Originally from Australia, Shanti Sparrow is an inspirational award-winning graphic designer, illustrator, and educator now based in New York. Recently listed in GDUSA’s People to Watch 2021 and 33 women doing amazing things in graphic design by Canva, Shanti’s varied career has included working with many not-for-profits for causes she believes in—something that’s become an integral part of her creative practice. Specialising in conceptual design, visual identities, editorial and illustration, her vibrant colour palettes, bold use of typography and expressive yet minimal design style has won her multiple design awards and led to opportunities presenting packaging design and zine-making tutorials on Adobe Live.
Shanti does not lack for accolades for her wonderful illustration work either; she has exhibited internationally, been published in multiple children’s books and created installations with life-sized sculptures of illustrated animals — nature often providing subjects for her illustration work. Initially inspired by her travels, Shanti has developed a style that blends scanned textures and vector patterns into beautifully detailed digital collages of animals or nature-inspired pieces.
Carving out her career wasn’t always straightforward. Shanti tells us about the beginning: ‘It was around 2013 or 14, and I was working in a studio and doing a lot of design all the time. As a creative I was feeling pretty drained, but I could still feel a creative itch within me. That was when I started looking back and realised that I used to illustrate in university. Eventually I got sick of being someone who says they’re an illustrator but has no portfolio to show for it. I took some time off to travel and things started to develop. It took 6 months before I made the first illustration that was actually representative of me.’ From there, she went on to set up her successful studio Shanti Sparrow in 2014. Initially this was focused purely on illustration but over the years it has evolved to include graphic design work as well.
Shaping and supporting emerging creatives is something Shanti is passionate about. As well as being a designer and illustrator, Shanti is also an educator at Shillington Education, being currently their Global Director of Teaching. Initially it hadn’t been Shanti’s plan to teach but when the opportunity at Shillington came up she jumped at it and has never looked back. She says: ‘ I’ve seen all kinds of people become designers that you wouldn’t expect. What makes it great is that there’s a far more diverse group of students with different backgrounds utilising this education and ending up doing different things within the field of design and I think that’s exactly what the industry needs.’
Creating a community for women and BIPOC creatives which provides a space for discussion around specific challenges and offering support to one another, is something that Shanti wants to be part of. She is a firm believer that we are stronger together: ‘sometimes knowing you are not alone is enough to keep fighting barriers.’ Currently working on projects that aim to highlight, promote and celebrate creative women of colour and bring much needed visibility, she tells us, ‘Representation matters, so I feel a responsibility to create good work, mentor individuals and represent in leadership.’
We caught up with Shanti to find out more about her thoughts on gender equality, championing inclusion and diversity through the celebrating creative women of colour initiative with Adobe Max, and her advice for the next generation just starting out in the design industry.
Can you tell us a bit about your career path and how you got to where you are now?
I graduated at a fairly terrible time, smack bang in the middle of the Global Financial Crisis. It was a tough time for designers in general and an even tougher time for a graduate. I had hoped to get a job within a couple months of finishing uni. Ideally, and rather naively, I envisioned a boutique studio with a nice balance of commercial and creative work. Instead, 5 months later there were still no prospects in sight. I was applying for more than 20 jobs a week — for anything and everything that came up. It was a good day when I received a response stating ‘thank you for your application, however you do not have the required experience’ but a far more deflating day when I heard nothing at all. Eventually a call came through. I had applied unsuccessfully for a mid-weight position for which I was very obviously under qualified. However, a month later they were looking for a junior and there I was, in a pile I didn’t belong in, hoping for a chance. I took it and worked as a designer for over two years in a small but fast-paced independent printery.
I then started designing in boutique studios in Sydney, Australia. I specialised in not-for-profit, conceptual design and campaign identities.
In 2014 I founded my design studio, Shanti Sparrow. Originally an illustration studio, it eventually evolved to focus on visual identities, packaging and editorial design too. I work with many start-ups helping to shape and create their unique visual voice, and I’m also lucky enough to have designed for various festivals and independent events.
This all led to finding a balance between designing and being an educator at Shillington School of Graphic Design.
How has your visual style developed throughout your career? Have there been any pivotal moments?
As a designer I never set out to have a style. I aspire to make visual languages that are appropriate to the project/problem itself. Saying this, over time, certain projects that I’ve created that were Swiss inspired, minimal, bold and colourful gained attention. This led to an engagement with clients who wanted that style. My portfolio now reflects this, and it does look as though I have a very specific style.
As an illustrator, however, I spent time developing a style that felt like me. I did a retrospect of my art from childhood and picked up on some common threads. There were recurring textures, shapes, subjects, and patterns, and I worked hard to find and refine my style. I now have a distinctive look that involves using textures and patterns in elaborate collages that I have exhibited globally. Illustrating has given me unique experiences developing children’s books, greeting cards, a luggage range, puzzles, calendars and games.
Do you have a standout/favourite project that you’ve worked on? If so, why is it important to you?
One of my favourite projects was the Summer Safari Sculpture exhibition in Shanghai. It was a wild experience to see illustrations that came out of my head evolve into life-sized sculptures that people could interact with!
How has being a woman impacted your career?
