Archive for the ‘Smart Colleagues’ Category

“No Bizcard Graveyard for This Lot!” by Steve Gordon Jr.

Thursday, June 17th, 2010

100615-my-5-from-HOWFor those who were able to attend my session at the last week’s 2010 Denver-edition of the HOW Conference on “Connect-working” (I’m renaming the net working lunch next year!), you know that one of my major objectives to pass on to the group was to section off five cards collected in the process of meeting people by the end of the conference and save them from the crushing death of the “business card graveyard… that dirty rubber-banded stand of passive “do not calls” that you accepted politely during the week. Well, I hope you know that it’s not all smoke and I am subject to my own rules and objectives. That’s just how I get down. So here are my “5″ (+ 1) examples where mere cards became stories, and thusly real connections that I have now added to my creative circle and life on the whole:

No.1; A one-liner in an elevator goes a long way!
A bit weary-eyed from my first full night in Denver, hanging tough with my fave DEN resident—my mama—and hoping I had just delivered an effective message to those good souls willing to listen in my session, I step on the downward elevator and nestle into the back of the box as a courtesy because of my 6′ 4″ frame. I desparately need a java and a regroup before hitting the opening keynote. The car is bouncing like a beachball because we are stopping at every floor, but I’m too wobbly-legged to be annoyed. At one stop I say aloud but to no one in particular, “geez, I guess we picked the ‘local’, huh?”, a reference that any quasi, former or lifelong New Yorker would get immediately. It took the gent that got on at that stop only a second to register what I had said and he chuckled, giving a half-turn, responding, “that was good, I never thought of it that way. That’s funny.” We pile out and give a polite wave and good’day to each other, while no one else in the elevator had said one word.

After java and a recharge, I make my way over, settle into my seat near the front and ready myself for the kick-off of another fantastic creative week at the HOW Conference. After the opening formalities and announcements, the keynote speaker is introduced and up pops this ball of nervous, joyous energy that was instantly recognizable to me… the gent from the elevator! And his name, Andy Stefanovich. After a rousing speech, I walk over to see him surrounded by an adoring handful of people. Not wanting to inturrupt their moments with him too much, I tap him on the shoulder and simply say, “I guess the ‘local’ got us here eventually?” Sharing a laugh he says that he made a note of our encounter and the impression I had made in the just brief moment. The beginning of a hopefully lasting connection that only took a one-liner and a pleasant air about us both. Andy, if you’re reading this—let’s be in touch soon.

No.2; Simply put, keep trying to connect.

During my session, I had the opportunity to sit and chat with those in attendance and my first conversation was a pleasant intro to a group of energetic new faces to HOW. As a fan of good graphic tees, one guy’s attire caught my eye, so I commented on it. This started us down a road of general chatty goodness—nothing too big, but interesting nonetheless. The session time ended abruptly with me needing to scurry… I guess I don’t really scurry… with me needing to bounce to my book signing so we didn’t get to punctuate out discussion with the exchange of cards. He simply said, with no hint of worry, “it’s cool, I’ll find you.” And that he did. Jon, thanks for sticking with it. We’ll connect for sure. I need one of those tees!

No.3; She was hungry, and that had gravity!
She was the first face to step to me as I came off stage after participating on the freelance panel discussion of the Creative Freelancer portion of HOW Design Week. A gentle smile and very eager eyes, she was easy to remember. Skip to the opening of the main conference, Andy Stefanovich told the story of a young, local designer whose employer was hanging her attendance to this event over hear head like the 25 ton anvil that it is to many of us creatives, not wanting here to take full advantage and get back to the local design salt mines. We met in passing later and she says, in a somber tone, “that girl Andy was talking about was me.” She asks if I want to grab a bite to eat and chat, and I say yes, but the walk out of the mile-wide convention center finds me bumping into all types of people wanting a moment here and a moment there. She hung in like a trooper and I apologized profusely… and then, it was her turn.

