Phillip J. Clayton

Phillip J. Clayton is a design voice that you need to know. The Kingston-based creative is a strategic advisor, an international design judge, and an expert on branding. We talked for hours about his career and his philosophies on branding and life, so I split this episode into two parts just to make sure nothing got lost. If you’re interested in branding, then get ready for a masterclass!

Our conversation started off with a check-in on this year, and then Phillip shared his goals about being seen as a facilitator and about tackling complex problems and making a meaningful impact. We also talked about how he started his own company PJClayton & Co., the client-vendor relationship, and Phillip dropped a ton of knowledge about his creative process, brand purpose, and the power of extracting valuable information from conversations. (Kind of like what you’re doing with this episode!)

Tune in next week for Part 2! Happy Thanksgiving!

Interview Transcript

Maurice Cherry:

All right, so tell us who you are and what you do.

Phillip J. Clayton:

I’m Phillip J. Clayton and I’m a brand consultant, a strategic advisor and an international design judge. I focus on brand design and development. I’m a writer. I write articles, copywriting, etc. I focus on art and design holistically as a foundation for advertising and marketing. And I’m usually hired as a creative director. I do have a consulting company called PJClayton and Company.

Maurice Cherry:

Okay, we’ll talk about all of that, certainly. But if you could use three words to sum up what this year has been for you so far, what would those words be?

Phillip J. Clayton:

So…agony is definitely part of that. I did agony…awareness. And enlightenment.

Maurice Cherry:

Agony, awareness, and enlightenment. That sounds like the hero’s journey.

Phillip J. Clayton:

Yeah, well, I’m hoping it will be.

Maurice Cherry:

Have you given thought to what you want to accomplish next year?

Phillip J. Clayton:

Yes, I have. That’s the awareness part. I’ve discovered things about myself personally and professionally. So next year I would like to actually be more focused on becoming what I label a fixer, not necessarily a facilitator. I went into consulting for that reason. I would like to be more on the consulting side and looking at complex problems. They’re usually very impactful. So I like to focus on complex problems with larger corporations, I guess.

And the reason for that is the impact it can have both in this, like in their specific industries or on a societal level, regarding the thinking and the approach to sustainability and marketing behind that internal change. Right? I’d like to focus more on that regarding innovation — R&D — there are a lot of things out there, and the unsolved. Most of them that I can think of, they’re unsolved. They’re worth a lot of money as well. So it does benefit me to sustain that focus if I’m able to sustain myself doing it.

Maurice Cherry:

In your eyes, how is a consultant different from a facilitator then? Because you really sort of try to make that shift.

Phillip J. Clayton:

For me, a facilitator? Well, generally, to my knowledge, a facilitator would normally broker two parties together. I guess the ideal between two parties or to facilitate one party to another, or they find a way to accommodate something else, to align it with another thing. The consultant to me is more of a fixer. And that was something. The word fixer in this context I learned years ago, I think it was on a movie or something. But it intrigued me because I always had this desire to be someone so important that I’m only called when I’m needed. And it’s usually for something that nobody can solve. No, I’m not the only one, obviously, on the planet, but it’s kind of like that being the only one kind of thinking behind it, where you get called in because you are the only person who can fix this problem.

And a consultant, to me, is that because consulting is a form of therapy, in my opinion, where we have to…the execution is the last step of everything. The consultant listens to people, a client I guess you could say, and they have to diagnose a problem and make a prescription to that problem or symptom. A facilitator doesn’t really do that. The consultant…actually, this is why the time is so important that they spend with each client. That’s why if you’re really narrow in your focus, you probably don’t have as many clients as a company that’s serving a wider market. You’re probably working with very few clients. But those clients are really valuable, not just in the work they do, but also in the financial gain that you get from it and they get from you helping them. It’s really a form of therapy because a lot of times the problems that they come to you with are not what is not what they say it is by listening to them and allowing them to speak and asking specific questions, great questions that lead to answers, because we don’t always know the answers either. It’s just the information that we can extract from the conversation that builds trust. And then the client reveals themselves to you and you realize, “oh, there’s either a personal issue here or there’s actually a deeper company problem here.” And what most company owners will do is because there is this cliched response, especially in brand. Our brand is a solution, is that they will come with a list of requests that they believe will solve the problem for their company. And this could be anything from a little new logo or website or rebrand, something aesthetic or surface level, I call it. But those things are results of deeper processes.

So that’s kind of how I view the consultant regarding a fixer as opposed to a facilitator.

Maurice Cherry:

I want to talk about your company, which you mentioned earlier, PJ Clayton & Co. And I think it’s important to note that you started that 22 years ago, which is fascinating. My hats off to you for your longevity of keeping it going all this time. What made you decide to start your own company?

Phillip J. Clayton:

Irony is the life experience. I actually didn’t want the company. I just wanted to be recognized when I was younger.

Well, let me rephrase it. In my mind, a company requires employees. That’s what I knew back then. I didn’t really want that, but I said, I need to be respected as a professional, and I need a name for that. And during my college years, which started in 2001 — if remember I that correctly…yeah, 2001 — I was freelancing before college. You’re doing side projects. I just left high school like a year before, and I’m just getting hired by people who knew I could do graphic design or art or anything creative that I could do. People are hiring me to help them. These were really small jobs, but I always had this thing growing up in the house I grew up in, which was with my father being my first door to the world on design and all that.

At a very young age, I had this image of myself, even at that age I fell in love with, like, movies and advertising, or anybody, if it is an advertising agency, or architecture or some kind of design firm. I was fascinated with that thing, not necessarily the movie itself. And I always had this perception of myself that I wanted to become someone so valuable.

And that’s where it started. I said, “well, one day I would like to have a global firm.” I think my name, PJ — the J — is important. That’s how people find me. So I added the J in there. I’m talking like twelve years old here. I’m writing. My first logo was done around that age, too, which was hand drawn, because what, my father? That’s the era he’s from. Everything was hand done, not computers. I learned from him. I didn’t know what a logo was. I didn’t know what graphic design was. I just saw him doing stuff, and I’m like, “he’s getting paid. This is fun.” And I started at that age, sketching out my logo, which was PJC. I didn’t think about the Phillip J. Clayton part of it yet. I was just like, “PJC represents me. That’s my name, my acronym.” What’s that word for that again? It’s not an acronym. What do you call it? Yeah, no, something more language related, I can’t remember. Initials. Is that what we call it? Initials?

Maurice Cherry:

Yeah, we can call it initials.

Phillip J. Clayton:

Yeah. Right. So that’s what I knew growing up. My initials. I didn’t know what a logo was. My father used to sign his work with PJC or PJ Clayton as well. He has a J as well. But he’s Paul and I’m Phillip, so we had the same initials.

As I got older, I started to discover all these things about design. And then Letraset. He had Letraset books, art history books. And I’m just reading through — being dyslexic, when I say “reading through”, I’m really looking at what I can understand. And I realized that there is the typography and this thing called advertising. And he used to do mockups that he presented to clients by hand. He’d build the actual billboards, miniature versions of them, and he understood color separation, for example. That was a manual process back then. And I just started falling in love, and I said, “I want to be the person who knows all of this stuff.”

I wanted to become an admin. This is before I even knew about David Ogilvy. I said I want to be an admin. I want to be some kind of…I don’t remember if I used the word “consultant” at that age. And by the time I was in my teens going to college, that’s when I started to freelance, I guess you’d say, officially, while I’m in college under Phillip, it used to be Phillip Clayton. And I added the J because I said, I need to stand out a little bit here. The more I got involved in projects, I started to have this awareness of how the world works. And I said, “I need to have a company.” It wasn’t a company at the time. It was just Phillip J. Clayton Creative. I think I had it at the time. And it was short of PJ Clayton Creative and worked with that for a while.

And then this one that you’re currently looking at, Phillip J. Clayton. I mean, PJ Clayton and company. That one happened last year when I was pivoting myself. When I finally said, “this is it”. I think I know who I am now and what I want to focus on. And so PJ Clayton and company is the newest iteration of that.

But it’s always been PJC. It’s always been something of that. I have logos. I have, like, I think six versions of this logo. This is the most current and pleasing one for me. I wanted to have something that represented me professionally, and I still wanted to maintain my individuality as a person, where I should be able to walk into meetings in corporate offices without having to become what people expect me to become, I guess, for those meetings. So it wasn’t very important that I maintained Phillip in some way.

And I think it was like five years ago, someone saw that name that Phillip J. Clinton on LinkedIn, actually. And they said, “oh, that’s a very prestigious name.” And that’s when I said, “oh, I’m changing this company. He’s going to be PJ Clayton & Company now.”

Maurice Cherry:

Hey, other companies do it all the time. They change up logos, they change their names around. So it sounds like you already sort of had that foresight.

Phillip J. Clayton:

Yeah, from childhood, like I said, I was always thought highly of myself, but I was dyslexic. So even thinking of myself as smart and intelligent was not my strongest attribute. I guess the self confidence, well, externally was low, but in my head I was very confident, and I knew what I wanted from a very young age. It was “you’re going to be a famous artist or you’re going to be in advertising” — that much I knew.

Maurice Cherry:

What were those early days of the company like? I mean, you started back in 2001. You were still in school. What were you doing?

Phillip J. Clayton:

It was just me. I had no concept of hiring people for help at that time. It was just me and some friends of mine. They work in production, the production entertainment industry, and I started working with them. It was mostly on our art direction and set design. I basically helped them with the graphic side of things. I get paid for that. And then I slowly worked my way into becoming into the management side where they start asking me to manage a whole production by myself: stage, set up, everything. Making sure everything looks good for either the TV screen or a concert. Also worked on music videos. So there’s a lot of art and graphic applications from my side. That’s why they wanted me to work with them.

I was doing all of that as myself, and that’s really the foundation of the company where I was known as, or I was dubbed as, a great graphic designer or an artist. So it was a lot of projects like that. It was either logo work or some kind of art consulting thing where I would use my artistic knowledge to help on something. On a visual. As a visual component.

Yeah. So that was the early days, but as a starting point of my official professional career.

Maurice Cherry:

Now, if you look from then to now, what are some ways — and I mean, you’ve sort of already talked about your personal journey growing as a creative — but what are some ways that the company has kind of changed from then to now?

Phillip J. Clayton:

There’s a dramatic change. I have partners now. I’ve narrowed myself into brand consulting. The clients are different. I mean, I’m between corporate startups and the industries are diverse. It’s fintech. So I’m actually solving business problems now. That’s a big difference there, as opposed to then being a creative service, as opposed to a company that has a creative service.

It’s flipped around now. What’s happened over the years is that I now focus on actual business problems. So I’m a business that offers creative services, but I align it all to a business objective or problem. So it has more impact now as a company and myself as a professional. The partners that I have, or people…clients that I work with, are way more, I guess, grown up. You’d say there’s an adult version of the company now where we’re having serious conversations, having fun about with what we do. Yes, but it’s really trying to have that impact on someone’s company who’s asking for help becoming an industry voice.

As someone once said, I’m speaking on behalf of the company when I communicate anything online. And now there’s this responsibility. It’s like you feel responsible now in regarding or accountable for anything that you say and do. There’s this thing behind me that I need to protect. And I guess that’s the big difference now from then, back then it was, “oh, I want to be creative and make a lot of money” and that’s it.

Maurice Cherry:

Let’s say like you have a new project that’s coming into you, like a new branding project. What does your creative process look like? Because I imagine there might be steps that you have to take to sort of transform that client’s vision into a brand identity.

Phillip J. Clayton:

Oh, absolutely. This is a diagnosis, part of the whole process that, well, once anyone engages me of interest, I have to ensure that one: I can actually help them. I can actually solve, or at least I have a process of how to solve it and then I have to align myself if it’s something that is where we are good fit. But once that happens, let’s say it goes well and we are actually going to work together. That process starts with assessing the company, the business development, product development and management. There’s usually probably a brand audit as well where they are in the market and are they okay in the market, should we point them in a different direction? But we have to start with assessing the company and what it offers. And process mapping is part of that, where we identify what happens when a customer is engaged on what happens at that point and then when the engagement ends, what happens after. So you identify these points, pain points or points of leverage. And a lot of times the process of helping that client is not necessarily always going to be on branding.

They may come for that, but it turns out that they need to redo their marketing or we need to do their business management. But in terms of creative process, it’s going to start with. I try not to, first of all, do research until I’ve been given the information or because I don’t want to taint that perception. And then once I have that, I observe that thing, whether it’s a product or the company itself, whatever I receive, I try to observe that from an ignorant place where I have no idea what this is, but who would buy it kind of thing or what’s the value of this thing that I’m looking at. So you have to understand how it works. And this is why I look at a company, you have to understand how the company works. Then you can go into the strategy of how to represent that value and leverage it as on the brand side. So the process is usually going to start with business.

It has to, in my opinion…I always start there. There’s conversation therapy. That’s the part where I am…it’s where I sit with the client and we have these conversations that lead into the development process. I mean, of course, you have to make sure your agreement is mutual regarding timelines and objectives. And I tend to ask this, by the way, I learned from my lawyer, “what’s your pain threshold” and “what’s the results you’re looking for?” Those two questions are really very good questions to start with.

Maurice Cherry:

Your pain threshold. Yeah, talk to me a little bit about that. What do you mean by that?

Phillip J. Clayton:

It’s a way of identifying what that client is willing to do to get the result they’re looking for. Because a lot of times people try to charm me for some reason. You know what I mean? They try to impress you with how much money they have or money is not an issue, or “we want to be different and bold.” Oh, I love that one. They always come with that one.

Maurice Cherry:

Everybody wants to be bold. Everybody. Every client wants that.

Phillip J. Clayton:

Yeah. And there’s this unique thing and it’s like, what I’ve learned is that no matter how complex a problem is or how unique it is to the client, it’s not that unique on a wider viewpoint or industry viewpoint, but it’s unique to that client. No matter how similar, it’s always going to be unique to that client and that company. But bold and different, distinctiveness, differentiation, fine. But when they say they want to be bold and different, it’s not a well thought through statement, because there’s risk to that. And unless you’re willing to take that risk, you can only be so unique in this sea of sameness, right? But you can definitely stand out with distinctive marketing and branding and all that, or how you represent yourself. If you have something different about a product in a competitive market space, then, yeah, you can differentiate that, but it’s to be bold.

Boldness. I love boldness. It goes against fair, which is different from being brave. I think bravery is a product of boldness. But when they come to me like that and I look at the company, this is why I assess the company, I assess the market, I assess their thinking. You’re learning about the management, the owners, you’re learning how they think, what they like, what they don’t like. That’s what conversation is about. So the pain question is to find out or identify what they’re willing to do to achieve it.

And they can tell me when it’s a pain threshold, like, well, they’re willing to do whatever it takes or, yeah, we don’t want to rock the boat too much. You get those things when you ask a question, right? You start getting the real answers, right? Then based on that you say, well, what’s the result you’re looking for? By the way, I learned it from a divorce lawyer. That’s what she asked, because she said, you’d be surprised. These two parties are, when they really go in with that aggressive approach and they want this and they want that and they realize, well, you’re not willing to do anything for this because relationships, it’s complex, right? So yeah, they want to hurt the other person, but what they really want is justice. In the end. They both want justice, right? That’s where the question came from. So what do you want in the end of this? What are you hoping to achieve at end of this process? And once the pain is threshold, what are you willing to do to get it?

Maurice Cherry:

When you look at a brand or a brand design, are there key elements that you try to put into this design that really make it memorable? I would imagine those probably stem from that conversation like you talked about before.

Phillip J. Clayton:

Always. The value of the brand is really what it represents or who it represents. So what you put into that is meaning. People add meaning to things. When it’s symbols, so that’s what a philosophy is for; what I call brand philosophy. I didn’t come up with it; that don’t mean I called it that way. I need to have that information, that knowledge that helps me or the team working together to develop a philosophy. This represents the thinking inside the company or the ownership. For people to feel valuable on any team, they need to have that accountability that without them, this won’t work. So there has to be a philosophy for this company that the brand now would express as the philosophy that this is their belief system. Right? That’s what people buy into a lot of times, whether it’s in religion or not.

I use religion a lot in conversation because it’s a great example of what a brand is and the belief systems are and how people buy into it, getting vested interest. So I have to have a brand philosophy. And then what you do is you make a declaration, so the manifesto comes out. You make a statement as a company and a brand, or you make a statement that this is who we are, this is what we’re about, and it’s based on this philosophy. So when I look at brands and I’m observing them, yeah, you’re going to see the aesthetic stuff first, service level stuff.

These are functional assets, I call them, because the very good ones are usually from a really deep philosophy. And the results of that is something so simple and powerful. When I see too much effort in the visual, I’m not usually very impressed with that because it means that you’re trying to convince something that’s probably not there. When I see a simple symbol and a really distinctive, confident visual language and architecture to a brand, I know that this company is something that I need to pay attention to.

For example, and that’s what happened, as an example I could give you was when PepsiCo, Mauro Porcini did the PepsiCo design innovation. I think it was 2012, they never had that before. That changed PepsiCo completely as a corporation. How they go about their business and their marketing. Design innovation at PepsiCo added deep meaning to the brand itself because it tells me what their focus is, it tells me what their thinking is or how they perceive their market and the customers in that market. So I look for those things. I look for deep meaning behind the logo, I look for deep meaning behind the communication. And I think that’s because of myself. I think I tried to say less and speak more. I hope I’m doing that now. Sorry. I like to speak less and say more. That’s what I meant to say. Because I think that’s one of the most powerful positions you can have when you don’t have to explain anything, urge to explain anything. If a company can do that, then, I mean, if the brand can do it for a company, then you’re really powerful. So I look for that. I look for less communication, more visual communication, less explanation, less wordy. And visual means typography as well, but less wordy, less explaining everything to me. I just want to see it because the logo is what I’m supposed to see. I’m supposed to see your whole story.

And then the logo is supposed to intrigue me enough that I want to know more. And that’s where we pour meaning into brands, because the brand actually forms when that experience ends. Anything that you have in your mind now after that experience is what the brand does to you.

Maurice Cherry:

How have you sort of seen brand design evolve, like over the past 20 years? I mean, we of course now have AI, we’ve got machine learning and all these sort of things, the way that technology has sort of infiltrated a lot of the creative industry, but then we also have changing consumer behaviors. I’m thinking particularly in the U.S. — I’m sure this is different internationally, just based on economies — but there’s been ups and downs and waves of how people spend money, what people spend money on, what people even value from a brand. How have you seen things evolve over the years?

Phillip J. Clayton:

I’ve seen both sides of that. Good and bad, I guess, or horrible. I know it’s bad or good, there’s pleasant and there’s this horrible experience I’ve seen over at least ten years, is that with automation, the objective changes.

For some reason, the brands that are paying attention, their core values didn’t change, their philosophy didn’t change, what they did was change how they interacted with their consumer and society in a whole. For example, the shopping experience, waste management, these things also all add up to what the brand represents because the company has to do these things. So that’s one, I guess, favorable experience on the brand side. The other side is that it has opened up a whole new services on what a brand is and what the process of brand design and development is. Because I rarely if ever use the word branding as a process.

I specifically say brand design and development because branding for me isn’t actionable — it’s under that process of brand design and development. Branding is a stage of the process where you start to develop these assets that represent and communicate for the company. But because of technology, what’s happening now is that…I’m sure you’re aware of a lot of on-demand services are out and what they’re doing is titled branding. Visual design. Visual identities, for example, have somehow become a separate thing from the brand design process. I don’t know how that happened where people are actually doing visual design as a service and I’m thinking, “how do you get there without the brand design process?” So when you go into on-demand services, what you’re doing is…I can pay you less money because clearly you’re billing by time, which I don’t do, but you’re not really providing a valuable solution.

Now I’m not saying that smaller companies or startups who don’t have a big capital can’t start like that. Sometimes you just want to get the company out and if you focus on doing good business, the brand will form anyway. If you’re going to go into brand as a service and you’re expecting a certain result, then it’s probably not the best move to go on-demand. It’s probably better to focus on your business and just hold off on the development of the things like logos and whatnot. You can just register a company name and communicate as a company. Your brand will form and then obviously you made some money at this time and you can do it now you have a proper process, you have an understanding of what your company does and how people perceive you. But what I’ve seen with brands is that…I won’t say the entire brand landscape is like this, but there are some brands that are aligning themselves with deep and meaningful experiences for the consumer. They’re looking into how to make the seamless process of shopping and acquiring their products in a more sustainable way. Obviously there’s financial incentives there once a consumer buys into your thinking. The other side is that there are brands who are aligning themselves to trends. And we saw this when the pandemic came, when everybody started changing…well, a lot of people started changing their messaging. You’re now changing your core value. This is a philosophy — again, you have to have a philosophy that you stick to. It has to be something that you can adapt to environments in, but it doesn’t change your philosophy.

You’re only adapting how you do what you do, but not the philosophy of it, not your core values. That’s what I have seen happening regarding most brands is that they’re aligning themselves to trends and the consumer is dictating a lot about how they do things, and that’s fine. But at some point you have to stick to what you believe in and the consumer gets over it. We saw that with Nike and Kaepernick where Nike just stuck through, right? And I think that’s the most important part, is not to adjust the brand to fit with these trends, whether — and I mean this on a deep level — whether it’s with social movements or activism or anything, do not change your brand to fit that.

If I’m selling shoes, that’s what my company does, then my brand represents a company that sells shoes. And the background, I can support these organizations, but I should not be marketing them up front where I have a company with a brand that supports, I don’t know, some social movement and that has nothing to do with my business unless you build it into your brand like Patagonia. I think they are very open and upfront. It’s part of their brand philosophy. So unless you have that, I don’t see a hardware company to not sell certain tools, to align themselves with some kind of trend. A hardware company is a hardware company. The more tools or lumber they sell, the more money they make. What they can do now as a brand is that they can use that money, I guess, from your profits or whatever they used to choose to use to support some kind of social cause.

Do that, but don’t label it as your brand purpose, is what I’m saying. Don’t get up and say “our brand purpose is to support this cause.” Your brand purpose is to represent your company. That’s what a brand purpose is. That’s what has changed; brand purpose is not a new thing, and the brand no longer serves the purpose that it’s supposed to serve. It’s now serving human social causes or needs, or it’s not representing the companies effectively because they’re changing the meaning behind what a brand’s purpose is to represent your company. So your company is the one who should be doing the social support. The brand is only supposed to represent your company so that when you see it, you think of the company and what a company does for society. That’s what it’s supposed to be.

Maurice Cherry:

They’re starting to become synonymous these days, especially, I think with, not to put this blame on social media, but I do think because social media has allowed a channel of communication between the consumer and the company that probably didn’t really exist that transparently before. What you end up having is a lot of companies having to, in some ways, sort of change their brand values or put something on their brand values that do stick with a specific social thing that might be happening.