Being a woman in a design can be an asset but also a disadvantage. I’ve walked into meetings as the lead creative and had the CEO talk only to the male member on my team. I have been talked down to and dismissed in board meetings. At times being underestimated has led to success as I have been able to surprise people with my competence and work ethic. In a positive way, being a woman gives me a different perspective on design problems that helps to differentiate me. It has been a driving force in making me work harder, be better, do more. If things had been easier for me, I sometimes wonder if I would have fought so hard and found the success I now have.
Recently, there has been lots of discussion in the design industry around the gender pay gap and how few women progress into senior positions. Do you have any thoughts on how we can counteract this imbalance?
According to AIGA, women hold only 11% of leadership positions and on average we make less money over our careers. This disadvantage is compounded if you are a woman of colour. My goal is to find ways to empower women when opportunities arise. Simple actions like referring work to women-founded studios, encouraging peers to charge higher rates or publicly recognizing the achievements of women can help to rectify things. Personally, I am trying to create more community among women and BIPOC creatives to provide a space to talk about our specific challenges and receive support from one another. Sometimes knowing you are not alone is enough to keep you fighting barriers. I have a few projects in the works that aim to highlight, promote and celebrate creative women of colour to bring much needed visibility. Representation matters, so I also feel a responsibility to create good work, mentor individuals and represent in leadership.
Did you have any communities for women and BIPOC creatives you could turn to during the early stages of your career?
I had nothing. Back then I didn’t even register that I had nothing because I was so used to being the minority, having come from a different country to a town in Australia, where I grew up. Similarly, at university and in my first job, there weren’t a lot of people who looked like me. Although, I definitely had this innate drive and determination to prove myself better than the other people at the table, at the time I didn’t think it was necessary to earn my spot. I always felt like I had something to prove so I would put in more hours and work twice as hard.
Now I’m in my thirties, I look back and see why I felt insecure. Being the only woman or person of colour at the table, I felt the need to prove to others that I had really good ideas and that I could do it. I had no community and I wish I could say that I did. I want so badly for people coming into the industry to realise that there is one now, even though it’s still in a formative state and it’s not there just yet. We are stronger together. One woman fighting a fight is just one woman fighting, a bunch of women fighting is a movement. As soon as a community happens, change can happen.
How did the ‘Celebrating Creative Womxn of Color’ initiative come about and what does the future hold for this project?
We were given the opportunity to create a project to promote at Adobe Max including a product feature. When you are given a public platform, it is important to use it well. The project aims to spotlight creatives and celebrate the amazing work of creative womxn of colour. For now, it is mainly a social media based project. We hope to hold exhibition that will act as networking and community building events when this is something safer to do.
Many of your projects have been with non-profit clients. Why did you want to specialise in this area?
Visual communication is a very powerful medium. We are able to make a message accessible and memorable. We can use this for commercial ends to encourage start-ups, business growth and events – which is fantastic. As someone who used this power to promote consumerism in my early years, I’ve found meaning and purpose in working with the not-for-profit sector. There is still an ‘ask’, however this ask is one that can help make a difference. I loved that this was measurable, since as donations were trackable and comparable and I could tell how well we did with each appeal.
What made you want to become an educator/teacher at Shillington? Was this something you’ve always wanted to do?
In short, teaching changed my life. I have never felt more creative than when I’m teaching. There is something very special about a group of enthusiastic like-minded people coming together every day to live and breathe design. I am continually inspired and amazed. It’s also incredibly rewarding to watch a student’s journey from passionate onlooker to fierce designer.
Have you got any tips for those who are graduating or newly emerging creatives starting a career in design during the pandemic?
It’s a difficult time and not everyone’s in the same position. There are those who have rent to pay or a family to look after. However, there are so many ways to get into design. It doesn’t have to be the linear route of going through a formal education, getting an internship, landing a junior role and so on. It could be you work a 9 to 5 job because you have other priorities and responsibilities and you take on freelance on the side. Whatever your situation is, try not to let your design skills get rusty, work on those passion projects. Don’t get disheartened by the number of times it takes before you land an opportunity. Design is not all or nothing – and it never should be – even if it’s two hours on a Sunday making sure you still know how to use the pen tool, or creating a project a month, your skills are improving and you’re growing your portfolio.
Do you have any female role models or mentors who have shaped your career?
I look up to most female creatives. I didn’t have a specific mentor, but I always admired the career and work of Paula Scher. She rose in a time where there were very few women leaders, and she is a historic force in design.
Do you have any words of advice for women considering a career in the design industry today?
Welcome to the start of a really interesting and challenging career. It can be difficult to get your foot in the door, but once you are in there are endless possibilities and opportunities. Make sure you get comfortable with feeling uncomfortable. At first it is hard to put your ideas and heart into a project and open it up for judgement. But you soon learn that the feedback you receive helps you become a better designer. Reach out to women in your community and find a supportive network. Be brave and if you get an opportunity to lead, shine or drive a project, believe in yourself and go for it! Enjoy it, there are not that many industries that let you create every day.
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Article by Helen Tong
Helen Tong is one of our wonderful DesignbyWomen collaborators.