After his speech, Mr. Stefanovich had said that he would he would help this young lady find the means to attend the full conference and perhaps that would give her strength to forge a new path, devoid of hovering anvils, but it seemed that her follow-up email have fallen into the void that usually happens for a conference speaker away from home and business. But in a fortunate twist, we see Andy standing quietly, checking his email. I say to her gently but sternly, “go talk to him right now!” After some resistance quite typical of young, humble, and perhaps scared designers, she goes. He’s cordial, remembering her and having just seen the email from her. She comes back, he darts to his left down the long ramp and we make for some eats. In hindsight, it was a bit of serendipty that we got our food to go because this young, local designer got a call that brought her to tears in my arms… she had just been told, by none other than Andy Stefanovich himself that she would be able to attend the full HOW Conference, all week at no additional cost to her. Sadly, her employer did lay her off at the end of the week after feigning that they would be okay with her attending. Hey Lauren, it’s all good and I have no worries that you made the right choice! Hustle hard, make your way, and it was a pleasure and an honor sharing those moments with you.

No.4; Her flight was “booked”
As the author of ’100 Habits for Successful Freelance Designers’, I featured several up-and-coming creatives and their work. About a week before the HOW events, I got an email that said one of those contributors would be in attendance, all the way from the Philippines.

After I dash for my book signing at the HOW Conference pop-up bookstore, I’m winded and needing a breather to allow me to set up and greet people with a smile. All set? Good. Up walks a small woman with a wide smile and eyes that smiled the same. She extends her hand nervously and says, “Hi, I’m Lizza.” Wow. How could I figure that the first book I signed at this event would not only be to a person who was in the book, but who had also flown the world to be first in line?! Lizza, thank you. Simply, immensely, THANK YOU!

No.5; “Where’d you get that shirt?!”
“I made it.”
“You’re RDQLUS?!”
“Yep.”
“OMG, I’ve been waiting this whole time to get one of these!”

That convo happened on the escalator as I hurried to the HOW Marketplace to show my now classic, limited-edition “A’ight DEN” tees. I had never had someone so enthusiastic about my work, so much so that her infectious fervor trickled over to her friend who copped one also! I was on cloud-9 after this encounter so, Erica… thanks so much and check your email. Sent you something.

No.6; His sincerity was enough. His approach was a wonderful extra.
The beauty of HOW for me is the rare opportunity to sync up with the rare few people who are so similar to me in their approach to life that it resonates with me like standing too close to a gigantic church bell.

He walked up to me, slowly, and extended his hand and said, “Steve, I really just wanted to introduce myself and say that I really liked hearing you speak yesterday on the panel.” We commenced to have a couple of great talks over the course of the week about everything from personal and creative philosphy, to food and sneakers. This, perhaps above all others that I’ve met, is one that I look forward to building a lasting friendship with because of the way it started; sincerely, candidly, honestly, openly, and more than anything willingly with no need or end in mind. Luke, my new friend… thank you. This is going to be good.

Steve Gordon is a self-proclaimed “creative mercenary” working under the moniker RDQLUS. He specializes in identity design, branding and strategy. Visit www.rdqlus.com to view the original post and for more information.

“The New Realities of Packaging Are Reason, Risk & Traction” by David Kendall

Wednesday, May 26th, 2010

DK Headshot ColorRecently, I came across a blog posting titled Greener, Easier and Smarter (on Richard Shears’ The Package Unseen). The perceptive observations stood out as a rising voice of reason in the otherwise irrational world of package and brand design. Like the author, I believe the biggest shift since the 1950’s is happening in packaging and product development. So, how can we respond and address these new realities?

1. Integrated Process
Package design is now integrated into many company functions and cannot be viewed or operate as a stand-alone silo anymore. In a sense, there are now, more than ever, more participants in the design process. With new involvement from innovation or procurement, each with complex management teams, they all have taken an ownership stake.

