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Creative Tip of the Week: Are You A Doer?

I am a true Aquarius. A thinker and definitely a dreamer. As a child I spent a lot of time in my imagination, creating worlds with my color pencils and words. Writing was a fun past-time for me. I have tons of old notebooks from that time, filled with drawings and stories from my grade-school years. (I was/am also a true nerd.)

These worlds I created were places I wanted to see and be a part of and they always generated new ideas and projects that I wanted to execute. At some point.

Thinkers and dreamers are the folks we need for innovation, exploration, and providing solutions. These are the folks who ask the questions no else would think to ask. Like, what if people could fly? Or what's on the other side of the ocean? We need these questions, but we also need those same folks to be doers.

I have idea books filled with questions, ideas, and projects I'd like to pursue. Most of which no one could probably complete in a life time. But how sad if none of them are never executed?

Another classic Aquarian trait? We are easily distracted — but in today's tech and social media obsessed culture most of us are and fall victim to never-ending scrolls. Then of course life distracts with it's many obligations. But these are all excuses keeping us from exploring the dreams and questions we all have. For me, putting my head down and spending more time making and less time on my phone and watching TV has been my effort to be more of a doer.

Coupling our ideas with action puts those ideas into motion. Any effort, any tiny spark of energy towards the idea will ignite the project and give it life. It doesn't matter how long it takes, just do something when you can until it's done. 

Let's be dreamers who are doers.

So what will you do today towards executing one (or more) of your amazing ideas?

 

Creative Tip of the Week: You Don't Have to Say It

With so many platforms to post or comment about any given disaster, crisis, or gossip it is so quick and easy to voice our thoughts and opinions.

We live during a time where we have easy access to tools that will allow our voices to be heard in any form that we choose. Which I love, especially since there are still so many stories yet to be told. But lately, I've been wondering if having access to these tools make us feel like we HAVE to say something.

For the past few months I've been fairly quiet on social media. Not because I don't have anything to say, but more because I question why do I feel the need to say it — online. There have been so many times where I have written a status update on Facebook or a tweet on Twitter and deleted it after some thought. The questions that seem to always pop up are, "do I need to say this?" and "what is my intention if I do?"

In general, time is a huge factor in this as I am working on prioritizing my daily activities, but also trying to be more aware of what I put out into the world (along with what I'm ingesting). This doesn't mean I won't share something silly or fun. But filtering out what makes sense to share with close friends versus the public helps me determine whether a Facebook status update or a text message to a friend is the best form of communication. (Or if it's necessary for me to add to the chatter at all.)

All this to say, if you feel the need to say something just for the sake of updating your feed — it's really okay if you don't. It's okay to be quiet. When your intention, vision, and purpose are authentic you won't lose the audience or miss out on opportunities that are meant for you, and you won't lose anything from not being a part of that conversation. Trust me, I am a living example of this, (coming from someone who suffers from FOMO).

The beauty of this: when you're not always saying something, people are more likely to listen when you do.

What are your thoughts about feeling the need to share? Whether it's on a blog, on FB or Instagram (or any platform). Have you had to curb the reflex to post something? Please share your experience below.

Creative Tip of the Week: Keep Going

A week ago I had the honor to present a talk to the creative studio at Hallmark Cards. The opportunity still has me pinching myself and playing back all the sparkly moments during my time there.

Everyday, I am grateful for these experiences, these doors that open unexpectedly, and these points on the path that expand my vision and dream.

But I do want to share that my creative path has not been easy, or a seamless line of never-ending yeses (read more in other Creative Tips or here). For every yes there are a ton of noes, which many people don't get to see or hear about.

I have a vision for my life and a dream list of things that I would like to achieve, especially in my career as an artist and educator. In the last decade I've written various proposals for projects, books, and events. Connected, networked, and linked up with a lot of folks to discuss opportunities. Brands and organizations have also reached out in regards to cool collaborations that sound really fun and promising. This is always happening, which I'm so thankful for, but most times the answer has been no, the project cancelled, or a collaboration is put on hold indefinitely. Which often brings disappointment, especially when it seems this thing just might happen.

I try not to dwell in the space of disappointment, instead I try to remember that everything happens, or doesn't, for a reason and that what is for me is for me. We need the noes to appreciate the yeses, but what I appreciate most is that the yeses are often there to tell us to keep going.

Keep going.

Because when you believe in something so strongly and know with every corner of your soul and every molecule of your body that this is what you should be doing then to keep going is the only option.

In the last year there have been quite a few noes, but peppered with some really amazing yeses. The Hallmark talk was definitely a moment for me to reflect and remember that I love what I do and need to always keep going.

Have you ever had a moment whether you questioned the direction of your dream? Thought about stopping? Heard too many noes, or had a great yes? Please share!!

Creative Tip for Your Weekend: Letting Go

As an artist/designer I collect tons of books, papers, and magazines all with the hopes of using them for inspiration in some way in the near future. Therefore, it's super difficult for me to let these items go. Especially now that I've started collaging and every scrap of paper has the potential of becoming a piece of art. But the result of this collection leaves my space lacking in regards to storage. Every shelf and corner on the floor of my studio is stuffed with stuff. I don't like it, so I've been working on letting things go.

