Professional SpotlightSpotlight

When Carpe Juvenis set out to redesign, we knew exactly who to turn to. Spencer Shores, an incredibly talented recent graduate from Cornish College of the Arts, was the person we needed. We were referred to him by Kate Harmer (who you might recognize from her own Professional Spotlight!) who brought him onto her team as an intern and quickly realized he stood out as worth recommending. It’s hard to believe that Spencer is just in his early twenties – he has the professionalism of an ultra experienced pro, and the skill of someone who is able to combine both learned and natural talent to everything he touches. We knew from the get go that we had to share his story and advice with the Carpe community! So without further ado…

Name: Spencer Shores
Education: BFA in Visual Communications from Cornish College of the Arts
Follow: www.spencershor.es

Carpe Juvenis: How do you define “Seizing Your Youth?”

Spencer Shores: Seizing your youth to me is about finding your path. It is taking on an active role of defining yourself. Fail often and what have you.

CJ: You are studying Design and Visual Communications at Cornish College of the Arts. What sparked your love for design and illustration?

SS:
I entered school as print-maker and a painter. My love for design and illustration was something that grew the more I was immersed in the community. I loved that designers ask questions, whether they have the answers at the time. However, they always planned on finding an answer. Design for me is the perfect cohesion of critical and creative thinking.

CJ: What does your creative process look like?

SS: It really depends on the project.  I like to have a variety of projects at any one time. Some are just visual experiments or technique explorations, while others are highly conceptual projects that tend to be very near and dear to my heart. The visual and technique driven projects usually start with a lot of visual references and lots of sketching, it’s a lot less formal of a process. Some of these projects are just weekend posters or things of that nature. The more conceptual projects starts with a lot of reading, writing, and reflecting. The conceptual projects can last from weeks to even years. There are still visuals and sketching phases, however this occurs much later. The visuals don’t become important until you’re about 80% done with the project.

SS

CJ: You interned at Hum Creative. What was that experience like and how has it influenced your work (in design and/or business)?

SS:
Working with the Hum crew was a great experience. It was really demystifying of the design world. You hear horror stories while in school of what design firms are like. I suppose I’m lucky, because that was not my experience. Interning and later working with Hum was the first job I’d ever had where I wasn’t counting the hours until I could go home. I vividly remember thinking that this was what people talked about when they said work is never work if you love what you do. Since then, I never approached design as a task, or something I need to do. Design is always an opportunity, an opportunity to make something that matters. That’s a really exciting realization.

CJ: What are the greatest lessons you have learned from being a designer and illustrator?

SS: It is an important and valuable skill to be able to see things that don’t work. I consider myself an optimist, but there are a lot of things in the world that do not work, or at the very least could work better. The greatest lesson I’ve learned as a designer is that the first step of solving a problem is asking the question.

CJ: What is the most challenging part about being a designer and illustrator? The best part?

SS: I think the most challenging part is in fact the best part. Something that doesn’t generally come naturally to people is the idea of collaboration. The best part of being a designer is the opportunity to work with people, but more importantly people that think differently than yourself. Whether it be other designers or working with clients. My best work has come from collaboration and melding of ideas in order to solve a problem. This isn’t always easy, but it is always rewarding.

Spencer shores

CJ: What advice would you give to a young person who is interested in being a designer and illustrator?

SS: Work hard and ask people questions. You’ll be amazed at how positively people react when you are genuinely interested in what they do. Design/Illustration is a fairly small community, so it goes a long way just to reach out to people. That results in an infinite supply of knowledge and mentorship.

CJ: Every day in your life must be different depending on your projects and the time of year, but what does a Monday look like for you?

SS: I try to make a point to ease my way into the week, by ritualizing it in a sense. I make the active choice to get up and get out as soon as possible. I go straight to a coffee shop and get a coffee, being in a new surroundings kick starts my mind. Then I make lists. I love to make lists of things I want to achieve during that day and throughout that week. It’s an important part of my workflow.

CJ: What are your time management tips? How do you stay organized and efficient?

SS: The lists! I make multiple versions of my lists, I keep digital and handwritten copies. Actually physically writing things helps me remember them more accurately. It is also important to have an idea of how much time you can spend on something. It’s a good exercise to time yourself with parts of your day or workflow so you can accurately assess and distribute your time.

CJ: What is a cause or issue that you care about and why?

SS: A point of discussion recently has been the education system. I believe that we systematically approach educating people in the wrong way. This results in the population believing that they are not capable of many things. I believe that people can do anything they want to do. We live in a world where almost all knowledge is accessible and you can learn all about it with the half a second it takes to Google it.

SS2

CJ: What is an area, either personal or professional, that you are working to improve in and how?

SS: I’m really pushing myself to be better about being honest with myself and others. Not in the sense that I am a compulsive liar or any such thing. I am more accurately a relentless optimist. I believe that many things are possible and I’m often right, however, I tend to spread myself fairly thin at times by overcommitting to people. At a certain point it is more beneficial to others if I am not quite so drained.

CJ: Having a loaded schedule can sometimes be overwhelming. What do you do when you’re having a bad day and need to unwind or reset?

SS: I go outside. First thing I need to do is step away from what is frustrating me, which typically is work related and often involves a screen. I constantly need to remind myself to go outside, feel a breeze, and take a breath. It keeps my grounded and engaging my other senses takes the focus off of the one point of frustration. I also write my thoughts. It allows me to stop thinking about so many things at once if I can just get them on paper.

CJ: What advice would you give your 15-year-old self?

SS: It is okay to question your teachers. They’ll encourage you to do so. It is totally possible to make money in a creative field. Forget about business school. It is also possible to make things that are important and impactful, not just for you, but for others as well.

Spencer Shores Qs

Images by Spencer Shores

Professional SpotlightSpotlight

Mike Curato, author of the popular children’s book series, Little Elliot, is incredibly talented and creative. Mike was generous enough to let us into his workspace to see where the magic happens of making a children’s book and adored character come to life. His shelves are lined with children’s books that serve as inspiration, artwork illustrated by many of his talented friends, and plush Little Elliots. 

Having studied Illustration at Syracuse University, Mike’s passion has taken him all around the country. He worked as a graphic designer in Seattle while simultaneously doing small freelance gigs. Now Mike’s time is dedicated to creating the world of Little Elliot, as well as other creative endeavors. Mike is no stranger to hard work and dedication, acknowledging the fact that sometimes we have to take jobs we don’t want or eat Ramen noodles for months. We are so inspired by Mike’s hustle and for never giving up.