Of course, the one thing I’m thinking about that has to do with this is regarding the summer of 2020 here in the U.S. where a lot of people were protesting and they were out in the streets. That was George Floyd. And you had so many companies kind of posting black squares on Instagram and making vows to do this specific social change or whatever. And now three years later, all of that stuff is non-existent and cut. And I mean, people try to hold companies to try to hold them accountable for that sort of stuff. But to your point that you’re mentioning, brand purpose has now gotten…it’s changed and evolved to now include how the company feels or has a stance with or against particular social issues.

And I can imagine that’s like a really difficult place to be.

Phillip J. Clayton:

Yeah, you don’t want to make your brand too human. It’s patronizing. It’s like, okay, so everybody has this human-centric buzzword now, and everybody has this brand purpose buzzword. It’s like, what is your brand purpose? And they’re going to tell you, I don’t ask that question. I don’t ask what your brand purpose asks. What’s your company’s purpose? When people try to make the brand very human, you have to understand what that means. The human being is a contradiction and a paradox. We’re subject to change. So unless you’re willing to put your brand through that constant change, that’s what it means to be human.

So yes, you can have values like you’ve mentioned there that you can add things to, you can build on it. This can be a foundation, and you can build on that foundation. But if you don’t have a foundation to build on, what’s going to happen is that you’re going to put up a black square, and then it’s going to mean nothing afterwards. But if you’re a company that has a foundation and a core value, and you express that core value — and this is what we do — but we are going to show support for this thing. That’s fine. But don’t make these bold statements as if you’re going to change the company now for the next ten years because of what’s happening.

I’m still a company that sells ice cream. My brand is whatever I write on…it’s Phillip. I sell Phillip’s ice cream, so that’s my brand. But my company sells ice cream, and I would like to donate money to this cause I like to do this, and I like to do that, but that’s not the brand. That’s a company. The brand represents the thinking and philosophy inside the company, the type of people that work at the company. So a company that used its brand to put up that black square, and then nothing else followed that, was either a company that’s just saying, “we do support, but we’re going to get back to work” or a company that gave the wrong message out there and made some kind of promises to the Black community and hasn’t delivered on it, now they’re accountable. That becomes a marketing problem for you.

So you don’t want to make your brand do that. What you want is to remember that company management or business management and brand management are two different things. I don’t know if I’m saying it in a way that people understand or if I’m making sense to them, to anyone listening, but brand purpose — if I’m going to be grammatically correct, I’d say your brand’s purpose — is to represent your company. Your company is what you do and the people that do it or help you to do it, right? The company is a group of people. So it’s about your thinking. It’s about what you find important. It’s what you value as a company. The brand represents that.

And I love using Batman. It’s a very great example of what a brand is. All you see in the skies is his logo. That’s it. But the logo represents the promise he made to the city. That’s all it is. So your brand upholds the promise that the company made. Quality products. Quality service. These things. The logo is the symbol that represents the brand and the company all at once. It’s your identifying mark.

Just develop a good core value system, a belief system that you can uphold next 10, 20 years on average — most companies, I think, they last 30 years, unless they pivot or do some kind of innovation. Like Amazon did innovation. I guess you could say Facebook, because all of these companies, their lifespan was, I think, expected to be 30 years before they closed. But they innovated. So yeah, what’s the brand in that? If they’re going to, they didn’t change. They just adapted to a new environment, made product innovation, service innovation, better customer experience. I just want to make that part clear about the brand purpose because I think it’s very confusing and muddy right now with what a brand is.

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Andrรฉ Foster

If you’ve been listening to the podcast over the past year or two, you know that the use of AI has been a constant thread through nearly every episode. And this week’s guest, Andrรฉ Foster, has embraced this new tech as part of his creative practice while still producing top notch motion design and animation work through his studio, First Fight.

Andrรฉ gave a rundown on some of the client work and the day-to-day happenings at First Fight, and discussed the importance of perseverance and continuous improvement through difficult social and economic times. The conversation then dives into the use of AI in the creative industry, and from there Andrรฉ talk about his upbringing in Detroit, the city’s creative community, and Bond โ€” James Bond.

For Andrรฉ, resilience, adaptability, and personal growth have been the keys to his success!

Interview Transcript

Maurice Cherry:

All right, so tell us who you are and what you do.

Andrรฉ Foster:

My name is Andre Foster. I’m the co-founder and owner of First Fight, a creative studio and production house based in Detroit, Michigan that helps brands hit above their weight with style and motion. And what that really means is that we use our own unique style of animation, design and live action to bring our clients message to life. For broadcast or for digital, Disney+, Instagram, Fox Sports, StockX, and Dave & Buster’s are just some of the brands that we’ve worked with.

Maurice Cherry:

Impressive. Really impressive.

Andrรฉ Foster:

Thank you.

Maurice Cherry:

How has this year been going so far?

Andrรฉ Foster:

This year has been rough and not just for us, but I think just for a lot of studios as well. I think the economy hasn’t been that great, so it’s really caused a lot of our clients to kind of tighten their spending. Layoffs, strikes…[it’s] just a lot of uncertainty in the industry. I think that’s been a part of this whole thing that’s just part of being a business owner is just going through the highs and lows of it. But I think what’s been good about it is that it’s really made us refocus on our brand. Just kind of hone in on the actual service of what we provide. I think we really came to the realization that the creative is just one part of it. It’s really just how you can network and how you can execute what you do and how you present that to your clients and even to potential clients.

Maurice Cherry:

How would you say — I mean, aside from just kind of the change like you said in clients and budgets and stuff — how would you say that you personally have grown over the past year?

Andrรฉ Foster:

Yeah, it really put me in a space where I had to really just keep going. I think this whole year just showed me that you have to just be strong and just be able to adapt and then just really just keep doing what you’ve been doing. And then just as I said before, just kind of refocus and make sure that you can just try to just be as good as the service that you’re trying to provide. I guess that’s what I’m trying to say. So it’s really just, again, just making sure that you hone in on what it is that you do, what you’re good at and how you’re different. And then like I said, just keep sending the emails out and just keep promoting yourself and just keep trying to put yourself out there as much as you can and just really just trust in the process while you do that. And then while you do do that, you just make sure that you just concentrate on the craft and just figure out ways how to be better.

Maurice Cherry:

Yeah, as you said that, it sort of reminded me of that saying people have when they say, “if you’re going through hell, keep going.” Like…just sort of find a way to persevere. And I mean, you and I — we talked about this a little bit before we started recording — but it’s been tough for, I think, a lot of creatives this year just in terms of budgets and clients and finding work. And it’s definitely a trying time right now in the creative industry overall. But it sounds like you’re weathering it pretty well.

Andrรฉ Foster:

Yeah, I’m not going to lie, it’s been extremely rough. But as you said, we’ve been weathering it and we’ve just been trying to find work where we can and just again, like I said, just make sure that we trust in the process and just make sure that we keep continue to network and just be able to try to continue to put our brand out there as much as we can.

Maurice Cherry:

Let’s help with that. Let’s talk about First Fight, which you co founded back in 2016 and you just mentioned earlier. Tell me more about it. Tell me more about some of the services and things that you offer.

Andrรฉ Foster:

We primarily do animation and then we do live action as well. With that, we do a lot of design. We do a lot of illustration work too. Along with that, we also do a lot of strategy when it comes to the digital campaigns that we create the content for. So that’s really kind of a newer service that we’ve added onto our team. But really it’s just really just trying to emphasize the uniqueness of what we do and how we do it. Style, emotion is the thing that we always say that we have that we can owner our clients. But yeah, animation and live action and just make sure that we’re trying to get our clients message across in a unique way that stands out.

And for me it’s fun because it’s always interesting how we can try to do something a little bit different than what’s been done before. Our clients pretty much are kind of like in the same industry, but it could kind of range. We deal mostly in the entertainment industry, but lately we’ve been doing a lot of stuff for the self-driving industry, the autonomous, autonomous industry. So it’s kind of just switching it up and just seeing what’s out there and how we could try to bring our voice to their message.

Maurice Cherry:

I was going to ask you about clients. I mean, you mentioned some earlier that you’re working with. Of course, you know, being in Detroit, big automotive center here in the U.S. — Chevy, Ford, Cadillac — but then you also mentioned Disney+. Dave & Buster’s is a client of yours, know, just to name a few. What are the best types of clients that you prefer to work with?

Andrรฉ Foster:

I think the best type of clients are the clients that can trust our expertise and just really just let us go. I mean, that’s not to say that we don’t like to collaborate because we definitely like to do that. But having clients that can really trust in what you’re able to bring to them and just let us go, I think that’s probably the best type of clients that we like to work with. And then also it helps too that they can pay you like how you should be paid. That’s a definite know. That’s something that we look for because we are in a business and we just want to make sure that the value of what we do, we get compensated for. So the Disney Pluses and the Dave & Buster’s, you know, those type of clients, we really don’t have issue with that. So it really just allows us to be able to come up with some great work for them and just go.

Maurice Cherry:

I know you said entertainment was kind of one field that you’re working in, and then of course, the automotive industry. Are those kind of the two main industries that you prefer to work with?

Andrรฉ Foster:

Yeah, pretty much. I mean, we’ve kind of just fell into that, I think, because we are based in Detroit. So the automotive industry is kind of like right in our backyard. But what’s interesting is that some of the stuff that we have done when it comes to automotive industry has been kind of cool because it’s kind of allowed us to be a little bit more creative in terms of showing the car. And actually there’s been some situations where we haven’t really shown the car at all. It’s just been like a lot of lifestyle imagery and stuff like that. So it’s kind of helped us in terms of just being a little bit more creative and just showing the car itself and just making it a little bit more interesting.

Maurice Cherry:

What does your day-to-day work look like at First Fight?

Andrรฉ Foster:

A lot of emails, sending emails out and just checking behind the status of some projects that we have in-house and then making sure that our animators and that our team, they know what it is that they need to do and just checking behind them. I probably shouldn’t say checking behind them, just making sure that what they’re working on is it fits what the project is and what the message is for that project. Just making sure that they understand the assignment, and do it in the brand voice of what First Fight is about.

Maurice Cherry:

What would you say kind of really sets First Fight apart from other studios?

Andrรฉ Foster:

Well, one, I mean, we’re one of the few Black-owned agencies — probably shouldn’t say agencies — or creative studios in the industry. So I think that by itself is definitely what they necessarily apart. But I think it’s really just the foundation of design and illustration. I think that’s one thing that kind of distinguishes us from other studios because we have such a strong foundation of that. I think that we tap into that with some of most of the work that we do, even though we do a lot of different stuff. We do editing and we do some visual effects, and then, like I said, we do live action. But even with those, there’s some fundamental things that we put in that that we take from what we learn with design and illustration, whether it’s compositing or composing a picture and making sure that there’s enough contrast to get the visual interest of what it is that we’re trying to show.

Maurice Cherry:

Now, let’s say when new work comes in, because you’re offering all these different services and you said strategy is even, like, something kind of new that you’re offering. When a new project kind of comes in the door, what does that process look like in terms of getting started and everything?

Andrรฉ Foster:

We get a request, whether it’s through email or we may just get a phone call, and the client will come in with a brief and then we read over the brief and then we kind of get a sense of what the vision is that the client is kind of going for. So I think it’s really the initial brief. And then from that, we just kind of figure out. Like, well, okay, whether or not it’s going to be 30 seconds long, is it 60 seconds? And then we kind of figure out what is the budget for it, and then we kind of craft a plan from that and then really just kind of get a better understanding of what exactly is the message that the client is trying to say with it within the constraints of the budget that they have. Because sometimes the budget is just not there. Sometimes, like I said, we just try to make sure that we try to do what we can within the budget and make sure that we still are able to give the client what they need to get the message across.

Maurice Cherry:

I’d imagine with maybe some of the bigger clients, maybe that’s an easier process. Is that true?

Andrรฉ Foster:

Yeah, they kind of just let you go. And the great thing about the bigger clients is that the budget is not really an issue. So it kind of allows us to be able to go for what we know and just have fun with it and then just really just have fun with it and challenge ourselves, because I think we always are trying to do that anyway in terms of how we execute these things for our clients, whether it’s through animation, video production, and even with the strategy. We’re always trying to figure out…what is the different angle that we can take? How can we make this project different than what’s been done before? And that’s something that we always try to do. I mean, that’s kind of the fight that we always go through. And really, sometimes the fight is within ourselves because we’re trying to fight against what we’ve seen before. How can we make it different than what was? Because it’s so hard to come up with something that’s original nowadays because it’s so much stuff out there.

Maurice Cherry:

Well, I’m glad you said that, because that actually is a good lead into what I wanted to ask about with regards to AI and some of this emerging tech in the creative industry. I think across writing, design, animation, illustration, et cetera, we’ve started to see a lot more adoption of AI tools, both good and bad. I mean, the tools are often trained on other people’s work without their consent, so that’s a bad thing. But then some people are using them or trying to use them, I think, in effective ways. I know back when Disney+ had launched — not launched, they premiered — the season of…

Andrรฉ Foster:

Secret Invasion.

Maurice Cherry:

Yeah. Secret invasion. Thank you.

And the whole intro was done with AI. And there was sort of this kind of big negative backlash against it and everything. I’m curious, are you using AI in any of your work, or do you have any just kind of thoughts around AI and any of these emerging technologies in the field?

Andrรฉ Foster:

Yeah. We do use AI. And I think what I’ve seen is that I think a lot of people are using it the wrong way, because when we started using AI, we kind of took it as a high leve, well, kind of a Pinterest. Like a high level of what a Pinterest would do for you.

Maurice Cherry:

Yeah, like a mood board or something.

Andrรฉ Foster:

Yeah. But the only big difference is that you can really customize it to what it is that you’re trying to do in terms of getting an idea, or even just trying to figure out a different color palette. Because what’s cool about using AI, because…I use Midjourney, and what’s cool about Midjourney is it can give you an idea that you never even really thought about, or, like I said, even a color palette that you didn’t even think about. We’re kind of using it in that regard. I don’t think you should use or present AI as a final image. I think if you don’t go back in it, if you don’t try to alter it in some way and then kind of make it ownable to yourself and to what you do, I think that’s where the problem kind of comes in. But, yeah, I mean, we just use it as kind of like a really high level Pinterest.

Maurice Cherry:

I would tell people that ways that I’ve used it before is kind of almost like a decent intern to come up with ideas to bounce things off of. But I wouldn’t necessarily take what one of these tools like — say, ChatGPT for example — I wouldn’t necessarily use what they have flat out as my own, and certainly I wouldn’t pass it off as my own. But it can be inspiration for something else. It could say, “okay, well, I didn’t think about this”, or “maybe I can reword this in a different way now that I’ve got a spark of an idea that this AI has generated.”

Andrรฉ Foster:

Exactly. Yeah. And I’m the same way with ChatGPT, because I’ve used it in the past and I’ll have it write something, and then I usually have to go back in and just make it sound like myself. But for the most part, it does most of the heavy lifting, and it’s just really not meant for you to just have it come straight out the box or present it as yourself without even putting yourself in it somehow, some way. I think with Midjourney, there’s a reason why it’s called Midjourney. It’s really just meant to get you halfway there. That’s the way I took it.

Maurice Cherry:

I thought you were going to say, because the output is mid, but I get that, too. I like your explanation better.

Andrรฉ Foster:

Yeah. And I really thought that was the whole point of it. I mean, maybe the developers probably had a different idea of what the name meant. I like to think that that’s what they wanted it to do.

Maurice Cherry:

Yeah.

Andrรฉ Foster:

Because it’s not meant to replace the artist. It’s just there to get them to a certain point and then have them finish it.

Maurice Cherry:

Now, how do you think clients would feel about that? Do you think they’d think, “oh, well, if you’re using AI, I could do that myself”?

Andrรฉ Foster:

Yeah, some clients may think that. I think any edge that you can have in this industry, you should try to take advantage of it. Because in an industry where things are constantly being due the next day and the budgets are getting a little bit shorter, you have to try to find ways to be able to be efficient and to be able to still play in this game. So I think any advantage that you can get, you should try to use it. I really don’t think that they really care because I think the whole controversy has been just more about what the artists themselves in the industry, I think with the clients themselves, I don’t think they really care. I think as long as you’re able to get their message across, make it look good, and it does what it needs to do for them, I think that’s all what they really care about.

Maurice Cherry:

I think so, too. I mean, it’s so interesting. Like, back when I had my studio and I had clients, it would be so interesting to talk with other designers and they go so much into their process, and they use this in Photoshop or they use Sketch or they’re using Illustrator and all that stuff, and the client doesn’t care about that. The client just cares about their end result. They really don’t want to know the nuts and bolts. I mean, some clients do, but as a whole, they’re not really concerned with how the sausage is made. They just want the sausage.

Andrรฉ Foster:

Exactly. Yeah. I think it’s kind of a bougie kind of attitude, like some artists take. I kind of get it. Well, when I say that toward using it, and I kind of get it. And I think there is a lot of training that goes into what we do, because I have an illustration major. That’s what I went to school for, so I understand the fundamentals and the foundations of it. I know it takes a lot of time to be able to get good at that and to understand it.

But what’s interesting is that with AI, what I see nowadays, I feel like everything kind of looks the same. And I can always tell when somebody who doesn’t have any traditional training, they’ll just put stuff out just because they think it looks cool. But I can see all the different things that’s wrong with it, right, because they haven’t developed that type of taste when it comes to design. Like, you can type in anything into Midjourney and have it spit out something, but if you don’t know how to filter it out and figure out, like, well, this image doesn’t look good, or whatever, that kind of goes back to how you’ve been trained traditionally. But if you’re just putting stuff out left and right, you’re kind of giving yourself away, like you really don’t know what you’re doing. Just typing in prompts.

Maurice Cherry:

Yeah, I mean, at the end of the day, it’s another tool to use as the designer. You have the discernment, you have the eye, you have the experience to be able to kind of know what to look for, and know how to craft it in the right way. I do see…a lot of the AI art does have the very similar just sort of style to it. Like, you can look at something and just tell, like, “yep, that’s AI”.

Andrรฉ Foster:

Yeah, it’s a dead giveaway. It kind of reminds me of when…and I’m actually old enough to remember when people used to use airbrush. I remember when airbrush first started coming out and the look of airbrush was so different than, like, a traditional brush painting, and it had kind of that slickness and that real smoothness and stuff like that. And I think there was a lot of people who at least back then, thought that, well, it looks too perfect, it looks too generic, or it looks too whatever. And even back then, people were, like, just getting on airbrush artists like, “well, why don’t you just learn how to paint?” But it’s funny because I kind of see it happening now with AI, because it kind of has that same thing happening. It feels the same, and it doesn’t have any soul to it. That’s why I say I think anything that you use or have come out of Midjourney, you should be able to try to put yourself into it because that’s where the personality comes in.

Like I said, just make it honorable and make it your own and just enhance on it. Because, again, I can’t say this enough. It’s really only meant to get you halfway there.

Maurice Cherry:

Yeah. Like I’ve used ChatGPT. I haven’t used Midjourney or DALL-E for any of the other sort of image generation ones I have done. Like, I think this might have started a little bit last year when people were getting all of those AI profile pictures made. And it was so funny, the conversation around that at the time, because folks were like…one, they were astounded that they had to pay for it. They were like, “what do you mean I have to pay? Like, it’s $8. You paid $8?” And, I mean, not even a lot of money.

Like, $8 is not a lot of money. But people were, one, astounded that they had to pay, and then two, the way that they talked about the quality was just sort of weird. Like, some of them, of course, the art looks like the person. Some of them it doesn’t, because you’re not working with an artist, you’re working with an algorithm. So what you get out of it is what you put into it in that aspect. But, yeah, it’s now hit the mainstream in a way. I haven’t used any of the larger tools, like I said, DALL-E or Midjourney, but I think I want to try to get started with them just to see what it’s like.

Andrรฉ Foster:

Yeah, it’s fun, don’t get me wrong, because I think what I have seen is a lot of people who use Midjourney who I think maybe got sidetracked with life, and maybe they weren’t the best drawer or maybe they weren’t the best designer. And I think that program allowed them to just really tap back into that creative side. And I can see the excitement behind that, and I really do, because it’s just ignites that part of them that just kind of went away because they didn’t think that they were good enough. I think you need to be responsible with it, too, and just understand that it is a tool. It’s not really meant to replace anybody.

Maurice Cherry:

Right, absolutely.

Andrรฉ Foster:

Yeah.

Maurice Cherry:

So let’s kind of change it up a little bit here. You mentioned being in Detroit, so I’d love to just kind of know more about you personally. Are you from Detroit originally?

Andrรฉ Foster:

Yeah, born and raised in Detroit. On the west side. West side of Detroit. I got all of my education here in Detroit. It’s funny because when I go to different places like New York and Chicago, people used to or even on the West Coast, I would tell people I was from Detroit, and they would always kind of give me this “oh, wow, you from Detroit?” Like…and this is pretty much why you still have kind of this negative connotation about Detroit.

Maurice Cherry:

Yeah.

Andrรฉ Foster:

So it’s apparent to me, like, they haven’t been here, like, how it is now, as opposed to what it was back, like, maybe 20 years ago for something like that, or maybe even ten years ago. Because it’s different from ten years now. But I’m proud to be from Detroit. I think I embrace everything that it is to be a Detroiter. I love the swag that we have, the kind of blue collar, hardworking feeling that I think everybody who is from Detroit, they carry with them. So every time when I go out, I just try to represent Detroit the best way that I can.

Maurice Cherry:

Now, growing up in Detroit, were you always kind of interested in design and animation and that kind of stuff?

Andrรฉ Foster:

Yes. I owe a lot to my mom because she really was the one that got me involved into…I think it was Saturday afternoon drawing classes. She saw me drawing a lot, and I was a big comic book collector, too. So what I would do, I would actually trace the panels of the artists that were drawing in these comic books. So she really saw that I love to draw, and then I had just a real passion for it, but she was the one that really just kept on it and kept me going and got me involved in a lot of different after school classes, you know, as I said, Saturday classes, it just kind of kept going. She was also the one that really boosted me up. She was the one that kidn of, and I like to say that, she ordained me to be great. And I think every parent should do that with their kid. You’re like, you know, “you are going to be great one day.”

