Category Interviews

Finding Meaning Naturally : An Interview with Jeannette Hanna

Jeannette Hanna is one of the brightest brand strategists I have known in my professional career. We first met when I interviewed for a position at Spencer, Francey, Peters in Toronto. My impression of the company was a smart, laser-focused company integrating organizational design, brand strategy and identity systems. Jeannette had a lot to do with this impression presents herself as thoughtful, infusing intelligence into conversations about the purpose and focus of branded systems. She is also an American that has become a cross-cultural translator between two countries that often are seen as the same (Canada and the United States).

Since the first time we met, Jeannette is now part of Trajectory, a brand consultancy that continues to create sustainable brands in a world of commoditization. Strong intellectual scaffolding around purpose, goals, and actions is what Jeannette thinks and consults about. These efforts led her to co-author Ikonica, A Field Guide to Canada’s Brandscape, the first systematic look Canadian brands and their cultural distinctions. Hanna’s thesis in the book – that culture, commerce and community mores are highly inter-dependent – transcends the Canadian context.

Searching for Context : Interview with Sharon Poggenpohl

Sharon Poggenpohl has had a lifelong fascination with design. She is a dedicated educator that has focused her career on working with masters and PhD design candidates in the United States and internationally.

I first met Sharon while attending graduate school at Rhode Island School of Design where she became an advisor on my thesis activities. Her accessible style and genuine interest in collaboration was of great benefit to me, both during school and afterward when I had to collaborate with many disciplines in creating large digital systems.

She taught at Rhode Island School of Design, Illinois Institute of Technology’s Institute of Design, and until recently at Hong Kong Polytechnic University’s School of Design. Her experience in teaching and administering both masters and PhD programs gives Sharon a unique perspective on the challenges and potential of design education. Her desire to both understand and create the context for design and support that context through research and collaboration is rarely discussed. Addressing actual empirical behavior — rather than remaining at an abstract rhetorical level is Sharon’s focus. Sharon is co-editor of the recent book, Design Integrations: Research and Collaboration and publisher of Visible Language, one of a few high-standard journals in design.

What struck me about the interview with Sharon was how thoughtful and disciplined her answers were; they reinforced my direct experience with her at RISD and over the years. Design education has been at a continual crossroads for decades and the cacophony of design educational models, skills and outcomes at an undergraduate, graduate and doctoral level feel in many ways insurmountable bordering on a wicked problem. Sharon has very common sense foundations to address the continual problems that degrade the value of design education and how focusing, assembling, editing and delineating educational goals and methods can increase the level of rigor of design programs.

Surfacing the Issues : An Interview with Itu Chaudhuri

It was a Sunday night, New Delhi time when Itu and I had a Skype video call while he was slowly sipping a cognac.

While it had been awhile some time since we last communicated, we both had the ability to pick up where we last talked like it was yesterday.We first met in 1990 while I was on a Fulbright to India and believe a host at a social event introduced us. From my memory, what drew me to Itu was his thoughtful intensity, ambition and he seemed like a perfect person to have at a dinner party to introduce delightful polemical conversation.

This is no accident. His father is the late Sankho Chaudhuri and his mother, Ira Chaudhuri, a still practicing potter.India in the 1990′s had a small club of graphic designers that all seemed to know one another and we spent many hours at small events with other designers talking about contemporary issues. Itu represents the best of intelligent graphic design. His many years of immersion in typography and communications systems has transformed him into a very articulate practitioner of design in the widest possible sense.

While Itu has mellowed slightly, it is not due to exhaustion, but rather built up experience that allows him to know his roots and build a more sophisticated model of shaping design as a process of discovery that creates meaningful frameworks for specific actions. His firm ICD with his long- time collaborator Lisa Rath is growing and developing a planning offering. This again is no accident and Itu is methodically creating the foundation by bringing on new skills and ways to connect design to larger business and societal issues. The interview meanders between graphic design, systems design and into planning. We surfaced many things that point to a new type of value creation for clients in the sub-continent.

Reducing Friction : An Interview with Mark Dziersk of LUNAR

Mark Dziersk is a designer on a mission, to discuss how emotion, feelings, behavior and forms of products interact with one another and create genuine experiences. I first met Mark at Herbst, Lazar, Bell and we have kept in touch over the years discussing a range of issues, especially around thought leadership of different design disciplines. He is now Managing Director of LUNAR in Chicago.

