There's a growing number of success stories of Australian graphic designers conquering the world. This is one of them!

The journey starts in 1995 at the rural city of Ballarat, Victoria, the home of the Eureka Stockade and the birthplace of the determined Australian character. Within seven years, this determination would establish Kerrie Powell as an Associate Partner of Pentagram, New York.

Kerrie Powell was born in Melbourne. With creativity sprinkled throughout her family, Kerrie was destined for a career in the arts. At the age of six, she spotted her first life drawing folio. Asking the owner what she did, she was told "a commercial artist". "Oh!", said the young, wide-eyed Kerrie, "that's what I'm going to be". Apart from the odd, brief internship (one being at the interviewer's studio), Kerrie's career started and continues to be overseas. Beginning in Poland, then Switzerland, England and now the USA, Kerrie is actively involved in the international design community. Apart from her work at Pentagram, Kerrie lectures and critiques at universities and art colleges. She is regularly invited onto judging panels, while herself received a number of design awards from organizations such as the Art Directors Club (NY) and the Type Directors (NY). Her work is reproduced in various international design publications while being represented in the permanent collection of the Museum of Modern Art, San Francisco.

Kerrie visited Australia in November 2003 and presented two inspiring seminars for AGDA. Following the Melbourne seminar, Kerrie kindly agreed to tell her story and share her thoughts on graphic design.

EDUCATION

Dennis Ogden: In 1995 you graduated at Ballarat University with a Bachelor of Visual Arts (Graphic Design). What were your educational experiences and personal influences that lead to this outcome?

Kerrie Powell: I went straight from Secondary College with a VCE portfolio. My electives were graphic communications and art with a lot of extra-curricula activities, like doing community murals and participating in stage performances. My grandpa was an artist in his spare time and my auntie is a Secondary College design teacher, so I think that was a subconscious influence. This aside, I always had a passion to design. I was a stickler to detail then, as I am now. It's funny when I think back, about how I was really so young and knew exactly what I wanted to do. I mean there are so many people who come out of their university and they still don't know what they want to do - maybe I'll burn out in the long run!

DO: Was graphic design and Ballarat your first choice and did you consider the alternative of TAFE and a diploma in graphic art?

KP: Graphic design, absolutely, without a doubt, I don't remember what my first choice was regarding schools. I got accepted into TAFE and certainly pursued that position, thinking that I wouldn't get into university. Oh, I think the University of Ballarat thought I was, like, a "C" letter; I tease them about that now. But, I did appreciate that Ballarat was in a country town. It was more isolated, so you could concentrate on your work as opposed to being distracted by the influences of a city. And I was particularly impressed with the ratio of students to faculty. I graduated with approximately 13 people, in comparison to around 75 at city universities. So I appreciated that contact and the facilities there.

DO: There is such confusion between graphic art and graphic design. Do you think there is a strong difference and was it described to you?

KP: Oh, there's a huge difference and I don't thinks it's clear to anyone until they are in the industry. It was described to me, but I can't recall exactly how. I guess it was like, 'finished art' versus 'creative', or, 'creative' versus 'execution'. When it's not explained properly, I think one expects that graphic art is like a Mac monkey position, when it's far from that in reality. The two industries work side-by-side and both parties need to appreciate and respect the others discipline and skill.

DO: Back to Ballarat. The degree was part a visual arts course. Did you feel that multi discipline exposure is a benefit?

KP: Undeniably, because I don't think I would have recognised at the time that I had such a passion for printmaking. I don't use it now, but maybe that's because I don't have the facilities. Even the three-dimensional courses, particularly sculpture, helped me figure out 3D form - that would benefit, say, in packaging design. I think that without the opportunity to have that foundation period, it would probably jeopardise some people into not thinking on a different level outside the box, and aesthetically, not being able to explore the various mediums. At the time I went through, it was compulsory to successfully complete a six-month multi-disciplined curriculum, from ceramics to painting, drawing, etc., etc. The course has changed now, and for better or worse, you go straight into the major discipline of graphic design.

DO: There are degree courses that are dropping the likes of life drawing.

