Agyei Archer

When I tell you I have wanted to have this week’s guest on the show for years? LISTEN. I’m so glad to bring you this conversation with the one and only Agyei Archer — typographer, design director, and all-around creative powerhouse.

We touched on a number of different topics, including his brilliant type design work, and how he built two businesses during the pandemic. He also shared how his motivation to succeed comes from his connection to the Caribbean, and talked about how he balances design, tech, his work with Unqueue, and exploring new type design projects. There are a lot of things to fix in this world, but if you’ve got skills like Agyei, then that just means your next project is right around the corner. Get on it!

Transcript

Full Transcript

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

Agyei Archer:
My name is Agyei Archer. I am a designer and entrepreneur currently based in Trinidad. My work extends in a few different branches, one of them is in making typefaces. So I work on typeface design, but primarily with a focus on typeface design, to support the cultures and spaces of the post-colonial slash new world and the global south. And I also, I’m an entrepreneur in my home country of Trinidad, where I run a design company called Unqueue, where we help small businesses sell online. And we also have a studio called the Unqueue Studio, where we help other startups and institutions, such as government bodies and large corporate entities build their own digital products, to move towards Trinidad’s digital transformation.

Maurice Cherry:
I believe your type design was how I first heard about you, like years and years ago. How’s the summer been going for you so far?

Agyei Archer:
In the type design world or just in general?

Maurice Cherry:
Just in general.

Agyei Archer:
It’s been good for me, I started off. I mean, I think it would’ve been probably in the start of the American summer at Facebook. So I did a talk for Meta’s OpenArts team. So I gave a talk as part of their visionary series and that was really good, but I think that kicked off my summer. And then I also gave another talk at a conference, called the Eyeo Festival in Minneapolis, that’s long ago. And those have been really good, I’ve been really enjoying this particular summer, because I’ve been so face down in dealing with Unqueue stuff, especially because Trinidad was so locked down for as long as it was. This summer feels like that I’m becoming an international person again.

Maurice Cherry:
Oh, nice. So with that in mind, what’s coming up for you for the next few months?

Agyei Archer:
Right now we have at Unqueue, which is my startup at home we are working, pretty hard and growing. So we’ve just started working on connecting a lot of our local population with our local farmers. So we have a massive food import bill in Trinidad, which is wild because we’re a tropical country that can grow fruits all year round. But we have a massive challenge with people on the ground in Trinidad, purchasing produce from people who are making it in Trinidad. And we have recently built in an addition to our software, that allows local farmers to connect with the general public. So we are currently helping people sell vegetables, and helping farmers direct more organic produce to their shoppers.

And that for me has been my hugest kick, it’s not as great as writing a massive Python script or anything. But I think that I’ve been really appreciating recently, especially with Unqueue how much technology can help people on the ground. So that’s been what I’ve been mostly excited about, I’ve been working on that, and I’ve been working on a new typeface project with Darden Studio.

Maurice Cherry:
Oh, nice. Can you talk about that typeface project?

Agyei Archer:
Sure. Oh, I forgot, it’s not recent anymore. So a few years ago, I started working on a typeface that was based on and inspired by the writing styles, that signed to be pervasive across post-colonial spaces. So there was this energy that sign painting and post-colonial spaces came with, that I was trying to see if I could capture into a typeface. And when I say post-colonial spaces, I’m not just talking about the Caribbean, but I’m also talking about post-colonial spaces like Ghana, and Nigeria, and India. And the really ferocious energy that a lot of those sign painting designs have come with, have been really inspiring to me for a lot of years. I’ve been obsessed with sign painting in Trinidad, and then beyond Trinidad for a lot of my life.

And I think that the project that I’m working on with Darden Studio right now is, trying to distill that hand painted sign energy into something that we could use for text, which has been a really interesting, challenging, not interesting challenge, but also really fulfilling. I’ve been really enjoying it, I’m working with Darden Studios designer [inaudible 00:07:59] on creating it, but it’s been really nice. It’s also frankly, nice to be building work for a studio that was founded by a Black typeface designer of whom there are so few.

Maurice Cherry:
That’s true. I mean, I know that you were known as Trinidad’s first typeface designer.

Agyei Archer:
Yeah. I mean, I’m not even sure that I’m… I think that there was a typeface that was designed before me in Trinidad. I think, that what I meant was that I am Trinidad first typeface designer, who is doing it for a living. But I think that even the idea of being the first, for me, is a lot less important, than it is the idea of being somebody who is making things that are culturally specific. I do think that there is a distance between who is making the work and who is the work for. And I think that who is the work for, is always a more interesting question, but who is making the work tends to be the question we ask. Which is something that I’m navigating, because I think that as a Black person who is making type in the world, I feel like that’s, yes, that’s a momentous occasion. Because up to 20 years ago, Black people were not making type.

But I also think that the reality is that, it’s far more about for whom the type that I’m making is than it is what I look like. Because to be frank, if there were a white man who were making typefaces that was inspired by post-colonial creativity, I would be as excited. But I do think that, that’s also because a lot of the work that I’m making right now, I am hoping that it does well commercially, but it’s not that it’s not for commercial consumption. But for example, with the typeface that we’re working on at Darden Studio, that typeface has a language support that is relatively rare among the type world. So it supports every single African tribal language in Latin, which is a rarity. But for me it was a little bit weird or inappropriate, to be developing a typeface that was inspired by these spaces, and not let that type face support the languages of the people by whom it was inspired.

Maurice Cherry:
I had Trรฉ Seals on the show, goodness, that was years. I think there might have been 2017, 2018 before his typeface design, really started blowing up. And I see his typefaces everywhere, and it’s interesting that you say like, “Who it’s for.” Because granted, there’s a historical context in which Trรฉ bases all of his designs, but I’ve seen them used in movie trailers, in yogurt commercials, I’ve seen them used everywhere.

Agyei Archer:
Yeah, for sure. I think that Trรฉ’s work is really important, and I mean, I’m saying this as a non-American, right? So I don’t have the same relationships that Americans may have even to oppression. But I do think that Trรฉ’s work is, I feel like you can make work that is really on the pulse of the moment that you’re in, and his work feels really responsive to the moments that we’re living through. And I feel like there’s a particular beauty to that for sure.

Maurice Cherry:
Yeah. Totally. Let’s talk about Unqueue, which you started a little over two years ago. Tell me about that.

Agyei Archer:
Well, I had just come back home from, I think maybe New York, and I had in a way closed my design studio. So I had a design studio for about 10 years in Trinidad, and we were doing a lot of work in the web, we were doing a lot of work in the branding space. But it wasn’t that I didn’t love that work, but it was that I loved making type a lot more. And I was starting to phase that phasing, branding, and web work out of my career, and basically trending toward being a full-time typeface designer. But when COVID hit in New York, I had just left New York, and then I came to Trinidad. And when I was in Trinidad, because we used to have this studio that provided design services, we ended up in this place where a lot of my old clients would call and say, “Hey, Agyei, are you still working. We need a website, we need to sell stuff online. We can’t keep the business open, we can’t have people in the store or whatever.” And this was a massive influx for me.

And there was this decision that I had to make of, okay, well I can take on this business, and it’ll be probably good money or whatever, but it’s not necessarily scalable. And also there was this problem that was really clear to me. Because I grew up as a very, I would say, proudly working class person from a working class background. And the amount of money that it would’ve taken people to get online, in that time would’ve been prohibitive to the working class. And I wanted to be part of making something that can help people who didn’t have the, how much of a thousands of dollars it was going to cost to hire us.
I wanted to give them the same ability to get online, do business, sell their stuff, as my other clients who would’ve been supporting my career however long, and I felt like the pandemic was a good opportunity. So I was working then with my studios lead developer, his name is Andal. And I called Andal, what do you think? And I was like, “Andal, do you want to make an app?” And he thought I was joking, and three months later we released Unqueue’s first version to the App Store. And since then it’s been something that has changed a lot, about how I see the value of the work that I’m making. But it’s also something that I’m really quite proud of it, because in a space with relatively low tech adoption, in which it’s a big circumstance in Trinidad, that we don’t have a huge amount of trust in technology.

So we do have one of the highest mobile penetrations probably globally, like relatively. So in the Americas, we have 110% mobile penetration, in Trinidad we have 142%. So we’re very online, very mobile society, but that transition of doing business digitally, didn’t really happen until we got forced into it by the pandemic. And something that I’ve been really happy about, is being able to be part of that transition and part of that change. So a lot of the work that I’m looking at with NQ is, not just about helping people sell things online, but there’s this movement of digital transformation that’s happening throughout the Caribbean. Yes, triggered by COVID, but also very necessary to help meet our sustainable development goals, necessary to reduce food import bills, et cetera. And as soon as I was able to realize, wow, we are building this thing, and not only is it’s a cool product to work on sure.

And I think that there aren’t product development studios in the Caribbean. So it’s not I think that a lot of the methodologies that we would’ve been importing, maybe even from Silicon Valley, we had to retrofit to work in our space, et cetera. So it was really exciting, but I think that for me, when Unqueue got kicked off, I started it as this thing that I thought would be able to help some people. And now I think that there’s this larger vision around, being able to guide the direction of the Caribbean. Because a lot of technology in the Caribbean isn’t made here, a lot of it is made for example, in Russia or in China. And angel investors bring software into the country, and try to retrofit it to the cultures. And we are the only people that are making the software that we’re using on the ground.

And there’s a particular magic to that because we are able to be responsive, but we’re also able to develop solutions that are tailored to our experiences. We have 80% cash dependency in our country, where 80% of the transactions happen on cash, and that’s not going to change anytime soon, our banks aren’t going to facilitate that. So we, for example, had to build an e-commerce software that was also able to facilitate cash payments. But things like that I’ve been really, really exciting, and I think that Unqueue has probably been one of the most fulfilling professional experiences on my life. But it’s also been something that in a material way, we’re able to help 200 plus vendors, we’ve connected them with 20,000 plus shoppers. And I mean, it’s a small country, so that’s like those actually important numbers. But I think that for us, and I say us now, because Unqueue is way more than just me. But for us Unqueue has been this very transformative project that we’ve all worked on, and discovered a lot more value than we initially wanted. Well, initially we’re expecting to.

Maurice Cherry:
I mean, it sounds like it really came about at a very opportune time. I mean, you have this quote unquote perfect storm of a pandemic and things getting locked down, and people not being able to have that regular access to places that they usually had. And now you’ve got this app, that now facilitates a lot of that.

Agyei Archer:
100%. Yeah. That was really huge for us. So because that looked in people’s eyes of, I didn’t know we could do this. I feel it’s part of that mentality, has a lot to do with being from a traditionally disadvantaged post-colonial space like the Caribbean, and not really not seeing a potential for yourself that is better. And I think that, what our work has been able to do is to show people, “Hey, you deserve technology.” This idea of design and technology, have been classically relegated to large business in the Caribbean. And what I have been able or wanted to be able to do, is to create something that could be democratizing and something that could be accessible across the board.
So I mean, Unqueue Studio, our tagline or motto or pedal driving principle is, design and technology for everybody. But that for everybody really is our big key thing, because the amount of change that we can make in one particular sliver or society, maybe a lot. But the reality is that if all I’m doing is helping rich people get richer, I probably would just go to work on Apple or something.