Sometimes when you say that to your kids, they look at you like, “yeah, whatever.” They just kind of blow it off. But whether they know it or not, I think subconsciously, when you have somebody that keeps telling you that, it does stick with you; it just really does make you kind of carry yourself in a different way. And it makes you a little bit more…a little bit more passionate about what it is that you do, because you kind of have this expectation put on you. So I think that what my mom did is she really put that expectation on me. She used to drive people crazy, like, just random strangers. I remember one time she had a guy come by the house to fix, like, the furnace or something like that, and he came in, did this thing, and I remember he was getting ready to leave, and so she said, “oh, wait a minute, wait, I want to introduce you to my son.” And so he’s just looking there, standing there, waiting to get his check.

He said, “this is my son.” And then she held her hands out like, “this is my son, the artist.”

Maurice Cherry:

Wow.

Andrรฉ Foster:

And the guy was…I remember the guy was like, “okay, great. Yeah. All right, can I go now?”

Maurice Cherry:

No, I love that. I love that mom was bigging you up. That’s good.

Andrรฉ Foster:

Yeah. Back then, like I said, you really don’t pay attention to it or almost even kind of annoyed by it. But I’m really appreciative of her for doing that because even still to this day, I carry that kind of confidence in my ability and just that expectation. Like, I want to be better than what I was yesterday. I want the studio to be better than it was last year or even last month. I carry that with me.

Maurice Cherry:

Now, you talked about, you know, also being educated in Detroit. You went to the College for Creative Studies where you studied fine and studio arts. What was your time like there?

Andrรฉ Foster:

My time there was interesting. I was so focused and so determined to be as good as I could while I was going there. What was interesting, too, is that I was working part-time when I was going there. So I actually went to art school for like nine years.

Maurice Cherry:

Oh, wow.

Andrรฉ Foster:

Yeah. So it was a long time, and back then, CCS wasn’t as diverse as what it is now, so it was majority white, and I was really the only Black guy in these classes. It was interesting, but I was focused, but I was also very competitive. I remember thinking that every time I would go into these classrooms with these other students and this is going to sound really bad to say this, but I wanted to destroy everybody in that classroom. I’m pretty competitive, but when it comes to the craft in a good way, competitive in a good way. But I didn’t really want to destroy them. I just wanted to show what I can do.

Maurice Cherry:

Yeah, I mean, from the numerous people I’ve had on the show have told me that art school is super competitive. So that makes sense.

Andrรฉ Foster:

Yeah. Especially only a Black guy, too. A little bit extra on top of that. It was an interesting time. I think it went by fast even though it was nine years. But I learned a lot. I was able to foster some good relationships from my time there. Actually, one of my mentors, that’s how I met her, because she was teaching her Laura Parloff. I want to give her some love. But yeah, she was a big influence to me while I was going there. Still to this day, she’s a big influence. So I was able to pick up a lot of good key relationships from my time there.

Maurice Cherry:

Yeah. And I mean, you were also there during a time when I feel like the industry was starting to embrace technology and computers as part of the craft. I feel like that probably definitely was a big part of your time there, right?

Andrรฉ Foster:

Yeah. It’s funny because when I came up, I was right there at that transition where people started using Wacom tablets. And I remember for a long time I didn’t want to use a Wacom tablet. I didn’t really want to use a mouse to draw on a computer because, believe it or not, people used to use a mouse to draw on a computer. I would just scan in my drawings and then just take it into Photoshop and try to manipulate them. That way. Before then, I would do storyboards markers. I’ll be surprised if I know what markers are, but I used to draw with them and know, do it the old fashioned way.

So when I was coming out, when I first started going to CCS, that’s when that whole big transition started happening. So I was able to have kind of the best of both worlds, that traditional kind of upbringing, and then really just seeing the new beginnings of the new technology happening. So I feel pretty lucky. It’s funny because I feel like it’s happening again. It’s always constantly happening.

Maurice Cherry:

Oh, yeah, absolutely. I’ve talked about this on the show before, how this time right now, when people are getting into using AI tools and the metaverse and all that sort of stuff, reminds me so much of just like, the early Web and people trying to figure out, well, should I even have my business online? And how do I design a web page? And all this sort of stuff. Like, it’s parallels to it as the technology innovates, I guess.

Andrรฉ Foster:

Yeah. And I remember when I started at Skidmore, when I graduated from CCS, I was the one who was teaching some of the older artists how to draw in painter and photoshop and stuff like that, because they were kind of like from the old guard. They would paint with traditional brushes and use traditional paint to make these beautiful paintings. I think when I first started there, that’s when they knew that, oh, wow, I got to learn this shit too. I got to learn something new. I spent all these years trying to get as good as I am. Now I got to try to switch gears up a little bit. But, yeah, I feel very fortunate that I did come up the way that I did because, like I said, I was able to kind of experience the best of both worlds.

And I think it allowed me to be open or even just know that nothing stays the same. You can’t get comfortable. You have to just keep learning. Learning. It’s just an ongoing thing, right? And you don’t ever want to be dated and you don’t want to be me. Just not relevant.

Maurice Cherry:

I mean, I think that’s something now, again, to bring it back to talking about the AI tools and stuff, I’m starting to get my feet wet using some of it, just because I know that anybody can, I think, look at the news and see how much technology has been implementing all these AI features. So clearly the industry is moving forward with it at a pretty fast rate. So I’m like, “well, I need to get on it. I need to see what it’s like.” For me, I’ve started out with just doing ChatGPT and just trying to get really good at using it and prompts and stuff like that. But I want to get into DALL-E and Midjourney and just sort of see what I can come up with. I know that there are some other folks I’ve seen on LinkedIn that have been posting a lot of their experiments with it and it looks amazing. It looks amazing.

Andrรฉ Foster:

Again, it sparks that creative juice within you. And I think what probably was happening, like some of the tools kind of prevented the creative to keep going. And what I mean by that is, let’s say, for instance, because I’m a Maya guy — so I work in Autodesk Maya, which is like a 3D program — which anybody who ever uses Maya knows that it is a deep, hard program to get into. The biggest thing that I had to learn is that working, especially in 3D, is that it’s different in a traditional sense because you have to wait to see the result. There’s like steps to it in a lot of different ways. It kind of deters the creative because you do have to wait. And I think the creative happens. It really lights fires when you’re able to just keep going and just keep going at it.

You don’t really have to think about it too much. Yeah, I think that’s what AI does. It just kind of helps speed the process up and it makes your imagination go wild. You don’t have to wait on stuff like you used to do or still do in some cases. So I do understand the allure of AI, and AI is not going away. So people should just realize that and accept it. And I don’t think you definitely don’t want to be the person who is going to be left behind with that because I think you should understand it enough to where you can use it. You don’t have to get deep into it.

But again, like I said, you don’t want to be left behind because it’s not going away. You just won’t be able to understand the technology and how to use it for what it is that you do. This already is a big part of our lives and AI really hasn’t just shown up on the scene. I mean, it’s been around since the 50s. That’s what a lot of people don’t understand. Yeah, there’s nothing really new. It’s just a little bit more prominent with some of these newer softwares that they’ve come out with.

Maurice Cherry:

Yeah, I mean, artificial intelligence is a broad field and if you just think about all the different ways it’s been implemented, I mean, you could say spell check in a way is kind of a form of AI. Or Photoshop, like content-aware fill or anything like that. So as the technology has gotten more advanced, we’ve just been able to innovate and continue to iterate upon it. So it’s been here for a long time, I think certainly a lot of people have been using it for research purposes and things like that. But now that it’s really gotten into the mainstream, people think that it just happened overnight. And it’s like, “no, this has been here for a long time.” Facetune, all that sort of stuff has been here for a long time, which is all parts of AI. It all falls under that umbrella.

Andrรฉ Foster:

Yeah, that’s the part that they kind of leave out or they really don’t say enough. And just going back to Midjourney. When Midjourney first came out, I remember I started messing with it and I started typing in some stuff. And some of the stuff that I would get back blew my mind because it’s stuff that I would have never thought about doing. Or even if I went on Pinterest to try to search for a certain image, it would never have given me what I was getting out of Midjourney. It actually sparked something in me. Like, there was one time I was getting pretty good at Midjourney, and I started understanding the language and prompts and stuff like that. And the images that it gave me actually sparked an idea for a series, I guess you would call it, like an FX series, like a really kind of hardcore streaming program.

Some images that I got back, it put me in the mind of Frankenstein. I was like, it’d be cool to have a show based off the story of Frankenstein, but told in a modern way, like set in the 70s, because some of the images that I got back kind of felt like that. So it sparked an idea; it sparked that whole thing. And actually the outcome of that is actually on our website, it’s called Suture. So if your listeners go to that, they’ll be able to see some of the images that I got out of Midjourney that sparked the whole idea. And I did like a whole intro for this imaginary show based off the Frankenstein story. Well, it was pretty wild, though.

Maurice Cherry:

I’ll make sure that we put a link to that in the show notes so folks can go and check that out.

Andrรฉ Foster:

Yeah, yeah, it was pretty cool.

Maurice Cherry:

Now, after you graduated from college for Creative Studies from CCS, you kind of went straight to work. You began working at Skidmore Studio, and you were there for 16 years, which is amazing to think about just in terms of tenure. I mean, before we recorded, I was saying how it sort of felt like the second graduation for you in a way. How did you sort of first learn about them and overall, what was your time like there?

Andrรฉ Foster:

Actually, when I first heard about them, it was through my teacher, Laura Parloff, and she actually had owned her own studio. It was called Color Forms back in the day. And she was actually their competition, Skidmore’s competition. And I actually wanted to go work for her studio because I thought her studio was really cool. She had a pool table; that was a big thing for me. I’m like, “wow, they actually got a pool table in the studio.” And I was like, “I wish I could work here.” And plus, they had a lot of the great artists working there.

But she told me that I should go to Skidmore because she thought my style was more in par with what they did back then. So that’s how I really found out about them. And then I did, like, a class trip to Skidmore and did the whole tour thing. After the tour was over, I actually requested to see if I can come back and show my portfolio. I did that, and I showed my portfolio to the owner and a couple of other creatives that worked there. They was very impressed, and they said, well, we think you’re very talented, and we would love you to join our team. And so it was just that quick. So I was like, “wow, all right.”

When I started working there, I started working in the matte room. For those of you don’t know what the matte room was…it was just like an internship type deal. So you’re not actually working on any real projects just yet. You’re just framing the work that went out. You’re doing the packaging, and you’re going on runs and stuff like that and getting coffee. But again, I was very determined to just try to fit in with these guys and try to be valuable with the studio. So, yeah, I think maybe after probably about a year or so, I got promoted to be on the board of illustrators, which was a big deal for me. I remember just feeling like, “wow, actually, I have arrived”, because the artists that I was looking up to, these guys were like, gods, the way they painted.

And mind you, this is nothing on the computer. This is all hand-painted stuff. But some of the images that they did was just beautiful. And I was like, “Man, I got to learn how to do this and figure out how to learn from this as much as I can.” Yeah, so I learned as much as I could. I was asking a thousand questions and kept getting better and learning new techniques. So the years flew by and ended up going from ten years to 15 years to 16 years.

Maurice Cherry:

I mean, clearly you were doing something right and making a real impact there to have been there that long.

Andrรฉ Foster:

Yeah, I was pretty focused. I think I’ve always been pretty focused, but I think they saw in me that I was ambitious and that I was talented. And then I was able to contribute to the service that they offer. Because back then, Skidmore worked with a lot of different agencies. So I was able to kind of cut my teeth with the whole industry world just by working through Skidmore and seeing how that whole thing goes. So I did a lot of storyboarding, understood the technique behind that, what makes a good frame, what makes a good composition. I learned a lot from storyboarding. Dave O’Connell — I want to give him a shout out because he was my mentor back then at Skidmore. He was like the head storyboard guy. So he kind of took me under his wing, and then he showed me what to do and what not to do and how to make an image sing and make it as good as he can try to make it.

Maurice Cherry:

Are there any sort of projects in particular that stand out to you during that time? I mean, 16 years? I know you probably worked on a ton of things, but is there anything in particular that you really remember?

Andrรฉ Foster:

Yeah, I think it was a couple of ones that kind of stood out. I remember doing a illustration for Mazda. It was a campaign called Zoom Zoom. And I don’t know if you remember that.

Maurice Cherry:

Oh, I remember that. “Zoom zoom zoom.” Yeah.

Andrรฉ Foster:

And I did the illustration of the little “Zoom Zoom” kid. Then I had the car flying by him. That was a big thing for me because when I first went to Skidmore, I didn’t really know how to do cars that well. But when I went there, I feel like every artist there knew how to do a car really well. So I was able to learn from them, and then I was able to apply that to this image. So it kind of stood out to me because that was like one of the first true advertising works that I did that actually that was put out there, that had a car in it that was illustrated and they used it. So that one stood out.

I’m trying to think of anything else. I’m pretty sure it was a lot, but just working on storyboards for Blockbuster. Remember Blockbuster with a little…I don’t know if it was a hamster or I think it was two hamsters or something, that was right across the street from a Blockbuster Video store? I remember doing storyboards for them for that whole campaign. It was just cool to really work on a lot of big name stuff back then Blockbuster Video and Mazda and a lot of other big brands. But the Mazda one, I think that really kind of sticks out because that was like my first real commercial piece that got featured.

Maurice Cherry:

Now, when you were at Skidmore, again, you were there for 16 years, but when did you get the idea to start your own studio?

Andrรฉ Foster:

It was something that was kind of always in the back of my mind. The guy that I kind of befriended at Skidmore, who was actually my business partner now, Guy Allen, we would kind of talk about it here and there because I think at that time, skidmore was kind of going in a little bit of a different direction than what we would have liked to be involved in. So it was always kind of rumblings between him and I, like, we should do our own thing. But in 2016, something happened, and it kind of gave us an opportunity to really go about making it happen. I think in February of 2016, we told our boss, “hey, we were thinking about going on our own.” That’s what we did. He didn’t like it that much. He thought, well, because I was there for such a long time, and he didn’t want to see us go, but he tried to keep us there, but he know our wishes to try to branch on our own and do our own thing.

So hats off to him. Tim Smith — may he rest in peace. He actually passed away not too long ago. But, yeah, it was tough, man. It was a big decision because I had been there for so long, it is, like, all I knew, but I knew that if I stayed there, I wouldn’t have been happy because of the direction that they were going in. I just wanted to just be my own boss. And Guy, he felt the same way, and he said, “this is our chance to just really craft something or make something on our own, to really just put something out there that we’re both proud of in terms of the type of work that we want to do.”

Maurice Cherry:

And now you’re doing it.

Andrรฉ Foster:

Now we’re doing it, yeah.

Maurice Cherry:

What are your plans for First Fight for the future?

Andrรฉ Foster:

I really want to try to expand our brand and our reach as much as we can more globally. I really want to try to hone in on the service of digital strategy. I think we got the content part down. It’s just really the execution of the marketing of that idea, and I want to make sure that we were able to offer that to our clients, because I think that’s a big thing for us. I just want us to be more of a complete studio.

I don’t want to say the A word — the agency word — because I think when you say agency, there’s kind of not all the time, but there’s kind of a negative connotation when you say agency just because there’s so many different layers of different folks that you have to go through, especially when it comes to the client for them to get their message across. So I just want to make sure that we stay as intimate and more hands on with the work for our clients, but also let them know that we can really expand their voice and their messaging, and we have the know how to go about doing it. So I really want to just make sure that we expand on that more and get that more known as far as what First Fight can do.

Maurice Cherry:

Now, being from Detroit, born and raised, educated in Detroit, you’ve built your career in Detroit. How has the city influenced your approach to the work that you do?

Andrรฉ Foster:

Yeah, I think it’s an influence because I think Detroit has kind of always been like the underdog to a lot of different places. We were saying earlier, like how when you go out well, at least when I go out of my region here in Detroit, there’s kind of like an eye raise when I tell them that I’m from Detroit. But I kind of wear that proudly now because I think I like the idea that we are the underdog and that we’re always trying to prove ourselves and we’re surprising people that we do have all this talent here in Detroit. They can do all these amazing know. You may know Detroit, but you really don’t know Detroit. So I always like to surprise know that way.

Maurice Cherry:

How would you describe the city’s creative community?

Andrรฉ Foster:

Yeah, the creative community here in Detroit is really good. I think what you’re seeing is kind of a renaissance of that. And I think Detroit has always been a pretty creative city anyway. But I think the automotive industry has kind of overshadowed that a little bit. I think people have found other ways to express themselves creatively other than just designing cars and whatnot. The technology also has been used here. The new technology, whether it’s self-driving cars or if it’s the half-res well, not the half-res, but the New Labs is what I’m trying to say. New Labs is a new tech sector here in Detroit that’s really blowing up.

And what’s cool about is that the creative community has kind of been driving that because it doesn’t always have to be automotive based. There’s other different sectors that you can know express yourself in. The scene here in Detroit has been great. I love it. I love the city now. How it is, what it’s evolving into right now has been exciting for me to see because I’ve been here since day one. The last probably last ten years has really just taken off. So I’m just very excited about what’s been happening here.

Maurice Cherry:

What do you wish you would have been told about this industry when you first started?

Andrรฉ Foster:

Patience is a virtue, especially with the motion industry, motion graphics industry. I would have loved somebody to tell me that what you do is cool, but there’s like 20 other people, or not even 20, like 1000 other people that can do the exact same thing. And it could probably do a little bit better. And I think when I first or when we I should say we when we first got into this, me and my partner, I think we went into it with a little bit of a naรฏvetรฉ because I think what we thought was really cool to us was groundbreaking. But we found out that that’s not always the case. It’s really just understanding that you have to try to figure out how to make yourself different and how do you stand out from the rest. So I wish I would have known that more back when we first started this to really hone in on that. And I think we have honed in on that since then.

What makes us different than other creative studios? Yeah, but I wish somebody would have just told me that you have the talent, you have the ambition, but you really got to hone in what makes you different, because there’s a lot of noise out there and it’s hard to really just set yourself apart from the other creators.

Maurice Cherry:

Do you have a dream project that you’d love to do one day?

Andrรฉ Foster:

Yeah, I would love to do the intro to the next James Bond movie. Yeah, I’m a big James Bond fan.

Maurice Cherry:

I could see that from your photo. I can 100% see that.

Andrรฉ Foster:

Yeah. I think in my mind, I’m kind of like the Black James Bond. They kept talking about getting Idris Elba to do it, but I think I could probably do that.

Maurice Cherry:

What’s your favorite Bond movie?

Andrรฉ Foster:

Not the one that just came out, but the one before that.

Maurice Cherry:

Was that Skyfall?

Andrรฉ Foster:

Yeah, I think it was, but actually, I take that back. I think Casino Royale was probably my favorite one because I like Daniel Craig. I love what he brought to that role. But when I was coming up, Roger Moore was like, that was my James Bond. Because he was, I think, that was back in the 80s, I think. But it was really cool because I felt like with Casino Royale, it kind of got back to that what the genre was really about. It was making him well, also just making him a little bit more human and a little vulnerable.

I thought that was really cool. So I think Daniel Craig was able to kind of pull that, um, when he had the baton.

Maurice Cherry:

Yeah. I’m looking it up now. Spectre was the one before; the latest one was No Time to Die. I saw that one. I thought that one was pretty good.

Andrรฉ Foster:

Yeah, it was kind of interesting because I was like, well, I wasn’t expecting them to kill off James Bond.

Maurice Cherry:

Yeah.

Andrรฉ Foster:

And I hope I’m not spoiling it for anybody, but yeah, it was interesting for them to do that. I guess when you think about it, 007 could be anybody. It doesn’t necessarily have to be that character. So anybody can wear the 007.

Maurice Cherry:

They did. They brought in a new person. They brought in Lashana Lynch. She played 007. I don’t know if they want to continue having her as Bond. That could be interesting.

Andrรฉ Foster:

I would love that. That would be interesting. Yeah.

Maurice Cherry:

I would love to see kind of just what they plan to do with it. Because I haven’t read the books like the books from John le Carrรฉ, but I feel like Bond has to be of a certain age. I know there were Idris and other folks were kind of being sort of bandied around for that particular role. But Bond is what, maybe like in his 30s, perhaps?

Andrรฉ Foster:

Yeah, I think so. And what’s interesting, too, is that any actor who thinks about taking on that role, I think they have to sign a contract that says you’re basically going to give the studio ten years out of your life to play this character. So it’s definitely a commitment. And yeah, I think they need to at least have someone who’s young enough who can kind of age into the role. So they’re 30 or maybe 40. Even 40 is probably pushing it a little bit. But yeah, that’s why I think I know. I keep hearing rumblings about Henry Cavill to play him. I keep hearing that his screen test was, like, off the roof.

Maurice Cherry:

Really?

Andrรฉ Foster:

Yeah. They keep talking about how good he was in it. So it’s going to be really interesting to see what comes from that. It’s interesting because it would be nice to try go in a little bit of a different direction with the character, whether it’s a Black woman or even a Black man. It’d be interesting to see what comes from that, what that will look like.

Maurice Cherry:

I think that would be really interesting to see how they plan on sort of pulling that off, especially now with all the technology and stuff that comes with Bond. It feels like they’re always upgrading him into some new sort of tech or new sort of scenario or environment or something like that. I could see Henry Cavill doing that. And also, he was in the Mission Impossible movie. Not the one that just came out, but the one before that. And he was in The Man From U.N.C.L.E.

Andrรฉ Foster:

Yeah, he was.

Maurice Cherry:

So he’s done spy stuff. I mean, I could see that. I could see that.

Andrรฉ Foster:

Yeah. If they do go with him, I just hope that he’s able to bring something unique to the character because I think Daniel Craig was able to do that. I mean, for a long time. He’s probably really the only one that was able to do that to bring something a little extra to that character. So I’m hoping that if they do go with him, that he’s able to make it his own and make it different.

Maurice Cherry:

Well, James Bond aside, where do you see yourself in the next five years? Like, what kind of work would you like to be doing?

Andrรฉ Foster:

I want to really become a better business person. What I’ve realized in the seven years that I’ve been co-owning First Fight is that there’s definitely a business component to this thing. And I think the creative is just one part of it. But the business part is something that I really want to get better at.

And I think I have gotten better at it because there’s definitely a science to it. There’s the whole networking part of it. There’s the constant putting yourself. Out there. It’s a lot to it. So I just want to become a better businessman within the next five years. Then also, hopefully, along with that, as I get better at it, first fight will be better as well, and then we’ll be able to have more of a bigger reach in terms of what we can offer our clients and even our potential clients. Yeah, just becoming I feel like as I get better, First Fight will get better.

I think that’s what I want to try to be in the next five years, just a more complete businessman. I don’t know if you can say complete businessman, but just definitely better.

