A second year graphic design MFA from Los Angeles, Alex Quintanilla is currently enjoying the wide circulation of his design for IU Arts and Humanities Council's next First Thursday festival, November 7. The student-run Tangent Gallery opened its 2024-25 season with a show of Quintanilla's photography, "The Golden State Glows." His work may be seen at his website. Eskenazi School communications and marketing intern Forough Sehat interviewed Alex for this profile.
Forough: Could you walk me through your creative process, perhaps starting with the First Thursday poster you designed?
Alex: Absolutely. For projects like the First Thursday poster, I always begin by meeting with the client. In this case, I collaborated with Arts and Humanities. I've worked as a graphic designer for Arts and Humanities for about a year now, and we've developed a strong working relationship. In our initial meeting, we discussed the project scope and needs—poster formats, screen displays, Instagram graphics, dimensions, and other key details.
For this particular poster, the direction I received was mostly open-ended. My supervisor mentioned that everything would be indoors, but creatively, I could do whatever I liked. Since it was autumn, I felt inspired by the lively colors of the changing leaves, and I thought this theme would capture the season's energy. I started sketching ideas in my sketchbook, playing with concepts like nature and fall patterns. My supervisor and I reviewed the sketches together, and he provided feedback on which designs worked best. From there, I refined the sketches and created a few rough drafts digitally, testing different colors and layouts.
The final concept featured leaves, which are playful yet minimalistic. We discussedadditional design elements and decided on producing two color variations—blue and light brown. The sketches gave a solid foundation, but all the finishing work was digital.
Forough: You mentioned taking a general approach to projects like this. Is the process different when you create work for yourself?
Alex: The core process stays the same. I always start with sketches because they help me quickly get ideas onto paper—nothing beats the speed and flexibility of sketching. But the main difference is in the structure and motivation. With a client, there are clear deadlines, so the work progresses quickly and efficiently. When I'm the client, it's easier to procrastinate or second-guess decisions. There's no external push, so I spend more time deciding if something is really finished or if a particular direction feels right.The self-doubt can be harder to manage, unlike when someone else gives feedback.
Forough: How do you handle disagreements with a client, especially if their ideas don't align with your vision or wouldn't work well in practice?
Alex: It's an interesting relationship! It's a balance of respecting the client's vision while using my expertise to guide them. Clients hire you for your skills, but they also have a stake in the final product. I often frame my feedback in practical terms: for example, if they want text in a size that won't print well or a color that doesn't match their brand's identity, I'll explain why another approach might be better. If it's more subjective, like color preferences, I'll share my thoughts but remain open to their input. It's a collaborative process, and sometimes clients surprise me in a good way. I leaned toward the blue version for the First Thursday poster, but they loved the idea of light brown, too, and ended up using both versions.
Forough: Why did you decide to study graphic design? What was the process like, and why grad school?
Alex: I originally wanted to be a cartoonist, but everything changed when I took a computer art class in high school. That's when I first used Photoshop and Illustrator, and I instantly liked them. From there, I pursued graphic design for my B.A. and worked in various design jobs within the marketing department at Chapman University. Grad school became a goal when I realized I wanted to teach and explore more opportunities in my field. I knew I needed a master's degree to make that happen, and securing a scholarship at The EskenaziSchool was a huge motivator to follow through on my dreams.
Forough: Why Eskenazi? What makes graphic design here different from other schools?
Alex: I applied to 12 universities, and The Eskenazi Schoolstood out because they offered me a fully-funded scholarship, which was a big factor. I also had a meeting with the head of the department, Alexander Landerman, and felt I could trust him with my future. He's been my mentor since I got here. The faculty is incredibly supportive—they're always there for you, and you feel heard. I've had the chance to experiment with so many things, like taking a photography class for travel abroad, and I'm excited to try letterpress. The opportunities are really there, and if you ask, the school will find ways to offer even more.
Forough: What opportunities do you see for your future now that you're here?
Alex: One of the great things about The Eskenazi Schoolis that there's so much to learn and experience. The possibilities for the future are endless. There are opportunities here that you won't find everywhere—like learning letterpress, applying for fellowships, and residencies that help you kick-start your own studio practice. You don't just learn to be a great designer; you can also learn how to be a professional artist with your own studio.
Forough: What's your advice for students looking to come here?
Alex: Take your time to plan it out and think about what you really want. It took me about two years of research and visiting universities before I made my decision. I had a set of goals when I arrived here—I wanted to travel, study museum practices, and learn printmaking—and I've already achieved some of those. My advice is to have a list of what you want from the program because three years go by quickly. Use the facilities and opportunities while you can,and build connections with your peers and professors. The network you form in university will be incredibly valuable in your future. And seriously, who knows when you'll have access to a fully equipped printmaking shop again?
