Billy Almon

I first heard of Billy Almon at last year’s Black in Design Conference, and I was so energized by his talk that I knew I would have to have him on the podcast to share his story with you all. Being a biology-inspired storyteller and designer might sound a bit peculiar, but wait until you hear how vital and important his work is to all of us.

Billy started off with a primer on biomimicry, and then shared how his experience with Hurricane Katrina changed the course of his life forever. We also talked about the value of exposure, and the creation of Billy Biology, his way of giving back to the world and inspiring generations to come about how biomimicry and design are so important. According to Billy, “the answers are all around us.” And I think after this interview, we should be ready for them!

Transcript

Full Transcript

Maurice Cherry:
All right, so tell us who you are, and what you do?

Billy Almon:
My name is Billy Almon, and I am a biology inspired storyteller and designer. So, I look at organisms in nature, I get an understanding of how they innovate, how they have been innovative, and I look for opportunities to apply that to challenges at the human scale.

Maurice Cherry:
Wow. Now, I regret to say, I first heard about you last year, at the Black and design conference that goes on at Harvard Graduate School of Design. You were on this panel, actually, with two other people who’ve been on the show, Ari Melenciano and Jerome Harris. Yeah, I know the panel was about equity and justice in technology and media. I remember you gave this example about a slime mold that I thought … I was sitting in the back like, “Wow, that is really dope.”

Maurice Cherry:
How had you heard about the event before you spoke there?

Billy Almon:
I’d been trying to go to the event, I’d been trying to attend the event since the first conference. My wife actually told me about an opportunity when they started looking for speakers for the last conference, so she actually reached out to them and said, “Hey, you might want to check out this guy named Billy Almon, he might be good for your conference.” Then, they reached out to me with an inquiry about participating.

Maurice Cherry:
Nice. Yeah, I mentioned before we started recording how your wife, she reached out to me too, years and years ago, about starting a podcast. That’s dope that she’s been proactive in helping out like that.

Billy Almon:
Man, she’s the most self actualized person I’ve ever met. It does wonders for my career.

Maurice Cherry:
I read where you refer to yourself as a biomimicry advocate and practitioner. Of course, I have to ask, I feel like you probably get asked this on every podcast but, what is biomimicry, and how do you use it in your life?

Billy Almon:
Biomimicry comes from this term called biomimesis, which translates to imitate life. Essentially, it’s the idea of turning to nature for inspiration on how to solve problems. If you think about the world in which we live in, every single organism on this planet, whether it be human, or bacteria, or mammals, all of us have to deal with the same conditions. Sunlight, cyclical processes, ebbs and flows in resources, competition, environmental factors that play into how we live our lives.

Billy Almon:
So, when you think about the fact that we all experience these things, and when you think about the fact that a lot of these organisms have been around longer than we have, you start to see that there’s all of these existing methods and strategies for solving problems, that exist in the natural world. What biomimicry does is we study these organisms, and then we find the underlying tactic, or strategy, or function that’s at play, at how these organisms are solving their problems, and then we apply that to parallel problems that humans face.

Billy Almon:
To give you an example, Velcro is an example of the biomemetic process at play. The designer of Velcro, he was a Swiss gentleman who would take his dog for walks. Every time that he would come home, he would find these little spherical seeds attached to the fur of his dog. So, he took these seeds under his microscope, and saw that there was these curly little hooks on the end of each strand of this seed, and he realized that this is a great way that this seeds attaches to animals, these curly little hooks. That became the inspiration for Velcro. So, if you think about how Velcro looks, when you look at it up close, it’s all of these little strands, and curly strings on one side, with fur-ish counterpart on the other, so Velcro came from the strategy of this seed, which is called a burr seed, to attach to animals, in order to have the animals carry the seeds to locations where they might potentially grow.

Maurice Cherry:
Oh, interesting. Yeah, I’ve heard something about that, with Velcro and how now, I guess there’s different types of Velcro, where the matting isn’t as plush, or the hooks aren’t as deep, but it is still based off of that same premise, of what you’ve seen in nature. You’re now able to recreate that, in an industrial setting.

Billy Almon:
Exactly.

Maurice Cherry:
Given that example, I feel like that’s something we probably, as kids just running around in fields and stuff, have instinctively picked up. You run around, and you’ve got grass and all kind of stuff stuck to your pants, and your shirt, your hair, or anything like that.

Maurice Cherry:
When did you first learn about biomimicry? When did you first know that this was something that you were into?

Billy Almon:
I actually came across biomimicry as a result of Hurricane Katrina. By that, I mean after Hurricane Katrina hit New Orleans, I was an architecture student at Howard University at the time. After the storm hit, and after the manmade disaster that followed, there was a lot of students, obviously not only at Howard, but around the world … At Howard, there were a lot of students who wanted to do something. How can we help?

Billy Almon:
About 500 students from Howard University drove down to New Orleans, and to the Gulf Coast, to just find ways to volunteer to help during our Spring Break. Seeing what took place up close, I had the most transformative experience. It was the most transformative experience I’ve ever had, just witnessing people who look like you, people who look like me, in the conditions that that disaster left that community. As an architecture student I was curious, how do we avoid this from happening? How do we create spaces in communities where this event is not taking place? Especially knowing that climate change is not going way, especially coastal cities, and people in low income neighborhoods are going to be the most affected, and are the most affected by climate change, how do we prevent these kinds of things from happening again?

Billy Almon:
In trying to find answers to that question, I came across this book called Biomimicry: Innovation Inspired by Nature, which was written by a woman named Janine Benyus. After I read that, everything for me changed, it became my design philosophy.

Maurice Cherry:
Nice. So, once you learned … Well, hold on. Actually, let me switch gears for a little bit. You mentioned climate change. Here in Atlanta, we have a Museum of Design here, and 2020 the theme that they have for this year is that it’s the year of climate and change. Actually, by the time this episode airs, there will actually be an exhibit there, about biomimicry. It’s titled Learning from Nature: The Future of Design, it was developed in collaboration with the Biomimicry Institute.

Maurice Cherry:
I’m really interested in checking that out, because I heard about that right around the same time that I was at Black and Design. I was like, “I need to learn more about this,” because the examples that you were giving during that panel talk really inspired me to think about, what are ways that designers could possibly use nature for design, for technology, for creating more equitable futures? Which we’ll get to, later on in the conversation, but I wanted to mention that.

Maurice Cherry:
So, let’s switch gears here a bit, because you talked about Howard University. I want to go back, a little bit further than that. Where did you grow up?

Billy Almon:
I was a military brat growing up. My dad was in the Army, and my mom worked for the Department of Defense. So, I was born in Germany, I think we moved back to the States when I was, I want to say, one? Maybe two. Bounced around several states, Texas, lived in Georgia a little bit, lived in Maryland, before I went to Howard. Lived in South Korea, and then back to Germany. So, just all over the place, which was a fun experience, especially when you get to come across kids who have friends that they’ve known since they were in diapers. I have a new best friend every two years, so that was always a fun experience, growing up.

Maurice Cherry:
With all of that traveling, and seeing the country, seeing the world, how did that shape you, creatively?

Billy Almon:
Oh man, it made everything possible. It told me that there’s more options than I think, right away. It added all these different flavors to the mix of how you can create something new, by just introducing a new, or a different perspective, on what you’re trying to do. Does that make sense?

Maurice Cherry:
Yeah, that makes sense because it’s sort of like that adage, “You can’t be what you don’t see.”

Billy Almon:
Yeah.

Maurice Cherry:
So, the fact that you’re able to see all of these different experiences, different people, different cultures, et cetera, that all feeds into who you are.

Billy Almon:
Yeah. I’ve got to tell you, if there was one thing that really stuck out to me, about the experience of all that traveling as a young kid, was just the value of exposure. I mean, like you say, you don’t know what you don’t know. Once you’re exposed to something, it just reintroduces you to another level of possibilities, right? I can’t emphasize enough how much exposure, even in a lot of the work that I’m doing now, how big of a role that plays.

Maurice Cherry:
When did you first know that design, in general, was something that you were really interested in? Were you just prone to it as a kid, or how’d you find out about it?

Billy Almon:
When I was a kid, these are the stories my mom would tell me, about me being in my room, building contraptions, building booby traps in my room, and building cities out of construction paper and Legos. So, my mom would always tell me when I was a kid that I was going to be either an engineer, or an inventor when I grew up. Just her telling me that I was like, “Okay, that’s the name of it,” and I’d just go back to playing in my room.

Billy Almon:
Finding ways to explore my imagination, I think that was really it. Then, her just feeding that was a big part of it.

Maurice Cherry:
I remember when I was a kid, they used to have this, I think it was a contest, called Invent America. Do you remember this?

Billy Almon:
No. What was that?

Maurice Cherry:
I might be showing my age. When I was in school in the ’80s, Jesus Christ, there was this nationwide competition called Invent America, and it was for K through eight students to, basically, creative thinking skills, critical thinking skills, et cetera. You just basically made stuff, and it was a nationwide competition, they judged it. I don’t know if Invent America is still a thing, anymore? I want to say, given the state that America is now, not to be political, but I don’t know if that’s still a thing that kids do?

Billy Almon:
Was that at a public school they did that?

Maurice Cherry:
Yeah, it was a public school. Yeah.

Billy Almon:
Oh man, maybe I was in Korea.

Maurice Cherry:
This is a public school in rural Alabama.

Billy Almon:
Oh, man.

Maurice Cherry:
Yeah, I figured it was a nationwide thing, I thought it was nationwide. I’m going to have to look into that.

Billy Almon:
You know what’s funny? When you said Invent for America, my mind went to us. What was it, reach for-

Maurice Cherry:
Hands Across America. Yeah.

Billy Almon:
I was like, “Wait, you did what?”

Maurice Cherry:
I need to see if Invent America’s still a thing, because … It’s funny, I think about the stuff that I did when I was younger in school, and how completely unorthodox I think it is, right now. We had a critical thinking … Not a class, really, but they would give us critical thinking exercises. They’d give us an odd scrap of construction paper, or something, and everyone gets the same shape of construction paper, and you have to basically make something out of it. Some people would glue it to a piece of paper, and draw around it to make art around it. Or, someone would take it, and fold it into something, or things like that. I don’t know if kids have that kind of stuff, now?

Billy Almon:
You know what’s crazy about that? Now, to do that, you’d have to pay $20,000 a semester at college, to do the exact same thing. Take this piece of paper.