Maurice Cherry:
Fair enough. That makes sense. So let’s talk about Unqueue Studio, because that is something different from the app itself, right?

Agyei Archer:
It was. Yeah. So I started on Unqueue two years or two years plus ago. And something that really stood out to us maybe about, I would say less than a year ago, was the fact that we had won a bunch of awards. So that’s one thing, so we’ve won awards every year for design and user experience since we’ve launched. So we’ve won a total of five Addy Awards, which are the American Advertising Association Awards, we’ve won five of those over the past two years. And the reason that we’ve won them is, largely because we’ve been making good design. But I think that’s something that we had to acknowledge is that, we are one of the few providers that are able to do this in the space that we’re in, but we’re also the only people that are building the products that we design as well.
So I saw it as an opportunity for us to not just, yes, diversify how we build income at the company. But I also saw it as a real need, because this idea of design and tech being for everybody and this idea of design, I feel like it’s almost technology should be a fundamental, right? Just the ability to write or access to water. And I feel like companies like Unqueue Studio are there to help facilitate that, because there needs to be somebody between the general public and business interest. That can rip business interests, and their objectives into something that the public wants. And I think that I started the Unqueue Studio so that we could address that, but also so that we can make our contribution to the Caribbean technology sector and industry. Because we have so much in our tech world and industry, that is really good business man like a lot of pitch decks, hell of pitch decks.

But the reality is that, when it comes to materials substances products, getting made products, getting put into the world, we actually don’t have a huge legacy of doing that well. And I wanted to create a company that could change that narrative, among people in power in the Caribbean but also on the ground. And I do think that it has to do with a lot of post-colonial self hate. But I do think that there is this belief that we can’t do things properly on our own. So it has to get imported if it’s good, and I’m trying to make this case that actually it can be just as good as the imported stuff, if not better, if you make it here.

Maurice Cherry:
Yeah. Walk me through what a typical day is like. Because I mean, it sounds like a lot to balance between the app work and the studio.

Agyei Archer:
It’s a lot. Yeah. But I mean, unfortunately they have a synergistic relationship, or they can because it’s the same teams. So the app for us is our social impact project and, yes, we do work with larger businesses to help facilitate their e-commerce. But the large part of our business is this idea of small entrepreneurs, and say small in terms of following of money that they’re making, but small businesses moving through and helping their businesses grow. But the studio is doing that, but for other businesses essentially. So I think that in a day typically, I try to wake up and start work by 8:00, 9:00. And I would say, I spend about, let’s say 40% of my day Unqueue App, and then another 40% of my day on the Unqueue studio, and then another 20% of my day working on type stuff.

But the Unqueue App and the Unqueue Studio work are really synergistic, because a lot of the methodologies that we’ve developed at the studio, are the things that we use to run the app. But also a lot of the success that we’ve been able to have professionally, is because of how well the app has done. And also because we’ve spent so much time and money building this app, we also now have a lot of software infrastructure that other startups are using. So a lot of the work that we’re doing now is in diversifying the work that we’re doing. So a lot of my days are half entrepreneur, where I’m writing a pitch deck for somebody. And then I stopped doing that and I’m reviewing someone’s design. And then I stopped doing that and I’m reviewing someone’s performance for example. But I think that in a way I feel more comfortable doing as much as I can, than I would feel like I’m not doing enough, which is probably something to talk about with my therapist.

But for me, that is a really huge thing. I think, that I have spent a lot of time wanting my work to be meaningful and purpose driven, and the Unqueue Studio and the Unqueue App have given me that capacity to do it here. Because I do think that the work that I do in typography and in language support, especially since a lot of the work that I’m doing, is for people who have classically been ignored by the type world. A lot of that work is really important, but they are all along the same vein of, I want to use the abilities that I have to make an effective positive change in the world.

Maurice Cherry:
Yeah. It sounds like that’s been a new discovery for you. Would that be accurate to say?

Agyei Archer:
I think so. Yeah. I think that when I got into type, and maybe it was just I had finally become a real adult or something. But I do think that there was this realization that I had, because getting into type can be a really, really fun experience, maybe if you’re not Black. But I think 10 minutes and when you’re Black, you start realizing, hold up, firstly, nobody here looks like me. Secondly, every single language that I am being taught to value, and all of the little accents that I’m taught to pay super close attention to. And respect everybody’s language, only language respect that are being taught is about European languages, right? So they’ll tell me, “Hey, you need to make sure if you’re supporting Polish, you need to have Polish diacritics.” Or maybe you should just lean on the side of drawing a diacritics to support Polish, but it’s like, “Okay, I get it. I get it. I get it. But who’s going to be supporting Twi or Fante, right?”

And the reality is that those languages aren’t thought of, and it’s not because of their population sizes, it’s just because the people who are making type are from Europe. And I think for as unfortunate as it is, it’s understandable to be able to see why you won’t want to look past these spaces that you’re in, when you’re meeting the work that you’re making. But I do think that if I’m not from these spaces that you’re in and I can see a gap, then I can either rail against the system and get mad at you for not doing something about it, which I have done to relatively negligible effect. Or I can choose to acknowledge that, “Hey, your limitations are around, how much you can see in the world, and your whiteness your privilege insulates you, from having to see a certain side of the world that may not be as comfortable to you.”

But the reality is that I don’t have a choice. People in Africa look like me, how could I be making type and not supporting their languages, it’s really basic stuff. And in the same way, I grew up really working class, people like me after the pandemic were mostly unable to make a living. Like this service industries were shutdown, hospitality industries are shutdown. There were a lot of people who looked like me that couldn’t do anything, but a lot of them probably had the little side hustle, that they could have advanced to a full-time hustle if they had the right infrastructure. So for me it was, well, let’s see if we can make the infrastructure, but it’s really about what can I do? And if I can do it, I should do it.
And I’ll figure out how I’ll get paid for it, getting paid has been always a thing that I think about secondly, but fortunately I’ve always made that work. But I think that for me, I think maybe for the past few years, a lot of the work that I’ve been making has been around, not necessarily a settlement or writing of any wrong. But I do think that the work is about seeing where I can fill a gap, and placing my energy there instead of wherever else. Because I don’t not acknowledge, that I could probably go and make type for a large company somewhere. Or I also don’t acknowledge that I could spend most of my type design work building brands, for example.

But I do think that if we think about what people need in the type world right now, it’s probably greater accessibility. Africa is one of the most exploding economies in the world, in 10 years that’s actually going to be really necessary that you support continental African managers. And while that opportunity is there, I also would be doing the work, if that wasn’t the case. Because I feel like there is a certain amount of accessibility, that people will get written out of in the design can, just because of how white it is.

Maurice Cherry:
You know, even as you say that they’re reminds me of some conversations I’ve had, over the years on revision path with other type designers. I think one of the first type designers I had on was episode 24, was this young guy named Kevin Karanja out of Nairobi, who had designed a typeface called Charvet. I don’t know if he kept it up, I remember when he designed it, I remember he got a good bit of international news for it. I don’t recall if he had kept it up, because he really was, I mean, when I was talking to him, he was 21. He was like, “I was just messing around and made this typeface.” And it wasn’t really, I guess, for a utility, he just did it to see if he could do it. But also I think he was leaning more into doing fine art, so I don’t know if Kevin is still even doing type design.

Agyei Archer:
Yeah. I have not actually heard of him. You said, episode 24?

Maurice Cherry:
Yeah.

Agyei Archer:
Have to check that out.

Maurice Cherry:
Yeah. The other person and I haven’t had him on the show yet, I would love to. But he’s got me thinking about the work of [inaudible 00:26:22] out of Zimbabwe.

Agyei Archer:
Yeah. He’s a huge influence. But yeah.

Maurice Cherry:
Yeah. His book African alphabets, which took me forever to try to find.

Agyei Archer:
Yeah. It’s like [inaudible 00:26:35].

Maurice Cherry:
It is. Because it’s out of print and everything. But it’s such a great work in terms of just the anthropological, just meaning of showing what African alphabets are. And how different that is from what we would know as Roman alphabets or something.

Agyei Archer:
Yeah. One of my first type design projects on the project, that I gave my pep talk on was Surinamese language, that he had actually documented in his book. And if he hadn’t documented that I wouldn’t have found it.

Maurice Cherry:
Yeah. So you talked a little bit about growing up. Tell me more about your origin story, you were born and raised in Trinidad?

Agyei Archer:
Yeah. I was born in Trinidad, I grew up with my dad alone. And I think I had a relatively traditional growing up experience, which is that my father wanted me to be something, I’m not an artist. And what that means, is that I think I was quite good at all of these things in school, but I was just really unfulfilled. So I was a good student but a bad teenager, if that makes any sense. And I think that by the time I was ready to graduate out of what Americans would call high school. By that time I was so determined to do my own thing, that I already decided this is going to be tough but I’ll do it. When I got out of school, I had walked away from engineering path that I was focusing on, and I decided to be a bartender.

And while I was a bartender, I was also making software. I had learned a few programming languages in school, and my first job was actually as a software developer. And while I was making software, I learned I like making these layouts for these interfaces a lot. And I started getting into interface design, and this would’ve been old school, this is pre-cloud, pre-material. And I realized, I quite liked that, and then I realized, “Oh wow.” I was looking on a website one day and it needed a logo, and I just told the client, “Look, let me just take a stab at that for few you birds.” And I did. And as soon as it was done, I was like, “Oh my fucking God, I love this shit.” And I decided to be a graphic designer essentially.

So I got out of software and became a graphic designer. And I think that I basically got into software, became a graphic designer and was freelancing for a couple years, and then decided to go to school at the University of Trinidad and Tobago, because I wanted to get better. And I did okay slash great in school, but I was living with parents, who just didn’t understand a lot around why anybody would want to do design, which he would call art. And in his head it’s like, “I don’t want my child to be an artist, they stop.” So there was a relatively unsupportive environment at home then. And during that I decided, well, I want to be a designer and I don’t want to have to quit studying design. So I’m just going to move out and I moved out, and studying and living on my own was a difficult thing to navigate. So I just decided I would just start working, and I was always working while I was in school, just because I had a culture of getting classwork before.

Maurice Cherry:
Mm-hmm. And so, I mean, going to the University of Trinidad and you’re studying and working at the same time, did you end up finishing up or no?

Agyei Archer:
I didn’t graduate out of UTT, I got into the program and dropped out almost at the end twice.

Maurice Cherry:
Twice?

Agyei Archer:
Yeah. The first time was really just because I didn’t have a choice. And then the second time was because I went to school to finish my associates, and my lecturer at the time was like, “Hey Agyei, happy you want to be in school, love that for you. But you’re working toward where you already are.” Not necessarily in terms of my skill but in terms of professionally. And a lot of these schools in Trinidad are there to help you get a job, far less than they are to actually educate. And I think that it just felt like a right time for me to get out on my own. And I started working at an agency after, which I was fired from that agency a couple months after, but that was where I got my start, basically. That was when I decided I was really going to do this for the rest of my life.

Because when I dropped out to school the second time I decided… Well, but I could do a bunch of things, I could probably go learn how to do math or something. But I think that for me, it was way more important than at the time, that I do something that was passion driven. And all of the things around my life had coalesced around me doing design for a living. And it was the first time that I did something and, yes, it paid my bills, but it was also the first time that I was able to do something. And look at the effects of it, and look at the effects that it had on other people and be like, “This is a good thing that I’m doing.”
And I feel like that feeling has been in a way, what I’ve been chasing, but chasing is the wrong thing, because it implies more satisfaction than there is. But I do think that what I’ve been doing is working toward working, in pursuit of my understanding of the fact that design can actually positively affect people’s lives. And if you know that it can then let it, and the only way to let it is to do design.