Read on to learn more about the steps Mike took to achieve his lifelong goal of becoming a published author and illustrator of children’s books, where his love of storytelling comes from, and the fantastic list of resources he recommends both personally and professionally. Don’t forget to pick up your copy of the second book in the Little Elliot series, Little Elliot, Big Family.

Name: Mike Curato
Education: BFA in Illustration from Syracuse University
Follow: www.mikecurato.com / @MikeCurato

Carpe Juvenis: How do you define ‘Seizing Your Youth’?

Mike Curato: I’m presently in my mid-thirties, which sounds ancient to a 20-year-old (at least I thought it did at that age). I still consider myself “young,” now that I have a broader perspective, and while I’m not “really old,” I’ve been around long enough to experience a chunk of life. Looking back, I’m amazed at how much work it took to get to where I am, not just professionally, but mentally and spiritually. I think “seizing your youth” means not to waste any time living your life. You’ve got stuff you wanna do, right? Find out what you need to learn in order to make whatever that is possible. Live for quality moments. Find genuine people to hang out with. Don’t be content with the status quo. What can you do right now to make a difference in your life and others? Find out who you are and own it. I used to hear “old people” saying, “it will all go by so fast,” while I was growing up, to which I would roll my eyes and grunt, “uhuh.” Now that I am one of those “old people,” I am telling you, IT’S TRUE!

CJ: You received a Bachelor of Fine Arts in Illustration from Syracuse University. Where does your love of illustration come from and why did you choose to study them in a formal setting?

MC: I’ve always wanted to be an artist. Many of my childhood memories involve drawing. It made me feel special as a child, and still does. I went to art school because I was ready for challenges. I knew I had the potential to grow as an artist. I also wanted to be around other artists, both teachers and students, people who I hoped would understand me.

MC D

CJ: Where does your love of storytelling come from? What stories have greatly influenced you?

MC: I am the oldest of three, and there’s a considerable age gap. For seven years, I was an only child, and I really had to maintain an active imagination to entertain myself alone at home, making up stories and acting them out. Then, when my sister and brother came along, I liked telling them stories.

Probably the stories that influenced me the most as a child were from a compilation of Golden Books – Tibor Gergely’s Great Big Book of Bedtime Stories. My mother says that when I was little, I made her read me The Little Red Caboose ad nauseam.

CJ: You spent time in Seattle working as a graphic designer. What did you do as a graphic designer and what did you learn from that experience?

MC: I started working in graphic design because it is so hard trying to be an illustrator right out of college. It was a way to pay the bills and still be creative. I started out at the very bottom as an unpaid intern, as I had no design experience even from school. Then, I started doing small freelance gigs for little or nothing while I worked as an office admin at a creative staffing agency. I really got to know the industry working behind the scenes, and eventually, I became one of their hired hands. I contracted at companies like Cranium and Microsoft for several years. Eventually, I became a full-time designer for Geocaching.com, where I eventually became the design manager. From there, I went back to freelance, working for companies like Amazon and Capital Group.

I learned so much being a designer that has influenced the way I make books. I have a strong sense of typography and layout now, which has strengthened my compositional skills. Meanwhile, working in corporate America taught me a lot about how businesses work and how to interact with a team to create a product.

CJ: You were the Co-Founder and Creative Director of Queer Getting Married, a wedding stationery company that provided invitations, save the dates, and more. What were your biggest takeaways from this experience?

MC: The funny thing about our little start-up is that my business partner and I opened QGM as a means to make a living working for ourselves while we tried to get published. However, I got my book deal before we even launched! We just closed our cyber doors several months ago, as both of our lives have changed dramatically since opening. My biggest takeaways are:

  1. If you’re going to start a business, it really has to be your one and only focus.
  2. Advertising and marketing are key. We had a great product, and no advertising money. It can be a hard pill to swallow, but without investors, it’s really hard to compete with the big dogs.
  3. It’s hard to predict what the consumers will want when you’re trying something that hasn’t been done before. We were trying to cater to a niche market, and it turns out that most just wanted the same old invites as everyone else. You can do all the market research you want, but sometimes, you just won’t know how sales will be until it’s out there.

Mike Curato Cover

CJ: Your lifelong goal of becoming a published author and illustrator of children’s books was achieved when Henry Holt Books for Young Readers (Macmillan) offered you a 3-book deal featuring the adorable Little Elliot. How incredible! What steps did you take in order to achieve this lifelong goal?

MC: Well, the biggest and hardest step was creating work for myself that I loved. It’s difficult to come home from a full-time job and commit to doing even more work. But, we have this one life, and so you just have to push through it. I booked a show at a local cafe to give myself a deadline, and then set about creating images for an exhibit, which ultimately became my new portfolio. The show was a success. A month later, I attended a conference by the Society of Children’s Books Writers and Illustrators. Attendees can submit their work into a portfolio showcase there, which is seen by many art directors and editors in the children’s publishing industry. I ended up winning first place, which got me a lot of attention. Elliot appeared multiple times in my portfolio, and everyone wanted to know what his story was. The next day I had emails and voicemails from editors, art directors, and agents. From there, everything eventually fell into place!

CJ: When writing and illustrating books for kids, what things do you take into consideration? How do you approach word usage, language, and visuals?

MC: Well, making a picture book is much like a dance. I usually start with some rough sketches, then write some words, and I go back and forth for months until a story emerges. Though I think picture books are for everyone, they have to be inclusive of early readers, so much of the story is conveyed via the illustrations. The words are there to support wherever the images need help conveying the plot, which is why my texts are usually very sparse. A lot of redundancies are edited out.

Mike Curato Cover 2

CJ: What is your book writing and illustration process? Do you have a routine or a strict schedule?

MC: I do not have a strict schedule per se. Every book is different. Some days I work a lot, some days the magic is just not coming. Meanwhile, deadlines are great motivational tools for me. I try to break a project down into milestones to keep me on track (and also to feel some form of accomplishment on the long road to the finished product).

CJ: Every day in your life must look different depending on your projects and the time of year, but what does a Monday look like for you?

MC: Ha! The days of the week are quite abstract to me. I work when I need to work, and I take off when I need to take off. I actually enjoy working weekends and taking off on a weekday. I guess “Monday” is the day I need to get back to work, which can be challenging. I need to trick myself into getting to work. I set little goals to coax myself back into the groove.

MC B

CJ: What should a young adult who wants to be a children’s book author and/or illustrator do now to set him or herself up for success?