Mark is genuine and accessible and has found ways to keep his child-like curiosity in the face of many years of professional experience dealing with companies who want to get from point A to point B as quickly as possible. While I am sure there is a pragmatic dimension to Mark, my belief is that he feels that those bases are covered by others and his role is to ask why, and did you consider.

He mentioned that the role of a designer is to reduce friction between user and product by using creativity and emotional engagement as a gateway to functionality. This is a compelling approach and reflects Marks many experiences with consumer based products in a world of choice.

He traffics in ideas and operationalizes them through engaging clients by being a proxy for the market. This is a life well spent.

A Question of Identity : An Interview with Tom Suiter

Tom Suiter is a unique individual – a devoted father, highly curious, a collaborator and a talented designer and leader. He is able to bridge business issues and different types of strategies to inform powerful and immersive brand experiences. This all happens through a very accessible interpersonal style.

We met in San Francisco when I was leading the user experience group for the Chicago office of USWeb/CKS and he was Chief Creative Officer. Tom asked me to work directly for him auditing and evaluating the creative capabilities of the company nationally. My memories of working for Tom was that he was a thoughtful listener, communicated clearly and had his priorities in order – to find the best people to do the best work. This has been a continual theme throughout his career.

The evolution of Tom is one of learning the craft of design and then enhancing these skills by wanting to expand corporate identity into wider spheres of influence into what Peter Behrens referred to as a total imagistic panorama where integration at all levels create experiences that are both powerful and relevant. His design response in many different industries has allowed him to concentrate essential core values of brand, brand articulation and brand management – but without all the stifling quantitative language that gets in the way.

Professionals that can lead, shape and implement branded experiences are few, and the number of people that Tom has identified, mentored and collaborated with is a powerful marker to the level of creative excellence that any company would want to strive for. As Steve Jobs once said to Tom – It’s Perfect.

A wordsmith and a worldly thinker : Interview with Todd Lief

Todd Lief is a unique bundle of skills and experiences – and he is fun to collaborate with. I have known Todd for about 17 years since we first met at Michael Glass Design while working to reposition Columbia College. I was impressed with his ability to listen, distill and create simple and powerful phrases that amplified the creative quotient. Since then we have kept in touch and have collaborated at Andersen Worldwide and on a few projects at Trope Collaborative.

Todd is a writer, but is more than that. He has a deeply curious humanistic mind that soaks up all sorts of knowledge and aims it at creative endeavors. He was shaped by the golden age of advertising where writers and other creatives collaborated on a wide variety of campaigns trying to articulate the essential truth about products and services to the public. This interview is one of my longest, not due to more time with Todd, but that he packs in a lot of thinking in the same amount of time.

He has spent time and effort exploring creativity and what goes into the act of being creative. With his work in Gestalt psychology, Todd developed a diagnostic tool called Working Impressions (a great name for a service) to focus on areas of agreement. It is a Swiss Army knife as it can be applied to any situation or industry with different meanings using the same tool.

Over the years, Todd has never been far from my thoughts as I can count on my hand individuals that have had a concrete impact on my thinking. His career choices are very close to my own career choices and our restlessness in finding new challenges and building on experiences for greater value ties us together.

Todd in his accessible and relaxed style exudes true professional empathy, curiosity and a desire to make a real impact. He once told me he is also a charter member of American Express where membership has its benefits. It has been a real benefit to know Todd.

A Contemporary View on Curatorial History : Interview with Paul Gehl

Paul GehlPaul F. Gehl is the custodian of the John M. Wing Foundation on the History of Printing at the Newberry Library, the wonderful imposing structure just west of the Goldcoast across from Washington Square Park. Most people who walk by it do not know what goes on inside, so for many it is a mystical place. However, for those that are interested in railroads, the history of printing and even geneology, the Newberry is a wonderful living repository of collections.

I cannot remember exactly when and where I met Paul, but he is one of the few people that has remained in my memory as an interesting figure whose curatorial perspective is a rarity. Paul has always been engaged with many communities that intersect the large History of Printing collection, including designers in Chicago. It is in this context that Paul has been supportive of typographic courses that I taught and hosting visits to view the rare Duke of Parma’s collections printed in the Bodoni typeface.

In an age of digitalization and polyanna ephemera, it is refreshing to visit a place that still places value on printed books and their related design, typographic and production value. Yet, the Newberry is not a static place of dusty books frozen in time, but an intellectual laboratory of scholars and researchers reinterpreting ancient artifacts with contemporary questions.