KP: What a pity. Now that's a conversation about technology and students jumping straight onto a computer, which I think limits their creativity. They start to believe the computer will answer their questions and in the end, the design looks very hard and obviously computer generated. Now I can't say I was a huge fan, nor was I very good at life drawing, but it does train one's eye. As a result, I was a better-rounded student.

DO: Are there gaps in design education?

KP: Yes. I think there's a major gap in Australian graphic design education, in the area of work experience. I think students should be doing internships throughout their course. If it's a three-year degree program, then it needs be extended to four years to accommodate this void. There's a school called University of Cincinnati in America with a five-year degree. Students rotate with three months in their profession and three months at school. They're incredibly experienced when they graduate. Team players too! Students that are continuously in college are completely naieve about the real world. So an employer needs to invest six to twelve months trying to teach them basic skills. This is something that I promote internationally, taking on students from all corners of the world for 3 months at a time. Oh, and this is something that should be taken on during their time at school as opposed to after graduation; then applying their new knowledge to their portfolio and using an internship as a stepping stone to employment.

DO: In Australia, the industry is made up of a majority of 1-3 man studios which makes it difficult to take on an intern.

KP: I understand that, but I don't understand why those small studios are not using the students to benefit themselves. If they can't afford a junior designer, they probably can afford an intern and it would be beneficial to both parties, especially during busy times.

DO: Motivation and initiative, together with skill, are what studios look for when employing a designer. Can this be taught, or is it a natural drive?

KP: Oh gosh! I think that's hard to teach. You've got to have the enthusiasm, the passion, the drive and the motivation. If someone is lazy, they're not going to withstand the pressure of graphic design. You can teach them business and execution skills, but personally, they must have motivation and creativity.

DO: You lecture in the States. How do Australian design courses compare?

KP: In countries such as America and Germany, the courses are longer. An undergraduate degree is a basic requirement, and most people get a master's. Many do English literature as part of their undergraduate studies. This would be beneficial for us Aussies, to improve our written communication skills. Especially when a high majority of us are dyslexic! Other than that, we hold our own!

DO: You won the Overseas Travelling Award on graduating. Did the Ballarat course prepare you for working in foreign studios and within different cultures?

KP: No, and I wouldn't really expect it to. But saying that, they do promote you to research graphic design overseas and the faculty are well connected with a number of key personalities. They invite many international star designers to critique and give lectures, which, influences the students and motivates them to further their knowledge through books and magazines. But I think it's hard to define a culture without living there.

DO: Would you have gone overseas if you hadn't won the award?

KP: Probably not. I'm not really sure. I would have had to work for a year to save up some money. It was a fantastic opportunity that pushed me into leaving immediately. To this day I'm really thankful for that opportunity. I truly believed I wouldn't have lasted for more than three months and everybody would have said, "ahhh, she didn't make it". But seven years later I'm still there.

DO: Do you believe all new graduates should travel and experience different cultures before looking for work? And was the Australian culture and attitude help or a hindrance to you overseas, especially in non-English speaking countries like Switzerland and Poland?

KP: If they can afford to get out of the country, I would recommend everybody to do it. Maybe not to the extreme to which I've done it! Australia is incredibly isolated, being its own continent, so it's good to go abroad and see the proximity of countries and realise the world is a smaller place. Being Australian is absolutely beneficial. Most people love us Aussies. We're easy going and it gets your foot in the door, even if it's primarily because of the accent. Non-English speaking countries? Fortunately, most of the time locals who were multi-lingual accompanied me. The English might be sick of us by now. Yes, in fact I know they're sick of us, but they're really easy to befriend.

DO: Where did you work as part of the Overseas Travelling Award and how did the jobs come about?

KP: First, I worked briefly for Maciej Buszewicz at BC Grafika in Warsaw, Poland and then with Jean Robert and Käti Robert-Durrer at Robert & Durrer in Zürich, Switzerland. These contacts were acquired while I represented Ballarat University on the committee of the 1995 AGIdeas (Student International Graphic Design Conference), organized by Ken Cato. Maciej Buszewicz and Jean Robert were both guest lecturers that year. I approached them when drafting my award submission. They both invited me to work in their studios. So yes, these two jobs were organised in Australia. You know what? They were more than just jobs - for instance, I was fortunate enough to attend the opening of the 15th International Poster Biennial in Warsaw and other formal and informal events. In both instances, I was treated like I was a member of their family. I worked, played and drank too much!