MC: Well, most importantly, an aspiring writer/illustrator needs to read as many children’s books as possible. You need to know what’s out there. What are the classics? What is current? What speaks to you?

Then, you have to do your industry homework. One needs to remember, though making books is usually born out of a passion, it is still a business. You wouldn’t show up for an interview at Apple and not know what an iPod is. Look up your regional Society of Children’s Books Writers and Illustrators chapter and try to get to some meetings or a conference. Find out how a book is constructed. Keep tabs on what publishing house the books you like are with, then try to find out who edited them. If you’re an illustrator, start sending out promotional materials to art directors. If you’re a writer, find a writing critique group. If you’re an artist, try to get feedback from an art director (I actually was able to get a lot of feedback as a student from real art directors because I wasn’t looking for work, so take advantage of that generosity while you can).

I would also stress the importance of having an agent in today’s publishing world. It is very hard to get published without an agent, as many houses do not want unsolicited manuscripts. If you don’t know how much you’re worth and how to demand that worth, you need an advocate who will fight for the best deal. Most literary agents take 10-15% commission, but will most likely be able to get you more money than you would on your own. Finding an agent also requires researching an agent to make sure they’re legitimate and a good fit. What authors/illustrators do they represent? What books have they gotten deals for? What houses do they have connections with? How long have they been doing this? Also, do you feel comfortable working with this person? If all goes well, you’ll be together for a very long time.

CJ: What are some books, resources, and websites that have influenced you – either personally or professionally (or both)?

MC: The Society of Children’s Books Writers and Illustrators really is the go-to resource for “pre-published” authors, as they like to say.

Get acquainted with the major publications about children’s publishing:

School Library Journal

The Horn Book

Kirkus

Publisher’s Weekly

Booklist

There are some really great “kidlit” podcasts out there, where you can learn about the industry and hear from working authors and illustrators:

Let’s Get Busy

Brain Burps for Books

PW KidsCast

The Yarn

There are tons of blogs dedicated to talking about children’s literature, mostly book reviews and author/illustrator interviews. These are written by librarians, who are perhaps authors & illustrators’ greatest advocates. This list is the tip of the iceberg, but these are some of the best:

Watch. Connect. Read.

Sharpread

7 Impossible Things Before Breakfast

Librarian in Cute Shoes

Kidlit Frenzy

Read, Write, Reflect

Teach Mentor Texts

Nerdy Book Club

MC E

CJ: When you’re not working on your next book or other design projects, how do you like to spend your time?

MC: Eating, sleeping, karaokeing, and watching movies – not necessarily in that order, preferably with friends.

CJ: What are you working to improve upon – either personally or professionally – and how are you doing so?

MC: As someone who works at a desk all day, I have been trying to really take care of my body lately. I’ve been going to yoga and pilates several times a week (luckily there’s a studio around the corner from me), and I’m trying to eat healthier. I also work from home, so it’s important to get out of the house at least once a day for a walk.

CJ: What advice would you give your 20-year-old self?

MC: It may sound corny, but “don’t give up!” When you’re fresh out of school, survival is usually at the top of one’s list. Sometimes we have to take jobs we don’t want to do. Sometimes we have to eat Ramen noodles for a few months. But I think it’s important to have a dream to motivate you to better yourself. Working towards the dream makes all the crappy jobs and Ramen noodles worth it in the long run.

Mike Curato Qs

Cover Image by Mike Curato; Images by Carpe Juvenis

Travel

Now that we’re far enough into summer, you may have exciting trips planned for the next couple of months. As you research fun activities to do, pack your bags, and prepare for the adventures ahead, remember the words of wisdom from these five professionals. These people have traveled the world and learned from their mistakes, and they know what to keep in mind when it comes to exploring new territory. To read each professional’s full Spotlight, simply click on their photo.

travel roundup 1

travel roundup 2

travel roundup 3

travel roundup 5travel roundup 4

Image: Jose Martin with graphics by Carpe Juvenis

Professional SpotlightSpotlight

When we think of people who have inspired us, Meagan Morrison comes to mind for several reasons: she created her own dream job, she’s incredibly talented, and she’s contagiously optimistic. You can tell right away from seeing her illustrations how much skill Meagan has, and you immediately get drawn into her colorfully brushstroked world.

Though Meagan studied business in undergrad, it wasn’t until she was 24 that she decided to go back to school for a degree in fashion illustration. After doing internships and asking lots of questions, Meagan realized that she was going to have to create the dream job she ultimately wanted. The awesome and inspiring part? She did just that.

As a Traveling Fashion Illustrator, Meagan works with fashion designers and high profile brands and travels the world illustrating what inspires her. During our conversation, Meagan consistently referenced how much hard work it takes to make your dreams come true and that you have to “rewire your brain to think positively.” Very true words, and it’s encouraging to know that the road to your dreams may not be easy, but it’s definitely worth the challenge.

We’re excited to share with you Meagan’s interview with Carpe Juvenis! Read on to learn about her role as an illustrator, the greatest lessons she’s learned from starting her own company, and of course, how she seizes her youth.

Name: Meagan Morrison
Education: Bachelor of Commerce from McGill University; Fashion Illustration AAS from Fashion Institute of Technology
Follow: MeaganMorrison.com / Instagram / Twitter / Facebook

Carpe Juvenis: How do you define ‘Seizing Your Youth’?

Meagan Morrison: Making the most of every opportunity and asking tons of questions. Those who seek will find. Don’t wait for anything to fall into your lap, you have to go after it. Since I was very young I’d always ask a lot of questions to family friends and teachers. I was constantly educating myself and involving myself in things that I found interesting. ‘Seizing Your Youth’ is ultimately defined by each individual and what he or she wants to get out of life.

CJ: You received your Bachelor of Commerce from McGill University. What did you major in and how did you determine what to study?

MM: I went to McGill and studied business. My older sister went to McGill, as well. When I went to visit her, I remember looking at the girls in the commerce program and I loved seeing how they carried themselves. They were well dressed and professional. I really identified with them. They looked confident, empowered, and determined.

At the time I was very much into fine arts, but I wanted to step out of that for a bit to find myself and my purpose. I knew that with a foundation in business I could specialize and go smaller, but it would be harder to go from something narrower to a business degree. It felt like the right building block at the time.

Meagan D

CJ: You also received an Associate’s Degree in Fashion Illustration AAS from the Fashion Institute of Technology. What was that experience like?

