***Stephanie Guy, Big Mouth’s Lead Graphic Designer***

Today’s spotlight feature introduces Stephanie Guy, a 30-year old visual artist, and graphic designer. Stephanie identifies herself as an artist who enjoys exploring all outputs and mediums that derive from artistic expression. Her journey within the world of art and design has constantly grown and she expresses how the artist that she today, has molded from life lessons and given opportunities, to take lead in her artistic forms of expression. Through her path of finding the true reflection of her potential and confidence thankfully brought her journey alongside us- giving her the lead in our past issues Nail Biter and Big Mouth.

We thought now is a time to reminisce of our past visionaries and publications by bringing together all the greatest highlights of our graphic design influences.

Stephanie Guy, we salute you!

1. Could you introduce our readers with a little bit about who you are and what being a graphic designer and visual artist means to you?

My name is Stephanie Guy, and I am a 30-year-old mostly self-taught illustrator, artist, and graphic designer. Being an artist has always been central to my self-identification, but it also took me a while to feel like I owned the title of Artist. Being a visual artist means a lot more to me than being a graphic designer. I have been making art in some form for most of my life and, although I have had steep learning curves and have sometimes been frustrated with my lack of progress, it has often been my source of self-confidence. At best, being a visual artist has been my way of escaping into myself and tuning out everything else, which has been very helpful in this current time. Being a graphic designer is new to me, but I value it most for giving me a means to support myself and create the life I want. Beyond that, I have found that being a graphic designer has given me further confidence and tools to bring my ideas to fruition.

2. It goes without question that since you were the graphic lead for Big Mouth, what does the term Big mouth actually mean for you?

What the term Big Mouth means to me has changed since working with Beacon. Rather than seeing it as a negative term (though it, of course, still is used negatively), I think I see it now as being unafraid to express your opinions. I think of it as an aspirational term.

3. What strengths do you think you brought to the Big Mouth issue?

I love color and boldness in design, so I think that is what I brought to Big Mouth. I was very excited to design this issue because I felt it gave me an excuse to be loud in the way that is most suited to me, through art and design.

4. What did you find challenging when starting your role within Beacon and how did you manage to get past it?

I did go through a steep learning curve while working with Beacon because I started with little to no graphic design experience, so for me it was a matter of asking for the help I needed, showing my work when I thought it wasn't ready, and not holding any design too preciously. Being a visual/fine artist I tend to get too attached to my work and you just can't do that in graphic design.

5. What was your favorite design component that you contributed to Big Mouth?

Actually, the design for your (Fatima Elmusbahi) story "Big Mouth" was my favorite. While reading the story, the design idea came pretty quickly to me, which usually doesn't happen. Also, there were no changes done from my original design to the final one that was sent to print.

6. What design process did you go through within Big Mouth and how has it changed since your time with Beacon?

My design process with Big Mouth was to initially find work by other designers that inspired me, decide on a design style that resonated with me and highlight what we were trying to say with Big Mouth. Then I had to really focus on each piece (visual and written) and create designs that showcased harmony with the words- by not overpowering the work. This was probably the hardest part, because you want to create interesting and eye-catching designs, but your real goal is to present the work of contributing artists.

Since leaving Beacon I have been in an interim period, waiting to start school, so I haven't had much of an opportunity to do much design work. But I think my design process has become much more streamlined and I now think about many more contributing factors that go into each design.

7. How have you applied your Beacon journey towards your career path and what did you learn from your overall experience?

My work with Beacon really helped me to get into the design program I wanted (which I haven't started yet), so that is the biggest way it has been applied so far. I haven't had much of an opportunity to work on a lot since, but I think for the future it has taught me how to work well within a team. Working with Beacon has also given me permission to do crazy designs, to see what works, and design differently from current, trendy mainstream designs.

8. Is there anything you would have done differently, perhaps for a particular design that you don’t resonate to?

I think I would have done the first issue I worked on-Nail Biter, differently. I just jumped into it headfirst and was still figuring out my design style, all while trying to figure out the programs. I think I would have taken more risks even if they wouldn't have paid off

Do not forget to check out all of Stephanie’s work in the Big Mouth Issue , which is still currently on sale to purchase!

You can also find Stephanie on her Instagram: @stepheasant