DO: You have an outgoing personality and appear to be confident. Is this important when looking for a job?

KP: Yes, I think it's important to show your personality and be confident - even if you're nervous inside. However, it's important not to be arrogant with it. There's a fine line between being enthusiastic and being arrogant. I know that's important to me when I look for interns and junior designers, I need someone with personality who's willing to get down and do the hard work.

DO: In all art and creative fields, there's always a percentage of very quiet, reserved people who may not have the confidence or personality. Is there any advice to them?

KP: It's not going to jeopardize them. They'll build up their confidence once they learn a few business skills. It's more about having the confidence to interact with the client. Clients won't just look at your work as the only means of communication. They won't just say "I love it, let's do it"; in addition you need to verbally paint the picture. Sometimes it's a hard sell. I don't think it's a problem within the studio, as not everybody is bubbling with personality. Believe it or not, I'm particularly reserved in the studio because I generally have an immense amount of work to do. But as a graphic designer, I do believe you need to be opinionated. Clients are paying you to be decisive, not to sit on the fence.

DO: What advice can you give to graduates who are losing their desire of graphic design due to the lack of finding employment to keep them motivated?

KP: Doing internships or freelancing is a way to get a foot in the door. Show commitment. I understand it's hard to get internships in Australia, given the current economic situation, so they can't take it personally if they don't get a job. At that point, unless you're willing to change professions, I'd say go travel. I mean there's no reason not to go travelling. Gosh, I didn't have money before I left, so it's not money. If you're not getting your inspiration or opportunities here, go abroad and figure out what your true passion is and figure out ways to get that foot in the door. Oh, and do it quickly whilst the Aussie dollar is strong!

PENTAGRAM

DO: After Switzerland, you went to London where eventually you were offered a job at Pentagram. What were your responsibilities, or jobs, at first?

KP: I was thrown in the deep end. The first day was a twenty-four hour marathon, starting on the Tesco (UK's leading supermarket chain) account with only two designers assigned to the project. Everything had to be done and what you didn't know, you had to ask around and figure it out. Students shouldn't be concerned about that; just be prepared to stumble your way through it. In larger places, of course, there's always someone senior with the expertise, willing to help you out. You're not expected to know everything when you're a junior.

DO: You worked with John Rushworth, a partner at Pentagram, who told me you were a great team leader. How important is it being part of a team?

KP: Your team becomes your family. You're there 24/7 with them, so it is important to communicate and work together. It doesn't necessarily mean that all your projects are team-driven. Usually projects are independent, but a team is often there as support. I know John Rushworth's team and Michael Bierut's team in New York have been incredibly important to me. They keep me sane!

DO: Pentagram is not your typical Australian studio of 1-3 people. How do you see a team working in this environment?

KP: You're right, we are a different kettle of fish! Pentagram has offices in London, New York, San Francisco, Austin and Berlin. Today, there are 19 partners, 14 associate partners and approximately 175 support staff. But, divvied-up between 5 offices, the perception of a large company becomes blurred. Each partner manages his or her own design team and projects. Our team comprises of four print designers, three environmental designers and three interns. Other teams operate as a one- or two-man band - the Aussie way. Not that big huh? We employ an attitude of a small private-firm, under the umbrella structure of a large international multidisciplinary firm. So if you're a typical Australian studio of 1-3 people, cast your net wide to ensure you have a large network of friends to support you. If it helps, call them your associates!

DO: Pentagram is unique in that it is totally run by a group of multi-talented designers in a range of fields - with maybe an accountant.

KP: Correct. Our partners are renowned for being both "entrepreneurial" and "creative". Jack of all trades. An architect, a product designer and three graphic designers originally established Pentagram. Now we practice these and more, such as environmental and multi-media. There is an accounting department and administrative staff. Yes it's a little different, but by not having consultants or middle people, it works for us.

DO: This makes a mockery of the belief that creative people aren't good at business.

KP: Absolutely. I think any successful person has to have the perfect balance of business and design, particularly if they work for a small company.

DO: On the other side of the fence, how important is it that clients have an understanding of design? Is this the case in Europe and America?