MM: By the time I started my AAS in illustration I was 24 and really knew that the program was what I wanted to do. It was a highly specialized degree that offered fashion illustration as a two-year program. I didn’t want to commit to another undergrad degree, but I wanted a foot in the door in New York. I also wanted to be totally immersed in fashion illustration. I read this quote in a book about fashion illustration that advised to launch your career in a city that matters. I figured if I was educated here and given the opportunity to work here, I would be launching myself in the biggest city in the world for my industry. That’s what prompted my decision to go back to school.

Meagan Insta 3

CJ: What sparked your love of illustration and design?

MM: I always loved fashion and art. I didn’t quite know that they could co-exist so intimately until I started working in the fashion industry after McGill. My first internship was at a fashion magazine and I was constantly asking questions between the editorial department and the art department to see how much, if any, traditional art they used. It was predominantly graphic design and photography, so I didn’t see myself in that world. I thought maybe I belonged in the gallery world of fine art. Somewhere between trying out a bunch of different professions in the industry and asking questions, one of my coworkers mentioned the program in fashion illustration at FIT. When I heard the profession and researched it, it felt as though a lightbulb went off. I couldn’t believe that I found something that really combined my true greatest loves: art and fashion. That’s what really sparked the passion for me.

After hearing about the profession and the program at FIT, I went to bookstores and pulled all the sources I could find on fashion illustration. I searched through the glossaries and found names of illustrators, and some were located in Toronto. I reached out to Virginia Johnson, a local Toronto illustrator and textile designer, and brought her my portfolio. I explained to her that I loved illustrating shoes, and she pushed me to follow what I loved and told me that the rest would fall into place. I’ve been obsessed with illustration ever since.

Meagan Insta 2

CJ: You are a traveling fashion illustrator and recently branched out to start your own company. What does it mean to be a traveling fashion illustrator?

MM: It’s about being mobile and not just sitting at my desk pulling images off of the Internet. It’s about experiencing the culture firsthand and having that inspire my work. I have always been so passionate about travel and how that would inform my illustrations, and I wanted to be known as an illustrator at the intersection of both travel and fashion. There’s nothing like discovering a new destination and seeing how people dress in different cities around the world. I want to capture how the environment they’re surrounded by influences their style and my work. It’s the same thing when I’m at a fashion show and later do illustrations. I’ve seen the clothes, felt the texture of the fabric, heard the playlist, and felt the mood of the environment. I see the vision that the designer intends for the line. It helps bring the illustrations to life.

CJ: What are the greatest lessons you have learned from starting your own company?

MM: That you never stop fighting. Every paycheck is a fight. Every project is a new hurdle. I don’t mean to sound defeated by that, but it is the most obvious and striking contrast between working full-time and working for myself. I knew every two weeks I would get a paycheck at my last job, but now I have to chase and follow-up on everything. All the work of orchestrating that and keeping projects moving can be a challenge.

I’ve also learned that it would be great to have a sounding board. The thing I miss about working with a company is having the team to bounce ideas off of. It’s always a joint decision. I love the fact that I am making choices for myself and I do have the final say, but I think it’s good to discuss the decision with someone first and come to a well-informed decision. It’s a lot of pressure to not make the wrong choice on your own.

You also have to be careful so you don’t get taken advantage of. You’re constantly looking after yourself. The momentum has to keep going and the ball can’t drop. I find that the more I’m working, the more work comes in. It’s the ripple effect. The chain reaction in itself can be exhausting because when can you ever pause and catch up on your sleep?

CJ: You have done illustrations for amazing clients including Lucky Magazine, Rebecca Minkoff, Calvin Klein, and Conde Nast Traveler. When you work with each client, what is your process and your role as an illustrator?

MM: It honestly differs with every client, how big the project is and how much they want to involve the social and illustration aspects of it. When I come into a partnership I always gauge what the client’s expectations are, the breadth of the project, the timeline, their budget, and then we work from there. It’s about finding the middle ground between what you feel comfortable with and what the client feels comfortable with.

I have a clear vision about the brands I want to work with and how they align with the vision I have about being a traveling fashion illustrator. I don’t take on every project. If people want to sponsor things on my Instagram, I don’t take every product. Every partnership is very authentic. I don’t ever take on a job just for the money; I only do it when I believe it’s genuine and it makes sense.

Meagan C

CJ: How long does a piece take to create from start to finish?

MM: It varies per project and per client. For instance, my Calvin Klein job, I was at the show illustrating live. I could feel the fabrics and speak to the creative director, Francisco Costa, about his vision. I had about two days to turn around finals, but it helped to see the actual clothes. The pieces themselves takes me about three to four hours to complete, but that varies depending on how detailed each piece is. Then I scan the paintings, clean them up in Photoshop, and send the JPEGs to the client.

If it’s a customized piece or if I’m designing something from scratch, that requires a lot more preparation. I’ll do pencil sketches and color comps and then take it to the final round. Some are more laborious and expensive and others are just straight to final.

Meagan Insta

CJ: What should a teenager or young adult who wants to be a fashion illustrator do to set themselves up for success?

MM: Start asking questions and get a portfolio together. Also, don’t lose your voice. When people are younger they start to emulate the top people, but that’s not an advantage. People don’t want to hire a second rate version of someone else, they want to hire the first version of you. I’ve seen it on social media where people’s styles are so different, and that’s what’s standing out. It’s a saturated market. Keep true to you and keep your voice and style genuine. Embrace the quirks about your style.

There are tons of free websites out there as well where you can put your work online. Keep it clean and simple so you can showcase your work. When I was younger I was constantly illustrating to keep perfecting my craft and finding my voice. I wasn’t thinking about gaining clients just yet. Build your social awareness and share your journey. Then, when you are ready to work with clients, people will already know about you.

Meagan Insta 4

CJ: How do you stay organized and manage your time?

MM: I have a massive planner that is 8½ x 11 inches. I write lists every single day, and everything that doesn’t get accomplished the day before gets carried over to the next day. It’s blinding because I highlight everything. I also use whiteout so there’s nothing unnecessary on it. I start and end my day with that book.

From the planner I move to emails. The luxury of working for myself is that I can answer them when I’m in still in my pajamas. I get breakfast and then do errands. I want to get all my errands finished before I start painting, because once I start painting I lose track of time. It’s nice to have everything else taken care of so I feel at ease when painting. I don’t want stress to show through in the work. I often work pretty late into the evenings. It depends on how intense the turnaround time is. I like to end the day seeing a friend or unwinding watching Netflix.

One thing I’d like to do more of is exercise. You have to take care of yourself when running your own business. If you run yourself down there is no business. I don’t have weekends. I haven’t taken a proper vacation when I’m not working. For better or worse, travel has become part of my brand so I feel a sense of responsibility to cover what I’m doing and share it on social media even on my downtime.

