black hands,

black art,
black magic
black made,
black skin.
black design?

white dominated field...

Where are all the Black Creatives?

A thesis by Deidra J. McKnight, a young black design student who was tired of
having black creatives excluded in her studies.
black hands,
black art,
black magic
black made,
black skin.
black design?

white dominated field...

Where are all the Black Creatives?

A thesis by Deidra J. McKnight, a young black design student who
was tired of having black creatives excluded in her studies.
EDITOR’S
“Where are all the black creatives?” is the result of my frustration

LETTER
after taking multiple history and design classes where I felt non-
white creatives were being ignored and/or overlooked. When
I asked about the lack of black, designers, illustrators,etc. the
answers were mostly the same.

No one knew why or where to get the information.

I am over accepting this answer and the fact that I, nor most of
my peers, could name a black graphic designer except for Emory
Douglas. I also couldn’t see myself working in the design field
because I wasn’t seeing other black people doing so. I‘m tired of
feeling “other” in a field so well known for helping bring people
together.

This publication is for those who care and want to learn as well
as those who will read and and start conversations. Created after
hours of research, interviews, and conversations, I struggled a
lot and sadly didn’t find as much information on everyone like I
wanted, but thanks to the knowledge of AIGA, Glenford laughton,
the wonderful interview participants, and a few others I am able to
present to you this publication full of various black creatives and
their work. I hope some learn something new, reach out, and bring
these folks as well as others into their spaces and that others of
you feel validated, inspired, and that you belong. Please share it,
talk to others about, talk to me about it if you want. I want to start
talking about solutions and acting upon them instead of continuing
talks of the problem. Help me to do that and my promise to you is
this: I will continue towards my degree in Graphic Design and I will
get it. I will work in this field and be my true self, and I will one day
give back to help the next generation.

Thank you.
Gail Anderson pg. 10–15 Art Sims pg. 16–19 Sylvia Harris pg. 20–23 Thomas Miller pg. 40–43 Georg Olden pg. 44–47 Eugene Winslow pg. 48–51

Emory Douglas pg. Archie Boston pg. 30–35 Emmett McBain pg. Leroy Winbush pg. Aaron Douglas pg. 56–59 Charles Dawson pg.
24–29 36–39 52–55 60–65
13th Designer pg .66–67 Norm McCuller pg. Loveis Wise pg. 78–85 Corey Vasquez pg. Rheagan Dukes pg. Jamila Carter pg. 136–143
68–77 118–125 126–135