An example of this phenomena is when Paul and I collaborated on an AIGA Chicago article that focused on buildings that used to be painted with typographic advertisements and company messages called “When is the façade a fallacy?.” Paul and I walked west on Madison Street looking at storefront churches and shops that still used typographic vernacular as a way to communicate with their environment and asked where has all the typography gone from buildings?

Paul continues to engage with researchers, designers and many others about the collections at the Newberry and has shown an interest in willingness to make it an active and contemporary place where history and possible futures can meet.

A Thoughtful Explorer : Interview with Victor Margolin

When I was in my early twenties, I set out to create a cosmology. My intent was to explain the relation between the different forces in the world, from the most noble to the most base. Overwhelmed by the hope and expectation that I, a young dropout with a good undergraduate education, might be the one to accomplish what no philosopher in the past had successfully done, I plunged into the vast sea of knowledge and grasped intuitively at straws that held the promise of unraveling the universe’s mysteries
Victor Margolin in the introduction to The Politics of the Artificial

We live in a cacophonous age of ideas, globalism and multi-channel discourse, yet how many enlightened individuals do we personally know? Victor Margolin, Professor Emeritus of Design History at the University of Illinois at Chicago is a prime example of someone who is questioning, exploring, and articulating theoretical and practical dimensions of design within larger social, political and economic frameworks.

I met Victor when I was an undergraduate student in his design history courses at the University of Illinois at Chicago. What made these courses valuable was his rigor, humor, and balancing the showcasing of designed objects and the larger discussions of intentional and unintentional effects these objects had from a social, political and economic perspective. Victor did not teach a streamlined view of design and designers, but the complexity of designing and delving into thoughtful questions and discourse that is rare in today’s design discourse.

His writing is cogent and compelling and he has written, edited, or co-edited written nine books. He was the founding editor and is now co-editor of the academic journal Design Issues, one of the few soundly curated publishing conduits for global perspectives on design since it’s inception in 1984. Victor takes the best of sincere humanism, an unwavering belief that design is important and merges it with a variety of topical areas such as sustainability, service design, and even larger areas of inquiry. One of my favorite books of his is The Politics of the Artificial: Essays on Design and Design Studies, which codified many things I was thinking about, but did not have specific models or concepts for. This book provided me clarity on many levels as both a practitioner and one who is interested in theoretical aspects of design.

While Victor has been retired from teaching for five years, he has not retired from lecturing, editing, traveling and writing. He is currently writing a three-volume World History of Design, which he plans to finish in more two years.
We have been meeting over the years to discuss design and I finally wanted to ask him specific questions and document his responses. Our conversations tend to be convivial, spirited, and focused meandering.

A Man for all Seasons : Interview with Robert Vogele

In a world where everyone is on the road to being their own employer, the art of mentoring by someone who cares about your professional development is quickly disappearing. Mentors shape the next generation’s knowledge and craft of any profession, and without this process, a large gap exists with talented people who were never shaped by experienced professionals.

I have had the fortunate experience over my professional career of being actively mentored by very talented practitioners who honed my skills and abilities to be a better designer and person. Robert Vogele is one such individual who has shaped my thinking about the practice and role of design, and in many ways was an early pioneer of integrating design as a creative endeavor to further overall business goals and objectives.

Bob Vogele has practiced all aspects of design for more than fifty years. His ability to constantly question, integrate and improve design’s role as a strategic activity is recognized by many of his former collaborators, clients, employees and students. He also committed doing this from Chicago, when it was still creatively on the fringe, lost in the middle of the United States. Bob started one of the first design firms to focus on marketing communication in the late l950s. He created Robert Vogele Inc. (RVI Corporation} and went on to be the founder of VSA Partners.

One of Bob’s consulting clients was Anderson Worldwide where Bob and I worked together when I was the Design Director. We would often meet at 6:oo am at his office on South Dearborn Street to review key issues facing the Anderson design group. Bob collects art, people and documentation. He saves everything he finds important in clear plastic envelopes and seems able to find and provide documents to help any design effort. His ability to make connections, understand the political meaning of action and to generate options to consider are valuable skills and these meetings with Bob have stayed with me.

He retired in 2002 from VSA Partners but has continued his journey of understanding and today is just as inquisitive and sharp as he has been since we first met. For this interview we sat in his living room surrounded by Harry Bertoia sculptures and other abstract art to explore things in his life that I was curious about.

