Interview with Shillington School graduate Catherine Adreani

Catherine Adreani's studio

Continuing on in our interview series we chat with Catherine Adreani. A recent graduate of Shillington, she has quickly established herself as a thoughtful and capable designer with a well-polished portfolio. Today we discuss how her previous work in the film industry shaped her approach to design and what factors led to her decision to attend Shillington.

 


When and how did you become interested in illustration and design?
I actually used to draw a lot as a kid, and all the way through high school (where I became obsessed with calligraphy), I just never thought I could make a career out of it. I majored in Liberal Arts in College and went on to Film School after that, but the entire time I was there, I was usually more interested in the subtext that the art direction was conveying than in the main stories we were trying to tell. I ended up going heavily into editing after that, but eventually realized that I really wanted to be a designer. Being an editor is a powerful thing, but because your “canvas” is tied to the material you’re handed (and somebody else’s vision along with it, most of the time), the limited authorship was always just a little unsatisfying to me. I’m happiest when I get to create things out of nothingness.

Catherine Andreani

How did you discover Shillington and what factors weighed in on your decision to attend to their program?
I had been thinking about properly pursuing design for a while, but doing another bachelor’s degree seemed silly, not to mention very inconvenient in terms of time and money. I also didn’t want to have to sit through too many of those general ed classes that pad up the curriculum (again), I wanted a program that was strictly about design and as straightforward as possible. I found Shillington online and was immediately attracted to the visual language of it, but the quality of the student work I saw was probably what sold me. I also liked the fact that they had a three month intensive option, that it was affordable, and that it was offered every quarter, which meant I could start right away as opposed to having to wait, like, a year.

Catherine Andreani

On your web site it mentions you have a background in film post-production. How did your previous training in film editing influence the way you design? 
Working in post made me realize how much power you have as an auteur, not just to communicate, but to create the context in which your message will be received. I think establishing a mood is so important. Every medium has different tools and ways to go about it: filmmakers have music, mise en scene, pacing; designers have color, the use of white space, type treatment… it all works. I also think it’s important to appeal to both the visceral and the intellectual components of a person’s reaction to something. I prefer to assume people are smart, and humor myself in trying to embed something funny, sarcastic or irreverent in the choices I make on a design any time I can get away with it. Even if only a few people get it, it’s worth it.

Catherine Andreani

In what ways did Shillington directly or indirectly prepare you for your first design job?
The main thing is of course the fact that I came out with a portfolio. That was probably one of the main reasons for going through with the program as opposed to attempting to do things on my own. I think it’s fair to say that it’s nearly impossible to land a job in this field without a proper portfolio and a website, so right out school that’s the one thing that gets you in the door. Shillington has a very structured portfolio process (and a lot of guidance during) at the end of which I came out with a curated selection of my work, as well as the rest of the assets I needed for my job search, like a website, a resume, a business card, a leave-behind, etc. It has helpful that they set such tight deadlines for us on everything, because these turned out to be pretty realistic. I’m also really thankful for the frequent one on one chats we had with the instructors where we had to justify our design choices in ways that would hold up to an art director, because presenting to directors and clients and being assertive about it turned out to be an important part of my job.

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Catherine Adreani

We would like to thank Catherine for taking time to share with us. Her work is available online at catherineadreani.com.

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This is the 2nd installment in a three-part interview series. See part one here.

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Also worth viewing…
Holly Karlsson / Shillington Interview
Brad Woodard Interview
Ty Wilkins Interview

Follow us on RSSInstagramPinterestWanelo,

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This interview is brought to you by Shillington School. A place where students can learn from teachers who are practicing designers in a realistic studio environment.

 

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Grosz Co. Lab

Groszo Co lab

Victoria -based Grosz Co. Lab has created a flexible identity system for the newly renamed Ascui Co. Architects. As mentioned on the Grosz Co.website, they “developed a morphing visual language sequence along with a suite of ever changing ‘temperatures’ to encourage an on-going evolution of the brand through the client’s own creative contribution and experimentation”.

 

 

Groszo Co lab

Groszo Co lab

Groszo Co lab

Via (BPO)

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Also worth viewing…
2014 DesignBook Gift Guide
Recently Received Books: Sept
Recently Received Books: August

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Marta Gawin

Marta Gawin

Working with a limited color palette, Polish designer Marta Gawin has created a vibrant identity system that wonderfully captures the spirit and energy of the Katowice JazzArt Festival.

