Lorem, Ipsum, Karla

We sat down with Karla Renee Harris, graphic designer, and her dog Reagan in their backyard.

Karla Renee Harris: I’m Karla. I was born and raised, Chula Vista, San Diego has always been my home, and art is especially such a big part of my identity as well as design. Since I am a graphic designer, I did art school specifically for graphic design. So those two, though they're different, they go very well in hand together, either to support each other or even be two separate beings of their own. And I guess they've become such a big part of my identity because as a kid I was quite shy, so I wasn't very verbal. So one of the ways that I was able to best communicate and I guess show off my personality was through either how little kids are sweet and like, “oh, I drew a picture of you.” That was me.
Viewfinder: I never would’ve guessed that. Seems like you’re pretty social.
KRH: I feel like I got that way when I was older, but as a kid, no. So I mean, that was my communication with the world, either with drawings or even writing letters. Graphic design is letters, seeing actual language come to life. And I mean, there are obviously differences between art and design and especially to be a graphic designer. I've always been interested in that. I love illustration and graphic design. It's just all about making sure that a message is clear.

Take a stop sign– if it wasn't red, if it wasn't a distinct shape, and if it didn't say stop, it's not a stop sign. So with graphic design, I mean, it has to be very direct with the message that you want to convey. And if it's not, it's bad design.

VF: So what got you into graphic design?
KRH: My school, Hilltop High School, offered a graphic design intro course. So I mean, that's when I was first introduced and I was interested. So I took the class just to see what was up, especially my art teacher. She liked my work. And I always had an interest in digital art, especially at that point. I wanted to know what was up was the difference between traditional art, what I was used to, and then digital. Because when you're in high school, you have to figure out, oh, what is it that I want to do with the rest of my life? And then I guess the thing that I always was so discouraged by was the fact that counselors would say, “oh yes, I mean you could go to art school and yes, you're qualified, but you're going to starve. This is not going to be a good job. This is probably why I would consider a plan B, or some kind of different career in which I would have income or whatnot.” And I always found that pretty sad.

You should be enjoying your work. If you do something that you love, it doesn't feel like you work in that kind of situation. I mean, I guess it's reality, but it broke my heart at the time because I was like, nah, I definitely want to go to art school. And I mean, I still did. So I mean that as if that actually stopped me. But still it was crazy because I mean, I listened to them, so I already knew that kind of risk. Like, oh, if I don't make it as an artist, I for sure have to do something else. Yeah. So I mean, I'm really glad that wasn't the case. It makes me very glad and I'm glad that at least graphic design opened that door for me compared to traditional art, even though I still like to do traditional art.

VF: How was art school?
KRH: It was so much fun. If anything, I still miss it so much because I mean, the purpose is literally to be creative and to figure out what it is exactly that you like doing and how you like working. And it was a good intro to how it would be in the professional field, even though, I mean, once you're in the professional field, it does feel a little different. I went to BYU Idaho. It really did prepare me. It gave me a little window of what to expect when I was in the actual professional world. So I was really grateful for the professors, which I had, that they made it challenging, but also extremely fun.

And I mean, it was a challenge worth taking that they would give me specific projects that were due at the end of class, that they would time me and each section, each process of whatever I was working on. So they would time me for my sketches, they would time me for my drafts. I would show them my drafts. They'd give a quick critique and then give me more time to do maybe a few more drafts until I came up with something final. And it was so fun! I mean, maybe the first time practicing this way was really stressful because I just didn't really know what to expect. And it was nothing like my high school course. So I mean, sure, there were some tears in the beginning of my freshman year, but at least I made it all the way to senior year to get my degree. That's something that kept me on my toes. I could take all the time in the world to come up with an idea, but probably the ones that come sooner to your head are the ones you should go with and run with until you've gone through enough drafts and figured out like, “oh, maybe I can simplify this. Oh, this is not necessary. Oh, that color is blinding my eyes. It doesn't look good printed, but maybe it'll look good on a screen.” And then I guess my college also gave me an opportunity to figure out what specific, I guess what's it called… specialty of design that I liked the most. Because I did take a variety of classes. I took a lot of design classes, which I personally really love. I was able to take a lot of publication classes, which include designing magazines.

I even took web classes and then discovered that I actually don't like web design, but with those opportunities, I was able to figure out what it is I wanted to specialize in. So I didn't go out into the world figuring out, oh, I could do it all when maybe I don't want to do another website, hire someone else that actually likes designing websites. I was able to determine those things in college through my program.

