wouldn't be the designer I am if I hadn't worked there. But it was really nice to transition to just one person and just one thing I'm doing.
KGH:
And that's where you are now?
NS:
Yes, I'm (the Georgia Museum of Art’s) graphic designer. I do publication design, obviously do books, some web design, kind of whatever they want me to do. A lot of event design too, like our gala, our bi-annual fundraiser, called Elegant Salute, has a different theme every two years. This one was like Art Deco, which is a place my brain really likes to go. So I got to design all these really pretty geometric things for that.
KGH:
What advice do you have for young designers interested in pursuing a career in or adjacent to design?
NS:
I would say, find a therapist. That's for anybody though, like, be aware of your mental health. Because if you don't have any mental health, you have nothing. Bill your hours, don't undercut yourself, and make sure that the work you're doing, you're being compensated for. Take chances. Don't be afraid. Like, I told my students, this is school. And so this is like the last real time you're just gonna have time to try stuff. So I want you to try, like, all the stuff. And I want you to fail. It's school, you're supposed to be experimenting and finding something. So that means you're gonna have to do things that you don't end up liking at all. But you're not going to know until you try. So I'd say, don't be afraid to fail. That's a really important part of life. Also, don't forget why you became a designer, which for me, it was just like, it's fun. Never stop having fun, if you can help it. Yeah, and say no to toxic work environments. If you have a weird feeling about a workplace, don't take that job. Or take it but immediately start looking for something else. Because of capitalism, work is a lot of our lives, and living a life where you don't enjoy work day in and day out is not good for yourself.
KGH:
Where do you find inspiration for your design?
NS:
Oh, all over. I mean, as anybody that's working in art, I think it's important to always be looking at things around you and what other artists are doing. Behance is a portfolio site so I'm always just like scrolling on Behance. If I need inspiration for something, I'll type in a keyword and just like, spend 30 minutes looking at things and saving mood boards. You know, on Instagram, I follow a lot of design companies, and I'll save things to certain folders.
KGH:
Do you have any favorite design hack, tip, or element?
NS:
I used to really like halftone patterns, like dots. That was my favorite design device when I wanted to make something look like real punk. Now I'm more about boxes, containers that bounce off of each other. And I really like mixing hand-done stuff into layout. I think your brain needs to start on paper. Starting on a computer is how my worst designs are made. Like I really like to do thumbnails to get a sense of where I'm going first and then follow that adventure.
KGH:
Anything else you have to add to the people of Clarke Central?
NS:
Go Glads!