Rob Lewis pg. 86–101 Kayla Bronson pg. 102– Erika Nathanielsz pg.
109 110–117
Gail Anderson
Known for her uncanny ability to create
expressive, dynamic typefaces suited perfectly
to their subject, Gail Anderson is a designer
and teacher with an impressive tenure in the
field to date.
Born and raised in New York, Anderson's ever
burning curiosity about design began with
the teen mags of her adolescent years and was
cemented while studying at the School of
Visual Arts in NY. It was here that Anderson
began to develop her methodologies and no
holds barred approach to design.
After college, Anderson eventually landed at
The Boston Globe for two years where she
worked with those responsible for pioneering
the new newspaper design of the late 1980's.
Moving on to Rolling Stone in 1987, Anderson
worked seamlessly with AIGA medalist, Fred
Woodward, where their creative process always
included lots of music, low lighting, and
late nights. Her work with Woodward was
always exploring new and exciting materials
and instruments to create Rolling Stone's
eclectic design. Everything from hot metal
to bits of twigs, to bottle caps, was utilized
to create their best vision possible.
After working her way up from associate to
senior art director, Anderson left Rolling
Stone in 2002 to join SpotCo where her
focus shifted from design to advertising.
At SpotCo, she's been the designer behind
innumerable Broadway and off-Broadway
posters including that of Avenue Q and Eve
Ensler's The Good Body.
Praised as the quintessential collaborator for
her inclusive, expressive, and encouraging
attitude towards working together, Anderson
also admits that many of her "high-octane"
designing occurred at night, solo. Whether
it's her collaborative work, solo projects,
magazine layout, and design, or theatrical
posters, Anderson designs work with and
for her subjects, always emphasizing their
highest potential.
 Gail Anderson 13
Graphic Designer
 Art Sims
From his first foray into the art world with the After seeing one of Spike Lee's films Sims
"Draw Me" test from magazines and TV of knew he had to work with the director. He
the 50's and 60's, Sim excelled. He attended went on to design posters for Lee's New Jack
Detroit's Cass Technical High School, known City, Do the Right Thing, Malcolm X, and
for its dedication to the arts. From there most controversially, Bamboozled.
Sims gained acceptance to the University of
Michigan on a full scholarship. During the Ever the entrepreneur, Sims is developing
summer between his junior and senior years, his own greeting card line and writing
Sims landed a job with Columbia Records screenplays, while teaching graphic design
to produce a series of album covers. After at a middle school for African Americans.
graduation, the sunshine state was calling The epitome of talent, drive, and ambition,
his name and Sims headed to LA. Art Sims is decidedly an African American
graphic designer you should know.
Once in LA, Sims scored a job with EMI from
where he was ultimately let go for pursuing
freelance work. He went on to work for CBS
where he continued building his independent
portfolio. This time when he was let go, he
was prepared, and already had the office
space for his firm, 11:24 Advertising Design.
 Art Sims 19
Graphic Designer
 Sylvia Harris
Noted for her unwavering desire to help others,and began focusing more on design planning
Sylvia Harris was a graphic designer, teacher, and strategies. Harris helped guide some of
and business owner, who used her research the largest public institutions, hospitals, and
and skill set to reach far and wide. universities with systems planning. In her role
as creative director for the US Census Bureau's
Born and raised in Richmond, VA, Harris Census 2000, Harris' rebranding efforts helped
experienced desegregation of the 1960's to encourage previously under-represented
directly. This experience provided the foun- citizens to participate.
dation for her interest in social systems and
their effect. After receiving her BFA from Harris was awarded the AIGA medal posthu-
Virginia Commonwealth University, Harris mously in 2014, three years after her untimely
moved to Boston where she worked with a death at the age of 57. For her contributions
wide variety of creative types. It was through to the design field and far beyond, Harris will
her work with WGBH and Chris Pullman always be remembered.
that she realized the breadth and depth of the
design field. After much prodding from her
mentor, Harris enrolled in Yale's Masters in
Graphic Design program.
1953 – 2011 Two Twelve Associates was created with two
of her former classmates in 1980 after grad-
uation. Here, Harris really began to explore
how to use and grow her skill set to create
large-scale public information systems. Her
work with Citibank set an early precedent for
human-centered automated customer service.
In 1994, Harris left Two Twelve to create
Sylvia Harris LLC where she changed gears
 Sylvia Harris 23
Design Strategist
Emory Douglas
The former Revolutionary Artist and Minister alongside the party’s focuses. It was while
of Culture for the Black Panther Party, Emory working on The Black Panther that Douglas
Douglas’ career in commercial art has been coined and popularized the term “pigs” in
centered around civil and equal rights prop- reference to police officers.
agation from its beginnings.
Come the 1980’s the Black Panther Party as
Douglas’ first exposure to design came when Douglas had once known had been mostly
crimes he committed landed him in the Youth dissolved by the efforts of law enforcement.
Training School of Ontario, California. Here, Later, Douglas moved to care for his ailing
he worked in the print shop and learned about mother and continued to pursue some inde-
typography, illustration, and logo design. Later, pendent design. His revolutionary artwork
Douglas enrolled in commercial art classes helped to educate and agitate repressed and
at the City College of San Francisco after suppressed communities of the time.
running into a former counsellor from the
center who encouraged him to do so.
During this time, Douglas became active in the
Black Panther Party after being introduced to
the founding members, Huey P. Newton and
Bobby Seale. While watching Seale work on
the first issue of the party’s paper, The Black
Panther, Douglas offered up his design skills.
He was well aware of the importance of having
