Hi, Ryan. Thanks for speaking with me. How are you?
Good afternoon, sir. Thanks for thinking of me. I’m very interested in how these interviews are coming together.
Can you introduce yourself and tell me about your background?
I’m Ryan Thompson, a Glasgow-based designer and educator. I’ve worked in the creative industry since graduating in 2005. I have recently started lecturing at Duncan of Jordanstone College of Art and Design in Dundee, where I originally studied graphic design.
A brilliant art school. As you know, I also studied there, albeit a good few years after you. What first inspired you to pursue a career in visual communication?
A good question. I was one of these kids who was forever drawing in school. From a very young age, if I was given a worksheet, I’d always turn it over and start drawing stuff in the back of it. Then, I would get into trouble for not paying attention. Being in the art department always felt good — it was like free time, practically. Expressing my thoughts or ideas always seemed to come quickly in that setting. Like many designers, I’ve always been into my music — as you know. Discovering and admiring obscure album covers in high school helped instil an interest in graphic design. For me, music and design have always gone hand in hand.
A very similar start to myself. What was your first exposure to the design industry as a potential career option? When did you learn you could get paid for making things like that?
No, I had no idea. None whatsoever. I was always academically capable, so I was initially steered down a traditional education pathway. The school system at the time made me choose between art and music. Thankfully, I believe things have improved since then. Still, the system meant I couldn’t study both as it prioritised maths, English and the sciences. I was the sort of kid that should have been able to do both.
I remember that struggle. The Scottish education system was precisely the same for me.
I wasn’t shown routes to get any formal training or qualifications relevant to the design industry — not that I even knew much about it or what was needed to break in!
So what was the tipping point?
One of my friends — Gordon Burniston — who you also know. His dad Norman was a photographer and probably the only professional creative I was aware of. I admired that he always seemed to be doing his own things and he was always a very encouraging figure. It was via Gordon that I got hold of a prospectus for Glasgow School of Art, and that was the first time I’d seen something within my reach. The Visual Communication course featured talked about graphic design, illustration and photography — all things I was interested in but didn’t know how to access. I couldn’t stop reading it and it cemented the decision to apply to go to art school.
After college, how did you get your first break?
I did an industry placement at an agency in Edinburgh while I was still studying and it was a really positive experience. Money was a factor in my first move, as I couldn’t afford endless internships, so I cut my teeth initially working freelance in a small studio in Glasgow, learning how to create artwork and design, mainly for hotel stationery. As you go, you start to establish contacts in the industry.
Did you consider options outside of Glasgow?
I wasn’t sure about going to London. The cost of living at the time—and the way the industry was—all felt too cutthroat for me. When I graduated in 2005, the culture was still very much about getting a conveyor belt of graduates and paying them almost nothing. A three-, six-, or twelve-month placement in London just didn’t seem viable. So, I worked in a few places in Glasgow and learned how to do everything from the ground up.
Did you have a mentor?
Not as such. I mainly learned on the job. I was working in small companies, so on top of learning my craft, I also had to learn how to manage clients, suppliers, colleagues and everything in between. I learned more from the creatives around me, as we all held similar values and standards.
I was very much in at the deep end early on.
What was your biggest challenge when building your career?
Just as I was building some career momentum, the 2008 financial crisis hit. That was highly damaging to the Scottish design industry. Opportunities were few and far between as a lot of clients just stopped spending. That was a challenge, but it somehow inspired me to do my own thing. I took everything I learned in the previous four years and applied it to my own practice.
I was in art school during that time, and I remember how bleak it was…
The global economy has gone from one financial crisis to another. It isn’t good for the industry as design, advertising, and content are often the things that get cut first. It made freelancing very difficult, but I started to slowly pick up my own jobs and clients — mainly within the arts and culture. I learned to start putting myself around Glasgow. As a result, I began to do more and more of the work I was genuinely interested in.
It certainly helps that you’re a good guy. You helped me during my early years, and I’ve always appreciated that.
Thanks for that, I appreciate it. I really wanted to be a success.
Do you have a set of principles that underpin your work?
One that leaps out would be pragmatism. I’m quite a pragmatic designer. I’m old-school in the sense of wanting to get to the bottom of a brief. You know, the cliched thing of ‘problem-solving’. I’m good at identifying what the person really needs — and it is often not what they’re asking you for. Craft is also really important to me. Typography is the absolute foundation of graphic design, and I think that any young designer should prioritise getting to grips with that first. Once you put the effort in and get to really know your stuff, it will stand you in good stead throughout your career. Honesty is also integral to my work. I pride myself on not bullshitting people. Whether it’s clients, suppliers or other designers you work with. I’m sure you’ve worked in places where there’s a policy to hammer any supplier down on price. No matter what, hammer the cost down, squeeze deadlines and get more for less. I guess that works for some places, but for me I like to think you get better results by treating people fairly and keeping conversations open and honest.
Couldn’t agree more.
If you’re personable, if you’re decent, if you’re reasonable, that makes everything else so much easier. If there’s a tight deadline, I make a point of calling the printer, developer or photographer directly to give them a heads up. You find a way to make it work together, rather than falling into the trap of pointing fingers.
How do you apply that honesty to clients?
Exactly the same princple. We need each other, you know? The responsibility is on both sides to make it work. Sometimes you need to tell people things that they don’t necessarily want to hear. But they are paying for your expertise and trusting in your ability to deliver a project. Occasionally you will have recommendations that they don’t want to take on board — for whatever reason — and you need to dust yourself off and keep going.
What brings joy to your work?
When you end up with an outcome that does justice to the effort you’ve put in. Is there any better feeling? I mentioned at the start of the interview that I’ve recently become an educator as well as working as a graphic designer. I’ve found that going back to art school, I’ve been getting back into design research, and I’ve found joy in rediscovering and exploring some early points of inspiration. Designers like Paul Rand, Saul Bass, and so on. I’ve found it’s brought a renewed energy into my own work.
What challenges does our industry face?
A multitude. Technological developments, financial instability, political turmoil. It’s a challenging time to be a professional creative, particularly for young designers.
Back to something positive. What’s the best advice you’ve ever heard?
Nicolas Bourquin once told me that he likes to tell students and young designers to go out and get drunk. Go and experience life. Go to a nightclub, meet people, have a good time and love your life as well. That has always stuck with me. Great guy!
What advice would you give emerging talent?
Become comfortable and confident talking about your work. Explain why you’ve done something and how it answers a brief. Your insight has to be thorough and you have to have thought about it. It’s easier for people to buy into your work if they understand it and can see where it’s come from. For any young creative, you really have to be able to talk about your work.
What’s next for you? Any upcoming projects or collaborations?
I’m working on an interesting branding project just now for a charity. I’ve just started, so I can’t see too much about it. But yeah, it’s very interesting, educational subject matter — a nice challenge! I’m also still very much on the learning curve in terms of teaching. It’s been quite intensive, with a lot of project prep recently, but it’s felt enjoyable and rewarding already.
Thanks, Ryan, I really appreciate your time.
No problem, best of luck with the rest of your interviews. I look forward to reading them!