Much like research, distribution and promotion are a consistent consideration throughout a product development cycle; package design is starting to affect other disciplines much the same way. Yet contradictory to the actual development effort and costs, these days the package design is only a small part of the marketing bet on success. It’s no longer a “marketing brute in the aisle” that can muscle its way into a consumers cart and justify the costs of design.

In this new era there are many more complex pieces to the puzzle of success. It’s no wonder the role of the package as the sales hero has been overshadowed and downplayed in these new times. But, like any good process, the more smooth and integrated the process the more successful it can be. No matter how big or small the consideration the package is to the final sale.

2. Mitigated Risk
Understanding the hard costs of a product line overhaul or reset, we clearly can see the risk associated with a new package design. At times, it’s apparent that the costs are not necessarily in line with the return. Traditionally with high risk ventures throughout a company, there are checks and balances for entering and mitigating that risk prior to taking the risk.

However, companies have not learned a metric or industry wide measurement in which to evaluate and mitigate the risk, especially in hiring a package design firm. And in many cases the process for mitigating that risk is to reduce costs specifically in the design process and increase costs in other marketing disciplines to compensate or reduce the risk.

The rub is that package design as a professional service should not be viewed as a risk. Done with consideration, it can greatly reduce spending in other areas that need to compensate for the risk of poorly executed packaging. Hence more profit in the end.

3. Efficiency vs. Traction
Generally, if you can put a time line to it you can quantify it. But like a lot of things, faster does not necessarily mean better. For instance, we often hear the 0-60 speed/time reference used in car advertising; however one thing to keep in mind is that at about three seconds or so is the fastest physical time a car can achieve 0-60. At some point below that time, the rubber on the tires will not create traction, thus creating a physical problem in reaching a quicker time. More horsepower does not always equal faster.

Likewise, package development can present an efficiency issue, but at some point in the development, you cannot actually go any faster or trim any more corners. Technology improvements have done a great job to knock down the days, hours and minutes it takes to get a product to market. It has also made us painfully aware of what the difference in return one day can mean in reaching the market on time.

But at some point there is no more efficiency to be gained and we have to accept that it takes a certain amount of time to reach a desired goal. Otherwise, the short cut will undoubtedly create a physical traction problem. We should account for this in our strategies as part of a product development life cycle and marketing strategies. Perhaps a better way to think about it is the more traction you have the more efficiency you could gain in the long-term.

With these ideas in mind, I believe it’s time to re-craft the package design constitution and make it more efficient, easier and smarter for the next generation of designers, packaging managers and, ultimately, the consumers to shift to some of the new realities of product development.

How would you re-craft the package design constitution?

This article originally appeared in the May 2010 issue of Package Design Magazine and again at http://hellokendallross.com.

“Getting DOWNs and Dirty” by Eric Downs

Thursday, May 13th, 2010

Eric-DownsI started freelancing under the name DownsDesign about six years ago while in college. I left my full time job as an Art Director for a community college to pursue my life-long dream of opening a design studio. We work with mostly local clients, doing a mix of branding, print design, and web design for small to medium-sized clients.

I always liked the idea of using my last name as a business name. I liked how it paid homage to a time when a business wasn’t just a job but a reflection of self and passion. For example, if Bill was a baker, then he owned Bill’s Bakery; you knew if you went into Bill’s Bakery, he would be there. He would work hard and greet you with a smile, not because he had to, but because he was genuinely happy that you walked through the door and wanted to spend your hard-earned money at his business, allowing him to put food on his family’s table. This is how I have always felt about DownsDesign, and I wanted to carry that mentality to my clients in the way I run the business.

My mother taught my brothers and I to chase our passion. She let us know that we could get up every day, work our butts off, and love every minute of it. When I started, my goal was never to be a millionaire. I knew that if I could get up every day and do something that I really loved, it would be worth all the money in the world. I don’t get up every day and go to work, I go have fun; and hell, if I become a millionaire and I’m still having this much fun, I won’t complain.