 

 

 

Marta Gawin

 

Marta Gawin

 

 

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Also worth viewing…
2014 DesignBook Gift Guide
Recently Received Books: Sept
Recently Received Books: August

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Want to turn your passion into your new career? You can at Shillington School

Shillington School

Shillington prides itself on providing its students with an up-to-date and relevant education with a focus on practical skills that are essential in the workplace. Established in 1997, the school offers a three-month immersive and hands-on course in graphic design catered to students with little to no experience in the field. In addition, they offer a week-long intensive program in web development targeted at existing designers looking to develop coding experience. Both courses are overseen by instructors currently working in the field. In today’s interview, we chat with Holly Karlsson, Shillington’s NY campus director. She fills us in on the school’s history and how it rises to the challenges its students face.

 

Can you fill us in on Shillington’s history and how it came into being?
Andy Shillington, our CEO, was running a design studio back in the 90′s and he struggled to find junior designers with the practical and technical knowledge that he required so he decided to started Shillington Education and turn the typical education model upside down.

We started in Australia some 20 years ago where we have 3 campuses in Sydney, Melbourne and Brisbane. We then opened two more campuses in the UK in London and Manchester and we launched the New York campus five years ago.

We have just expanded our campus in London to two classrooms which is exciting news for us all.

Shillington School

What compelled you to get involved with the school?
I had been a graphic designer for 8 years working in London mainly for advertising, branding packaging studios. I had a real desire to teach but felt a real world education didn’t exist until I came across Shillington. I had to be part of it so I started lecturing at Shillington’s London campus.  I was then given the opportunity to move to New York and start Shillington’s first U.S. campus in the heart of midtown and I have been here in the States now for 4 years as the U.S. Director.

 

Shillington

What challenges do current students face when making the transition into the real world and how does Shillington rise to meet those needs?
At Shillington we endeavor to better prepare students for the practical aspects of working as a designer. With most industries ‘time is money’, a designer needs to not only design well but design quickly to meet demanding deadlines.

From day one we encourage students to start talking about design so they become confident with both visually and verbally communicating their ideas to clients. We feel both these areas of design development integral to gaining a job in the graphic design industry and keeping it!

Shillington School

What do you see as the future of design education?
Design education needs to be relevant, succinct and realistic as to what is expected by employers within the industry. In my opinion the needs of students and employers aren’t being met by many educators.
I feel the current trend and the future of design education are short, practical and relative courses to add to ones skill set without taking too much time out of paid employment to complete. Most people cannot afford to take 4 years to complete a diploma or degree therefore short, day or evening courses are a way of skilling up. Once you have been given the solid technical foundation offered by Shillington and you secure your first graphic design job, this is when, I believe, your real learning experience commences.

 

 

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We would like to thank Holly for taking time to share with us. You can learn more about Shillington here.

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Holy Karlsson

 

Holly Karlsson has served as a Designer and Art Director at a broad range of advertising agencies. Her wealth of experience led her to become Head of Teaching at Shillington and is now the US Director in New York.

 

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Also worth viewing…
Josh Brill Interview
Brad Woodard Interview
Ty Wilkins Interview

Follow us on RSSInstagramPinterestWanelo,

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This interview is brought to you by Shillington School. A place where students can learn from teachers who are practicing designers in a realistic studio environment.

 

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Rasmus Koch Studio

Rasmus Koch

Rasmus Koch is a small, but versatile design studio based in Copenhagen. Established in 2001, the studio is a two-time winner of the prestigious Danish Design Award.

 

Rasmus Koch

Rasmus Koch

 

Rasmus Koch

Rasmus Koch

 

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Also worth viewing…
2014 DesignBook Gift Guide
Recently Received Books: Sept
Recently Received Books: August

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New Additions to our Holiday Book Gift Guide

Hello I am Erik

If you’re looking for last-minute gift ideas, we’ve got you covered. We received some exciting new titles this week, just in time for the holidays. Included in the list below are titles from Gestalten, Lars Muller, Kat Ran Press and Metropolis Books. These titles along with many others can be seen in the full version of our Holiday Book Gift Guide.

 

Hello I am Erik

Hello I am Erik

Hello I am Erik

Hello, I am Erik / Erik Spiekermann: Typographer, Designer, Entrepreneur
Edited by Johannes Erler / Published by Gestalten
320 Pages / Hardcover

Erik Spiekermann is one of the best-known graphic designers in the world. He not only represents German typeface and corporate design like no other, but his work and the companies he has founded have had an unparalleled influence on contemporary graphic design around the globe. The visual biography Hello, I am Erik is the first comprehensive exploration of Spiekermann’s more than 30-year career, his body of work, and his mindset. Contributions by Michael Bierut, Neville Brody, Mirko Borsche, Wally Olins, Stefan Sagmeister, Christian Schwartz, Erik van Blokland, and others round out this insightful publication.

Available at AmazonGestalten and your local book shop.