Billy Almon:
I remember, one of our projects was we had to take one piece of cardboard, and turn it into a chair, and be able to sit in the chair. It was basically just a thicker piece of paper, I could have just went to public school in Alabama, and checked that box.

Maurice Cherry:
So, you have this, I guess, childhood curiosity for creating these traps, and buildings, and everything, so your parents saw that as something that, clearly, you were into. Was that what influenced you to go into architecture?

Billy Almon:
Yes, when it came time-

Maurice Cherry:
Was that what influenced you to go into architecture?

Billy Almon:
Yes. When it came time for me to start looking at schools and start thinking about my major, the closest thing, at that time, that I came across was architecture. I was looking at it like, “What is something that has to deal with psychology, has to deal with politics, has to deal with science and art?” This is 2004, so this is before everyone just was Googling stuff. Before that was a trend, it was… What was it? Hotmail and looking stuff up on that internet. Architecture was the first thing that I came across and understanding, researching about Egyptian architecture and how the architect was treated in society during that time period really kind of romanticized it in a way where I was like, “Okay. This feels like the right thing.”

Maurice Cherry:
How was your time at Howard?

Billy Almon:
I wouldn’t trade my Howard experience for anything. It was the best in so many different ways. One, because that was my first taste of Wakanda, and if you recall from the talk, but I just love black Panther. In part, because you can see biomemetic elements in the design. It was the first time, I remember stepping on campus like it was yesterday, stepping on campus and just seeing beautiful, intelligent people having diverse conversations and they all look like you, right? Just not getting that flavor, again, having traveled the world and primarily being the minority everywhere I went, it was just such a unique and special experience that, I just… Yeah.

Maurice Cherry:
Was it your choice to go through an HBCU or was that something your parents were pushing?

Billy Almon:
No, it’s interesting. I had actually planned to go to the University of Maryland and then I got accepted into Howard. I remember, I don’t know how not political or spiritual to not get, but this is literally what happened. I was praying about the decision like what do I do? And literally, I heard the clearest, as clear as I’m talking to you, something was just telling me, “Go to Howard.” Now, literally talking to you, I can totally see how just following that voice just turned into the beautiful life that I have now, especially because I got to meet my wife there. I think that’s probably the main reason anyone should go to Howard. I’m kidding. But so many great blessings came out of that just, I will always cherish it.

Maurice Cherry:
Yeah. We’ve had several Howard alums here on the show too. I’m sure they would all agree as well. It’s a great school.

Billy Almon:
Yeah.

Maurice Cherry:
I’m curious though about this connection between architecture and what you’re doing now. So you go through Howard, you’re studying architecture, you graduate with your degree, and now this is 10 plus years later, the work that you’re doing is in biology and design? That’s quite a path to take.

Billy Almon:
Yeah. Coming out of school, I got an opportunity to participate in a competition that Disney has called the Imaginations Competition. Out of that, I got an internship. Myself and four other Howard students, we entered this competition, submitted a design proposal for something we thought Disney should create, something we thought would be a cool Disney experience. Out of that, I got an internship and my first internship was literally, we were given a stack of things that were being worked on in the R&D department. They said, “Come up with new experiences for the future based on these cool cutting edge things we’re working on.” That was literally my first internship.

Billy Almon:
Long story short, after that, for 10 years after that, I worked at Disney in a lot of different capacities. My roles and responsibilities kind of changed to more, not just architectural design, but design of experiences and products and kind of a lot of really kind of forward future thinking. When you’re studying these things and when you’re looking at the future and all of that, you’re very often looking at the past. Again, for me, the natural world was full of all of these amazing innovative strategies. It naturally became something that I kind of just applied to everything that I was working on.

Billy Almon:
The other thing was my mother growing up, she loved animals and my mom is, God rest her soul, my hero. She’d always have stuffed animals on her desk at work and we always loved to be outdoors. That’s another thing that kind of just really stuck with me over time. Then when I got the chance to kind of dive deeper into biology and kind of studying how all these amazing creatures do things, it just blew my mind and really opened up this whole new avenue of resources for looking at innovation and design.

Maurice Cherry:
So then later on, you end up going to grad school. You went to Arizona State to study this kind of further. You studied biomimicry there.

Billy Almon:
Yeah, yeah. I was like, “Man,” as much as I loved Howard, I was like, “I’m never doing college again. I’m good.” Then over time, I was just kind of thinking like, “Okay, if I wanted to continue my education, it’d either be an MBA or be something else.” Then I realized that there was an opportunity to get a master’s of science degree in biomimicry. And I was like, “Okay, I have to keep going with this,” and that just further blew my mind and really kind of just opened up the natural world to.”

Maurice Cherry:
What was your time like there studying this now professionally? I would imagine that probably was a big shock in a way, right?

Billy Almon:
Yeah. One of the cool things about the program was I was also participating in an additional smaller cohort program where we traveled around the world to six different locations where we were immersed for a week in all these different ecosystems. We were literally in these amazing environments; costa Rica, Hawaii, the Sonoran desert in Arizona, the Colorado Rockies. We’re in these environments. We’re camping out. We’re looking at slug and you know, lichen and mushrooms and, and we’re understanding how, not only do they solve problems within their context and within the kind of operating conditions that they have to thrive within, but we’re also seeing how they relate to each other and how there’s so much cooperation in the natural world when most people just think it’s all about competition.

Maurice Cherry:
Yeah, survival of the fittest.

Billy Almon:
Yeah. So the interesting thing about that to me is how out of context that phrase is thrown around when that whole idea of survival of the fittest is really not necessarily the strongest organism or animal, but the one that’s most fit to the conditions to really thrive within that niche. It just completely reframes it in a different way.

Maurice Cherry:
It makes it then, more relational and environmental and not necessarily strength-based or some sort of adversarial kind of concept?

Billy Almon:
Yeah. Yeah. It makes it more about there’s a place where everything has its most optimal self.

Maurice Cherry:
Yeah.

Billy Almon:
You don’t have to be the strongest. Sometimes you need to be the weakest and the smallest because in this environment, to be small is to be optimal. Right? So it’s more about context than it is some sense of bravado, for lack of a better word.

Maurice Cherry:
Yeah. How did Billy Biology come about?

Billy Almon:
Oh man, so it’s funny. It started kind of, I don’t want to say as a joke, but my background wasn’t in biology, but I would be around a lot of biologists. For me, again, a brother in an environment where I’m the only one, when we’re hearing our teachers and our professors talk about these big biological, complex terms, I would kind of break it down for myself to understand, but kind of just blurt it out to the class. Basically, that’s where the poop comes out, right? They have all of these kind of like really, really complex terms about stuff and I would just kind of like break it down like that. It made it that much more digestible for my classmates. One day, we were in British Columbia and I had time to talk to my nephew, he was 10 at the time, and I was just asking him like, “So what do you want to do when you grow up?” His answer was, “Oh, I’m still thinking about it, but either a basketball player or a rapper.”

Billy Almon:
For me, I’m like, “Okay. As your uncle, I support you if that’s really what you want to do,” but as a person who had the opportunity to work among the most creative, talented people at Disney and then travel the world and see all these amazing places, that showed me that this is more about me exposing him to the world that I get to have access to than it is about that potentially really being what he wanted to do. What I would start to do is every time that we would travel to these different places, I would shoot a little video of what I was learning and kind of in that vernacular that I use with my classmates of kind of understanding these biological principles. I would just upload it to Facebook so that he could see it and other people could see it.

Billy Almon:
I got so much great feedback from not only from him, but also from like other people who saw the videos about how they were sharing it with their kids and how much it meant for them to see a person of color talking about science and technology and design. So it became a thing where I was like, “Okay, there’s something here and it’s resonating with people and there’s a need for it. So let me just keep going,” and it’s just kind of blossomed into other opportunities since.

Maurice Cherry:
And one of those opportunities being a television show.

Billy Almon:
Yeah.

Maurice Cherry:
You have a TV show called, “Little Giants.” Talk about that.

Billy Almon:
Yeah. So that’s crazy. It’s crazy how it happened. A good friend of mine named Bradley Trevor Greive, who I had the opportunity to work with at Disney, he saw a lot of the videos and he and I, every now and then we get together and we’d go and watch bad movies and kind of complain about how bad they were and kind of put our cinephile hats on. He’s a wildlife author and just a really dope human being. So he hit me up one day and he’s like, “Hey, so I’m pitching a show to Animal Planet and I think it would be hilarious if you and I were the host of this thing.” He’s like, “So I want to see if you’re interested in me throwing your name into the mix.” He’s like, “Just want to be honest, it’s a long shot. We don’t know what’ll happened, but I just wanted to see if you’re interested.” I’m like, “Oh, well, you know, it’s a long shot,” which means it’ll never happen. So I’m like, “Yeah, go ahead. Tell them all about me.”

Billy Almon:
So he hit me up maybe six months later and he’s like, “Hey. So yeah, we’re doing this thing, man. The show got picked up. Are you still interested?” And I jumped at the opportunity. So the show, “Little Giants,” is myself and Bradley going out into remote places in the world around the world and finding tiny little creatures and highlighting some of the amazing adaptations and the amazing abilities, the amazing kind of super powers of these little creatures and then exploring, if we were to scale up this frog to the size of a beetle car… What are those cars called? Bug? [crosstalk 00:27:15]

Maurice Cherry:
A VW bugs. Yeah.

Billy Almon:
Yeah, yeah. If we scale this frog up to the size of a bug, a VW bug, how strong would it actually be then? Or how high could it leap? And you get to see that transformation. So it’s really fun. It was an amazing opportunity and experience.

Maurice Cherry:
I was going to say, that’s also like a huge platform to be able to talk about biomimicry and about your love for biology and everything. That’s truly something. The show is still… There’s still episodes on and everything, right? It’s still airing?

Billy Almon:
Yeah. So I think six episodes have aired so far. You can find it on Animal Planet Go. I think more supposed to be rolling out. I can’t say the date, but I think there’s more on the way. I know we show more.

Maurice Cherry:
Okay.

Billy Almon:
So hopefully, you guys will get a chance to see that soon.

Maurice Cherry:
Yeah, I’ll make sure that we link to those episodes that you mentioned, link to them in the show notes. That’s really something to be able to take this love that you have to television that way. I feel like sort of what you’re saying about exposure, television feels like the ultimate exposure mechanism for people when they see like, “Oh, you’ve got to show?” All the other work that you’ve done leading up to that of course is great, but you have a TV show [crosstalk 00:28:27] people get to watch. That means that it really spread your message far and wide. That’s great.

