19 Reasons Why You Shouldn't Drop Out of Design School (Reason #2)

INTRODUCING ↓

Peyton Todd

UW Alum + Designer @ Studio Matthews

design school, work life, & new projects.

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#2 OF 19 → REASONS WHY YOU SHOULDN’T DROP OUT OF DESIGN SCHOOL

→ Peyton Todd A designer at Studio Matthews and UW alum. Peyton explores the intersection of 2D and 3D design and navigates the value of just design through effective story telling and mindful context found through research/ or diverse perspectives.

01. Reminiscing School Days When did you decide to pursue graphic design?

PT: I think when I was a kid, I wanted to be an artist. I thought that was what I was gonna do and that I could be an art teacher. Then in senior year of high school, I got cold feet about being an artist. I decided I’m actually going to school for environmental science because I want to communicate problems with people who don’t understand them and make a difference. At that time, I didn’t realize that you could have both, that you could be a part of the solution in any field.

We never had a graphic design or graphic arts class in school and then we got one senior year. I joined the class, and really enjoyed it. My teacher told me that I was really good and I should consider pursuing graphic design and I remember telling him, “I think that I’m gonna go to school for something real. I’ll do graphics in my free time.” I think about that all the time, and how embarrassing that is given the context now.

Peyton prepping for end of the year design show at the University of Washington (2023).

What was your experience getting admitted into the UW design program?

PT: I don’t even know what made me take design but it was the first quarter of COVID, so we were all home. I took DES 166 (an introductory course for the UW Design program) with Jamie Yen in my childhood bedroom, and it was the first time that I thought, “I love doing the readings. I enjoy my homework.

I don’t mind critique.” Sometimes it made me cry. Sometimes it was fine and so I think I just had that moment of, “Oh, I think I found it, and I’m nervous that I’ll lose it again if I don’t apply myself to this.”

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Overall, I didn’t get into the program through the class and I recall it being the biggest heartbreak I ever went through. I walked downstairs to my mom since I was in my childhood home and said “I just didn’t get into my major!” I then had to apply with my portfolio but I thought at first, “I’m not gonna apply for it because if I didn’t get in now, I’m not gonna get in with my portfolio.” However, I decided I would submit it and was right at the deadline. The day that I got the email I really do think that was one of the best days I ever had. I was so proud of myself to be able to articulate that I wanted something and to go get it.

How did your role as a student tutor impact your growth as a designer?

PT: I think so much. I contribute a lot of my growth to being a student tutor. It taught me to be open to new and exciting opportunities and say yes to things in my best interest. For instance, I became a senior mentor for Marks and Symbols with Dustin Mara junior year. From that experience, when you have to tell someone about some concept or some subject, things bubble up that are important so you’re able to develop your understanding and break it down to its foundations to teach it to someone else.

02. Transitioning from 2D to 3D

(Left) Screen-printed tote bags made for the Side x Side team. (Right) Studio Matthews office located in Seattle.

“I think what

initially drew me to the practice was it being so communitydriven.”

Logo designed for nonprofit.

Additional branding materials showcasing new logo.

How was it converting from a 2D to 3D mindset?

How does your studio acquire clientele/ projects?

Any favorite projects from Studio Matthews?

PT: I’ve been working at the studio

PT: Sometimes people call us and say, “We love the work you did on a project, we have a request for proposals, and RFP out if you want to pitch for that,” and then we send them a proposal. It can include a deck of relevant work, and is similar to sending a resume saying these are the things we can do for you, but more involved. We pitch to RFPs (request for proposal), often, because that’s a great way to get new work. It’s like a public bid. They send it out for a public bid, so any design studio can pitch for it and then for some projects they have to go with the lowest bid. Sometimes people call us and/or contact us directly.

PT: Most of the projects go for a long time. We work on an architectural timeline, so within a year, you often don’t see projects finished. However, I was able to work on a few branding projects. One was the Friends of Waterfront Park (a nonprofit dedicated to aiding the Seattle Waterfront) which, in total, was two months, which is very short. Activating the Waterfront and being able to work them was just fantastic. I was really lucky to take on that design role and a lot of the responsibility to be working on the project. You are never taking a back seat. Nicole and I, as well as Kristine, were able to collaborate so closely.

It’s not an RFP, it’s more of a “We want to work with you. Are you accepting new clients?” and then we’ll still put together a proposal and tell them, “This is how much we estimate it’ll cost/ actual cost and if you sign this proposal, we’ll start the project.” It’s both reaching out directly to people and people reaching out to us. It’s a great way to make good connections.

We worked together all the time.

You would see us all sitting at a table, sketching, and it felt very electric.

Another brand project was for Side x Side Architects and that one again, I got to play a noticeable role and use the skills I learned in school. As well as put forth and finish something all while learning how to make projects client-facing.

for a little over a year now, and I still am learning so many things, and to get comfortable with admitting that I don’t know things. I graduated school thinking “Awesome, I probably know more than what another designer knows”, the UW design program sets you up really well, which is great.

But, walking into a place like Studio Matthews, the stakes are so much higher, because you’re working with people’s real stories instead of stories that you came up with at school. You’re tasked with making things that last, if they’re designed well, they should last forever and have no victims.

It felt really high pressure and then I realized that I don’t have to take on all the pressure, that’s actually for my creative directors to teach me and learn from doing research or having conversations with them. It’s great to work in a place that is really gracious about trial and error and it not be a point of frustration or difficulty.

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03. Eyeing the Future

Lindsay Franznick (previous intern at Studio Matthews) and Peyton organizing samples in materials library located in Studio Matthews office.

Close-up of various materials used as client samples.

“I want to be able to communicate problems with people who don’t grasp them

and make a difference; to be part of the solution. At the time, I didn’t realize that you could be a part of the solution in any field.”

Do you have any upcoming projects that you would like to share?

PT: I’m working on a project right now that is very fun. It’s for a new public food market in Renton called The Renton Market. We are working with Graham Baba Architects as well. They are renovating the building and it’s very unique because it was a car dealership in the 1940s, then got renovated in the 2000s, and operates as this sort of inactive event space. Now it’s going to be developed into a food market. We get to design their building sign which is very huge so that is interesting, and then environmental graphics that are gonna wrap the building.

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I get to do branding as well as learn about sign design, such as making these huge almost five feet tall giant letters and whatnot. But, I also get to learn about the history of the site, do environmental graphics, get our illustrator on board, and get Jessica Cooper (designer at Studio Matthews) on board for technical design. I don’t know when that’s opening, but I’ve been working on it for quite some time. It’s a smaller package of things that we’re delivering, so it’s not as long as other projects.

It’s the dream to be given that much responsibility. That’s my dream. Let me get my hands on all of it. It’s really fun when we get those projects, they’re not rare, but they’re not every project so it’s very rewarding when you get the client that just wants you to do all of it.

What advice would you give to prospective students in graphic design?

PT: I would say understand sooner than later that design is not just a trade. It’s a responsibility and it’s your job as a designer to do research and to be on the ball and communicate things correctly, justly, and beautifully.

It’s not always about what the client exactly asks for, because it’s your responsibility to be able to inform them and recommend the best option and approach to things. Do not take everything as final, always understand that you’re recreating the world that we live in as a designer. You have a lot of power. Understanding that, rather than waiting too long because it’s a big job and we reduce it a lot.