A Digital Fire in the Belly : Interview with Nate Burgos of Design Feast

I rarely meet people in design who embody the type of quiet and consistent commitment to excellence—with a degree of humility. Just doing it without making a fuss while creating exponential value should be celebrated.

The internet of today is a space that has many digital destinations, and even a few that are known as a place of curated and well-crafted content and even motivational online communities. Nate Burgos represents a designer that has the fire in the belly to contribute to the awareness and knowledge of what is available on the internet.

Since 1999, Nate has been nurturing Design Feast, a webliography of great content that he curates on a regular basis. Nate and I have collaborated and I’ve contributed to Design Feast by sending him interesting links. He is always appreciative and makes a point of celebrating the fruits of collaboration.

Design Feast has grown from interesting links, to interviewing designers, to a blog, to a book and now to films that focus on design books. The journey of discovery has been of great benefit for those that are interested in Nate’s work.

After twelve years, I sat with Nate to discover the backstory of Design Feast.

How and why did you want to create Design Feast?

It was 1999 and the internet was new, and remains new (Happy 20th Birthday, WWW!). Websites were cropping up very quickly and I wanted to make one. I knew right away it would be design-related because that is what I do for a living— learning and relearning in practicing design. I wanted the site to focus on more than one design discipline.

The word “feast” kept coming to mind from one of my favorite books—Ernest Hemingway’s memoir about his time in Paris, which be describes as a “moveable feast”. This is a pleasant and romantic way to view design. Broadly speaking, design is everywhere and “Design is everything. Everything!” as claimed by Paul Rand, a teacher and mentor of mine.

I think about Design Feast not as a website, but as a web presence. Romanticizing here again. Sounds hokey, but I believe it, and I’m trying to create an archipelago, where Design Feast is a worthwhile island in a common sea. The challenging part is feeding the feast. It has become my personal cabinet of curiosities.

There is this great term that I discovered at the “weblog” by Jason Kottke . The term is Wunderkammer, German for wonder-room. There are so many wonderful people, places and things to discover. It’s neverending. It’s what makes design a moveable feast.


How has Design Feast grown since it started?

I just wanted to make something. I knew what the focus was going to be and have kept working at it. I’m fond of websites that are established and crafted, and admire people who do it for the sake of doing it. I kept adding links, aligned to my taste, over time.

On the home screen, there is a number of how many sites on Design Feast. But quantity is not what drives me to keep working on the site and the efforts resulting from it. Discovering people’s creative ideas and efforts, and sharing these, are what drive me.

The taxonomy of the site is based on what I’ve been calling: the family of design disciplines. With Architecture, hands down, that is what it is called. In the case of Information Architecture, Content Strategy and User Experience, these are called by other names. At the time, I called this area “Interactive  Design” which I still need to re-address.

In 2007, I thought about engaging in editorial. I started the Designer’s Quest(ionnaire), asking seven questions to a designer, whatever the discipline. In retrospect, I wish I started this series earlier, but there is an appointed time, as my photographer-friend Michelle Litvin put it, for everything. The Designer’s Quest(ionnaire) has developed into an interesting body of thought, and I’m thankful for all of the participants (yourself included) who answered the questions. It led the way to a series of fascinating interviews, from Chicago-based all-female collaborative Quite Strong to information designer Audrée Lapierre in Montreal, Canada.

Discovering all of these creative efforts by people, everywhere, keeps nudging me to be more curious about the practice of design and how practitioners articulate it. Design Feast has a thoughts on design section. I appreciate people who can talk about design in a straightforward and elegant way. It’s a popular part of the site and inspired me to distill it into a book called Thought Leadership by Design which led to converting the book’s site into a blog. Another outgrowth of the work on Design Feast is The Blogger’s Quest(ionnaire) which hones in on people and their experiences in web-based writing and publishing of topics they’re passionate about. There was an appointed time for all these things, and all the discovering and curating steers me in the direction to make more connections and, in turn, more things.


Since starting Design Feast, which subject area has grown and is now a large part of links or comments?

Architecture is a deep practice. There was already an available portfolio of content, lots of it and increasing, on the web to mine and explore. The section on graphic design is deep, along with industrial design. Fashion design, not so much, which is surprising because it’s pervasive. The depth of sound design on the site is very thin. I know it exists, but have not meandered enough to discover people and projects for this discipline.