Maurice Cherry:
Yeah. And I would say that your points, if you were already working, I mean, why stay in school? And I’m not saying this for people listening is like, you should drop out, but-

Agyei Archer:
Yeah. No, stay in school kids.

Maurice Cherry:
… based on the environment that you said you were in, if you were already working, what is the degree really helping you for at this point, you’re already making a living?

Agyei Archer:
That was it like, I was paying my rent, but I was paying my rent and barely sleeping, because I have a career where I’m on the laptop and I’m building identities, and then I’m going to school. And I’m having to cut out pay stops.

Maurice Cherry:
Right.

Agyei Archer:
It was something where it is like dissonant. I feel like I’m getting prepared for the thing I’m doing.

Maurice Cherry:
So what was your early career like, you mentioned this agency, was that Abovegroup that you were working at?

Agyei Archer:
It wasn’t, it was not Abovegroup at first, Abovegroup was my dream agency. I applied to work at Abovegroup six times.

Maurice Cherry:
Oh, wow.

Agyei Archer:
Yeah. They will admit for me being in the Caribbean and being a lover of design, and seeing the work that they put out for me was massively influential. Because Abovegroup it was founded by these two men, Alex Mills and Gareth Jenkins. Well, both had Trinidadian roots, but weren’t necessarily squarely based in Trinidad, but they were in Trinidad during the Abovegroup era. And something that really stood out to me was this, I mean, I don’t like this term, but it’s the best one that I have right now. But this internationalized approach to making design, which felt like it could stand up anywhere in the world. And for me, I was so inspired by that work that I told myself, I’m going to make work this for a company, or I’m going to make work this on my own, or I’m going to starve to death. But I’m not doing bullshit, you know what I mean?

And I think that after school, a lot of the work was struggling, but struggling, not necessarily because of any reason other than not wanting to produce, what felt to me the role to mechanicalized output that people are. I think in Trinidad, we have a culture of advertising is all big thing, so that’s what designers make most of their money doing. But the advertising culture in Trinidad has really flattened expression, and I think that for me, looking at that work was always really demoralizing. So I was telling myself, I don’t want to work for these people, while also needed to make a living. So my employment history has been shaky at best, I think I maybe was employed for my longest stint, my longest job lasted eight months. Everything else was freelance in the middle of that.
But I worked at a few agencies in Trinidad, and I think I would say that unhappy is a good way to describe how I felt. Just because I unhappy not necessarily because, I mean, the bosses were assholes, but bosses could be assholes everywhere. But it was more so I know that I’m not doing what I want to do, you know what I mean? I’m getting up, I’m making this artwork for these people, but I know that at the end of the day this isn’t how I want to… I don’t want to be known for this, I don’t wanted this to be what I’m carrying through in the future. So it was always in the back of my head, and then after many attempts I actually just got a job offer from it from Abovegroup. And Abovegroup was the first time that I was able to work as part of a team, and make the work that I wanted to make.

And I worked on Abovegroup for, I would say maybe a year or a little bit less than a year, but it was the most formative job experience that I’ve had, because here I was on a team of people attempting to make world class work, with world class, in my opinion, intentions and objectives. And eventually the company like design as a business internal that is hard to do, and it’s hard to make sustainable. And at some point in time, they had to realize that, “Hey, this isn’t going to work.” And they had to shutter their doors.

And when Abovegroup closed down for me, it was really demoralizing because I know I could have my own freelance career and stuff like that. But I think that what I learned from Abovegroup, is one how much you can do with people, as opposed to just yourself. But also I learned how much I enjoyed being part of a thing. And it’s only now that I’m able to look at the empty studio, and reflect on how much of the Unqueue Studio experience that I’m having, I took away from Abovegroup.

Maurice Cherry:
I know exactly what you mean about working at a place, and feeling like you know that you’re… And maybe I’m saying this wrong, but you feel like the work that you can do is better than this, like I’m better than this place in terms of-

Agyei Archer:
Yeah. [inaudible 00:35:59].

Maurice Cherry:
… the work that you know that you can do, but you’re still stuck in this. I know what you mean, I know exactly what you mean.

Agyei Archer:
Yeah. And I feel like it’s also… And I don’t say from a place of ego either, it’s almost from a place of desperate frustration. It’s like, “Guys, why don’t we care about our clients?” Those kinds of things are those were always questions that remained so unanswered, that it was hard to feel comfortable in a space, where I shouldn’t feel more concerned about my clients than my boss did, you know what I mean?

Maurice Cherry:
Yeah.

Agyei Archer:
And it felt like a lot of the timely work was this act of compromise, and lot of active compromise because we have to get it out, or because the clients is on a deadline. It’s always the compromise comes from, well, we don’t want to have another conversation with our client. And I was always in my head, well, okay, clients actually hire us to be the experts, they hiring us because they need somebody to tell them, when they’re fancy full ideas might not work.

And I think that the culture that we’ve had in Trinidad around business in general, and around the customer is always right quote, unquote, just didn’t allow for that kind of thinking. So when I wasn’t about group, it was the first time that I heard my boss say, “Yeah, I told our client, they could go fuck themselves, dude, they asked us to do some bullshit.” And for me that was huge because I didn’t even know we had that power in Trinidad. I knew we had that power elsewhere and it was nice to look at designers elsewhere, but at home it was wild for me to see that. So now even at the studio, we are probably one of the few studios that tells clients, “Hey, we’re not sure that your business model is really aligned, to what the kind of work that we’re trying to make.”

Maurice Cherry:
Yeah. It’s a more gentle way of saying that.

Agyei Archer:
Yeah. I had to think that they may have not been able to.

Maurice Cherry:
Yeah. I know for me, I mean, I’m not going to lie, there was some ego in it. I was working at AT&T, essentially a production designer, just working on an assembly line with a team of other designers, just cranking out these boring websites for small businesses. And I just knew that I was better than this, I was like, “I can do better than this.” And it pained me how the other designers who I worked with, a lot of them who happened to be Black designers were just okay with this very sort of… To me, it felt like this is boring pedestrian station in life. I’m like, “You like this. You like these 15 minute lunch breaks, and then we have to go back to work for six hours, don’t you want better for yourself than this?” And for me, it was 100% ego. I get what you’re saying about kind of, especially with an agency, you would think that agencies would hopefully be more, I guess, appreciative of clients. And maybe, I mean, it sounds like this was your first agency type experience, and maybe that’s why it was so jarring.

Agyei Archer:
Well, I’ve had a few agency experience, and I think that one of the realities in Trinidad, is that we have what you would call like franchised ad agencies. So a local business interest would get into a partnership with, let’s say Saatchi & Saatchi, and they would bring a Saatchi & Saatchi to Trinidad, but the only parts of the Saatchi & Saatchi brand that they’re using on the name. So there’s nothing that’s going to be reflected in terms of the work ethos, or the creativity or anything like that. And that industry of design being production, and I think maybe just how they built the industry in Trinidad. I think it’s way more about getting the work done, so that we can get a new client in than it is about making work that gets us our next client.

So a lot of these agencies have 10 year, 15 year relationships with clients. And yes, they’re making underwhelming work every year, but they’re making underwhelming work at a understandable unexpected budget. So it’s not going to be a huge problem for the client. And I think that I was always really wary of ending up in that trap, because I felt like the reason that those companies were successful, is that same post-colonial shame of where from. So we’ll work with the Saatchi & Saatchi because they can guarantee that it won’t be shipped, because it says Saatchi & Saatchi in their name.

Maurice Cherry:
Oh, okay. I see what you’re saying.

Agyei Archer:
But that doesn’t necessarily mean that the work is going to be good, it just means that there’s a implied client confidence. And I think that I knew that, I mean, in Trinidad we may have white people are a minority here, but they’re still the powerful group. So I was never under this illusion that I could start my own company, and just run it on the name of it, it would have to be about work.

Maurice Cherry:
Yeah. I mean, it sounds like you’ve always done your own thing, whether it’s Unqueue, whether it’s your earlier entrepreneurial ventures that you touched on. For you, what have been some of the pros and cons of working like this?

Agyei Archer:
Yes, I have done my own thing for better always, but I think that as far as pros, I can really settle on the biggest pro of being. This idea of working on what you want to work on, is huge because if you can work on what you want to work on, and you can get paid doing it, and you can get paid enough to pay your bills. And buy some Prosecco on the weekend, in my world, that’s the literal best your life can be, right? So for me, my biggest pros is that I get to live a purpose driven life. And that doesn’t mean that my work is my life, but that does mean that if I am going to be spending eight to 10 hours a day doing something. That it doesn’t feel like I’m just doing something to help someone else achieve some random goal around the money.

So in terms of, I think that I can make a way bigger impact way things by myself, because are the obvious cons, but not just security, huge fucking terrible, like now I’m fine until recently it was tricky. I think also in these spaces that I live in, there is a particular challenge with going on your own when you look like I do, even though most of the people from Trinidad Black or extended descent. I think that the challenge comes with believability. So I walk into my room, I have free-form dreadlocks, I don’t wear socks, I walk into the room and I’m like, “Hey guys, this is the design.” And while I’m saying that, I know I need to fight against all of the perceptions that are coming with me in the room. And in a way, the career that I was able to establish for myself in the states, was the thing that helped me to get past that here. Because when I tell people, “Oh, Google is one of my clients.” There’s a lot of shit that gets smoothed over, you know what I mean?

A lot of skepticism that leaves you room, they’re like, “Oh, okay, cool. We thought you were a fraud because of the hair, but you said Google so it’s fine.” And I think that for me, one of the biggest cons is that idea of, for me, and I mean, I’m seeing specifically, if you are a sole trader Black entrepreneur. Doing the things that I do in Trinidad, one of the cons is definitely going to be, walking around and through that pervasive doubt that your potential clients and payers will have of you. Just because they are in a way programmed to doubt you and to doubt your capacity to do things, I think that’s one of the hugest challenges.
One of the huge challenges is just, having the best product in the room, but screaming, please somebody, listen to me. And in this invisibility, just because of where I’m from and what I look like, that again, I’m being really clear about, is way less now than it was back then. But I think that you’re a young Black boy in a Caribbean, and you want to start to design business. One of your biggest challenges is going to be credibility, and how do you get people convinced of your talent. Because it’s not going to be on how good your layouts are, it’s going to be about something else.

Maurice Cherry:
I feel that, I mean that respectability politics kind of thing is so pervasive. I mean, it’s something that I’ve had to deal with. Also I mean, I’m a big dark skinned Black dude with an Afro from the south, I walk in the most places, especially with some of the places that I’ve spoken at, some of the places I’ve done work for and everything. And I know how unassuming I come off and I play into that a little bit, like I went to Morehouse College.

And so Morehouse has its own reputation of suit and tie, and you’re this well red, well traveled person, blah, blah, blah, all this kind of stuff, that actively buck against. I’m not a suit and tie wearing person at all. And so I come up in most spaces and I tend to be pretty unassuming and I play into that a little bit, because I like people to be surprised like, “Oh, wow.” But I know what you mean about having to fight against that. Because oftentimes those perceptions will come from people who look just like you.