VF: So sometimes going to school is helpful because not only does it give you limitations and how your professors are like, do this in this amount of time, or we're going to put walls around what you can do and get creative as much as you can within those walls.
KRH: I’m glad that no matter what, I got to be creative. That's just how I work. That's how my brain works. That's how I think. So it would be crazy if I didn't go to art school. I probably wouldn't have enjoyed college if I didn't.

VF: What are some challenges most people don't think about when it comes to graphic design?
KRH: I work for Comic-Con, but I also do freelance on the side. So whenever I do freelance, it's like your clients think that you could read their minds and just understand everything it is that they're telling you. And I find it so funny because I'll ask, “exactly what do you mean by that? What do you mean? I'm sorry. I know you're very excited and you should be, I want to make this project real for you, but could you help me out a little?” And especially when it comes to deadlines. Sometimes projects are just so long that it's like, “I'll do my best, but I'm not going to guarantee that it's going to be due this specific day.” So it's interesting, just as long as you keep in contact with your clients, make sure you tell them everything, and even show them your process. Like, “oh, these were sketches that I did, and here are some digital copies of those sketches. Let me know what you're thinking,” and I'll even label it. Try to make things as clear as possible for your clients. I mean, that's why they hired you. They know nothing about design, and that's okay. So I mean, the more that you help, the easier it gets.

So it's just really funny because clients think, “oh, this person, just because they're designer, they know exactly what I want.” But really, it's like, “no– talk to me!” So I mean, that's a fun thing. And then I guess another one is that I always have to be creative on-demand. Especially if you're doing a lot of projects at once. It's hard. It's like, okay, I need a quick moment, a quick break. Let me do nothing. Or let me look on my phone. Let me watch funny reels. Let me, I don't know– even talk to someone or take a walk, especially with my dog, I just need a moment to not be creative so I could reset and then prepare to be creative again. Maybe I'll generate a better idea the next time I'm off my quick break. But yeah, I mean, sometimes it's hard to be creative at every single moment. Anytime any coworker of mine probably walks through and sees me in my office, they probably think I'm crazy, because sometimes I'll stop what I'm doing to stretch. So you see me literally moving the entire office, moving my back, or even using the wall to do back bends or whatever. I'm trying to get in motion, so I am ready to go back, just even a quick moment to not think about what you were just doing, be completely refreshed, and then, okay, I'm ready to go back. Or, this is a silly example, but maybe it might be a good idea to any creative, especially if you're a creative that likes music, give yourself a 30-second dance party. Just put on a song that you like, or whatever's in your head, listen to it for 30 seconds, move out, and then go back to work. Yeah, it's a good time. So no. Yeah, anytime anyone sees me, they probably think I'm crazy, but I mean, it's fun.

VF: What do you love and what do you hate the most about graphic design?
KRH: I guess I'll go with the things that I hate first. If you're an artist, you're a perfectionist. So I mean, it's just anytime that I'm personally hard on myself. Thoughts like, “this could look better. Or, dang it, what happened all the time? I need more time and this is due now.” So I guess that kind of perfectionism or even, I don't know, feeling like, oh, imposter syndrome is another one that I personally hate that it gets to me sometimes. I am inspired by other designers and other artists, but like, oh my gosh, this looks almost too close. I don't want to seem like I'm copying somebody else. But I mean, honestly, I mean, I did it because they inspired me to do it this way. It would look so good, and I just wanted to put my own flare to it. But right now, it does not look like my own flare. It almost looks like a copy sometimes. I’m like, “how do I navigate these things?” But the more you are patient with yourself and breathe in, breathe out, and maybe simplify a few things design wise, but it'll be okay. But I would say those are my top hates for design. But don't worry, because there's more things that I love versus hate about design. I just love that it gives me a moment to further express my version of how I see the world. And it gives a different voice, obviously, but it also still appeals to the people I'm designing for. And then the people that have given me my job anyway, because at least with freelance, I have more of a reason to show my personal style of design. But with Comic-Con, I'm following a brand.

I have a whole guideline of how things need to look, specific colors. I need to use specific type faces I have to use. So I mean, that's a little bit more limited, not as, I don't have as much freedom when working with a brand, especially as big as Comic-Con, since it's so established and, but even with the limits or with the freedom of freelance, I still have so many options. But I guess I love having both, because they just make me creative in different ways. Comic-Con is like, okay, oh, I could do this just as long as it still looks like the brand. So there's still reward in it all.