Maurice Cherry:

Yeah, I feel you. I mean, I remember when I was starting my studio, I didn’t know anything about business. I just had this sort of notion. I was like, I’ve been designing for a few years. I could do this. And there was so much in those first, I’d say probably in the first five years, that I just was like, I had no clue on how to run a business. I knew how to design. I knew how to make work for clients. But running a business and then having employees and payroll and all this stuff? I was, like, right over my head. I learned it eventually, but it was definitely like a trial by fire process. So I feel you.

Andrรฉ Foster:

Yeah, it’s a lot of stuff that pulls at you because I still do the work within the studio. So it’s always frustrating to me where I’m constantly getting pulled from that, because either I’m just trying to pay attention to what this artist is doing, what this checking up on this email, checking up all the status of this project, and constantly doing that on a daily basis. It’s hard because at the heart of it, I am a creative, and I would really just love to be in a corner and just say, leave me alone. I just want to draw something.

Maurice Cherry:

Yeah.

Andrรฉ Foster:

I don’t want to get any more emails. I don’t want to get any more phone calls. It’s a lot. But I’ve learned to and it sounds kind of funny to say this I’ve learned to really embrace that, and I’ve actually liked the challenge of it. So that’s why I said I want to become better at it and just try to find a real nice balance between that businessman and that creative. I think the payoff is what you’re always trying to go after, like, wow. And it’s kind of that hunter-gatherer mentality. Like, if you do go after work, the payoff is that, oh, when they say yes, or if they give you a direct award because you’ve just been after them for so long.

I do like the rush of that when it does happen. But ask me, like, maybe ten years ago, the same question. I don’t know if I would have said the same thing. It’s just funny how you kind of change your perspective on things as you do this, as you go into the business part of it, because as creatives, I think most creatives are introverts for the most part. And I feel like I can be both. I can be extroverted when I need to be, but for the most part, I’m introverted. I get recharged when I’m by myself and just working on what I need to work on, but I can flip it. And I think over the years, it’s kind of changed because I can definitely become that guy, go after work or just do a cold call and say, “hey, we can do this, we can do that. You should use our studio”, which in itself is like unheard of, especially for an introvert. But I think when you’re able to do both, though, I think you have to do that if you’re going to try to become a businessman in this industry, especially if you’re going to try to own the studio, because you just have to constantly do that.

Maurice Cherry:

Very true. Very true. Well, just to wrap things up here, where can our audience find out more information about you, about the studio and everything? Where can they find that online?

Andrรฉ Foster:

Your listeners can go to firstfight.tv. You can find our work there. You can also follow us on Instagram and LinkedIn. Just search for First Fight and not First Flight because sometimes we get that a lot. So it’s First Fight TV, it’s where you want to go to see our work and go to our site.

Maurice Cherry:

All right, sounds good. Andrรฉ Foster, I want to thank you so, so much for coming on the show. Thank you for putting Detroit on the map, for helping to put Detroit on the map creatively. Like you said earlier, you’re the only Black-owned studio that’s doing this kind of work, and I think it’s something that more people definitely need to see, especially, I think, at this time when the power of the creative voice is being uplifted in ways like whether we’re talking about unions or writers or things of that nature, I think people are starting to really see the value of creative work. And it’s good that you are doing this. You’ve been doing this now for over 20 years professionally. You’ve been working with some of the best talent in the business, working with great clients. I hope more people see that, and that really helps to kind of elevate the work that you’re doing. So thank you so much for coming on the show. I appreciate it.

Andrรฉ Foster:

Thank you for having me. And this is awesome. Like you said, I just want to make sure that my story can resonate with someone else who’s even thinking about becoming a studio owner, and hopefully they can get some inspiration from this. And also, too, because you can’t become something that you don’t see, like a Black artist who’s even thinking about owning a creative studio or even going into animation for motion design. Just know that there are other people of color who are doing, you know, I want to be one of those people that can, you know, we’re here and you can do it too.

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Ethan Baldwin

It’s no surprise that designers like working on projects that allow them to fully display their creativity and talent. For Ethan Baldwin, those projects just happen to revolve around what might not be considered that exciting by others — banking and finance. That outlook is one of the foundations behind Slash and Structure, his new brand strategy and visual identity design firm.

Ethan spoke about his passion for “making boring stuff less boring”, and how it’s been important for him to balance his artistic skills with other aspects of a career in design. We also talked about working in-house vs. being an external vendor, and Ethan shared how his education at Oberlin and his work in the agency and financial world in NYC helped shape his perspective as a designer and an entrepreneur. For Ethan, being involved in the creative process is about more than just making something look good — it’s about providing value, trusting the process, and staying connected to your craft!

Interview Transcript

Maurice Cherry:

All right, so tell us who you are and what you do.

Ethan Baldwin:

I’m Ethan Baldwin. I am a creative director based in Brooklyn, New York. And this year, I have started a new brand strategy and visual identity design firm called Slash and Structure. So, say hi to me. I am a founder, entrepreneur, creative director, lover of all things beautiful and design forward and eye catching. Yeah.

Maurice Cherry:

How has the year been going for you so far since starting the business?

Ethan Baldwin:

It’s been pretty good. I always tell people that the only downside has been kind of like the demons inside of my own head and trying not to get into my way. But within all the situations where I’m able to push forward and really focus on what I’m trying to accomplish, it’s all been pretty successful. It’s been such a joy to work on crafting something that I’m building from the ground up. And I’ve been working with some amazing clients so far. I’ve got to work on some very cool projects and it’s nice just being able to, what I say, raise this baby from birth. Yeah.

Maurice Cherry:

Is there anything that you want to try to accomplish before the year ends? I mean, this could be business-wise or not.

Ethan Baldwin:

I would say from a very business specific standpoint, I want to basically up my monthly run rate. We don’t need to necessarily talk about specifics of numbers, but I do think having that kind of like, business financial goal in mind is incredibly important. And really I want to have an established four to six clients by the end of the year that I can see that longevity with. Like really kind of like…I will say the partnership feels like a family. It’s all still very new. We’ve got some great relationships. So it’s all about building those connections outside of the work itself.

Maurice Cherry:

Well, you know, since you talked about your studio Slash and Structure, let’s dive more into that. What was behind the idea of you starting the studio?

Ethan Baldwin:

Yeah. So I worked as a visual designer for many years now. I got my start in advertising and then after freelancing for quite some time, I mainly started working on the client side of things, working either for design teams or designing for marketing teams. Also a little bit of product work, but after my last job, that job fell through. Got let go. Kind of like that post-pandemic…I’ll say, like, that post-pandemic bubble kind of burst. I realized I didn’t want to be in an office anymore unless it was the group of people that I really felt that I could build a team or family with. There was a product that I was super passionate about, but really I just wanted to create something that really tapped into my design methodology, like the way I run projects and the way I see the world.

And given all the places that I’ve worked in the past, I knew there was something that I can tap into based on the way I do think that could be of service to people, and I could be of better service doing it from my own firm versus trying to do it and change things from inside another corporation. So that really was the impetus to start the company. And the name Slash and Structure. Slash has always been in kind of like my artistic forward usernames for many years now. And it always kind of stemmed from…I do this, I do design programming, I do print, digital. And there is always that push that I got from people, like, “you really need to niche down. You really need to focus on serving one particular audience.”

And it was a lot of figuring out how I can do that. Again, you want a good business to serve a specific audience. But just being me and having this brain that wants to pick up on so many things, my experience got me to where I am by being able to pick up a whole bunch of different skill sets and talents and interests. So having that slash in there, being able to see a whole bunch of different either types of mediums or types of industries to really get people to focus on what their goals are and what their content is and how I can then put visuals on top of it, I guess that kind of became the throughline for all of my work. It’s really about helping people figure out what it is that they want to do or build or sell, and I can apply a number of different mediums or modalities to help them achieve that.

Maurice Cherry:

So you’re bringing basically to their project…slash structure?

Ethan Baldwin:

Yeah. (laughs) In my business, the slashing is going through whatever they have so far. So usually when I’m working with the client, it usually starts like, “I want a website,” or “I want a motion graphics piece,” or “I want this set of collateral.” I’m like, “okay, that’s all well and good, but we need to figure out who you are, what you’re about, what you’re trying to say.” And so that’s another play on the slash part. We take all of the stuff that you’ve kind of set up for yourself. We slash it all apart. We look at what all the individual pieces are and we figure out how to put them back together in a way that makes sense for you and for your audience or for your desired customers.

And then the structure comes after. The structure is building those systems in place, giving you the platform that you need and then giving you a way forward that’s scalable. Because at the end of the day, while I want to keep all of these partnerships, my biggest thing is I want to build solutions — design based solutions — that clients will use on their own if they need to update their content on the website. I make sure that the sites that I build have a robust CMS so that they can update their own content, they can change their own pictures. Because it’s always those little things that clients tend to get so wrapped up about. And I’m like, that’s the least important part of all of this process. That’s the least important part of your growth.

I want to make those things as easy as possible. Clients can focus on building their business and talking about themselves and really figuring out who they are and getting that out there.

Maurice Cherry:

How’s business been going so far?

Ethan Baldwin:

Pretty good. A bit of a, I would say…there’s like that standard slowdown in the summer. And to be perfectly honest, a lot of that was mainly coming from me. I needed to take a break physically and emotionally. As I was talking about, I had a nice little vacation this summer, went away for three weeks, and now I’m kind of getting back into the swing of things. And it’s weird because as much as I needed that break, I have missed that energy of bringing in new clients and working on multiple design projects simultaneously. It’s an ebb and flow with the business. So this fall is going to be picking back up pretty…I would say pretty steadily pretty soon.

Maurice Cherry:

Are there specific types of clients that you prefer to work with in a particular area, like healthcare or business or something like that?

Ethan Baldwin:

I would say I like to focus on, in terms of client size, I like to focus on solo entrepreneurs or like very small teams that are just building, or larger companies that have a bunch of systems in place that they’re looking to improve upon. And I mainly focus on SaaS platforms, technology, anything that usually tends to have a whole bunch of data points, whether that be tons of customers or tons of product segments. But anything that tends to have a lot of data points that need to get organized and that usually falls inside of the tech and digital product space.

Maurice Cherry:

And I’d imagine that probably draws on your background too. I mean, prior to you starting Slash and Sructure, you were at Clear, which you mentioned earlier. So it’s kind of feeding into that in a way.

Ethan Baldwin:

Yeah. The majority of my experience really has been kind of working with a product or a platform that at face value can seem like very boring or everyday and figuring out ways to make it appear more luxury or make it more accessible to a wider audience, or just provide some clarity for people to understand it better. And in all of those places that I’ve worked with my clients now, it really goes to what I always call “what is your flag in the sand.” What is the one thing that you’re trying to say? What is the one person that you’re trying to reach? And finding that flag in the sand is hard because we naturally want to get as many audience — people in our audience as possible — reach as many people as possible, make everybody happy. These [are] things that I struggle with as well. The more that we find the specific person that we’re trying to reach and improve and serve, the better reach we end up getting, because the connections that we create in our business end up making more sense. We find the people that fit what we do.

Maurice Cherry:

What are some dream projects that you’d love to do through the studio?

Ethan Baldwin:

I would love to do a platform rebrand for some boring banking product or something in, like, I’m thinking of…these aren’t boring breaking products, but these new products that are coming out in the financial space like Chime or Rocket Money — these things that are finding, I would say, contemporary ways to do very boring tasks like bookkeeping. What is a way that those products can be packaged and presented in a way that gets people more excited about doing their monthly bookkeeping keeping or doing their taxes and not having this weird aversion to having to do all the boring stuff? I’m always trying to find ways to make boring stuff less boring because that’s how I have to function as a designer. If there’s a tedium, it is always hard for me to get started. So always looking for those types of projects — there’s that end. It sounds real weird, but I love doing annual reports; again, anything where I get to play with large amounts of data, making charts and making graphs and making those things move and ways that we can provide more understanding through visuals. Those are things that I really get behind.

Maurice Cherry:

Well, you know, I’d also say the other thing about even if you’re in the market for doing not necessarily annual reports, but things like that, you can really find a way to become a part of a company’s design budget or marketing budget. Back when I had my studio and I was really doing a lot of design work with clients, my main goal was I wanted to be a line item on the budget, because then that way every year, you know, you’re getting some kind of work as a retainer or something like that. But annual reports, email newsletters, like any sort of thing that you can do continually and build that relationship with them, it ends up being really lucrative for the business. But also it provides you as a creative a lot of stability in what can be a very unstable…I mean, striking out on your own is never easy. You got to find clients, you got to do all the admin work and stuff like that. But having that level of steadiness allows you to then explore other things either through your studio or outside your studio. But you always have that rock to come back to.

Ethan Baldwin:

Exactly. And it’s interesting that you mentioned the retainer model because that’s something newer that I picked up for my business and I’ve discovered in the past year that it really works for me. Part of it is exactly what you mentioned. Kind of like having that stable repeatable income coming in makes it easier to focus on growing the business or growing different projects in or out of the business. But from a client perspective, I like the retainer model because it allows me to grow with a client and really help them see and understand the creative process and specifically the identity creative process. Like getting into brand style guides, going like “this is why this purple shows up in all of these places”…having that ongoing design relationship with someone, you get those aha moments where they are starting to realize that “oh, that’s why you did that” as a creative. And so that’s how I kind of divide up my business.

I have kind of like the brand strategy, brand building side of things which is project-based and those are usually focused with smaller business or solo entrepreneurs that are looking to grow something from scratch. And then I have the retainer model, and those usually go with larger companies that are kind of like “we need someone to do X number of banners” or “do this video.” And what I’ve seen is that through that retainer process, it usually helps clients see we don’t need a lot of the dumb stuff that we ask for. It teaches them how to use more templates. Yes, you have me on a retainer and I will do whatever that you want me to do, but you probably don’t need me to do PowerPoint graphs all of the time. Once they see everything that’s capable and how things can be templatized and automated, they then start to focus on more of the big ticket projects that are going to give them more ROI. And that works for me because then I get to work on more interesting things.

Maurice Cherry:

I don’t want to say it’s a magic trick, but it’s kind of a magic trick in a way because sometimes companies don’t really know what they need creatively until they have a creative on staff. And then, as you’re able — that’s even in a freelance capacity — but then once you’re doing that work for them, they’re like “oh wait a minute, you can do this” and “we could do this” and “maybe we don’t need to do this.” They’re going to trust you also because you’ve built that relationship over time and it’s less of kind of this one off sort of thing that you have to try to win them over about.

Ethan Baldwin:

Exactly. And piggybacking off of that. One thing that I’ve noticed on going off on my own and working as a vendor for clients versus working in house. There’s this weird, I don’t know, mindset that when you’re working as an outside expert, there’s a heightened level of understanding or at the very least, respect for what it is that you do. Because for a lot of the things that I’m doing now, they’re the exact same things that I did at places working in house. But because to a certain extent, people are now coming to me to solve very specific problems versus just me being there to just, quote, unquote, “do things,” I’m able to get people to shift their briefs a bit better so they’re improved, or they’re like, “maybe you don’t need to do this. Let’s do this.” There’s more opportunity for rapport, and it’s weirdly because I’m not on their payroll, or I’m a line item, but I’m not on their payroll. It’s weird.

It’s like a mental shift where they feel like they can get more out of having this vendor relationship, like, more value from it. I haven’t been able to figure out what that is, but it’s one of the biggest things I’ve noticed after making this shift.

Maurice Cherry:

Value is good. I mean, never discount that at all.

Now there’s more about your career I want to get into. Of course, you’ve had a very prolific career, and we’ll get into that a bit later. But before we do that, let’s kind of learn more about Ethan. Let’s learn more about you as a person.

You’re based out of Brooklyn currently. Is that where you’re from originally?

Ethan Baldwin:

No, So I’m originally from Washington, DC.

Maurice Cherry:

Okay.

Ethan Baldwin:

And my whole family is from deep “dirty south” Aiken, South Carolina. But I’ve been in New York since I left college in 2006. So I feel like I can officially say that I am a New Yorker now.

Maurice Cherry:

Okay. Now, did you sort of always have this interest in design and everything growing up? Like, was it something that your family cultivated or anything like that?

Ethan Baldwin:

So, strangely enough, my mom is also a visual artist, so she was a photographer for the Smithsonian basically her entire career. She just retired about a year ago, and she’s also a fine art painter, ceramicist, and she does a lot of tapestry work, so she kind of like the idea of having all of these artistic hobbies, I would say, came from her being a multihyphenate, so to speak.

But in terms of a line of study, I actually started as a theater kid. Ever since I was little, I did theater. I did dance. I went to school. I joined the theater program and did that up until halfway through my junior year. And there was just a shift of, like, I’ve always wanted to create things, but I’ve realized I wanted to be more behind the scenes, and I wanted to create either physical things or things that just had a bit more, I would say, staying power that weren’t as ephemeral as a stage performance.

And I always had an interest growing up dance. I always had an interest in dancing, choreography, and my main goal I always wanted to do music videos.

Maurice Cherry:

Okay!

Ethan Baldwin:

That was kind of like the biggest thing that got me into the visual arts and why I jumped into advertising. I’m going to be that person who makes the next Gap commercial. And so that’s when I made that shift in college. And we didn’t have a marketing program at Oberlin, but I wanted to focus on making beautiful images. So my studio art focus was photography, and my senior thesis was a coffee table book called Ego Boost, and it was really just editorial photography for my friends. And the point was, I truly feel that everyone should deserve to feel like a celebrity for at least an hour. So I made this coffee table book, and then we made all these posters with all of my friends who modeled, and we put the posters around the school, and then we made these little collector cards that people could pick up. And then instead of having the thesis show in the museum, which was kind of standard, I had it in the student union and ended up making this huge white party, like Puff Daddy style white party.

And then I built these translucent, lit up walls to house all of my photography. And my friend from the dance group I was in, he had the DJ, and we had a bar. And it was the art world, but in a way that was fun and fit, like the community that I’m from. It had that performance piece to it, but it still focused on photography. It was very hip-hop focused, very focused around dance, but at its core, it was fun. The whole point is that all of this stuff is supposed to be fun.

Being a designer, being a creative, we have these jobs that make no sense. Think about it. But we’re able to tap into something that’s really kind of magical, especially in our clients, because we’re able to make those connections with things that people can’t necessarily verbalize or we can see something out in the world or can hear a piece of music or see watch a movie and have that be the foundation to build a whole bunch of new ideas. And we somehow made that into a job. It’s wild, but that’s what’s fun about it.

Maurice Cherry:

So while you were there, you majored in visual arts, and certainly this sounds like it was a visual art production in some capacity. How was your time there overall?

Ethan Baldwin:

It took me a while to appreciate Oberlin for the school that it was. I mean, it’s a great school, very hippie dippy school, but it’s also a school that has such a rich history, especially when it comes to what they’ve done for marginalized communities, what they’ve done for specifically Black people in America. And it’s also a school known for having this amazing conservatory. So even if you’re not a musically inclined person, you’re always surrounded by music and opera, great dance, theater. It was a great place to be specifically for the arts, considering that it’s not an art school. So, yeah, I fully appreciate being at Oberlin until I made that switch from doing theater and going into visual arts, because that’s where I really found that my creativity aligned with who I was.

Maurice Cherry:

Okay.

Ethan Baldwin:

I tell everyone “everybody should go to Oberlin.” It was a great school.

Maurice Cherry:

So Oberlin kind of pushed you in this other direction then, sounds like.

Ethan Baldwin:

Yeah, I would say Oberlin gave me the space to find that other direction because I didn’t know that I wanted to go into advertising. I can’t even really say that I wanted to go into advertising. I knew I wanted to dance, and I wanted to make videos. Like, when I was a kid in middle school, I would make behind the scenes music videos of the musical cast. So almost like Behind The Music before the High School Musical. I just wanted to do some sort of upbeat music media that, I don’t know, got people moving, got people dancing, and Oberlin gave me the space to figure that out. There wasn’t a marketing program. There’s a studio art program, but it wasn’t like a fine art program that you’d get at an art school or a design school. It really taught us how to find what our voices are, find what it is that we want to do, and then do that successfully.

I got a good amount of fine art training for photography while I was at Oberlin. Shout out to Professor Pipo [Nguyen-Duy]. He was the absolute best. But the biggest thing that it taught me was how to prepare a show, how to work on an outline, how to sell an idea, like how to fund all of the stuff that you’re trying to build. It strangely taught me a lot about the business of being a creative.

Maurice Cherry:

I mean, I think that’s a great thing to get in college, especially because from other people that I’ve talked with on the show that have went into design or they discovered design in college, business wasn’t really an aspect of that. I think there might have been one or two folks that I’ve had on where there was some sort of business component along with their design, but they ended up having to sort of pick up those skills later in the real world. Not in a very sort of, I would say safe — I mean, I think college is a safe environment to learn and to grow, in that aspect — but it sounds like Oberlin really provided that for you, though.

Ethan Baldwin:

Yeah, I would say as part of the senior thesis program, I think they pick it’s like 10 or 15 students. And one of the biggest projects is we do a big trip to New York, and you get kind of, like, fully immersed into the art scene, but really, like, the business of the art scene. So we visited all of these galleries throughout Hell’s Kitchen in Chelsea and met with all of these kind of curators and gallery owners. And it was really to teach us how to learn how to pitch. Like, how do you take whatever your artistic, creative idea is and make it so other people will want to fund it, someone will want to put it up, how to get your own ideas out of your head so that someone else can comprehend them. So we each had to — it was basically like a pitch challenge — we each had to learn how to pitch inside of the environment of an actual New York museum. It was scary as hell, but that was more important in the long run than any kind of fine art training, I would say. And I’m eternally grateful to the arts program at Oberlin for that, because anyone can pick up an artistic skill, a fine arts skill; but if it’s something that you want to make into a career, I always tell people 80% of my job now has nothing to do with me designing.

Maurice Cherry:

So once you graduated, you started working for an agency, working for DDB as a junior art director. Knowing that you had this sort of business skill that you had acquired from Oberlin, how was your time there? Like, what do you remember from that time?

Ethan Baldwin:

DDB was one of the best jobs I ever had, mainly because of the network that I built. The people that I met on that job, I’m still friends with a lot of them to this day. One thing I do want to shout out about that job is I got that job through the MAIP program or the Multicultural Advertising Internship Program. And MAIP is part of the 4A’s Foundation, and they just do amazing work with bringing awareness of the marketing advertising industry to students of color throughout the nation. So I owe a lot to that organization for helping me land that job. I got the internship through that program, and DDB hired me after the internship. And at DDB, I learned a lot about who I was as a creative. It was a very kind of standard house.