It's been a slow process because it takes me a long time to go through my magazines and papers to determine what I can let go (the "dump" pile is always smaller). But when I haul the goods to The Book Thing (a great place in Baltimore where you can unload your books and mags, or pick up stuff for free) it feels really good. And I never miss the items once I leave.

Purging clothes is on my list, too. Gladly, I don't have a problem letting clothes go. I tend to wear the same thing over and over, so my wardrobe is pretty small. If it's something I haven't worn in a while it's nothing for me to throw it in a plastic bag and give it to Goodwill.

Every other weekend I've been setting aside time to go through my stuff to see what might be a good candidate to donate or just throw away. Once the collection is hefty I make plans for a drop-off.

Freeing up our space is a great way to free up our psyche. This allows opportunities and good energy to flow in easily and effortlessly, which ultimately leads to more happiness (see this great TedTalk by Graham Hill, Less Stuff More Happiness).

As we start this new season (a great time to do inventory and get rid of summer stuff), I challenge you to get rid of some stuff this weekend. Spend an hour or two going through that junk mail pile covering your dining table, that closet of stuff you don't wear, or that art supply storage bin filled with dried up paint. You'll feel great letting go so you can let some other goodness in.

Tips for disposal:
• Getting rid of batteries or paint? Visit your county or city website and search for "disposal of hazardous/toxic materials." Like Baltimore City, they may have a monthly drop-off for your hazardous waste. Some of these drop-off locations take electronics as well. You never want to put those items in your regular garbage.

• That old TV tube or computer not working anymore? Some electronic stores, like Best Buy, take and recycle electronics. Be sure to call in advance to find out drop-off times and what items they accept.

• Getting rid of towels and bed clothing? Pet shelters love these items for their furry occupants. Call your local shelter to see what they need.

• Letting go of gently used clothing or household items? Homeless shelters, Goodwill, Salvation Army, churches, or temporary housing are great candidates for these.

• Don't need those books, office or art supplies? Baltimore has the The Book Thing, but some schools and libraries are thrilled to take books and supplies that are still in good shape.

• Getting rid of magazines? Go through them and tear out pages you like and recycle the rest of the publication. Store the clippings in a folder or binder.

Do you have tips for letting stuff go? Please share!

Creative Tip of the Week: No More Small Dreams

Last April I took a risk. I resigned from my job without much of a plan except a strong belief that I was going to be ok no matter what. While contemplating my move I mapped out a dream list of what I would need monetarily in order to survive fairly comfortably for the next six months. 

To survive? Just six months? That's pretty small thinking, huh?

What happened in the weeks and months that followed the conception of my risky decision blew me away. My survival, ahem, dream list was smothered to smithereens. Not only had my goals been surpassed, but I was offered opportunities that I couldn't even imagine would come in a lifetime let alone within weeks of my resignation.

So here's what I learned. I was dreaming way too small. That financial survival list that included what kind of work I needed to do as an artist/designer to make sure I could pay my bills was too narrow-minded. Why was I dreaming in survival mode? That's not what dreaming is for. Why not think beyond my wildest dreams? Why not imagine changing the world and perhaps getting compensated to do so? What if I had thought to dream bigger then? What might the results be now?

The great thing about dreams is that it's never too late to make new ones or edit the ones we've already established. Dreams are supposed to be magical. It's not a time for us to think about how but simply think about what if.

So as I challenge myself I'd like to challenge you. No more safe dreams, the ones you've seen others accomplish or the ones you already know you can achieve. Try a powerful dream that blows your mind when you say it out loud, one that gives you goosebumps when you write it in your journal, or the one you have no idea how to make happen but just believe that it will. Those are the big dreams.

Then share them with people you trust and who wish you well.

But don't say all apprehensively, "Hey I'm thinking about maybe moving to Tunisia someday and opening up a bed and breakfast if this money comes through. What do you think? Crazy, right?"

You don't need permission or validation to pursue your dreams. Share with people who can add power and encouragement. Tell that friend who's most likely to say "what are you waiting for" when you tell her, "Girl, get ready because next year I'm moving to Tunisia to open up my award-winning eco-friendly bed and breakfast."

Then take action and make incremental goals (this is the how part), because like Denzel Washington said recently to a group of novice actors, "a dream without goals is just a dream."

So dream big. I can't wait to see/hear what happens for you.

Creative Tip of the Week: The Handshake

This is for everyone, really, not just folks in creative industries.

I frequent many gatherings and events and meet a lot of folks, which usually involves an introduction that begins with a handshake. Being a germaphobe I don't really like handshakes, but do feel that they're necessary, and always try to give the best when I do shake hands. It just feels like a great way to initiate a conversation with someone new.

One of my biggest pet peeves: limp handshakes, which often feel un-welcomed or unintended from the other party.

