Luke Tonge
Published 30th May 2021
INTRODUCTION
Luke Tonge is a graphic designer, lecturer, and events wrangler in Birmingham. He specialises in identity & editorial work for brands, agencies and charities.
He's a visiting lecturer at Birmingham City University and co-director of Birmingham Design, the organisation responsible for the Birmingham Design Festival & Glug Birmingham.
After graduating from Falmouth in 2007, Luke spent a decade working at two full-service agencies (Linney & Life).
You may have also come across Luke’s work as art director for Boat Mag, later responsible for relaunching Monotype's beloved typographic journal The Recorder, Alpha Life and local upstart 99% Lifestyle Magazine.
If you were a typeface, what would you be?
Honestly, this is probably the hardest interview question I've ever been asked! Given the lockdown load I've acquired from working in the same room as the kettle and biscuits – *Circular* would probably be apt! Plus it's friendly, approachable and honest, attributes I try to share. Hopefully, next time we speak I'll have dropped a weight or two ;)
What’s the most important myth you’d like to bust about working in the creative industry?
There's plenty of sadly outdated ideas you sometimes overhear or spot online that can provoke an automatic eye-roll... A few I've seen lately: that you have to be in London to 'make it', that hustle/burnout culture is heroic, that teaching is an easy-out for those who can't make it industry, or that design awards are the highest measure of success...
All these misconceptions should be placed firmly in the bin. Thankfully most folks have realised that as amazing as London is, a creative life can also happily exist outside the M25, that being totally frazzled isn't optimum for creativity, that teaching something is usually harder than simply doing it, and that awards, while enticing, should be regarded with a healthy dose of caution and seen in context. I'm thankful my time in agencies taught me to really question stereotypes and assumptions but it's still easy to take others' opinions as facts.
“I’m thankful my time in agencies taught me to really question stereotypes and assumptions but it’s still easy to take others’ opinions as facts.”
As a lecturer and mentor, how do you know if you’re making a positive impact on your students?
What a brilliant and terrifying question! The imposter syndrome inside me not only baulks at seeing those titles written down and applied to me, but also whispers doubts in my ear about my impact... That aside, I guess as when evaluating any endeavour you have to look at the fruit, not just the intention.
I'm really fortunate to have a brilliant bunch of designers who if asked would I think still choose to call me their mentor, maybe a decade into their careers (and a decade into our relationship) most of whom I never formally taught – so I can only guess if I was annoying them or proving unhelpful they would've ditched me by now!
“The great thing about mentorship is it’s a two-way, opt-in thing – it’s not like being stuck with a lecturer you didn’t pick – so if it doesn’t work out one of you can simply call it a day.”
The great thing about mentorship is it's a two-way, opt-in thing – it's not like being stuck with a lecturer you didn't pick – so if it doesn't work out one of you can simply call it a day. I suppose I could point to their various successes as somehow reflective of me, but the truth I suspect is that talented and driven folks seek out mentors, so they're already on the path to fulfilling and meaningful careers, and I really am just along for the ride offering the occasional word of encouragement or advice :)
When it comes to creating industry-ready grads, what do you think universities could do better? Or perhaps learn from the likes of Shillington?
I think a traditional design university provides an amazing space for growth and access to opportunities, support and inspiration – but it maybe doesn't always do so well at helping students develop their 'soft' skills... Conceptual and craft ability is obviously hugely important, but so is confidence, and character.
The thing that's always impressed me about intensive courses like Shillo is the pace those students are then able to work at. Because they only have a few days per brief, they're much more 'industry ready' in this regard, despite having only studied for a fraction of the time. Many students dislike the pressure of short time-frame briefs, but they do prepare your creative muscle for the tricky task of designing on demand. Design Education is due a shakeup! We need a more connected, open and accessible pathway for young talent – bursaries, sponsorships, apprenticeships etc.
“Design Education is due a shakeup! We need a more connected, open and accessible pathway for young talent”
What’s your favourite thing about freelance life (other than wearing shorts all day)?
Since you went specific, I'll go general... Like that brave Scottish chap heartily roared before having a scrap: FREEEEDDDOOOOMMMMMM!
The privilege of autonomy and feeling like you can be yourself cannot be overstated – control over your time, flexibility of schedule, ability to pick your clients, having ice-cream for lunch as often as you want etc. I could go on & on. The longer I'm my own boss, the more hindsight highlights the negative effects constraints can have on creativity...
“The longer I’m my own boss, the more hindsight highlights the negative effects constraints can have on creativity...”
Obviously some (like a good brief and a supportive team) are essential, but sitting in the same spot for months on end trying to perform on-demand just isn't the optimum condition for my brain, so I'm very much enjoying my slightly chaotic and flexible schedule. While I definitely don't miss the tyranny of timesheets I can now see that the grass isn't greener on either side – it just tastes different.