Meagan Insta 5

CJ: What spring break experience has been memorable for you?

MM: I remember the spring break in my senior year of high school. I traveled with my class to France and Italy. That trip stands out to me because we had a small group of students in my high school, and we were combined with another high school group from the Ontario area. We got to meet new high school students on the trip and it was a prelude to university and meeting new like-minded people. I love how traveling and meeting new people expands your vision.

We started in Paris and hopped over to Florence and Rome. I had the time of my life. It wasn’t about the accommodations or amenities at all. It was about being with people you cared about, having a blast, and laughing a lot.

CJ: Is there a cause or issue that you care greatly about?

MM: Changing the perceptions on mental health, depression, and anxiety is important to me. I don’t think people should be scared to talk about it. Being open and dealing with it as you would your physical health is important. There’s more people suffering from anxiety and depression in the country today than there has ever been. Why is that? It’s a blessing and a curse that we have social media, but it also gives people a sense of inadequacy all the time. You’re constantly faced with what other people are doing and how much more you should be doing.

I’ve had to really practice changing my mindset about that. By nature I’m very anxious and hard on myself. I practice gratitude. My anxiety can be so bad that it could hinder my work flow. When things aren’t totally concrete I’m at my worst. The grey area is the hardest area to live in, but that’s life. Rarely is anything concrete.

CJ: What is your favorite book?

MM: Eat, Pray, Love: One Woman’s Search for Everything Across Italy, India and Indonesia by Elizabeth Gilbert.

CJ: What advice would you give your 20-year-old self?

MM: I’d say not to worry and that everything is going to work out just fine. I feel more confident now than I ever have. Looking back at all the things I didn’t think I could get through, that I have since surpassed, helps me to remember that everything will always work out. I didn’t know then that I’d be able to build a life that I love so much.

I would advise people in their twenties that nothing is handed to you. You have to practice happiness. It can be tough but you have to practice that in the same way you train for a marathon. Rewire your brain to think positively. Also know that happiness isn’t at the other end of success. You can start with happiness and then everything else doesn’t have so much weight on it. If your happiness is contingent upon getting into a certain college or winning a certain award or landing a client, then you’re never going to get there because the benchmark is always raised.

But if you start with being grateful with what you have in the moment, then you’re already working at an advantage. Be grateful for what you have because it can all be gone tomorrow. I feel infinitely happier now than I did way back then, even though I have tons more responsibilities. It’s been a matter of self-awareness and rewiring the way that my mind works.

Meagan M Qs

Images: Illustration Images by Meagan Morrison; photos of Meagan by Carpe Juvenis

Professional SpotlightSpotlight

We fell in love with Katie Evans’ designs when we first laid eyes on them. It’s not hard to adore her bright and colorful designs. Having freelanced, worked at kate spade, West Elm, and Gap, Katie is no stranger to hard work and late nights. Now working as the Art Director at Ivanka Trump, Katie is involved with social media, editorial stories, and marketing. We were very excited to meet with Katie at the Ivanka Trump office in New York City, which is powdery pink and filled with inspirational images and quotes. We are motivated by Katie’s creativity and hard work, and we know you’ll be just as inspired.

Name: Katie Evans
Education: B.F.A. in Graphic Design from the Maryland Institute College of Art
Follow: @heykatieevans / katie-evans.com / ivankatrump.com

Carpe Juvenis: How do you define ‘Seizing Your Youth’?

Katie Evans: Taking chances and not being afraid to make mistakes. You’re young and now is the time to experiment with what makes you happy and what doesn’t.

CJ: You received your BFA in Graphic Design from the Maryland Institute College of Art. What sparked your love of design?

KE: I attended an arts magnet middle school and high school where I was a visual arts major concentrating in drawing, painting, and sculpture. In high school I continued those studies and did a crossover into the Communications department to take a graphic design class. CD album covers and booklets were what originally sparked my interest in design. I remember pinning them on my bedroom walls. I also designed a couple of covers for my friends’ bands.

When I was a junior in college, I still didn’t know exactly where I wanted to take my career. A professor gave me an assignment to spend a weekend collecting anything that I was attracted to. The next week I brought back a bunch of Martha Stewart’s Blueprint Magazines, editorial shoots from Lucky Magazine, and a bunch of fashion ad campaigns. My professor was like, “Duh, you should be in fashion.” I questioned her about how I could play a role in fashion as a graphic designer. She told me that fashion companies need graphic designers – they do the windows, the packaging, and the hangtags, etc.

Katie c

CJ: You are the Art Director at Ivanka Trump. What does your role entail? 

KE: Ivanka started her licensee businesses a while ago, and she recently hired a small team to revamp and bring new life to the brand. We recently launched our new site, ivankatrump.com, that includes articles on work, style, travel, home and play.

I concept all of our editorial content on the site and our social media channels. Everyone does a bit of everything here because we are so small, which is great because you can be involved with different aspects of the brand. Our team makes all of our ideas come to life. I still do graphic design which I think a lot of Art Directors don’t do anymore. It keeps me on my toes.

CJ: You freelanced as an Art Director, Graphic Designer, Illustrator, and Consultant for years while also maintaining jobs. How did you go about securing freelance work, and what advice do you have for those interested in freelancing?

KE: I originally started freelancing because I needed the extra money. I always had a steady job and paycheck to fall back on, and freelancing let me experiment and find out what worked and what didn’t. For my first freelance job, I was paid $500 to design 10 different stationery cards for a new company. Looking back on that now is crazy to me. I want to smack my 22-year-old self and ask what I was thinking! I spent so much time on those cards. It should’ve been $500/per design. When I figured out what I wanted my freelance projects to be, I was able to pick the ones I liked the most. Most of my jobs came from word of mouth with a mix of referrals from social media and LinkedIn. I did freelance as a career for a little bit, and then Ivanka Trump lured me back into the corporate world.

If you’re thinking about going strictly freelance, you have to be passionate about what you’re doing. You have to be a go getter or you will go nowhere. You also have to be organized because now you are a bookkeeper, assistant, answering emails all day, and you still have to pump out the creative. It took time, but I was able to figure out how long projects would take me and account for client feedback to get it all done in time to start my next project. It was tricky to find that right calculation, so being flexible was important.

