Aviv Kesar | Fish out of water

Newsflash: I’m not a journalism student, and for most of my time at Cal Poly, Building 26 was never supposed to be my home. In reality, for about 1.5 years, this building represented what my major was mistakenly perceived as. Whenever someone asked me about graphic communications, I had to constantly explain that I was an art and design major concentrating in graphic design, and my home building was Dexter, Building 34.

That understanding of where I belonged shifted the moment I stepped into the newsroom for my interview with the creative director at the time. I walked in with little expectation beyond a vague hope that maybe this could help me figure out what I was actually passionate about. I did not know much about journalism, but did conduct some research. I certainly did not know what design could look like within it, but I was curious enough to stay and more than thankful for the opportunity.

At first, everything about the newsroom felt foreign. Imposter syndrome settled in quickly. People spoke in AP Style references I did not understand, everyone seemed to know each other through classes and everyday routines, and I suddenly found myself far outside the comfortable bubble I had built in Dexter. For a while, being “the designer” in a journalism space felt less like an asset and more like proof that I did not fully belong there.

But somewhere in that discomfort, MMG gave me the space to start finding a voice.

During my second week on the design team, I quietly asked a question that felt small at the time: “Why don’t designers get credited for their work on social media?” It seemed strange to me that audiences interacted with visuals first — the graphics, layouts, illustrations and branding — yet only ever saw the writer credited for the story. Design was shaping how journalism was experienced, but the people behind it remained invisible.

That question became the beginning of something much larger for me. Slowly, conversations turned into changes. Designers began receiving credit. Their work became more visible, more acknowledged and more integrated into the identity of Mustang News itself. What started as a quiet observation evolved into a personal mission to advocate for the design team and carve out space for creatives within a traditionally editorial environment. Ultimately, leading me to pursue the role of creative director.

This year, working alongside Archana Pisupati and Jeremy Garza, that visibility has continued to grow. More importantly, the culture around the work has changed. The newsroom has become increasingly interdisciplinary, with designers and writers collaborating throughout the reporting and storytelling process rather than operating in separate lanes. Design is no longer treated as an afterthought added at the end of production; it has become part of the conversation from the beginning.

Somewhere along the way, Building 26 stopped feeling unfamiliar. Without realizing it, I had found another creative home. A home that challenged me, intimidated me and ultimately expanded the way I understood both design and my place within it. I will forever remember the late nights, alongside Archana, closing out print. These nights became more than just finishing touches, it was a time to reflect, never once failing to bring up our journey here since experiencing high school together.