illustrations and artwork to help reach the
many illiterate members of the communities
the party was targeting. Much of his art and
illustration for the paper initially focused on
Black rights, but it soon expanded to include
women, children, and community figures,
 Emory Douglas 27
Graphic Designer
 Emory Douglas 29
Graphic Designer
Archie Boston
Known for his blatant self-deprecation and becoming head of the visual communications
humor as an African American, Archie Boston design program. There, he influenced countless
was a pioneer in challenging the racism of young designers, inspiring them through his
the 1960’s and 70’s through his designs and encouragement and standard for excellence.
provocative attitude.
His irreverent attitude toward race in his
One of five children, Boston grew up poor but designs and lasting legacy through his time
well aware of the importance of education. In as an educator make Archie Boston one of
1961, his artistic talent landed him acceptance the most prolific African American graphic
to Chouinard Art Institute. During his time designers of our time.
at university, he interned with the advertising
agency Carson/Roberts, where he cemented
his desire to work in design and eventually
returned to work, years later.
After graduation, he worked in various adver-
tising and design firms before forming Boston
& Boston with his older brother, Bradford. It
was here that they created provocative pieces
showcasing their race, as well as creativity, in
pieces such as “Catch a Nigger by The Toe,”
and by selecting the Jim Crow typeface for
their logotype.
For the majority of his career, however, Boston
was an educator. He landed a position as
full-time lecturer in the art department at
California State University, Long Beach before
creating their design department and eventually
 Archie Boston 33
Graphic Designer
 Archie Boston 35
Graphic Designer
 Emmett McBain
Emmett McBain, born in Chicago in 1935, is Park, Chicago neighborhood, where he later
perhaps lesser known than some of the other passed away in 2012 at the age of 78.
designers profiled here, McBain made major
contributions to the advertising and design The University of IL at Chicago has a col-
world, as well as for all African Americans alike lection featuring his works entitled, Emmett
through his successes in the business world. McBain Design Papers. Here you’ll find print
ads, record album covers, and transparencies
A true visual thinker and communicator, Emmett of Billboards, all designed by McBain himself.
McBain attended The American Academy of
Art and the Illinois Institute of Technology
where he became a talented watercolor artist.
Post graduation, McBain worked for several
notable agencies and firms as a designer, art
supervisor, and creative consultant before going
on to co-found Burrell McBain Incorporated.
An advertising agency, which later went on to
become the largest African-American owned
agency in the States, Burrell McBain aimed
1935 – 2012 to serve their accounts while gaining the trust
and loyalty of the black community. McBain
was key in getting the agency up and running,
landing valuable accounts, and constantly
developing new and fresh ideas. His former
partner, Thomas J. Burrell, praised his leadership
skills and ability to think outside of the box.
McBain left Burrell McBain in 1974 to focus
on independent art and design in his Hyde
 Emmett McBain 39
Graphic Designer
 Thomas Miller
Born in Bristol Virginia, the grandson of design team he also worked on the Motorola
slaves, Thomas Miller’s talent, hard work, rebranding, the Peace Corps logo and the Betty
and ambition helped him become one of the Crocker “Chicken Helper” branding, earning
first black designers to break into mainstream accolades for himself and for the company.
graphic design.
Miller freelanced as well, starting when he
Miller graduated and earned a Bachelors of served in WWII and continuing on through
Education with a focus on the arts in 1941 his work with Goldsholl. It was through his
from Virginia State College. Soon after he independent work that Miller was commis-
enlisted in the army and served in WWII, sioned to create a memorial to the DuSable
achieving the rank of First Sergeant. Museum’s founders. This job resulted in one
of his most well-known pieces, the Thomas
After the war, determined to learn about Miller Mosaics, which is featured in the lobby
commercial design, Miller gained acceptance of the museum.
to The Ray Vogue School of Art in Chicago,
where he and fellow student, Emmett McBain, Miller’s hard work, dedication, and artistic
were the only African Americans aside from talent helped him pave the way for many
the janitors. African-American artists and designers to
come in future generations.
1920 – 2012 Post graduation, Miller searched for jobs and
denied one offer in New York on the basis
that he work “behind the screen.” Unwilling
to tolerate the company's overt racism, Miller
passed on the offer and eventually went on to
join the progressive Chicago studio, Morton
Goldsholl Associates. It was here that Miller,
as chief designer, worked on high-profile
campaigns such as the design for 7-Up in
the 1970’s. As a supporting member of the
 Thomas Miller 43
Graphic Designer | Visual Artist
 Georg Olden
Born in 1920 in Birmingham, Alabama to Arts) award in 2007. Celebrated for his talent,
the son of an escaped slave and opera singing charm, and business intelligence, Olden was
mother, Georg Olden was a revolutionary a revolutionary graphic designer who made
designer who helped pave the way for African advancements in the industry, as well as for
Americans in the field of design and the all African Americans.
corporate world.
After a brief stint at Virginia State College,
Olden dropped out of school to work as a
graphic designer for the CIA’s predecessor,
The Office of Strategic Services. From there,
the connections he made helped him land a
position at CBS in 1945 as Head of Network
Division of On-Air Promotions. It was here
that he worked on programs such as Gunsmoke
and I Love Lucy and eventually went on to
help create the vote-tallying scoreboard for
the first televised Presidential Election in 1952.
1920 – 1975 Praised in his day as well as posthumously, Olden
appeared multiple times in publications such
as Graphis and Ebony. In 1963, he became
the first African American to design a postage
