Lisa Cain

Striking out on your own can be tough, but I can tell you from personal experience that it can be one of the most rewarding things you do in life. And what better person to talk about this feeling than design strategist Lisa Cain. Lisa has worked in the visual design field for well over 20 years, so she knows a LOT about what it takes to get things done.

We started off talking about how she started her studio, and Lisa gave a peek in to her creative process on some of her projects. Lisa also spoke about her early career in visual merchandising, how that has helped her as a designer, and how her family has helped motivate her drive to succeed. (Also, did you know she was a backup singer?) It’s awesome to have designers like Lisa to show us how to thrive as a creative on your own terms!

Transcript

Full Transcript

Maurice Cherry:
All right. Tell us who you are and what you do.

Lisa Cain:
I’m Lisa Cain of Lisa Cain Design and I’m a design strategist that helps nonprofits. Some of those nonprofits are healthcare and medical organizations, advocacy organizations and educational institutions. I help their brands stand out and build awareness, raise funds and also build their membership.

Maurice Cherry:
Now, we’re in the second half of 2021. I’m kind of curious to know how has the year been for you so far?

Lisa Cain:
Oh the year has been really good to me. I’ve been very busy this year. This year’s busy. Actually, 2020 was actually pretty busy as well. It was a little bit interesting at first and it slowed down and had to kind of pivot and do business a little bit differently. But for the remainder of 2020 and throughout right now at ’21, it’s been very busy.

Maurice Cherry:
Do you have any sort of plans or things that you want to do for your business for the rest of the year?

Lisa Cain:
Just continually working on great ad campaigns, finishing out some of those things, really exciting projects that I’m working on.

Maurice Cherry:
Now, you mentioned your focus is on medical, education, advocacy, nonprofits. How did you come to specialize in those particular fields?

Lisa Cain:
Right out of art school, right out of college, I worked for… It was a nonprofit management company and basically they managed hundreds of nonprofits under their umbrella and it was a group of designers that they had to do all of the design work. So I had maybe 10 clients that I managed, design project management, things like that, and just learning how to work with nonprofits. They were called my clients and just doing projects from high tech, medical, healthcare, food manufacturing. I just began to love work for nonprofits. My niche, for me, became healthcare, medical and advocacy because I just really love helping people and making a difference in their lives.

Maurice Cherry:
Is that what sort of really gets you truly excited about your work?

Lisa Cain:
It is. It is. Really seeing that project come to life and then seeing the numbers. For instance, one of my clients is the Organization for Autism Research and we created a brochure years ago to send out to schools and the teachers would present it to the students and teach them about autism acceptance. And to date, this brochure has probably influenced, touched the lives of children, over 125 million children worldwide so –

Maurice Cherry:
Wow.

Lisa Cain:
To me, that’s really huge. Yeah.

Maurice Cherry:
That is a huge. That’s a big… It’s always good when your work is able to make that kind of a big impact. I think oftentimes … I’ve worked with nonprofits too and I’ve worked one in particular here in Atlanta. It’s the Grady Health Foundation, this was years and years and years ago, but some of the work that I did, I’ve actually seen on billboards and that’s such a… It’s a good feeling. You’re driving along and you’re like, “Wait a minute, I did that.”

Lisa Cain:
It is. Yep, it’s awesome. So yeah, seeing your stuff plastered all over the place and then getting those numbers in that this many people have been touched by it, it’s a wonderful thing.

Maurice Cherry:
Yeah. What does your creative process look like when you’re starting on a new project? Walk me through that.

Lisa Cain:
Sure. My creative process, I usually like to kick off every project with a meeting, so meeting with the client, listening and gathering information to better understand what the client is working with, then we collaborate and strategize their goals and challenges and expectations. Then from there, I’ll create a scope of the project using a creative brief and a proposal just to make sure we’re on the same page about vision, deliverables, costs, timeframes, things like that, and then once that is agreed upon, we move forward. It could be a mood board or concept development. From that gathered information of the creative brief, find out about the clients, target audience and mission and work on different concepts and different design solutions. From there, present those design solutions and explain my thinking behind that and my recommendations. Usually, we’ll narrow down one direction to go in and there’s the revision, refine process. Usually within my proposals, I’ll include up to three rounds of revisions. Once we go through that, there’s delivery or production.