Billy Almon:
Yeah, it was amazing. I consider myself a science communicator and it’s one thing to think that you’re doing a good job of briefly communicating a scientific or biological process, it’s a completely different thing when you’re doing it for television. Again, with my background in storytelling and the work that I did for Disney, I see myself as a storyteller too, but TV it’s such a different medium that having exposure to tell stories in that way was just another really cool thing that I’m hoping to expand on going forward.

Maurice Cherry:
So I want to kind of change the topic here a little bit. I want to talk more about biomimicry kind of as it relates to design and creativity because you mentioned being a biology inspired storyteller and designer. For those that are listing, that are kind of interested in these examples that you’re mentioning, can you talk about what the benefit is of using biomimicry?

Billy Almon:
Yeah, so if you think about it, there’s nothing that’s actually wasted in the natural world; the way that humans, the way that our design creates waste. The thing I love about the natural world and why I love studying biomimicry is nature is very entrepreneurial, meaning that things that live in nature, their goal is to thrive, grow, develop their community, protect their families while also expending as little energy as…

Billy Almon:
– while also expending as little energy as possible, and so energy in the natural world is a primary resource. So organisms, whether it’s a vulture eating the scraps left from another animal hunting it, things are very entrepreneurial. They’re very much about how can I be as opportunistic as possible, and because of that, there’s no waste. You have decomposers, you have producers, you have this kind of cycle of organisms that find their niche and are also very resource efficient, and so because of that, you have a lot of sustainable strategies that you see in the natural world. So I can give you a couple of examples. There’s this one company called Sharklet and they produce … they’ve invented this kind of film that mimics the texture of sharkskin. The reason that they do that is because shark skin is covered in these very tiny, sharp little triangular looking teeth.

Billy Almon:
And these teeth on the surface of a shark actually prevent microbes from collecting on the skin and the sharks getting bacteria and infections, and it’s antimicrobial, and so this company developed this film that replicates and imitates that pattern and it’s an antimicrobial surface. So now you have an invention that doesn’t require harsh chemicals for cleaning.

Maurice Cherry:
Interesting.

Billy Almon:
And I think that’s the real appeal of biomimicry is there’s so many different ways to derive inspiration from nature when you look at the process, because you’re studying the functions. So you’re studying, why does this form allow this beetle to fly at this rate and be that aerodynamic, but not only just the forms, you’re also studying the process of how these organisms solve problems, and you’re also looking at how, from a systems level, how all of these different organisms might be interacting with each other to develop more efficient and innovative processes.

Billy Almon:
So just to give you another example, one of the things that I’m studying now is how super organisms, things like ants, colonies of ants or bees or schools of fish. How these individual organisms work together as a collective to accomplish a task and what their strategy and how they approach accomplishing a task can be applied to a business organization. So there’s all of these really, really cool, amazing things that when you break down nature to its kind of its most basic principles. There’s design principles at play in the tactics and the strategies that animals use and that their biology use that we can apply as designers to architecture, to engineering, to manufacturing, to sustainability, and with the talk that I was giving even to social challenges, I believe there’s potential for that as well.

Maurice Cherry:
Yeah, we’re definitely hearing a lot about sustainability in the design world. I mean I feel like it’s more so from a conservation/climate change kind of angle, but you hear about plant inspired materials or even … I think I was reading something about how they’re trying to change how computer storage is more like DNA storage or something like that, looking at DNA and seeing how it stores data to see how they could do it for hard drives or something like that, which I thought was really interesting.

Billy Almon:
Yeah, I mean all of that stuff. I mean the more that you look at nature from … and I’m not saying from a … I’m not getting into the conversation around design versus evolution, not that kind of design, but when you look at what is actually the underlying mechanism that is allowing this organism to accomplish this task, what are the dynamics at play. When you break it down to almost a physics level, you really start to see all of these patterns and connections that just show you there’s some innovation at play.

Maurice Cherry:
Yeah. So how can designers … I would even say probably developers that are listening to, how can they start to use biomimicry and biology in their work? How would you tell someone to go about doing that?

Billy Almon:
So there’s several different resources that you can tap into. The organization, Biomimicry 3.8, that’s actually the organization that Janine, the author of the book on biomimicry, she started, and they do a lot of training and classes and workshops. No shameless plug, or shameless plug. Workshops are a great way to understand how biomimicry works and how … I might even be over-complicating how approachable it is to get into this, but one of the things that I always recommend is talking to a biologist about a challenge that you have, because they have the understanding of the biology, and that’s one thing that we always advocate for is this idea of having a biologist at the design table, because they can serve as kind of a translator of the phenomena that’s happening with the organism and how that might actually translate to the challenge that you as a designer are trying to solve.

Maurice Cherry:
A biologist at the design table. I’m actually going to use that, because my mother is a biologist.

Billy Almon:
Nice.

Maurice Cherry:
She’s a biologist, so I grew up in labs and around all kinds of biological stuff like that.

Billy Almon:
That’s what up.

Maurice Cherry:
So when you mention that, it’s funny because I mean I went to school for math and I graduated with a math degree and I was selling tickets at the symphony. For a few years after I had no plan at all. What are you doing with your life? My mom would be like, “What are you doing?” And I ended up … I was always doing design as a hobby and then I sort of fell into doing design as a job and then I started my studio, but I kind of always feel like … I mean I know she’s proud of me, but I feel like in the back of her head she was like, “What are you doing? This isn’t science. This isn’t math. This isn’t what you went to school for.” It would blow her away to let her know that there are these biological connections to design. I’m definitely going to use that. You think I’m joking? I’m going to. I’m definitely going to use them when I talked to her this week.

Billy Almon:
No, yeah. Go for it. Go for it. She should be proud of you because you’re looking to expand your horizons as a problem solver, which is what we are as designers, and you’re using the natural world that she exposed you to to do that.

Maurice Cherry:
Yeah.

Billy Almon:
That’s a good upsell.

Maurice Cherry:
And I mean I grew up in the sticks, so all kinds of animals and running around in fields and all that stuff. So when you’re mentioning that about the little burrs sticking on things, I’m just thinking of … I’m thinking now of things that I’ve seen as a kid that would remind me of applications that people could use now. For example, the little roly poly bugs. I’m pretty sure there’s a way someone is using a similar type of technology now for armor or something like that. It isn’t totally how that stuff is being used, but that’s amazing. You mentioned these workshops. You have your own workshop, BESA lab. Talk to me about that.

Billy Almon:
So there’s two components to it. One is more kind of professionally design oriented for older kids and adults, and then there’s a second component which is more younger kid oriented that is really around kind of looking at nature through the lens of STEM and kind of having a fun exploration of the outdoors through kind of an inventor’s perspective.

Maurice Cherry:
Interesting thing about STEM. I feel like it’s something when I was growing up, it wasn’t a big huge deal. Well, let me take that back. It was a huge deal in that they wanted to make sure that black people were going into these fields. I remember starting college. I started in a dual degree program. I got into that program because I had high scores in math and stuff when I was in school, and so I initially wanted to do computer engineering because I want it to be like Dwayne Wayne. That didn’t work out. After first semester I was like, “This is not going to work,” and I switched over to math, but it’s been interesting, I’d say within the past 10 years seeing how STEM is represented, I think particularly in black culture. I might be stepping on a hot potato here.

Billy Almon:
No, keep going.

Maurice Cherry:
So I hear a lot about STEM, but I feel like the focus is more so on the T and the E in STEM, not so much the S, definitely not the M. Let me tell you, everybody hates math. Nobody wants to touch math with a ten foot pole.

Billy Almon:
Man, you are not wrong.

Maurice Cherry:
Do you find that with what you’re doing with this sort of STEM education that people are trying to steer it towards more technical or more engineering disciplines?

Billy Almon:
I think part of that is if you think about where our society is, the iPhone is still the sexy mobile device. I think that whole Steve Jobs era of introducing the iPhone and programs and apps, I think that with that you have a better sales pitch for technology and engineering than you do science and math.

Maurice Cherry:
Yeah.

Billy Almon:
And I think that’s part of it. I think those are things that you can easily point to and they get the most buzz, they get the most shine, but all of the stuff that underlies that, like the math behind all of that, the physics of that, the science, those are really the two pillars behind the technology and the engineering part, which is kind of ironic about that whole thing.

Maurice Cherry:
Right.

Billy Almon:
But yeah, I think you’re totally right. They definitely get a lot more of the shine, but just taking it back to biomimicry, that’s also another reason why I love it, because you get the opportunity to go outside and then just completely kind of deconstruct a leaf, and you get to see a leaf as this power plant, you know what I mean? It’s this chemical, there’s all these kind of chemical exchanges and dynamics at play. There’s structural integrity, there’s fluid dynamics, there’s all of these things built into a leaf, you know what I mean? And so just kind of taking it back to biomimicry, that’s why I love using it as a platform to talk about STEM, because I think the natural world is such an easy way to contextualize some concepts in science and math in a very kind of present way.

Maurice Cherry:
Yeah, because then you can just tell people just go outside, look at the world around you and see how that inspires you. I’ve mentioned recently being in LA and one of the things that struck me as interesting was how plants were used as divisions in certain parts of the city. So if you go into Hancock Park or even further North to Beverly Hills or right around in that area, you’ll see a lot of houses that have these sort of protective hedges and topiary, but then if I went downtown, I just saw nothing but iron gates, iron gates, iron bars on windows, and it’s interesting because you see a gate like that and you think, “Okay, I need to stay out. This is clearly for staying out,” whereas the hedges felt more … I don’t know, almost like a privacy screen in a way. It was a really interesting thing. I noticed a lot of interesting kind of architectural stuff in LA, like all the arches and even a lot of the older buildings, although I heard that LA doesn’t really have that great of a culture for conserving old buildings, which was kind of sad, going down Broadway and seeing all the like burnt out marquees and stuff. It reminds me of New York, I guess that’s why they call it Broadway.

Billy Almon:
Yeah, I get that. That’s one of the things, LA’s … I think part of it’s like cultural, which is a huge part of architecture. Architecture in a lot of ways is this kind of preservation of cultural philosophies and ideas of a certain time, and so when you have a place like LA where by and large, a lot of it’s about like what’s the latest and greatest, hottest thing? What’s the latest trend? And all that kind of stuff. I can see how there not necessarily is a great affinity for preserving a lot of the history, even though there’s a lot of really great history. I have a friend of mine who has this company called Mojo, and what they do is they essentially take you on a tour throughout LA and kind of tell you the stories in this really kind of compelling way of the history of these places, so you really get this really immersive flavor for the city and it’s kind of culture throughout time, but yeah, I’m with you. LA is such an interesting place.

