Design for life Viewpoint careers advice blog

Design for life In issue 14 of the Hays Journal, we speak with Noma Bar, a London-based, Israel-born graphic designer, illustrator and artist. He has won many awards, including a prestigious Gold Clio and has worked with large brands including Nike and Sony. His new book, Bittersweet, is out now What early memories do you have of art? A Neighbour who used to have a garage for tractors. When he retired he became an artist. It was a small town in the north of Israel and suddenly it was full of tractor parts that had been mounted together into sculptures. They were very odd, masculine, metallic and everything was painted in black. It was fascinating to see how old objects can have new life. Who or what have been the biggest influences in your life? Charlie Chaplin, as I admire the ability to tell stories and create humour without words. I still enjoy watching his films. Alan Fletcher is a great graphic artist who I discovered quite late. But my everyday life is an influence. All my work is a dialogue with what is happening around me. It could be something big and geopolitical, or small like a leaf that falls when I’m sketching in the woods. What do you consider to be your biggest career achievement so far? I don’t know if I’d call them career achievements, but there have been memorable projects. Chineasy is one example [a project that helps people learn Chinese through illustration and storytelling]. It was a turning point for me and it was interesting to see how a graphic experiment with Chinese words and letters can be a way of learning language. I see my girls take the Chineasy book to school because they are learning Chinese there. It’s amazing to see teachers using it. You have worked with huge brands including Nike and Sony. How does design influence the perception people have of a brand? It’s endless what illustration can do for brands and its ability to tell a story compared to other mediums. Designers capture the essence of the brand. To be an illustrator, it’s another level of that and it’s fascinating. It’s endless what illustration can do for brands and its ability to tell a story compared to other mediums. It gives a different tone of voice, and there is something more human if it’s a handmade style. It shows customers the brand is thinking more. What makes you want to work with certain brands, authors or companies? If it’s a good, positive and inventive brand and they think differently, I’ll definitely consider it. I wouldn’t take, for example, an editorial story I don’t believe in or brands that damage people. I’m lucky because the good brands come to me, I have a lot of technology and health clients so there is a good mix of positive energy from clients. If it exists, what does a typical working day look like for you? I start off in Highgate Wood at around 9am with a coffee and my sketchbook and a pen. I sit somewhere sketching, if it’s raining I’ll be covered by an umbrella, until about 3pm. Then I’m executing my sketches in the studio, that’s in my garden, two steps from the house. From 6 to 9pm I’m with my girls. When they go to sleep, I’m back in the studio and I can be there until 4am. My wife is a graphic designer as well, so we both understand the craziness of the job. Do you prefer to work on your own or in a shared workspace? I prefer my own space. The studio is great for me. I prefer not to employ anyone because then I worry over what they are going to do. I try to keep my head open and do the projects on my own. I work with freelancers when I need to if I’m creating machines or exhibitions, but in terms of daily work, it’s me. You work across lots of different mediums. Is it important for you to work with new technologies? I use technology to serve the idea. I will use it if the idea needs animation or to be 3D and that’s the best way to do it, but if I need to create my own cut-outs and each needs to be a one-off, I’ll go to old-school machinery. The idea comes first. You wouldn’t find me 3D-printing a sculpture that doesn’t mean anything.