There is a lot to be said of owning something, whether it’s a business, house or mail-order bride (kidding), it definitely changes how you feel about yourself as a person. To me it’s equal parts confidence booster and stress inducer. I’m sure there are a few people out there that truly give 110% working for someone else, but I just wasn’t that guy before. It wasn’t until I made the leap to running DownsDesign full-time that I really felt like I was honestly giving 110% every day. It’s a big weight to carry, running your own business but if you can keep that balance intact then you’ve got it pretty good.

The value of relationships
Some people are lucky enough to catch a break when they start out – maybe they got the chance to save up a few month’s pay before starting out on their own, or they have a spouse that helps keep the bills on track while they make a break for a full-time freelance design career. This wasn’t the case for me and there were definitely a lot of sleepless nights that first year or so, wondering how I was going to pay the bills.

While I might not have had as much financial stability as I would have liked while starting DownsDesign (and not to be corny here, but…), I do feel like I got something that proved much more beneficial to me in the long run. While working my way up the proverbial design ladder, I formed some great relationships with some super-talented designers like Steve Gordon, Jr. of RDQLUS Creative and Roby Fitzhenry of Always Creative. There are so many great connections in Omaha that continue to prove invaluable in running my business.

Keeping Things Simple
KISS – keep it simple and stupid. We hear it all the time in design school; it’s drilled into our heads. This is how I have tried to run DownsDesign since day one; get up, work hard, stay organized, repeat. I take my work, and keeping clients happy very serious, but I think it’s important to have a great time doing it.

Eric is principal of DownsDesign, a small design studio, happily located in Omaha, Nebraska. Eric uses creativity to design, organize and simplify things, namely branding, print materials and websites. Visit www.downsdesign.com for a peek at Eric’s work.

“Be UnComfortable” by Adam Martin (aka ‘Kentucky’)

Wednesday, May 5th, 2010

100_1984I am a smalltown Kentucky boy that grew up thinking that being comfortable and fitting in makes for the best lifestyle — get good grades, go to college, pick a good major, don’t stay up late, get up early, get a secure job working a 9-5, don’t disagree with your superiors, don’t do anything to call unneeded attention to yourself. These are a few of the things I learned from watching others around me in society as well as some of what I was taught. Nothing is wrong with any of those things; however, if you don’t fit the mold for some of them, there is nothing wrong with you either. It’s ok to do things different in a way that possibly even makes you feel uncomfortable in comparison to what others are doing or what your mind tells you (Seth Godin calls this The Lizard Brain).

I graduated college and worked as a designer at a world-reknown sports marketing firm for a year and half. I hated going into work every day; not so much because of the people or what I was doing, but because of the routine and I felt too comfortable. I wanted to be free to do what I want, design when I felt most creative, work when I felt most productive and control my own day. So I took a risk, quit my job and went freelance with only one client that wouldn’t entirely support me alone. It was an uncomfortable feeling but it was the beginning of the best decision I ever made.

That was five years ago. Since then I’ve taken on projects I wasn’t entirely sure I could do, founded an organization I wasn’t sure I could run, accepted leadership roles I didn’t think I could take on, disagreed with leaders when I’d otherwise avoid conflict, called on clients I thought I was too small or young to work for, met some of my design and business heroes I never thought would give me the time of day, as well as learned areas of business I never thought I’d learn. I even got married and am fathering a baby without knowing where the next paycheck is coming from. All of these things have made me uncomfortable.

I have realized that being uncomfortable is actually what drives me. It makes me want to get better, to continue learning, to support my family doing work I love, and to be the best person and designer I can be. When an opportunity presents itself, even if I create it, I find that putting myself in the most uncomfortable position allows me to solve the problem more creatively and to find a way to become successful at whatever it is simply because I have to, otherwise I’ll fail. Not being afraid of failing is what pushes me.

If I never made that uncomfortable move five years ago, I would have missed out on some great experiences and the opportunity to meet some wonderful people while doing the things I love.

