Miriam Trilety

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Miriam Trilety ("MT") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

MT : While studying philosophy I began to work on illustrations that originated in the philosophical lectures that I heard at the time. Both of my parents are academic philosophers. My father was a professor in theoretical physics, thus I came in touch with a humanistic environment at a young age. I was confronted early in life with philosophical, artistic and political issues. As part of my training as a graphic designer at Die Graphische (Graphic Design School) in Vienna, I was able to gradually test my technical skills and develop a certain personal style. Afterwards I decided to train as a psychotherapist, where a creative approach has a strong influence on my therapeutic activity.

DL: What motivates you to design in general, why did you become a designer?

MT : To me it is a way to personally process impressions of life, and to critically and creatively deal with the world. In addition, I experience this kind of expression as a way to leave something in the world that does not reduce to purely genetic reproduction.

DL: Did you choose to become a designer, or you were forced to become one?

MT : I have always considered it important to make a choice on a voluntary basis, and that is what I did in becoming a graphic designer. I already felt the desire to express myself artistically as a student. To me it was a kind of inner need to express myself a certain way. I was aware from the beginning that I did not want to make a living as an ordinary commercial artist, as the freedom of creative expression was too important to me. As I did not have to earn money from graphic design due to other career options (psychotherapy), I always had the choice to illustrate what I liked best and had hardly any pressure to submit to market conditions.

DL: What do you design, what type of designs do you wish to design more of?

MT : Clear and concise, ironic, socially critical, reduced design for posters, illustrations for magazines and books.

DL: What should young designers do to become a design legend like you?

MT : Just do it, and dońt think about what may happen, or may not happen, as you never know. Love what you do and take yourself serious.

DL: What distinguishes between a good designer and a great designer?

MT : The courage and freedom to see, debate and realize new connections without consideration for the conventional. A great designer connects the aesthetic, economic and political mainstream as well as fundamental ethical, sociocritical, and conventional approaches in an unusual way. The main provocation is to break up the hidden and ambivalent dynamics of the usual perception and interpretation schemes by means of art and design. I would call this the high art of great designs.

DL: What makes a good design a really good design, how do you evaluate good design?

MT : This question is very hard to answer, as our values and views on design are heavily influenced by our cultural background. The subjective and collective embedding in historical epochs is what I regard as an essentiality that has to be considered in regards of good design. Design does not happen free of its context. Every visual positioning is bound to references and historical contexts. What we experience as being beautiful is mostly what we have learned to be beautiful. However, every visual concept is build on the relations of form, material, color, structure, area or space. The relation of these elements could be understood as natural basic instances in the aesthetic process of perception and appraisal. Sagmeister & Walsh recently dealt with these aspects of aesthetic perception in their exhibition "Beauty" in Vienna.

DL: What is the value of good design? Why should everyone invest in good design?

MT : I would like to follow up on my thoughts on the evaluation of design. What is perceived as beautiful or coherent is often associated with ideas of correctness or health. Political parties, for instance, have used this effect in the past. Depending on the question and the goal of an aesthetic concept, values and the perception of others can be massively influenced by corresponding good design. As a designer you should always be aware of this psychological component.

DL: What would you design and who would you design for if you had the time?

MT : I would like to work on designs that critically discuss political or social topics. However I would not like to work on designs for political parties.

DL: What is the dream project you haven’t yet had time to realize?

MT : This is difficult to answer, as I usually encounter new concepts and ideas in the moment. Dreams may change fast, that is why I tend to adjust to new ones quickly and try to stay open-minded.

DL: What is your secret recipe of success in design, what is your secret ingredient?

MT : Being able to embark on an inner design and change process, even if it means that the result of this process is not foreseeable. I often start my work without a specific goal and let the visual thinking process lead me to new designs. Only then will it become more concrete. Basically, this is a playful search process where my inner thoughts become visible to an outer audience in an illustration.

DL: Who are some other design masters and legends you get inspired from?

MT : I get inspired by James Victore, Marc Burckhardt, Stefan Sagmeister, Noma Bar, die Gugginger KünstlerInnen,Walter Lürzer, Stephan Schmitz, Malika Favre, Amber Vittoria, Tara Booth, David Shrigley, Polly Nor, David Hockney, Joan Cornella, Paweł Kuczyński, Pat Perry, Alfred Kubin, Francisco Goya, Egon Schiele and many other artists.