Agyei Archer:
Yeah. It’s mostly to be honest, most of the middle management is people who look like me, and middle management is who I need to get through. But I think that a lot of the people who look like me are really wanting to hire, and make connections, and relationships with a white man with an accent.

Maurice Cherry:
Yeah. Absolutely.

Agyei Archer:
And I am not like, I don’t provide them the opportunity for growth that they’re looking for, because you can’t grow unless you have connections with white businessmen.

Maurice Cherry:
Whoo man. That’s…

Agyei Archer:
That’s heavy.

Maurice Cherry:
No, that’s real. I want to shift a little bit, and talk more a little bit about your type design work. We touched on a little bit earlier, but in 2017 you were part of the Type@Cooper Design program. Tell me how that experience was.

Agyei Archer:
It was well. Because I didn’t know I was going to get in, and I sent my application and then I got in, and then I had to take a loan, because I didn’t know I was going to pay for it and I got. And I remember really clearly, I’m saying all of this because I remember on my first day, I got into class and I got in there, and there were like three white kids, and I got into the class and none of them said anything to me. And then another white kid came into the class, and then a couple Asian kids came into the class. And at some point in time we were getting close to 9:00, and I had to acknowledge, okay, it’s not going to be another Black people here and that’s fine. That’s okay, don’t trip out, it’s fine, you’re in a place where Black people are minority, that’s, okay, right?
And then my professor at the time whose name is Hannes Famira, one of my biggest influences as a designer. Came into the room and he looked at me, and I knew he looked at me with this look of, huh, all right. And I looked at him for the same look of, okay, this is what we’re going to do, huh. And for me, a lot of it was on one hand being in a classroom of people, who were from a space, and I’m saying a space, not necessarily America.

But they’re all from what I would say, larger more cosmopolitan spaces, that actually have some history around type design, or some understanding around type design, or some typographic history. And here I’m from the Caribbean where we don’t have any of that. And I’m staying, I think that for me, my type of group journey academically was a struggle, because I just wasn’t as quote unquote good as a lot of my peers, but I was a hard worker. So moving through the program for me was really fulfilling, because I mean, I would basically go to class, I would spend 12 hours a day at the Cooper Union, and then I would go to my shitty Brooklyn Airbnb and spend three hours of drawing again.

And I think that one of the things that I had to leave with was, I kept waiting for the experience that would help me validate my Blackness inside of all of that, and that never happened. And I had to acknowledge that the reason that it didn’t happen and wasn’t going to happen was, because I was getting ready to work in a space where there weren’t any other Black people. Because it was only when I was at the Cooper Union and I asked, “Wait, where the fucking, where the Black guys at, where’s somebody Black at.” And they had to be like, “Okay, sorry to break this to you, but we have one guy, Josh Darden, that’s it.” That’s the whole type industry Black people is Josh Darden. And I don’t know how much you know about Josh, but he’s a massive recruit. So while I was at Type@Cooper, I’m emailing Josh and Josh is like, obviously not fucking replied to my email. And I’m like…

Maurice Cherry:
I’m only laughing because I have tried to get Josh on the show for a while. And I think one of his white business partners stepped in, and just put the stop sign down, like “stop messaging us.” And I was like, “Okay.”

Agyei Archer:
Yeah, that sounds about right. I mean to all of their credit, that’s Josh’s instruction and Josh’s desire. But, but Darden Studio is currently now run by a white woman. Her name is Joyce. I mean, great, she’s one of Josh’s best friends, but on…

Maurice Cherry:
That’s the person who told me that.

Agyei Archer:
Probably, yeah. She told me the same thing, [inaudible 00:48:37] we’re friends though I love her. So I can say that, I emailed and I was like, “Hey,” with so much milk in my fucking eyes like, “Hey, [inaudible 00:48:44].” I’m really hoping to get to this [inaudible 00:48:48], she’s like, “Listen, she’s not seeing anyone, good luck.” She’s like good luck with Type@Cooper, that’s it. But, no, we’re good friends now and, unfortunately publishing with them. But a lot of the experience for me was jarring, because I had to acknowledge where Black people were any type design spectrum. But I also had to acknowledge that gentle Eurasia of your experiences so that can happen, when you’re in white dominated spaces. It is an active thing, it isn’t like there’s normal malice, but there’s just a casual, not understanding, not relating to your circumstances that can feel really targeted after enough time.

That was how I would probably summarize my experience. I would summarize my experience as one that was really fulfilling in terms of how much I got to learn. But one that was also in a way, a little traumatizing in terms of how much I learned about the rest of it. So not the drawing part, not the Python part, not the understanding white space part, but just the cultural implication. And who’s making type, and who’s making type for whom, and where the type come from, type the whole. Like type design is the thing that facilitated commerce in the 15th, 16th, 17th century, that means slavery you know what I mean? So I think about that and I was like, okay, I’m also learning type in the Dutch fashion, from people who learned Dutch style type design. Which would’ve also been exploding in terms of its theoretical output, as a offshoot of the Dutch benefit from slavery.

Because I think that one of the greatest markers of a society’s progress, is if they started drawing type of art. You can tell a society’s appetite for conquest when they start printing their own letters, because you need to print their own letters to take over a space. And I feel like those things are the things that really… I think I could have learned a lot about drawing type on the internet, but I could never have learned about types place in the world and cultural context if I didn’t go to a school for it, because part of the curriculum was also learning about types history. So there was a lecturer called [inaudible 00:50:51], and he was exceptional in terms of his understanding of type and the evolution of type, obviously in a European context. But I learned so much about how… Because you go to enough history classes and you realize, okay, we’re not talking about Black people ever, that make you ask other questions around why we’re not talking about Black people.

So for me, Type@Cooper was culture shocking, but it was also really necessary because I learned a lot theoretically about making type, but I also was able to make amazing connections. I mean, Hannes who was my lecturers, one of my favorite people in the world, I was also able to from that lecture, or from that education experience, get in touch with people like my mentor DJR or my mentor Darden. Those were the entry points to get into a lot of where my life is right now with type. So I’m not mad at it, but it was really traumatizing.

Maurice Cherry:
Yikes. I hate to hear that. I mean, but it sounds like you were able to at least extract some good things from it.

Agyei Archer:
Yeah. I mean, good traumatizing is weird, but what I do mean it was, is not traumatizing because anybody was out to get me or anything like that. I think it was traumatizing because everybody they’ve been building this curriculum and I don’t mean just type of group. I mean, white people have been building type design curriculum for a hundred years now. And this idea of, “Hey, Black people use language too.” Like that question didn’t come up. And I think that’s not the fault of your school, that’s the fault of the society that we’re in. And in a way, the education system can only ever be a strong reflection of the society that you’re in. And I think that you can learn a lot about the society and the culture, around type design might be part of its education system.

Maurice Cherry:
So knowing all of this, and I guess also the fact that you really pull a lot of inspiration from the Caribbean as a whole, how do you bring all of this to your work?

Agyei Archer:
Well, I mean, I think that a lot of the work now for me is, I think that I’ve given up on making beautiful typefaces, and I don’t mean aesthetically beautiful, I mean, the idea of aesthetically beautiful. I think that there are things that be dominant culture has taught us that type design needs to have, we need to have super tight joins. And a lot of the trendiness is left my palette in terms of what I want to make, I want to make work that is so deeply accessible and utilitarian and basic, because we’re not in a space where if we’re supporting Pan-African Latin languages, that we have expressionism.

The languages that support these… Sorry, the sponsor support these languages are what you would call the most white bread, boring, vanilla, Arial, Helvetica, type things. And that’s because most of the time you’ve needed supporters languages, is because you’re releasing it on a OS, or you’re releasing it on a… There’s these context where you almost have to support everybody, and that’s when it gets done. But it’s not getting done by the commercial types of the world or shop types of the world. And again, that’s not a hit out against either Christian, or Lucas who run commercial and shop type perspectively, but that is a reflection of the industry that we’re in.

Maurice Cherry:
Mm-hmm. Let’s talk about Design Objectives. That’s something that you co-founded, I should say, with one of our past guests, Ayrรฏd Chandler, who we had on a couple of months back. Talk to me about that.

Agyei Archer:
Well, Design Objectives started off as, it was this plan that we had while I was working at Abovegroup. So I was working at Abovegroup at the time, and myself, Ayrรฏd Chandler, and another designer, to whom I’m not related, but I’m good friends with named Melanie Archer. We started Design Objectives because there’s that same idea of not being a very nutrient culture, or not having a very nutrient culture around design was there. So we didn’t feel facilitated, we didn’t feel like designers were encouraged to do anything other than make ads. And I think that for all of us, it was the same deep desire to affect a positive change. So for us design objective was helping designers be better, but not necessarily from new perspective of giving them lessons about the stout or about color competition. Because you can make your way through that, but we wanted to give designers empowerment tools. So we wanted to show you how to make a contract, here’s how negotiation should work, this is how you should probably price your work.
So a lot of the efforts that we were putting in were around, empowering designers to do their jobs better. Unfortunately, the pandemic pushed, because so much of Design Objectives was meeting oriented and socially rooted. We lost a lot of our traction during the pandemic, and I think since then we’ve released a slowed down the operation. For as much as we’re still doing things to connect design to people, I think that for each of us individually, we’ve moved past Design Objective as a nonprofit that we were founding, that we were running ourselves on.

I’m hoping that there’s a future evolution of that, that can probably be in the same space that we started it, in terms of supporting people and allowing them to really improve their practices. And again, not from the perspective of the aesthetics of the work that they’re making, because Caribbean people are very creative and very talented. But I think that there has been a culture of designers not being respected, and then thus not respecting themselves that we start to Design Objectives to try to fix for. I don’t think we’ve met up in a couple of years now, even though Melanie is also one of Unqueue’s showrunners by the way.

Maurice Cherry:
Oh.

Agyei Archer:
Yeah. I mean you should probably interview her off the record. But she’s one of the more influential designers, not just in our space, but in terms of the contemporary art world in the Caribbean as well.

Maurice Cherry:
Okay. I mean, it’s pretty clear to me that you like to stay busy. You’re doing a lot between the studio, the app, and other things like, what are you doing for you? What are you doing for self-care with all of this?

Agyei Archer:
Unfortunately, I used to party really hard when I was younger. So I would say maybe between 17 and 25, I was just piles of drugs, just a lots of booze, I’m saying that all of those things are now boring to me. And what I do now for fun is I have an orchid collection, so I take care of about a hundred plus orchids at my apartment. Wow, I can’t believe I said that out loud. I do a lot of baking and cooking, I’m such a Saturday stay at home guy, I am Mr. Yogurt on a Saturday morning. And that’s what [inaudible 00:57:13], I try my best to just enjoy the life that I built for myself, because I think that there is so much in the work that I’m doing now, that can be in a way I’m busier than I’ve ever been. And if I don’t make sure to separate myself, my whole life can be about the work that I’m doing.

And I think that there was a period in time when I was really comfortable with that, with making my life about what I’m doing. But I think that now I want to make my life about how much I’m enjoying my life, and I do enjoy my life in making the work that I’m doing. So there’s that, but that’s just part of my enjoyment. So I take care of my plants, I have a beautiful dog, his name is Baxter and I spend as much time with him as I can. And I’m trying new fried chicken recipes, I’m trying new bread recipes. I wish I would say that ice skating or going surfing and stuff, but I’m not, I am a bridge to the water, I live in the Caribbean, but I’ll go look at the beach.