I encourage you as creatives to step out of your comfort zone every once in a while. You don’t have to be as extreme as quitting your job and starting a business (unless your gut is telling you to but you say no, i.e. the Seth Godin dubbed Lizard Brain), but I encourage you to do something different, something that doesn’t feel as comfortable. You’ll notice that you’ll find new creative ways to overcome the obstacle and solve the problem, all of which can make you a better designer and a more confident person. So go forth and make yourself uncomfortable.

Adam Martin is an independent creative strategist, design thinker and founder of Social Media Club Lexington. His company, amartin design studio in Lexington, Kentucky, partners with clients to develop positive, emotional brand experiences through design, social media and branding strategies. Find out more at www.amartindesign.com

“I Never Wanted to be a Designer” by Nicholas Nawroth

Tuesday, April 27th, 2010

San-Diego-LA-2008_0133I haven’t had a glamorous career by any stretch of the imagination. So far, it has been limited to the in-house design world and a select set of clients I’ve worked for as an independent designer. However, it has been a fast and fun 12 years that all started with me giving up one of my dreams.

When I was little, if someone asked what I wanted to be when I grew up, the answer was inevitably “fireman” or “policeman”. That is, until I discovered comic books around age 9. It was love at first sight: cool images of superheroes beating the bad guy. I made my own homemade comics for years, and after high school I attended the Joe Kubert School of Cartoon & Graphic Art for a short time.

Alas, it just wasn’t meant to be. I was soon back home and felt very lost. I had spent most of my life up to that point obsessed with comics and how to draw them. I felt as if I’d completely failed. But I did have to keep moving forward; like my dad, I can’t seem to sit still for too long. So I planned to continue my education locally.

I decided to focus on graphic design at a community college whose Visual Communication program was in high regard. It wasn’t until I was in the program that I really saw the connection between comics and design. Storytelling, moving the viewer’s eye across the page, composition, layout, type… All the elements that made the comics of my youth so cool also worked in graphic design to make other stuff cool too!  I knew at this point I had found my new passion. I could create compelling, cool “stuff” that extended beyond the realm of fantasy heroes and had more practical applications.

My biggest failure has led to my design career that now spans just over a decade. It’s hard to believe so much time has passed. It truly does fly when you are having fun!  I still get that “Christmas morning” feeling when a finished project arrives and I get to unbox it and see the goodies inside.

Most of the time I still feel like that fresh-faced kid who just graduated and was ready to take on the world, especially when a new challenge presents itself. While I still have the same basic approach and use the same basic tools to solve these new problems, I think the best tool in my arsenal is my childlike wonder and my hard-earned experience so that I can offer fresh, appropriate solutions to my clients.

Nicholas J. Nawroth is a graphic designer and illustrator with 12 years of industry experience. He specializes in collateral materials, especially hi-end wine, microbrewery beers, and gourmet foods. He earned his design expertise by building an in-house graphic design department from the ground up for a local upscale grocery store chain. A serious Netflix addict, he spends many a weekend watching movies. He also spends a fair amount of time thinking about and eating cookies. You can see his work here www.nicholasjnawroth.com

“What Comes Next?” by Roby Fitzhenry

Tuesday, April 20th, 2010

photo-1The graphic design industry has seen significant changes throughout its history. If we follow the written word and the desire to bring it to life through visuals and printing, we see a history complete with technological advancements and artistic expressions. Actually, the advancements of technology paired well with cultural movements to create unique eras of design and typographic treatments. Yet it all started to change with the invention of the personal computer. Paste up is dead. Pixels are king. But what does this really mean? The common question “Is print dead?” should be exchanged with “How far can we push communication on the web?” Are we designing things just so they can be developed into tangible items we can hold in our hands or are we designing as a means of problem solving? I prefer the latter.

