In recent years, the role of graphic design in film has become more established, with more and more directors recognising the importance visual artists play in bringing their visions to life. That said, graphic design in film still remains, for some reason, an underrated and unpopular career path. But why is that? Is it too competitive? Too reliant on connections? Impossible to find a way in?
Two people with a lot of answers are Miraphora Mina and Eduardo Lima, aka MinaLima, the graphic design duo tasked with bringing the wizarding world of Harry Potter to life. Having worked on all seven films between them, plus the subsequent Fantastic Beasts movies, Mina and Lima have made history with their designs, with the Daily Prophet and Marauder's Map being just two of many hero props crafted by their very talented hands.
It's no exaggeration to say these guys are legends within the graphic design film world, but they haven't let it go their heads. Instead, they remain extremely grounded, and have an undeniable warmth and passion, not only for the art of design itself, but for helping others become part of this highly creative world.
Here, Mina and Lima share some truly unmissable advice on what it’s like to work in the film industry, how best to get your foot in the door, why (carefully managed) work experience is still very worth it, and what they look for in applicants when they’re recruiting (psst, which they will be very soon for the third Fantastic Beasts movie).
What's the best way for aspiring designers to get a foot in the film industry door?
"My first job in the UK was work experience on the second Harry Potter film," says Lima. "Then one week quickly became two, then three, then four, ending in me working for three months on the second film, then full-time from the third Harry Potter movie."
"I've always been very skeptical about work experience because it's not fair to get someone to work for free," says Mina. "But Eduardo is proof of it working out,"
There's no getting away from the fact that getting a job in the film industry is still notoriously difficult. A Google search presents very little opportunities, so it appears the film industry is still as much about who you know as what. But don't let that put you off, there are still ways to get that proverbial foot in the door.
"Assuming you don't know anyone in the industry, but you have the skillset," Mina says, "though I was cynical about it before, I actually think work experience is really important for both sides. People might think they want to work in film, but work experience exposes you to the environment and you might change your mind. Or you might love it. And because you love it, you go the extra mile to demonstrate how talented and capable you are."
But how do you go about letting people know you're wanting work experience? A new website, the Graphics Union, is a dedicated space for graphic designers working in film and TV.
"To be a member, you have to have two film credits, which makes it a little difficult for newbies to get access," Mina says. "However, if you've just graduated and you're interested, you can request to add a post, which will go all the members.
"A lot of film studios are difficult to reach places, but if you can get a couple of work experience placements under your belt, demonstrate that you're willing and able – make yourself indispensable. It might be that you have to spend a week sticking labels on boxes in a small part of the studio, but if you've got your eyes and ears open, you will learn so much. And, like Eduardo, you might just be in the right place at the right time."
What training is currently available?
"At the moment there doesn't seem to be any dedicated or specific modules in design courses that focus on graphic design in film," says Mina. "I'm sure someone's going to wake up to it soon and be smart and maybe build a module into the graphic design courses that bring people into the industry. But until that happens, Annie Atkins, known best for her work on Wes Anderson's The Grand Budapest hotel, runs weekend workshops in Dublin.
"And we are actually planning to do some of our own workshops in the next six months as a result of constantly meeting people who don't know how to take their graduate skills to the next step. The idea is to run some weekend workshops in the coming months, based in London, for small groups looking to develop their graphic design in film skills.
What qualities are you looking for in applicants when hiring?
Speaking of opportunities, during our time spent with MinaLima, we got wind that the studio will soon start work on the third Fantastic Beasts movie, for which they will be recruiting in the not-so-distant future.
So what do they look for when recruiting, and where can applicants find details of how to apply?
"A sensibility for detail is key," Mina says. "Some people set their own projects and put them in their portfolio. For example, I've seen applicants recreate their family history using false letters between family members, where they've gone and researched all the right ink and stamps etc. It's about having a curiosity for the ephemera.
"Eduardo and I totally geek out on those things because they give you information. We have boxes of stuff in our studio, which aren't just on typography from a certain period but how that typography was painted on a wall. What sort of printing techniques were used and how do they show on a page, do they leave an impression? Being interested in the history behind something and researching it is key, as it's all of those details that will help an audience believe that something is authentic. That is a trait that's really hard to force that onto a designer. You're either into that or your not, and when people are, it's like they speak the same language.
