Article - Future/People: Riley Towers

Riley Towers

Age: 28

Location: Remotely (currently in Italy), from Meanjin (Brisbane)

Creative Type: Graphic Designer & Artist

Pronouns: She/Her, Queer

Riley Towers

Tell us about yourself.

I found design after a few years at uni studying Sociology and Studies of Religion. In the end, I craved a more hands-on discipline, but those studies were fascinating and I think about them all the time. I did my degree in interaction design, and completed my thesis with an interactive installation artwork. I landed a graphic design job out of uni, and it all just kind of clicked into place since then. Outside my work as a designer, I also have my own artist practice, mostly using collage, drawing, video and live programmed visuals.

What pushes you to keep creating?

I’ve always been a multi-disciplinary creative/very creative person. I was raised by a visual art teacher and a music teacher, and our family home was full of music, art, sewing, woodworking, electronics … they even designed and built the house themselves!

I am a curious person and nothing feels off-limits. I figure if I can see it, I can learn how to do it. I am always trying new techniques, mostly just to understand the process, even if I never touch it again.

What was the last thing that inspired you?

On a recent trip in Argentina, I fell in love with the hand-painted lettering across local businesses, buses, and trucks. Hand-painted lettering is a labour of love and breathes so much life into the city. I’ll always gravitate towards the analog - I’m quite romantic in this way. I love to see the human touch in the design.

What matters to you?

Community is very important to me, and I feel motivated to work on projects where I feel like I can authentically represent the project and its audience.

Describe your creative process.

How do you approach a new project, from concept to execution?
I love to nerd out on research, and situate the concept in a historical or cultural moment. Once I get started on the visual, I encourage myself to play loosely with ideas, as it’s quite common for me that I find something I like by accident. I really love a methodical execution stage, getting in a flow rolling out all of the design, and seeing the whole thing come together.

Are you a headphones on or off type worker?

I am constantly listening to podcasts. The Blindboy Podcast is my favourite. Every now and then I select a random mix from NTS radio, so you might just find me listening to techno or some ambient field recordings.

Does inclusivity and accessibility factor into your designs?

I was introduced to visual accessibility when I started working at Cause/Affect. I can’t believe accessibility wasn’t a core component of my university studies. I now feel a sense of responsibility to make sure my designs are accessible - it’s a small effort that can make life easier for a lot of people.

Some jobs give me the opportunity to teach my clients some aspects of visual design. When a brand identity goes onto Canva, for example, I love the opportunity to sit with a client and show them some basics that can help them feel good about what they’ll create. I also think that many of my clients have great taste but just lack confidence or technical skills - I love it when I feel like my role is as a conduit of their ideas, rather than an outsider ‘expert’.

Another inclusivity topic that interests me is the development of gender-inclusive typefaces, which are particularly relevant for French-, Spanish- and Italian-speaking contexts. A well-known example is the use of the letter ‘x’ to end a world as an alternative to the strictly male or female binary (as in, the use of “Latinx” rather than “latina”). Typographers are investigating unique characters to replace this ‘x’, reimagining language with gender inclusivity as the default.

What challenges have you faced as an emerging designer/creative, and how have you overcome them?

As an emerging creative, I have found it difficult that many entry level positions require designers to have a skill set even beyond design - content creation, social media management, video editing, 3D animation … It puts a lot of pressure on creatives to diversify, diversify, diversify, until you forget what you wanted to do in the first place! Having a variety of skills is great, but I think there could be more support to train in those supplementary skills on the job, or the opportunity to split the role and collaborate with others who have the skills you need.

In the same vein, what frustrates you about the industry right now?

I find it frustrating that pay rates are kept really opaque between freelancers. There is a sense that money is something personal - but at the end of the day, the more that we communicate with each other and share resources, the more we can make sure that our work is valued by clients and there is no race to the bottom. I try and support my peers by talking openly about money, and speaking frankly with clients when discussing the budget.

Personal values and industry demands can sometimes cause friction.

I always felt intimidated by the idea of joining a design agency with twelve hour days, sleepless nights, and burnout-inducing deadlines.

After just a few years as a designer, I became cynical of the idea that this “initiation” is a necessary step towards success. I think it’s toxic. Personally, I’ve learnt that I prefer to work at a slower pace, prioritising projects that are close to my heart, and working relationships based on mutual respect. Once I lose time for myself, my community, and my art practice, I get burnt out and I can’t make great work anyway.

I can’t find much creative stimulation if I don’t have time for myself, my community, and my art practice. Maybe ‘success’ will look a little differently for me than I imagined at uni - but my life and work will be richer with the space I’ve made for travel, relationships, and art.