VF: How’d you start working for Comic-Con?
KRH: It's still one of the craziest, mind blowing and humbling experiences that I've had so far in my young career. So I graduated two years ago from BYU Idaho with my BFA in graphic design. And this is my first college job with Comic-Con. And it almost took an entire year after graduation for me to get this job for me to land in. And I just remember it was really intense, the process. So I remember finding the listing on Indeed. I just said that I was a graphic designer in the San Diego area, and it was six months that I applied for the position before I got called for an interview. Yeah, at first I was like, oh, these people completely, they forgot about me. I am pretty sure they already hired someone. And honestly, I sort of forgot that I applied. It was that long! I was like, okay, I assumed they would've needed me sooner, but whatever. It is what it is. And I'm glad that at least I was recognized. But no, it's funny because I remember signing up for it, and I was like, “ah, let's just see what happens. This is a really big company.

I really doubt that I'm going to hear back.” And of course, I applied to other jobs, interviewed with other jobs, and didn't get those positions. I wanted to be a graphic designer. I wanted it so badly. And of course, during that time that I wasn't working because I had to survive, I still worked just not as a graphic designer if I did other whatever jobs just to make it by. I told my prior job that, “I'm going to interview at Comic-Con for the graphic design position.” And it was cool because I was working for my dad at the time, so he was like, okay, good luck. And I think it was definitely a sign, because the day of my interview in 2021 was on May the fourth. Oh, wow. So I thought it was the coolest thing. I was like, okay, on a nerdy day, I got to interview at Comic-Con. Let's see what's up. I'll just go. I was dressed. I had a few actual live models of some of my work, especially the one that was on my portfolio that they already saw online. But I wanted to show them in person just to see if maybe that showed that I cared. So I was already prepared. The senior designer, the person that I was going to be working for, was in the interview as well as the president and then my direct boss, well, I guess both of my bosses, because one of the bosses is the president. So I mean, she was there. My other boss was there, a few other people that were designers or had design degrees were in there, and it felt really crowded. Now, they did ask me questions about how I work, how fast I work, even questions very similar to the ones that you asked me, even my upbringing and design, why I love design, why I would love to work for Comic-Con. I guess whatever I did really showed that I cared and that I was a good candidate. Since then I've been working for Comic-Con and I've been there for a while now. I've done a few conventions already, so I'm doing two conventions and then designing for the [Comic-Con] museum full-time.

VF: What’s it like to have your work seen by so many people?
KRH: It is definitely crazy, because I'm so used to seeing everything being done on a screen. So, it's really crazy when it’s printed and displayed and being used by other people. I have examples like this badge to get into the building. Karla points out a bedazzled entry badge.

KRH: We don't provide the bedazzle. That was me. But this is not only a badge to show that you have the ticket, but it's your entrance in. So to even see people click on the kiosk in order to, oh, yeah, please do whatever you need. I see people use my badge as a key to head into the convention. It's like, “oh my gosh, I had to design those!” Or even, I mean, here's a few printed examples of some of the publications that I have to make for Comic-Con. Every year they have maps and stuff. They have the showtime for each program.

VF: You made all of this too?!
KRH: Not only do I do the covers of the books, but I also do the contents of the books. Yeah, I do it all. It's a lot of work. So I mean, I'm making sure everything is displayed at the correct times in the correct rooms. And then especially Comic-Con is not only known for comics, it's also known for TV shows, like actual live action or animated video games, books, television, movies. These kinds of things do need to be categorized so people understand where it is that they're going and what they're going to be watching, and what they are to expect. And I even make codes giving a quick description if something is child-friendly or if it's supportive of the LGBQTIA community. And now I even have full maps of the exhibit floor, so you know exactly what it is that you're purchasing before you spend a lot of money.

That's one part of my job is making sure that these visuals are shown. All the dates of a show or if you didn't get parking, even modes of transportation, the trolley time, so people could take the trolley to the convention center. Those are things that I need to have knowledge of, but also information that I need to display to the public or any attendee so they know exactly how to enjoy their Comic-Con experience. Yeah, I do the advertisements as well, not only covers. All this information I have to obtain and make sure it's on the correct page numbers that we have the correct times. So know when you could be inside of the convention center and when it closes. And yeah, I have all these descriptions of every show that will be featured in the convention, and then other advertisements from other vendors that are in the show, they want their spotlight. Okay. I'll design a page in which we could display that. Someone’s selling books at this booth and they want people to come over. I got you.

VF: So are you on a team or is it just you doing this?
KRH: In the beginning, I wasn't a team. It was me and a senior designer. It was only two of us, but currently it's just me. This last convention, it was only me, and it was really rough.

VF: How does one person make all this?
KRH: That’s a great question, haha. I did a lot of overtime.

