What Design Schools Don’t Teach You

I’d definitely want to relearn how to play with type and imagery to evoke multiple emotions—learn how to be expressive, playful, sombre, and grounded. While honouring the spirit and structure of the letterforms, I’d also take the liberty of breaking some rules here and there. 

I’ve learnt over time that it’s essential to be able to talk about your work. The reason you made certain choices, how it ties to the business as a whole, what it means to the people you’re designing for – leading with the strategic lens and having the visuals as evidence. But to get there, you have to take a step back and think about WHY you’re designing it in the first place. The visuals are a way to communicate the idea but the strategy is the backbone. I try to read about the brief in detail, immerse myself in desk research, read about disruptive signals and trends, research the product I’m designing for, and find inspiration through analogues. Then, frame the design opportunities as ‘How Might We’ statements and bring in sketches and visuals to depict them. 

I believe it’s perfectly acceptable not to have all the answers immediately. When I completed my Master’s program, I took time to reflect on my skills—identifying my strengths, figuring out how to express my voice, and understanding the types of projects that truly excite me. It was only at IDEO that I was able to make meaningful connections, such as understanding how my design choices impact the business. I learned to examine projects through the lenses of feasibility, viability, and desirability. What conditions need to be met for a design to succeed? I think it’s essential to lead with enthusiasm. Being open to new experiences, learning from others, and maintaining a sense of curiosity are crucial. Once you embrace these values, everything else tends to fall into place. 

I’ve noticed some interesting nuances in how certain companies tie their design decisions to their business strategies. For example, at Adobe, I had the opportunity to test their 3D Beta Feature as an Illustrator. Additionally, I participated in and hosted a live stream where I demonstrated one of my client projects in real time. I believe Adobe does an excellent job of engaging with young designers and the design community as a whole, fostering an environment where individuals can learn from one another. This knowledge-sharing process breaks down barriers to entry, making it easier for newcomers to start their journey in design. By highlighting the efficiency of their tools, Adobe genuinely encourages designers to use their products. 

At IDEO, I work as a visual communication designer, where I make research and strategy tangible. My role involves provoking ideas; I take a problem and explore various ways to address it through “How Might We” statements, then create visual design directions for each approach. Instead of mood boarding, we build worlds. IDEO brings together designers, researchers, brand writers, and business designers to collaborate through different perspectives, building off one another to weave a rich narrative that we present to our clients. Ultimately, it’s all about the emotion. 

Aah, so happy you asked this! I think it all comes down to giving your client a peek into the future – show them what impact the design could do, show them what’s possible. For example, if it’s a packaging design project, show the stakeholders the impact it has on the shelves. How does it compare to others in the market? The design should be simple and memorable and demonstrate how the design cuts through the noise. 

If it’s a service or a product, let your clients know the mindset shift it’ll bring in people – what does it enable them to do? Which part of the user journey is it shining in? At the same time, voice any watch-outs or concerns – are there any unintended consequences that may creep up? If so, it’s better to know sooner than later. 

And finally, ground it in real stories. Test your work with people and get their honest reactions. Observe as they interact with your work, and capture their internal dialogue. These are valuable nuggets which give your clients confidence in your efforts. 

Setting expectations right from the beginning is crucial for success in this process. It can be challenging and takes practice—I’ve had my struggles, too. I’ve learned effective ways to outline the scope of work, including detailing design responsibilities, deliverables, the number of iterations, and, of course, the time line. 

Always prepare a list of questions for the client. Be curious about their roles, their hopes and fears regarding the project, the specific brief, what has been tried in the past, and any potential red flags. I also like to ask clients which of my previous works resonated with them and what influenced their decision to choose me as a collaborator. This helps me better understand the style they are aiming for.

Additionally, having FaceTime with the client makes communication easier, so don’t hesitate to schedule one-on-one meetings with them! 

This one’s another toughie – I’m unsure if I’ve nailed this yet. I like to first ask my client about their budget and the timeline they have in mind. If it feels reasonable, I take up the project. I know I’m going to give it my all and won’t cut corners, so I need to feel motivated to do the work. I really try to reflect on a couple of things: how well-established is the client? Who have they worked with in the past? Are they a small studio or an established organisation? Am I creating a one-off or a design system? Is it static or video? One thing I’ve learnt is that the client is always ready to pay if they see value in your work; they want to work with you as much as you want to work with them. So never go in with an ultimatum; rather provide a spectrum or a ‘package’ – include a lower tier with lesser deliverables (and perhaps a quicker turnaround time) and go all the way to a more robust pricing. But always be open to negotiation and be honest with how much you can put in. 

Always have a contract ready! Take your commission in instalments. Provide low-resolution files till you get your full payment. 

There comes a point in life where you value quality over quantity. It’s less about taking up anything and everything that comes your way and more about what aligns with your values. If a project doesn’t seem fulfilling (whether it’s the brand or the product) and you’re missing that connection, don’t take it. Listening to your intuition is the best thing to do. 

I also think about the ask – if it’s a particular tool I’ve been meaning to try or if it’s a blue sky project where I could really push the edges of my craft, I don’t hesitate. Finally, are they good people to work with? Sometimes if the work doesn’t feel as exciting but the clients are super knowledgeable and just great people to talk with, half the battle is won! Again, trust your instincts and learn from them. 

I’ve seen most Indian clients focus on the outcome (barring one client I’ve worked with – Urvi Raghbeer for Welly). She was a big advocate of the process and looked at the work more holistically. In the US, I’ve noticed that clients appreciate the messiness and scrappiness of the process – they understand that it’s not a linear process, but one that’s riddled with ambiguity and that we have to trust the process, keep our heads down and work through it. 

I feel the pressure and try not to give in now and then. That being said, if you treat your social media as a giant sketch book and a way to simply put your work out there (no matter how polished or scrappy), it takes the load off of you. Just be authentic and use social media to be inspired, form genuine connections with other designers and have an appetite to grow your skill set – the rest will follow. 

Surround yourself with positive energy; it greatly benefits your mind and your craft.