When I first went full-time freelance, I had nine clients. It was a disaster on my side, but I put on a good face for my clients. I had no social life, I was overworked, and I will never make that mistake again. I think the happy medium was 3-4 clients, with 2 recurring clients and 2 rotating projects. I had to be very strict with my clients about deadlines so that it didn’t interfere with other jobs.

women who work

CJ: How did you stay organized and efficient while balancing freelancing with your corporate jobs as a Graphic Designer?

KE: Google. Google has helped me do everything. I used spreadsheets for my bookkeeping and the calendar for meetings and deadlines. I would have each client assigned a different color so I could visually see the different projects I had. It worked because I could access those files from wherever I was – whether it was on my computer or phone.

CJ: You’ve worked as a graphic and web designer at some amazing places such as kate spade, West Elm, and Gap. What are your biggest takeaways from these experiences?

KE: The biggest thing I learned was that if I’m not passionate about the brand and what I’m marketing, I can’t do my job 100%. At kate spade, I lived and breathed that brand. The projects were so much fun. The kate spade team was very small so I was able to get my hands on everything, from window installations to stationery collections to working on photo shoots. I loved that so, so much. Every day was different and I was building a great portfolio.

The other companies I’ve worked for were much larger and at those jobs I was hired to do one thing and that thing only. They had huge teams to do everything and I realized through those experiences that I thrive better in smaller environments where I can play a part in all aspects of a project. I like to see things from start to finish.

CJ: What is the best part about being a designer? The most challenging part?

KE: The best part is telling stories. Just being able to tell a story about what a girl is doing and what she’s wearing and what she’s thinking and feeling. Finding a way to bring that story to life is the best part.

The most challenging part is finding the balance between making something beautiful but also selling that product. It’s tough to be conscious of both.

Katie a

 

CJ: Every day in your life must be different depending on your projects and the time of year, but what does a Monday look like for you?

KE: 7am: Rise and shine! Go for a run! #TeamIvanka is training for a half-marathon in April. Most of us are new runners and can’t imagine running 13 miles. So far 4.5 has been my most.

9am: Take the F train uptown. Read theSkimm on my ride up.

10am: Write out my to-do’s for the day. Respond to emails.

10:30am – 2pm: Plan our next editorial shoot, pull inspiration, select models, snap a photo of Ivanka for Instagram, and edit videos.

2:00pm: Lunch! If I eat too early the day goes by much slower.

2:30 – 5:30pm: Work with our Editorial Director to plan the next month of stories. Call people and brands that we want to collaborate with, design creative for our social media channels, a little bit of pinning to Pinterest.

5:30 – 6:00pm: Regroup with my creative team to make sure we’re meeting deadlines.

6:00pm: Out the door!

Trump Tower

CJ: What should a teenager or young adult who wants to be an Art Director or Graphic Designer do now to set themselves up for success?

KE: Be multifaceted in your line of work. If you’re a graphic designer, take a variety of art classes and learn as much as you can. You’ll be more valuable to your employer. As a designer, explore print, packaging, publication, digital, and visual. It will set you up later in your career to think about a project holistically.

Also, be nice. It still blows my mind how small this world is.

CJ: What is your favorite book?

KE: I just finished reading You Before Me by JoJo Moyes. I laughed and cried.

CJ: Having a loaded schedule can sometimes be overwhelming. What do you do when you’re having a bad day and need to unwind or reset?

KE: I like to take deep breaths, go to the gym, and shop.

CJ: What advice would you give your 15-year-old self?

KE: Your career path is going to be hard work, but it’s going to be worth it. And pay attention in your foundation art classes! Find a way to enjoy it and embrace your art style. You may think they’re boring, but they’re teaching you the basics of art that will come up in every aspect of your job.

Katie Evans Qs

Image: Carpe Juvenis

Professional SpotlightSpotlight

We discovered Moni Yael Garcia by happy universal chance. While stumbling through the internet we landed on an amazing site called Real Heroines and were immediately mesmerized. The graphics, the stories, the layout – everything captured our attention and we needed to know who the mastermind behind it was. We are excited to introduce Moni Yael Garcia, freelance designer, illustrator, and entrepreneur extraordinaire! From web design, to photography, to mobile, to identity development, Moni does it all (and makes it look effortless!). We asked Moni to describe her work as a self-starter and where her life and creative inspiration comes from.

Name: Moni Yael Garcia
Occupation: Freelance Designer and Illustrator
Age: 27
Education: University of Texas at Austin
Follow Moni: Website | Twitter | Instagram | Dribbble

Carpe juvenis: How do you define “Seizing Your Youth”?

Moni Yael Garcia: Enjoying your time as an individual where responsibilities are few and self exploration leads to personal epiphanies.

 CJ: What originally drew you to design and illustration?

MYG: I’ve always had an interest in art and drawing. Even before kindergarten I would sculpt roses out of Play-Doh and dinosaurs out of aluminum foil. I really enjoyed experimenting with colors and drawing what I saw in picture books. I found these things relaxing and the only way to accurately understand myself and the world around me. I never considered design or illustration as a sustainable form of living. I went through various career choices from grade school to high school, and becoming an artist was never something I considered possible. Even though both my parents are creative individuals their careers have followed more traditional paths. Luckily, I came across the “graphic designer” occupation during a career research project for my 11th grade BCIS class. That’s when all my tension on choosing a career dissipated, and I finally had a direction I could wholeheartedly follow.

CJ: After graduating from University of Texas in Austin you struggled to find footing in the professional world – what made you decide to invest your time into late night tutorials and, in hindsight, was it worth it?

MYG: Late night tutorials were the only thing that kept me sane after graduating from UT. It was such a tough time for me. I couldn’t find a job for almost a year due to the competitive nature of the industry and the recession. The majority of places were under a hiring freeze and if they were looking for new employees, having no experience in the field just didn’t cut it. I only had one real internships under my belt and my skill level was bare minimum. Don’t get me wrong, my education in the University of Texas Design Program helped me immensely and gave me an understanding of design, the importance of concepts and the creative process. However, I needed more experience and a chance to level up my abilities as a designer. I actually treasure these obstacles now. They drove me to push through, take initiative, and reevaluate my goals.

moni-interview2

CJ: What was the main trigger that made you realize that the corporate environment wasn’t for you?

MYG: I would say the differences in our creative process. The pay was great, and the hours were predictable, but I found myself constantly frustrated in the way things were approached. Then after several months of trying to make it work I had a heart to heart with myself. Would I be happy working there for the next five years — heck even two? Did I see myself growing into the designer I wanted to be or would I fall into complacency? Would it be okay to go to a job that I would eventually come to hate every day? I saw no progress in site and that’s when I decided to make a change professionally.