I worked on some very cool clients. I got do some storyboards for Diet Pepsi. My favorite project from that time was making a bunch of billboards for Subaru and then getting to see them get put up over the PCH. That was, like, one of the coolest things because something that I created was now 50 feet in the air. But I learned that there is a big difference — and it seems to be more apparent now — there’s a big difference between the design side of things and the art direction side of things. And I don’t necessarily think that there should be.

But I knew after that job, I think I was there…I was there for almost two years after that. I knew I wanted to focus more about how to find my design voice, and that’s why I jumped into this long phase of freelancing. After that, I got a job at the Apple Store working late nights and then would just take different freelance jobs throughout the day. I recommend every creative go through a phase of just picking up freelance projects. If I was to say one thing that everyone should do, it is that the best way to figure out what your design voice or what you love doing is to really just try out a whole bunch of different things.

Maurice Cherry:

I want to go back to what you said about sort of the difference between art direction and visual design that you just mentioned. Can you unpack that a little bit?

Ethan Baldwin:

Yeah. It’s funny. One of the things I discovered after doing a bunch of freelancing and then kind of wanting to settle into a full time job, that having been out of the advertising game, so to speak, it was harder to get back into it. Because in most advertising firms, your design function, like your design talent, usually ends up being part of a production team. And your art directors and your copywriters, they’re the ones who are coming up with the ideas for campaigns, print campaigns, motion graphics, commercials. A lot of it kind of started with the ideas of making the commercial or the print ad, but the art director would kind of come up with the visual ideas, but they weren’t necessarily illustrating or drawing or building the site for a multimedia campaign. They were kind of like coming up with the ideas with the copywriter partner and then eventually that would go to production. And there was something about that that I missed.

I want to push the pixels and do some of the illustration, and I don’t really do that now. There are people who are much better illustrators than I am, so I’m obviously going to farm that work out. But there was such a divide between the design and the art director. That’s where the slash originally came from. I have a very close friend of mine that I met at DDB and she said to me, “at this point, you need to decide, do you want to be an art director? Go down like, the art director to creative director to chief creative officer path down an advertising journey, or do you want to be a designer going to being a senior designer, working for a design firm, working for a production house?” And I couldn’t agree with either of those options. There has to be something that has both, because I always knew I wanted to work on the big ideas, but I also wanted to have a hand in how it was crafted. That craft is, again, like the fun part.

And I’ve seen with a lot of kind of people at the director level that it’s very easy to get jaded and you lose sight of the thing that made you want to do all of this. Like pulling out crayons, pulling out markers, getting on a whiteboard or a sketchbook and drawing out ideas or figures or little stick people or landscapes. That connection to the craft is still incredibly important to me, and especially like when working with my clients, I would say that’s one of the things that I offer. I am going to help you work through your ideas, your high level ideas, to build your campaign or build your website or build your next video piece or whatever the project is. But I also want you to trust that I’m going to make something for you with you that is also going to be pretty. It’s going to be beautiful. The content is always more important, but creating something that is beautifully designed and constructed and illustrated is just such a great feeling.

And so I wanted to make sure that that divide of being a creative director and being a designer didn’t really exist for me. I don’t really see the need for that divide. If you have a larger company and you can section out those functions, then great, good on you, but that’s not what I want. For me, I wouldn’t want to be either or. I think having both allows me to serve people better.

Maurice Cherry:

Yeah, it sounds like you didn’t want to have that, I guess you could call it…a restriction in a way. You wanted to be able to do it all.

Ethan Baldwin:

Yeah, and that was kind of the moment where I realized I probably wouldn’t work for an ad agency again. And not necessarily because I didn’t want to, but because it’s like talking with hiring managers. They want to see that you’ve worked on X number of commercials or X number of campaigns. And I was like, “well, I’ve worked on plenty of campaigns and I’ve worked on tons of video pieces, but not necessarily in the context of an ad agency.” In all of the places that I’ve worked, I’ve been able to work on long form video and full website builds and beautiful out of home print work and big event installations. I really just started to love working in house because the idea of that divide was less apparent.

Maurice Cherry:

Now, you’ve done a lot of, you know, freelance work. You’ve also worked full time at some pretty prestigious places. You were at Dow Jones for a number of years. You were at PulsePoint. You were at qbeats. Earlier you mentioned being at Clear. We don’t have to go into those particular ones individually unless you want to, but I’d love to know, when you look back at those experiences as a collective, what sort of stands out to you the most? And it can be multiple things too.

Ethan Baldwin:

Yeah, I would say for all of those jobs, my biggest thing is I wanted to do something that would somehow leave a mark. And it doesn’t have to necessarily be my mark, but something that’s going to change the way, whatever place that was thought about how they did business, or they did design or they went into a website build or thought about branding. And if anything, I would say I’ve been able to achieve that throughline in all of those places, Dow Jones and the Wall Street Journal…that was a particularly weird but fun and exciting experience because it was one of those places — and this goes back to the idea of in house spots being a bit less restrictive on what your experience is and where you’ve worked. I got hired there. My title was multimedia communications manager. Who knows what that means? And it was within the HR department.

And I remember my interview…one thing that stood out to them was the fact that I told one of my interviewers that I tap dance. And I remember there was at some point where someone asked me to do a shuffle step in an interview and I was like, “I will do this once.”

Maurice Cherry:

Oh no! Noooo….

It was pretty far along.

Maurice Cherry:

Okay….

Ethan Baldwin:

I was like, this is…we’re treading.

Maurice Cherry:

Yeah, I mean, there’s tap dancing metaphorically for an interview and then there’s that…

Ethan Baldwin:

…literal tactic. (laughs)

Yeah. But that job taught me so much again, about crafting what it is I want to be doing and what the things I love doing can be of service for who I’m doing it for, because there was no precedent for my job in that function and inside of the learning and development team, but what I got to work on was building a whole bunch of internal campaigns, and it really actually brought out my love for learning and development in particular and building training programs and building curriculums for other employees.

One of the biggest things there was being able to help start the DJ program or Digital Journalism at Dow Jones. And it was all about bridging the gap between kind of print journalism and digital journalism. And so we did multiple versions of this week long training program in New York, Princeton, London and Hong Kong where we talked about the business as a whole. But we also got to do very specific trainings. Like this is how you can use your iPhone to shoot footage on the fly for a smaller piece. Or here are the rules around photo licensing so you don’t get sued. It got into very specific trainings and that was just so fun for me because we immediately got to see the results from our efforts. And I knew from that that part of what I want to do as a designer, as a creative is help teach people how to do things better or how to make a process easier.

This goes to working for Clear, and one of the big things there was revamping the website and eventually moving to the Webflow platform. I will talk about Webflow all day long. I absolutely love that. But one thing that was really important to me was getting everybody, like all of the stakeholders, on some sort of system that they could start focusing on their own content and inserting their own content where it needed to go versus always being dependent on a developer or on me and the design team within marketing to do something like make a new blog entry or insert a new airport location.

You don’t need a team of designers to do something like that. So my goal was to build a system in place and then teach people to kind of do those content updates for themselves. And it makes the working relationship so much easier. And there’s always that aha moment where I’m like, “oh, no, you updated that web page. You updated a web page. You just built a new web page.” Of course, me and my team, we do all the stuff on the back end to make those templates and whatnot. But you now see that it wasn’t about how beautifully is it designed, or “am I going to break something if I enter in this bit of tech?” No.

As designers, one of our biggest goals is to create solutions that help people do things better. If you’re designing a chair, you want that chair to be beautiful, but it also needs to sit someone’s butt. Design without function is just art — which has its place — but function in, again, serving someone and making their life easier is always at the forefront of what I do now.

Maurice Cherry:

Is there anything different about how you do business now as opposed to when you first started freelancing? Because you mentioned you were kind of working at the Apple store, you were also freelancing, so I would imagine even just kind of trying to juggle work and freelance work was a bit hard. But outside of that, what do you do different now that you did when you first started?

Ethan Baldwin:

Well, when I first started freelancing, it was a little bit different because I mainly worked through placement agencies, so it was like people would often find work for me, and I would work on those projects on whatever basis that they have. And now I pretty much do all of finding clients through word of mouth or through my own lead generation. So that’s one kind of logistical difference. And at some point, I may jump back to using a placement agency. I have absolutely nothing against them. It’s just not something that I’m doing right now. But in terms of knowing more about myself and how I operate as a creative, I would say the biggest change is I will not work on a project if I know I just absolutely don’t want to do it. It’s one of the biggest things I tell younger designers.

I had one job — we don’t need to go into who it is — but it was a job that I was incredibly excited about. It was a big name and great for a resume. But working there? No one’s happy and none of the products are particularly interesting. And at its core, it was just a job and the pay wasn’t that great. It really just was a bad stepping stone, I would say. But all of that is to say that when you’re starting out, there’s always this pain in your chest about making sure you have enough money, making sure your rent gets paid, and making sure you have enough coming in so you don’t have to just keep focusing on work. But I’ve learned now that if the work itself is not either fulfilling and enough to make it worthwhile to work on, or they’re just paying, you absolutely extravagantly, finding a job just to find a job as a creative usually is not worth it.

As a creative, you’re not going to perform your best if you don’t want to be there. Your clients are not going to be served in the way they should be served because you don’t want to be there. And it’s just going to be miserable for everyone involved. And at all of this, at the end of it, you probably won’t even get a good portfolio of it because you’re not exactly proud of anything you’ve done. So I would say it’s better for me to sit and work on some back-end stuff than just jumping into a job just because the job has presented itself.

Maurice Cherry:

Outside of that, how would you say you’ve just grown creatively? Like, how have you grown as a creative over the years?

Ethan Baldwin:

I’ve definitely become more efficient. I would say I just developed a lot of processes to help get to an end product faster. And I would say I’ve also learned to give myself a lot more grace and knowledge that not everything is always going to be perfect. I can definitely say that I am a very good designer, but I am not the best. And I’m not going to be the right choice for every single client that comes my way. And being able to say, “oh, I’m not the right fit for you, let me recommend somebody else,” or “I’m just not the right fit for this project” because secretly I just don’t want to do that. It’s not going to give me anything outside of the paycheck. And being okay with that, that took a lot of growth.

It’s okay to say no. And I’ve learned that we as creatives, we can have more stock in ourselves. We think about other service industries, think about mechanics, you think about electricians, and they have this very specific skill set. They’re able to do this thing amazingly well. And for whatever reason, I’ve noticed that as creatives, we tend to not think about ourselves in that same way, because the thing that we do isn’t necessarily as tangible, but the results that we provide to people are. And so we focus on, like, “I built this website, but that website increased conversions by X” or “this social media campaign increased this company’s Instagram followers by Y.” There are tangible results, tangible business results to the beautiful, weird idea connections that we make as creatives. And I think we need to start giving ourselves more stock in ourselves because of that.

That’s another thing that I’ve learned.

Maurice Cherry:

Who are some of the people that have really kind of helped you out in terms of mentorship or anything like that over the years throughout your career?

Ethan Baldwin:

I would say one of the biggest people I follow, and this is everyone kind of [inaudible 49:01] follows this person, but Chris Do of The Futur has always been like one of those people that…if there’s a conference, I may or may not go, but if he’s there, I likely will go, because he has a very no nonsense, matter of fact approach to not just being a creative, but really how to be a creative business, how to run a business and how to get through the day of running a business in a way that isn’t confusing. It kind of just is what it is. And he keeps it kind of, like, “follow what I say or don’t.” There’s a level of confidence there that I find so admirable because that is also, again, that’s eventually the level of confidence that I want to be at. That’s the level of confidence that I want to give to all of my clients. Everyone should feel that good about what they do and what they provide to the people that they do services for.

And then I would say a more personal mentor is actually one of my old — technically technically, she’s still a current client — but one of my old bosses at PulsePoint, Maria Simeone, we’ve had such a weird working relationship, and I think it’s just a matter of fact, we work really well together. But she’s very much a marketing brain from the strategy and the business side of things.

And I learned so much about marketing from that standpoint, from her, because that’s not how I approach problem solving at all, but just watching her work while we’re at PulsePoint and then watching her grow within the company and even grow further. Even after I left, she always kind of looked back to see what I was doing, would always give me really good advice. She’s always been open to critique me on our work. And she also has a very similar no nonsense way of, I would say, gathering me together, which I appreciate. I’m very much a tough love type of person because it shows me that you care and that you’re invested, but you’re also not going to let me fall completely on my face.

Maurice Cherry:

So what does success look like for you now? I mean, you’ve got your studio. You’re out on your own. What does success look like at this stage in your career?

Ethan Baldwin:

For me, success is being able to do what I want, when I want. And that’s really to say if there’s a day that I’m not feeling well or I just need a break and I just need to go walk in a forest — I really love camping — but to be able to just go do that and make sure I have rapport built with my clients to say that I’m not going to be working or to have enough of the work done and a system in place that I’m not needed 100% of the time or being able to travel as I see fit and work as I travel…I try to keep a very, I would say, like, lean tech profile so I can really do what I do from anywhere. Like, I have just like one small MacBook Air and then I have one larger Pro for video work, but I mainly just work on laptops because some days I want to go work in the middle of Central Park and so I can do that. That’s what success looks like for me. Because for some people, success might be a number amount, like a number of clients or revenue goal, and I have those goals from a business perspective. But success really looks like being able to take a vacation and not have to sit there and tally up the number of vacation days I have left or not feel guilty about taking a sick day.

It’s always wild to me. I would always tell my team this back when I worked in an office: “if you’re sick, go be sick and get better.” I don’t need you trying to…you’re not showing that you’re any more of, like, a badass because you’re working while you’re dripping snot all over your face. Get out of the office, go home, go rest. But there’s this weird…we’re in this working society where every one of those things are tallied and counted for and often used against you. And that’s something I just cannot stand for personally. And I’m sure that will get me in a lot of trouble with a lot of places, but I’d much rather see people do what they need to do to take care of themselves so that when they do work, they are working at 100% of their capacity and 100% of their joy. Again, if you don’t want to be here, don’t be here. That’s how I run my business.

If it’s something I don’t want to do, I’m not going to do it. It’s not going to make me happy, it’s not going to make a client happy. No one’s going to be happy in this. So, yeah, success is being able to do what I want, when I want.

Maurice Cherry:

Yeah. To that end, where do you see yourself in the next five years? What sort of work do you want to be doing?

Ethan Baldwin:

I would say in five years I want to have some big national tech brands under my belt. I want to work on some internal rebrands. I’m thinking of something like…I recently got to meet someone who worked on Chase Sapphire and working on this luxury sub brand inside of this big financial institution. And that would be a dream project for me, taking all of these kind of boring things like credit cards and points and really building this almost lifestylish brand around that very boring thing. So more of those within the next five years. But really it’s just scaling what I do now to just hit maybe a couple more clients each month. But I actually really enjoy how lean things are and being able to work with freelancers as needed. But as of right now, I don’t really see growing employees, too many employees inside of the business. I like the flexibility of building a network, so to speak, versus building another office.

Maurice Cherry:

Well, just to kind of wrap things up here, where can our audience find out more about you, about your work, about the studio? Where can they find that online?

Ethan Baldwin:

You can find my personal previous work at ethanbaldwin.com. You can find and sign up for an engagement with the business at slashandstructure.com. That’s no spaces, no underscores, just slashandstructure.com. And there you’ll learn a bit more about how the business functions and some of the clients that I’ve been working with. And you can also find me on Instagram at instagram.com/slashandstructure. Really, if that double slash doesn’t work as well when you’re saying it out loud. (laughs) But yeah, instagram.com/slashandstructure.

Maurice Cherry:

All right, sounds good. Ethan Baldwin, I definitely want to thank you so much for coming on the show. I like that you are someone right now that’s sort of striking out on their own, especially at this time when there’s so much happening in tech and design. I think also there’s just kind of this instability with working at companies at the moment. It feels like a really good time for a lot of people to kind of strike out and you certainly not only have the professional experience with the places you’ve worked, but you’ve freelanced before as well. So I’m really interested to see kind of where Slash instructor goes in the future. So thank you so much for coming on the show. I appreciate it.

Ethan Baldwin:

Thank you so much for having me. It’s been a blast.

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Shanae Chapman

Sometimes in life, you’ve got to do what you can to make the best out of a bad situation. For Shanae Chapman, that meant using a bad post-graduation job market to launch her own agency, Nerdy Diva. Now she’s setting her sights on bigger goals and doing what she can to help others achieve success in tech and design.

We began by talking about how Shanae started her agency, and we discussed the current state of AI tools and the changing landscape of UX research and design. She also spoke about growing up in St. Louis, attending college, and shared how she used her collective work experiences to dive deeper into the world of UX. For Shanae, hard work and motivation have been the keys to her success!

Interview Transcript

Maurice Cherry:

All right. So tell us who you are and what you do.

Shanae Chapman:

I’m Shanae Chapman. I am the CEO, founder, and managing director of Nerdy Diva, a consultancy that specializes in UX research and design and training services and building community for people of color in tech.

Maurice Cherry:

Nice. How has 2023 been going for you so far? Any special highlights?

Shanae Chapman:

Yeah, it’s been an up and down journey. So in addition to having Nerdy Diva as my business the past five years, I also typically worked a day job in tech as well. And I went through a layoff, as many people did earlier this year, and just have been processing, going through layoffs and thinking about what’s next in my career and in my business and getting support for myself, and then also sharing those resources out with the community.

Maurice Cherry:

I know last year there were just sort of this huge wave of layoffs from tech companies and it felt like, a little bit, that wave had sort of abated because you hadn’t heard about it much this year. But people are, unfortunately, still getting laid off from companies. So I’m really sorry to hear that. But you have now, kind of…your full focus is on Nerdy Diva, is that right?

Shanae Chapman:

That is correct, and I’m very excited for what the future holds. I’m currently working on a partnership with LinkedIn. I’m teaching a design course that will be released hopefully in Fall 2023.

Maurice Cherry:

Oh nice. So hopefully by the time this comes out — this will air in September; right now we’re recording it a bit earlier — but maybe by the time this comes out, then it’ll correspond with your course.

Shanae Chapman:

Yeah, it’s going to be exciting. Definitely going to be out in Q3. Later in Q3 or maybe early Q4 this year.

Maurice Cherry:

Very nice. So let’s talk about Nerdy Diva. You mentioned you’ve been doing it now for about five years, how did you get started with it?

Shanae Chapman:

Yeah, I have always done freelance projects during my career. I’ve been working in design in some way and fashion for the past sixteen years and started out as a college student taking design classes at St. Louis University and learned the basics of graphic design while studying from professors who were working in the field and who had businesses and were also teaching as adjunct instructors. So that was a big insight for me to see that, oh, people can have their own businesses, do design, be creative and teach. And that’s something that really stood out to me and led to me trying it out myself as a 19-year-old saying, “you know what, I’m going to see how I can do this.” And I would go out to small businesses in the area and go to campus departments and ask if people had any design projects that they needed help with and that’s how I started my career.

Maurice Cherry:

Now I’m looking at the Nerdy Diva website now and it’s great that you have your values, you’ve got your mission, vision statements, stuff like that. How has business been going so far?

Shanae Chapman:

It’s been an interesting year. I have seen more of the teaching and training projects come in, like the LinkedIn course that I’m working on currently. And there are some other organizations that I’m in talks with about teaching and training on design and research. It’s been a little slow on actually doing the design projects. I think there’s a lot of economic instability at this time with a lot of companies. The layoffs persist. So the layoffs have been going on throughout this year across design, and that brings in a lot of unknowns and a lot of uncertainty about what’s next. So something that I’m doing is reaching out to organizations that we may not always think about who need design as well, like our government agencies and our nonprofit organizations who may also need support and design.

Maurice Cherry:

Yeah. With the way that the economy has gone now — we’re kind of recording this right now, near the beginning of some companies, like fiscal year — I think at this time, companies might start thinking like, “oh, well, what could we possibly spend money on this year?” But a lot of places are still just kind of waiting to see how the economy will bounce back, if the economy will bounce back. I know in my case, I was laid off last year and what it felt like was that companies really were just seeing what other companies were doing and just following suit. So in some ways, it wasn’t about, “oh, we need to cut back to save money.” It’s like, “well, if all the other businesses in our sector are cutting back, then maybe we need to cut back too.” But in that respect, it’s kind of been a bit of a good time if you’re freelancing or if you’re doing contract work, because companies might be more apt to do something short-term than long-term.

Shanae Chapman:

Yeah, and it’s good to have options. It’s good to have multiple streams of income and being a freelancer, but then going the step higher to that and incorporating your own business. And I’ve had my LLC since 2018, incorporating my LLC, and then being able to take on projects and design projects where I’m able to work on that, but also have the opportunity to hire contractors and interns who also get opportunities to be creative and to grow as designers and grow their careers. That’s really empowering and really something that is rewarding for me as a business owner.

Maurice Cherry:

So what does a typical day look like for you now?

Shanae Chapman:

There are no typical days, but generally I’m checking my email from people who are potential partners and looking at ways to get more visibility for the work that we do on design and training and connecting more recently with the local chamber of commerce here in St. Louis, but also growing in Boston, which is my second home. I went to grad school in Boston and Northeastern University and started my career in design and technology and the corporate level in the Boston area. So being able to connect more with the businesses there and definitely taking advantage of opportunities for minority owned business contracts and contracts for women business enterprises. And I think that’s something that’s really important for design businesses to also get those certifications so that we have those opportunities that come up.

Maurice Cherry:

Was it difficult for you to get those for your business?

Shanae Chapman:

It’s a process. So it’s definitely something where you have to do your homework and do your research. And for me, it’s something where I’m still in that path of finding all of the resources and tools to get certified in Boston. And I think it’s definitely worth it because it opens up more doors for you to have bigger clients and take on bigger projects. And for me also, that sense of being able to work on projects that impact everyday people. So being able to work on civic tech projects is something that is really important to me. And having those opportunities come in…yeah, it’s what I want to do. So being able to work on the things that you want to do and not just that you have to do, definitely is a game changer.

Maurice Cherry:

Now, you talked about civic tech. Are those like the best types of clients that you want to work with or do you have kind of a broader set that you’d normally like to work with?

Shanae Chapman:

Yeah. Definitely looking for more opportunities to work with government agencies, city level, state level, around building up more intuitive resources for communities, whether that’s increasing the usability of websites and apps for services, whether that’s helping people find information who are looking for ways to get around the city, as with transportation or for healthcare resources, being able to connect people to the information and tools that they need to have a positive quality of life. That’s something that’s really what I want to focus on in the work that we do. So design for good, using technology for good.

Maurice Cherry:

Now, I know a lot of Black business owners, especially those that kind of work, I guess you could say, in the DEI space — I’m using air quotes around that. But I found a lot of Black business owners kind of had a bit of a bump during the summer of 2020 when companies were pledging like, we’re going to work with more black businesses or BIPOC businesses, et cetera. I’m curious if you’ve noticed any trends with your clients over the years.