Maurice Cherry:
Now, I hope for people that are listening, they got a sense of like that’s a pretty rock solid way when it comes down to starting the process. I mean, part of it is that creative and strategy work, but then, as you’re mentioning, you’re getting a proposal, you’re making sure that you and the client are really on the same page as you move forward is super important because nonprofits, they can sometimes change on a dime. They want something completely different midway in the project and you have to make sure that you have something that can hold them to what they promised would come from the project.

Lisa Cain:
Exactly.

Maurice Cherry:
Now, do you mostly do print design or do you do a mix of that with other mediums?

Lisa Cain:
I think it’s a mix, but more heavily print, yes. Usually, I’ll create a theme around something, say for… Nonprofits do a lot of event publication, event collateral, things like that and so I’ll create a theme around that and that is printed on everything. If it’s around an event, then it’s their lanyards, their brochures, their signage and then it can go digital where it’s social media, banner ads and even apps.

Maurice Cherry:
Now, aside from Lisa Cain Design, which you’ve done now for what? 20 plus years.

Lisa Cain:
20 plus years. Yep. Officially though, officially it’s 16 years. That’s when I truly got the business license and this is the name that I decided upon. But yeah, before I was freelancing and burning the candle at both ends, working a full-time job and freelancing on the side, kind of making my path to truly going into my own business.

Maurice Cherry:
I think once you make it past 15, you can round up to 20. I think that’s acceptable. But yeah, aside from Lisa Cain Design, you also have a company with your husband. Is that right?

Lisa Cain:
That’s right. It’s called Black Action Tees. Black Action Tees is a pop culture website that offers T-shirts and the T-shirts feature superheroes, music culture, sneaker culture and TV and movie pop culture.

Maurice Cherry:
I think I told you this when we talked earlier, but I actually had ordered something from Black Action Tees way back in… I think it was like maybe 2010, 2011, something like that, I think so.

Lisa Cain:
Yeah, probably about 10 years. Yeah, 10 years ago. First started it, yeah. Yep. Yep. Yep. Well, I hope the experience was really good and you really enjoyed your tees.

Maurice Cherry:
Yeah. Do you and your husband blend business like that a lot? I mean, you have your-

Lisa Cain:
[inaudible 00:10:46].

Maurice Cherry:
Well, you have that business with him with Black Action Tees, but does he end up doing anything with Lisa Cain Design or is that just a separate thing?

Lisa Cain:
You know what, he doesn’t do any of the design, but he’s an IT guy so he does IT as his professional. He’s a IT manager, but he’s my IT guy. That’s as far as it goes within my company.

Maurice Cherry:
I gotcha. Now, we’ve gotten to know a bit about your work and everything and we’ll probably dive more into the specific things later, but tell me about where you’re from. I know you’re located in Chicago. Is that where you’re originally from?

Lisa Cain:
I’m originally from South Side of Chicago. I grew up in South Side and then, yeah, moved to the south suburbs in the mid 70s.

Maurice Cherry:
Okay. What was it like growing up in Chicago back then?

Lisa Cain:
It was good. I think it was a really good experience. I mean, we had a neighborhood full of kids. I remember playing. You had to come in when the street lights came on, things like that, but it was a really good experience. Lots of great kids to play with. Families intact still in the 70s, I’m dating myself, yes. But it was a wonderful experience growing up in the city.

Maurice Cherry:
Did you get exposed to a lot of design and art growing up?

Lisa Cain:
The only real exposure that I had creatively was sitting at the kitchen table with my grandpa and he would teach me how to draw different things. Then I don’t know if you remember the TV guide, there was this ad on the back and it would say, “Draw this pirate and you can win a scholarship to art school.”

Maurice Cherry:
Oh yeah. It would be like a pirate or like a turtle or something like that, yeah, I remember that.

Lisa Cain:
So I would draw that and I would send it. I was too young but I would draw it and send it in but I would never hear back from them. So that was pretty much the extent of being creative. I also had this set of books, it was kind of a sister set that came with an encyclopedia set, and there was this one particular book called Make and Do and so it was a book full of crafts and I would just do crafts endlessly in that book. So that was pretty much the extent of being creative at a young age.

Maurice Cherry:
Now was your family kind of supportive of you going into design?

Lisa Cain:
Absolutely not.

Maurice Cherry:
Oh.