CJ: What inspired you to create a personal website, and how has that affected you professionally?

MYG: The reason I decided to create my own personal website instead of using a standard template was because I felt it necessary. I wanted to showcase my work, creative skills, and personal story in an unconventional manner. I was ready to step out of my current situation and become a full-time freelancer. It was definitely a challenge filled with stress during the whole process, but ultimately I knew it would lead to my new identity. I strongly encourage all creatives to have their own website, or at least some form of a digital portfolio where they have the ability to showcase their own work. Behance, Cargo Collective, and WordPress are great places to start if developing your own custom website from scratch isn’t possible.

CJ: Can you please tell us more about your volunteerism work with the Boys and Girls Club Holthouse?

MYG: Well, for a couple of years I had the opportunity to share my Fridays with a group of 7 to 11 year olds at one of the Boys and Girls Club of Greater Houston. I wanted to make the most out of my visits with these kids, so we set up “Club Tech”, in which we covered business, art, design, programming, and robotics. Basically everything I learned during and after college. I wholeheartedly believe it’s important to give back to others who may not have certain opportunities or resources available to them due to circumstances out of our control. Exposing younger generations to these subjects early in their development sets them up for success. I really tried to create a curriculum that encouraged creativity and problem solving. At times it was difficult to motivate them through a project though, since they already had a long week of school, but they were real troopers. Some of our favorite activities were, creating business cards for their fictional business, building real working cardboard robots, 3D printing figurines, and designing their own computer game. As long as I was able to open up a new world for one of those kids, I’m happy.

CJ: What advice would you give to younger artists/designers/illustrators who are still studying their craft?

MYG:  Five things. 1) Don’t overlook the history of your profession. It’s always a good idea to study the basics and build a strong foundation. 2) Dissect the world around you and don’t be afraid to recreate work you find inspiring. (Just don’t claim it as your own!) 3) Explore different concepts and techniques that spark your interest by jotting them down and finessing them through whatever medium necessary. 4) The more you make the more you learn. It’s easy to get discouraged when you’re in a competitive field, but nobody starts awesome. You need time to develop your skills and even find your passion. 5) Posting your process on a social media outlet is a great way to document your journey and can even help you land possible internships or jobs.

I think if you keep these things in mind you’ll be able to find your own voice and make great things.

CJ: How do you create and maintain a work-life balance?

MYG: Honestly, I’m still working on that. As a sole proprietor it’s up to you to find work, manage clients, execute projects, and develop your business. It can be stressful and rewarding at the sametime. My personal time almost always relates to my business time, though indirectly. Whether it be daily exercise to get my creative juices flowing, hiking expeditions as a form of self reflection, designing products for my online shop that require a more personal approach, and even sleeping to work through mental blocks. I like to use this time as fuel for what I do and want to accomplish. As I see it, let the way you live your life dictate how you approach your work.

CJ: As a self-starter, how do you keep yourself on-track with goals and deadlines?

MYG: Having a scattered “To-Do” list with no unforeseen end can be daunting. That’s why I’ve switched over to organize my priorities with a project checklist where I have the flexibility to assign daily, weekly, and monthly tasks. I plan out all my client work and personal projects in Producteev, a free online management software, and move on to display my weekly and daily tasks throughout my workspace. I’m a very visual person so seeing things I have to accomplish outside of the screen and on my whiteboardand post-it notes keeps me focused. Overall this process allows me to change between projects and stay productive when I’m burnt out with one in particular.

Moni Garcia QsCJ: Where did your love for women’s rights come from?

MYG: I can’t really pin point where my strong interest for women’s rights came from, but I’ve always been fond of encouraging others to reach their full potential, whether they be women, men, boys or girls. We’re all human and treating someone poorly due to gender, ethnicity, religion, sexuality, disability, or social status is baffling. Equality encourages a future of strong innovative thinkers and leaders, better economy, more creativity — not wanting everyone to be equal is just a stupid outlook.

CJ: How do you strive for equality in your everyday life?

MYG: Innately we all yearn for personal equality and acceptance. However, a constant barrage of negative comments and imagery can distort anyone’s understanding on how to treat others and even themselves. Personally, I stay true to my own convictions and openly express my concerns on issues that impede equality. Education on the subject is extremely important and in most cases allows people to reevaluate stereotypes they perceived as true. That’s why on August 26th my partner and I launched Real Heroines: an on going web project that compiles notable women who cultivated their minds and overcame adversity by defying social conventions. Through this site we hope to inspire female empowerment within men, women, boys and girls, from the action of their predecessors, so we can all move beyond gender stereotypes and grow as people. Education and an open mind brings awareness on equality, or any issue, really.

CJ: Growing up you were raised in a household that provided you with two different cultures – how did those experiences shape who you are as an adult?

MYG: I value knowledge and education and have a strong work ethic, but that’s more from being raised by a teacher and an engineer than being a second-generation Mexican-American. Growing up bilingual made me create a sort of pidgin involving a mixture of words and sound effects to express myself. Being the product of two cultures provides a perspective on problem-solving that neither culture might have on their own.

CJ: What is your favorite way that technology has changed over the past five years?

MYG: We’ve refined technology for so long that it’s much more accessible to individuals rather than only large corporations. This accessibility allows us to further integrate it into our society. An individual can now use technology to create something they’ve imagined with a degree of polish that used to only be possible with a team of people or large-scale machinery. 3D printing is a great example. And the whole thing is cyclical. The more we adopt, the more we refine, which in turn integrates it further into society.

CJ: What advice would you give to your eighteen-year-old self?

MYG: Take risks, stop waiting! Allowing your school curriculum to dictate your every move will only hinder your growth. Take the initiative to apply for internships, seek mentors, and invest in personal projects. These experiences will feed your creativity and raise your skill level ten fold before you graduate from college. Welcome obstacles that come your way and then kick them in the shins!

moni-interview4

Image: Courtesy of Moni Yael Garcia

Professional SpotlightSpotlight

It’s not every day that we see an illustration, design, or logo that makes us feel something. However, when we see Kate Harmer’s illustrations and designs, we are immediately inspired and moved.  Kate drew constantly when she was a little girl and she hasn’t stopped since. After following her passion and enrolling in Cornish College of the Arts, doing internships, getting job experience in design and illustration, and completing graduate school at Rhode Island School of Design, Kate launched her own design studio, Hum Creative, that focuses on creating and developing brands. More recently, Kate illustrated a fun book based on the popular Twitter feed @tweenhobo.