What’s one thing you worried about before going freelance, that turned out really not to be a problem?
Compared to a lot of folks I left it quite a long time before making the leap – about 10 years – so I don't remember having many worries when the time finally came... just nervous excitement to be doing something new, and relief. The standard concerns about having enough work and not feeling too isolated were there subconsciously I guess.
Fortunately neither really materialised, I've been consistently busy and have plenty of community interaction to keep me sane, so I'm a big advocate of being your own boss when you're ready for that pressure. I think the biggest bummer, which is just the price you pay, is all the admin you end up doing (you really appreciate what those PM's, AE's, AD's, Studio Managers & Strategists were up to!)
What do you hope is in store for Birmingham’s design scene in the next few years?
I'm (unsurprisingly) very excited for the long-awaited return of events! There's something really powerful about physical togetherness and the joy of sharing experiences in the same space – which we've all really missed. The team I help run with my biz-bro Dan is hard at work planning events and building things intended to benefit the community here over the next few years. Our hope is this work will help inspire confidence, generate opportunities and facilitate collaboration. With Cov City of Culture 2021, the Commonwealth Games coming to Brum in 2022 and the region's continued regeneration – there's plenty on the horizon to be excited about!
“There’s something really powerful about physical togetherness and the joy of sharing experiences in the same space – which we’ve all really missed.”
Tell us about the Birmingham Design Annual Survey...why do you do it? Why’s it important?
It can be summed up with this famous quote (credited to a business management theorist called Peter Drucker) – "If you can't measure it, you can't improve it.”
Birmingham Design co-founder & director Dan Alcorn and I, like the rest of our team, are passionate about serving our local creative community here in the West Midlands. We know that to do that well, we really need to understand it. There's no point making assumptions or guessing – we have to first do the work of really learning how things are before knowing how to best help address problems.
“There’s no point making assumptions or guessing – we have to first do the work of really learning how things are before knowing how to best help address problems. ”
You'd have to be living under a rock to have missed the introspection BLM brought to all of us last summer, and before that the #MeToo awakening. But how much do any of us really know about the make-up of our local industry? We see lots of stats thrown around but they're usually from other continents where surveys have taken place in years gone by. Data will tell us if our combined efforts are effective. We're really passionate about community building, but not as an ego trip – we want to steward our collective energies and resources into genuinely helpful and joyful things.
What are the questions we as a community should be asking when it comes to addressing the diversity of our industry?
Simply put – are we collectively doing enough / all we can, rather than a bare minimum? (or worse still, are we just doing performative things that get a lot of attention, but are more about making the privileged feel less guilty, rather than about truly creating real change). Are we being allies in private, or just in public?
“Are we being allies in private, or just in public?”
I know from some of the networks I'm part of that there are many brilliant people quietly going above & beyond to help our sector better reflect society – working on interconnected issues like representation, access, diversity and inclusion, both in education and industry. I hope we can continue to kindly hold each other to account and not revert to the status quo, while remembering these are complex and entrenched societal issues we're grappling with, so change won't be immediate and we need grace and patience with the process.
It's not just skin colour we need to be considering either... 7% of people are born with a disability in the UK, and a further 20% will gain one, rising to 41% by the age of 65. 1 in 6 of Gen Z identify as queer. Almost a quarter of people come from Islamic faith. Only 2% of white working-class boys get into more selective universities. These stats are just a few of those I try to remember when making decisions, especially on behalf of others.
I'm really encouraged by what I've seen over the last year though – students are more engaged with this struggle than ever before, proactive University colleagues normalising these issues, not shying away from them, leaders in agencies dramatically changing their policies and cultures, doing deep introspective work to improve things. When I think about how much my mindsets and behaviours have changed over the last decade, I'm really hopeful.
“When I think about how much my mindsets and behaviours have changed over the last decade, I’m really hopeful.”
Who is on your dream list of creatives to collaborate with and why?
Oof. Another toughie! I've always got a number of annoyingly talented speaker wish lists on the go for various events. I'm fortunate to already have a number of my dream collaborators on our BDF Alumni list (and to now count them as friends) but I'll sound like a total prat if I name-drop them, and I'd feel bad about inevitably leaving so many out.
I really enjoy working with people in adjacent industries – photographers, illustrators, animators etc. – and there's no shortage of incredible talent available there! I'm really excited to continue working with the amazing team we have here in Brum, and with the wider community here on some exciting projects (like an exhibition this Summer) – plus our continued work with brilliant friends like Design Manchester. We've got heaps to learn so I think I'm probably most excited about learning from change-makers who are innovating and making stuff happen in their communities, like Laura Wellington in Leeds.
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If you’d like to reach out to Luke, drop him a DM or email to: luke@birminghamdesign.co.uk
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