Maurice Cherry:
Do you feel like it’s a good place for what you do? I mean aside from, like I mentioned earlier, the proximity to television studios and execs and stuff, but being around the nature that’s in and around the city, is it good for you?

Billy Almon:
Oh, absolutely. I mean one of the great things about living here, and you hear people say this all the time, is having the opportunity to go to the beach and then go skiing in the same day is one of those unique things about this place, and so for me, that also means that there’s all of these different ecosystems that I get to explore. The weather is awesome, but it’s such a great place to kind of just understand … again, going back to what we were first talking about with niches and kind of this diversity of life that you find here, not only just in terms of the people that live here, but also the biota, the natural life of this place. That’s one of the things I love here. I can go to the aquarium and I can talk about octopus with my daughter and then we can go to Descanso Gardens and get all of these different flavors for different ecosystems of our local area. It’s awesome for a lot of the stuff that I’m doing.

Maurice Cherry:
Now speaking of your daughter, do you find that she kind of wants to follow in your footsteps?

Billy Almon:
Yeah, yeah. I’m seeing … she’s got the bug. So it’s funny. She’ll be turning five soon, and –

Billy Almon:
She’ll be turning five soon, and I’m a comic book nerd and I didn’t force this on her, but she took a liking to Spider-Man, so her whole room is decked out in Spider-Man stuff. It’s like our favorite movie and she loves spiders. She has no fear of bugs, or we were on vacation recently and we saw a gecko, I picked the gecko up and I had it in my hand and then I gave it to her and she was handling it gently and she was telling me how to handle it gently. So I was just like, “Oh, my baby. She’s got the bug.” Yeah, it was great.

Maurice Cherry:
Nice. That’s nice. What advice would you give to people that are listening that they’re inspired by your story, they’re hearing about your work. What advice would you give to any designers or techies out there that want to do what you do?

Billy Almon:
I would say this is kind of a big theme and rooted again… Sorry. So, for me it goes back again to exposure, right? The more that you expose yourself to new things, things that maybe even make you uncomfortable to explore, the more resilient, the more versatile you become as a designer, the more innovative you become. It’s going left when you usually make a right. It’s simple things like that. Like challenge yourself to get out of your comfort zone and learn something new.

Billy Almon:
For me, it starts like take a walk outside. Take a walk outside, and as a designer, breakdown when you see a squirrel climbing up a tree, what is actually happening, right? Or again, when you see a leaf falling to the ground, go and Google anthocyanins and understand how chlorophyll plays a huge role in the cyclical process of trees. I think I’m getting too out there, but there’s…

Maurice Cherry:
Not for me. Remember, my mom’s a biologist. So I’m like, “Yep. I got you.”

Billy Almon:
There’s this poetry to the way that life works. And actually that’s a great book too, The Way That Life Works. It’s like a biology 101 kind of book. But just go outside, start there. That’s the first thing. Go outside, take your curiosity with you and just look around in your backyard and just try to find some connections that you didn’t see before. Just start there.

Maurice Cherry:
It’s funny, I’m thinking back now, like my old days in science classes and stuff, and I used to be obsessed with the Krebs cycle. I was obsessed with it.

Billy Almon:
Oh.

Maurice Cherry:
For people that are listening, the Krebs cycle, it’s basically, I mean to dumb it down very, very dumbly, basically we breathe in oxygen, we consume oxygen and then we exhale carbon dioxide and water and that is converted into energy, like ourselves converting the energy. So we can get what we need for energy just by breathing, and I don’t know if that’s the whole concept behind breatharians, or whatever those people are that all they do is breathe to eat or whatever.

Billy Almon:
Oh, trying to eat. Yeah.

Maurice Cherry:
But I used to be obsessed with that in high school because I was into comic books and stuff too, and I’m like that’s like some mutant power shit. We just breathe in oxygen and get energy from it. Oxygen is everywhere. It’s in full supply. How is this possible? You know?

Billy Almon:
That’s the thing, right? Going back to your last question, I want to share with people, yes, my background is in biomimicry and yes I studied biology, but I don’t know everything about biology. As a designer, that was one of the things that made biomimicry approachable for me, was I didn’t have to right away know everything about biology. When you brought up that term, I didn’t know the term, but I understand the process, you know what I mean? The fact that that’s a chemical process, you know what I mean? There’s alchemy at play in the natural world and our bodies are a part of that alchemy.

Maurice Cherry:
Absolutely. So where do you see yourself in the next five years? I mean, with the work you’re doing with the television show and Billy Biology and E-Slap, it’s 2025, what do you want to be working on?

Billy Almon:
Man, oh, there’s so many different things. One thing that I’m working on as a longterm thing is I really want to do more workshops in different locations, so I’m currently writing a proposal to different aquariums for being a designer in residence, a biomimetic designer in residence and having workshops at aquariums. That’s something that I’m hoping to do, especially getting a chance to go back to the aquarium in Atlanta. I love that place.

Maurice Cherry:
Yeah, I remember when they broke ground on that too. I was working downtown at the time and initially they were doing it because honestly they were trying to keep tourism dollars in the city, but they also were competing with Chattanooga, because Chattanooga has a really great aquarium and we wanted to have something that was a similar draw in the city. I mean, I’ve been several times since it’s opened. For someone that lives in the city, it feels like a hidden retreat. It’s right downtown in the middle of the city. I don’t know. It’s a really great aquarium. It’s a great place to just go and just spend an afternoon.

Billy Almon:
It is, man, it’s so magical. Seeing that whale shark fly over your head in the tunnel and just that huge wall. I mean I just, I love getting lost. You can just fade away, in a way, you know what I mean? Just staring into the aquariums. That’s one thing that I’m hoping to do more of, and then I would love to do another TV show. There’s a couple of, now that I understand the way that wildlife filmmaking works from this perspective, I’ve been working on a couple of different additional show pitches for ways to extend that, that I’m hoping will be picked up in the next couple of years as I work on them.

Maurice Cherry:
I’m curious, what do you think about the, so there’s like these, I don’t know if I would call them up and coming, but there are these sort of, we’ll call them aficionados because I don’t know necessarily how professional they are, but there are these nature aficionados on YouTube and social media. Do you see yourself in the same realm as them or is the work that you’re doing on a different level?

Billy Almon:
It depends on which nature aficionados you’re talking about.

Maurice Cherry:
I was thinking of two people off the top of my head. The first person I was thinking of was Brother Nature, and the second person is this guy named, I think his name is Coyote Peterson, I think.

Billy Almon:
Yeah, yeah.

Maurice Cherry:
Yeah, yeah. I saw some video where he was getting stung by a bullet ant, and I was just like, why?

Billy Almon:
Yeah, yeah. He’s next level. The cool thing about him was he started on YouTube and he wound up actually getting his own show on Animal Planet as well.

Maurice Cherry:
Oh, okay.

Billy Almon:
So you know, props to him. I couldn’t do what he does. I like to tell people my perspective is as an African American male coming into the world of biology, but my primary lens and my primary approach is that of a designer, right? So for me, my design philosophy is where nature, science and design intersect. When I’m communicating biology, the biomimicry background and my background as a designer and storyteller is what I think is my distinction. Brother Nature, shout out to him, and The Real Tarzann and all of those guys who are bringing people and making nature less intimidating. I think that’s great that they do that.

Billy Almon:
I think depending on your understanding of some of the more technical and academic debates around how you interact with wild animals, that’s a separate topic. But again, for me exposing Latino kids or Latin X kids and African American kids to nature in a way that they wouldn’t before because of them, I’m all for it.

Maurice Cherry:
Yeah.

Billy Almon:
I don’t know about Coyote getting bit by the bullet ant. I’m passing on that one. I got the chance to be in Costa Rica and see bullet ants up close, and, nah.

Maurice Cherry:
Yeah, you’re like, I’m good, I’m good.

Billy Almon:
Yeah. What I say when I come across things like that is I’m not there in my biology yet.

Maurice Cherry:
Gotcha, gotcha. I hear you. All right. Well, just to wrap things up here, where can our audience find out more about you and about your work online?

Billy Almon:
Billybiology.com is the website where I have everything, and you can also find me primarily on Instagram at Billy_Biology, is the handle and yeah, hit me up and look out for a podcast called Nature Be Wildin’.

Maurice Cherry:
Nature Be Wildin’, I like that name. That’s a good name. That’s good.

Billy Almon:
Thank you.

Maurice Cherry:
Man, Billy Almon, thank you so much for coming on the show. It’s very clear to me just based on the conversation we’ve had and the work that you’ve done that you sit at this really interesting intersection of nature and design, and I guess technology in a way too. You sit at this intersection, and it’s something that we need to see I think on multiple levels. One, because there’s always talk about there’s not enough black people in tech, black people are underrepresented in technology and design. So it’s good to see someone doing that. But then also, there’s all these stereotypes around black people in nature, like black people don’t hike, black people don’t camp.

Maurice Cherry:
Granted, I’m pretty sure there’s probably some, well, I know that there’s racial bias in it because there’s laws that said we couldn’t, back in the day that we couldn’t camp out in national parks or things of that nature.

Billy Almon:
Right.

Maurice Cherry:
So I think some of that is certainly an inherited kind of trauma, I guess in a way. But you’re also bucking that stereotype and bucking that trend too. It’s like I’m a black man in nature, showing you how nature works and how you can use it to have a more sustainable future or to use it for greater things. I mean, you’re a visionary. You really are. I’m really glad to have been able to talk to you and to talk about the work that you’re doing, and I’m really excited to see what you do next, so thank you for coming on the show. I appreciate it.


RECOGNIZE is open for essay submissions for Volume 2! The deadline is April 30 – enter today!

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Terry Biddle

Maintaining a creative career these days can be tough, but Terry Biddle makes it look easy. As product design director at DC-based edtech company EVERFI, he helps oversee a lot of UX work while also collaborating with his team to help create lasting social impact for millions of learners every day.

Terry talked about how his love of design came from film and animation, and recalled his time at Howard as an undergrad before continuing at Pratt Institute while holding down a full-time gig. He also spoke on his first design gig once he graduated, his side project The Knell, and how he created his own typeface under the teaching of the legendary Tony DiSpigna! Terry says he started his design career in a world with no undos, and that kind of determination is what has helped make him a success today!