I mean, every business minute that I had was so precious. It was honestly insane. But I'm just so grateful that my company understands how hard it is to prepare for this convention and to work during the convention that we do get a week off after the convention, and it's paid. There were just nights that I just didn't sleep at all. I was just on my computer, making sure that I had everything done, everything. But now, yeah, this is some of the work that I get to display during the convention. Also, in GasLamp, you get to see a lot of the advertisements that wrap around the buildings of, what's it called, the Hard Rock Hotel, for example, or the Omni. They get the advertisements and also the Hilton, they get the advertisement on the building that I am responsible for.

VF: That’s wild. You would think an organization as big as Comic-Con would have a whole team on all of this. I think it’s a lot of great experience you’re getting under your belt.
KRH: Sometimes my coworkers will point me out and say, “this is the graphic designer that did that!” and I’ll be like, “shut up!” or whatever since I’m not trying to show off. But a lot of people are like, “oh wow, that’s true. Someone had to design this.” Maybe it’s not exactly art. And I mean, even though I love the fact that I am proud enough to make these publications, people throw them away after the convention. I understand that this isn't necessarily art that you're going to hang up on the wall, but I mean, this is still such an important aspect of art. So the fact that it communicates, it conveys information, and it's informative to anyone that reads it. And then maybe if you're an actual fan and you collect these kinds of things, then it could become art. But I mean, that's for sure another big difference. Most of those things end up in a landfill, and it's sad, but I mean, compared to art, yeah. We're not going to willingly throw away a Van Gogh piece. I guess the value of both, that's another difference is how we value art and how we value design.

I guess another thing that sort of excites me about the industry of design is that we are eventually becoming more green. So I want to see how that eventually plays in Comic-Con, because as of right now, there's another publication that I do design, but it's not printed. It is digital. So you have to get a QR code, you have to scan a QR code in order to get to see the souvenir book. So I mean, that has already been an interesting solution to that. So we're printing less paper, but people that are fans dedicated to the spirit of the convention of the con, that they're still looking at the souvenir book, though they can't obtain the physical copy. So I want to see how that is played in the future of Comic Con, because I really hope it becomes more green. VF: What are your long-term creative goals? KRH: I eventually do want to become a creative director, maybe outside of Comic-Con. I mean, I love it right now. It is so much fun, and it makes me very proud of my city. It's so special to see how an event like this unites a community.

And I know it's a nerdy community, but it unites these people. And sometimes it's incredible because you could still see, they could be socially awkward, but they cosplay as a specific character, and someone else knows exactly who they are, even if it's not their actual identity, they're still part of something that's pretty big. Yeah, absolutely. And it's something they look forward to every year. So I mean, it really is special. It's like, oh, sweet, there’s this nerdy person, and more nerds all together. So it's just so special. And to be a part of that, I, it's just way bigger than me and way bigger than my degree. So even though I really like working for my company now, I think I sort of hope to stay in it long term, but I still dream of being a creative director. Or even someday, hopefully they hire another designer. So it's not all me. Maybe I could be a senior designer and then have my junior designer help me out. I definitely hope for those experiences. And I mean, even right now as just a solo designer, there's just so much that has been opened that I wasn't prepared for. There's so much art school can provide. I am still grateful that it did prepare me for some, but I learned way more on the job. I do hope for more opportunities to work with other people for sure. I've become so used to working for myself that maybe it might be weird to work with someone else, but I mean, overall I think it'll be a good thing. VF: When you’re not creating, how do you like to spend your free time? KRH: I’m still creating! I’m so boring. That's all there is to me. But don't worry. I think sometimes I'll do digital art on my own time, but I started as a traditional artist, and I still do it to this day. So I guess now I'm like, what's it called? A jack of all trades.

A jack of all trades. In that case, because I was trained in painting, I still paint occasionally trying other mediums of art. I'll sometimes take a ceramics class just to do something else. And I mean, it's fun. I like getting my hands dirty with clay and whatnot. And then I've also done stained glass windows. And that's so fun, and it's the complete opposite of graphic design. It still allows me to be part of a creative world. Just doing something else isn't what I do every single day. So I think it still helps me generate ideas. It still helps me to socialize and just be in a different environment and take that break so I am suddenly no longer stressed. Because, I think it's definitely different to do a professional art job. You're more inclined to stress and then more inclined to maybe deadlines and trying to make sure things are looking good before printed and less mistakes, or making sure that the print number is correct. And I mean, there's a lot of stress about doing art that isn't related to work. Oh, it's so nice. You just calm down a bit. It's like, “oh, sweet. I could just have fun. I don't need to worry about a deadline.