KP: In Europe clients are very, very sassy on design, and that's why I think the standard of design, particularly their attention to detail, is so phenomenal. In America it's the message. The message has to be loud and clear and they pay less attention to execution subtleties. I would recommend Paula Scher's book, MAKE IT BIGGER, to understand the client's expectations and good examples of clients having too much knowledge, not enough knowledge, or the combination of knowledge and laziness. It's a fantastic book and lays it out perfectly with humor.

DO: Is it only the larger organizations that understand design more?

KP: I don't know. Sometimes I think the larger organizations know a little bit too much. Sometimes it's easier to educate smaller institutions.

DO: You worked in London for Pentagram for two years. Why did you leave and how did the relationship with New York start?

KP: My visa was due to expire and at the time I knew I didn't want to come home. I was very reluctant to leave England. Pentagram was my family. John Rushworth was a remarkable mentor. I asked John if there were any opportunities in the New York office. At first Michael Bierut in New York said "but I don't have a desk for her". However with John and partner Daniel Weil twisting his arm, he didn't have a choice. Michael and I only had a three-minute conversation before I arrived. Which is funny, because still to this day he's never seen my portfolio. Which means personality goes a long way, I guess.

DO: How did you go about getting a Green Card?

KP: It's relatively easy for young Australians to get English working/holiday visas. It's a little bit more tricky if you want to go to America. Without emotionally and financially investing in a Green Card, to my knowledge, there's three ways you can go about it: a student visa, an artist visa, or company sponsorship. All visas are time-consuming and don't necessarily guarantee success. It took eight months for my initial company sponsorship to process and the legal fees are astronomical. Some employers foot this bill, others don't. I was fortunate. But given the current economy in America, companies are reluctant to pay for foreigners. It's even harder for junior designers, because of the cost and risk involved. So unless you're offered an internship, you need a few years experience before you tackle America. For those graduates interested in going overseas, I would suggest going first to the countries where it's easier to obtain visas and then use America as a second stepping stone.

DO: Did you find a different work environment between the London and New York office?

KP: Most things were similar. The unique studio space. The team structure. The politics. Great people. The variety and standard of work. Oh, and most importantly, the free lunches! The difference was the culture. London was very social and New York is hard and fast. New York was a shock to me not knowing anyone, and it took some time to adjust. In England I had the same amount of time for the project, but I had less accounts. Whereas, in the American office, you have a lot more responsibilities. It is of course, the land of opportunity, and they certainly give you every opportunity if you can handle it.

DO: In the Pentagram formula, is there flexibility in dealing with the diversity of cultures in regard to international clients?

KP: Since each partner brings a different background and capacities to the firm, Pentagram is strong in many different design disciplines and cultures. We're able to manage a diverse range of design projects ranging from annual reports and corporate identity programs to interior design, sign systems, interactive design, exhibition design and product design, sometimes dividing one client's large, multidisciplinary project among several partners from various offices. United Airlines have been a long-time client of ours. Their projects vary from branding, to interiors, to product design - which are appropriately distributed between our London and New York offices. Harley Davidson is another, who have employed us to design their museum, a touring exhibition, branding and a coffee table book. These larger accounts need a vast amount of expertise and are often global. Pentagram's formula is definitely flexible to make a project a success globally, expanding our network if we need to have an intimate cultural connection.

DO: Congratulations on becoming an associate partner. Has your working role changed because of this?

KP: It's a prestigious title and I'm very honored to receive it. It's more, for me, a respectful promotion and I appreciate the recognition, support and confidence that it reflects. It hasn't dramatically changed my job role.

DO: Are there different problems for designers at the top end of town compared to small or single operators?

KP: Uptown verses downtown? Maybe there's more internal political problems in a larger organisation. But within a larger company you have the support of others, which is fantastic. For an individual it's hard to have the confidence without occasional reassurance. Talking about Town...

Town is the restaurant at Chambers, a boutique "downtown" style hotel located in midtown Manhattan. Michael and I were asked to create the graphics for both the hotel and restaurant. For Town, I deployed a grid of squares that shifts from sparse to dense on everything from the front door to the menus to the sugar packets. The pattern, which is meant to suggest both the organization of the Manhattan street grid and the concentration of activity in any "town square," is always rendered in black and white so as not to detract from the food. A mixture of engraving and embossing techniques lends an air of elegance to what might otherwise be an austere, say, minimalist solution. One square from the grid creates the period at the end of the Town logotype. Get it, "Town Square." I thought it was appropriate; the press had a field day, calling it pretentious!