Max Bill Book

Max Bill Book

Max Bill Book

Max Bill’s View of Things / Die gute Form: An Exhibition 1949
Edited by Lars Müller in collaboration with the Museum für Gestaltung Zürich
Published by Lars Muller
160 Pages / Hardcover

The international touring exhibition Die gute Form was conceived by Max Bill on behalf of the Swiss Werkbund and was shown for the first time in 1949 at the Basel Mustermesse trade fair. The exhibition consisted of 80 display panels, designed by Bill, presenting a selection of consumer goods from all over the world, chosen by Bill as examples of good design. The show caused some upset in Switzerland and fuelled heated debates abroad. But it also exerted a wide-reaching influence – for example, upon the way in which consumer goods were perceived.

This publication documents Bill’s initiative in reproductions of the original display panels and layout plans for the venues visited by the exhibition, and places Die gute Form in a theoretical context that considers its reception and impact within the history of design.

Available at AmazonLars Muller and your local book shop.

 

California  Graphic Design

California  Graphic Design

California  Graphic Design

California  Graphic Design

California  Graphic Design

California  Graphic Design

California  Graphic Design

Earthquakes, Mudslides, Fires Riots: California and Graphic Design, 1936-1986
By Louise Sandhaus with contributions by Lorraine Wild, Denise Gonzales Crisp, Michael Worthington
Published by Metropolis Books
432 Pages / Hardcover

Earthquakes, Mudslides, Fires Riots is the first publication to capture the enormous body of distinctive and visually ecstatic graphic design that emanated from this great state throughout most of the twentieth century. Edited and designed by graphic designer Louise Sandhaus, this raucous gathering of smart, offbeat, groundbreaking graphic design from the “Left Coast” will amaze readers with its breadth and richness. The fruit of more than a decade of research, the volume is arranged in four sections: “Sunbaked Modernism,” “Industry and the Indies,” “60s Alt 60s” and “California Girls.” Included are books and magazines designed by Merle Armitage, Alvin Lustig, Herbert Matter and Sheila Levrant DeBretteville; posters for Disneyland, Cream and Herman Miller; Marget Larsen’s print ads for Joseph Magnin; title cards or title sequences for LassieThe Smothers Brothers and other hit TV shows; title sequences for films from Taxi Driver to Tron; motion graphics from the earliest animated abstractions to the classic 7-Up “Bubbles” ad and Atari video games; immersive live shows of Bill Ham and Single Wing Turquoise Bird; architectural supergraphics by Barbara Stauffacher Solomon and Alexander Girard; print and environmental designs by Gere Kavanaugh and Deborah Sussman; and much, much more.
 

Available at Amazon, Artbook.com and your local book shop

Schwarz Black

Schwarz Black
By Katrin Trautwein / Published by Lars Muller
64 pages plus 24 color charts / Hardcover in slipcase

In this publication, color expert Katrin Trautwein allows subtle differences in a “black palette” to be experienced by means of 24 high-quality screenprints. Made using genuine, water-based pigment paints, the screenprints show how rich and sensual black can be. They are accompanied by eight essays that place the topic in its creative, linguistic, architectural, and cultural contexts. Black is shown to be not the absence of light, but the means by which the elements of white architecture are rendered most visible.

Pre-order at AmazonLars Muller and your local book shop

Towards a reform of the paper currency by W. A Dwiggins

Towards a Reform of the Paper Currency – Particularly in point of its design
By W.A. Dwiggins / Published by Kat Ran Press
60 Pages

Towards a Reform of the Paper Currency particularly in point of its design is a passionate and lively little rant with lots of good design ideas for the improvement of banknotes and stamps—and just about anything else. First published in 1932 by the Limited Editions Club in an edition of 452 copies, this new edition is also printed in an edition of 452 copies—potentially doubling the number of copies in the world. In truth, the original edition is now one of WAD’s less seen and more expensive books and is often selling for one hundred or more times its original publication price of $5.84. This edition is more modestly priced—and produced with the tools and methods of our time in history (as Dwiggins would have wanted it)—and comes with a new introduction by Bruce Kennett, whose forthcoming biography of Dwiggins will be published by the Letterform Archive in 2015.

Available at Kat Ran Press

 

Looking for more gift ideas? Check out our 2014 design illustration book gift guide.

 

Disclosure: Some of the links in the post above are “affiliate links.” This means if you click on the link and purchase the item, we will receive an affiliate commission. Regardless, we only recommend products or services we use personally and believe will add value to our readers.
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Also worth viewing…
2014 DesignBook Gift Guide
Recently Received Books: Sept
Recently Received Books: August

Follow us on RSSInstagramPinterestWanelo,

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