Lara Juriansz is an inspirational designer whose creative journey was ignited by a childhood love of painting. After exploring various design disciplines whilst studying in Sydney, Australia, she found her true calling in branding and book design during an internship in London. Lara’s career has been marked by a deliberate choice of workplaces that are creatively led and socially driven. Now, as a Design Director at TBWA\Media Arts Lab, a bespoke advertising agency dedicated to Apple, she’s set to embark on a transformative role, bringing her unique perspective and developing a newfound focus in advertising.
Lara spent her early career working at various agencies in Sydney and London before joining Johnson Banks in 2017 where she progressed from Senior Designer to Design Director. This experience allowed her to engage with a diverse range of projects, from pioneering startups like ‘This Isn’t Meat’ to her contribution on Duolingo’s branding, she’s witnessed the power of collaboration and the evolution of ideas firsthand, as she tells DbyW they, “really did live by the ‘Now Try Something Weirder’ mantra”. Her approach to design reflects an appreciation for consistency and creating a distinct voice, reflecting a genuine passion for the craft.
As an advocate for open communication and pushing creative boundaries, Lara’s also honed her leadership skills, emphasising the importance of amplifying everyone’s voices. In her pursuit of a more inclusive industry, she advocates for paid parental leave and hiring practices that celebrate diversity.
We recently talked with Lara to find out more about her what she learnt whilst working at Johnson Banks in London, her move to Apple’s TBWA\Media Arts Lab agency and what her workday looks as a full-time Design Director with two kids.
What led you to pursue a career in design?
I was born in Sri Lanka and grew up in Singapore, but it wasn’t till I had to apply for university that I heard about graphic design. I always had a love of painting; it was something that I did from an early age, and it was a hobby that became part of my identity. I wanted to go somewhere where I could practice painting but still earn a living. I initially chose to study motion design at an art school in Sydney, it really wasn’t a great fit so as soon as I could, I transferred to a Bachelor of Design. In my final year, I interned at a studio in London and fell in love with branding and book design (they were working on a Jamie Oliver series at the time) and haven’t looked back since.
Have you always focused on branding projects?
I have always chosen where I’ve worked based on the clients I would be working with. Smaller agencies tend to find their niche and be great at working within them.
My first job was at a studio called Alphabet in Sydney. They work primarily in the arts and culture sector, designing seasonal campaigns for theaters, festivals, exhibition design, branding, and print. In Australia, designers have to be able to turn their hand at anything, the idea of specialising in one specific aspect of graphic design was not something I was introduced to until I moved to the UK.
In London, I freelanced at a few agencies before joining Johnson Banks primarily because of the sector they work in. There was a lot of crossovers in my skillset and I loved the idea of working for not-for-profit clients and empowering those that need it most. This was more of a driver for me than working specifically in branding.
You’ve recently moved to the US to take on a new role at TBWA\Media Arts Lab – what are the things you’re most looking forward to in the role of Design Director for Apple?
The job offer came completely out of the blue. At first, I was skeptical about moving to an advertising agency but after speaking with the people here at Media Arts Lab, it was hard to give up the opportunity. Our global head of design, James Taylor has really championed the value of design in advertising and has built a team of incredibly inspiring and talented designers who I am looking forward to learning from.
In the last few months, I’ve been floored with the level of execution and talent and can’t wait to see what comes out of this journey. I’ve made this choice to really flip my career around, with two small kids and a really supportive partner and I hope it works out.
“I have always chosen where I’ve worked based on the clients I would be working with. Smaller agencies tend to find their niche and be great at working within them.”
Before that, you were at Johnson Banks and worked on iconic projects, such as This Isn’t Meat and Duolingo. Would you like to share any learnings or tips that you got from working in one of the most well-known branding agencies in the UK?
It really was a great place to work, and Michael (Johnson) has built the agencies reputation through the people and clients he chooses to work with. The creative process and freedom to think outside of the box is something that’s cultivated at Johnson Banks. We really did live by the ‘Now Try Something Weirder’ mantra which can be exhausting at times but led to the two projects you have cited.
This Isn’t Meat was a start-up company where the initial design stages were really fast paced. We were like an ideas factory, the whole studio got involved in stage one which happened a few times over, until we got it just right. Duolingo by contrast took almost a year and we had some great collaboration with the in-house design team who were so invested in the brand. We had to work within the foundations they had already built for the brand and eventually were able to design the logotype and typeface on the forms of their mascot ‘Duo’.
“It really was a great place to work, and Michael (Johnson) has built the agencies reputation through the people and clients he chooses to work with. The creative process and freedom to think outside of the box is something that’s cultivated at Johnson Banks.”
What makes a good brand identity in your eyes?
If I think about the brands that I engage with, they are creating or cultivating culture, charities that live up to a promise or products that improve your life or self-esteem.
How do you overcome challenges or setbacks?
Learn from mistakes. Listen. Try again.
The hardest thing in design is when an idea you love is presented and the client just isn’t into it. I still mourn some of these losses as you do take it to heart and sometimes there is no trying again. I’ve made some into personal projects, or just put it out there in the world as a means of showing my personality and accept that that’s as far as it goes. Sometimes, you can keep it in your back pocket and whip it out for the next brief – this rarely works but there’s always hope!
“Learn from mistakes. Listen. Try again.”
Would you like to share what your current workday looks like?
It’s busy. Mornings are chaotic with a 2 and 4 year-old packed away to daycare and school by 8am. Then I have three days in the office which I love and two days from home. We have most of our meetings scheduled for the in-office days so they can get busy. Design work is often done in the ‘night shift’ after the kids are asleep. Days can be long when you have three hours from 5-8pm that are dedicated to family, but I wouldn’t miss them, we’re making it work!
What are the most helpful qualities to have, if you want to become a successful creative leader?
Listen, communicate, and collaborate. Be gracious with your time, listen more, share and nudge if needed.
We’re still striving for gender equality and greater diversity in creative leadership positions. What changes would you like to see that would facilitate a more equal and diverse industry?
This is the first time that I have worked with such a diverse group of senior female leadership but during my career that has been rare. At MAL there is equal parental leave for both parents, this is huge. I have been very lucky that my colleagues here and in London were both empathetic to the shift in my schedule. They also acknowledged that the shift does not determine degraded work ethic or quality. Creative leadership comes to those who seek it, but as designers (some of us) tend to be more introverted and asking for what we want does not come naturally. I think that structuring pathways for designers with clear and defined growth in any creative role is key.
“Creative leadership comes to those who seek it, but as designers (some of us) tend to be more introverted and asking for what we want does not come naturally. I think that structuring pathways for designers with clear and defined growth in any creative role is key.”
I would also encourage companies to be more open to sponsoring visas, it seems more common here in the US than in the UK and my younger self would have appreciated that a lot had it been there for me.
What career advice would you give to your younger self?
Pursue what interests you the most, and practice what you love.