Our generation has gotten way too obsessed with our computers. It seems that we rely on them for nearly every step of the design process. But what if, as graphic designers, we tried to use the computer as little as possible? John Cleese said, “We don’t know where we get our ideas from. What we do know is that we do not get them from our laptops.”

Without a doubt, graphic designers should be skilled technicians, being able to swiftly navigate their way around a computer (obviously). I am always super intimidated by the kids that are wizards with their computers. When I first started design classes, I felt I would never be a good designer because I couldn’t ever get my vector shapes in Adobe Illustrator to look perfect. They were always wonky and jagged. I felt if I had to use a computer for everything, then my dreams for making great design would never come true. Sure, I could have practiced more or started watching YouTube videos, or signed up for lynda.com, but I never felt inclined to do so. For me, it became more fun to use my hands. Besides, I barely even liked being on the computer anyway. I simply wasn’t interested in learning every single technical operation within the endless computer software that graphic designers need to use (which by the way, needs to be updated, like, yesterday).

If you’re anything like me, you can use this disinterest in computers to your advantage. When people digitally render things to “look a certain way,” I often wonder—why not just make it real? If you want to make it look like it was written on a chalkboard, you should be using a real chalkboard! If you want it to look like it has mud smeared all over it, smear mud all over it! If you want it to look like a floral patterned fabric, better head to the fabric store! Thinking of other ways to make something will give you a portfolio of work that is interesting and varied. A good example of this is a project done by my awesome designer friend Nina Berry:

Austin Kleon writes about using analog forms over digital forms in his book Show Your Work:

The computer is really good for editing your ideas, and it’s really good for getting your ideas ready for publishing out into the world, but it’s not really good for generating ideas…For my first book, Newspaper Blackout, I tried to make the process as hands-on as possible. Every poem in that book was made with a newspaper article and a permanent marker. The process engaged most of my senses: the feel of newsprint in my hands, the sight of words disappearing under my lines, the faint squeak of the marker tip, the smell of the marker fumes—there was a kind of magic happening. When I was making the poems, it didn’t feel like work. It felt like play.

You may or may not need to give your work a break from the computer. You don’t always have to use one to be a good designer, you know.

A Graphic Designer’s toolbox:

Sponges, toilet paper rolls, necklaces, beads, leaves, forks, spoons, thumbtacks, paint samples, crepe paper, bolts, nuts and screws, trees, fabric, hay, chicken wire, tissue paper, rocks, glass jars, glue, saran wrap, tin foil, toothbrush, paint, stuffed animals, weird little figurines, food, beer bottles, household appliances, a rolling pin, mud, rhinestones, rope, feathers, stickers, pipe cleaners, streamers, balloons, sticks, windows, carpet, shoes, clothing, potted plants, a hammer, random pieces of string, outdoor garden decorations, folding chairs, old books, nail polish, makeup, pom poms, pizza, goodwill finds, mesh screens, wooden dowels, paper towels, gold leaf, highlighters, thread, notebook paper, etc., etc., etc.