I rarely publish individual firms—unless they were pivotal to a respective discipline. For example, in the information design section, I added Richard Saul Wurman and Edward Tufte since they contributed a lot to this discipline. Incorporating individuals/groups as part of each design discipline is something I’m still looking into. I’m messy in discovering because there is so much out there. Author Susan Sontag coined Attention Surplus Disorder. I go through my daily diet of bookmarks (which I want to turn into “booksaving”), which then branch out to other bookmarks. I don’t make sure that the links on Design Feast are active or are being maintained because I’m always focused on discovery. But I’ve recently went through each and every link. There’s quite a number of sites that are no longer available. Wish this wasn’t the case. Discovering a site not found provokes empathy.


How do you evaluate credibility to sites you post on Design Feast?
(other than they are interesting to you?)

I try to take in the total compositional effect of a site at first look—its interface, writing and publishing. I do judge a book by its cover when it comes to subject matter presented online. There has to be typographic sensibility. I go to the About section and the archive. When a site is encountered, I acknowledge that it took time and energy to do.I don’t judge a site based on how often it’s fed. There is a site called amassblog by designer James Phillips Williams which deals mostly with his collection of books and typography. I check it a lot. Weeks would go by and nothing yet posted. I still go to it because every post is beautiful and matters, to me.

Everyone has particular destination sites, and there are site owners who don’t mind how often posts are made. They publish when they want to publish, and this is fine. Good sites which captivate our attention, also command our patience.Another site I visit many times, and whose finding frequency is very high, is the personal visual archive and popular design journal of swissmiss by Tina Roth Eisenberg. Lots of diversity and fun among the people, places and things swissmiss scouts and shares. On a related note, with diversity and fun in mind, I highly recommend attending the CreativeMornings monthly lecture series which swissmiss created. Sites have a pulse when their owners have a pulse (in more ways than one).


Do you ever post comments on people’s blogs?

On rare occasion but not much. When I do, it’s mostly to make a connection between what the post is about to someone or something related to it. Other than blogs, I do “comment” by giving credit, if this can be viewed as a type of comment. Maria Popova, who runs Brain Pickings, a wonderful and rigorous site, is a champion of giving credit. Her CreativeMornings talk stressed acknowledging people’s path toward discovery of a concept, a principle, a person or object and its role in making ideas and influencing the creative process.

On Twitter, I always try to provide the source for great sites that are identified. I re-tweet other people’s tweets, and if there is ample space to do it, I include the original source (link to the actual post or site section), wherever possible.


Since starting Design Feast, what are your general insights into the depth and boundaries of design?

One general reaction is that design is fearless. I’ve been noticing a growing pattern library of attitudes and practices of people who are creative and utilize the digital world, among others, to follow their intuition. If you look at Kickstarter, it’s communal bootstrapping which is becoming more popular as one way to getting ideas real—ideas about products, services and spaces by people who desire to do it on their own terms.

Even though Kickstarter is not only about designers, design has played a role in its success. I continue to find people who take time out of their busy lives to share themselves, whether it’s their craft or collection or both. When it comes to craft, photographer John Spinks documented the people and their tools in the factories who make clothing for London-based Albam.

When it comes to collecting, independent web and print design office Kind Company sustains a fantastic collection. It’s called Display, a curated range of important modern, mid 20th century graphic design books, periodicals, advertisements and ephemera.

There are many more examples of creative efforts like these. They feed design. Awesome projects. They prove a fearless cycle of design, practiced with an urge to make, and encouraging reflection to help meet, even make, a need or solve an issue—or to just provide delight.


What are the current trends you see on the internet landscape concerning design topics?

Process, craft, writing and work are big areas. People want to learn and keep enhancing what they have learned to adjust an existing approach or create a new one to help make their work and the experience of it better. People deconstructing their process, their toolkit, into a story is valuable to those who are curious about how people work in order to help inform getting their work done.

With writing, there are a lot of blogs by people who explore the relationship between thinking and making. With craft, the focus is on feeding, refining and sticking to one’s discipline. Aspects about process and craft constitute one of the reasons why I enjoy the interviews, for example, by Dave Cuzner with graphic designers, illustrators, book and magazine publishers at his blog Grain Edit.It’s very satisfying to notice the diversity of self-initiated creative projects, Do-It-Yourself—and not necessarily for profit. Creative people are always seeking. They go for it. Yay, #Creativity!

What concerns do you have about the level and quality of discourse you are finding online?

Design Observer is a magnet for reading and input. When it comes to comments submitted by readers to Design Observer’s pieces, I’ve noticed on a consistent basis that the comments are friendly and constructive. Thoughtful writing compels thoughtful feedback. This is never full-proof to guarantee a positive response to one’s work, but the move to make a thoughtful article, essay, image, and more, is a good step to invite thoughtful input.