Shanae Chapman:

Trends in terms of what?

Maurice Cherry:

In terms of the type of work they’re looking for or types of services, things like that. Are you finding that as time has progressed that clients are asking for different things, wanting different things, stuff like that?

Shanae Chapman:

It kind of stems back to something earlier in this conversation about the budgeting. So there’s still a need for design and for training on how to do design, especially equitable design. So I run a two-hour workshop on designing anti-racism, and I use the EI and anti-racism frameworks in that workshop and apply it tactically to how do we use this to create more inclusive and equitable designs. Whether that is UI, whether that is using voice technologies, whether that’s using AI and understanding what it means to have representative harm and allocative harm in technologies, and how can we design more equitable solutions that are not harmful? So I think the need is still there, but it’s a factor around the budgets. Who has budgets for these projects? And I can’t speak to the industry as a whole because I’m not privy to all of that information. But I know for myself, it’s tougher to find more businesses that are able to have the budgets that can sustain this work long-term. And I think that’s something that needs to be addressed. Like, if this is really important, then this work needs to have adequate budgets in order to support the work going forward.

Maurice Cherry:

Now, you talked just a little bit there about AI. Are you using AI now with any of your clients or any sort of AI tools?

Shanae Chapman:

I think it’s something that has potential. I think design and AI can form a partnership where we’re using AI to help with some of the more tedious things, like copywriting, for example, but also thinking about the data that goes into those tools — is it secure? Is the information that would be okay to share publicly, for example? And also during the critical thinking of determining if the information from the AI tools is equitable, is it sharing information that is actually stereotypical and being able to see that and address it? So it’s something that I think has a lot of potential, but we also have to have checks and balances with it. And going forward, working with clients who will use AI, I think that’s something that is really important to continue having those discussions about not just using the tool, but being observers of it and also being able to step in and make changes if it’s not producing what it should in an equitable way.

Maurice Cherry:

I’ve encountered some clients, I’d say probably within the past year or so, that have been…they like AI because they feel like it’s sort of like a magic machine to them, like they can put in a question, get out some sort of answer or something like that. But like you said, is the information equitable? And honestly, which tool they’re using, it matters in terms of what the information is that you’re getting out. Like, if you’re using just, like, the base [ChatGPT], I think it’s version 3 or 3.5 or something like that. Its corpus of knowledge only goes up to, I think, to like, September of 2022 or something like that. So it’s not like completely up-to-date and even how it puts it together. It’s sort of just like grabbing information from a whole bunch of different sources and sort of like, smashing it together to say, “hey, this is what I think you want based on the query that you’ve given me.”

Of course it’s AI. So it’s not thinking about it, but depending on the tool they might be using ChatGPT 4.5, which is supposed to be up-to-date and brings in current search engine data and stuff like that, but AI is getting kind of added into so many different tools. It’s getting added into search, it’s getting added into even like Google Docs and Word and stuff like that. So I agree about the checks and balances. I think it is being kind of implemented really fast and that we’re not taking time to think too much about the ethics of usage and the ethics of using what you get from it, just sort of, on its face. Like, I agree with what you say about it being sort of a good jumping off point or a starting point, but it shouldn’t be the answer.

Shanae Chapman:

Yeah, definitely. And I think that’s a big misconception that many people believe that AI tools are factual, they are the truth, they are the end all, be all, and that’s not the complete story. So knowing that these are tools that have been created and have biases and have bugs and have issues that are still being worked out, understanding that and taking that information with a grain of salt, so to speak. So I think there’s still a lot of miseducation about how far along the industry is with AI because we’re really just getting started and there’s still a lot of risk. And security is another big issue. Like, taking data and not crediting the sources happens as well. So just being aware of that is something that I encourage folks to think about.

Maurice Cherry:

Yeah, I know, especially from educators that I’ve talked with, it’s been a big thing because students will use it to write papers or pull in information and research. But like you said, there’s no citation with it. And even if there is a citation, citation may not be correct because it’s pulling all this stuff from different parts and just sort of spitting something out that might look like it’s right doesn’t necessarily mean it’s the right thing.

One of my good friends — my best friend actually — he works at Ohio State University. He’s a professor and he was talking about how one of his students has submitted a paper and it had all these citations from, I think, like the University of Chicago Library or something like that, but none of those citations actually existed. Like, he followed up behind the student and contacted the library and they were like, yeah, none of that stuff is here. But apparently ChatGPT said, “hey, we pulled this from these sources from the library.” And maybe part of that was maybe a fraction of it, but not the entire thing. So it is dangerous, I would say, not so much in its usage, but moreso, I guess, in how humans are using it. Like if we’re just taking it like we said at face value and not changing it at all or fact-checking it, like you said, just assuming that it’s right is not good because it’s most likely not going to be.

Shanae Chapman:

Yeah, definitely. And I read a story the other day of a college student who got reprimanded from a professor who thought that they had used AI to create their paper because it was so well-written, but the student actually had not used any AI tools to create their papers. So now they’re getting dinged because the professors are having a hard time differentiating between when is AI being used and when is it not being used. So it’s a tricky place to be in right now as educators and as students as well.

Maurice Cherry:

Yeah. Where do you want to take Nerdy Diva in the future? Like, what are your future plans?

Shanae Chapman:

Yeah, I definitely want to continue to grow. And I mentioned civic tech earlier. So one of my goals is to complete all of the certifications that are necessary MBE/WBE and do work with City of Boston, City of St. Louis, City of Chicago, working on projects that impact everyday people and being able to use technology in a way where we’re able to share information throughout our communities and share knowledge and create more resources and more equity and also continue to grow. My presence as an educator. So very excited for this partnership with LinkedIn. First course will be complete by the fall of this year and excited to continue to make more courses with LinkedIn around design and research and emerging technologies.

Maurice Cherry:

Now let’s kind of switch gears here a little bit. We’ve heard a lot about your business, but let’s learn more about you. Tell me about where you grew up.

Shanae Chapman:

Yeah, I grew up in St. Louis, Missouri. So I grew up in a working class family. My mom was a teacher’s assistant, before she retired, for over 32 years. And so education was very big in our family. My dad was a care mechanic and very hands on and was literally solving problems with all kinds of vehicles, and it was a lot of turning lemons into lemonade and taking what you have and making the most out of it. So those are some of the things that I have carried throughout my life is being able to see the good, find gratitude, be able to think quickly on my feet and keep learning and trying new things and being able to take inspiration and finding out how to walk in new paths and being able to be open to new opportunities. So that’s something that has stuck with me. And St. Louis — if you haven’t been there — very much a midwest city with Southern influences, so a lot of rich cultural heritage with music, a lot of blues and jazz has come out of St. Louis. Scott Joplin [the] composer; very famous in these parts as well, and a lot of appreciation for good food and breaking bread with family and friends and getting to know people and sharing what you have even if you don’t have a lot. So those are things that I still hold dear and that’s still part of who I am now.

Maurice Cherry:

Were you exposed to a lot of design and tech stuff growing up? Was that something you were around a lot?

Shanae Chapman:

You know what, I was not. So my parents were not technical folks and my parents divorced when I was younger. So just definitely being a young person, dealing with that experience of going through ups and downs and challenges, and what always inspired me was creativity. And I would see that with the art classes that I took in school and reading books and learning about new places and new people and cultures and just having the ability to learn how to use computers and new technologies as they became available at school were things that opened my eyes. Like I’m old enough to remember when we first got the big iMacs in elementary school and they had them in elementary school and taught us how to use those, and that was like top tier computers back in the day. Yeah, just being able to see that and having the Internet go from dial-up what we had when we were growing up, where you had to either choose to be on the phone, the landline, or be on the Internet, you couldn’t do both at the same time. So thinking about that and then seeing how things have evolved and now we have these fiber optics and we have such high speed 5G networks and it’s complete changes just in my lifetime of being 35 years old. So just being able to see that and see it as a user but then also now as a designer, being part of creating what those systems do and how other people get to use them is pretty cool.

Maurice Cherry:

Now you talked about going to St. Louis University and you said you took some design courses there too, is that right?

Shanae Chapman:

I did, yes.

Maurice Cherry:

Now you majored in communications. Was this just kind of part of the program?

Shanae Chapman:

In general, design courses were part of a suite of electives that you could choose as part of the communication degree. And that’s something that I highly encourage people who have opportunity to choose their own electives, to choose something that is creative, choose something that you may not have thought about studying before. Find that as a resource for you to test out if you want to get involved in something. So at least you can say, “oh, I’ve tried that and I know it’s not for me,” or in my case, “I’ve tried that and yes, I want more of that.” So the design course is important, my electives and once I took a class and had the opportunity to use Photoshop and saw how you could use design to convey messages and meaning. I knew that it was something I wanted to be a part of and just kept taking more electives and ended up doing an emphasis in communication technology overall.

Maurice Cherry:

How was your time there?

Shanae Chapman:

There were pros and cons of that experience for me. I had a really good experience learning about design and communication and public speaking, had some excellent professors and adjunct instructors who really valued sharing knowledge and helping students grow as people. So that was really empowering for me. I met a lot of friends there that I’m still close to to this day. And I worked on campus in the business school in the entrepreneur center. And they were at that time working on a beta project for Black business owners where they were building a facility in honor of Dr. Martin Luther King Jr…or Martin Luther King Jr. Boulevard in St. Louis, and they were working with Black business owners to help them get their businesses ready for moving into this space. So I got to see these Black business owners come in and talk about their businesses and work with the university’s resources and learn what types of challenges they face and what types of tools are helpful for them. So I got to see, like, okay, they need accounting software. Oh, they have questions about hiring. Oh, they have questions about financing. I got to hear those questions, solutions during that process, which was really educational for me as someone who had seeds of, like, “oh, I might want to try this entrepreneur thing.” But some challenges were being at a PWI — predominantly white institution — and not having that sense of feeling known and feeling a sense of care, being in some classrooms where I was the only Black person in the room, and being asked, like, “what is your opinion? What is the Black perspective on this particular opinion?” And this is something where I, as a 19-year-old, educating my classmates and my white professor as to “this is my perspective. This is Shanae’s perspective. This is not the perspective of all of Black America.” So being able to stand up for myself and share that knowledge is something I get from that experience. But it definitely was challenging and [I] definitely had some hard days.

Maurice Cherry:

Yeah. Colleges can be one of those sort of interesting places. It’s like, on the one hand, you mentioned, yes, try to seek out these more creative courses and things like that, but sometimes, just depending on the school, you often are put in these other sort of trying environments and situations. I can imagine that had to be pretty tough to deal with overall, though.

Shanae Chapman:

Yeah. And then just being broke. That’s the thing about college. You have no money all the time.

Maurice Cherry:

When you graduated from St. Louis University, what was your early career path? Did you go right into trying to become a designer, or did you sort of kind of have to get your feet wet doing other stuff first?

Shanae Chapman:

I wasn’t able we were in a recession when I graduated with my undergraduate degree, it was 2009. So again, there was economic instability and it was really tough for me to find full-time work just in general, not even design. It was just tough to find any full-time work, being a college graduate and not having corporate and industry experience yet. And those were really tough times. And I went to my school after I graduated. I went back to the university and went to career services and did career counseling. And that was the first time that I had the opportunity to talk to someone about the shame I felt and not being able to find work immediately after graduating. And it opened up perspectives for me to hear someone say, like, yeah, “of course you would be frustrated, but understand that this is not you, this is the economy. This is competing with people who have more experience and maybe more education, who have connections. There’s other things happening that are outside of your control,” and being able to take that in as information and understand that, “okay, I’m okay, I can keep going.” And it’s not a situation where I’m doing things wrong and something’s wrong with me. And being able to have that support was really helpful. And that’s something that I definitely highly encourage folks to do.

Like, talk to someone if you’re having tough times in your career. Everyone’s had tough times. There’s definitely been times when I’ve wanted jobs, I didn’t get them, or there’s times that I took jobs that I know were not for me ended up leaving. So being able to have those conversations and also get some perspective because our careers are great, they help us support ourselves and take care of ourselves and our loved ones and do purposeful, meaningful work. But your career is not the only thing that you have going on for yourself, and being able to have some perspective about that is helpful too.

Maurice Cherry:

Oh, I am so glad that you said that. I’m so glad you mentioned that because I think a lot of folks need to hear that, especially now. Especially, I think, if you’ve been laid off over the past year. And this is not to say that I feel like — and this might be a controversial statement, so rock with me here if it gets a little out of hand — but I feel like particularly in BIPOC communities, particularly in Black communities, we’ve kind of been sold this fantasy about getting into tech and it being like the solution to everything. Like, you’re going to get that good tech job and you’ll be able to pay off your mother’s bills or get your grandmother something. And I mean, yeah, you can do that with what the salaries are. But I think what gets wrapped in that is sort of your self-image is so intrinsically tied to not just the work you do, but where you work, that once you lose that, it ends up being this huge hit to your self esteem. Like, who am I if I don’t work for insert big tech company here? You know what I mean?

I really feel especially, like, oh my God, you said you graduated in 2009. Right around that time, I want to say it was like between maybe 2009 and 2011, there was this big push about getting Black folks to go to Silicon Valley. It was like, “go to Silicon Valley. Be the next Mark Zuckerberg.” CNN even had this whole special about folks like going to Silicon Valley and they had like a house and everything they were working out of. It was part of their Black in America series. And I think it was good to see that sort of like, upward mobility and prosperity. But then you had a lot of organizations that came about that were just sort of selling this notion that you get this big tech job and you’re set, you’ll be able to live the life of your dreams once you work for Facebook or Amazon or Google or whatever. But then it’s like, when you get laid off from there, then what?

And I think people need to hear this right now. One, because of all the layoffs that are happening, but two, we’re in this weird economic period now, just like back then, in 2009, and that there’s this uncertainty. It’s hard finding full time jobs. I know a lot of people that have been out of work now three months, six months, up to a year, and it’s really messing with them. They have the skills, of course, to do the type of work that they do, but it’s so tied into their self-image of like, “well, how am I a good person if I don’t work at this company, if I’m not doing XYZ?”

Shanae Chapman:

Yeah, those are all good points. And I was reading Essence magazine the other day, and one of the women they interviewed, she mentioned that titles are rented; your character is what stays the same. And I was like, “girl, yes. A word.” That’s important. The titles are rented, but you’re still the same person. You’re still creative, you’re still a problem solver. You still know how to bring things together from different parts and bring them together in a meaningful way and create something that has a beautiful outcome. You can still do that no matter if you at Microsoft or Google or wherever. So you still have those skills. And I think that’s something that we forget about, that it’s not just about having the name recognition. It’s about who you are. Who do you show up as?

Maurice Cherry:

Titles are rented. I love that. And that is so true. That is absolutely true. Because who you are or who you were at one place may not be who you are somewhere else.

Shanae Chapman:

Yeah.

Maurice Cherry:

Now, in 2012, you started out as an intern at Red Hat. And then after that you started working at IBM as a UX/UI testing specialist. Given kind of the background that you had before starting there, like, what drew you to UX?

Shanae Chapman:

Yeah, so I was in the tech industry because my master’s degree is in informatics study of information systems and there is some overlap with UX. And like, I took UX courses as well, classes and understanding how to evaluate and how to audit for usability. So I learned those fundamentals as part of my master’s degree program and found that to be really interesting because that combines design know how. So having some graphic design, web design background, web development background, but then also understanding the psychology piece on how do people use systems and tools and how to prevent errors and how to help people get unstuck was also something that was enlightening to me. And then the technical side of it and understanding, “okay, you want to build something, how do you actually know what’s possible, what’s feasible, what could you actually build?” And being able to use the things I’ve learned in my master’s degree, that was more technical to bring that together as well.

So I applied to so many internships and entry level positions and interviewed for Red Hat and everything was in person at this time. So interviewed had presentations about why they should choose me and just waited, just waited and then heard word back a few weeks later that I was going to have this offer of this internship. And for me, it was the most money that I had made up until that point at $30 an hour to be a summer intern. And I thought, “this is great, this is great.” Now I get to start my career in tech using what I have learned in school and being able to have this big name at the time — all into the big names — have this big name on my resume as well. So it was a starting point for me. And I learned a lot. I learned a lot about how large organizations work and didn’t know before I started there that there’s so much people involvement, there’s so much. And you think about design and technology, it’s like, “oh, okay, you just kind of do your own thing.” No, that’s not how it works. When you actually work for a company, you have so many meetings, you have so much collaboration, you have so much discussing what gets designed, what gets built, understanding analytics and behaviors of trends and patterns. And there’s a lot of this back and forth and seeing that for the first time and being engulfed in that. Yeah, just definitely it was a sink or swim situation and had to learn quickly how to pick things up and just had to be unafraid to ask questions. So I asked a lot of questions and did really well in that internship. And that was a good starting point for me to move forward into other positions in technology.

Maurice Cherry:

Yeah. And some of those other places that you worked at. I mean, I was looking at your LinkedIn, I was like, you have gotten some great experience.

Shanae Chapman:

Yeah.

Maurice Cherry:

Kronos, The MathWorks, Akamai Technologies, Boeing, SmartBear, most recently HashiCorp. When you look at those experiences as a whole, collectively, what do you remember the most? Like, what do you pull from when you look back at those experiences?

Shanae Chapman:

Every place I’ve gone to, I learned something new. I learned something new about what I wanted in my career. I picked up some new technologies. I studied many places. I was also offered certifications, so I would take the time to do the work to earn those certifications. Just investing in myself. And I think that’s important.

Everywhere you go in your career, you should be learning and you should be earning. And that’s something that was also important to me as I continued to move up in my career, that I had to learn how to negotiate my salaries and benefits and RSU stock packages. And these are things that I didn’t know about. Again, my mom was a teacher assistant. My dad was a car mechanic. They didn’t have those types of conversations, so I had to lean heavily on the people that I trusted.

I’m in a chapter of the National Society of Black Engineers. And so being a part of that chapter when I was in grad school and after grad school in Boston helped me a lot to understand how does this all work. So leaning on people who have been through these situations before and getting outside of my comfort zone and learning how to negotiate by taking webinars and in-person trainings and bringing that into conversations and not being afraid to have difficult conversations. For me, it’s a pattern of going to each step and going higher, learning more, growing, taking in knowledge, sharing knowledge. And that has been something that has evolved over time.

So that now I have this career where I’ve been in technology for the past eleven years and have learned a lot about cybersecurity, have learned about data analytics, have learned about creating tools that scientists and engineers and developers use, but also can take that skillset and also apply it to creating tools for healthcare or for community systems or for knowledge sharing, for education. So being able to take that information and translate it for different audiences, I think that’s something that’s really important and crucial.

Maurice Cherry:

Yeah, because I would imagine each of these different companies are serving different–I mean, one, different just audiences based on what they do. But like you said, as you’re going on, you’re learning more, you’re earning more, et cetera. But also the industry is changing. How have you seen UX kind of change over the years in the industry?

Shanae Chapman:

It ebbs and flows. So there’s times where UX is really top of mind and people want to bring in researchers and designers and everyone’s looking for that sense of building the right products. And then sometimes you get into situations where it’s a more “let’s build something first and see how it goes” and take a step back from actually doing the proactive work of the research and design and getting the feedback. And I think that’s where we are now.

So we’re in a place where people are tighter with their budgets and they’re trying to get the UX research and design in multiple roles. So product managers are now doing product discovery and research, and developers are doing some discovery and research, and it’s getting to a place where they’re trying to combine roles across different teams. And I think that it squeezes out having people who are dedicated to UX research and design. And I think there may have been a big push earlier on for people to share that, oh, anyone can do research and design. And I think that was overemphasized because it takes away the credibility and it takes away the practice of having the know how and the education and the experience to do quality research and design. Like, sure, everyone can go to Figma and create something quickly, but being able to actually create something that’s meaningful and that’s impactful and that takes something complex and makes it intuitive is not something that just anyone can do.

Maurice Cherry:

Now, with the work that you are doing with UX, does that also extend into voice or even AI stuff? Are you finding any sort of changes with the UX industry in those cases?

Shanae Chapman:

Yeah, I think there’s room for UX to work with these tools. So working with voice, working with IoT, working with AI, and there’s definitely experiences that go beyond the interface. So the experience when you are speaking to Siri, for example, and what is heard and what’s transmitted back, that’s an experience also. And I think that UX has a benefit of having that awareness about human centered interaction and human centered design to be able to help teams understand how to make seamless and frictionless experiences, whether there’s an interface or not.

Maurice Cherry:

Now, what advice would you give to someone that’s listening to this podcast or hearing your story and they want to start their own UX career? Maybe they’re like a fresh grad out of college, or maybe they’re like in the middle of a career change because they’ve gotten laid off and they want to go into something new. What advice would you give them on getting into the UX industry?

Shanae Chapman:

Yeah, I think there’s a lot of kind of get rich [quick] schemes out here where people are saying many pathways and not to put down boot camps, because some boot camps are sharing quality knowledge and it’s a step for some people to get some education and start their career. But if you do a boot camp, don’t let that be the only time that you are educating yourself.

UX is a career path where you have to continuously learn. And if you don’t want to have to keep learning every day, every year, then it’s not going to be a good career for you. You’re not going to find it enjoyable, you’re not going to find it to be that get rich quick scheme that you thought it would be so you can’t learn everything about UX in six weeks and then be an expert. It doesn’t work like that because you also have to have the lived experience, you have to apply it, you have to make mistakes, you have to learn from those mistakes. And it’s really powerful when you as someone who’s new to UX, partners with someone who’s senior and you can just observe how they do their roadmapping, how they talk to clients, how they collaborate with product management and engineering, how they set themselves up for success with their research and design process. So being able to give yourself grace and being able to be patient as well is something I would share. Many times people think like, “okay, I want to just do things quickly,” but just because it’s quick doesn’t mean it’s right. So those are my two cents.

Maurice Cherry:

Who are some of the people that have really helped you out to get to where you are now? Like any mentors, any peers, or anyone like that?

Shanae Chapman:

Yeah, so definitely have had community of mentors and sponsors over the years. I’m mentioning National Society of Black Engineers, previously Boston chapter, was a big resource for me. So being able to connect with other Black people in technology and some people were developers, some people were product managers and there were a few other designers there as well. And being able to share experiences working in corporate and working on teams, building software, building tools that millions of people use across the world, and being able to share those tips and lessons learned and also learn about financial literacy from some of the events that they had. Also the AAUW — American Academy of University Women — they had a lot of salary negotiation trainings when I was earlier in my career that helped me out when negotiating. And also just friends and people who take the time to listen in when I’m having a bad day when things are hard. And having your tribe of people who you have in your back pocket when things are hard is essential. So being a good friend and staying connected to your friends is something that’s really important as well. And making that time to do that so that you can show up for your people and that they can show up for you.