Links

Transcript

Full Transcript

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

Terry Biddle:
My name is Terry Biddle, I’m a product design director, and I live in Washington DC.

Maurice Cherry:
Now, you work for a company called EVERFI, can you tell me a little bit about that?

Terry Biddle:
Yeah, EVERFI is an education technology company, just to put it in a nutshell. We make education technology products, so anything that you can think of, as far as online courses, we make them. We make them from kindergarten through 12th grade, for adult learning, for technology companies, for schools, for banks, you name it. That’s what I do, in a nutshell. I make online courses for all types of learners.

Maurice Cherry:
Nice. How did you get started there?

Terry Biddle:
It’s kind of an interesting tale. So, before I worked at EVERFI, I had my own company, called The Knell, and I sort of got my feet involved in the tech community in Washington DC. And we may get into this a little bit later, but shortly before I was getting ready to start launching The Knell, my CTO left the company, and so, I was left with making a decision that a lot of tech companies have at the time, it’s , “All right, now what do I do while we’re right before launch? Do I keep this going, do I stay active, or do I find myself another job in the tech industry?” So, I found myself another job in the tech industry, basically, and one of my really good friends in the tech community ended up working at EVERFI, and he said, “Hey, they have some positions that are open for designers, maybe you should check it out.” And so, I did, and now I work at EVERFI, and it’s been a pretty good experience so far.

Maurice Cherry:
Nice. What kind of projects are you working on now? You mentioned these courses, but in general, what kind of stuff are you working on?

Terry Biddle:
Just to make it really easy for folks to understand, I basically make web applications. I design web applications. We make them for responsive design, of course, so it’s going to be [inaudible 00:05:41] on web, all in a web platform, like tablet, desktop, mobile phones. So, I lead a small team of designers, international designers. Actually, a lot of the designers that are part of the team that [inaudible 00:05:58] the courses that I help build are based in Argentina, mainly Buenos Ares, Argentina, and we have quite a few designers in the DC office as well. And we also do a lot of communication with our development team, also, just to make sure everything works the way we intend it to work. It’s really collaborative. UX is really involved, UI design is really involved in the process too. So, it’s a lot of trial and error, a lot of communication, also, with our content team. We work really closely with our content writers and our instructional designers and our learning experience designers, as well, to craft courses that are going to make sense to learners. So, it’s really a lot of, “Okay, does this make sense on this page? All right, now, does this make sense to navigate to that page?” It’s really, actually, a good deal of science that goes into it, it’s not just visual. So, that’s a lot of what my day to day is.

Maurice Cherry:
What’s the best thing about what you do?

Terry Biddle:
The best thing about what I do. I don’t know if I’ve thought about it in that way before. I really like collaboration. I would say the best thing about what I do is working with a team of people across all different parts of the product team, that are just… I work with a lot of really, really smart, super sharp people. I really enjoy, just, the comradery and the communication and just really coming together and solving a problem as a group. I really love that. So, for me, collaboration is a thing that I really take the most enjoyment out of, for sure.

Maurice Cherry:
Now, I want to get more into your career, including The Knell, that you just mentioned recently, but first, let’s take it back a little bit. You grew up in Ohio, is that right?

Terry Biddle:
That’s correct. Cincinnati, Ohio, born and raised.

Maurice Cherry:
Cincinnati, Ohio, tell me about that.

Terry Biddle:
Well, it’s a city on the river. It’s right across the border from Kentucky on the Ohio river. I like to let folks know that Cincinnati, even though it’s considered a Northern state, it’s right on the border of the South, so it’s the last Southern state in the North, basically, is what I consider Cincinnati to be a lot like. So, you can go to Cincinnati and get good barbecue is what I’m trying to say.

Maurice Cherry:
Uh-huh (affirmative).

Terry Biddle:
That surprise you? And what was it to live in Cincinnati? So, growing up in Cincinnati, I lived in Cincinnati proper for the first part of my childhood, and then I ended up moving to the suburbs. My parents are both college educated. My mom was a teacher, so for her, education was super, super, super important. She wanted us to go to school in a district that had higher education standards, so we ended up moving to the suburbs, and now, went from living in an all black neighborhood in Cincinnati, Ohio, to moving to a suburb called Evendale, Ohio. And it was a bit of a culture shock for me, living in an all black neighborhood and then moving to a majority white suburb. It was cool, as far as finding friends. I was a kid, I was eight or nine years old, so finding friends and playing was no big deal to me.

Terry Biddle:
This was about fourth grade, and in fourth grade, the first school that I went to, it was majority white. I think there were two black children in the entire school that I was going to. It felt a bit out of place. In retrospect, I remember a couple of instances of people saying things that we would definitely consider to be racist now, but it was something that was not considered that back then. And I remember, I had a best friend that I used to play with all the time, and then one day, we stopped playing, and then I found out, later, it was because his parents were racist and they forbid him to play with me anymore.

Maurice Cherry:
Oh, damn.

Terry Biddle:
This was when I was eight years old, so that was probably my first experience with racism and sort of coming to grips with understanding what that was. So, it was a big shock to me, actually, just to experience that because before that, I wasn’t really aware of… I mean, you know people look different, but you’re not really aware that people… It was my first understanding that, “Oh, people can just hate me for any reason they want to.” So, that was my first… really coming to terms with it.

Maurice Cherry:
Yeah. I grew up in Selma, Alabama, so I know all too well, that feeling of people just not liking you, hating you, for whatever reason. I mean, they have a reason, it’s because they’re racist, but unfortunately, I know exactly what it is that you’re talking about.

Terry Biddle:
Yeah, and it’s really weird. I didn’t even have the faculties to even understand what that was or how to navigate that at the time. Thankfully, it wasn’t a period that really persisted. I had that happened, and then there are things that happened over the course of it, but I will say that as I was growing up in Cincinnati, I always felt like something wasn’t… I didn’t feel like I belonged. I felt, a lot, I wasn’t able to be myself. I felt like being myself was seen as being rebellious. And it wasn’t until I got older and I went to college in Washington DC, and then, eventually, I went to grad school in New York City. It wasn’t until I was in those places, where I can be myself, anonymous, and nobody cared. It made me realize, “Oh my God, I can actually be myself and nobody is looking at me, nobody’s staring at me, nobody’s making me feel I’m an outsider.”

Terry Biddle:
I used to dye my hair and stuff when I was in Ohio, I think I dyed my hair red, I used to dye my hair red, and I’ve bleached it before. I used to have my ears pierced a while, I used to have my ears double-pierced. I had nose ring, I had a labret piercing. I used to do the stuff that a kid does, but me doing it, being a black guy doing it, it was like, “What is this guy? What is this guy? Is he a freak?” People would look at me funny, people would assume I was gay. Why would it matter if I was? I wanted to be someplace where I wasn’t made to feel like I was an other. So, being in DC and being in New York really made me realize like, “All right, I think I need to move someplace where I can be myself without feeling like I’m made to feel like another person.

Maurice Cherry:
And when you moved to DC, I mean, you went to Howard University for undergrad, which is, I think, probably a great place to find yourself.

Terry Biddle:
Yeah, so there’s a bit of a story about that too. So, my freshman year of college, I actually went to Columbus College of Art and Design. I got a $20,000 scholarship to Columbus College of Art and Design because I originally wanted to be an animator for Disney, that’s what I wanted to do. When I graduated from high school. I was like, “I’m going to be an animator for Disney.” The Columbus College of Art and Design recruited students from Disney to become animators there, so that’s why I originally went to the Columbus College of Art and Design. When I went to that school, I found myself in a similar situation that I felt when I had moved from Cincinnati proper to Evendale when I was about eight years old, when I was in fourth grade. I was one of the few black kids there, and it was a really small school. I think it was smaller than my high school. And I felt, again, like I was an other, and it made me feel uncomfortable again, and I wanted to experience what it was like to not feel like an other, to not have no reason… not to have the most obvious reason for people to segregate themselves from me.

Terry Biddle:
So, that was why I went to Howard. I applied to Howard and CCAD and got into both. And after I went through my freshman year, I was like, “All right, let me go to Howard.” And also, the other part of it was, aside from Disney animation, I wanted to study film a little bit more broadly, so I went to Howard to study radio, TV, film in a more broad fashion, and not just focus on the animation part of it. So, that’s how I ended up in Washington DC.

Maurice Cherry:
Okay. So, what was your time like at Howard?

Terry Biddle:
Oh man, it was great. I don’t want to say it was the best years of my life. I don’t want to say that because every year brings something different. I loved going to Howard. I look fondly on the years that I spent there. I had a lot of good friends, a lot of them I still stay in contact with to this day. It was just a really good experience. It’s really fortunate, I think, that we live in a time that I think what it means to be black is very different than what it was then. I think a lot of us, we’re coming into our own with it. I started wearing dreadlocks when I was at Howard, I had dreads all through Howard. I’m trying to think how many years I had dreads. I had them for a long time. I had them for five or six years straight, then I grew them again for another seven years after that, I-

Maurice Cherry:
And what years were this?

Terry Biddle:
So, Howard was 97 to 2000.

Maurice Cherry:
Okay, all right.

Terry Biddle:
Yeah, I forgot I have to say the year because-

Maurice Cherry:
No, no, I’m thinking this is post-

Terry Biddle:
[crosstalk 00:15:47] listeners, yeah.

Maurice Cherry:
No, no, no, I’m also thinking this is… when you talked about, sort of, the different ideas of blacks, I’m kind of also trying to quantify it within what else is going on in history and pop culture then, so this is post A Different World.

Terry Biddle:
Post A Different World.

Maurice Cherry:
L.A. Riots, that sort of thing, Million Man March, et cetera.

Terry Biddle:
Yeah.

Maurice Cherry:
Yeah.

Terry Biddle:
Yeah, in fact, I should probably talk a bit about that because… So, one of the big thoughts about going to Howard, then, was… this is when we didn’t really have any black directors that were mainstream successful at that time. And John Singleton, this was a few years after Boyz n the Hood came out. So, Boyz n the Hood came out and it just blew up the mainstream. Spike Lee was on the scene at the time as well. I should also say John Singleton and I actually had the exact same birthday on January sixth. His death really, really got to me because he was one of the people that I looked up to coming up, in addition to us sharing the same birthday. So, it was really shocking when he passed away.