Are you seeing less websites, and more blogs or other web platforms?

All of the above. Everyone has her or his means for extending design, writing, photography, filmmaking to the network and to the masses. The long shelf of creative variety is getting longer. With this comes the variety of ways to get something real on the web, from portfolio-website creation systems like 4ormat to content-management systems like Expression Engine. There are also website-creation-and-advisory systems like The Web Therapist.

You mentioned the downward trend of blogs, but I’m not seeing that. Blogs have staying power. They also encourage people to write. I recently discovered a charming blog called Shelf Appeal by Jane Audas, a freelance creative digital producer, who blogs about things, anything, you can put on a shelf. As long as there are physical journals and notebooks, there’ll be digital ones.


How have behaviors and expectations changed or are changing about Design Feast?

It’s a blessing to receive emails and tweets from people who tell me to keep doing what I’m doing. I sometimes get criticism and do try to put it toward improvement. Wine and personal branding expert Gary Varynerchuk believes that people recognize effort and appreciate it. Effort (“the hustle” as Vaynerchuk puts it) over time is a type of fermentation.

There was this daily cartoon emailed by Hugh Macleod of Gapingvoid, who has this tremendous pulse about life and work. In this email, he described life as a fermentation process, when we try to make life as meaningful as possible. With Design Feast, people have acknowledged this fermentation. I’m super thankful, and it motivates me.

embedded by Embedded Video

You recently started developing videos on rare and seminal design books. Why?

I collect rare design books, which I’ve been thinking about showcasing in some way. Because what is the point of collecting all these books if they’re not shared? At first, I thought about making a blog with beautiful photography accompanied by an essay. Then I met Joe Giovenco, who knew about audio and video. He also composes and produces electronic music. Like Brian Eno.

I always wanted to make a film, engage in its storytelling and develop a compact storyline. I got Joe interested in collaborating on making a short film, which he never done before. Herbert Bayer’s book World Geo-Graphic Atlas was the first to film. It is one of the first books I was able to acquire and one that I show at design schools when given the opportunity. The book itself is so rich, from the 1950s, before digital production. It’s a unique demonstration of information design and teamwork.

Super thankful for everyone who watched the first Rare Book Feast film. Big thanks to Tina Roth Eisenberg of swissmiss, Maria Popova of Brain Pickings and The Atlantic, Jim Coudal of Coudal Partners, Daniel Benning of ONEEIGHTNINE, and Dan Wagstaff of The Casual Optimist for featuring this first installment of Rare Book Feast!

I want to extend the series, to keep it going. Looking forward to reflecting on the next book and collaborating with Joe on producing the next installment.


What is the future of Design Feast?

When I launched Design Feast, I never stamped it with “beta” because work, especially on the web, is always evolving. Derek Sivers is an amazing self-made businessperson who founded CD Baby for independent artists in music. He writes a great blog. One of his pieces of advice is don’t tell your plans, just shut-up and do it.

It’s hopefully getting very close (and may happen at this interview’s posting), so it should be OK to tell this: Design Feast has been redesigned and will launch soon. I’ve cobbled the site together myself up to this point, which is why it remains a read-only site, and it was time for an upgrade. Megan Coleman, my designer-developer-diva, has been doing the development for the new site. She also built Design Thought Leader and my personal site. She has strong coding chops and is great to work with.

The web is like the ocean which makes me feel very small. Discovery begets discovery. I’m humbled by awesome people and their passion-projects expressed and shared online. I want to keep celebrating creative voices and work, to discover more people’s fire in the belly. I intend to grow Design Feast in the present tense but grounded in precedence. I want to keep discovering and curating as much as possible, and also feed meaningful by-products that come from working on Design Feast and its related initiatives.

I started Design Feast with these things in mind :

• Lobby design as a practice of good will in making our world a better place.
• Feed the curiosity about design and its promise to realize positive actions and outcomes.
• Facilitate the daily work of an aspiring or practicing designer of any design discipline.

If Design Feast is part of your virtual shelf, I’ll do by best to keep celebrating and serving creative culture. This is for long-term cultivation (like a bonsai) and hopefully for everyone’s joy and use.

Thank you, Adam, for this interview! Appreciate it.

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Photograph of book Thought Leadership by Design by Michelle Litvin.
Image of Paul Rand by Nate Burgos.