But I just feel like, a lot of what I’m doing for myself right now, is stepping away from work being my everything. Because it was my everything for a serious period of time, and I think that a lot of my substance abuse was driven by mitigating against that. So work is taken over my life, I’m just do some drugs so I can make it through, and now work is taken over my life, I need this weekend.

Maurice Cherry:
Do you have a dream project or something that you would love to do one day?

Agyei Archer:
I think that if I think about dream projects, I think about… A lot of my current drive is around the Caribbean and facilitating entrepreneurship, and development in the Caribbean using the software that we made, but also the methodologies that we developed. So if I think of dream project, we are currently right now working with the government at Trinidad and Tobago, to help with the same farming project. We’re trying to scale it across the nation, but we’re also working with them on building software tools for financial inclusion. In my opinion, being able to help people on the ground in that way from the space that I’m in. It couldn’t get more dreamy than that.

Maurice Cherry:
Who are some of the mentors that have really helped you out throughout your career?

Agyei Archer:
Definitely Gareth Jenkins and Alex Mills from Abovegroup, huge influences. I think that they were the first people to teach me that, you could stand up for design and people won’t hate you as much as you think. DJR, David Jonathan Ross, who is a American typeface designer has been one of my rocks, and one of the most encouraging designers that I’ve ever met. He was the first person that I sent my work, who didn’t just tell me something patronizing. So I would share work with people and they’d be like, “Oh, this is amazing.” But he was the first person to be like, “Hey, got your font, here’s a PDF for all of the mistakes.” It sent it back to me, which I think it was one of the best things from my career as a designer, because I think that there is a lot of white guilt that can get in the way of productivity, when it comes to giving people feedback on my work.

Especially, you see a young Black guy making type and its like, “Well, I don’t want to break a spur.” But actually I was far more concerned in positive feedback than I was in validation, and he was really good. I think he saw that and he was really good at that. And I think I feel the same way, what Eben Sorkin, who is a designer, who works for Darden Studio, and has also made the Merriweather font, which is pretty popular on the internet. But I think that those two typeface designers have been really influential to me. There’s also Hannes Famira and Just van Rossum, who are German and Dutch type designers, respectively, and used to work in programming really changed my outlook on whether or not programming had a place in my design practice.

And Hannes outlook on typeface design, really helped me and still helps me now when I’m making work, remind myself that it’s as good as you want it to be and you can make it better, but the reality is that some of the decisions that you make will have to be personal ones. And I think that in a world that has so much rigidity like typeface design, those two people who are… I would say typeface designers with a very strong [traditional 01:01:15] sense of output, the ethos that they’ve been making that work with has been in a way radical, and I am really inspired by that.

Maurice Cherry:
Where do you see yourself in the next five years? What do you want the next chapter of your legacy to be?

Agyei Archer:
Oof, legacy, yikes. I think that in five years I hope that Unqueue’s infrastructure is more pervasive in Caribbean, and we’re helping facilitate even more lives being built and transformed. I’m hoping that for my type design practice, that I’m able to find even more time to draw and even more time to produce. And I’m hoping that by in five years my first font with Darden Studio would’ve done relatively well, because it would’ve been out for a few years. But I think that what I want for myself, I mean this is not just in five years but also in five years, I would like the work that I’m making to see its potential through in terms of the impact that it can make in other people’s lives.

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

Agyei Archer:
My best place to find me online is on Twitter. But I also have a website at agyei.design. The Unqueue Studio has a website, it’s unqueue.studio check that out for sure, especially if you’re interested in tech in the Caribbean. And we have the Unqueue marketplace, which is unqueue.app, which is what we use to help small businesses right now. If you can get on any of those platforms and you can’t find me, then I just didn’t want to be found.

Maurice Cherry:
All right. Sounds good. Agyei Archer, I want to thank you just so much for coming on the show. Like I said, this is been a long time coming, I really wanted to have you on the show for a while and you didn’t disappoint. I mean, I think first of all, just hearing about your work ethic and how you’ve built Unqueue I think is super inspiring, particularly in this weird flux state we’ve all been in since the beginning of 2020. But I think also just the fact that you are someone who looked and found a void in the market or a void in the world, and you’ve actively worked to use your skills and your talents to fix that. I think that’s something that all of us can walk away from learning just about you, but also just about the best ways that we can use the skills that we have to create a more equitable world. So thank you so much for coming on the show, I appreciate it.

Agyei Archer:
Thank you, Maurice. I’m really grateful as well for your patience, and waiting as long as you have to get me on. But also I feel like the work that you’re doing is really valuable, and I hope you get to keep it up.

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Cherry-Ann Davis

What happens when a Trini woman ends up in the largest city in Switzerland to learn design? You have Cherry-Ann Davis, a graduate design student at Zurich University of the Arts, and a self-proclaimed creator of visuals and words. Quite a combination, right?

Cherry-Ann and I talk about her design thesis, as well as her work at a feminist design publication called The Futuress. Cherry-Ann also spoke on growing up in Trinidad and Tobago, how she switched her career from marketing to design, and spoke on finding community in an entirely new place. According to Cherry-Ann, you should stay open to anything because you’ll never know where it will take you. I can’t argue with that!

Transcript

Full Transcript

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

Cherry-Ann Davis:
I am Cherry-Ann Davis and I am currently a master’s student at Zurich University of the Arts studying visual communication design.

Maurice Cherry:
And Zurich, that’s Zurich as in Switzerland, correct?

Cherry-Ann Davis:
Yes. Zurich as in Switzerland. I left my good hot island in the Caribbean to Zurich, another part of the world that I’ve not been before. Well, first of all, I never left my country for longer than a week before moving to Switzerland.

Maurice Cherry:
Wow. And you’ve been there… I think you told me earlier, you’ve been there since February of last year.

Cherry-Ann Davis:
Yes. February 1st, 2020, I moved, I packed my four suitcases. It’s everything that I won and I hold dear in my life, and I brought with me. So many books. And I came by myself into a new world.

Maurice Cherry:
How’s it been adjusting to everything?

Cherry-Ann Davis:
Well, one months after arriving, there was a global lockdown. So that adjustment period was quite hard because I didn’t know anybody. The one person that I knew, he kind of dropped me as soon as I got to Switzerland. So I was in a pandemic by myself, not knowing anyone in a flat with two other people upstairs.

Cherry-Ann Davis:
And the people who were on my floor left, they went back to their countries to spend quarantine with their families, to spend that time. And I was just there by myself. Being new to school, not even having time to meet my classmates and get to know them. It was rough. It was real hard.

Maurice Cherry:
My goodness. I can only imagine. How did you get through that? Well, I mean, I guess you’re kind of still getting through it, right?

Cherry-Ann Davis:
I am still getting through it. Enough prayers. I prayed a lot and I spoke to my therapist a lot, because as much as I was prepared mentally to move to another country, I was not prepared mentally to move to another country and be in so much isolation. Although I lived on my own when I was back in Trinidad, it was something that I could not comprehend.

Maurice Cherry:
As we’re recording this, so for people that know, we’re recording this right before Memorial day, so right near the end of May. What’s the situation like in Zurich or in Switzerland, I guess, as it relates to reopening or anything?

Cherry-Ann Davis:
Right now, next Monday, all of the restaurants will be reopening to have both inside and outside guests. So for the last two weeks, they were just having people, they could dine on the patios or outside of your restaurants. But from this Monday, all the restaurants will be opened for both seating inside and outside. That is mainly because there’s a big drive to get people vaccinated.

Cherry-Ann Davis:
I had my last shots yesterday and I’m scared as fuck because I’m thinking about all of the history with vaccination and being Black, and I’m in a predominantly White country. So my fear is just going off the radar right now. But Zurich is one of the cities that has opened up vaccination for all persons no matter your age group or your risk right now. So with that, they are trying to open more and more. Relaxing measures more and more. Sorry.

Maurice Cherry:
Which vaccine did you get?

Cherry-Ann Davis:
I am not sure. I think it’s Moderna, but it might be AstraZeneca. I can’t remember. I was so nervous when they were telling me, I kind of blanked out.

Maurice Cherry:
Okay. I mean, but it was one you had to get two shots for?

Cherry-Ann Davis:
Yes.

Maurice Cherry:
Okay. So it was probably Moderna. I think actually those might be the only two shots that are available globally. I don’t know if Pfizer is or not. I’m not sure.

Cherry-Ann Davis:
I think when talking to some of my friends yesterday, Pfizer was available in a different part of Switzerland. So Switzerland is actually… Well, Zurich is actually larger than my country. So at different parts of Zurich, you could get a different vaccine. So I’m just like, wow, that’s weird.

Maurice Cherry:
I mean all these news, and I’ve mentioned this on the show before. So for folks listening, I’m not trying to belabor the point, but I mean, all of the news around this has just been changing week after week, whether it’s availability, or restrictions and things opening up. There’s been such a rush back here in America, in the U.S. for things to reopen that it’s kind of staggering.

Maurice Cherry:
I mean, it was so interesting because I remember this time last year, there was so much about making sure people wash their hands for 20 seconds and wore a mask. And now that it’s masks off, I mean, everywhere, people are just… It’s going to be a wild summer in the United States because people are ready to get out.

Cherry-Ann Davis:
Right now I get scared when I’m on the tram when I see someone not wearing a mask, I’m like, “Yo, so what are you doing? This is Corona.” And for me, it’s kind of baffling because back home in Trinidad, right now there’s a state of emergency. You can’t go anywhere between 9:00 and 6:00. And if you are going anyway outside of those hours, you have to have a good reason as well to be outdoors.

Cherry-Ann Davis:
You can’t exercise outdoors. I feel it for the people back home. And here I am having the opportunity to get a vaccine even because back home, they ran out of vaccines, and I am here with so much privilege and this man not wearing his mask, like what are you doing?

Maurice Cherry:
Yeah. I know some Europeans that came, they flew over here last month to get the vaccine because the country that they were in, it didn’t seem that it was going to be available or they didn’t really have a sense of when the vaccines would be available. So they just flew over here, got it, and that was it.

Cherry-Ann Davis:
Well, that’s an ability that very few have, that access to even leave your own country to get a vaccine. People don’t realize that privilege. I have friends in Berlin and they can’t even get the vaccine.

Maurice Cherry:
I think now it appears that vaccines are starting to get out to more countries from the U.S. because right now we’re at this point where supply is greatly outpacing demand. And partly that’s because prior to, I want to say maybe a couple of weeks ago, you really had to go to mass vaccination sites or maybe get them through your doctor or something, but now you can get them at pretty much any pharmacy. You can get it at-

Cherry-Ann Davis:
Really?

Maurice Cherry:
Yeah. The availability has increased a lot. But even with that, some people, because it’s a… If they do a two shot like Pfizer or Moderna, they’re only getting the first shot and not the second one because people are talking about side effects and everything.

Cherry-Ann Davis:
That was one of the things that was happening in Trinidad. So before I think they ran out of the vaccines, a few people who are in the high-risk area, they were able to get the flu shot, and then they ran out of vaccine. So it was like, what’s going to happen now that they need to get a second shot. Do they know after wait to get the same brand of shots or would they get a second shot from another brand of medication? So it’s questions, just big question marks in Trinidad.