The restaurant has been a roaring success, its name and logo serving, among other things, as a punch line on the "All that Glitters" episode of HBO's "Sex and the City".

Carrie, played by Sarah Jessica Parker, says to her boyfriend, Aidan... "Hey, you want me to see if I can get us into Town? You know that restaurant in the Chambers Hotel, with the period in the name? 'Town. Period.' Supposed to be amazing, Exclamation point!!" Aidan would prefer "a bucket of KFC", dramatically saying "K, period. F, period. C, period."

You just don't understand, I could have walked away from my profession, I was that content with my claim to fame! Awards, schmaward! A dialogue in "Sex and the City" - Genius!

THOUGHTS ON AUSTRALIA

DO: Having never worked in Australia, do you feel you're in a position to compare the design scene in Australia with your experiences overseas?

KP: No, I don't think I am. I think in many ways I'm naieve about Australian design, and if I?m naieve about it, I'm concerned about non-Australians passing judgement. This is a good argument for a design museum and educating people globally.

DO: So you think it's important for cities like Melbourne to have a centre for design?

KP: Absolutely! I think, globally, people lack knowledge about Australian design. We need to educate people nationally too - it's absolutely necessary. And there is a void. Within a few days of arriving in Zurich, Switzerland, I went to their design museum and thought "what a fantastic place". I was so inspired by it, to the point that I woke up one morning, went to Jean Robert and proclaimed "I've got it! I'm not going into the design profession, I'm going to open up an Australian design museum! And it's going to have a bookstore and lecture theatres." I just couldn't believe Australia didn't have a design museum.

DO: How is Australian graphic design seen overseas? Does it have a style?

KP: As I said, most people are not that familiar with Australian design. I guess the Olympics bought a certain amount of attention, but not enough. So many countries are recognized by a certain style, such as Britain, Holland and the likes of Japan. There is definitely a contemporary personality, dare I say adopted from abroad, deployed with a particular aesthetic which seems to be inherited from ancient Aboriginal art and the Australian landscape. Similar strokes. Similar color palette.

DO: If you chose to come back to Australia to work, how much would you need to adapt to the culture here and what benefit or hindrance would your overseas experience have?

KP: I would be petrified. People ask me why would I be petrified. Well, it's because I've never worked professionally in Australia, consequently I don't have any contacts. I don't know a printer. I don't know a photographer. All my contacts are international. I might also feel a little isolated. For better or worse, Australia is a far cry from anywhere! However, when I do choose to return home (yes, I do think it is inevitable), I believe I will humbly welcome these differences/challenges. Needless to say, I trust that my vast array of oversea experiences will be beneficial, not a hindrance. If not, at least I'll have family to lean on again!

DO: When judging, do you judge the creativity of the designer or the understanding of the use of design by the client, and what do you think of design awards?

KP: A happy medium is imperative. Design has to be a vehicle for communication. It can be flowery and beautiful, but if it's not legible and doesn't communicate what the client is asking, then it's not successful. We do apply for awards and are frequently published. If you're not regularly in the public eye, then your reputation isn't going to grow or be sustainable. It's a means of communicating to your audience - potential clients. There are little cigar clubs worldwide, whom stroke one another's egos, but I think there is a movement to change that. The AIGA is doing a great job trying to define their criteria. At the moment their big thing is sustainability, as in being eco-friendly, and conforming to the limitations of the brief. Things can no longer simply break boundaries graphically. I appreciate this shift in focus.

DO: Do you see the role of associations, like AIGA and AGDA, as being important to the industry?

KP: Organizations such as AIGA and AGDA provide an infrastructure to support a community that wouldn't be there otherwise. It's an integral link, a central hub, a way for us designers to be continually educated about what's going on in the world - and it's easily accessible.

THE FUTURE

DO: Are you where you wanted to be at this stage in your career and where to from here?