So my question to you is, “What comes next?” Graphic designers can and should better utilize the technology in front of them to not only solve problems but create social change. We’re in an era where damn near everything is possible if you have the creative juices to think it up. Every print piece has a digital component somehow somewhere. Or at least it should. And now we have the explosive popularity of mobile devices like the iPhone and the new game changer, the iPad. Have you sat down to think of how exciting this is? We get to design interfaces and corresponding graphics that are more than just read. They are explored. Shared. Understood.

sxswi-meThis is what’s next in our industry or at least that’s what it seems. If you’re not one to design for the web, you need to be ready. You also need to befriend programmers and software developers for they are the new printers. They not only bring your ideas to life, they often better them.

So what comes next? That’s really up to you.

Roby Fitzhenry is co-owner and Creative Director of Always Creative, a Texas-based branding and design studio. His primary focuses include brand identity design, brand strategy and design for print and web. Visit www.wearealways.com to learn more about Always Creative.

“The Limbo of Exploration” by Stevie G.

Tuesday, March 23rd, 2010

7 StevieG-n-GOODSThe old saying goes, “Seek and you shall find.” Yyyyeahright. You want the truth? Creative types are hunters, feeding that appetite for fulfillment & mental stimulation much like the cat who will only pounce on a pulled string; Catch it and the fun is over—move it and the game is afoot. I have a theory on that. I’ll explain, but bear with me.

What’s odd, and a bit funny, is that most are missing an obvious point. My theory is that the end goal or the destination represents a stoppage—a dead end. Even if you know beyond shadows of all doubt just what that thing—that “it”—is that you are reaching, digging, striving and scratching for, the actual finds are strewn behind you and left in your wake along the way. You’re far more likely to find piles of junk rather than gold. You’ll most often unearth some “life critters” that actually bite back, and hard at that. I guarantee that you stumble and fall knee-deep in shit and have those stagnant moments of exhaustion that prompt you to spin it positive, saying it was a moment for you to sit a spell & think of next moves. MmmHmm, yeah.

Awwww, I’m sorry. Didn’t you know? Weren’t you told? This is the inglorious, unpolished, decidedly unsexy reality of the “seek and you shall find” story. Oh, you’ll find a lot, but perhaps not the shiny, golden booty you struck out Jolly Roger’ing for in the first place. But now we’re getting to it—that proverbial “it”. Ask yourself; Are you seeking to find that fictional pot o’gold that somehow always ends up leaving you wanting, or are you taking in the wonders that are the struggles and progress of the entire search? We live in a society and world that teaches us to reach a destination in the shortest, fasted way possible, even turning a blind eye to questionable behavior, as long as it ultimately results in a win. I get that. I’ve done than. And I’m still on the hunt. Why?!

As one strapped with the blessing/curse of feeling the pull to perpetually search, I find myself here a this place more often than not. Even now I feel myself reaching one of those stopover points of exhaustion, rest and contemplation. Lately, I’m doing all of the right things, but coming up with handfuls of dirt. Ah, but there’s the thing. I love that. I feel alive in that need to constantly hustle. The search is the thing—the formulation of next moves and that situational adult ADHD that keeps me looking. For what? I’ll let you know when I get there, but chances are I never will. I’m finding out that I don’t seek to find anything. I seek to seek, and seek some more. And then I use all of that anecdotal evidence in my work and life. And therein lies my theory—that the “seek” is a cycle that I wish not to escape by finding any one thing. It’s my own limbo of exploration, and the truth is—I dig it.

At the center of RDQLUS is Steve Gordon Jr—a nationally-recognized, award-winning designer and creative consultant specializing in identity, branding and creative direction. Well-rounded as a artist, Steve also brings experience in audio production, writing, speaking and promotions. More about RDQLUS can be found at www.rdqlus.com.