Maurice Cherry:
Well, let’s shift the conversation away from vaccines and all that sort of stuff. Talk to me about what you’re studying. You said you’re at the Zurich Institute for the Arts. Is that what it was?

Cherry-Ann Davis:
Zurich University of the Arts.

Maurice Cherry:
Zurich University of the Arts. Thank you.

Cherry-Ann Davis:
Yes. I am doing visual communication design. I came with the intention of doing a project around pattern design on Trinidad and Tobago. Because I had so much time during Corona and I have to have a thesis to go along with my artifacts, I was able to think a little bit deeper into what I want my project to be, because I initially, I was just thinking about the diversity and the culture of Trinidad and Tobago being represented in some type of pattern design for fabric or wallpaper.

Cherry-Ann Davis:
I told my interviewers when I was applying for the school, that will love to see a line of IKEA wallpapers that just shows the brilliance and vibrance of Trinidad and Tobago through pattern design, and he said, “Yes. We have partners in IKEA.” And I said, yes, that’s what I want my project to be.

Maurice Cherry:
Nice.

Cherry-Ann Davis:
And during lockdown, I had way too much time on my hands, and I got to thinking, what does a pattern design actually say? And how does it benefit the design industry? And what would my thesis say? And what am I adding to the conversation? So it changed. It pivoted from being pattern design of Trinidad and Tobago as a thesis on the artifact, to the thesis now looking at how can designers who are not part of the Western world utilize their own culture to create inspiration for designs.

Maurice Cherry:
That’s a really rich subject to go into.

Cherry-Ann Davis:
Yeah. For me, it’s something that I wanted when I was doing corporate design because I worked at a bank that was throughout the Caribbean. So we were operating in 17 islands at the time, and I was responsible for all of the visuals. So all of the marketing campaigns. I was responsible for creating the ads whether it was digital, or print, or even TV ads, I would be the person who would give approval along with my colleagues in Canada.

Cherry-Ann Davis:
And a lot of times, my colleagues in Canada, I remember this one meeting, it was for a Christmas campaign, and they proposed an idea and I was the one reviewing it and providing the Caribbean context. And they were like, “Well, we’re not sure if you all have hardwood floors and you all use Christmas trees.”

Cherry-Ann Davis:
And I’m like, “What do you mean if we have hardwood floors? Where do you think we live? On the beach and swinging from tree to tree? We have hardwood floors. We have tiled floors. We have [inaudible 00:15:42] just like everybody else.” And I basically had to let them know, hey, as much as you think that your view of things are better and your ideas are wrong, design, or even life, maybe more rich because of your position in Western world, we still have access to all of these things too.

Cherry-Ann Davis:
Just do a simple Google search, and you’ll see how rich our countries are. And from that is where a seed was planted. Because so many times us as designers who don’t belong to the Western world, we still have to conform to a lot of the Western canon on how to design, on how we should market our products to people. And we most of the times don’t consider our audience, which is the people that we’re advertising to. They are also rich with diversity that we should reflect in our ads as well. So that was where the idea was based in.

Maurice Cherry:
I think that’s a marvelous idea. And it’s something that at least I know here in the States, there’s been a lot of talk around decolonizing design, which is sort of trying to free people’s mindsets away from honestly, from a Eurocentric vision of design like Swiss design, or German design, or French design, or whatever, by trying to free yourself from that and learn about designers from other cultures or even designers from different races so you can sort of add to your own design, knowledge, and research, and inspiration to create bigger and better things.

Maurice Cherry:
There was a couple of weeks ago we had Kaleena Sales, who teaches at Tennessee State University. And one of the focuses that she has for her work when she’s talking to her students and teaching her students is having them plum their own culture to put it into their work because she teaches at a historically Black college. Her students are Black. She’s Black. So that’s where you should be pulling from for your design, instead of trying to mimic, I don’t know, the Bauhaus or whatever.

Cherry-Ann Davis:
Yes. For me, I actually strengthened my idea in the BIPOC Design History course that was run by Polymode. So Silas Monroe and some other lecturers came together and they presented what a canon would look like if African-Americans were included in it. And for me, that opened my eyes to think, so why didn’t I learn about my own design history in school? I remember my design teacher always mentioning to us that good design is very clean and very Scandinavian or Swiss.

Cherry-Ann Davis:
And I’m like, but we have kind of more. We have so much color, and richness, and diversity. Why can’t I include that into my own designs? And for me, my thesis is more about showing designers that it can happen because I’m utilizing my own country, so Trinidad and Tobago, and our rich diversity, and history, and culture, and language in my artifact. So it’s more leaning towards a case study of how you can do it.

Cherry-Ann Davis:
So it’s not just the theory around decolonization and postcoloniality. It is there, but it is centered in, this is what it is. This is how we do it. So many times when people do master’s and PhDs, it’s so academic level that a practitioner can’t understand what’s happening. And I want me, as a 22 year old designer, or aspiring designer to be able to say, I understand what she’s saying. I could do that. Now let me implement it in my own design processes.

Maurice Cherry:
That’s a really smart way to think about it. And you’re right. I mean, I know when I think about Trinidad and Tobago, because I went to college here in Atlanta, but we had a ton of Caribbean students, mostly from Trinidad and Tobago. And even just talking with them and hearing them talk about home, and the richness of their culture, and the food, and the music, and everything, why wouldn’t you want to infuse that into your design because that’s what you get inspired by.

Cherry-Ann Davis:
Yeah. There was a lecture recently at a workshop that I’m co-curating with the futurist, and Toshika Arno Sutton was there, and she was also part of the BIPAC Design History. And she presented an exercise that she did in her degree program, and it was around the genealogy of design. And she infused in it her musical influences, her literary influences, the designers that made sense to her that time.

Cherry-Ann Davis:
And she mentioned that throughout, she noticed all of her non-design inspirations were of Black culture, but her design inspiration was not of Black culture because there were no Black designers that she was aware of at the time. And that’s when she pivoted her direction. And that’s part of my research so far. I’ve been interviewing my mentor, who is one of the lecturers in Trinidad who teaches almost all of the professional designers.

Cherry-Ann Davis:
And she has been teaching for the last 30 odd years at the [inaudible 00:21:15] Institute. And she has said… Well, in the interview, she said, “Well, yes, we have our culture, but there’s a standards to design, there are rules design.” And I’m like, “Miss, but we have rules, but shouldn’t we be allowed to interpret the rules through our lenses that we live.”

Cherry-Ann Davis:
And she says, “Yes, Cherry, your visual vocabulary and your life experiences should influence how you design, but at the end of the day, it’s still based on what the clients want.” And that kind of broke my heart a little bit because I am there thinking as much as I am following the brief of a client, if my audience is in Trinidad, it should reflect my audience more than the rules of design.

Cherry-Ann Davis:
Right now, tethering on should I even think about what decolonizing design should be? Or should I just say they are the rules of design and you could break it, but not too much right now. So it’s a confusing space to me as well.

Maurice Cherry:
I can see. I mean, I don’t know. My advice is to break it, that’s just me, but also I didn’t go to design school. So maybe don’t listen to that. But I mean, I can see where that conundrum exists. You definitely want to pull from what you know, but, wow, that’s so interesting. That’s so interesting to hear. I want to talk about the Futurist since you mentioned it. Can you talk about what it is and sort of what attracted you to it?

Cherry-Ann Davis:
So The Futurist is a para academic organization. So it’s an Institute that provides guidance for writers and that’s how I initially engaged with it. So last year in 2020, there was a workshop called Troublemakers. It’s the second workshop that was held. And it’s basically any format of an online course, as well as a writing workshop for students who want to be a part of a community of let’s say troublemakers, literally.

Cherry-Ann Davis:
So we are the ones who are doing texts on difficult subjects and themes that most universities don’t necessarily want to get involved with or get too deep in because it’s a hard topic to navigate. So for me, a Trinidadian being in a Swiss design school, and one of my professors actually asking me, “So what’s the difference between your work as a Trinidadian and a Jamaican student who was enrolled at the time?”

Cherry-Ann Davis:
I was like, “Well, She’s from Jamaica.” Those simple things that I needed a community to even understand some of the terms that I needed to negotiate, and Futurist was that community. So I started off in futurist as participants in a workshop, and I messaged and I said, hey, I want to be a part of this. If you need an intern, I’m available.

Cherry-Ann Davis:
I have a lots of free time next year because I’m extending my studies and I want to be a part of this. And at the beginning of this year, I was looking for a job and I just came out of an interview to be a nanny for two kids. And I was like, Cherry, you can’t be on nanny for nobody children because you don’t have that level of patience. You have two degrees, and the moment somebody child turn to you and shout a little too loud, your Caribbean instinct might hit in and you might want to discipline the child.

Cherry-Ann Davis:
And this is not Trinidad. People won’t understand this. And at that moment negotiating these thoughts with myself to not say yes to that type of job, I got an email from Nina and she was like, “Cherry, are you still interested in being an intern?” I was like, thank you, Jesus. You know my heart. And at that moment, I was like ,”Yes. Hell yes. I will send on my resume.” And she was so impressed with how I was in the workshop with my texts.

Cherry-Ann Davis:
So at the workshop, you present a text that you want to work on for three months period, and within that period, you help… What was the word I’m looking for? You help other participants by reviewing their texts as well. So it’s a peer review, but under the guidance of added time three persons who were at The Futurist.

Cherry-Ann Davis:
So in that, you give feedback to your partners, but you’re in a group of about six or seven persons and any group, you all just provide feedback on each other’s texts. And throughout, I was always able to provide guidance, or provide suggestions, or there was always a rapport of me helping. And that led to me being open and able to be a part of The Futurist. And this year, I co curated. So I came up with the program along with Nina, which is against the grain. It’s an online course, as well as the writing fellowship.

Maurice Cherry:
I’m looking at it now on the website and it says it’s an online course and fellowship program fostering critical perspectives on the designed past and democratizing access to design history writing in a broad sense. I love that The Futurist’s focus is on design politics and design writing. Is that just sort of born out of what Nina, who is the, I guess she’s what, the founder of Futurist?

Cherry-Ann Davis:
Yes.

Maurice Cherry:
Is that sort of born out of what she wanted to do or did you see this more as a community need?

Cherry-Ann Davis:
It’s both. So the first aspect for all of our online workshops is we create a theme, and from the theme, we invite persons to sign up for the online course. This is the third iteration. And for this iteration, it was a payment for the persons who wanted to participate in the online course, and in your participation to the online course, you will be sponsoring the persons who wanted to take part in the writing course.

Cherry-Ann Davis:
And this worked out really well because we were able to open the online course for more persons, as well as the writing course for 42 persons who are writing critical design theory texts. And this format provides also a community. We operate on slack mainly. So we have a community of over 250 persons. Any slack group for just this one workshop against the grain.

Cherry-Ann Davis:
And last workshop, which was troublemakers, we had 50 persons, and this workshop was mainly focused on writing. But with this new iteration, we were able to do a bit more and open up the community to a larger amount of people. So we have people from seven continents all over.

Maurice Cherry:
Wow. Seven, even Antarctica?

Cherry-Ann Davis:
Okay. Maybe not seven continents.

Maurice Cherry:
I was going to say, if you all got a research scientist or some penguins or something, that’s pretty dope.