Terry Biddle:
But yeah, I mean, this was what pop culture was like. And this is a pre-YouTube world, so when I came to this school… Google didn’t exist yet when I started college. Google didn’t exist, we had a couple of web search engines, I think, at the time. So, this is how far back. So, we had Lycos, WebCrawler, Yoohoo was the most popular at the time, Ask Jeeves. This is what was out at the time, this was a pre-Google world, and we couldn’t even write papers… You couldn’t even use the internet to write papers back then. To do research for papers, we had to go to the library, we had to use floppy disks. This is an area that a lot of folks don’t even know anything about. Dial up internet, having to download music with dial up internet. Man, I remember sitting in my dorm room, waiting 15 minutes to find tracks on Napster. It’s like, “All right, aw man, this track. It’s only going to be 15 minutes, cool, cool, cool.” And 15 minutes was an acceptable time to download one song.

Maurice Cherry:
Mm-hmm (affirmative).

Terry Biddle:
It’s crazy. Just leave that stuff playing overnight to download an album. Oh my goodness, take me back, take me back now.

Maurice Cherry:
Yeah, Napster, Kazaa, I think there was one called Audioscrobbler.

Terry Biddle:
Limewire.

Maurice Cherry:
Oh, Limewire, all of those. Yeah, I remember that very, very fondly.

Terry Biddle:
Oh my gosh, man. That was the era.

Maurice Cherry:
Uh-huh (affirmative). So, you’re studying at Howard, you graduated in what, 2000, you said?

Terry Biddle:
Graduated in 2000, yeah. I got my undergrad degree in 2000. That was in the School of Communication, shout out to School of C, radio, TV and film. So, my emphasis was mainly in TV and film. That was where the primary area of my study, so there was a lot of screenwriting and TV and film production. And this was back in the day, so we did video editing on Super VHS and Beta video.

Maurice Cherry:
So, what was your next step after…

Terry Biddle:
S and beta videos.

Maurice Cherry:
So what was your next step after Howard?

Terry Biddle:
Well, my next step after Howard I thought was going to be going into film industry and I couldn’t quite find a linear path into the film industry back then, the only way to get into the film industry. This was, again this was, everything was analog. I think when I came out of school there was only one mainstream motion picture that was shot on digital video and that was the Phantom Menace. George Lucas’ Star Wars movie was the first, I think, one of the first mainstream movies that were shot on digital video. So it wasn’t… Digital video wasn’t even mainstream at the time. Like now, most things are probably shot with Arri Alexas and Red cameras, that wasn’t even a thing then. So think back when, what you had to do to break into the mainstream to do filmmaking, you had to shoot on 16 millimeters.

Terry Biddle:
That was the only way to do it. So it was… And it was incredibly expensive, I want to say it was about $10,000 a reel to get 60 millimeter film. So it was incredibly expensive and you had to try to get funds like that. So if you were going to try to break into the film industry then, the only way to do it was to be a production assistant, and you really had to be a P.A in New York or LA to do it. I mean from Cincinnati, Ohio, not having any connections in New York city or in LA, I couldn’t really find a path to do that, I mean it was really difficult. Like they’d kind of walled you out so you would have crash on buddy’s couch basically and work for minimum wage or so to do it in New York.

Terry Biddle:
I didn’t see that path there. So what I ended up doing after that was, I was always a visual artist. That was the main reason why I went to school in the first place was to be a visual artist, to be an animator. So I was like, all right, so I know how to draw, I knew how to paint, so I should probably go back to school and do something creative as a profession. I need to find some way to use my creativity as profession. And I wasn’t actually familiar with graphic design at the time, so it was something that I sort of researched and I ultimately, decided to go into studying graphic design as a major for my graduate school. Some crazy stuff go out in between them. This was around 2001 too. Just to give, give your listeners a time frame and this was during, this was around 9/11 so there were quite a lot of stuff that was going on at the time.

Terry Biddle:
I had sort of made it, I made, I was making a decision. It was… What do you call it? Where you like… I was like flipping a coin basically to decide what was the right choice for me to do. So, I had applied for, I had asked for some recommendations from some professors at the time to apply to film school for my master’s program. But I also was thinking about doing graphic design as my master’s program.

Terry Biddle:
And this was right after 9/11 there was I don’t know if you, if you will remember this or listeners will remember this, but there was Anthrax, there was an Anthrax, a mail scare that happened right after that. And a lot of things were put in the mail and people weren’t getting their mail in. And I had some packages that were sent out that were supposed to go to schools that just completely got lost in the mail and I never got them. So I wasn’t able to complete my process. And the other side of the coin was graphic design. So I decided to go back to school to Pratt and studied graphic design there and their grad comd department that was based in Manhattan. So that’s kind of like a crazy, crazy way. And I ended up at graphic design.

Maurice Cherry:
You know, it’s interesting, there’s like a… And maybe it’s because I’ve had so many people on the show that I sort of followed a similar path but, there’s like this pipeline between Howard and Hampton to Pratt university or Pratt Institute, I should say, sorry, Pratt Institute. There’s like this pipeline where people will start out at one of those two schools for undergrad for design and then ended up going to Pratt. Did you find that there were a lot of Howard folks when you were there?

Terry Biddle:
There were a couple of Howard folks and there were some Hampton folks too. One of my best buddies at Howard as I was a, I’m sorry, one of my best buddies at Pratt was, it was a Hampton grad. I think they need to stop the Hampton pipeline. You don’t need any more people from Hampton going to Pratt. That’s a Hampton joke for folks that don’t know. And just to be clear on air, Howard university is a real H.U. I don’t care what anybody tells you. Howard university is the real H.U. just got to be clear about that.

Maurice Cherry:
I mean, I went to Morehouse, so I don’t know if I really have anything to say in this whole conversation, but I’ll let you have that one. Okay.

Terry Biddle:
You probably witnessed the turf Wars.

Maurice Cherry:
Oh yeah. So how was Pratt different from Howard, aside from it being, graduate to undergrad? How was it different?

Terry Biddle:
Oh man. I mean it’s, I don’t even know how to explain it. There were so completely different experiences. I mean, first I lived in the dorms at Howard, so it was a very, very different at Pratt, I lived in an apartment. I worked a lot while I was in school, so I didn’t really work full time when I was in undergrad, but I worked almost full time when I was in my Master’s program. So it was a very, very, very different experience like working in, I lived in Brooklyn when I was at Pratt and I would commute to Manhattan to go to class. So, it was a very, very different, very, very different experience as far as the classroom makeup was of course very different obviously. But there were a lot of international students that at Pratt too, which was really cool.

Terry Biddle:
It was nice to have different perspectives. We had a lot of students from South Korea that were in our classes, which was really cool to have some international perspective on things where we’re in class and I don’t know if I can really talk to the differences because my schooling was so different. I was really doing a lot of TV production and video editing when I was an undergrad. And then I, Pratt was very like, design focused design. I will say that Pratt’s program was really intense. It was really, really intense. And there were a lot of the big difference I would say that the grad comd department at Pratt, the professors were working full time, so a lot of them were there. They were doing it, they were in involved in the process, like they were actively working in the field. So I think the perspective that we were getting was a very, very different than what you can see sometimes at universities where you know folks are lifelong professors and that’s what they do full time.

Terry Biddle:
But having the perspective of being a designer that’s working is really, really helpful too, for students to understand what market, what the market is and not just, understand what the design principles are. because I mean I’m just going to be honest, a lot of what we learned in design school, it goes completely out the window when you are working at a big company. It just doesn’t compute and you’re going to make, you’re going to have to make choices that are completely like counter to what you think you learned in design school. And it’s good to have the perspective of folks that you know that are working to put food on the table that are working to employ other people because they have a different, they’re going to come at it with a little bit more reality I think sometimes then than what we can learn in a university system.

Maurice Cherry:
That actually is good to know. I mean, I didn’t go to art school at all, so I was always curious about sort of how much of that transference happens once you graduate and you get out there in the working world, do you feel like it’s equipped you with the basics or not? So that’s interesting to know. So right after Pratt, you got your master’s degree. What was your first design gig after that?

Terry Biddle:
My first full time design gig was at Reader’s Digest. I worked at Reader’s Digest for almost a year. It was, they send a Midtown Manhattan and DC and sorry, Midtown Manhattan in New York city on your Bryant park, which is, I think we’re good morning America puts on their little music show on the summertime there’s summer stage. So that was kind of fun walking past there sometimes in the summertime, seeing the shows. Yeah, that was my first gig working in publishing and in Reader’s Digest, which is really big company, but it was, I really learned a great deal from working there. I got a lot of good jobs. We’re talking about a lot of back in a day stuff. So let me just let your listeners know what the deal was then.

Terry Biddle:
So the first program I used Quark 4, to get started and Quark 4 for folks that don’t know had no undo’s, zero undo’s. This is, I started my design career in a world of no undo’s. So just so folks and understand that Adobe distiller, you had to make a postscript file and then you had to convert that to a PDF. So,that was like the workload back in the day. Adobe distiller, Quark 4 no undo’s. That’s how I started my design career.

Maurice Cherry:
I remember Quark 4 not fondly for that reason. I do remember it though because we used, we used Quark and I think we ended up switching to, maybe it was Adobe PageMaker or something. This one I was, I was probably still in high school at this point. No wait. You said… What year was this when you were doing this?

Terry Biddle:
This was 2005

Maurice Cherry:
Oh no. I was out of high school by then. We did use Quark in high school, but it was a previous version that also did not have undo’s. So I feel your pain there. Absolutely.

Terry Biddle:
Yeah. It was crazy. I mean, you learn, you learn really, really quickly how to, how to make it work.

Maurice Cherry:
Oh, absolutely. You end up adapting to the situation for sure. Now let’s talk about The Knell, where did the idea come from to create that?

Terry Biddle:
It’s interesting, so like we have, it came from a lot of, we were just talking about, so I came out of school as an undergrad and a pre YouTube world. There wasn’t any way for the creators of color really to get their work out into the world at the time. When I came out of school and it wasn’t really easy. But now, I mean, I think when I thought of this idea, vine was still kicking around, YouTube exists or Vimeo exists, but there still wasn’t quite the pipeline to get creators of color. You know, a moment to shine.I don’t want to get on a soapbox here, but social media is completely broken in the United States. The way Twitter and Facebook have sort of, so I’m looking for amplified the loudest voices and it’s really difficult to be heard outside of the noise and outside and some of that negativity.

