New York City based Allegra Brooks is a multidisciplinary designer whose background in the arts sector has impacted her innovative creative approach. A recent Shillington graduate, Allegra’s practice is influenced by growing up in NYC, her time working in Tokyo and previous career in arts administration. Currently focused primarily on creating visual identity projects, she sees design as a “fundamental tool connecting us—a language based on empathy” and has developed a versatile portfolio that makes good use of typography and strong concepts.
Inspired by using design to empathise and convey meaning, Allegra loves to use her practice to connect with others. Her work is often developed using a holistic approach, a process that naturally occurs in her mind when she begins working on something new: “My brain often has trouble looking at points A and B without considering where C through Z lie in relation”. It’s also important for her to seek inspiration in printed matter and spending time off-screen when initially tackling a new project, telling us that, “…unless I have a personal, physical interaction with something, it’s difficult for an emotional connection to spark”.
We talked with Allegra to find out more about how her background has influenced her approach to design, what her creative process looks like and where she thinks the design industry is heading in the next five years.
Let’s start at the beginning, why did you decide to become a designer?
We all interact with design on a daily basis. I suppose from a young age, growing up in New York City, where many cultures collide, I realized ‘design’ to be the fundamental tool connecting us—a language based on empathy. I sometimes feel foolish calling myself a designer, as if it’s a unique title. We are all interacting and communicating with objects, services, and our surroundings every day, and through this interaction, over time we are naturally moulding and developing the design of everything. Design, on a personal level, helps me to make sense of the ever-chaotic surroundings we live in.
“Design, on a personal level, helps me to make sense of the ever-chaotic surroundings we live in.”
Book of the Ordinary: A continuous work in progress. It could be considered a ‘library of everyday design.’ The intention behind this project is to collect and curate everyday designed material that could objectively provide the viewer insight into the life of a culture/city/country.
Where do you get your inspiration from and how do you approach a new project?
I get my inspiration mostly off-screen. I find unless I have a personal, physical interaction with something, it’s difficult for an emotional connection to spark. As a big collector of printed matter, I often browse through my collections of books, pamphlets, menus, cards, maps etc. for daily inspiration. Each material comes along with a memory of how I’d obtained it and that memory comes with its own set of emotions and sparks inspiration. However, when it comes to approaching a new project brief, I try to stay away from seeking out inspiration just beforehand, as once I’ve seen something I like it can be challenging not to imitate it to some degree. So, I try to build up inspiration in my mind daily and store it there so that when beginning a new project—I’m usually inspired by a conglomeration of images in my mind.
“I find unless I have a personal, physical interaction with something, it’s difficult for an emotional connection to spark.”
The Imagination Observatory is a museum which focuses on challenging children’s perspectives and ways of viewing life, using innovative technologies, digital arts and interactive activities.
What do you find most challenging about being a designer?
Aside from the long hours sitting in front of a screen, and the intense shoulder cramps! Empathy. I’d like to think I’m an empathetic human being but practicing design has been a great challenge in empathy for me. Often, I catch myself initiating the design that I feel makes sense, as opposed to putting myself directly in the shoes of the client. Aesthetic taste is habitual and ingrained, and it can be a struggle to step outside of your natural impulses to accommodate another person’s needs. It’s a challenge I fully embrace and hope that by practicing design I will deepen my understanding of others.
Can you tell us a bit about how you approach a creative project and what design processes you like to use?
My brain often has trouble looking at points A and B without considering where C through Z lie in relation. Some may call this a “holistic” approach? 😅 So I make lists in order to visually connect it all.
On the other hand, being from NYC where everything is fast paced (or at least expected to be), I am also used to seeking out shortcuts. I always try to figure out the quickest way to execute something on the computer, and then build a routine out of that.
Maybe Mag: A travel magazine featuring unconventional travel destinations for those who like to explore the hidden paths away from the masses.
Where do you think the design industry is heading in the next five years and how will you adapt?
I feel like perhaps in time, process will become increasingly more emphasized than material. Demand will be placed less on the finished product and more on skilled designers developing processes that the average person could use at home, without the need of interacting with a designer directly. We can already see technology moving in this direction with apps like facetune (photo retouching simplified to pulling levers) or website builders like Squarespace. With time these technologies will become more and more professional quality while simultaneously becoming more user friendly. Additionally, I believe there will be more emphasis on developing code for AI systems that an individual can use at home.
“I feel like perhaps in time, process will become increasingly more emphasized than material. Demand will be placed less on the finished product and more on skilled designers developing processes that the average person could use at home, without the need of interacting with a designer directly.”
Concept album art for Four Tet’s 2017 studio album, New Energy: Images made by hand off-screen using iron filings, magnets, and hand-marbleised paper, then digitised for typesetting and final editing. Disclaimer: This was designed as a concept project and is unaffiliated with the artist.
Name your top three creative crushes currently working in the industry?
Three creatives that have been on my radar recently: Ram Han, Maria Medem, Seri Tanaka.