There are tons of studies about it, and the phenomena has probably been discussed somewhere in business magazines and articles, so I'm sure there are all kinds of resources on a why a good handshake is important. So no need to bore you with theory. Instead, I thought I'd share why it's important for me to give a good one.

I like to give good handshakes because:

1. It's a great way to be present and command attention. We all bring something of value to any space we occupy. A good firm handshake is a great way to remind ourselves of this and to make sure the other person is aware of that energy, too.

2. It's a moment to acknowledge the other person. I love the basic tip: shake the hand firmly and look 'em in the eye. Kind of like in the film Avatar, where the Na'vis from the planet Pandora, greeted one another with the statement, "I see you," as they take a moment to look in the eyes of the other person. Here on planet earth, it's a simple way to remember that no matter who you're meeting, on a very basic level, we are all human beings. We should always acknowledge that fact, and a good handshake is great way of doing so.

3. It's a great way to make a good first impression. The first two can really be rolled into this reason. It sucks that we can be really amazing people but that a first impression can make for missed opportunities or bad experiences. But in this standard western greeting, that's just how it is. Therefore, knowing this allows us to be prepared when starting an introduction with the intention of being great — even if it's for a fleeting moment. Because in every moment we should always be awesome and a lame, disingenuous, limp, finger-only handshake is not the best we can do.

Those are my thoughts. What are your experiences? Are you aware of your handshake? Does it matter to you if you give or receive a bad handshake?

Creative Tip of the Week: Get Paid

When you're creating art as a business the "starving artist" philosophy doesn't work. Business is business, and regardless if it's your full-time career or a side-hustle, it's important to create a system of compensation that is professional and fair to both you and your client.

There are tons of perspectives and ideas on how to run the finances of a business, but I'd like to share three tips I feel are important in regards to getting paid for your hard work. They seem pretty obvious but even in my many years as a freelance designer (12 years!) I'm still learning and taking heed to these very basic tips.

1. Always start projects with a contract.
It doesn't matter who it is (family, close friends, and the like) if there is an anticipated cash transaction then there needs to be a contract. Don't worry about offending anyone, help your potential client understand that it's not personal, it's business. (I talk a little about valuing yourself and your work here.) There are great books out there (like the Graphic Artist's Guild Handbook of Pricing and Ethical Guidelines for graphic designers), industry websites and blogs that offer guidance and tips, and even sample contracts. You can do research or consult with a lawyer. It's a pain in the beginning (well, it's not really that hard) but so worth it because once it's in place it's done.

2. Start a project with a percentage of the full amount paid upfront. (The go-to is usually 50%).
This practice does not guarantee you won't get burned, but it usually provides a sense of commitment and investment on both parties. If the client resists this requirement then this gives you an opportunity to decide if this is the right collaboration for you. It also allows you to be compensated in some way for any work done even if a project is at a standstill or is cancelled.

3. Have a plan in place if things do go awry.
Things happen. Mis-communication, the client's payroll gets messed up on their end, or the project falls through — anything can happen that can impact the schedule and/or you getting paid. But according to your contract you still must get paid. It's hard to anticipate what could go wrong but think about your options if you can't reach the client or the client suddenly cannot afford the balance. You can determine how rigid or flexible you want to be as long as you get paid. Payment plans, contacting the accounting department (if it's a big client), or getting your lawyer involved might be part of your action plan. Hopefully, it doesn't get to that point but it's important to be prepared.

This just speaks to the surface of being compensated for your business. I'm curious, though, what "get paid" tip would you offer based on your experiences? Do you have a story where you had to learn a lesson the hard way? Please share.

No matter what, even if you are taken advantaged of or mistreated, you never have to be rude, disrespectful, or unprofessional. Always handle any situation with integrity, you have to hold up your end of the bargain. Approach "invoice challenges" with firm grace and professionalism. Always stand up for yourself and your rights.

Cheers to artistic and creative wealth and abundance!

Free Download: Your Blueprint

Several years ago when I was developing a business concept I created a chart that represented the ideal business model for how it would function. The chart became a map, so to speak, of how different parts will make up the new brand. Since then, things have shifted and I replaced the top portion (where the business name would go) with my name and began thinking about the different titles or roles that are a part of who am, specifically in regards to my career path and interests. Almost like a vision board, it gives clarity about the things that I want and things I can do to achieve those goals, but this option simply uses words and structure.

What I love about this "blueprint" is that it functions as a guideline for exactly what I want to do in a new role, or better define what I do in a current role. (And roles don't have to be limited to careers, it can relate to interests, projects, etc.)

I'd like for you to try, too. You can download a PDF version I created here. Or you can draw boxes on a sheet of paper at home.

Here's an example of how it might look (but yours can be handwritten):

It's easy.
1. In the first tier (the top box) write your name.

2. In the second row of boxes add two roles you are or would like to be (note: I only included two boxes in the PDF but you can do more than two).