Terry Biddle:
I wanted to try to find a way to create a platform where, marginalized voices would feel like they had a place to showcase their work, but also a place where they could feel safe online without dealing with the idea of harassment. So I wanted to create sort of a video. I wanted to create a video platform that was for marginalized voices and that’s really what I, how I thought of the idea for The Knell. I wanted to create the platform that I wish existed when I was, coming out of school at Howard. That [inaudible 00:31:02] idea came about.

Maurice Cherry:
Yeah, I checked out the website and looked at the video. I really liked that kind of bell animation kind of reminds me of almost like afterschool special when they have the little rotating texts or whatever. Like this is a specialist afterschool special announcement or something. I really liked the branding with that. How has it been going so far?

Terry Biddle:
Well, I’m going to be real. I’m probably going to wrap it up and in the near future it’s really, really difficult out here for black entrepreneurs to sort of get the key behind, stuff like this. It’s really hard to find, the funding and to find the people and the manpower to really get your thing off the ground. And I will say that I learned so much from it. I learned a great deal in the tech space from doing it, but it’s been really, really difficult to get off the ground. And I think it might be a time to put it on the back burner for a while until I can come back to it at another time. Now they’ve got a full time job and I just, I’m actually, I have a one year old daughter who just turned one a few days ago. As a matter of fact, being a dad, being a dad man, having a full time job, I’m going to have to let my other baby chill out for a little bit until I can come back to it in a better, in a better spot.

Maurice Cherry:
Yeah. You have a whole new, a whole new life to take care of though.

Terry Biddle:
Yeah, definitely. She definitely keeps me busy.

Maurice Cherry:
With everything that you’re doing, I mean with work and everything. One thing that really sort of stuck out to me as I was doing my research, and we talked about this a little bit before recording, is that you’ve created your own typeface. we’ve had a few typo…Well, I think we’ve only had two, two typographers on the site, on the podcast before, but tell me about your typeface and how you came about creating it.

Terry Biddle:
Oh man. Let’s see. How did I come about this? I’m like a type geek. Like I was obsessed with typography, when I went to grad school at Pratt. One of my professors was this a gentleman named Tony DiSpigna and I don’t know if folks know who Tony DiSpigna is, but I Shall let people know that he’s like one of the, he is a kind of a design legend. He worked for Herb Lubalin, a lot of the type faces that are really popular now, he helped design like ITC lubalin graph, avant garde, Serif Gothic. Those are, I think he’s credited with creating Serif Gothic. It’s for, folks, that was one of the type typefaces. I think that was used a lot in the 80’s I believe even the [inaudible 00:34:01] it and its titles as well.

Terry Biddle:
Hand lettering. So I learned a lot of typographic techniques from Tony DiSpigna and I for my grad school thesis. I did like a really like a type-based thing where I sort of, I did a re-design of the New York city subway system and where I designed a typeface but I studied, it was pre UX. It was like, I did all the legibility tests and all that, all that. So I was really, really into the geekery and the like the science behind legibility and understanding cognition and things like that. And after, having my hands and my getting into really, really nitty gritty type design, I kind of want to do something that was a little bit more fun, more free. I really loved hand lettering. Hand lettering was something I pretty much always did growing up.

Terry Biddle:
It wasn’t until I went to Pratt that I found an actual application for understanding how to make typography legible. So I was like, all right, let me just play around with some letters. And I just started drawing these letters, and inking them with an ink brush. And I was like, I really like looks I think my initial ones where I was making a new website for myself and I was just drawing a bunch of type and one of the treatments that I had done with Hamlet or type I really liked and I wanted to take it further. So I just drew it all by hand. I drew every single individual letter out by hand and then I started scanning it in and decided to make a typeface out of it. Now little did I know when I started doing that, how difficult it was going to be from start to finish because it took me several years to actually get it going.

Terry Biddle:
If I were to put it all together, I would say from start to finish, it probably took about 2 years total to do it. But I sort of stopped in between on the way and then came back to it later on. But it was fun. I mean it was a lot of fun. But then it gets really, really super, super technical after a while and because it’s a layered typeface. So folks who can’t see it, the typeface that we’re talking about is called Bizzle Chizzle. It’s actually like a series of 4 fonts, but you layer 3 of them on top of each other and they make a dimensional typeface. So it looks like it’s chiseled out of stone. And when you do that, you have to make sure that each layer lines up exactly perfectly. There was… After I had designed it and then could submit it to MyFonts for fonts creation and after you submit they give you pointers.

Terry Biddle:
I’m like, all right, your [inaudible 00:36:21] off and like, yeah, you need to work on this. And your tracking and all they, they give you all these details about how to get your font ready for commercial release. So did some more tweaking after that. And then low and behold they accepted. It was pretty cool. It was a pretty fun experience. So come back to it and then like I have some typefaces for sale on MyFonts, so that’s something I can say I did. Oh, that’s cool.

Maurice Cherry:
Would you ever make another typeface one day?

Terry Biddle:
Oh would make another typeface someday I’ve made other typefaces. I just haven’t released them yet. I keep like I have some type of basis that I just use for my own personal use. I made a handwriting typeface that I keep on my computer that I just use from time to time whenever I’m making a comic type treatment, things like that.

Terry Biddle:
I might someday expand this set and release it. But it’s a lot of work to do a typeface. There’s just so much work and it’s, it can be a really tedious process. It’s typical sometimes to find the time to do it, but yeah, I mean I think, I think one day when I’m like retired on my Island or, or at the beach or something, I might just like crack open, some font software and just like start making some typeface again, when I have some more free time, I can see myself too.

Maurice Cherry:
Yeah. There’s a typographer we’ve had on the show. You may have heard of him. His name is Trey Seals. He’s out there in the D.M.V area. He’s made a number of different typefaces, mostly centered around, I think like protest signs and protest imagery from the 60’s and before, but he’s made a number of different typefaces. I remember when I had him on the show, he talked about how it’s, it’s really, it’s a very painstaking process that goes into it even.

Maurice Cherry:
It’s a very painstaking process that goes into it, even for something that you would think, oh, there’s like 26 letters and you know, upper case, lower case, maybe throwing some numbers, some punctuation. There are these glyphs that we see all the time, but we’d never really think about construction of them because especially in a unified family sort of way, like a typeface.

Terry Biddle:
Yeah, it is painstaking. It’s a lot of detail that goes into it. It’s not as easy. Like if you’re doing something hand handwritten, it’s not as easy as just like, “Oh you draw it and you scan it in.” Well, when you scan it in you’re going to bring in a lot of artifacts that you have to really clean up for the font software because you have to make it readable by the software that you’re going to use, so you have to simplify the line work a bit. So it’s quite a lot that goes into it. I mean some of that nitty gritty stuff though can be the fun part of it once you get into it. The next thing that I want to do is I want to take a crack at making a super family.

Terry Biddle:
I really love like a type of super families. So I would love to take a crack at doing that at some point. But that’s, of course, a lot of pains staking work, but one of these days I would love to have a bit of time to really sit down and do it. I love sans serif faces with true italics, man. I want to make a super family. I want to make a sans serif super family with a true italics. So that’s like one of those things that I’m going to do on my wishlist.

Maurice Cherry:
Alright, and now also as I was doing my research, I saw that you have also been a design educator at an HBCU. You taught at University of District of Columbia. Tell me a little bit about that experience.

Terry Biddle:
Yeah, I mean, I really like teaching, and one of the things that I told myself before I went to grad school, it was one of the big reasons I wanted to go to grad school is that I wanted to be able to teach other students. I think it’s important to me in particular to sort of give back in a way, to pass knowledge on, to give people insight, and to help them grow in a way that may not have been available to you at the time. I want to be able to do that for other people. So that to me, was one of the main reasons that I really wanted to be a professor. I really love talking about something in class and sort of seeing their eyes light up when you can tell that you’ve completely blown their mind.

Terry Biddle:
There’s just nothing like that, when you see them have this aha moment where you’re like, “Oh man!” Where you can tell that they really got something that you said. And it may not even be something big or something grand, but it’s something you say and you see them take it in. That’s really rewarding. It’s really rewarding to see a student learn. I just love being able to pass that on and really helping folks know their path in the future. So that’s one of the main drives for me to teach. I really wanted to do that, to give back some of that knowledge and to make a path easier for others.

Maurice Cherry:
What do you think your students teach you?

Terry Biddle:
Everything. I mean, it’s funny you say that because one of the things that I always say to my students is, “It doesn’t matter how old you are, you can always learn something from somebody else,” and say, “As much as I would like you to learn from me, I’m learning from you as well.”

Terry Biddle:
I don’t think it matters what age you are. You can always learn something new. That was something that I learned from my grandma. My grandma was a voracious reader. She would read always, always, always until the day she died. She was reading, absorbing books and was always up-to-date on what’s happening in the political environment. I would remember calling my grandma. We talk about politics all the time. She used to watch C-SPAN. I mean my grandma watched C-SPAN 24/7. I think what I love learning from people that are younger than me is just a new way of thinking. There’s always a new way of thinking, a new way of doing things, and I like to be open to learning something new. You know I don’t think there’s ever going to be a point in my life where there’s not something I can learn from someone else.

Terry Biddle:
I mean, I learn from my daughter every day. Actually, one of the things I learned from my daughter is just what it’s like to find out what’s new in the world or just be exposed to what’s new in the world. That was the coolest thing about now having a really young child is you actually get to witness someone learning something for the first time. Everything to them is new. So it really sort of makes you… I learned how not to take things for granted in a way by seeing people learn something new every day. It just really keeps you open and makes you really grateful and thankful for what you have.

Terry Biddle:
When you see how amazing things can be, like when you see the kids’ eyes light up when they see something for the first time, you’re just like, “You know what? That is really neat, right? That’s really cool.” It is amazing that this sunset is amazing. Those colors are amazing. Like, look at that rainbow. You know, just stuff like that that we’re just like, “Alright, keep it moving. Yeah. I’ve seen that sunset 20,000 times.” But, you know, if you spend a little extra time looking at that sunset it’s amazing. There’s just so much beauty I think that we take for granted, and that’s something that I think of that I learned from everyone is just how they experienced something… can always learn something from another person’s experience with something.

Maurice Cherry:
What keeps you motivated and inspired these days to create?