Maurice Cherry:

What’s bringing you joy these days?

Shanae Chapman:

I have really enjoyed learning new recipes. So I like to cook and I like to bake, and my husband is very happy to be the person who’s taste testing. Yeah, so that’s bringing me a lot of joy. And reading as well and thinking about ways to grow Nerdy Diva that are not just focused on technology. Some are thinking about creating a children’s book and a comic, like an anime book as well. Yeah, just thinking about some of these creative ideas and exploring what’s next.

Maurice Cherry:

What would you say, like, you’re still in the process of unlearning?

Shanae Chapman:

For me, that’s unlearning the need to say yes to everything and being okay with saying no, being okay with setting those boundaries for myself on my time and my energy and practicing putting me first and what I need first. And that’s unlearning the habit of putting others above myself. And I think that’s really important to remember that you have needs and you have to take care of your needs also.

Maurice Cherry:

Now, what do you want kind of the next chapter of your story to look like? Say it’s five years or so from now. What do you want to be working on? What kind of things do you want to have done? Stuff like that?

Shanae Chapman:

Yeah, I want to continue to do the things I’m doing now and just continue to grow those partnerships. So I really want to continue to share knowledge on platforms like LinkedIn and other edtech programs for people who are getting involved in design and technology and want that to be a place where people are able to see someone who has some representation that looks like them, who they don’t often see in those spaces. Talking about design and analytics and technology and being able to share that knowledge. Also want to continue doing design work for government agencies and communities and be able to create more jobs and opportunities for contractors and interns as well.

Maurice Cherry:

All right, well, just to kind of wrap things up here, where can our audience find out more information about you, about your work, about Nerdy Diva? Where can they find that information online?

Shanae Chapman:

Yeah, you can find Nerdy Diva at nerdydiva.com, and we are on LinkedIn and Instagram as well.

Maurice Cherry:

All right, sounds good. Shanae Chapman, I want to thank you so, so much for coming on the show. I think what I’ve gotten the most out of this and what I hope others get out of it, too, is that there’s no substitute, I think, for hard work. There’s no substitute for putting in the work to get to where you are, to sort of put in those hours to get to some level of mastery or information. Because what it definitely sounds like I’ve gotten from your story is that you’ve had these experiences, you’ve worked at these different companies, and now you’re gaining that knowledge and putting it into your business and using that to also kind of give back through the work that you’re doing with, like, civic tech or even with these courses and things like that. I’m going to be really excited to see what comes next for you in the future. So thank you so much for coming on the show. I appreciate it.

Sponsored by Brevity & Wit

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Carmelle Kendall

Carmelle Kendall is a true Atlanta business success story! Not only is she a talented creative director and the co-founder of popular paper goods company Neighborly, but now there’s another title she can add to her list of accolades — children’s book illustrator for “Your Freedom, Your Power: A Kid’s Guide to the First Amendment”!

We talked about how she got involved with the book, and she spoke about getting her start in the advertising industry in NYC, and later in Atlanta with rebranding the well-known hamburger chain Krystal. She also shared how she pivoted her creative interests into her current business, and she gave some great advice for others who are looking to do the same.

Carmelle’s story is one of ambition, determination, and the triumphs of pursuing your passions!

Interview Transcript

Maurice Cherry:

All right, so tell us who you are and what you do.

Carmelle Kendall:

So I’m Carmelle Kendall. I am a creative director, designer, founder of Neighborly Paper, and illustrator for a children’s book called “Your Freedom, Your Power.”

Maurice Cherry:

Yeah, I saw the book as I was doing my research, came out with Penguin Random House on July 25, and I’ll make sure that we put a link to that in the show notes. I’m curious, are you spending the summer doing a book tour or doing anything with publicizing the book?

Carmelle Kendall:

I’m not doing a book tour, but I have spoken with the authors, and we kind of have our rollout plans on how we plan on getting the word out there. I’m super excited about it. This is my first children’s book ever, so this was a goal of mine for, like, a long term goal. So I was very surprised when they hit me up to do this project. But I’m super excited about it and just trying to get the word out there any way that I can, because this is a book that is very much needed right now with the current climate in the United States.

Maurice Cherry:

Yeah. How did you get involved with it? Did the author reach out to you directly?

Carmelle Kendall:

Actually, the art director at Random House hit me up, saw my work just on the Internet and on Instagram and kind of traced it back to me, hit me up and just know there’s a new book coming out called “Your Freedom, Your Power” and wanted to know if I was interested in learning more about the project. And of course, you know, I said yes. I was over the moon elated about it. And then she, you know, just went into detail about what the book was going to be about. She showed me who the authors were. Allison Matulli is a lawyer, and then Clelia Castro-Malaspina, I believe is how you say her last name, is a writer. And they kind of paired up to write this book. And it’s really about…it’s a middle school level book, and it’s about how to protest, how to write a letter to your representative, how to write a petition, just everything on how to get your voice out there. I think it’s a super important book that middle schoolers, you know, adults need. LLike everybody needs [it], but it’s super fun. It’s in a way that’s just, you know, really straightforward and plain for the younger audience. It also talks about previous historic cases throughout the United States history that kind of changed the course of America and learning from those cases and how to implement all of that into today’s society. So it’s really important.

Maurice Cherry:

Yeah, I love the idea of a sort of kid / I guess teenager focused book about civics. Cause I mean…I don’t have children. But like, I don’t know if they teach civics in school anymore. That sort of stuff you mentioned with the book, I learned it in civics in seventh grade, but I don’t know if that’s such the case now, especially over the past I would say maybe ten to fifteen years. And we definitely have seen in the news, you know, protests and things where people are really exercising their civic rights. It’s not really taught as to how you go about doing it, because I think it really crops up around elections because we’re like, oh, write your congressperson this, that or the other.

Carmelle Kendall:

Right.

Maurice Cherry:

But how do you start that? How do you even make that happen?

Carmelle Kendall:

Yeah. And you can do it on such a small level, you know what I mean? It doesn’t even have to be around presidential elections, but it’s literally just about anything that you want to change. You have the power to do it. You have the voice to do it. And here are the tools to help you. Yeah. Even I learned a lot from reading the book and illustrating the images. I was just like, “wow, this is such a needed book right now.”

Maurice Cherry:

Very cool. We’ve actually had…man, I think we’ve had a few children’s illustrators on the show fairly recently. I know we had Alleanna Harris. We had Akeem Roberts. We’ve had a couple of folks on the show recently that have done like children’s books, illustrations — kid lit, as they called it. Is that sort of a dream of yours to do more books like that?

Carmelle Kendall:

It is. I have so many ideas. I have so many ideas for children’s books that I want to do. So I’m hoping that this kick starts just a new line of employment for me because I had a lot of fun doing it. It was a lot of work. I will say this book, it took over a year and a half, I believe total, to do it. The deadline got pushed back a few times. The manuscript changed a few times. So very much a labor of love, for sure. But I love doing it. And I have so many ideas for other children’s books, so I’m hoping to get started on those now so that I can keep the momentum going and keep this ball rolling. But yeah, I loved it. I definitely want to continue. For sure.

Maurice Cherry:

Nice. Do you have representation yet?

Carmelle Kendall:

I don’t. So I am debating on…I’ve had people reach out to me for representation, but I have another illustrator friend and she was like, “don’t do it.”

Maurice Cherry:

Oh, why is that?

Carmelle Kendall:

From her experience. She said that she had a representator or representative for her illustrations and that it didn’t work out because she felt like they weren’t really pushing her work out there and that they were pretty much just tacking on their percentage for a lot of the work that was coming in. Not from them. Like just people coming in organically to her and then having her representative take a percentage off without really finding the work for her. And so she got into some royalties, like children’s books that have royalties, and now her representative gets a percentage for life.

Maurice Cherry:

Oh, wow.

Carmelle Kendall:

She said, so from her experience, she said that she had a representative for her illustrations and that if it didn’t work out because she felt like they weren’t really like pushing her work out there. And that they were just pretty much tacking on their percentage for a lot of the work that was coming in not from them. Like, just people coming in organizally to her and then having her representative take a percentage off without really finding the work for her. And so she got into some royalties like children’s books that have royalties and now her representative gets a percentage for life.

Maurice Cherry:

Oh wow.

Carmelle Kendall:

And they didn’t come to her through the representative, and so she was just telling me, you know, it’s not worth it and you know, just kind of do it on your own. So I don’t know, I’m a little on the fence about that.

Maurice Cherry:

Wow. Yeah. I can understand then why you’d want to kind of give that some more thought. I know some of the folks that I mentioned that we’ve had on the show, they are represented. I think one of them in particular is represented by, like I think it’s either a Black agency or it’s one that is geared towards Black work, or Black or BIPOC work.

Carmelle Kendall:

Oh, interesting.

Maurice Cherry:

I don’t know. I feel kind of like for illustrators, maybe it just makes sense because you don’t have to do that legwork define work. They kind of just come to you. But then if it’s a situation like you mentioned with your friend, that sucks because they’re getting a cut of money for not even really doing the work.

Carmelle Kendall:

So the one that I talked to, I asked that question, I was kind of like, “okay, so if somebody comes to me without you, like, if they see me on Instagram or whatever and hits me up, then do you get that percentage?” And she said, “yes, that’s the way her contracts work.” And so it made me hesitant. So I said no at that time because I was like, “well, let me do some more research because I don’t know about this.”

Maurice Cherry:

Yeah, no, that’s fair. That makes a lot of sense. Yeah. So aside from the book, what else do you have planned for the summer?

Carmelle Kendall:

So, aside from the book, I’m working a lot on Neighborly Paper, which is my paper company, rolling out new products all through the summer and hoping to get into some more stores come fall so that everybody will be able to purchase Neighborly from a store near them.

Maurice Cherry:

I will make sure to link to the segment that I saw you on where you were featured on the TODAY show. That’s big. Talking about Neighborly. I think at the time, it was like, in 2020. Is that, right?

Carmelle Kendall:

Yes, February 2020.

Maurice Cherry:

Oh, during Black History Month. I think it mentioned you were in, I think, twenty stores at the time.

Carmelle Kendall:

Was it only twenty? Oh, my gosh.

Maurice Cherry:

Look at you. “Only twenty. Was it only twenty?”

Carmelle Kendall:

Wow. I don’t even remember the number at that point, but wow! Yeah, it might have been twenty at that point, but we’ve definitely grown a lot since being on the TODAY Show, for sure.

Maurice Cherry:

Well, let’s talk about Neighborly. Let’s get into that. How did you sort of come up with the idea to start that?

Carmelle Kendall:

So it was actually my business partner’s idea. So at that point, we started it in 2016 in New York City. We were both living there in Harlem, and my business partner is actually a childhood friend of mine. We grew up as neighbors in Fayetteville, Georgia. We grew up as neighbors. We ended up living in Harlem together as neighbors again. And so she’s a writer, and she had the idea of coming up with a greeting card line at that time and asked me was I interested in doing some illustrations for the line. And so I said, well, let me see first what the lines are and what I can bring with the illustrations. I didn’t say yes immediately because I wanted to just make sure I could actually do this. And she sent me the lines. They were hilarious. I thought it was great, super cute. I spent the weekend just kind of drawing some images to the design, I mean, to the lines. She ended up loving it. And then she said, “well, I think we should call it Neighborly, since we grew up as neighbors and we’re neighbors again.” And I loved that idea, designed the logo and everything.

Initially, we started out our line with holiday starting in 2016. So we had Christmas. We ended up doing some little, at this point it was like October, sSo we did little Halloween postcards that we gave out as freebies so that people could just get our website out there. But yeah, we started out with eight cards for holiday. We completely sold out of those cards. We had a total of 800. We did like 100 each. Completely sold out of those cards. Unexpectedly, we were like, wow, people really love this. And then people were like, “when are the Valentine’s cards coming out? When are you going to have birthday cards?” Initially, I was like, wow. I thought it would just be like a little hobby. Like, I would draw a new card every few months, but now people are like, when are the next cards coming out? Yeah. Then we were like, okay, this is a viable business right now. We actually need to come out with more inventory. So that’s how it started.

Maurice Cherry:

I love the name Neighborly. I love that whole sort of concept of it coming from the fact that you and your business partner were neighbors. That’s really cute.

Carmelle Kendall:

Yeah, so and now we’re actually both back in Atlanta. Neighbors again.

Maurice Cherry:

Look at that. Yeah, neighbors and business partners — that’s dope. So right now you’re working at an agency now, but before that work, you were at Dagger as an associate creative director and a senior art director. Tell me about that.

Carmelle Kendall:

Yeah. So started at Dagger in 2020 as a senior art director, worked on Krystal, which is a fast food restaurant in the southeast; worked on Buffalo Wild Wings; and then got promoted to ACD, which is associate creative director, where I worked on Aflac and a brand called Rent. But, yeah, it was fun. Dagger was great. I learned so much. We did a huge rebranding for Krystal at that time, which was amazing. I got to lead that, which leading a rebrand of that size was just amazing. I loved it. That’s one of my favorite projects to date just because the client gave us so much freedom. We pretty much changed everything except for the logo, which is like a dream. Not a lot of brands let you do that; let you change the colors and let you explore typography and things like that. So, so much fun. I loved it.

Maurice Cherry:

There’s a couple of things I sort of know about Dagger. I’ve heard of it here as a local agency. One of the projects, I think it’s either from Dagger or maybe Dagger acquired it, I’m not 100% sure. But ButterATL…is it part of Dagger? Is it like just a project that they do? Do you know what I’m talking about?

Carmelle Kendall:

Yes. It started out as a part of Dagger, and then now they’ve kind of branched out, and Dagger, I think, is just known as, like, an investor at this point, but now it’s its own entity.

Maurice Cherry:

Okay. Yeah. I know about Brandon Butler. Brandon’s been on the show before. He was actually one of the very first people I had on the show way back in 2013. He was working at Edelman at the time, but I had heard of him because…I don’t know if people know that Brandon Butler is kind of something of like an Atlanta like wunderkind. He had a website store in North DeKalb Mall. I want to say it was North DeKalb Mall, where you could literally go into a store in the mall and buy a website. This was well before I think he did Butter, but I remember hearing about Butter, and I know that Brandon was at Dagger, so I wasn’t sure sort of what that relationship was.

Carmelle Kendall:

Yeah. Mmhmm. Yeah, Dagger, I guess, helped start it. It started at Dagger, but now it’s definitely its own.

Maurice Cherry:

Yeah, nice. I’m wondering, like…it probably was really cool to work on with Krystal kind of being such a…it’s not an Atlanta, I mean, I guess you could say it’s a known Atlanta brand. It’s founded in Tennessee, but it’s headquartered now here in Atlanta. I bet that was something kind of working on such a well-known Atlanta/Southern brand.

Carmelle Kendall:

When I was interviewing and they said that Krystal wanted to do a rebrand — and they never really done a rebrand, like, ever in history — that is what made me want to take the job, because what brands have been around that have just never done a rebrand and are just kind of like, we want you to lead this project. It’s like, wow, that was a dream come true and something that doesn’t happen very often. And so I definitely took the job for that project because I just was really excited to do a rebrand of that scale.

Maurice Cherry:

Let’s dive a little bit into that project because you said it was such a grand redesign like that. What did that entail? Like, what did the team look like? How did that process even go?

Carmelle Kendall:

The team was so small, it literally was me and another designer. We ended up getting some freelance help because it just was massive. But it didn’t happen all at once. It happened over the course of, like, a year, I would say. So, yeah. It wasn’t crazy where we did it in, like, a month or so. We really did take our time with it. But, yeah, like I said, the only rule was don’t change the logo. So everything else was pretty much sky’s the limit. So they knew they wanted something more modern, more fresh, just more current. I just feel like everything was kind of looking a little outdated just because they hadn’t had a rebrand in forever. So we updated the colors. We made it more just popping. Like, we wanted everything to pop. Redid product photography for all of the menu items, which was one of my favorite parts. We wanted the food to look more realistic, you know. We wanted sauce dripping down, some of the ingredients might have fallen onto the plate, things like that. We thought of every little detail that you could think of. Typography, colors, design elements. We did some illustrations for it. We had all new photography, all new models, just everything from start to finish. We did everything.

Maurice Cherry:

Wow. And like you said, it took over, like, a year to sort of pull it all together.

Carmelle Kendall:

Yeah.

Maurice Cherry:

Now, when you started out at Dagger, you were an art director, right? And then when you left, you were an associate creative director. Tell me kind of, I guess, one — and I know this because I hear this either from a lot of freelancers or just from a lot of people — they kind of use art director and creative director rather interchangeably. Like, to you, what is the difference between the two, and how did you shift from becoming an art director to a creative director?

Carmelle Kendall:

Yeah, I see people using them interchangeably as well, and I definitely don’t think they should be using them interchangeably. For me, art director, you’re way more in the weeds of the work. You’re working under the creative director. So for me, the creative director is more so leading the charge. But the art director is kind of implementing what the creative director sets in motion is kind of how I see it. So when I first started at Dagger as a senior art director, I definitely was more in the weeds. And then when I left as associate creative director, I was more so overseeing, like, you’re managing the teams, you’re managing the day to day of the teams. You’re more so delegating the work. You’re making sure everything is cohesive, of course, and everything kind of fits together. But as art director, you’re definitely doing the day to day, whereas creative director, you’re leading the way.

Maurice Cherry:

I got you. That makes sense. Now that you kind of put it that way, it does seem like something you would sort of organically level up to, because if you’re in the weeds, then of course you’re able to be an effective creative director because you know what it’s like to be at that level where you’re kind of hands on with the work in that way.

Carmelle Kendall:

And you definitely, as a creative director, need to understand what it takes to make the vision come alive. And I feel like understanding what it takes, you have to be as the art director, you have to be as the designer so you can understand, okay, this is going to take this amount of time. This may not be possible, but this is…you kind of need to know those things, and the only way to know those things is to be in the weeds of the work.

Maurice Cherry:

That makes sense. I got you. Now I kind of want to shift gears here a little bit. Of course, we’ve talked a good bit about your work, but I’m curious to kind of know more about your journey leading up to all of this. Now, you are one of the rare Atlanta natives I think I’ve had on this show, which is great, over ten years. Tell me about growing up here.

Carmelle Kendall:

Yeah. So initially, my family is from the southwest of Atlanta. Like, our first house was on Cascade Road.

Maurice Cherry:

Okay.

Carmelle Kendall:

And then ended up moving to Fayetteville when I was little, and that’s mainly where I grew up. I went to private school. I went to Woodward Academy for a long time before transferring, going to public school and high school, where I transferred to Sandy Creek. So that’s where I graduated from, which is a Fayette County School, and then moved away, where I went to Howard for undergrad.

Maurice Cherry:

How was Howard?

Carmelle Kendall:

Howard was amazing. I mean, best four years of my life. I’m pretty sure that’s what all the Howard grads say from at least the ones I know. But, yeah, Howard was amazing. I mean, I highly suggest everybody go there.

Maurice Cherry:

Now, when you went there, you were studying marketing. Did you kind of already have that in mind when you went? Like when you graduated high school, you knew you wanted to get into marketing?

Carmelle Kendall:

No, absolutely not. I didn’t know what I wanted. I honestly didn’t think about it. I wasn’t the type of person to like…I don’t know. When I was growing up, my goal in life, I wanted to be a background dancer. I didn’t take school and stuff that seriously. And so when I graduated from high school, I didn’t know what I wanted to be at all. I just wanted to go out and party and have a good time. So I just picked it randomly because I just was like, “oh, business, that sounds cool. Let’s do it.”

Maurice Cherry:

I’m laughing not at the choice, but I’m laughing at the fact that there’s so much pressure, I think, especially when you’re in high school and about to graduate on, like, you need to pick the one thing that you’re going to do for the rest of your life. There’s a lot of pressure to have that forward thinking in mind. I 100% get what you’re saying. When I graduated, I wanted to do something with web design, actually, but at the time, it wasn’t, like, in the curriculum. I graduated in 1999, and so the web was still kind of becoming a thing. The Internet was still becoming a thing. And when you went to school, the closest thing that there was was, like, computer science or computer engineering. There wasn’t any sort of, like, UX or anything. I don’t think those terms, at least not in the general knowledge of design, really existed back then. And I took my first semester. It was all this programming stuff. Didn’t like it at all. I was like, “I don’t like this.” Went to my advisor, told him I wanted to do websites and build stuff for the Internet, and he was like, “the Internet’s a fad. You’re not going to stick around if this is what you want to do. You should change your major.” And so I changed my major to Math. And I mean, this is partially true, but it’s also what I tell people. I just changed my major to Math because I liked Math. I didn’t have any sort of idea of, like, I’m going to be a mathematician. I’m going to be a Math teacher. I had no clue what to do with a Math degree. I just liked Math. But also when I did the math on my credits that I had so far, like, stuff I had transferred from high school, I was like, “wait a minute. I could graduate a semester early if I switch over to Math, and I could still stay at my scholarship program.” So that’s what I did.

Carmelle Kendall:

Yeah, that’s important.

Maurice Cherry:

Because later, as a working designer, I always get people that are just baffled that I have a Math degree. Like, why? I just…I like Math. I didn’t really have any career plans. Also because the scholarship program that I was in was set up where you did two internships at NASA facilities.

Carmelle Kendall:

Oh!

Maurice Cherry:

And so the goal was, like, you do those two internships, and then when you graduate, you have a job at NASA. And I was like, “well, I don’t have to really think about what I have to do. All I have to do is just graduate college, and I got a job waiting for me.”

Carmelle Kendall:

Right.

Maurice Cherry:

But 9/11 happened when I was in my junior year, and they changed stuff with the program where the seniors that were graduating in 2002 would still get to go to their NASA assignment or whatever, but not the ones after that. And so I was working at the High Museum at the time, selling tickets at the High. That was the job I had when I graduated because I had nothing lined up at all. I had no sort of career plans even coming out of college because I thought, like, “oh, I’m set.” So I get it. I completely understand not having an idea of what you really want to do. I sort of fell into design because I had it as a hobby. I was still doing it on the side, and then now it’s what I do. But I had no plan at all. I was just like rolling with the punches.

Carmelle Kendall:

But I mean, it’s absurd to ask somebody that’s 18 years old what is their plan? You know what I mean? Like, you’re 18. If you think about it, in high school, you’re not exploring all these different career paths. You’re taking geometry and English. I don’t know. I just feel like to have your whole career planned out as a freshman in college is wild. That’s bonkers to me.

