Márcia Novais
Graphic Designer
“During my course, I never had a female Design teacher” (Márcia Novais, 2021)
Was it difficult for you to start your career as a designer? Why?
Actually, not much, but by luck. I finished the course in the middle of the economic crisis, just before the Troika entered Portugal. As soon as I finished the course, I sent portfolios to many studios and, meanwhile, I saw that the Faculty of Fine Arts of the University of Porto had an opening for a designer. I was hired to work by two women, who interviewed me and with whom I worked for 4 years. Initially, with a miserable salary, but it was eventually improved. In 2015 I had a proposal to go to work for Casa da Música, which I accepted and asked for an unpaid leave in FBAUP. A vacancy was opened for my position and the jury was composed by three men, who hired a man of their age.
During your career, did you ever feel you had to make decisions that you think if you were a man you would not have to even consider?
I don’t think so.
Did you ever feel that a client treated you differently because you were a woman?
Yes, several times, especially when we are working with men of a certain generation, older, even if they are well educated, but who think and live in a mould in which women do not belong to this branch.
Do you think that the Design education (in terms of bibliography, case studies and references) is inclusive to female designers?
No, not at all, at least that is my experience. During my course, I never had a female Design teacher, the examples that were presented to me were 95% of studios made up of men, and also had teachers who said that the (in)success of designers was due to the fact that they married and had children.
There seems to exist a preference by women to work as freelancers or to create their own business. What motivated you to follow your path?
I don’t agree with this issue, not least because the vast majority of the designers I know are office workers – I include them in my main activity at FBAUP – who are so for the sake of job security and stability.
In terms of influence, did you feel the presence of the female figure (in the Design History, academic or professional environment)? What designers inspire you?
I think that nowadays it is much more visible the existence of women designers. The dissemination on social and online networks has made the public space much more democratic and participatory. Regarding influences, definitely Muriel Cooper, who was designer at MIT Press – designed the logo and worked since the beginning in the editions of the institute.
What is your opinion about the female visibility and recognition in the graphic design area?
There is still a very large space left for medium and large size studios led by women, with regular work and budgets according to the work requested and not according to gender.
“(Some men) think and live in a mould in which women do not belong to this branch.” (Márcia Novais, 2021)
Márcia Novais
Graphic Designer
Was it difficult for you to start your career as a designer? Why?
Actually, not much, but by luck. I finished the course in the middle of the economic crisis, just before the Troika entered Portugal. As soon as I finished the course, I sent portfolios to many studios and, meanwhile, I saw that the Faculty of Fine Arts of the University of Porto had an opening for a designer. I was hired to work by two women, who interviewed me and with whom I worked for 4 years. Initially, with a miserable salary, but it was eventually improved. In 2015 I had a proposal to go to work for Casa da Música, which I accepted and asked for an unpaid leave in FBAUP. A vacancy was opened for my position and the jury was composed by three men, who hired a man of their age.
During your career, did you ever feel you had to make decisions that you think if you were a man you would not have to even consider?
I don’t think so.
“During my course, I never had a female Design teacher” (Márcia Novais, 2021)
Did you ever feel that a client treated you differently because you were a woman?
Yes, several times, especially when we are working with men of a certain generation, older, even if they are well educated, but who think and live in a mould in which women do not belong to this branch.
Do you think that the Design education (in terms of bibliography, case studies and references) is inclusive to female designers?
No, not at all, at least that is my experience. During my course, I never had a female Design teacher, the examples that were presented to me were 95% of studios made up of men, and also had teachers who said that the (in)success of designers was due to the fact that they married and had children.
There seems to exist a preference by women to work as freelancers or to create their own business. What motivated you to follow your path?
I don’t agree with this issue, not least because the vast majority of the designers I know are office workers – I include them in my main activity at FBAUP – who are so for the sake of job security and stability.
In terms of influence, did you feel the presence of the female figure (in the Design History, academic or professional environment)? What designers inspire you?
I think that nowadays it is much more visible the existence of women designers. The dissemination on social and online networks has made the public space much more democratic and participatory. Regarding influences, definitely Muriel Cooper, who was designer at MIT Press – designed the logo and worked since the beginning in the editions of the institute.
What is your opinion about the female visibility and recognition in the graphic design area?
There is still a very large space left for medium and large size studios led by women, with regular work and budgets according to the work requested and not according to gender.
“(Some men) think and live in a mould in which women do not belong to this branch.” (Márcia Novais, 2021)