Lisa Cain:
They came from that generation of thinking that design, you would become a starving artist. I remember back in high school, I had finished all of my graduation requirements as far as credit so I was able to take a lot of electives so I chose to take nothing but art and photography classes and just be totally immersed in my last year and it was absolutely wonderful. I had wonderful art teachers and I think from that experience that’s where I knew and chose that I wanted to be a graphic designer. They had alumni come in and show their portfolios from art schools and it was just so inspiring and exciting.

Maurice Cherry:
Eventually you started out studying in visual communications, even though your parents didn’t really unfortunately support you going into that.

Lisa Cain:
That’s correct. I remember I got a catalog for the Art Institute of Chicago and I was so excited and I showed my dad and he saw one look at the tuition cost and he was like, “Why don’t you take some secretarial classes at the local community college?” Yeah, we’d butt heads on hat. We’d butt heats. But again, he came from that generation where just they couldn’t see it. He meant well and I have to say that years later, when I did go to a different art school, he bought my first Mac. So he was supportive down the line.

Maurice Cherry:
Okay. So you were at Prairie State College majoring in … Back then it was called visual communications.

Lisa Cain:
Yep. Visual communications. That’s right, and back then, nothing was computerized yet. So I was taking illustration classes and intro to graphic design, things like that. So we used, my supply list at the art store, you had this long list you had to go get all of these supplies for for your classes. It was things like hot press boards, Zipatone, technical pens and Prismacolors with Letraset type that you kind of rub down and using light boxes and making folding dummies for brochures. Everything was really hands-on. I remember walking with those gigantic portfolios and a little tackle box with all your things. Yeah.

Maurice Cherry:
Yeah, a lot of the design back then was really … I mean of course it was tactile because the personal computer I think was not fully in homes at that point. I know it was available, but it was really expensive.

Lisa Cain:
Mm-hmm (affirmative). Mm-hmm (affirmative).

Maurice Cherry:
I remember seeing ads for RadioShack for the … I think it was the Tandy?

Lisa Cain:
Tandy.

Maurice Cherry:
The Tandy 1000 I believe? It was like $1,600.00, $1,700.00. It was expensive. I mean –

Lisa Cain:
Definitely.

Maurice Cherry:
For folks that are listening, that’s about the cost now of like maybe a souped-up MacBook Pro or something like that.

Lisa Cain:
Right. Right.

Maurice Cherry:
I mean you’re talking something that had maybe, maybe 512 megabytes of RAM. Like there’s no way you’re really designing anything on something like that.

Lisa Cain:
Anything.

Maurice Cherry:
It was basically just a very expensive calculator at that point.

Lisa Cain:
Yep, and at Prairie State, they did have a computer lab and they had like a handful of … I think they were Apple [inaudible 00:16:39], the Macs.

Maurice Cherry:
Oh goodness.

Lisa Cain:
Yeah, so you know you couldn’t really do much on it at all. You’d draw a circle and put some color in it.

Maurice Cherry:
Yeah, and even if you really drew a circle, it wasn’t like smooth. It was sort of like a jagged kind of … Yeah. I remember those times very fondly. I remember I was learning Basic and I’m dating myself by saying this but I was learning Basic in elementary school and they were … Like little graphic stuff, like you’d make a rocket or something like that. I mean it was very rudimentary stuff compared to certainly what you can do now, but it’s amazing to see how in such a fairly short amount of time, how much design on computers has really kind of taken over and changed and grown. It’s amazing.

Lisa Cain:
It is amazing, it is and you have to stop never learning and keep up with all of it.

Maurice Cherry:
Yeah. So from Prairie State, you ended up going to the Art Institute. But you studied a different kind of sort of design. Can you talk about that?

Lisa Cain:
Sure. So I decided … I wasn’t sure about graphic design, I was trying to just kind of find my way in, discovered the Art Institute of Illinois which at the time was called Ray-Vogue College of Design, and I decided to go for fashion merchandising but minor in visual merchandising. At the time it was kind of interesting being middle class and it was kind of hard not being able to get a student loan for like your full four years. It’s like you ran of money and your parents needed to get a plus loan, you didn’t qualify for grants. It was kind of hard. That’s exactly what happened. I finished my first year and couldn’t get another loan, my dad couldn’t get another loan. I decided to go ahead and finish out my minor which was in fashion merchandising, finish that, and then I was able to get a job at a big department store in Downtown Chicago. I was already working there as a salesperson so making that move into that position was fairly easy. So it was exciting. I thought once I got that job I thought I had made it. I was a visual display designer down there and it was fun and again it was a lot of physical work. But a lot of fun.