Kate is not only amazingly talented, but she is smart, kind, and thoughtful. We are encouraged by her self-starter attitude, work ethic, and of course, her creativity. Kate not only has the ability to draw and design, but she also knows how to build an incredible team of people with serious creative skills. Through determination, hard work, and learning how to grow a thicker skin, Kate has excelled in her field, and she generously shares the lessons she has learned during her journey. Read on to learn more about Kate Harmer, a true inspiration!

Name: Kate Harmer
Age: 32
Education: BFA in Illustration from Cornish College of the Arts; MFA in Design from Rhode Island School of Design
Follow: Twitter / Hum Creative / Instagram

Carpe Juvenis: How do you define ‘Seizing Your Youth’?

Kate Harmer: It’s common to hear successful people look back and say, “We were so young, we were so crazy, we were so brave!” They’re talking about times that were challenging, but they are able to look back and laugh. I try to remember that I’m in that time right now for my future self. Knowing that all of these things won’t seem as hard or scary once they’re done encourages me to take big risks.

Yes, I’m 32, but that’s super young! Someday I’ll hopefully laugh at my failures and be proud of having challenged myself. Both are positive outcomes. To me, seizing your youth is embracing that now is the time to be free and brave.

CJ: You received your BFA in Illustration from Cornish College of the Arts. How did you determine what to study?

KH: My career has been a process of elimination. When I was in high school I didn’t know what graphic design was. I just knew that I liked to draw and wanted to do something creative. I went to school for Illustration and worked as an Illustrator for a while. I tried to follow my passion in a broad sense, then tried lots of things to see what I enjoyed and to get more focused.

CJ: What sparked your love of illustration and design?

KH: As a kid I would sit in my bedroom for hours and draw fake advertisements for the commercials I heard on the radio. I didn’t realize it at the time, but I was thinking like a graphic designer. I wasn’t super social, so drawing was a natural way for me to process the world and express myself.

Because I drew constantly, I had good foundation of skills by the time I was looking at colleges. I definitely think most things can be learned, but you have to put in the time.

d

CJ: You also received your MFA in Design from Rhode Island School of Design. Why did you decide to go to graduate school, and would you recommend it?

KH: I went to graduate school to learn new skills and jump start the next phase of my career, which was more about design than illustration.

I would recommend graduate school, but only for people who are really ready for change and have fully explored on their own first. I don’t think graduate school is required to be successful, and some life experience first is key. You can create a condensed learning experience on your own, but some people need help. I needed grad school to push me.

Graduate school was both awful and great. The workload was almost unbearable at times, making it one of the toughest experiences of my life so far. It was a critically intensive, so I graduated with a much thicker skin. I also made amazing friends, learned a ton, and I felt empowered to do what I do now. It was a full, amazing experience.

CJ: You are the Principal and Creative Director at Hum Creative. What do your roles as Principal and Creative Director entail? 

KH: When I first started the company I was doing a bit of everything – designing, sweeping floors, and writing invoices. Now my role is to think about this entire company as a design project. I am responsible for our overall strategy and goals, getting the best team of people together, and directing the creative process. I also play on our kickball team.

CJ: Before Hum Creative, you were a designer at Starbucks Creative Group. What kinds of projects did you work on at Starbucks?

KH: I got to illustrate coffee bags, draw lots of little croissants and coffee mugs, and help design seasonal merchandise and packaging. I was fresh out of school and supported senior designers and creative directors with illustrative tasks that were needed to fulfill their vision.

I think about that job every day while building Hum Creative. When I was at Starbucks, it really felt like everyone was happy with their jobs and coworkers. A lot of what I learned there has stayed with me.

e

CJ: You illustrated the book Tween Hobo, which is based on the popular Twitter feed @tweenhobo. What was that illustration process like?

KH: Alena Smith knows the Tween Hobo character so well. I flew down to LA to brainstorm initial ideas for the book with her, then worked remotely for the next few months. Alena sent me in-progress chapters every couple of weeks. I would read them and keep a running list of possible visuals. We would Skype to discuss and narrow them it down. Most of the process was brainstorming with Alena. I would sketch the illustrations in pencil first, and then once they looked good I drew over them in Sharpie.

CJ: What are the greatest lessons you have learned from being an illustrator and designer?

KH: Professional creatives need to be open to criticism and flexible to change, but they also must stand up for what they believe in – when it really matters. Grad school and client work has helped me grow a thicker skin and to understand that everyone’s input is valid. You can’t be too precious about your work – sometimes people won’t like it. That’s okay. Not all battles are worth fighting… when you do push back, it should mean something.

CJ: What is the best part about being a designer?

KH: The best part of designing for me was seeing my work out in the world, successfully doing its job. As a creative director, it is so fun to see this whole group make work that they’re proud of. Knowing they worked hard, made beautiful work, and enjoyed the process is hands down the best part about what I do.

CJ: What does a day in your life look like?

KH: My day involves a lot of time reading emails and meeting with our internal design teams to check in on projects moving through the studio. I also meet with clients often to present work and discuss feedback. Some days are spent on the set of photo shoots or visiting the printer for press-checks.

c

CJ: What should a teenager or young adult who wants to be an illustrator and designer do to set themselves up for success?

KH: Make a lot of work. We look at a lot of portfolios here, and the people who really stand out have been making up their own projects and designing things on the side. Drew Hamlet, a Lead Designer at Hum, started an online radio station in high school and he designed the branding, website, and collateral for it. I’m very impressed by self-motivation. You learn so much by just being active in your field, even if it’s just practicing. Don’t wait for people to ask you to do something, just do it yourself.

It is also important to have a sense of the design community and what has come before you. Look at blogs, read design books, and absorb a design education as much as possible.

CJ: How do you like to spend your free time?

KH: I work long hours and am a homebody when they day is over. My husband and I love to cook and enjoy big dinners outside, then take our two French bulldogs on long walks.

CJ: What motivates you in your everyday life?

KH: Professionally, this team motivates me. The responsibility of having people who come to work in an environment that I make is both very intimidating and very inspiring.

My husband is very motivating and inspiring outside of work. He is a creative that has worked really hard since he was a teenager and he’s done well. He’s always wanting more and imagining fun things he can do. He’s constantly learning and dreaming. He’s a really good reminder to keep your mind open and active.

CJ: What advice would you give your 15-year-old self?

KH: I’d tell myself to be braver sooner. It took me a little while to start realizing that taking risks almost always pay off in some way. It might not always be in the way you planned, but taking on challenges is the fastest way to grow.

Kate Harmer Qs