3. In the third row of boxes add an action or goal that relates to the role. In the example, you see "boutique owner" is the role or title, then actions like "sell clothes" and "promote designers" are actions this person wants to do as a boutique owner. The final row of boxes is where you would add sub-actions, or options to support the main action. So in the example, this boutique owner wants to have flash sales, create an online store, and revamp the store to sell clothes. (You can click on the image to scale and get a better view).

Once everything is in place you can start taking those actions.

When you're done you can put it away and revisit, or hang it up somewhere where you can see it all the time.

If you decide to do a blueprint for yourself, please let me know how it goes!

Creative Tip: Self-Initiated Design Projects

I get a lot of questions from novice designers and decided to share my response to one of the questions I am asked most frequently:

This question comes from a tough conundrum often faced by new designers who only have work from school projects, internships, and perhaps an entry level design gig. They're feeling like, "My portfolio isn't rich. I need more work to show, but I need a job to make more work, but I can get a job because I need more work..."

Yes employers would love to see a range of projects, especially ones that were actualized, but most importantly, they're looking for someone with amazing design thinking skills and a strong sense of creativity. The solution is easy. Create your own projects.

I mean, you can always do more freelance work for family and friends to help build your portfolio, but sometimes those assignments won't give you the opportunity to go as crazy as you wish. Therefore, pretend you're back in school or working for an imaginary design firm, make your own brief, and execute.

The beauty of this is that you can work on projects that really interest you, and spend as much time as you need to make it the best work possible. Whether it's a re-brand for company you admire, a t-shirt design for a hypothetical clothing brand, or a series of web animations for a toy store, you can add work that really highlights your creative skills.**

Here are some ideas to get you thinking about what you can create:

Exploring subjects that you're passionate about will allow you to get excited, especially since this is extra work you're making for yourself — it should be fun. Using your imagination to create dynamic work is a great way to attract employers, especially if you create an imaginary brief for a company where you see yourself working. This shows the potential employer your interest early on, beyond a cover-letter and resume. It's also great to consider topics that aren't often explored, pursuing these topics will allow you to stand out.

After you execute, make sure you photograph or print your pieces, upload the images to your portfolio site/Pinterest/Instagram, and showcase the project on your blog. Show the world that you've been busy.

I have a few small self-initiated projects going that I revisit when I can. What about you, have you already done something like this for your portfolio or just to keep your design chops fresh? Tell me about it.

**important side-note: In the real world you're not always going to have the opportunity to work on projects or topics you like, which to some degree should not hinder how you solve a visual problem. Employers want to know you can provide a design solution regardless of the assignment. With that said, please know that "I didn't like the assignment" should NEVER be a good excuse for bad work.

I am an Artist, and I'm Sensitive About My Sh*t

The title of this post is a quote I heard long ago from the lips of Erykah Badu at the beginning of her single "Tyrone." Remember this? I'm not sure if she was the first to say it, but since then it's a statement that has been repeated by many, including Queen Bey, who said it in her HBO documentary, Life is But a Dream.

Having gone through art school, being an artist, working as a designer and now teaching design I have a hard time with that statement. I don't know if I believe it. Can one really be an artist and be sensitive about their work?

Creative expression is personal because it comes from a place of experience, emotion (perhaps), and maybe even devotion. In the creative pursuit failures and a-ha moments are in abundance — and money, well sometimes not so much. Months, but more-often, years can go into a project or achieving an artistic goal. In the end, it is that time, effort, and perseverance that makes it all come together. So your heart and soul does become attached, so yes it can get personal and yes the critiques can hurt, sting, and bruise. But isn't that supposed to come with the territory when you are opening up your vision to the world?

I remember my first year in foundation drawing at art school our professor (a famous artist in her own right, by the way, and shall remain nameless) would tell us to hang up our charcoal drawings on the wall and we would do so, reluctantly. After the walls were covered with our "masterpieces" we would all huddle in the center of the studio hoping our collective warmth would protect one another from what was to come. Our professor would go around the room pausing briefly in front of each drawing tearing down and dropping to the floor the ones she didn't feel was worth acknowledging. "If it looks like you spent 5 minutes drawing it then I have even less time to critique it." Boom. You could hear the artists of said drawings gasp for air, or slump into themselves. Meanwhile those who survived would still have hearts racing in preparation for the lengthy critique that would for sure be hard to sit through. She ALWAYS gave tough critiques. You learned a lot, but boy were they brutal.

Some might say she was harsh. In today's world of higher-ed I don't even know if we're allowed to do stuff like this (we should be), but this professor and the many professors that came after only prepared us for what was to come when we would enter the real world — when money is involved and people are thinking about making an investment in your work, and they have even less time to look through your portfolio.

Because I've been on that hurtful side of the stick numerous times, taking brutal critiques from potential employers and portfolio reviewers now is like being an Olympic gold swimmer in a 3 foot pool. I can handle it. (I think, ha!)

Not only do artists have to face the challenges of figuring out what to do with their talents, but they also have to wear armour for the harsh critics ready with bow and arrow responses. Artists have to constantly be ready to defend their work and be completely open to how others will perceive it, but also be able to separate their feelings as much as possible.