Maurice Cherry:
So when you say it was physical work, like you were … Were you like designing storefronts and stuff like that?

Lisa Cain:
We designed all of the store windows. Then we did interior design and we set up for fashion shows, things like that. So it was like set design and prop building. I remember once we had to spray-paint hundreds of styrofoam trumpets and then glue them to eight foot panels. So we were making like sets and backdrops and things like that.

Maurice Cherry:
Wow. It’s interesting, it sounds like the design got even more I guess … I don’t want to use the term analog, but it got a lot more physical I would say because you’re now really building the designs that you want to see.

Lisa Cain:
Right, right, and then on top of just the set design, you were dealing with these really heavy, expensive mannequins. Like a rite of passage for being a visual display designer is learning how to strike a mannequin and basically it’s posing, but what you did was you wrapped wire around the mannequin’s waste and then it would be under the clothes and then you would have to attach nails to the end and you would actually … So I’d be walking around with a hammer all day and you were hammering these nails in, striking the mannequin so they’re standing up and styling a wig was a rite of passage and getting burned with a glue gun on a regular basis because you had to do everything, you had to dress this mannequin from head to toe and that meant clothes, shoes, sometimes pantyhose, even the jewelry. It was fun, it was interesting and very physical.

Maurice Cherry:
How often were you kind of doing these displays?

Lisa Cain:
On a weekly basis. So there were –

Maurice Cherry:
Oh wow.

Lisa Cain:
Oh yeah. The downtown, that store was eight floors. So yeah, there was a whole team of us. That was interior, windows, everything and then there’s like these little light boxes. You did like the cosmetic displays, you had home furnishing. All the different departments.

Maurice Cherry:
That sounds kind of thrilling actually to be able to kind of turn around and do that so quickly every week.

Lisa Cain:
It was. It was fun. It was again a lot of physical work, and at the same time the building that we were in, it’s a Chicago landmark. So a lot of times we would be goofing off and we would go and explore this building. This building was built in 1904, the architect Lou Sullivan did it and it was like this beautiful elaborate rotunda entrance and be exploring and we found like hidden staircases that were absolutely beautiful and beautiful tiled flowers. There was like sub, sub, sub, sub basements, so yeah, we were running around there and just having fun.

Maurice Cherry:
That’s amazing. I mean for people that want to look up or have not heard of Louis Sullivan, he was like the father of modern architecture. Like he was a mentor to Frank Lloyd Wright, a lot of what I think people see now in skyscrapers is really thanks to him.

Lisa Cain:
Mm-hmm (affirmative). And the building was the Carson Pirie Scott Building.

Maurice Cherry:
Okay. Wow. That’s amazing, so you were doing that while you were at Art Institutes or was that after you left there?

Lisa Cain:
It was after, it was right after I left there. Yeah.

Maurice Cherry:
Okay. Why did you decide to sort of make that shift from visual communications to merchandising like that?

Lisa Cain:
It just seemed more exciting to me at the time and again I’m young and I’m just trying to find myself. So just trying out something new, and that’s something that I do encourage up and coming designers. Don’t be afraid to just take chances and try out new things.

Maurice Cherry:
So aside from doing that kind of storefront set building kind of work, what other kind of career experiences did you have after you graduated from the art institute?

Lisa Cain:
After that, I decided actually … I did kind of a detour and believe it or not, I ended up getting secretary experience. I became an administrative assistant. I guess again trying to find myself and I ended up working for The NutraSweet Company. It was a big company at the time. This is in like the early 90s, mid 90s. They had a Mac there that no one knew how to use. So I volunteered and they decided to send me back to school, and so I ended up at the Illinois Academy of Design and Technology. So there, computers were for the design community and design studios and all of that. They were starting to make that transition from doing everything by hand to going digital and doing everything on the computer, I remember at the time it was a lot of animosity between new people coming in and people like old-school people that just refused. They would not learn, they would not get computer skills. So it was a good time, a good transition to kind of be on that cutting edge of learning. Up there I learned how to do Photoshop, I think it was Photoshop 2.0 and CorelDRAW and some 3-D animation applications. So by the time I finished that, I had three job offers before I graduated.

Maurice Cherry:
Oh nice. So even then, you have kind of this burgeoning … I guess this burgeoning rise of design on computers and now that you’ve learned these tools or you’re learning these tools, it’s opening up these different opportunities.

