From Dorset to LA

The designer behind the LA Phil's campaign introducing their new music director - dynamic young conducto Gustavo Dudamel - is our very own Suzannah Mathur!

Suzannah and Muse first became acquainted at the very genesis of the magazine.
We knew we wanted a professional and aesthetic looking publication to showcase the creative talent covered in the articles and advertisements and therefore needed a near genius art director, someone to design and help us brand the magazine. We were so fortunate that Suzannah was here in the UK studying her Masters in Sustainable Product Design and responded to our ad. Little did we know it would be the start of a four-year relationship that has not only seen us become good friends but has also seen Suzannah rise in her field of expertise to greater and greater heights. We are constantly impressed with the creative design skill she demonstrates, not only for us but also for the increasing number of clients she now carries out work for in the US such as the Los Angeles Philharmonic and UCLA Live.

I'm reminded of the long hours and ups and downs we had together producing the first couple of issues of Muse. Suzannah was a tower of strength in our fledgling state, making the print deadlines no matter what technical obstacle the universe could throw at us. How time has flown...

We felt it was about time Suzannah had a turn under the Muse spotlight:

When did you first notice you liked designing things, and what form did this creativity take?

As a young child I was always into creative activities - mostly drawing. I would spend hours meticulously drawing scenes either from my imagination, from books or from movies I saw. When I was in my pre-teen years I began doing more crafty things like jewelry-making, ceramics, and creating small figurines out of different found materials.
But I probably first started getting into graphic design when I was around 7 or 8 years old. My family lived in India for about 6 months when I was that age, which was kind of difficult for me because of the transition - not many friends to play with, no TV, overall just being in a very different environment. So I really had to rely on my own ability to occupy time - I think this was when I became most creative just out of necessity. I was obsessed with Enid Blyton books when I was living there, so I took it upon myself to create my own 'fantasy' storybook, combining text and illustration. I guess that could be considered one of my first layout designs.

What subsequently motivated you to go into design as a career?

I never really understood what graphic design was until I signed up for an elective class in my high school for graphic design. I enjoyed the class and the teacher sort of pushed me in that direction when he saw me excel at it. I felt it was perfect for me because it's a field that marries creativity with practicality, which is definitely who I am personality-wise.

How did you first become interested in sustainability?

When I was working in New York City after my undergraduate studies for an apparel company designing baby products. This was my first exposure to mass-production since I dealt directly with factories in China, Thailand and Bangladesh. There was absolutely no concern about environmental issues at that time in the production process. One day, a ceramic piggy bank sample came back from a factory in China, and the fumes were so incredibly toxic when I opened the box - this was a turning point for me. I couldn't believe these products were meant for children. Soon after that, I quit my job to pursue a Masters in Sustainable Product Design at Bournemouth University.
 
Can you give us a brief outline of what sustainable design means.

Sustainable design means that you are not only designing with aesthetics and economics in mind, but also considering the environmental and social implications of your design. It can apply to all areas of design - graphics, interior, industrial, architectural, etc.

What brought about the impulse to be a freelance designer?

It was more by chance than by choice. After moving to LA three years ago, I tried my hand at a 9-5 job at a small design agency. It wasn't the fact that it was a 9-5 job, it was more just the kind of position and agency it was. I felt that by working there I was right back where I started in New York, after working so hard to pursue something more fitting during my graduate studies. So I promptly left, started teaching design part time at an art college, and slowly made contacts for freelance design jobs in LA.
I began getting more and more clients and found that I was actually able to support myself through freelance. It also gave me the freedom to pick and choose clients I wanted to work with that share similar visions, determine my own work schedule and be my own boss. This year I founded my consultancy, Guftagu Creative. I know the name sounds a little odd! It's actually a word stemming from Urdu also used in Hindi (part of my ethnic background is East-Indian). It means 'conversation' or 'dialogue' - which is basically my philosophy on design or how communication design should be.
Being independent definitely has its downside though - it can be isolating at times, and I really miss that creative feedback and dialogue you get working with other designers in a creative atmosphere. Also, a difficult thing is the 'business side' of freelancing, since you are the one that has to manage finances, scheduling, etc. But if you make mistakes, you only have yourself to blame!

Congratulations on the recent LA Phil campaign introducing the dynamic young conductor Gustavo Dudamel! What did you enjoy most about this campaign?

I felt like I was working on something really huge and special, because Dudamel is such an amazingly talented person and there is so much buzz and excitement around his debut here in Los Angeles. Also, it is very rewarding to see the fruits of my labor decorating the whole city!
 
Can you tell us about any of your current projects?

I have a few things in the works right now - a branding project for Youth Orchestra Los Angeles (YOLA), a program inspired by Gustavo Dudamel and his work in Venezuela with El Sistema. I'm also working on a redesign of a website for US Renewables Group (a green technology investment company) and packaging designs for Spotlight Baby, a company that produces eco-friendly baby products.

You have been art director of Wessex Musesince itslaunch in 2005, during your timehere what, if anything, do you feel you have gained, and what do you like about working on the magazine?

Well aside from learning how to design and produce a magazine from scratch (which I had no clue how to do before!), I've gained a lot. I've learned about branding, and how creating a strong, consistent identity can really make all the difference for an organization. I feel like the identity that's evolved for Muse is a great reflection of what the magazine is all about, and has made it recognizable and respected. And the great thing about working for Muse is the kind of magazine it is. I'm really inspired by the philosophy of Muse, which is to create as much exposure as possible for all genres of art, for those that wouldn't have the exposure otherwise. It definitely helps promote creativity when you believe in the work you do.