stamp. His design showcased chains breaking
to celebrate the centennial anniversary of the
Emancipation Proclamation. By 1970, he had
won seven Clio Awards for creative excellence
in advertising and design, and eventually won
the AIGA (American Institute of Graphic
 Georg Olden 47
Graphic Designer
 Eugene Winslow
Born in Dayton, Ohio into a family of seven Proclamation for the Chicago exposition.
children, Eugene Winslow’s parents stressed Throughout his career as an artist, designer,
the importance of education and encouraged businessman, and entrepreneur, Winslow
their children to study the arts. Winslow always sought to promote racial integration
attended Dillard University where he received wherever he could
his Bachelors of Fine Arts degree. He then
went on to serve in WWII as part of the
revered Tuskegee Airmen.
1919-2001 After the war, Winslow nurtured his life-
long artistic interest by attending The Art
Institute of Chicago and the Illinois Institute
of Technology. Winslow then went on to
co-found the Am-Afro Publishing house based
out of Chicago, where in 1963, they published
‘Great American Negroes Past and Present’
with Winslow’s illustrations. That same year
he also designed the seal commemorating
the 100th anniversary of the Emancipation
Eugene Winslow 51
Aritst | Illustrator
 Leroy Winbush
One week after graduating high school, Leroy to a “black designer,” but was well aware of
Winbush left Detroit for Chicago to become the influence he could have on the progression
a graphic designer. His inspiration and men- on the black community. He designed a sickle
tors at the time where the South Side’s sign cell anemia exhibit as well as exhibitions of the
designers. He began creating signage, flyers, Underground Railroad for different Chicago
and murals for the Regal Theater where he museums to illuminate the public to Black
rubbed elbows with some of the most famous history, past and present. His combined
black musicians of the time. accomplishments through his lifetime make
LeRoy Winbush a notable African American
Winbush then went on to join Goldblatt graphic designer worth checking out.
Department Store’s sign department where he
was the only black employee. In 1945, after
years of working for others, Winbush started
his own company, Winbush Associate, later
Winbush Designs. Here he landed accounts
with various publishing houses, doing layouts
for the likes of Ebony and Jet. His ambition
and charisma eventually helped him gain
1915 – 2007 acceptance as a black designer and entrepreneur.
Later in life, Winbush began teaching visual
communications and typography at various
Chicago Universities. He concurrently mas-
tered the art of scuba diving, a feat that helped
him land a position as part of the crew tasked
with creating the coral reef of Epcot Center.
Winbush was adamant in his desire to be
remembered as a “good designer,” as opposed
 Leroy Winbush 55
Graphic Designer
 Aaron Douglas
Known as a key artist in the Harlem Renaissance, the black urban scene. His murals, adorning
Aaron Douglas was a pivotal figure in devel- the walls of various institutions, cemented
oping a distinctly African style of art through his name as a major artist of the Harlem
his blending of Art Deco and Art Nouveau Renaissance. His best-known work is a series
styles with connections to African masks and of murals called, Aspects of Negro Life, which
dances. His illustrations, published in Alan Douglas created for the 135th St branch of
Locke’s anthology, The New Negro Movement, the New York Public Library.
showcased his detachment from European-style
arts and evolution into his own style, clearly He later left New York to become chair at
communicating African heritage. the art department of Fisk University in
Nashville, TN, where he resided until his
Douglas graduated from the University of death until 1979.
Nebraska in 1922 with a BFA. He then went
on to teach high school art before moving
to New York two years later to study under
German artist Winold Reiss.
He became the most sought-after illustrator
for black writers of his time after his covers
1899-1979 for Opportunity and The Crisis which were
dubbed “Afro-Cubanism” by leading art critic
Richard Powell. Among his other notable covers
and illustrations are his designs for Carl Van
Vechten’s Nigger Heaven and God’s Trombone,
James Weldon Johnson’s epic poem.
Douglas was well versed on the Harlem Nightlife
scene where he spent many nights gaining
inspiration for his designs and depictions of
 Aaron Douglas 59
Painter | Illustrator | Graphic Artist
 Charles Dawson
Best known for his illustrated advertisements, Dawson took part in two different Works
Charles Dawson was an influential Chicago Progress Administration programs, under
designer and artist through the 1920s and 30’s. Roosevelt’s New Deal, including the National
Youth Administration where he designed the
He was born in 1898 in Georgia and went on layout for the American Negro Exposition, a
to attend Booker T. Washington’s Tuskegee piece composed of 20 dioramas showcasing
Institute. After two years there, he left when African American history.
he became the first African American to be
admitted into the Arts Students League of New He eventually returned to Tuskegee where he
York. Dawson abandoned the pervasive racism became a curator for the institute’s museum and
of the league when he gained acceptance to passed away at the age of 93 in Pennsylvania.
the Art Institute of Chicago where, in his own For his great contributions to African America
words, their attitude was “entirely free of bias.” art, design, and advancement, he will always
During his time there, Dawson was heavily be remembered.
involved and went on to become a founding
member of the first black artists collective in
Chicago, The Arts & Letters Collective.
After graduation, he went on to serve in the
1889 – 1981 segregated forces of WWI where he faced
combat in France. He returned to find a
changed Chicago: one racially charged due to
a slowed economy and trouble finding jobs. In
1922, Dawson began freelancing, producing
work for other black entrepreneurs. Five years
later, Dawson played a major role in the first
exhibition of African American art at his alma
mater called Negro In Art Week.
 Charles Dawson 63
Graphic Artist & Designer
 Charles Dawson 65
Graphic Artist & Designer
 The Uknown & Forgotten 67
Various artist