“No Designer is an Island” by Velvette de Laney

Tuesday, March 16th, 2010

DSC05889_3-09_smI’ve been a graphic designer for more than 14 years, mostly in the corporate world. In all that time I held on to the idea that those magical and insanely talented designers with their world-famous studios not only got there on talent alone, but that maintaining that studio was an effortless, creative smorgasbord that kept them happy all the time. Ok, granted, I can be a bit naive, but, oh, the idea of it…

I’ve known for years that I was better suited to a work situation that didn’t require a cubicle wall or those quippy “it’s a Monday” sayings from co-workers. It just wasn’t me. I think my bosses knew it too. After departing from this world (ok, I was laid-off, but that doesn’t sound as enlightened!), I started over and pursued my freelance business full time. Within these first 2 years, I’ve learned a few things—one in particular I’d like to share.

“doing it alone” is bogus!

This illusion I had about solo designers immediately landing big clients, getting paid a lot and having no problems paying their mortgages and studio leases—all by themselves—is crap! Most creatives, as I’ve been discovering, have had help of some kind along the way. The more freelancers I meet, the more I find that there’s usually someone (or something) in the background helping out. There’s the part-time gig at the coffee shop, a spouse with a full-time job (plus benefits), a parent with an empty room or basement, or a partner of some kind lending support. Of course, eventually, we get on your own two feet (and pay some folks back), if we’ve got the chops, but the concept “the creative is an island” is not only bull, but it’s not very fun. When I started focusing on my freelance business full time, I was trying to maintain this misconception and found it very isolating and paralyzing—and scary. The best thing I ever did was seek out help—in the form of mentors, classes, conferences, books, rented space from family, and answers to my many questions. Amazing support can change your whole freelancing world—and give you that needed leg-up. Don’t be afraid to ask for help, smart creatives do it all the time!

Dewdropstudios, created in 2008, by Velvette de Laney develops fresh and highly impactful design solutions, with a slight edge. Capabilities include graphic design, environmental and recycling research, marketplace analysis and research, art direction, and managing projects from beginning to end. Velvette lives in Rancho Cucamonga, CA. You can learn more about Dewdropstudios at www.dewdropstudios.com.

“Living on Guaranteed Time” by Jenny Leonard

Tuesday, March 9th, 2010

JennyLeonard“Since I was very little I’ve lived life marching to the beat of my own drum and my career as a graphic designer has been no different.  In my early years, I couldn’t understand why people worked so hard for “retirement”, a time in life that is not fully guaranteed.  I guess I never understood the concept that I should give up the best years of my life as a physically fit, mentally strong, and healthy person working ridiculously hard following the retirement carrot that is placed in front of me.  Then when it is all over my health, body, and mind are breaking down would I finally get to live out my life’s dreams… Anything can happen at any time in life, so why not make the best of the time that is guaranteed?

It wasn’t until the last few months of college before graduating that I really started to think about the direction I wanted my career to go.  On one hand I had the option of working at a great agency and starting my design resume and on the other hand… well I didn’t quite know.  I had visited several agencies in town and interviewed various levels of staff and what I found out is that while I did love design I didn’t love working for a design studio or ad agency. It didn’t feel like the right direction for me for many reasons. But what else was there?

JennyL2We all have those moments, where somebody you don’t really know can give you the words you need to hear to help you find direction.  I had won an entry to a student conference from a design contest and I was sitting in on a session when this speakers words really spoke to me.  He talked about how he started his business directly out of college and while everybody told him it wouldn’t work, it did.  It was like a light bulb went off in my head… it was then, I remember thinking, if he could do it, so could I.

I made a leap of faith, without any career experience, and started working as an independent graphic designer.  At first the jobs were not very glamorous and I had to fight to gain credibility, but eventually I learned from my mistakes and moved on.  As my business grew I was able to live life how I wanted to on my own terms. I hand-pick my clients and work remotely from my laptop anywhere I can find an internet connection.  I’ve volunteered in Vanuatu for 6-weeks building health clinics, traveled to over half of the United States, backpacked for 5-months through South America, raced competitive motocross, sailed the South Pacific on a pirate ship, and cruised the Virgin Islands (just to name a few…).