So can you enter this line of work and be sensitive? Especially in this day and age when EVERYONE is a critic? EVERYONE has a social media account somewhere and a soap box where they can say whatever they want?

I don't think so. If you decide you want to be an artist (insert writer, designer, performer, etc.) then get ready. It can be tough, but it's part of the job — like a mechanic getting dirty. It's necessary, and if nothing more it helps you grow.

At the end of the day they are just hurdles that are small in comparison to the gift you are sharing with the world.

Be Part of a Creative Clique

A little while ago I wrote a post about how being a maker is a solution to fixing the homogeneity in the visuals arts and design. Being a maker is at the heart of fixing this problem but to create greater impact you can't be a maker in a bubble.

Boundaries crumble with the force of many, and being a part of a group of makers with a similar mission or vision is the way to see real change. So as you create, look to connect with others who can challenge your perspective; who can help evolve your ideas; link you with other movers and shakers; and encourage you when you hit a roadblock. You must have a creative clique/crew/circle/tribe (you choose the term).

We're not talking high school though.

Do not be a part of something that is exclusionary or belittling to others. That's actually super counter-productive to being a force, yet I see it happening a lot — especially in the visual arts and especially in the blogosphere. Having a group of people you consistently go to to share your ideas, have coffee with to get advice, or go on inspiration trips with does not mean you can't be open or nice to others. It simply means that your crew represents your go-to people who will always have your best interest at heart.

If you look at some of the most dynamic artistic movements in recent history you will find that the "innovators" were birthed from a creative clique. Hip hop is a true testament to this, look at Native Tongues, Wu-Tang, and even the folks who were connected to Kid 'n Play (Salt 'n Pepa and Martin Lawrence, and the whole House Party crew). Andy Warhol's The Warhol Factory had a constant stream of artists, thinkers, and musicians hanging out in the studio space (Grace Jones, Bob Dylan, and Jean-Michel Basquiat). Take a look at Gertrude Stein (love her) and the regular salons she held in Paris with attendees like Pablo Picasso, Henri Matisse, and Ernest Hemingway. Imagine those conversations, imagine the influence they had on each other's work, and how they pulled one another up. And this was all before these people became the people we know today.

So how do you create a clique? It should totally be natural. You probably already have one. Pay attention to the folks you call on for creative advice. Think about the people you connect with regularly: the artists you have tea with or the studios you visit regularly to be inspired. These might be your people. Wanna meet new folks? Go out. Visit cultural institutions, discipline-related organization events, or lectures to meet new like-minded folk.

Your tribe can be a mix of friends, mentors, and muses. These are the people that are going to help push your vision forward and/or pull you up as they grow, while you do the same for them (it absolutely has to be a two-way street).

Do not create your work in a bubble. Be a part of a force. Be a finger in a fist with the momentum to move upwards and onwards, and to break down walls.

Tell me about your creative clique.

How to Fix Homogeneity? Be a Maker

A design colleague of mine, Craig Brimm of Kiss My Black Ads, recently posted an intriguing article that was featured on the Communication Arts website called Homogeneity Is the Enemy of Creativity: So why are we so male? And so white? by Kat Gordon, a creative director and advertising executive. The article shares Gordon's thoughts on why creative agencies need to make a more conscious effort to build diverse creative teams with women and people of color. Being both a woman and a person of color this really spoke to me. I appreciate Gordon's honesty, and nodded in agreement when reading her thoughts.

In the article, Gordon shares how we can all afford to feel a little more creatively uncomfortable and challenged when problem solving; which she says only happens when we work with people who have very different experiences from our own. Innovation and awesome ideas come from groups of diverse thinkers. We need more people with very different backgrounds brainstorming, making decisions, and solving our world's problems.

Gordon states:

"Someone agreeing with me, thinking like me, reinforcing my train of thought—while reassuring at a cocktail party or during pillow talk with a partner—is not the stuff of big ideas. True breakthrough thinking launches with “what if” and “why couldn’t” and “I see it differently.” There should be some tension, struggle and compromise in the birth of a great idea.'

To summarize, sitting in a room with a bunch of people who look like you and think the way you do is a recipe for bland ideas.

One of Kat's suggestions for fixing this problem? In addressing her colleagues in creative and ad agencies she challenges them to "rethink the Rolodex hire" — which I do agree is a good place to start, but wonder if that is enough.

Is asking these long-standing companies, agencies, organizations, print and online institutions to be more diverse (in front and/or behind-the-scenes) the answer? Is asking them to consider content with a different face a solution? Are these the best answers to resolving the homogeneity problem in creative industries, or more broadly, the media?

The problem with this solution is that it's putting too much power into the hands of people who aren't forward-thinking enough to come to this conclusion on their own. Most of these companies are in a "if it ain't broke why fix it" mentality and are often producing work on the defensive. In order for these entities to change they have to be challenged, and they are only challenged when other creatives give those entities a run for their money (which also means a run for their clients/projects).

