Graduate Spotlight: Graphic Designer Max Bloom
05 December 2024
From designing merchandise for PJ Harvey to increasing engagement from young people with mental health support services, graphic designer Max Bloom’s career has developed from grassroots beginnings into something kaleidoscopic.
Supported by an epiphany he had whilst studying Graphic Design MA (Online), Max’s approach to design has seen him excel in roles across the music industry, working with the likes of Everything Everything, Laura Marling, Ezra Collective and Metronomy as Head of Design at terrible* merch, before moving to his current role at Dentsu – one of the world’s largest marketing and advertising agencies.
We caught up with Max to talk about his routes into the industry, some of his career highlights and his advice for aspiring designers.
When did you first develop an interest in graphic design?
My dad owns a small car rental company in London, and his website hadn’t changed since the 90s, so I offered to redesign it. I really enjoyed the process, so I initially thought I might get into the coding side of things, but after some reflection I realised it was the design process that I enjoyed the most. After that, I decided to take a short course in graphic design and illustration, which was a great opportunity to explore and learn alongside other people who were also interested in design.
How did you first get into the world of professional graphic design?
After my short course, I decided to try applying for a few junior designer and internship positions. Eventually, a small charity called Walk the Talk gave me a chance. That was my first real graphic design job, and it was a great introduction to working in the industry.
What made you decide to take Falmouth’s online master's in graphic design?
I had been working as a graphic designer for several years when I decided to apply to Falmouth. Although I had a lot of real-world experience, I didn’t have any qualifications, and I knew that if I wanted to progress, I’d probably need a design qualification. However, I also really wanted to learn and interact with other creatives, and to push myself out of my comfort zone.
What was the biggest revelation you had whilst on the course?
I had a big epiphany around halfway into the course: it’s all about the idea. It might sound obvious but it completely changed the way I think about graphic design. If your core idea is meaningful, the design element will naturally fall into place around it; the design side is actually secondary.
How did you find the online nature of the course?
I loved it! It added a lot of flexibility, so it meant that I could study alongside working. I loved studying with designers from different countries – it really made me appreciate the cultural impact of graphic design. Studying online also made it easier for amazing tutors and guest lecturers to give talks. Even though it was online, there were a few people from London on the course, so we would regularly meet up for drinks. There was also a gathering in Berlin halfway through the course, where I got to meet a lot of my course mates and tutors for the first time.
As Head of Design at terrible*, you worked with some big-name artists and labels. Was there one particular project you led that stays with you?
There was definitely a few, but I think making merchandise for PJ Harvey was a highlight, because she’s one of my favourite artists of all time.
You also worked for several years as a graphic and UX designer at Tellmi, an app to support young people accessing mental health support. How did it feel to be part of a team designer assets for something so vital to peoples’ lives?
I loved working at Tellmi – my boss, Suzi Godson, was a very prolific graphic designer in the 90s, so it was a highly creative environment to work in. There’s an industry standard for mental health charities and start-ups to have completely dull and boring graphic design, which isn’t really what young people who are suffering want to see. Through our design work, we engaged a lot of young people who really benefited from the app.
You’re currently working as a graphic designer at Dentsu. What are your ambitions for your practice?
Working at Dentsu is a dream come true. It’s definitely one of the best places to be a designer or creative. It’s amazing being in an environment where so many people are doing such incredible, cutting-edge work. I’d love to keep progressing towards creative director level one day.
What advice would you give to aspiring graphic designers looking to forge a career in the creative industries?
At the start, I think it’s really important to take on a lot of different things, build up an interesting portfolio, and try to narrow down what you like and don’t like about design. It is such a wide and varied discipline, and as much as people might expect you to be a jack of all trades, I think it’s important to focus on your main area of interest.
At the same time, it’s also really important to know your worth. So many people out there will try and exploit graphic designers, and a lot of creatives (myself included) have a bad case of imposter syndrome. If you’re benefiting from the experience in some way, then that’s ok, but if you’re being underpaid or treated unfairly, it’s important to know how and when to walk away, because there will be better opportunities around the corner. Oh, and always back up your hard drive!
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