Lisa Cain:
Right, right. Because when I graduated, it was a student portfolio but I think they could see the creativity there and the ideas that were sparked. But more importantly they knew how to work within these applications. So that was huge at the time.

Maurice Cherry:
Would you say that your work in fashion merchandising kind of helped with that though?

Lisa Cain:
Oh absolutely. Absolutely. I think just from doing fashion merchandising or visual merchandising, project management, bringing something together like on a set, we had to like plan things out on paper first and decide what was going to go where and then this color scheme, there was always a theme about something so that kind of translated to design, absolutely.

Maurice Cherry:
I mean I would imagine also just being able to come up with those concepts. I mean that’s creative direction, that’s art direction. Those are things that if you look at a blank Photoshop canvas or something as your stage, like you can kind of bring those same visual elements in with perspective and sizing and all that sort of stuff.

Lisa Cain:
Exactly.

Maurice Cherry:
Nice. Now you’ve said that you came through the back door to become a designer at age 30. Tell me what does that mean? Because it sounds like you were already doing a lot of design.

Lisa Cain:
Well you know what? For me I felt like I truly didn’t arrive until after I graduated from the Illinois Academy of Design and Technology and I was actually doing graphic design on the computer, and that was at age 30 and The NutraSweet Company sent me back to school and yeah, I felt like, “Okay, it’s official now, and I’ll officially have the title graphic designer.”

Maurice Cherry:
Okay. I mean aside from I guess getting that title, did that … I’m curious, did your family at that point kind of see like, “Oh, this is something like serious.”

Lisa Cain:
Oh yeah, oh yeah. Even when I was in school, they finally came around. Like I said, my dad, he was the one while I was in school because it was rough. You had all these projects to do and they had a computer lab but you needed something at home to work on and so he bought me my first Mac and that was what, 1996? It wasn’t inexpensive at the time. We’re talking, you had to get the modem and everything else separately and yeah. And speaking of modems, my first job … So out of school was with USRobotics who actually built the modems. That was quite interesting.

Maurice Cherry:
So now you’ve made this shift. I’m looking, kind of trying to follow this. So you’ve made this shift now from visual merchandising to graphic design. How was the work different, I mean aside from obviously physical to digital but how was the work different that you were doing now?

Lisa Cain:
I think with graphic design, this opened up a whole new world. I think I personally felt like the possibilities were endless to be more creative. As a visual display designer, you’re working at this one particular place and you’re doing stuff at one location. But as a graphic designer, it’s like endless possibilities to creativity. There’s always different projects coming up and not only that but it could be different clients, different organizations or companies. So the creativity is endless.

Maurice Cherry:
One thing that I really remember from those like early days of kind of digital graphic design. It really was like … You could do anything you wanted. It was like … I don’t want to say it was like the wild, wild west because that implies some level of lawlessness but like you really could get away with anything because the tools were so accessible. Like everyone can point and click, but not everyone’s going to do the same combination of filters or colors or even settings on certain things. So you end up coming up with just the wildest kind of designs just by playing around. I felt like there was a lot more play back then to get to kind of what the end result could be.

Lisa Cain:
It was, and then at the same time … I actually started creating websites with my husband at the time we were dating and we were doing webs, I created my first, my website, my portfolio website like in ’98 and I thought it was like the coolest thing because it was like this crocodile on the front. Remember it was like landing pages and it was like maybe a little bit of animation. I thought it was so cool because my crocodile’s eye was like winking at you.

Maurice Cherry:
Oh, those early animated GIFs. I love those.

Lisa Cain:
Mm-hmm (affirmative).

Maurice Cherry:
Now as you kind of continued on in your career, you worked in-house as a designer for SmithBucklin and then you were an associate creative director at Urban Ministries Inc. When you look back at those particular experiences, what did they teach you?

Lisa Cain:
I think most importantly they taught me how to work with my clients, how to project manage everything, stay on timelines, stay within budgets and be creative at the same time. They were invaluable experiences.

Maurice Cherry:
Were they like different? Because I mean I’m imagining in Urban Ministries, that’s kind of more religious whereas SmithBucklin I guess you could say is secular. I don’t know. Was it a big difference in just like the type of work that you were doing?

Lisa Cain:
Yeah. SmithBucklin was very, very fast-paced and they had to account for every 15 minutes of our time so they could build a client and if you had to go to the bathroom, you had to figure out a way to pad that in there.

Maurice Cherry:
Wow.

