In Conversation With... Harry Richards

Hey Harry! So lets start with a bit of an intro, a bit about your background and where you are based.

I’m a freelance graphic designer currently based in Bath (UK), originally from Cornwall. I specialise in visual identity, typography and print design. Typography features prominently in both my identity work and poster designs. I like to explore its limits and how I can inject or dissect as much meaning from it as possible through visual manipulation. My goal is to convey a message or idea as efficiently and aesthetically as possible.

My graphic design journey started in my childhood. I was constantly surrounded by art books and paintings as my father was a painter. This, combined with an interest in technology led me down the path to graphic design.

I began a degree in Graphic Design at Plymouth College of Art, before interning at a few local studios and settling in Bristol, becoming a freelancer shortly after. I already gained freelance experience working for the in-house design agency at university (Plymouth College of Art), plus I had a few clients from Instagram, giving me a taste of freelancing before going full-time. Unfortunately, I chose a bad time to start as COVID hit one month later. I began to work on poster ideas regularly (almost daily) while the commercial projects were gradually coming through.

After things stabilised somewhat, I slowly began to gain more work, also making sure to take time out for personal work. I’ve been doing this consistently since. Recently I moved to Bath with the goal of moving to London in the near future.

 

Can you tell us about your journey into typography and how you discovered your passion for typographic design?

I was vaguely interested in graphic design before I started university, but it wasn’t until my first year that I began to take it seriously. While looking into the background of famous typefaces such as Futura and Helvetica, I began to see and appreciate typography. From there I was inspired to research type and print history, becoming most drawn to the Swiss Style of the mid-century.

 

So you are based down in Bath... talk us through a normal day for you at the moment

Most of my client work tends to be remote so I work from home a lot of the time, this also means I have access to my growing collection of books for inspiration. Depending on how busy I am, I’ll usually work on a single project or manage two or three throughout the day. I aim to reply to most emails first thing in the morning, or here and there if the hours are irregular. 

I’ve found it important to have a break from commercial work when I can, either to spend time browsing design books or searching through type foundries for a new favourite typeface.

 

 

Tell us about your process from the moment you come up with an idea for a print.

Most of my posters share the same process. I begin by looking through a list of words and seeing if any of them spark an idea or visual concept that can be applied typographically. Next, I start developing one route I feel will be most memorable and succinct. With the idea finished, I begin refining the overall design, choosing appropriate but impactful colours, and adding any final details.

 

 

What initially drew you to typography, and how did you develop your skills in this specific area of design?

I’m drawn to how typography can ‘speak’ and hold a range of messages. One small change in the letters can express a meaning quickly and efficiently, making it a perfect tool for graphic design. Language isn’t as universal as an image, but having the ability to use typography visually breaks down this barrier.

I’ve always had an eye for detail which is useful for typography. Type books such as ‘The Elements of Typographic Style’ really scratched that itch for in-depth detail and discovering information that you don’t see on the surface. Knowing these rules can help you to be more creative with typography as you know when you can challenge them.

During my time off in university, I regularly visited the library, collecting and absorbing anything I found inspirational. I probably bought more books during university than I do now, but it’s a good free resource. Finding aesthetically pleasing work has been very valuable for me, fuelling my passion for design.

 

Typography involves a lot of attention to detail. Can you share your process for creating a new typeface or typographic design?

That’s true! I feel I’ve yet to fully set foot into the realm of typeface design, but I’ve explored custom modular type for a few posters and the occasional logo. I’ll usually start from scratch if I can’t find a typeface that fits the style I have in mind, or I’ll heavily customise the letters of an existing typeface to fit a certain role. I’ll look for references that speak to the style of type I’m after, then begin to play around with letterforms using a grid. Once I’m happy with the structure and weight of the typeface I’ll begin to refine the details so it’s legible, attractive and supports the original idea.

Who or what are your biggest influences in the world of typography, and how have they shaped your work?

My biggest personal influence would be my father, without his artistic support and the presence of his paintings I may have never followed a graphic design path. Wim Crouwel, Barbara Stauffacher Solomon, Wolfgang Weingart and Alan Fletcher are a few inspirational designers that come to mind. Contemporary studios like SPIN, Studio Blackburn and Studio Dumbar are also on that list. 

These designers and studios helped shape the way I see typography and graphic forms. They have encouraged me to push the limits of typography and question what makes thoughtful, considered design. Even for the work that’s not type-based, their ideas, curiosity and aesthetics stick with me.

 

Can you share a project that you’re particularly proud of and explain what made it special to you?

I’d say my final year university project ‘Chromacity’ is the project I’m most proud of so far. It documents how a lack of colour in a city can have a negative impact on mental health. The project combines colour, typography and history to form a city identity-style solution. It was only during the project that I began to realise how impactful graphic design can be. I’ve noticed a bit more colour in Plymouth since then, so the thought that the project may have inspired that is a nice feeling too (though most likely a coincidence).

 

 

As a typographic designer, what advice would you give to someone looking to start a career in this field?

I’d say the most important part is knowing that you’re passionate about typography and going from there. Surrounding yourself with typographic influences and even inspiration that isn’t directly connected to it; either through books or online, or simply with other people that have the same enthusiasm. Sometimes you’ll get burnt out with commercial projects, so it’s good to have that to turn to when you need it most.

 

What can we expect to see from you in the near future? Are there any exciting projects or collaborations you’re currently working on?

It’s always busy with client projects, but in the background, I’ve been collecting poster ideas for the next design sprint. I find it challenging to let go and be expressive with ideas, so I’m pushing myself to create a set of abstract posters. Completing a poster is rewarding, but it can be tiring when you’re struggling for an idea! More recently, I’ve been working with my partner on a personal identity project, which has a bit of everything.