IMG_0281Along the way, I’ve had everybody from my fellow students, teachers, career counselors, parents, ect. telling me everything from, “It can’t be done.” “You’ll never make it.” “You’re crazy!” “Why don’t you get a real job?” “You won’t succeed.” If I had of listened to them I wouldn’t have gotten to swim with sea lions in the Galapagos or find the Lost City in Colombia or any of the other amazing things I’ve done along with the pride I have working for myself for 7 years now.  The fact remains that A.  ‘Anything can happen’ and B. ‘It’s possible’.  If I hadn’t of believed that and followed my heart to do what was right for me, I wouldn’t be where I am today.  Lastly, always keep your ears open to those around you wherever you may be, you never know who’s words may inspire you”.

Just 7 years into her career, Jenny Leonard is the principal of Razviti Creative in downtown Houston, TX. It was founded on the principle that you don’t have to outspend your competition, only out think them. You can learn more about Jenny, her design and her passions at http://www.razviti.com

“Learnin’ From the ‘lympics” by David Kendall

Monday, March 1st, 2010

DK Headshot ColorThe great global sports extravaganza and world hug fest better known as the Winter Olympics is finally over at least for another four years. As I sat on my comfy sofa, cocktail in hand watching our athletes ski swifter, jump higher and skate stronger I wondered if there was anything that I could or should learn from them. Is there anything inherent in what they do in their respective sports that I could emulate in my sport – design? Are there a few techniques from the biathlon or giant slalom that could also serve me better in the design studio?

Now I’ve always considered what I do to be pretty close to a blood sport; however no one ever gave me a medal or played the national anthem when my work was done. No one kicked things off with a lighting of a torch – a lot of cigarettes, maybe, but no fancy cauldron of flame. And no one painted their faces for the final creative presentation. Perhaps if they would it would be more enjoyable, but it would also mean I would probably only get a job every four years as well.

As I thought more about parallels between the Olympics and my design career, I realized that I’ve indeed achieved Olympian heights much like those from my favorite Winter Olympic sport – ski jumping. Of all the winter sports, ski jumping has always appealed to me. It looks pretty simple. You don’t have to spend hours in the gym or days sweeping ice. And you get to keep most of your teeth.

So, in many ways, ski jumping and design are very similar. First of all, one of the hardest things about ski jumping is trust. It takes a great deal of trust to let go of the bar and sail down the ramp. It’s the same with design. Just like the ski jumper trusts his training and skis, I trust my training and abilities to solve the design challenges. Although I may not know exactly how I’m going to solve the problem or where and even when creative inspiration is going to come, I trust that it will. It always does.

Secondly, one of the most exciting parts of the ski jump is the leap at the end of the jump. It’s where the skier leaves the support of the ground and takes off into the unknown. I know that it’s hard and sometimes painful letting go of the familiar, the comfortable and the easy and leap into the unknown. It takes both courage and confidence, but it I’ve found it to be far more thrilling and rewarding than taking the stairs. It’s in the unknown where great design lives and it’s important to take that leap into that vast area in order to uncover it.

Finally, I balance. The last part of a clean jump for the skier is coming back down to earth and landing smoothly. I try to bring this into my daily life and release myself from the issues of design, the challenges of my client’s and the stress of running a business. I get way from it and focus on the more meaningful parts of life, bend my knees and stay in balance.

So, while our Winter Olympians have adopted their motto of Citius, Altius and Fortius (Faster, Higher, Stronger), I have adopted my own motto of Fiducia, Tripudio and Pondera (Trust, Leap, Balance). I encourage you to do so, too.”

Founder and principal of Kendall Ross Brand Development and Design, David Kendall specializes in the development and re-positioning of retail brands ranging from consumer goods and packaging to retail shopping centers. His work focuses on helping clients demonstrate and understand the value of their brand in a way that is distinct, authentic and relevant to their customers. Read more about David at http://www.kendallross.com