How does one create a challenge? Be a maker.
Don't wait for others to tell you what to make. Don't wait for an entity to validate you in order for you to contribute. Make your own ad agency, multimedia company, design firm, magazine, show, website, platform, gallery, museum, live/work space, artists collective, studios, or start-up.

Create what you want to see.

With technology, social media, and skill-based educational platforms at our fingertips there are few reasons if any for us not to be authors, creators, curators, producers, and directors. Consuming content is cool, but creating original content is power. Whether you're an artist, designer, director, writer, photographer, or crafter there is no reason for you to wait to be validated by institutions that refuse to acknowledge your talent. There are new rules. The folks who used to say what's hot, avant garde, or innovative aren't the know-it-alls anymore. You and your creative crews need to establish new rules, new standards, new definitions of what's dope.

I will say, being a part of these institutions is a great place to start, sitting at the table contributing to those conversations is a great way to learn. I support this direction, but I believe that it is a steep hill to climb. One person, or a few folks changing the culture of an entire institution is a hard fight. So I often wonder if it's a better fight if that energy is used to create new institutions that serve this new time, space, and world we now occupy.

When looking at media brands like Clutch Magazine, neonV, iamother.com, and the newly launched Saint Heron I smile because it's already happening. But we need more. There are too many creatively talented and visionary people in this world for there to be a handful of entities that support and bring light to neo-culturalism and dynamic-diversity.

Challenging old ideas by showing other successful options is a way to address the homogeneity issue we have in our creative industries and media. I know it ain't easy, but it ain't impossible!

What say you?

Presenting Your Design Work

Last Saturday I had the lovely opportunity to review student portfolios at AIGA Baltimore's Ink & Pixel. It was a design conference where students could meet and interact with their peers, attend lectures and workshops, and have their work critiqued by industry professionals. It was great to see so many young people excited about their designs. Understandably so. Most of them probably spent hours upon sleepless hours working on their design projects as well as the physical portfolio itself.

There was some awesome work and some okay work. There was some awesome work presented poorly and some okay work presented really well. Which leads me to this very post dedicated to the many young designers, and artists, who visit this site. Here's a little something about presenting your work.

When I was a senior in high-school I somehow met the internship coordinator at the Smithsonian's Office of Exhibits Central; a department that provides production support for the entire Smithsonian Institution. I can't remember for the life of me how I met Tim, but that one encounter changed my perspective about presenting one's work.

At the time I had been struggling trying to get into art school and needed help. With basically no background in art, let alone graphic design, I really had no idea what I was doing with my creative interests or building a portfolio.

In comes Tim. I made an appointment with him to get some feedback on my work, so one sunny weekday my mother drove me to the Office of Exhibits Central in D.C. Tim showed us around, introduced us to his colleagues, and shared information about the internship program. Then came my time to shine. I pulled out my bag of artwork and laid it all out for him to see.

I do not remember much about the moments that followed. All I can recall is Tim saying that "presentation is everything." We hadn't even begun to look at my work. He went on to explain that sometimes your work can speak for itself, if it is indeed amazing — but in reality that is not enough. I had never considered the idea of "presentation." Again, I can't remember how I was showing my body of work, but I just know it was bad.

What I learned, though, is that you must respect your work. The way you handle it, display it, and organize it says a lot about who you are as a person and a potential employee or student. When your work is shoved into a case, disheveled with stains, wrinkled, out of order or in no particular order at all the impression you leave with the person on the other side is that you don't care. And if you don't care about your own work how can you possibly care about the work you will be doing for them?

Now having been on the other side a few times looking at others present their work, it definitely holds true. You generally have about 5-10 minutes to intrigue someone enough to want to hire you for a job or internship, or accept you into the program. So it's important to leave the best impression that you can. Here are a few tips I'd like to share on how to do so:

1. Be organized. Have your work in a case, on boards, or a bound book that allows you to get to the examples quickly and easily. Fumbling, looking for stuff, and dropping items on the floor is a great way to make yourself even more nervous. Naturally you will be nervous, so minimize that anxiety by making sure your work is laid out in a comfortable format that fits you; both physically (don't get something too big if you'll be carrying it up and down subway stairs like me back in the day); and for presentation purposes. Make sure your projects are presented in an order that begins with intrigue and ends with a bang.

2. Bring samples. Designers, especially those interested in print, folks want to see those hand-skills; you need to bring examples to show you can create professional comps. Bringing samples will impact your physical portfolio, so make sure the physical portfolio will accommodate your pieces safely (there's nothing worse than opening your portfolio to a crushed mock-up of a box or book).

3. Be confident. So important!! You spent hours developing your concepts into projects (at least I hope you did). You withstood many critiques, and printed that piece a trillion times until you got it just right. You spent all that money on paper, ink, and materials. You built a bomb portfolio site. You spent even more money getting a portfolio box custom-made, and hours cutting boards for each project. Then you get into an interview and speak so low no one can hear you, make excuses or give disclaimers for why something isn't right, or give very little information about the project because you just want to get it over with. That is not the move!

