Stephanie’s path to design began with an innate love for drawing, nurtured from a young age. She recalls, “I’ve always liked to draw, and I had some good teachers that encouraged...well, actually, I’ve been encouraged in art throughout my life.” This early passion was evident even in preschool, where she used a nickname to sign her artwork, showcasing a playful yet dedicated approach to creation.

As her family relocated, she encountered diverse artistic opportunities, further solidifying her path. In Pittsburgh, she was invited to participate in a city-wide art program, and in Los Angeles, she attended a summer art program at Otis Art Institute. These experiences, including the memorable task of drawing a nude model dancing to “Lucy in the Sky with Diamonds,” broadened her artistic horizons.

The choice between medical school and art school was a significant turning point. While her mother advocated for medicine, her brother-in-law and sister emphasized the unique talent required for art. They argued that “it takes talent to be an artist, but that it just takes the ability to memorize things to be a doctor,” a perspective that resonated with her. This, combined with her intrinsic love for artistic expression, propelled her towards design.

Her educational journey was unconventional, involving multiple institutions. “I went to a different school every year.” Graduate studies at the University of Wisconsin Madison further refined her skills, particularly in printmaking and book arts, preparing her for a diverse career in design.

Stephanie’s experience as a woman designer in Bozeman, particularly within academia, has  been marked by both opportunities  and  challenges. She acknowledges  instances  where her gender played a role, sometimes negatively, such as when a male colleague attributed her job acquisition solely to her being female, stating, “you only got the job because you’re female.” However, she also emphasizes that her skills and work ethic were ultimately what secured her position.

Navigating professional environments, Stephanie encountered the common issue of men dominating conversations, often “talking over women in meetings and conferences,” a behavior they were frequently unaware of. She witnessed and experienced the need for affirmative actions, like the implementation of a 25% female quota on hiring committees, a change driven by women who were concerned about decisions being made by “all white men.” While this effort aimed for equality, it placed additional burdens on existing female faculty.

Furthermore, Stephanie’s career included instances of inappropriate behavior, such as a proposition followed by a threat to sabotage her review. To protect herself, she proactively documented the incident, demonstrating a need for women to safeguard their professional standing. She also noted that in the past there was a lack of women in the department, recalling a time when she was “basically the only woman” in the art department.

Stephanie’s advice to all future designers emphasizes persistence, inspiration, and continuous learning. She acknowledges the challenges of pushing oneself but stresses its importance: “I often try to push myself, and I think you have to keep pushing yourself.” She credits design publications like Communication Arts and Print as valuable resources, saying, “Those are great teachers—to just keep looking at what the really, really talented, really smart, really noteworthy people are doing.”

While she admits to sometimes imitating influential designers, she clarifies, “I’m not saying I copied somebody’s work exactly... only imitated things that I really responded to.” Stephanie also reflects on the cyclical nature of influence in design, noting, “It was really cool to see the work of people who studied under other people and see—you could see the influence in their design.” Ultimately, her advice encourages young designers to study the best, find their own voice, and keep pushing forward.