DL: What are your favorite designs by other designers, why do you like them?

MT : There are several artists that I admire. James Victores Posters are what I especially adore, as well as works of Pawel Kuczynski or Stephan Schmitz that work with political satire.

DL: What is your greatest design, which aspects of that design makes you think it is great?

MT : Interestingly I favor the work "Big Bang", that won the Bronze A'Design Award. It is the depiction of the climate crises with the motive of an explosive hand grenade filled with cars, through which a discomfort arises in the viewer. It is a feeling that a lot of people have when thinking of environmental changes.

DL: How could people improve themselves to be better designers, what did you do?

MT : I think it is important to keep working and experimenting with designs. It is a playful learning process in which it is important to stay open minded to inspirations like others artists or current media.

DL: If you hadn’t become a designer, what would you have done?

MT : Exactly what I am doing right now: Working as a psychotherapist and helping people in difficult life situations.

DL: How do you define design, what is design for you?

MT : If you separate the word "design" in the parts "de" and "sign" it may be defined as a way of pointing at something, referring to something as well as developing symbols or signs as a form of communication. I am not sure if this is the main definition, but to me it is important to work in this interface where language and the visual come together and build new to society important meanings.

DL: Who helped you to reach these heights, who was your biggest supporter?

MT : My love for graphics, art and aesthetics in general. Also, the incredible playfulness in designing, which has apparently always been there somewhere. However, in recent months, I have to admit, James Victore's philosophy has been very supportive of my self-doubt.

DL: What helped you to become a great designer?

MT : To stick to the essential and to simply continue to work in spite of all doubts and criticisms, simply for the sake of the pleasure that comes with designing. My work are also kind of a diary for me. What I enjoy very much, because this means that it does not have to be perfect immediately.

DL: What were the obstacles you faced before becoming a design master?

MT : Not to be perceived as a serious designer, mainly by myself. It was an obstacle that I compared myself too much with other artists and constantly questioned the value of my work.

DL: How do you think designers should present their work?

MT : This is something every designer needs to decide by themselves.

DL: What’s your next design project, what should we expect from you in future?

MT : Probably a cooperation with the Association for aesthetics and applied cultural theory called akut.

DL: What’s your ultimate goal as a designer?

MT : My ultimate goal is to develop good and meaningful designs and to enjoy the design process.

DL: What people expect from an esteemed designer such as yourself?

MT : This question, too, is best-asked people, who approach design and designers with a certain expectation. Maybe this also depends on economic interests, art or socio-critical ambitions.

DL: How does design help create a better society?

MT : A good design may have the potential to challenge socio-political relations of power. Creation is always a social act.

DL: What are you currently working on that you are especially excited about?

MT : I am working on a poster for a cultural organisation that focuses on the composer Schubert.

DL: Which design projects gave you the most satisfaction, why?

MT : Usually projects in which I could express emotional or critical subjects. Lately this has been the design of political satire about Trump or the Brexit as well as tackling the subject of sexism in society.

DL: What would you like to see changed in design industry in the coming years?

MT : I would definitely say an appropriate and respectful remuneration. I have experienced it myself that art and design are seen as "second-class jobs", which has a direct effect on fair compensation. Remarks such as my daughter can do it too or I can create it myself in word, so why should I pay you, are unacceptable. I see it as a duty of the design industry to position itself in the interest of its artists and designers. In my opinion, especially the art of illustration needs a push. I sometimes find a comparison with other occupational groups useful. The illustration can be put in the same category as jobs in the social sector, which are, to date, most often occupied by women and paid less than jobs in the IT or private sector.

DL: Where do you think the design field is headed next?

MT : I thing that technological changes will have a huge impact on the design field. However the industry will be influenced by social circumstances as well, like climate change and its influence on society.

DL: How long does it take you to finalize a design project?

MT : This is very different. Usually I work on a motive without interruption until it is done. That may be a few minutes, or hours, sometimes, but rarely, a few days. My designs are more eruptive and evolving in the moment, and then suddenly come to a standstill when I feel like there is nothing left to do. A feeling that is difficult to describe.

DL: When you have a new design project, where do you start?