"Of course there's some practical elements, I don't need to say about learning industry standard software as most people will know that already. But extending your skillset to know how to work with an ink or nibs pen, or working with a different medium, like charcoal, for example.
Lastly, Mira stresses the importance of being able to keep a cool head. "There can be a lot of putting out (metaphorical) fires in this industry, and panicking is just completely unhelpful," she says. "People who are calm under pressure, willing and flexible are all good traits to have in this industry."
What's been the biggest lesson of your career?
"I think one thing you definitely learn as you get older and more experienced is to be patient," Lima says. "I don't mean just sit around and wait for things to happen, you know, keep going, but at the same time be patient. Becoming a senior designer from a junior designer doesn't happen overnight."
"It's not surprising that people are in a hurry when you can order a pizza or a cab, for example, with a simple swipe these days," says Mina. "But you can't necessarily apply that to the workplace. Patience gives you a chance to try spot the things you like and are good at. It's so easy to get stuck doing the wrong thing, to the point where you're scared to stop, especially when you start having more responsibilities in your life.
Mina is also keen to champion keeping an open mind when it comes to choosing a career path. "It was only through doing an art foundation course that I learnt about theatre design, which is why I think foundation courses are really important for art students. It helps you explore things you might not have known about yourself and all of these new discoveries might lead to a path you'd never imagined."
Next page: the truth about the film industry
What myths about working in the film industry can you dispel?
"People think it's dynamic and romantic and exciting," says Mina. "And I'm afraid to say that is a little bit of a myth. Quite a lot of the time it's quite boring, long hours and very demanding. Much of our time is spent in a studio environment opposed to being on set, and when you are on set, that's quite boring as well because there's a lot of waiting around.
"You also spend a lot of time putting out fires. So you might be bobbing along being creative and then someone will come and tell you a scene has been cut and you then need to do 50 handwritten letters for the next day. It's not a linear way of working at all.
"That said, the day you go and see a film that you've worked on – if it's a good one – it's bloody exciting. When the cinema goes dark and the film comes on, to be part of that is really special. But I do think people need to know that it's not for everyone, you can be working in places that are really badly equipped, for example. It's not 'showbiz' in the glamorous sense."
What's the best thing about working in film?
"I think we have a slightly warped perspective having worked on really amazing films," Mina says. "But if you've contributed in some way to popular culture, that's pretty amazing. And the spin-off of that is if you've contributed to someone's perception of what they can do, as in if they decide to go into graphic design because of what they saw in that film, then that too is amazing."
"To be attached to a project that has a nice message, like Harry Potter, is really incredible," Lima adds.
How do you approach a project on the scale of Harry Potter?
"The first thing we have to do is scrutinise the script and hope that you're going to get a shooting schedule because we need to prioritise which of the props will be needed first," Mina explains. "You very rarely shoot chronologically, so it might be something that's right at the end of the film needs to be shot first, and it's really important that we know that information.
"Then the exciting bit of doing research starts, which we throw ourselves into, making sure that our walls are plastered with reference material. And that can be anything from pure graphics, so posters from the period, typography patterns textiles, wallpapers, through to photography, architecture and even sometimes little paragraphs of writing that might describe something from that period. That can take a good few weeks to really immerse ourselves in that. It's a bit like a military operation, getting your arsenal ready for the attack!
"We start shooting about four months ahead of principal photography, so all that's happening with us trying to work in advance of whatever they're shooting. So even once filming starts, we're always trying to work one or two weeks ahead."
How much creative freedom are you allowed?
While this will vary depending on what film and director you might be working with, in terms of the Harry Potter universe, the MinaLima team were given loose reigns. "They totally expect us to get on with it and figure it out what's needed from the script," says Mira. "And then once we've come up with a concept, say, for the Daily Prophet, it will then go to the set director and production designer. If they are happy with the way it's looking visually, it will then go to the director and often the producer as well. The key hero props sometimes went to Jo (J.K Rowling) too.
"That said, things did change quite a bit in that sense, as a lot of the graphics we were working on were so detached from the set that they just went straight to the director," Lima adds.
Want to know more? Look out for part two of this interview, where we chat to Miraphora and Eduardo in more detail about their work on Harry Potter and go inside their super-popular shop The House of MinaLima – coming soon!
- 8 things you didn't know about design for film
- How to transform a design internship into a job
- How to get a design job: 7 expert tips
from Creative Bloq http://www.creativebloq.com/features/graphic-design-in-film-the-ultimate-guide