Lisa Cain:
It was rough but at the same time it was such a good learning experience and truly taught me everything about working with non-profits. Urban Ministries definitely. It’s a publications company and way more laid back. I designed the Vacation Bible School curriculum there, so they were much more laid back and actually even just the attitude, they were way more appreciative of your work. You felt valued there.

Maurice Cherry:
Is that where the seed was kind of planted for starting your own studio?

Lisa Cain:
It was. It was because at that time I decided to go part-time. They allowed me to work part-time and I started again burning the candle at both ends and I would work like till 3:00 a.m. on my freelance projects and then get up and go to work and yeah. But it was definitely the stepping stone to build Lisa Cain Design.

Maurice Cherry:
Aside from it sort of being that stepping stone of seeing how your work impacted people, did you just kind of feel at this point like you were just ready to strike out on your own?

Lisa Cain:
Absolutely. Because at the time, I had small kids that I desperately wanted to be here for. My son at the time, we had found out, he was diagnosed to be on the autism spectrum and he was put in a special pre-K class and I really needed to be there for him. So I was driven to be here, be home, and run my own business.

Maurice Cherry:
Oh, interesting. What do you wish you would have been told about the design industry when you first started?

Lisa Cain:
I think the number one thing, and it’s something that I’m truly still working on to this day and that’s boundaries. Healthy boundaries. So what I mean by that is it’s okay to say no to some things. Being selective in the type of projects that you want to work on, the type of budgets you want to work on. That’s super important to determine and work within.

Maurice Cherry:
Who are some of the mentors and people that have really kind of helped you out along the way as you sort of rose as a designer?

Lisa Cain:
Besides my high school teachers, there was one particular person that actually I grew up with. I’ve known him since first grade and I remember, he could draw really, really well in grammar school. So I was kind of drawn to him and we remained friends over the years. He is a graphic designer and at the time he was working for Frankel, it’s an ad agency in Chicago. But he was also freelancing for Burrell Communications. So I would go to his design studio and he’d let me just kind of hang out and work on some of the stuff he was working on here and there and kind of built my skills but then there was one particular project that stood out and it was a media kit for the Sprite Voltron ad campaign and it featured rap artists like Fat Joe, Goodie Mob, Common and Mack 10. So it was really cool to work on that project, and at that time, we made stock art. Stock art was really, really expensive at that time, so I remember they wanted like a sky created for like a Voltron thing and with stars, and instead of buying that stock art that was like $300.00, I like hand-placed each star in the background.

Maurice Cherry:
Oh wow.

Lisa Cain:
Yeah. It’s on my Instagram page if you want to take a look at it but yeah. I’m super proud of that project. That was in ’98 actually, yeah.

Maurice Cherry:
That’s where that visual merchandising muscle kicked in. You’re like, “I just got to go and do it.” That was a really … God, I remember that campaign too. That was dope. They had two of them, there was one that had male rappers with Voltron and then I remember there was one with women rappers that was more like … I think like kung-fu based?

Lisa Cain:
I don’t remember. I didn’t work on that one.

Maurice Cherry:
I think they both might have been kung … Okay, there was one I remember that had … Oh god, who was on it? I think it was Eve, Angie Martinez. I don’t remember who else was part of the fighting squad but the last person they fought against was Roxanne Shante. Like they unmasked the villain and it’s like, “Oh.” I remember those, those were really good.

Lisa Cain:
Yeah.

Maurice Cherry:
Is there any advice about like design or about your career that’s really stuck with you over the years?

Lisa Cain:
I would say … You know what? My teacher back in art school, she said, “Don’t work for free to get a deposit.” You know what? It’s advice, don’t work for free, don’t give your work away. However at the same time, like currently, there is a project that I’m working on and it’s a newly created non-profit organization and it’s a school, they’re teaching kids with disabilities how to do automotive and carpentry and stuff like that. So I think it’s okay to do a pro bono project every once in a while for a good cause that means something to you.

Maurice Cherry:
Yeah. What is it that you’re obsessed with these days?

Lisa Cain:
Sleep. Sorry.

Maurice Cherry:
See, I thought you were going to say the dog. No, sleep … I mean look sleep I think is great, don’t get me wrong. I’m probably going to take a nap after this interview but sleep, I totally, totally understand that.

Lisa Cain:
Yeah. Actually my dog, my dog, I’m not obsessed with him but he is my inspiration. There is this quote that says, “To grow creatively, you must give yourself time to play.” So my dog is my hobby. He’s my play. It’s humorous dog photography and it’s kind of my inspiration and kind of way to get away from things and have some fun.