I understand you may be nervous, or shy, or unsure but this is what you've been working so hard towards. You made all those design decisions in that book; this portfolio represents who you are as a designer. Own it. Whether they're good or bad be confident about those decisions. You will get more respect that way.

One way to work through this is to prepare a little written version of your presentation. Jot down bullet points you must mention for each project. Don't memorize this, you don't want to sound like a robot when presenting your work, but revisit and reread this information to prepare for each interview.

4. Pay attention. Every single person or group you encounter when presenting your portfolio will be different. Some people will LOVE your work, or you, and want to sit and chat for an hour. Others are doing a favor for a friend of a friend and don't really have time to look at your stuff. Then there are the folks who just want to point out everything wrong with your work. It is what it is. So it's up to you to gauge how you will manage these encounters. Pay attention to their energy. Does the person seem genuinely interested? Are they checking they're watch? Rolling their eyes? Asking a lot of questions? These are all clues on how you should move forward. If the conversation is easy-going and fluid feel free to give more details about a project. If the person seems agitated then you should keep it moving. Either way never take advantage of people's time, always assume they're busy. Limit your presentation to 10-15 minutes if possible, with a little time in there for questions. Depending on how the meeting is going and the vibes you're getting will determine if you should go longer or wrap it up, give more details or keep it short and sweet.

 5. Have portfolio options. If you're going to interview with a web or motion graphics firm don't show printed screen-grabs of your web and motion graphics. It's only okay if you are showing the live version on your laptop or iPad, but it makes no sense otherwise. A person hiring you to design for the web wants to see how it works on screen.

If you are planning on showing a PDF presentation of your print work on screen you need to have printed versions with you as well. Seeing printed pieces on screen is deceitful. The light shining through the monitor always makes colors look better, and you need to be able to show details of how you set type and handle mock-ups. Therefore, always have printed versions with you.

Some people just want a link to your site, others want you to send in your book. You can handle this by making multiple versions of your portfolio; a physical piece, a PDF or another digital version, and of course a portfolio website (a must have). That way you will be prepared when a potential employer asks for a specific version of your work.

6. Leave something behind. This might be another copy of your resume (assuming you already sent it in to get the meeting in the first place) but you want to leave something the person can remember you by. A fun business card, a promotional piece, or a cool poster you designed. It should be something that represents you but also acts as a little reminder of your design talents.

7. Show your work to anyone who will look. This is the best advice I got from my portfolio professor my senior year in college. When I graduated I did just that. I made a list of design firms I wanted to connect with, then emailed them and cold called (I don't know if I recommend this now). I would ask if I could send my resume for their review for potential design positions. Most times they said I could but they weren't hiring. Then I would ask if I could set up an appointment to show my work. I'd butter them up with, "I really admire your work and would appreciate your feedback on mine."

This worked most of the time. If they liked what they saw they would refer me to someone who might know someone who was hiring.

It was a lot of work showing my portfolio to people who weren't hiring. I must have presented my work all over Philly and Manhattan at least twenty times in one month. Not one of those people was hiring (I did eventually get a tiny freelance gig from one of those encounters). What it did do was allow me to practice, which helped me build my confidence, which got me some great connections and eventually a job.

Go to portfolio reviews, meet with other professors, contact design firms; show people your hard work so you can get feedback and get better at presenting your portfolio. Then when you do get in the door for a job or internship you really want you will be ready.

Those are my tips. Am I leaving anything out? Is there anything you would add to this list for designers presenting their work? Did you have any interesting experiences interviewing or presenting your portfolios? Do share.

Fly Five Thoughts From My Weekend

1. My weekend started at the Refinery 29 D.C. Launch Party at the Madewell store in Georgetown. That evening the space had exploded with extraordinary style, but despite all of the many fabulous ladies who were dripping with cool outfits the girls who really stood out to me were the ones smiling and who seemed to be having a really great time. I wished I had my camera to capture those ladies who were engaging, laughing and seemed comfortable in their own skin — no matter what they were rocking. With that event I was reminded that real style is effortless and about exuding personality and confidence. Cheers to all those wonderful ladies who expressed their individualistic style at the event.

2. At a #DC Residence pop-up shop and gallery opening I happily ran into a friend who I hadn't seen in a while. I was so excited to see her! After checking out the goods we left for some dessert and catch up time. I shared with her some ideas and things I'm working on and she was like, "Andrea, how can I help you?!" I really needed to hear that because I sometimes get caught up in trying to do everything myself.

I was brought up with the attitude that you should keep things to yourself until you know for sure they're going to happen. But lately I've been trying to do something a little different; I'm trying to be more open to sharing my ideas with others. In doing so I learned thatsharing with people who walk in a positive light can only send positive energy back my way.

3. I usually reserve my Sundays to do my hair and prepare my lectures and course assignments for the week, so I rarely hang out on that day. But this particular Sunday I was invited to a brunch with 6 other ladies and despite my weekly ritual I forced myself to go. And it was magical. I was soooo glad that I went. Brunch with such a lovely group of ladies reminded me that if there's an opportunity to meet wonderful people I should always try to make myself available.