KP: You know, you always ask yourself where you're going to be in ten years. I honestly didn't think I'd be travelling the world for almost a decade. I would have to say I'm probably beyond where I would have expected to be and feel very fortunate to be in that position. Where to from here - That's a question I avoid. I think it's inevitable I'll return to Australia at some point. In the meantime, I have a wonderful position, in a wonderful company. I have a wonderful boss, a wonderful team and wonderful clients. What more does a girl need? You don't have to answer that! What's next? I don't know. Run a team somewhere, open up my own studio or maybe go into education. Students inspire me as much as I inspire them - or try to inspire them.

DO: You have said that the basic ideas are always the best. What do you mean by that?

KP: You know, some things are so dumb and blatantly obvious. Yet so often the clients are like, "that's it!" What you think is a basic answer, might not be so basic to someone who's not capable of imagining it. So have the confidence to present those dumb ideas if you feel passionate about it, but present it in a presentable way. Don't make it look like a sketch or it will look dumb!

DO: Your designs are very strong on typography. Is this a dying art?

KP: I try to keep it alive. I have a passion for typography and at times I prefer to do a typographic piece than applying any other medium, and it can be just as successful. I have been referred to as the "kerning queen", particularly by interns. They hate me for my attention to detail. To them, perfection is the result of a tedious task.

DO: How do you see the impact of the computer on design and do you feel it has led to a lack of tactile sensitivity in today's design?

KP: I'm so not techy-savvy. I consider computers as a functional, economic tool, to assist the production of a project. Today, when even your neighbors fancy themselves as designers, it's important to take the job to another level. I mean, the public are the savvy ones. Everybody's a graphic designer. Everybody can print digital material. So to differentiate between something that has been produced in-house, you have to look at the execution and the finish. I'm incredibly passionate about that and nothing of mine ever goes through without a little off-line spot varnish, foil stamp, emboss or engraving. No stone is left unturned!

DO: Do you think that the title 'graphic design' needs to be changed in the future?

KP: To what? I have heard people describing themselves as Hybrid Designers. I think that is bordering pretentious! Through various mediums, designers are visual interpreters for the future. I don't know how you define that. We've gone from being commercial artists to graphic designers. I think graphic design is perhaps a better name than commercial artist. Maybe we need to ask those "branding consultants", or "futurists" to do their work and figure it out, since they're the ones that seem to want to categorize themselves.

DO: How do you see the role of the graphic designer in the future and their cultural responsibilities?

KP: Incredibly important! The daunting role of the graphic designer is changing. We'll have to diversify. The fundamental function will stay the same, but the client's expectation and project scope will broaden. I recently attended AIGA's The Power of Design conference and I do believe one of the strongest lectures was by Tony Golsby-Smith, an Australian who talked about the redesign of the Australian tax form. Take the recent ballot in America'a huge mistake because of design. So here we had an Australian leading the way in communication material that is going to simplify a process, helping the general public. You know, design just isn't pretty posters on a wall. It needs to be functional at times for, say, an eighty-year-old doing their tax form.

DO: There is also the role the designer plays in bringing cultures together through understanding and tolerance.

KP: Absolutely. Now that's something that could be a poster.

FIVE-MINUTE QUESTIONNAIRE

D: What is your favourite colour?
K: Black and white.

D: As you see it, what is the 'in' colour?
K: Florescent pink. Florescent colours are in because you can't print them digitally.

D: What is your favourite font?
K: Gill Sans.

D: Who is your favourite designer?
K: Michael Bierut - my boss!

D: What are you currently listening to?
K: I don't buy music - I'm so not cool.

D: What are you reading?
K: No novels. Just trashy magazines and coffee-table books.

D: What film or play have you seen lately?
K: La Boheme, by Baz Luhrmann comes to mind. I loved it.

D: In your travels, where is your favourite place?
K: Home, Australia, because I always want to come here.

D: What do you do to escape the design world?
K: I don't escape the design world 'it's everywhere.

D: What do you drive?
K: I don't have my license.

D: If you were castaway on a deserted island, what one thing would you want to have with you?
K: An iPod. But someone would have to choose my music for me.

D: Name six people (dead or alive) you would like to have together at a dinner party?
K: A not-so-profound answer - Everyday I listen to the UK's BBC Radio 1, The Chris Moyles Show. Knowing their sarcastic personalities, a good time would be had. They make me laugh.