Maurice Cherry:
Now speaking of having fun, there’s one thing that you had shared with me before we recorded. I have to bring it up because I think it’s just so dope. You were a house music backup singer once upon a time.

Lisa Cain:
In another lifetime.

Maurice Cherry:
In another lifetime. Please tell me about that because you sent a YouTube video and I can put it in the show notes if people want to check it out but like I noticed it was like, oh it was like Frankie Knuckles Productions? I have to know how did this happen.

Lisa Cain:
Yeah, yeah, yeah, yeah. Actually I was dating Jamie Principle at the time. I was right out of high school, so it [inaudible 00:37:57] era. Yeah. Yeah, and so he needed a backup singer and at the time he was making music actually out of his home and we went to the studio and I did my part and at that time there was no sampling. So that part that you hear? I’m saying over and over and I had to say it perfectly, all the time.

Maurice Cherry:
Oh wow.

Lisa Cain:
Yeah. That time was a lot of fun. It was a lot of fun. We performed in a lot of Chicago clubs and went to New York and performed. That was a whole nother lifetime.

Maurice Cherry:
Now were you just on this one record or id you do others?

Lisa Cain:
Just that one.

Maurice Cherry:
Okay. I mean that’s quite a claim to fame though. That’s really dope.

Lisa Cain:
Yeah. Yeah. Yeah, it was really cool.

Maurice Cherry:
Is there anything that you would like to do in your career that you haven’t done yet?

Lisa Cain:
Yes. Actually I want to do kind of a pivot. I guess this would be kind of a career/hobby thing but I would love to get into doing newborn photography. [inaudible 00:39:03] kind of my hobby and I absolutely love newborn photography, so I’m kind of working on really perfecting my craft in that and that’s something that I see myself doing somewhere down the road.

Maurice Cherry:
Do you feel creatively satisfied now?

Lisa Cain:
I do. I do. I actually absolutely love what I do. I absolutely love campaigns, the ad campaigns that I’m working on currently and doing some really exciting projects with a Chicago PR firm. Yes, I love what I do.

Maurice Cherry:
Now after … I mean I know you’ve had a storied history as a designer, both with your studio as well as this kind of physical design work with visual merchandising, but when you look back over all of that, especially with being in the game as long as you have, what’s next? Where do you see yourself in the next five years? What kind of work do you want to be doing?

Lisa Cain:
I think I want to focus more on … I guess I love the ad campaigns. I’m not sure if I’ll get away from non-profits. Right now I’m working on some things like the Chicago Department of Public Health and we’re also creating like a food bank app. So I want to do more things like that. It’s advocacy but not so much non-profit. Like you said earlier, just seeing stuff come to life and seeing it kind of plastered all over the place is really exciting. I want to get more into that.

Maurice Cherry:
Well Lisa, just to kind of wrap things up here, where can our audience find out more about you and about your work and everything online?

Lisa Cain:
My website is Lisa Cain Design, that’s L-I-S-A C-A-I-N Design, or on Instagram at Lisa Cain Design.

Maurice Cherry:
All right. Sounds good. Well Lisa Cain, I want to thank you so much, so, so much for coming on the show. When I reached out to you initially, I really wanted to have you on to talk about just the fact that you’ve had your studio for 20 years and the work that you’ve done. Because I think that’s something that’s so rare that we really hear about from black women. I don’t know if I mentioned this when I initially reached out to you but I had saw you in I think it was a Graphic Design USA like people to watch for one year.

Lisa Cain:
Yeah. Yeah.

Maurice Cherry:
I was like … I had put your name down on my outreach list, like I’m going to get around back, I’m going to come back to Lisa one day, and I’m glad now to have been able to do so and to talk with you and learn more about you and of course share your story of how you have come up in the design industry throughout the years. I think it’s really inspiring and hopefully for people that are listening, they get something out of this too to know that they can do … They can sort of accomplish their dreams and design like you have. So thank you so much for coming on the show. I appreciate it.

Lisa Cain:
Thank you for having me.

Sponsored by Adobe MAX

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Support for Revision Path comes from Adobe MAX.

Adobe MAX is the annual global creativity conference and it’s going online this year — October 26th through the 28th. This is sure to be a creative experience like no other. Plus, it’s all free. Yep – 100% free!