MT : Often I just start to scribble, but sometimes I have a more concrete idea or start searching for pictures online. This visual mixture then serves as a references for new design ideas.

DL: What is your life motto as a designer?

MT : Just do what you have to do, you will know when you do it. And if not, who cares. It's all about the design process.

DL: Do you think design sets the trends or trends set the designs?

MT : I think that design and trends can not be separated from one and another, they depend on each other without one of it being the sole impulse.

DL: What is the role of technology when you design?

MT : At the beginning I mainly worked with a pen and pencil, then started using Photoshop. Now I only work on the iPad Pro in Procreate. I have found the technique of my choice. However, I remember that I once wanted to take part in an illustration competition in Berlin. When I read the terms and conditions, it quickly became clear that only works on paper were accepted as originals, not digital illustrations. My illustrations were not even perceived as real graphics. Even prints on paper were rejected. I actually felt excluded as an illustrator.

DL: What kind of design software and equipment do you use in your work?

MT : Procreate, Photoshop, Indesign, Affinity, Illustrator.

DL: What is the role of the color, materials and ambient in design?

MT : Color, material and ambient in design play a fundamental and archaic role in our lives and for our senses. They are the basic parameters and basic elements of every design process. Like syntax, grammar, spelling in linguistics.

DL: What do you wish people to ask about your design?

MT : They can ask me whatever they would like to ask.

DL: When you see a new great design or product what comes into your mind?

MT : Sometimes it feels like an endorphin rush. It is intense, sometimes even irritating, but always a pleasurable astonishment that makes sense to me.

DL: Who is your ideal design partner? Do you believe in co-design?

MT : I'm not sure, but I'm definitely convinced that it should be a strong mutual inspirational encounter that can lead to interesting results.

DL: Which people you interacted had the most influence on your design?

MT : James Victores work and the work of many other artists. Ím usually all by myself when I work. Interactions often happen via internet, instagram or other social media platforms.

DL: Which books you read had the most effect on your design?

MT : There are a lot of great works. However it does not have to be a specific book that deals with design but it can be a comic as well or maybe even a cook book.

DL: How did you develop your skills as a master designer?

MT : I developed my skills through trial and error and with a lot of research.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

MT : Alfred Kubin, Francisco Goya, Virginia Wolf, Camille Claudel, …

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

MT : I do not think that I am famous but I am thankful and feel honored by the awards.

DL: What is your favorite color, place, food, season, thing and brand?

MT : If I had to answer quickly I would say my favorite color is yellow, but there are just too many beautiful colors. The Waldviertel in Lower Austria is definitely one of my favorite places. We have a small country house where I can hide very well. I love to eat a lot, but one of my favorite dishes is actually fried chicken. I love autumn, also I am a friend of winter. Unfortunately, I do not handle the heat in the summer very well, but temperatures of up to 25 degrees are perfect. I have recently restored an antique couch and a sofa chair of my grandparents, both as a therapy sofa and therapist armchair which in my practice serve me and my clients well. I have to admit that these pieces are filled with memories and therefore are things of nostalgic value to me. Brands I do not care for very much.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

MT : So my answer to that question is very honest. I did not know A Design Award before I submitted my works. I was invited by A Design Award to nominate two of my works, and I thought the invitation was a scam. I called Design Austria, the Austrian Design Platform for Designers, and asked if it was a phishing e-mail and that I was thinking about deleting it. Then the friendly lady on the phone explained to me that A Design Award is a very prestigious award and congratulated me on the invitation. Of course, this was extremely embarrassing, because I should have known that.

DL: What makes your day great as a designer, how do you motivate yourself?

MT : Sometimes the days on which I do not feel very well turn out to be the days that I design the best.

DL: When you were a little child, was it obvious that you would become a great designer?

MT : I did not think about becoming a designer as a child but I always liked to draw and people kept telling me that I was talented. However I always wanted to become a biologist, a profession that my little sister eventually chose.

DL: What do you think about future; what do you see will happen in thousand years from now?

MT : I have no idea. My future ist now.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

MT : Live for the cause and enjoy the numerous and diverse creative results. There are no perfect solutions. Desires, ideas and expectations change, like our body. And do not throw away any designs, sometimes the seemingly unimportant notes or sketchy months or years later may be of interest to you.