4. Somehow, despite my out-and-about-ness over the weekend, I still managed to get a lot of work done. I also felt more rested and ended up having a great start to the week. So I reminded myself that sometimes you just have to make time for fun and that the work will get done.

5. This last thought was inspired by some great conversations I had throughout the weekend. Be encouraging. Whether you think an idea is crazy or not, when someone shares something with you, something they'd like to pursue or try, sometimes they just need to hear "go for it."

Of course you do not want to encourage an idea that could leave a friend or loved one injured, homeless or in trouble with the law, but oftentimes we don't have the capacity to understand why someone wants to eat jelly beans for a week, join a synchronized swimming team, or rock a hot pink jumpsuit. If that person wants to do it you just gotta sit back and say "I love you, and I think that's an awesome idea."

We can't impose our doubts and limitations on others. Just because we can't see what someone else might envision doesn't mean it's impossible. Just be open to listening and acknowledging the ideas that someone has to share.

These were all thoughts that came from my weekend. What about you, did you learn anything wonderful this weekend? Have an a-ha moment? Reminded of something fabulous? Do share.

Get Organized!

I love back-to-school season. It always feels like the perfect time to get reorganized and refocused. Granted, you can do this anytime in the year but what better opportunity than mid-August and early September when office supplies and tools for planning and organizing are on sale. You may not be going back to school but that surely doesn't mean you can't take advantage of all the goodies that are launched and showcased during this lovely season.

As I mentioned, this is the perfect time to get organized. Why get organized? Aside from the obvious — keeping bills or important documents from getting lost in the midst of coupons and really old junk mail, some say getting your space organized allows you to keep your mind in order and in turn work more efficiently. True, but in this case, in this post, I don't like the word "efficient" which basically means maximizing productivity. I feel that term is best used for robots or assembly lines and we are neither of those. Of course we don't want to waste time looking for stuff and not getting work done because of time lost, but being efficient isn't always synonymous with quality. You can improve your quality of work and life by minimizing the stress of a messy environment (or mental space). This empowers you to be and do better. So instead of "efficient" I'd like to use the word "empower."

Getting organized empowers you to make better decisions about your work and life and allows you to produce better results. Decreasing clutter and keeping your thoughts, ideas, and inspirations in order will empower you to be better at getting what you need done, create quality outcomes and allow you to enjoy the extra time generated.

I struggle with this everyday. I'm a paper, textile, magazine, businesscard, and to-do list hoarder. (Not like the folks on A&E, though, you will not find a flattened cat or a ten year-old plate of food buried underneath my design books.) All of those things, as well as art supplies, magazine clippings, planners, and books are constantly sprinkled around me in my office. As I prepare my syllabi for the up-coming semester and wrap up design projects for the summer I'm constantly trying to keep it all together.

So here are some wonderful items that I'm hoping will be useful for you and me. Some are purely functional, others are all about fun. I feel it's important to have a healthy mix of both. Quirky, innovative, nicely designed items that inspire beauty and creativity (like the cute elephant paper clips below) are also very important to have around. Of course you can buy a regular pack of No. 2 pencils for 99¢ but who wants those if some pretty patterned ones will make you smile every time you write out your to-do list :).

How do you stay organized? What products do you use? Are you a paper person, or do you use digital tools to keep your schedule and ideas together? Do share.

1. Saarika Boxed Notebook Set - I never have enough notebooks for my ideas, notes, and sketches. I really love the stripes in this set.

2. SusyJack* Pencil Cup - I have so many drawing pens, pencils, and sharpies but can never find them when I need them, so this pretty pencil cup will solve that problem instantly (or you can use old mayonnaise jars which work perfectly as well).

3. Eraser-ing Eraser - ok you don't really need this and it's pretty pricey but it's fun!

4. Orla Kiely Pencils 

5. This Week Paper Mousepad -  I have another version of this from the same brand and love it! This paper mousepad helps me map out my tasks for every day of the week. I do wish each line had a checkbox so I didn't have to make my own. (And this version is on sale.)

6. Jumbo Wall Calendar - I'm in need of an academic calendar for my new office at school. I like the kraft paper of this one as well as it's size. 

7. Verbatim USB Flash Drive - I'll be going back and forth between my computer at home, the one in my office, and in the classroom, so I'll always need to transfer digital files. Flash drives are perfect because they're small and easy for doing just that. 

8. Shredder Scissors - one of the biggest clutter problems are those documents you keep meaning to shred. You can always buy the machine but these cool scissors are another option  for getting the job done.

9. Elephant Paperclips - just because. 

10. Greenroom File Folders - pretty patterns and perfect for filing away old documents and collections of inspiration.

11. Greenroom Binders - along with storing information for my courses, binders are perfect for organizing inspiration. Someone suggested some time ago to avoid magazine clutter by tearing out pages you like, hole-punching them and placing them in a binder. It was the best organizational advice ever!

12. Arbor Journals - it's always great to have a beautiful journal to flush out and organize your dreams and thoughts.