By Design: Getting into the Industry and Where it's Heading with Meredith Oberg

Meredith Oberg is an associate creative director at advertising and branding agency MONO, where she is known for developing maximal and intricate graphics. With a decade of experience in the design and advertising industry, Meredith has an extensive track record of working on projects ranging from national multi-media campaigns to small-scale press art book publishing. Meredith lives and works out of Minneapolis, Minnesota, where she has had the opportunity to fill numerous creative roles. Meredith loves her career's variety and always looks forward to the next project. 

LBB> Tell us about your current role and design specialism(s). 

Meredith> I have been a designer in the advertising industry for most of my career. I am an associate creative director (ACD) at MONO, focusing primarily on design work. In my current role at MONO, I have been collaborating on new business pitches and our Kate Farms account. Before joining the MONO Team, I worked at Fallon for eight years and filled many creative roles - content creator, art director, and designer. There is a lot of variety to be had in advertising.

LBB> What drew you to design in the first place, and how has your design career evolved? 

Meredith> I grew up in an artistic family. Art was never a mysterious career to me. I figured graphic design was my best bet to pay off my student loans. At the time, Instagram was just making the turn from filtered photos of lattes into an ad giant. I started creating all kinds of crafty DIY content for brands. I built sets out of paper, made stop motion animations, and painted murals. I enjoyed not being stuck grinding on the computer daily. Though I did plenty of computer work as well. I found myself in a fine arts niche in advertising for a while. That was pretty client specific. I’m working in a more traditional graphic design sense right now. 

LBB> What aspects of design do you get really nerdy about personally?

Meredith> I get excited by the intangible effects of design. I don’t identity with the cliché of an obsessive graphic designer or a pixel-splitter. Those are important muscles to work out, but I am much more heart-driven than head-driven. I am always looking for nuance. What are the vibes, and how does this make me feel?

LBB> There are so many new design tools out - what tools do you like to use and why? (whether digital platforms or old-fashioned pen and paper!) 

Meredith> I love all design tools, old and new! I enjoy weaving in traditional media, whether by drawing, collage, or simply - ratty old brushes and ink. I am open-minded about the design tools I use. I also think that constantly learning about new design tools, like Artificial Intelligence (AI), is important. Tools for creativity and design are rapidly evolving, and you can either embrace them or get left behind.

LBB> Design Thinking - thoughts?

Meredith> Design thinking is great, but design over-thinking is terrible. Overthinking things is an easy trap to fall into, and I can be guilty of it. I like to make without thinking and then review critically after. Sometimes you need to sit with a look for a while to be able to evaluate it fairly. Of course, that requires time, and there’s never enough of it.

LBB> What design controversies or challenges do you find trickiest to navigate, or do you find yourself thinking about most frequently? 

Meredith> Rebranding is always controversial. As the old saying goes, “If it ain’t broke, don’t fix it.” The Chicago Bulls have used their original logo since 1966. It’s not a coincidence that it is the best logo in the league. In contrast, Anchor Steam Beer decided to rebrand its packaging and branding last year to celebrate its 125th anniversary. The company removed its previously unique illustrative label to a minimal look, which I am sure was pitched as clean and modern. The new look got a lot of backlash.

LBB> Which design projects throughout your career have been the most satisfying to work on and why?

Meredith> It is incredibly satisfying to see your work with a physical footprint out in the world and not lost in the internet's infinite scroll. My favourite project I’ve had the chance to work on in my career was the 'Raised by Wolves' identity with the Minnesota Timberwolves. I’ve been going to basketball games since I was a kid, and seeing my designs filling the Target Centre was surreal. 

LBB> Who are your design heroes, and why?

Meredith> I’m not a big ‘hero’ person. I appreciate design titans like Paul Rand or Milton Glaser, but I look at a lot of fine artists who work in other mediums to feel inspired. I took a road trip to Sheboygan, WI, to see a Eugene Von Bruenchenhein show. He made towers and crowns with scrap chicken bones and automobile paint that are beautiful. I also get inspiration from my friends and co-workers. The work being created by my peers is outstanding and keeps me motivated to learn and grow more within this industry and my own creativity. 

LBB> Thinking of people at the beginning of their careers, what advice would you give them for navigating this constantly changing field?

Meredith> The most crucial advice I can give young professionals starting their design careers is to find a mentor or two or three. Seek out people a couple of years ahead of you who are working in the role you’d like to be in one day. Ask them how they got there.