Designer extraordinaire and all-round good egg Thomas Harrison has worked on every issue of Lodestars Anthology since the magazine’s inception way back in 2014 - adding to it lashings of style and creative energy, and helping to shape the mag into what it is today. Lodestars wouldn't have come alive without him. So we felt it was time we sat down and had a chat about design, travel, collaboration and much more besides. Here’s to creative partnerships and getting dream projects off the ground!
When you agreed to design the mag all those years ago, I remember being so excited - finally this vision I had was possible as there was someone with the passion and design know-how to make it a reality. What made you decide to say yes to the project?
At the time, taking on design work outside of my full-time job was still relatively new for me. I’d worked with charities, musicians and comedians, but I was looking for something more ambitious. In my career as an architect, I’d already seen how often promising projects never reached completion, not because of a lack of effort or vision, but because that’s simply the nature of large, complex work. So I was keen to be part of something that could move from idea to finished piece within a short space of time, something tangible I could hold in my hands.
What really convinced me, though, was working with Liz. From the start there was trust, ambition and a sense of chemistry in the collaboration. That combination gave me the confidence that this was a project worth saying yes to.
What do you enjoy most about designing each new issue of Lodestars?
What I enjoy most is the way I can become fully absorbed in the process of piecing everything together. For me it’s similar to sitting and drawing for hours, I lose track of time and become completely immersed. It’s a chance to set aside worries or distractions in an increasingly hectic world. That sense of focus feels like a form of escapism, and I hope it’s something our readers also experience when they spend time with the magazine.
Can you talk us through your creative process?
Because I’ve always worked on the magazine in parallel with a full-time job, I tend to design in big, uninterrupted chunks of time. That way of working gives me the sense of immersion that I really enjoy and it allows me to settle into the process. Music is a constant companion too; I’ll listen to artists whose work feels connected to the places or themes we’re exploring, which helps me stay calm and focused.
The real satisfaction comes in finding the balance between words and images. I look for photographs that don’t just illustrate the text but complement it folding in patterns, colours or shapes that echo the writing and bring out its nuances. Much of it is instinctive, guided by what feels true to the subject. When the pieces begin to align, there’s a real joy in seeing the issue take on its own character, something that feels distinctive and whole.
What's one of the biggest changes you've seen in the mag - and the way you design - over the years?
One of the biggest changes has been the confidence that’s grown in both the magazine and the way we collaborate. The scope of the work has expanded beyond the original format to include city guides and special projects like Postcards, which has allowed the design to develop in new directions. With each issue, I’ve become more comfortable trusting my instincts, leaning into patterns, arrangements and pacing that feel right for the subject, so the design itself has grown more assured over time.
Equally significant is the way our collaboration has evolved. Liz and I have gone from being based less than a mile apart to working on opposite sides of the world, and yet the process still feels seamless. That continuity is rooted in the sense of trust and ease Liz and I had from our very first meeting about the magazine, something that has allowed the Lodestars to adapt and grow while always feeling true to itself.
What do you want people to feel when flicking through the pages of Lodestars?
What I hope people feel when they flick through the magazine is that sense of being drawn into an experience. Of course, a copy can be picked up with the intention of planning a trip, but the visual and written storytelling goes beyond that. It captures something of the light, the atmosphere, the sounds and the bustle of a place, so that it resonates just as much with someone planning a journey as with someone at home who wants to experience a country without necessarily visiting it. That inclusivity, and the way our contributors manage to evoke such richness, is something I find fascinating and really special about the magazine.
Has there been a Lodestars story over the years that’s really stuck with you?
Selfishly, it’s Coral Cornucopia in Issue 6, Sweden. My reasoning is very much influenced by the fact that the story included my own photographs, and it was a wonderful opportunity to capture images that reflected both the tone of the magazine and the character of Gotland, where we visited. When I say ‘selfishly’, it’s tongue in cheek, of course, because the real reason it stands out is that the trip involved both Liz and me. It offered a fascinating window into her process as the editor and driving force behind Lodestars, how she engages with people and places. Over the years my work with Liz has mostly centred on the design of the magazine, but in this instance I was able to see everything through her lens, which made the experience especially memorable.
You have a full time job outside of Lodestars - as a creative person, how important is it to have side projects like this magazine?
It is incredibly important to me. As an architect, particularly one involved in larger projects with multiple stakeholders, it’s rare to see a project through from start to finish, which can be frustrating. Lodestars has offered me countless opportunities to work on something from its beginnings to holding it in my hands, all within a relatively short timeframe.
There are further reasons too. When studying architecture, there’s a strong focus on artworking and on curating images and text when building portfolios or presentations. Lodestars has given me the chance to build on those skills, so that I’d be prepared to produce my own promotional material should I set up practice on my own, or, if one day, my career shifts from architecture into other forms of digital and print design.
Do you have any advice for aspiring graphic designers?
This is a tough one, and honestly I feel unqualified answering it, as I haven’t had any formal graphic design training! What I would say is: take opportunities, even if they seem a little obscure or don’t immediately align with the path you think you’re on, or want to be on. They might not open doors straight away, but that doesn’t mean they won’t pay off in the future. And just as importantly, try not to burn bridges. Even if an experience is difficult, reflect on it, acknowledge the learning, and move forward, you never know how things may evolve. Having advocates and allies within reach is invaluable.