This is a good life.” But even outside of being creative, I like to run. I'll just run for long periods of time. I mean, I'm used to it. I've run a lot of half marathons, even a full marathon once. It’s definitely another really good way to be away from the computer, because I love design, but sometimes it hurts your eyes. I don't want to look at my phone. I don't want to look at a TV. I need to see the real world and the sky. So I'll do things like run, and then I occasionally like to hike with my dog. I also like doing yoga. That's another very good way to not be in front of a screen, because I mean, you want to keep that relationship healthy, like your screen time and real life time, because balance is good. I love being lazy too. I'm not only productive, I swear. I really like the director, Wes Anderson, I think. And then also his prop designers for his movies inspire me. So I even re-watching movies that I've seen billions of times because I'll notice the props and how they're designed. Or even each set, the way that the shots are taken, they're really beautiful setups, and the color schemes of his movies also are really inspiring and tasteful. I’m just watching the movie to really just relax, but I'm still getting inspired.

VF: What’s some good advice you’ve been given?
KRH: Always to make things that are proud of things that you have fun making. That's all it's about. You shouldn't be worried. I mean, yes, still take critique and still be humble enough to fix things that you do, so it becomes better. But now, if it derives from something that makes you happy, and it doesn't even have to be something that makes you happy, just something that has motivated you to either change. I guess maybe it motivates you to do art or they're inspired by sadness to do what they do. But whatever, it's that which inspires you. Hold onto that and use it to create, make sure that it shows and that you aren't afraid to show it too. And then, make many mistakes, even if you know it won't look good, still try it anyway. Maybe there could be a possible way of tweaking it and then suddenly, that's amazing. That's a great idea. Don't be afraid of making those mistakes. And when you do own up to them, like, “oh yeah, these are my logos. Yes, this one is bad, but it's mine.”

VF: What’s advice you’d give to others?
KRH: I guess it's very similar to the advice that has been given to me. Just be proud of it, whatever it is that you're doing, even if it's following a brand or you have the full, complete creative control, just make things that make you happy. Things that you aren't afraid to show off or, I dunno. And even, sure, like I said earlier, I know these things will be thrown away, but at least I'm proud enough of them that I keep them for my sake, for archive reasons for Comic-Con as well. But I'm proud enough of them to be like, “It's maybe not something I would hang up on my walls, but it is definitely something that this was my contribution to the design community.” A tip I’d give to aspiring graphic designers is that with graphic design, you have to have wifi. It doesn't just limit you to only design inside. Even with this table, sometimes I'll work out here, or even in this chair, I have another little table in the very other corner over there that I could design. Just as long as you have wifi design anywhere. If you need a moment to be out, walk around. But you can still design somewhere where the wifi is strong.

So that's definitely travel. It gets you more creative when you're moving versus staying still for a long time. Yeah, absolutely. Or even if you're in an office, if you have an option to have a standing desk, get that standing desk, because I have one in Comic-Con, and it's awesome because sometimes when you're sitting and just falling asleep.I go and I stand and I'm still designing. Another tip is as a graphic designer, use pencil and paper. Still draw your stuff out, because I think it's important to keep that connection. And I think maybe I find it so important since I started as a traditional artist, that I don't want to lose those skills. But I mean, it still is a very, it's an important relationship to keep, is still to remember that you once started with a piece of paper, your pencil, that you trust your eraser with your entire life, but you're even using rulers, you're using things. It doesn't always have to be all digital, because there's even moments in which, for design, I'm doing hand painted things that I make sure that are the colors that I want or that it's how I want it to be seen when I scan these things.

Another cool example I thought of with some of my design pens, if they ever break and I notice the ink is dripping, I'll just start splashing all the ink onto paper and then scan that paper with all the ink drops and whatnot, and use that in my design work. I'll make real life things become digital. So I mean, it keeps both of those aspects of art alive and could be included in design. It isn't only restricted to what's on a screen. I make Photoshop and all the other programs, accommodate to real life arts. I mean, I think it makes design way more visually interesting, and also gives that handmade aspect that an AI can never do. Last thing is don't be afraid to be yourself. I know that sometimes it's very vulnerable to put artwork on a portfolio. And most portfolios, they're online now. So, anyone could have access to see your art. Don't worry. I mean, there will be people that will disagree, and be used to that. You can't please everyone, especially when it comes to your art.

And it's fine, because I mean, for crying out loud, most of the artists that we idolize now in museums weren't very successful during their times. They were lucky if maybe two paintings were sold at a time or whatever. That's just the way it is that we're going to be appreciated when we're dead. So I'm here like, “oh, I can't wait!”

VF: Well, we appreciate you now.

by
Nate Velasco
DEC 2023