With over 25 hours of keynotes, luminary speakers, breakout sessions, workshops, musical performances and even a few celebrity appearances, it’s going to be one-stop shopping for your inspiration, goals and creative tune-ups.

Did I mention it’s free?

Explore over 300 sessions across 11 tracks, hear from amazing speakers and learn new creative skills… all totally free and online this October.

To register, head to max.adobe.com.

Sponsored by Brevity & Wit

Brevity & Wit

Brevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world.

We accomplish this through graphic design, presentations and workshops around I-D-E-A: inclusion, diversity, equity, and accessibility.

If you’re curious to learn how to combine a passion for I-D-E-A with design, check us out at brevityandwit.com.

Brevity & Wit — creative excellence without the grind.

Kevin White calls himself a “UX strategist”, but that title barely scratches the surface of what he does. Aside from his work as a senior experience designer, he’s also a talented illustrator, a design educator, and a devoted family man. But according to Kevin, his origin story as a design professional is an example of what not to do. (Naturally, I had to know more about this.)

We started off talking about the ubiquity of UX in today’s modern design industry, and from there Kevin goes into the early days of his career, and we take a slight detour to discuss social media, sound design, branding, and even the historical archives of the Internet! We touched on a lot of topics in our conversation, but I think what stands out the most is that there is no one true path to becoming a designer. Learn more about Kevin in this week’s interview!

Did you like this episode? Get special behind-the-scenes access for just $5/month!

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Revision Path is sponsored by Facebook Design. No one designs at scale quite like Facebook does, and that scale is only matched by their commitment to giving back to the design community.
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Revision Path is also sponsored by Glitch. Glitch is the friendly community where you can build the app of your dreams. Stuck on something? Get help! You got this!
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Revision Path is also brought to you by Google Design! Google Design is committed to sharing the best design thinking from Google and beyond. Sign up for their newsletter!
Revision Path is brought to you by Mailchimp. Huge thanks to them for their support of the show! Visit them today and say thanks!
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Leah Gilliam is a force. As an award-winning artist, she uses technology to tell stories, bring awareness to issues, and to ask questions about important topics. And as a design strategist, she lends her expertise with building inclusive spaces to organizations like Out in Tech and Girls Who Code, where she currently serves as VP of strategy and innovation. Did I mention she’s also a creator who has made everything from 16mm films to interactive installations to board games?

Like I said, Leah Gilliam is a force.

We sat down to talk about how she first got involved in design strategy, and from there we explored her work as an artist and a teacher, and dove into topics surrounding creativity, finding balance, solving projects, and the notion of a Black queer design aesthetic. I’m so grateful to have the opportunity to share Leah’s story and her work with you, so make sure you take a listen!

Did you like this episode? Get special behind-the-scenes access for just $5/month!

rp_patreon_banner


Revision Path is sponsored by Facebook Design. No one designs at scale quite like Facebook does, and that scale is only matched by their commitment to giving back to the design community.
fbdesign_logo_75
Revision Path is also sponsored by Glitch. Glitch is the friendly community where you can build the app of your dreams. Stuck on something? Get help! You got this!
glitch_75
Revision Path is also brought to you by Google Design! Google Design is committed to sharing the best design thinking from Google and beyond. Sign up for their newsletter!
Revision Path is brought to you by Mailchimp. Huge thanks to them for their support of the show! Visit them today and say thanks!
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Vincent Scatliffe is a visual designer and strategist based in Los Angeles, California. He is the founder of Continuous Line Design Group, which focuses on building social impact brands. His latest venture incorporates all that he’s learned professionally over the years while infusing his personal experiences and lessons learned along the way. Learn more about Vincent in this exclusive interview.

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I’m extremely excited to share this week’s interview with you! I had the chance to talk with Jacinda Walker, a design strategist in Columbus, OH. Jacinda is a tireless champion for diversity in all fields of the arts, especially design.

We spoke about her graduate research on Black and Latino students, her unique take on diversity in the design community, and about our upcoming panel at WMC Fest 5! Jacinda’s dedication to lifelong learning is truly inspiring. Grab a cup of coffee, settle in, and enjoy this great conversation!

This episode is sponsored by:

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70kft: a brand communications agency that develops and deploys marketing strategies through their three practice areas: design, digital marketing, and public relations.


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If you like this episode and want to support the show, visit us on Patreon and become a patron!


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Revision Path is brought to you by MailChimp. Huge thanks to them for their support of the show! Visit them today and say thanks!