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A freelance graphic
designer and illustrator
from Helsinki. Her
awarded work
has appeared in
advertisements, product
packaging, book covers,
magazines, and posters.
Janine’s computer-based
vector style combines
basic geometrical forms
with small decorative
elements. The style
is often described
as absurd yet naive,
with a modern Slavic
touch. Janine has
studied Graphic
Design and Illustration
at Taideteollinen
korkeakoulu (University
of Art and Design
Helsinki) and Rhode
Island School of
Design (RISD, 2008).
As an illustrator she
is represented by the
Finnish illustration
agency Agent Pekka.
She was recently
awarded with silver in
the illustration category,
Best of The Year 2008
(Kuva ja Kuvitus, Vuoden
Huiput) Grafia, Finland.
Janine Rewell
www.janinerewell.com
Janine Rewell 143
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411 PLAY FRIENDS. Avoid the
designer-against-client setting.
Always sit on the same side of the
table with the client in a meeting.
412 C
OLOR COMBOS. I saw a girl
wearing these colors. Now I can’t get
them out of my head.
413 L
IBRARY OF INSPIRATION. Create
a library on your computer with
subfolders for different categories
like “type,” “posters,” etc. Follow
design blogs daily. Every time you see
something cool take a screenshot and
save it in the library. When you face a
problem, browse through these fi les
to get inspired. This is much faster
than bookmarks.
414 C
LIENTS AND CLOTHES. When
you go to a business meeting, wear
your best underwear. Self-confi dence
comes from beneath.
415 S
KETCHBOOKS. I wasn’t
accustomed to sketch. Nowadays I
can’t manage without it. Sketches
are especially handy when it comes to
long projects during which you tend
to forget where it all started from.
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416 DEADLINES. I organize my
working schedules with post-it notes.
Different colors for different tasks. I
have the notes above my desk so that
I can’t simply miss them.
417 H
ABITS. I have a weakness
for die cuts. I don’t know why. What’s
yours?
418 T
HINKING SPOT. Try not to stare
at your screen 24/7. Usually my best
ideas come when I move my eyes from
virtual windows to real ones.
419 W
EBSITE. Your website is what
you are. Don’t leave your portfolio in
the middle of a messy code.
420
S
HORTCUTS. BY LEARNING ALL THE SHORTCUTS
YOU’LL SAVE HUNDREDS OF WORKING HOURS.
L
EARN ONE EVERY DAY UNTIL YOU CAN USE
THEM ALL.
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421 MIND MAPS. When I start coming up with
ideas I take time creating mind maps, putting
into words and diagrams what’s going on in
my brain. The messier the map, the clearer my
thoughts after.
422 M
USIC. When I need to concentrate and
stay focused, I listen to instrumental music with
repetitive themes. I’ll listen to those tracks or
entire albums over and over again while I work.
This helps me focus and sets me in a time that is
continuous, that seems to pause, slow down, and
last forever. It shuts me out of the world around
me and sits me comfortably in a space that’s
mine.
423 T
IMES NEW ROMAN. It’s one of my favorite
fonts. It’s a font you can fi nd everywhere.
Everyone has it. It works on the Internet. No
problem converting it. It’s a classic font you can do
a lot with. While it may feel very standard to many,
it is not to me when used in new curious ways.
424 P
APER. Choosing the right paper for
your project is important. Order samples. Verify
how your artwork prints: how do the colors
work on it? Will the colors lose brightness? Will
the black streak? Will the text bleed? Will it show
on the other side? Also make sure the weight of
the paper is right: does it give you the lightness
intended? or the thickness desired? Once you
fi nally have made your mind up, don’t forget to
pay attention to the direction of the grain when
you order it!
425 I
DEAS. When I begin searching for
ideas around a theme, I use Google Images,
dictionaries, books, manuals, fl yers, posters,
friends, movies, and signage as inspiration. I’m
on constant look-out for ideas.
146 1,000 Ideas by 100 Graphic Designers
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430
C
OMMON PEOPLE. I’m interested and
inspired by all tools that people
who aren’t familiar with graphic
design use. Try to design using Word,
Photobooth, and Acrobat Reader.
426 DESIGNING IS LIKE INVESTIGATING. When I
fi rst start a project and learn about the theme,
I read a lot, try to understand what I am
working on, what the content is about. And with
what I have learnt, I use as much as I can in
my graphic solutions. This way my design is as
closely linked to my content, in as many fresh
new ways as possible.
427 S
PELLING. There is an add-on tool
named Pro Lexis used with InDesign. It enables
you to correct your spelling, grammar and
typographic spaces, punctuation, and more. It
helps you make something as close to perfection
as possible. Spelling and punctuation mistakes
look terrible in books. Just why it isn’t included
with InDesign is yet a mystery to me.
428 R
ESTRICT YOURSELF WITH LIMITATIONS. Base
the choice of your limitations on rational and
meaningful decisions. You could go black and
white for cost reasons, you could use only a
certain type size for legibility reasons if you are
making a book for the nearly blind, for example.
429 P
RINT. Throughout your project, print,
print, print. Check what you’re doing by printing
bits of your work as you go. Some things look
good on screen but not necessarily on paper.
Jessica Scheurer 147
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