Cherry-Ann Davis:
But we do have one person doing research on the Dodo bird, which is quite interesting.

Maurice Cherry:
I love that the focus is on writing. And I guess the, I don’t know, eventually those pieces will get published on Futurist once they’re through with this workshop.

Cherry-Ann Davis:
Yes. So this is a format that has moved from the first workshop, which was The L.i.P. Collective, very focused on feminists writing throughout a period, and then truly troublemakers, a lot of the pieces are still being published. And with against the grain, this would provide texts that will be published on The Futurist.

Cherry-Ann Davis:
So a lot of times when people do master’s research and they put their life into this, they put the two years worst of knowledge into this, it just sits in a drawer somewhere and nobody reads it. As much passion that is imbued in this work, nobody reads it. Nobody gets to see this research and Futurist provides the opportunity for this research to be viewed by as many persons as possible. And I think that’s one of the best things.

Cherry-Ann Davis:
And I could access to this as well because my text, as part of the troublemakers, was published recently. It is called Culture No Context where I was looking at the ethics of ethnographic museums. So I had a lot of beef with ethnographic museums when I came to Switzerland and I went to a couple. I was able to process that through the workshop, and it’s also part of my thesis for my master’s as well.

Maurice Cherry:
What is an ethnographic museum?

Cherry-Ann Davis:
So ethnographic museums are museums that take cultural artifacts and displays in a artistic sense. So if you think of textiles or sculptural pieces from Africa, India, Oceana, South America, all of these things will be just on display in an ethnographic museum. Sometimes it may be a range and gallery style. So it might be curated for a collection, or it might just be in their archives open for people to view, which is another thing that was hard for me to deal with.

Maurice Cherry:
Interesting. Wow. I want to break a little bit from talking about, of course, your journey and the work that you’re doing in Switzerland just to go back to Trinidad and Tobago for a minute. Talk about what it was like growing up there.

Cherry-Ann Davis:
Well, Trinidad and Tobago is the most beautiful place. Everybody will tell you their island nice, but my island real, real nice. But I grew up in [inaudible 00:31:24], which is a place that the news always portrays as one of the worst place in Trinidad and Tobago. That wasn’t really my experience. I experienced community. I experienced people looking out for each other.

Cherry-Ann Davis:
Yes, there is violence in our communities, but it’s not as much as the news reports it to be. And I’ve always had this view that, hey, maybe what you read on the news is not always true, because it wasn’t always my lived experience. I went to school in places that people will associate as the worst areas of Port of Spain. So there’s a part of Port of Spain that people call wrongly bridge.

Cherry-Ann Davis:
So there’s Picton, Nelson Street and Bethlehem Girls. These were three primary schools in the area and I went to Bethlehem Girls, and I fell in love with art in the primary schools of Bethlehem Girls in our area where there were people tune in ponds, people making mass costumes. There was always creativity and vibrance in every aspect of my life. Move on love.

Cherry-Ann Davis:
And until is places where the pan came from, which is in national instruments. And carnival really is boosted in these areas that people don’t like the most. And I’ve always had a idea that, and creativity is born in the places where struggle is also overwhelmingly popular.

Maurice Cherry:
Yeah. What it sounds like is that you grew up around a lot of creativity and ingenuity from these so-called rough neighborhoods or these rough places.

Cherry-Ann Davis:
Yeah. There was so much ingenuity because you had to find ways to survive. You had to find ways to make money. You had to find ways in order to feed your family. My grandmother used to sell in a markets every weekend, and I used to be there with her. I had my own little stalls selling my own little things, trying to make money for my own self.

Cherry-Ann Davis:
And at that time, I didn’t understand that she was teaching me about business on how to invite people so that you could sell them your products over the person next to you who may have the same products. And many times she would tell me to draw a sign and put the price and everybody else would just have the number $2 for a [inaudible 00:33:51] tomatoes.

Cherry-Ann Davis:
I would take my time and I would draw it and I would put little sunflowers around it. And these little things, I think it may not have helped. But I think to myself that these may have invited people to come to our stall to buy more things. But in different ways, creativity was always around me.

Cherry-Ann Davis:
But sometimes I wasn’t aware of it at the time. And hindsight, it’s not 2020 anymore. Hindsight, is really you think that it makes you realize, hey, the lesson that you didn’t learn then, you’re learning now. We’re not talking about 2020 anymore.

Maurice Cherry:
Yeah. Now, when you were in Trinidad and Tobago, you started out at the College of Science and Technology and Applied Arts, and later you finished up at the University of Trinidad and Tobago. I’m totally basing this off of your LinkedIn. So please feel free to chime in and correct me if I’m wrong. But you kind of made this switch from marketing to design. Where did that shift come in?

Cherry-Ann Davis:
As a teenager, after my grandmother passed away, I moved in with my uncle and aunt and they really pushed me more towards the business side because I was always two minds about either business or art. I did both in high school. So I had to pay to do art because it wasn’t offered with the subjects that I wanted. So art was always something on the periphery. And they really encouraged me to go more to the business side.

Cherry-Ann Davis:
And I was like, well, if you’re sending me to do business, I’ll do business that I like, which was marketing at that time. I started in 2006, and at that time, the governments of Trinidad actually provided free tertiary education for all citizens. So you could go to college for free. And I went, and I got my associate degree in marketing, but then I decided maybe I could switch to art.

Cherry-Ann Davis:
So I got a diploma and visual communication design. At that time I was like, what do I do next? I decided that I will go finish my degree in business because I am the type of person that once I start something, I like to finish it. So I wanted to get my degree in business. That was the moment I realized I don’t like business, having to do human resource management and organizational principles.

Cherry-Ann Davis:
I’m the person who, as much as I can memorize theory, I like to be able to explain it and I could create a story out of it and not repeat it word for word. So that did not work out too well for me in those exams, but I passed, and I realized my passion really lies within being creative and telling stories.

Cherry-Ann Davis:
And if I could do that visually, I’ll go back and get my degree in visual communication design. So after my business degree, I got my degree in graphic design at the same university. And it was a distance learning program. So it was a university in Sunderland in the UK, but there was a center in Trinidad that you go to and you would get the same qualifications.

Maurice Cherry:
Okay. So after you are studying and you make the switch to graphic design, and you’re doing that, what was your early career like after you graduated?

Cherry-Ann Davis:
Well, after I graduated with my marketing associate degree, I got a job in a bank as an office assistant. So all of the other degrees, which is visual communication, and my two bachelor’s, those were done part-time. So I worked during the day and I went to school at night, which I will not recommend to anybody unless you have a lot of heart and determination.

Cherry-Ann Davis:
It was extremely difficult at that time. I was grateful that my job required no brainpower. So as an office assistant, I was basically just filing papers, enter drawers for the entire day. And then three years later, I got a promotion to an administrative assistant where I also had to deal with running the department.

Cherry-Ann Davis:
So making sure all of the office supplies were in order and making sure all of the managers had whatever they need for meetings. That is when I realized I cannot do this office administration thing anymore. Some managers just don’t know how to speak to people, especially when they think that they are in a lower position than them.

Cherry-Ann Davis:
And many times, I wanted to curse out my managers, but I remember that I had a job that paid for my degree and paid for all the things that associated with me in getting that degree. So doing design is never as simple as a business degree. You always have to get art materials. You have to think about printing the projects and all of these things.

Cherry-Ann Davis:
As much as the government was providing free tuition, I still had to think about how do I present a project to look professional. All these printing costs and all of these other things that you don’t necessarily think about before. So I had to keep my job. And I realized that within RBC, there is a internal graphic designer.

Cherry-Ann Davis:
So when I was there as an office assistant, I looked through the company directory and I called the graphic designer at the time. I was like, hi, I want to do graphic design. I want to know what qualifications do you have? How did you get the job? And the person, she was really sweet. And she told me the school that she went to, and it was actually the same school that I was in at the time.

Cherry-Ann Davis:
And she would help me with my assignments and helped me just to get the portfolio that I needed to become a graphic designer. And when she left, she told me, “Cherry, apply for the job.” I did not get a job the first time, but one year later, the person who replaced her left. And at that time, I was able to get work experience in graphic design.

Cherry-Ann Davis:
So within the year of that person holding my spot as a graphic designer of RBC, I was able to teach graphic design with a government program at the time, which was retraining adults who wanted to learn a skill. So after not getting a job and feeling really disappointed, I was able to find something that gave me the experience. So the next time the job came up, I was able to apply again and get the job. So it works out in the end.

Maurice Cherry:
Wow. I mean, first of all, shout out to that woman for helping you out and letting you know this was an opportunity that you could take and also kind of motivating you to get to that point.

Cherry-Ann Davis:
Yes. She really did, and she’s still a friend till today. She messaged me this week.

Maurice Cherry:
What would you say is the best thing about the work that you do now?

Cherry-Ann Davis:
The best thing about the work that I do is that nobody tells me what I could do. So I initiate all my projects myself. It’s something that I never think that I could do because I have a knack for executing other people ideas really, really well. So you give me a vision. You tell me what you want to do. I sit down, I plan with you and we get this done. But when it comes to doing it for myself, there’s so much fear.

Cherry-Ann Davis:
There’s so much apprehension. But over the last year, 2020 has taught me if you are afraid, that just means you’re heading in the right direction, and your better mush the gas under the brakes. So just keep going full steam ahead, and that really helps me to think about how to approach these projects.

Cherry-Ann Davis:
So a lot of the projects that I’m doing right now is around things that I’ve always loved. So I’ve always loved history, I’ve always loved music, I’ve always loved Trinidad. And a lot of my projects revolve around these things.

Maurice Cherry:
Have you found while you’ve been there in Switzerland, and I know places have been locked down, but have you found some, I don’t know, sense of community or some kind of sense of home there yet?

Cherry-Ann Davis:
Yes and no. So for me, it was difficult to make friends because as any person who is moving to German speaking Europe will tell you if you don’t speak German, that’s the first strike against you. And I don’t speak German. And it was difficult for me to even have conversations with persons because most people can’t get past my accent even when I speak in my most standard English, as they would want to put it.

Cherry-Ann Davis:
People just so enamored by, “Oh my God, your accent is so beautiful.” But I’m asking for directions to go to the grocery. I need you to tell me where I’m going. And for me, finding a community actually happened while I was in school. So for us, there was a break in the lockdowns during the summer period, and I was just so happy to get out of my, it was not even a flat, my room and my dorm and the students who were also coming during the summer to do some work.

Cherry-Ann Davis:
So I found a community with my friend, [inaudible 00:43:24]. She was from Israel, my friend, Paulina, and she’s from Poland, Swati, who’s from India, Pahlavi, who’s also from India. And I have two German friends as well. For us, it’s a community of immigrants, but we usually find a lot of common ground that we could all talk about, which is usually food and spices.

Cherry-Ann Davis:
So I was able to form a community in my school during the time when nobody should be in school, which is the summer period. And we were all there just trying to catch up on what we think we would have lost during the lockdown.

Maurice Cherry:
It’s so interesting you mentioned that about food kind of being this sort of connective thing between you and other immigrants there. I just finished watching this documentary series on Netflix called High on the Hog. I think it just came out today, as the day we’re recording it, and I’m not sure if it’s available everywhere on Netflix. It may just be U.S. Netflix, not sure, but look it up.