Maurice Cherry:

Yeah.

Carmelle Kendall:

I think everybody should kind of start out undecided, or I think maybe college, your first year, everybody takes classes in all kinds of different things so that sophomore year, maybe you can have some inkling of what you want to do. But freshman year, that’s crazy. So I didn’t know. Basically, I just chose it randomly. I was like, yeah, businesswoman. I can be a businesswoman. Sure.

Maurice Cherry:

Or do, like, a gap year or something. Just something to kind of give yourself at that time frame, like, more of an idea of what it is that you want to do. Because also, look, as a freshman, I was out partying, too.

Carmelle Kendall:

Yeah.

Maurice Cherry:

The clubs used to send buses to campus to pick us up and take us to the club and then bring us back to campus. I told this story on the show before I almost flunked out freshman year because I was partying, almost lost my scholarship. I had to pull it together. I really did.

Carmelle Kendall:

I mean…but you’re living life. That’s what you’re supposed to do.

Maurice Cherry:

Yeah, absolutely.

Carmelle Kendall:

Yeah. So that’s what I picked just at random. I mean, Howard was amazing, though. I wouldn’t change that for the world. But yes, if I could go back now, I would do graphic design or be an art major or something that pertains to what I do now. But at the time, it was random.

Maurice Cherry:

Yeah. I mean, hindsight is 20/20, right? You can always kind of look back and know, “yeah, this is what I should do, because it will make sense for what I’m doing now.” So I get that.

Carmelle Kendall:

Yeah.

Maurice Cherry:

So when you graduated, what kind of work were you doing right after you graduated?

Carmelle Kendall:

So, right after I graduated, I had an internship because I knew that I hated marketing, and I knew I didn’t want to do anything in marketing. And at that time, a friend of mine worked at a fashion PR place in L.A. And so she said, you know, “I don’t know what your plans are after graduation, but you can come intern with us if you want.” And at that point, I had no other plans. That was the only thing on the table. So I said, “yes, I will do that.” So I lived in L.A. for, like, nine months, I believe, and I interned there. And during that time, I was kind of like, “okay, I don’t know what I’m working towards. Do I want to do fashion? What am I doing?” Basically, I started realizing that I really like graphic design. I really like art direction. I want to see what this path has to offer. And I remember senior year before graduation, I remember I set up a meeting with my career advisor, and I said, “who are the people that make ads?” And she said, “that’s called an art director.” And I remember going home and googling how to be an art director and came up with these schools where you could get a degree in art direction. And so while I was interning in L.A., I just was applying to all of these art direction programs and ended up getting into SCAD. Or no, I ended up getting into Miami Ad [School] and those ad school type places. But it’s just like a certificate of completion. Like, it’s not a degree in any way.

Maurice Cherry:

Right.

Carmelle Kendall:

And so I realized I wanted to go to SCAD because I could get a degree. And so I applied to SCAD for their grad program, and I ended up not getting in because I didn’t have an advertising portfolio which is needed for the grad program. I ended up moving back to Atlanta and taking classes at SCAD. Not in the grad program, but just as a regular student. And I took, like, Photoshop, Illustrator, I learned all the programs and then got my professors to write me letters of recommendation for the grad program and then ended up reapplying and getting in the second time.

Maurice Cherry:

Nice. I think that’s really something that you still kind of had this vision, but you just sort of found different ways to kind of get to it. I mean, one, taking these courses and getting these certificates, at least you got your feet wet with what it would entail without sort of fully getting in first. But also you use that to help build your portfolio, then you can apply and get into SCAD. Yeah, I like that approach.

Carmelle Kendall:

And all of the people in my program, they had had art direction as their majors, as undergrads. They all had been working towards this grad program for years, whereas I had just heard about it my senior year right before graduation on what an art director even was. So I was very much behind everybody. Like, I was just now learning Photoshop, whereas these people knew Photoshop all through college and were designers and things like that. So I definitely felt behind. I will say. But yeah, I mean, my goal was to get into this program and kind of just hunkered down and just learned what I needed to learn and reapplied.

Maurice Cherry:

Yeah, I mean, aside from the curriculum focus, like, how was SCAD different from Howard?

Carmelle Kendall:

Oh, it’s different in every way possible, I think. I remember my very first day at SCAD, I walked into the cafeteria, and there was, like, a classic pianist playing classical music on the piano, and I was just like, “oh, my God, where am I?” Because at Howard, you’re like, twerking while you’re eating the lunch with a DJ. You know what I mean? Like, it’s a party, and I go to SCAD, and it was like a person playing classical music on the piano, and everybody kind of eating in silence, and I was just like, “what did I do?” It was very different, very different. And also, I think art school is just way more competitive. Art is so subjective, and so it’s just a way more competitive environment, I think, than Howard was.

Maurice Cherry:

Aside from, I guess that competitivenes, did you find community there? Did you sort of make friends there? Because one thing I’ve heard from folks that are on the show that will go know, like a SCAD or a MICA or something like that, is that it can be a bit difficult sometimes to kind of find community.

Carmelle Kendall:

Yeah, I can see that for sure. Because it’s so competitive. Like, your classmates are not your friends. You know what I mean? You’re going against them a lot of times at SCAD; you do group projects because I don’t know, you just do a lot of group projects. At least in my major, we did a lot of group projects. And it was so competitive because after graduation, you don’t want the same portfolio as your classmates because you’re all applying to the same jobs, right? So you want to stand out. So I think in that sense of it, I don’t know, you’re just not as friendly, you’re not as welcoming, because you want to distance yourself from your classmates so that you stand out come graduation time. So I can understand how people say it’s hard to make friends. I did make one of my best friends at SCAD, and I think I had a handful of friends that are still really close to me that I see all the time. So for me that wasn’t the case, but I definitely can see how people feel that way. For sure.

Maurice Cherry:

Yeah. Now did you go to SCAD here in Atlanta or the one in Savannah?

Carmelle Kendall:

I went to the Atlanta campus.

Maurice Cherry:

Okay, all right, well, you’re right there in Midtown then, and you’re from the city, so I think that probably was a big advantage, at least socially, because you didn’t have to stay in that bubble of SCAD. Like, you could go see your parents or whatever. You could break out of that and still be in a city that you’re familiar with.

Carmelle Kendall:

Yeah, but if I was to do it again, I’d go to Savannah, though.

Maurice Cherry:

Oh, really? Why is that?

Carmelle Kendall:

Yeah. Because I would have loved to just live in a new city, a different city than one that I was already so familiar with. Like, when I go to visit Savannah, I always think, like, why didn’t I come? Like, it’s such a cool city. If I could do it again, I definitely would go to Savannah rather than Atlanta.

Maurice Cherry:

Okay. Now, with Neighborly that you mentioned earlier, did you start Neighborly while you were at SCAD or was it before then?

Carmelle Kendall:

No, I started Neighborly in New York when I lived in New York. So right after SCAD’s graduation, I got hired in New York.

Maurice Cherry:

Oh, nice. Yeah, I know. As I did my research, of course. I see that you’ve worked for quite a few agencies. You did four years at Y&R, which is now as VMLY&R. You did a year at The Integer Group. You did a little over a year at Havas. You were at…when you were in New York, you were at Havas, right?

Carmelle Kendall:

When I was in New York, I was at VMLY&R.

Maurice Cherry:

Okay. VMLY&R. When you look back at those experiences collectively, how do you think they really help prepare you for the kind of work that you do now?

Carmelle Kendall:

I think starting out as a junior art director in New York probably was the most enlightening experience as far as learnings. New York has a different work ethic, in my opinion. Like, starting out my career in New York, I was working till 10:00 p.m. every night, and this was pre-COVID, so there’s no remote working. There’s no “I’m going to take this call from home.” You know what I mean? You’re in the office until ten [or] eleven o’clock at night. I remember there was one time, and this is with hard drives and things like that, so I remember there was one time I had to physically go take a hard drive to one of my boss’s apartment at like two in the morning.

Maurice Cherry:

Wow.

Carmelle Kendall:

Because they needed this hard drive for a client presentation the next day. It was grueling. You just learn so much. You learn how to talk to clients. It was my first time going on set. It was my first time traveling. Like, I traveled to Uruguay for shooting and things like that. It was like a crash course in advertising, pretty much.

Maurice Cherry:

You mentioned the hard drive at 2:00 a.m. That, for some reason, that reminded me of The Devil Wears Prada where Andy has to take the magazine to Miranda’s apartment, and she’s like, “put it on the desk. Don’t talk to anyone, just put it on the desk.”

Carmelle Kendall:

Yes. And as a junior art director, I mean, you’re the one that’s going to have to do it you know? Who else is going to do it? Not a senior person. That was the life for four years in New York. It was grueling, for sure.

Maurice Cherry:

What brought you back down to Atlanta? Just wanted to break out of that.

Carmelle Kendall:

Yeah. I mean, I was kind of at the point, you know, I love New York. Let me just say that I love New York, but it’s expensive. I was at the point where I was, you know, I’m tired of being broke, I’m tired of not being able to save any money. I’m tired of working to death, basically, like, just working into the night and things like that. And so to the point where I was just like, “you know what, I want to come back to Atlanta.” I put in my notice and I came back to Atlanta, where I freelanced for about a year before moving to Chicago. That year ended up being great. I got to be with my family, be with my friends. But freelance, you have your own struggles with freelance. But at the time, to me, it was better. It was what I needed to do. I needed to just…yeah.

Maurice Cherry:

And I’d say good on you for recognizing that, because I think sometimes, especially when you’re really locked into a particular job or a particular pattern, a lot of the popular advice — I guess you could say it’s popular advice — but a lot of the stuff you’ll hear is that you have to sort of stick with it. You got to pay your dues, et cetera. But if it’s really weighing on you and it’s really affecting your day to day, it takes a lot to break out of that.

Carmelle Kendall:

Yeah. I also think now is just a totally different climate than back then. Now I think just a lot of things have slowed down since COVID and now it’s like hybrid work models or people working from home, and I just think it’s a lot more laid back than back then.

Maurice Cherry:

Do you think it’s starting to ramp up again?

Carmelle Kendall:

I think it’s starting to ramp up again, but hopefully not to the point where it was then. I was working around the clock.

Maurice Cherry:

Yeah. It sort of feels like now with companies, we’re at…what’s a good analogy for this? It’s almost like when you’re trying to learn how to drive a stick shift and you can’t sort of get the rhythm between the brake and the clutch and trying to get all that together, and it’s kind of jerky back and forth. I feel that sort of like feeling is happening right now with companies that are still trying to decide how they’re going to operate with employees, quote unquote, post pandemic. The country said the pandemic is over. The government’s like, we’re not funding, you know, whatever, but COVID is still out there. Some places that have went remote are either continuing to go remote or they’re deciding on remote or hybrid. They’re still trying to sort of figure out what the rhythm is. Because before the pandemic, the rhythm kind of was, as you said, kind of just go go go. This is how it is. Now that people see that as another way to work and another way to live and still be able to get work done, companies are like, we still have all this office space. Like, what are we going to do with that? We want people to come in the office two days a week, three days a week. They’re still trying to figure it out, I think.

Carmelle Kendall:

Yeah, it’s definitely a silent battle right now between the employers and the employees as far as like hybrid versus remote versus two days, three days a week. It’s definitely a back and forth going on right now. Some agencies are like, we’re fully remote or work from anywhere. And then some people are like, no, we’re in the office. Come in the office every day.

Maurice Cherry:

The last place where I worked was fully remote. And I think one of the people who worked there really took advantage of that a lot by just traveling to different countries. I mean, we would meet with her and she’s like, well, this week I’m in London and this other week I’m in Paraguay or whatever. And the company eventually had to say, “okay, you need to stay in one place.”

Carmelle Kendall:

Oh, really? Well was she getting her work done?

Maurice Cherry:

She was getting her work done. But the problem is, or I guess the problem that arose, at least that’s how I heard it was that because she was jumping from country to country with different time zones and stuff, there’s just certain countries that the business can’t do business from. So — and I mean, not like political dissident countries, like she wasn’t in North Korea or anything like that — but there were just certain places she was at where they were like, “OK, we’re not sure that you can work from there. We need you to kind of stay in one place for a while because it’s making paying you difficult” because she’d be in one place one month, one place somewhere else, just kind of jetsetting around. Because in my mind I was like, she can’t be getting paid that much to be doing all this jet setting between countries. Maybe she was, I don’t know. But yeah, eventually they told her, “okay, you need to stay somewhere for a while.” And then I think once she did that, she was somewhere maybe for about a month or so. They laid her off.

Carmelle Kendall:

Oh, no.

Maurice Cherry:

Well, they laid all of us off, so we all were kind of in the same boat. But it was so weird because I know that that’s something that people have done during the pandemic is just take advantage of the fact that you could work remotely. Why not work from anywhere? But the company was like, no, you need to stay somewhere for a while because we can’t keep track of where you’re at. And it’s messing up, I guess, business operations with how we pay you or something like that.

Carmelle Kendall:

Oh, interesting. I wonder if it’s because of like taxes or something.

Maurice Cherry:

I also think they just didn’t like her. I think that could have been part of it too. We’re all working, don’t get me wrong, but if you’re working hard and then someone else is working hard, but this person is like jetsetting between all these places, I think it might have been a little bit of jealousy. They were like, “okay, you need to stay your ass in one place and stop doing all this traveling around because I can’t travel, so why do you get to travel?” That’s what I think it was. But they had a more friendly, corporate friendly excuse.

Carmelle Kendall:

Yeah, because if she’s getting her work done and she’s…you know what I mean? That should be what counts. And if she’s working the hours of everybody else, I don’t know.

Maurice Cherry:

I don’t know. But again, it’s sort of like what I talked about before. Companies are just trying to figure out how to sort of work now in this new environment because this is such a new thing. Like, before you went to the office, you worked your eight hours or whatever and you went home.

Carmelle Kendall:

Right.

Maurice Cherry:

Work was that sort of “other place.” And now that your work can also be where you live and if you can do that from anywhere, why stay at the place that you’re at?

Carmelle Kendall:

Yeah.

Maurice Cherry:

Now with the work that you do with Neighborly, you’ve got a full time gig and the book…how do you balance all of that?

Carmelle Kendall:

Yeah, I don’t think I’m good at it, to be honest. The book was a labor of love. There were nights that I stayed up to like two, three in the morning finishing those drawings because you’re on a timeline and that timeline generally isn’t going to move because of you, you know what I mean? Especially if the book comes out on a certain day, that’s it. You can’t just say, “oh, I need another month.” You have to be on somebody else’s timeline. So there were nights that I stayed up to like two, three in the morning and then literally woke up at like seven to start my normal workday. So, yeah, not fun. But I knew that doing the book was a long term goal of mine, and not every day you have this opportunity for something that you basically been dreaming about, and the opportunity presents itself. You kind of have to just buckle down and do it. So, yeah. Not fun, but I did it. Neighborly. Right now, we’re at the point where we fulfill orders, obviously from the orders that come in on our website. But it’s a lot of just negotiating with buyers right now for those larger wholesale orders. So we have Valentine’s cards and Urban Outfitters this past Valentine’s Day. So those orders are the gigantic orders. And if that’s the case, if we have a big order like for TJ Maxx or Marshall’s or whatever. That’s when we hire people to help us out, because those orders could be like, 20,000 cards.

Maurice Cherry:

Wow.

Carmelle Kendall:

And if that’s the case, we hire packagers. We hire people to help us fulfill the order, like put them in boxes and things like that. Ship them out. So those come. Obviously those aren’t, like, every day that we’re fulfilling those large orders. So it’s more manageable. Every once in a while, we get these big orders, and then we hire helpers. So it makes it way more easier for us.

Maurice Cherry:

Wow. I was saying freelance, and not in a pejorative way, but it’s a business.

Carmelle Kendall:

Oh, yeah. Since the TODAY show, we have gotten these huge wholesale orders. We’ve been in paper stores. We’ve been in Urban Outfitters. We’ve been in Marshall’s, TJ Maxx, Home Goods. So, yeah, with those big orders, you definitely need help. It’s way more than just me and my business partner can fulfill because they’re just so large. So, yeah, we have a list of packagers that we hit up that just kind of help out when needed.

Maurice Cherry:

So it sounds like the TODAY show was, like, a really big boost for you.

Carmelle Kendall:

Oh, 100,000% for sure. I don’t remember. If you’re saying that we’re in 20 stores, which could be right. I just don’t remember before the TODAY show. Now we’re in thousands because of these large wholesale orders. Like with Home Goods. That was like 800 stores right there with the Home Goods order. So. Yeah, we’ve got a lot of stores, for sure.

Maurice Cherry:

It’s so interesting how creatives that I’ve had on the show, and it’s usually ones that do some kind of digital, creative work, like full time, in some capacity, tThey always have a side project or a side business or something that is tactile. Like…it’s cards. It’s home goods. It’s ceramics. It’s always something tactile. Is that on purpose, I wonder? I don’t know. I find that to be interesting.

Carmelle Kendall:

Yeah. I mean, you don’t have clients.

Maurice Cherry:

That’s true.

Carmelle Kendall:

When it’s tactile. Nobody telling me what I need to do with the design or the artwork. It’s no client. You’re doing it for yourself. Yeah. At least that’s what I would think it will be. That’s what it is for me. I knew that if I’m going to do something on the side, I don’t want any clients. I want to do what I want to do, do what I like. Do what my business partner likes and that’s it. We’re doing what we want to do and that’s it. I mean, we do do custom cars, which in that case we’ll have a client, but for the most part it’s what we want for the line, what we envision for the line, what we want to put out, whether it be notepads or journals or calendars or whatever. We’re doing what we want to do, pretty much. I mean, we take into account what our audience likes and what our audience wants to see, but there’s nobody saying “no, make that blue purple,” like no, that’s all me and my business partner.

Maurice Cherry:

I got you. That makes a lot of sense then when you put it that way, I like that.

Carmelle Kendall:

Yeah.

Maurice Cherry:

For the retailers, are you normally just shooting for these larger big box stores or are smaller boutiques also a target?

Carmelle Kendall:

Oh yeah, we’re in boutique stores all across the world actually. Now we have some international too, but with the smaller boutique stores, they’re smaller orders just because they’re mom and pop shops. So we definitely do reach out to the big box stores as well because that’s the huge orders that span for 800 stores like in the TJX case or Urban Outfitters and things like that. That’s where the huge orders come from.

Maurice Cherry:

Got you. That makes sense. So with everything that you’re working on, what do you want to try to accomplish for the rest of the year?

Carmelle Kendall:

So, at the beginning of this year I had some goals and I can’t believe it’s already summer and I feel like I haven’t done many of my goals that I set out to do. One of the goals was to learn 3D software. So I actually start my 3D class tomorrow, so I’m really excited about that. I’m going to be learning Cinema 4D which I have been wanting to learn for a while. And then other than that, I want to start working on these other children’s books ideas that I have. I have so many ideas, so I want to start putting those to pen, to paper. And then with Neighborly, we have a lot of ideas for products, new products that we want to roll out so want to start getting those into stores and on the website so that people can start purchasing those and then just doing know with advertising I want to build up my portfolio more and go on some more shoots and productions. Looking forward to that too.

Maurice Cherry:

Now for someone that is listening to what you’ve accomplished, they’re hearing about all your success and they want to kind of follow in that same vein. What kind of advice would you give them?

Carmelle Kendall:

I would say to start freelancing, start doing things on the side. A lot of times if you do what you want to do on the side, a lot of times it can become your full time. So if you’re not getting the work that you want to do in your full time job, just start creating it on the side. I’ve had side hustles and side projects pretty much since I started in advertising. I realized that I just wanted to spread my wings and not have to do everything for a client. I wanted to sometimes just create for myself. And so I’ve always just had things going on on the side, whether it be for freelance or just because I wanted to do it. And that has helped me so much in just growing my portfolio and getting other business. So I would say, always just do things on the side. Just do things for yourself, do things just to stay creative because you want to. And it always lead to something. It always will lead to bigger things.

Maurice Cherry:

If you could go back and give teenage Carmelle that wanted to be in the video, if you could give her some advice, knowing what you know now, what would you tell her?

Carmelle Kendall:

I will probably say, don’t be afraid to explore. Just art, the art world and things that you think are unattainable. Because when I was growing up, I didn’t have artists around me. My mom is a doctor and my dad is a lawyer, and so I wasn’t in the art space. I didn’t know an artist, I didn’t know anybody in advertising. This is all something I found out late in life. I always drew and painted and things like that, but I didn’t think it was attainable. I didn’t think being an artist was you can make a living off of it. So I would tell myself, just explore those things, like explore what makes me happy without having that fear of am I going to make it in the art world? Just be fearless and explore what makes me happy, basically.

Maurice Cherry:

Where do you see yourself in the next five years? Like, what’s the next chapter for Carmelle Kendall?

Carmelle Kendall:

I see myself doing more books, having books on the shelves, in stores everywhere, having Neighborly on the shelves in stores everywhere. I see myself just learning new things. I believe that I’m a student for life, so learning new programs, learning new software. I always just want to stay experimenting with my craft. Hopefully my artwork has evolved in five years. Hopefully it doesn’t look like it does now. I want to always be continuing to evolve and just being a better artist and designer is what I see for myself.

Maurice Cherry:

Well, just to wrap things up here, where can our audience find out more information about you, about your work, about Neighborly? Where can they find that information online?

Carmelle Kendall:

Yeah, well, they can always go to my website, which is Carmelle.com. The book is called “Your Freedom, Your Power”, which is available everywhere books are sold. And then for Neighborly, they can go to neighborlypaper.com and find a list of all the stores that we are in. Or they can just purchase directly from neighborlypaper.com.

Maurice Cherry:

All right, sounds good. Carmelle Kendall, I want to thank you so, so much for coming on the know. As I was kind of pulling my research together for this, I kind of always have a thought in my mind about who the person is before I talk to them and what the interview might come to be like. And the main thing I’m getting from this is like, hometown hero from the a left, did your own thing, came back, you’ve got this great business, it’s a fun business, but you’re also still kind of working in the advertising world as well. And from what I can tell just from talking with you, you’re keeping it humble. You’re certainly super proud of the work that you’ve done and the success that you’ve accomplished, but you’re also super humble about it. That’s a really good quality to have, especially in this world where there’s just so much like, posturing and clout chasing and all that kind of stuff. I’m like, I get from you that you are like, the genuine real deal, and I’m really excited to see where your work goes in the future. So thank you so much for coming on the show.

Maurice Cherry:

I appreciate it.

Carmelle Kendall:

Thank you so much for having me. Like I said, I’ve been following you since 2020 when I listened to you on a podcast, so I was very honored.

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