Terry Biddle:
What keeps me motivated and inspired these days to create? I don’t know if I have one particular source. One thing that I usually do is.. What I usually get inspired is something that’s completely opposite of the thing that I’m doing. I find that it’s best to have your head outside of the realm that you’re in to find something new. Like I don’t read a lot of design blogs. Back in my younger early career, I used to read all the design blogs. I used to read all about design. I don’t do that as much anymore. I like to read about tech and science and math, sometimes everything, art, music. That’s what I do. I read a lot. I love reading. I mean there’s so many things that you can learn. The reason I like looking at something that’s completely opposite of what the creative thing is that I’m doing is that it frees your mind from the thing that you’re actively trying or problem that you’re trying to solve.

Terry Biddle:
And you may find an answer to the problem that you’re solving in something else. Cause we are all part of… I mean the world is more interconnected than we often like to think. You know, the golden, I’m about to throw a design term out, but you know, like the golden ratio. I think about that all the time actually. How many times is that shape replicated throughout the world? You know, in the things that we make, in patterns outside. Everything is connected in some way. So I think a lot of times finding a solution to something or finding inspiration in something comes from outside of the thing and outside of the realm that you’re in. I think that also keeps your mind open and it keeps your mind open. It doesn’t block you in to thinking that the answer to what you’re looking for exists only within your particular realm or only your particular avenue. So for me, it can be anything that’s not design is really where I look for inspiration. Anything that is not specifically in the design world, I look for inspiration.

Maurice Cherry:
What do you appreciate most about your life right now?

Terry Biddle:
This one’s easy for me. Being a new dad is the thing I most appreciate about life right now. There’s nothing like being a dad. I’m a first time parent, so I’m probably gushing more. I’m sure folks who have more kids who might be listening to this are like, “Mmhmm, wait till you get to the third one.” But you know, right now I’m still in that little baby bliss period. So it’s really cool to me… It’s just nothing like it. It’s really changed my perspective, being a dad. A lot of the things that I would do, before I had a child or not, the things that I would do now to me my main priority is getting home and seeing my daughter, getting home and having dinner with my daughter and seeing her off the bed or like giving her a bath and things like that. That’s hands down pretty easy for me right now is spending time with my daughter.

Maurice Cherry:
So one of the themes that we kind of have for the year here, you know it’s 2020, the whole future is now sort of thing, is like how are you using the skills that you have now to basically do good in the future. So I’ll ask you this question, how are you helping to build a more equitable future?

Terry Biddle:
Well, I spent a good amount of my life post 2016 with The Knell doing that. That was really my big driver for quite a while. Right now what I’m doing is I am participating in some groups, company I work for at EVERFI actually, we’re about to start a mentorship program. So right now I think I am going to be helping the next generation of kids coming up to help them get a foothold in the design and really in the professional world. So mentorship is my next step, I think. I did a little bit of that as professor, but now I’m going to be able to do a bit of that now where I work and I think that’s what I’m going to be doing for 2020 for sure.

Maurice Cherry:
Nice. What did you think you were going to be doing five years ago? Like in 2015, what were you thinking you’d be doing now in 2020?

Terry Biddle:
Man, oh man, that’s a really interesting question because 2015 was sort of a pivotal year where I was sort of making decisions. What did I think I would be doing right now? I think that I thought that I’d be doing pretty close to what I’m doing now, or I’d be doing something in the entertainment realm. I had another little detour where I did some stand-up comedy, and actually 2015 was interesting because I helped do Washington DC’s first Comedy Hack Day where I sort of got into or sort of like made a connection to tech. But I’d also had some connection to the comedy world because I started doing stand-up comedy during that time, so it was sort of like an intersection between my entertainment background and tech. So I would say that I would probably be doing something pretty similar or The Knell in some way right about now. So I think I’m surprisingly pretty much where I thought I’d be in 2020.

Maurice Cherry:
Okay. Now to look forward, where do you see yourself in the next five years?

Terry Biddle:
Well, I’m about to get woo-woo on you. As one of the big changes I had in my life was that I really started to embrace more living in the moment and living in time, so I try not to think too much about what’s going to happen in the future. But, since you asked the question, there’s two paths I could see for myself. I love entertainment. I love script writing. One of the reasons I got into comedy back in the day, it wasn’t back in the day, actually it wasn’t that long ago, but one of the reasons I got into stand-up was because I love writing and I would love to be as part of a comedy writer’s room or a TV writer’s room. So I could see myself back in entertainment doing that.

Terry Biddle:
Or I would love to either have my own company and/or work in the VC realm. I think what’s most needed in tech right now is a really diverse representation in the VC industry. I’m saying in order for the tech industry to change more broadly, we need to have more representation in the VC realm, and I would love to see a more even representation amongst women, minorities, LGBTQIA tech folks to really start driving broader change in the tech industry. So I would love to be part of that movement if that movement were to come in the VC realm.

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

Terry Biddle:
Well, you can find me on TerryBiddle.com and you can also find me on Twitter at TBiddy.com. Not TBiddy.com. TBiddy is my handle on Twitter. You can find me there. I do own TBiddy.com, which I used to use as a URL shortener for Twitter, but you can find me on TerryBiddle.com and on Twitter handle TBiddy.

Maurice Cherry:
Alright, sounds good. Well, Terry Biddle, I want to thank you so much for coming on the show. It’s funny when we talked about this before, you were saying like, “Oh there’s not really something in particular I sort of wanted to discuss,” but I think as we’ve heard your story and definitely as we’ve seen you kind of grow throughout the years just based on what you’ve told us, it’s clear that forging your own path to be a creative is not an easy task. And I think that’s something that a lot of people may forget because creativity from the outside looking in can often look like a very easy thing. Like, “Oh you just sit around and just come up with ideas all day or you draw all day.” The things that are attributed to creativity when you’re a child tend to be discarded as frivolity when you’re an adult, which I think is really odd.

Maurice Cherry:
But certainly I think what I can draw, and hopefully what others draw from your story, is that carving out a career like this is something that takes time. It’s not necessarily an easy thing, but I think as long as you have this sort of underlying goal of what it is that you want to put out there in the world that you can really sort of make a name for yourself. And I think certainly you’re on your way. I mean, even with the typeface, I am blown away by the typeface because I want to make a typeface. I don’t know how to make typefaces. I too am a type nerd. So you got props from me just for the typeface.

Maurice Cherry:
But overall I think with your startup work with The Knell, your education work, and even the work you’re doing now through EVERFI, you’re on your way man. I mean we profiled you for 28 days of the web, so clearly you’re out here making an impact. So thank you so much for coming on the show. I really do appreciate it.

Terry Biddle:
Yeah, thanks for having me. I appreciate it.


RECOGNIZE is open for essay submissions for Volume 2! The deadline is April 30 – enter today!

MODA and Revision Path present Creative Atlanta 2020, an interview series highlighting Black creatives in Atlanta ranging from an award-winning cellist to a Harvard GSD Loeb Fellow.

Tickets are free with regular admission to MODA and include access to our exhibition. Space is limited, so grab your ticket today!

Sponsors

Facebook Design is a proud sponsor of Revision Path. The Facebook Design community is designing for human needs at unprecedented scale. Across Facebook’s family of apps and new product platforms, multi-disciplinary teams come together to create, build and shape communication experiences in service of the essential, universal human need for connection. To learn more, please visit facebook.design.

This episode is brought to you by Abstract: design workflow management for modern design teams. Spend less time searching for design files and tracking down feedback, and spend more time focusing on innovation and collaboration. Like Glitch, but for designers, Abstract is your team’s version-controlled source of truth for design work. With Abstract, you can version design files, present work, request reviews, collect feedback, and give developers direct access to all specs—all from one place. Sign your team up for a free, 30-day trial today by heading over to www.abstract.com.

Lorenzo Wilkins is a multitalented creative who has worked extensively in his field for more than 40 years! Graphic design, photography, videography…you name it, and Lorenzo has probably had his hand in it. His most recent endeavor, a video series titled “ArtLife/LifeArt: An Insight into Creativity” talks to artists across the creative spectrum (including one of our past guests, Sela Lewis)!

Lorenzo and I talk about life as a designer before the advent of the personal computer, his history of work across print, television, and video, and his advice for designers on maintaining a creative legacy. I hope that Lorenzo’s story helps you with following your passion and fueling your creative self!

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

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Revision Path is sponsored by Facebook Design. No one designs at scale quite like Facebook does, and that scale is only matched by their commitment to giving back to the design community.
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Revision Path is also sponsored by Glitch. Glitch is the friendly community where you can build the app of your dreams. Stuck on something? Get help! You got this!
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For our 200th episode, we’re bringing back one of our favorite guests — Sarah Huny Young. Huny does it all — she’s a creative director, a multidisciplinary designer, and an overall creative titan. It was great to catch up with her and learn about what she’s been doing since our 100th episode!

We talked about her latest project, American Woman, and she shared how the project came to fruition and what its taught her since she started it a year ago. We also discussed funding for the creative arts, the importance of designers to brand themselves, the pros and cons of the Pittsburgh arts and design scene, and a lot more. Huny has so much wisdom to share, and it’s always great to catch up with her. Who knows…maybe she’ll come back for episode 300!


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

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Revision Path is sponsored by Facebook Design. No one designs at scale quite like Facebook does, and that scale is only matched by their commitment to giving back to the design community.
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Revision Path is also sponsored by Hover. Visit hover.com/revisionpath and save 10% off your first purchase! Big thanks to Hover!
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Revision Path is brought to you by MailChimp. Huge thanks to them for their support of the show! Visit them today and say thanks!
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Revision Path is also brought to you by SiteGround. Save 60% off all hosting plans by visiting siteground.com/revisionpath. Excellent!

The DMV area is brimming with Black design talent, and Antoine Thomas is no exception. As the founder of West 7th Design Studio, Antoine and his team create beautiful and functional designs for small businesses, government agencies, and more.

We talked about his time at Howard University, and he gave a sneak peek into their design program, which is where he got the idea to to start his studio. He also shared his visions for engaging the next generation of Black designers, and told how he manages both his studio and his new apparel line PRNT while holding down a full-time job. Impressive! Learn more about Antoine in this week’s interview!


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Revision Path is sponsored by Facebook Design. No one designs at scale quite like Facebook does, and that scale is only matched by their commitment to giving back to the design community.
fbdesign_logo_75
Revision Path is also sponsored by Hover. Visit hover.com/revisionpath and save 10% off your first purchase! Big thanks to Hover!
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Revision Path is brought to you by MailChimp. Huge thanks to them for their support of the show! Visit them today and say thanks!
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Revision Path is also brought to you by SiteGround. Save 60% off all hosting plans by visiting siteground.com/revisionpath. Excellent!