Maurice Cherry:
So High on the Hog. It’s a four-part documentary series and the host goes from Benin, West Africa to Charleston, South Carolina, to… where else does he go? I know he goes to Texas. I feel like he goes somewhere. Oh, he goes to Philadelphia, and then he goes to Texas. And it’s sort of tracking how so much food, and vegetables, and recipes, and tastes, and spices that were there in Africa made the voyage over and became the basis of soul food here.

Maurice Cherry:
But I think sort of the connective tissue of that documentary and what you’re talking about is one, how food can be this sort of unifying factor, and how it seems like when food is on the table, and this is probably true in any culture, where foods on the table, we’re a lot more similar than we are different.

Cherry-Ann Davis:
Very much so. I could attest to that. One of my friends, she’s actually doing her master’s on the intimacy of food. And just in having discussions with her, I understand all of the walls and the barriers that we think are there with food in front of us, it’s not anymore. And you are able to communicate and share experiences a lot easier just by sharing that intimate moments of eating in front of somebody or even eating with them.

Maurice Cherry:
Yeah. I want to say, I don’t mean to embarrass you by putting this out here, but speaking of food, as I was doing my research, I saw that you are doing cooking videos on YouTube, which made me so hungry watching them. But please talk about that.

Cherry-Ann Davis:
Oh my God. So during the lockdown, I was craving doubles, which is the quintessential Trinidadian breakfast. Any Trinidadian will tell you that doubles, right doubles will make you feel that you’re a Trinidadian. And you can’t ask a Trinidadian who has the best doubles, because they will always give you a different answer. But for me, doubles has grown up with me.

Cherry-Ann Davis:
I remember when doubles was $1 and then moved to $1.50. When it went up to $1.50, I stopped buying doubles for a month. And then it went up to $2, and I was like, it is only going to go up from here. Doubles is the cheapest thing that you could get for breakfast, but it also satisfies you after that.

Cherry-Ann Davis:
After you party all night and you’re sweaty and you’re still drunk, you will find a doubles vendor to give you that hot [inaudible 00:47:05], and it will remind you of everything that is good in the world. And that was the feeling that I wanted, to relive when I started my cooking journey on YouTube. I am still very shy in doing videos, but I’m getting there, and I am working on it.

Cherry-Ann Davis:
I brought my cookbook with me from Trinidad, which is naparima cookbook. I think it’s the book that all Trinidadians learn to cook from. And I am going through that book as though is it… I think there’s a movie called Marie & Marie, where she’s cooking through… Is it Marie? No. Julie & Julia, where she’s cooking through all of the recipes of a Julia child’s cookbook.

Maurice Cherry:
Oh yeah. Amy Adams and Meryl Streep, I think. I know what you’re talking about.

Cherry-Ann Davis:
And I will definitely be doing that. And I want to bring more recipes to YouTube using Swiss ingredients because I honestly thought I would not find anything that would taste like home in a restaurant, and I haven’t. So this is why I’m cooking online. And for me, it’s also a sense of bridging that gap where people think, especially in Switzerland, that a stranger is somebody who you have to be afraid of.

Cherry-Ann Davis:
But once I share food with you, you can’t be afraid of me anymore. This is me showing you my culture, showing you my side of life. And it involves a lot of flavor and all of… It involves sustainability in ways in which you may not have considered. So we use all of the food. We use all of the vegetable. We use as much parts of it as possible throughout the cooking. And I want to bring that to the university.

Maurice Cherry:
Yeah. That sustainability part, you mentioned, that’s also something in that documentary that I talked about that I thought was really interesting. So there’s this thing, and I think maybe this exists in other countries, but certainly here in the United States because of slavery and such there’s this notion that goes around that slaves were kind of given the bad cuts of meat or the unpalatable cuts of meat. And we learned how to cook it, use those and in varied ways like pig’s feet or pig ear or something like that.

Cherry-Ann Davis:
Pig’s tail, chicken feet.

Maurice Cherry:
But this documentary showed that we’ve always been like that’s not necessarily something that came about because of slavery in America. That’s something that Africans have been doing because when they hunt and they get the animal, they use the entire animal.

Cherry-Ann Davis:
Yes. And a lot of indigenous cultures have used these things for centuries. And it’s only because this new tomb has been coined sustainability that people are now looking at how could we use as much of the products that we have as possible? Hey, hello, we’ve been doing this. You are new to the game. Let us show you how to do it.

Maurice Cherry:
Yeah. I first heard about doubles actually because of this show. Back in 2015, I interviewed, I think she might’ve been the first Trinidadian person I had on the show. Her name was Jeunanne Alkins as she has a animation company and a design company called Everything Slight Pepper.

Cherry-Ann Davis:
Oh, yes.

Maurice Cherry:
And she was mentioning the name of it came from that’s her doubles order.

Cherry-Ann Davis:
Yes. Every Trini you must have slight pepper. If you don’t have slight pepper, I’m not sure if you have a Trinidadian passport. If you have a little sweet sauce too, you have a Trinidad and Tobago passwords we would say for sure.

Maurice Cherry:
And I have to say your videos on YouTube, the food looks amazing. The stew chicken, the macaroni pie, keep it up.

Cherry-Ann Davis:
Thank you so much.

Maurice Cherry:
It looks so good.

Cherry-Ann Davis:
It was all done with my iPhone.

Maurice Cherry:
Look, that’s what a lot of people are using. I mean, come on. I just got a new phone last month or so because I’ve been holding onto my old phone. And this thing has three cameras on the back. These phones are getting so sophisticated. Use the phone. That’s where all the good cameras are

Cherry-Ann Davis:
For me I actually had a DSLR. And when I was leaving Trinidad, I realized this is too much for me to carry. I sold my DSLR and the money that I got from it, I put it towards buying the iPhone 11 because I know in the next two to three years, I’ll be a student and I’m not making any money to buy any new phone.

Cherry-Ann Davis:
So I wanted the letters and I wanted to make sure that if I do anything with regards to recording or videos of photography, at least I have something that could provide me with good quality. And I am honestly excited to share more cooking videos. And those videos were released as part of my first curatorial project.

Cherry-Ann Davis:
It’s called We Cooking and it was part of a performance festival in Zurich called Zurich Moves and which I curated my thing as 12 other Caribbean designers to present work into a publication, but it tends on a mystery of Zurich Moves. Four curators came together and we produced a publication that is going viral. It’s getting lots of buzz in the arts within Zurich. And my mind is blown. This was the first time I’ve ever done anything like this and I want to do so much more of it.

Maurice Cherry:
Well, if you don’t mind, I would love to link to your YouTube channel in the video so the audience can check them out as well. They’re really good.

Cherry-Ann Davis:
Definitely. Thank you.

Maurice Cherry:
Do you feel creatively satisfied?

Cherry-Ann Davis:
Right now? Yes, I do. I actually had this conversation a few weeks ago with one of my friends who still works in the bank. And she said to me, Cherry, if you did not leave the bank at the time that you left, I’m not sure you would have been able to survive because, for me, moving to Switzerland was a three-year project in which it involved at least 10 other people.

Cherry-Ann Davis:
So 10 of my friends were there just cheering me on and making sure that I made my savings goals and helping me think about ways in order to make additional money to pay for my bills to move to Switzerland. However, it was called vision 2020 and it was not my goal to move to Switzerland. My goal was to move to Germany to go to design school there. When I got rejected, I had to change plans. I had to pivot really quickly.

Cherry-Ann Davis:
And the friend who dropped me when I came to Switzerland, he actually came to Trinidad and he was like, “Cherry, this is a really nice school. I think you should come.” And he brought me brochures and I was like, “Hey, if Switzerland accept me, I’ll come.” And I applied and they did.

Cherry-Ann Davis:
So that’s how I got here and this is how a lot of my creativity I could see the value in it now because it’s something that I’m doing and I’m doing from my heart and I’m doing the projects that I really feel passionate about. And I really want people to take notice of how passion could collide with purpose and provide inspiration for you to do things and go places that you may not have necessarily thought was within your reach before.

Maurice Cherry:
Where do you see yourself in the next five years? It’s 2026. You’re out of school by this time. What kind of work do you want to be doing?

Cherry-Ann Davis:
I want to be a writer and a lecturer. So the reason that I did my masters was to become a lecturer at the University of Trinidad and Tobago, which is one of the universities that I attended. But I am thinking now that with Zoom and Skype and the accessibility that we have for online learning, I don’t need to limit myself so geography.

Cherry-Ann Davis:
And I would to continue writing, design politics, and design thinking, and design critique pieces because there’s so many people and it will just react to everything the same things about design. And not looking at the nitty-gritty and the people who are being left out of the design conversations.

Cherry-Ann Davis:
And I want to say, hello, we’re here. Take a look at these with my writing. But I also want to help the next generation of designers see that anything is possible and that they could bring their authentic selves into what they are designing.

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

Cherry-Ann Davis:
So online I am at sliceofcherrypye. So it’s pie with a Y. So it’s sliceofcherryP-Y-E.site. And I’m also on Instagram with the same names, sliceofcherrypye, Twitter, TikTok as well where I just make fun out of things on TikTok. Those are the places.

Maurice Cherry:
All right. Sounds good. Well, Cherry-Ann Davis, I want to thank you so much for coming on the show. Thank you really for sharing your honest look at how your life has been coming from another country and being in Switzerland during this whole lockdown and everything, but also really I can tell you have a lot of deep thoughts behind the work that you do about just kind of these intersections of culture and design and history.

Maurice Cherry:
And I’m excited to see the work that you produce whether it’s through the Futuress or through your studies. I’m excited to see how you bring your culture and all this work that you’re doing into this world that perhaps in Switzerland is not ready for it, but I have a feeling that you’re going to make them ready for it whether want to be or not. So thank you so much for coming on the show. I appreciate it.

Cherry-Ann Davis:
Thank you very much, Maurice. I just want to say one thing. My project is called Waiting Self and it’s exploration of what design could look like if culture is infused into it. So if I didn’t mention that before.

Sponsored by Brevity & Wit

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

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

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

Brevity & Wit โ€” creative excellence without the grind.

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We’re headed back to the Caribbean this week and talking with designer and creative director Tanya Marie. Tanya is the creator of Designer Island, an online publication that curates the modern Caribbean aesthetic.

We talked about why Tanya started Designer Island, and from there explored a bit about the Caribbean design aesthetic and what it means. She also shared how she first got into design, the new journey of entrepreneurship, and gave some context on what designers should know about about the Caribbean design community. Tanya’s mission is about changing the way people view “made in the Caribbean”, and I think you’ll come away from this interview with a new and fresh perspective. Thanks Tanya!


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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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This week, we’re heading down to Trinidad and talking with Jeunanne Alkins, the creative powerhouse behind Everything Slight Pepper and ESPjr, a design studio specializing in Caribbean-themed content for children. From apparel to graphic design to animation, Jeunanne really does it all.

We talked about how Jeunanne got started in the field of design, the creative community in Trinidad, the notion of a Caribbean design aesthetic, and a lot more. I have a feeling you’ll be seeing and hearing more from Jeunanne in the future. Grab a doubles with “everything slight pepper” and enjoy!


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And of course, much thanks to Creative Market, a marketplace that sells beautiful, ready-to-use design content from thousands of independent creators around the globe.
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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!
Hover logo
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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