We must pay respect to those who have gone unacknowledge.

To the many who paved the way for young designers like me,
I thank you and I am very grateful for the sacrifices you made.
Glenford Laughton states gracefully, and with power: "The 13th
African American Designer's name is a mystery because they are
one of many, often invisible but the impact of their work is felt
throughout history and should be acknowledged, such as; those
who worked behind the scene as designers but did not receive
credit due to the racist norms of the times; the logo creators for
the uniforms of the Negro baseball and basketball leagues; the
unknown graphic designer who painted the bold and sobering “A
MAN WAS LYNCHED YESTERDAY” flag, hung by the NAACP
from their New York offices whenever they learned of a hanging;
and all of those presently active (Black Lives Matter) in creating
banners, posters, signs, and media protesting discrimination of
all kinds. Graphic design, after all is about communicating a
message effectively. As a designer of the African diaspora, African-
Jamaican-Canadian, the importance of knowing those who paved
the way for African-American graphic designers, for the truth of
all history, cannot be understated. These men and women boldly
pushed passed racial inequality with their talent and perseverance
to help create the way for all."

Tell me about yourself, early years and where
you come from.
Norm
I was born in Portland and moved to Vancouver, WA
around high school. My dad is American and my
mom is from Vietnam. I’ve got two degrees, one in
sociology from the University of Washington and
a degree in Graphic Design from Portland State
University. In between my university degrees, I spent
a few years living and teaching English in Thailand
and later South Korea.
How did you first get interested in design,
illustration, etc.?
I think design is something that I’ve always been into,
even if I didn’t know I was into it. I’ve always been
drawn to a good aesthetic and I’ve always been into
art; making it, viewing it, etc. Those are some of the
things that sort of started as a launching point for
my interest in design.
Do you have anything creative you like to
do that is not necessarily design oriented?
Design is life and everything is a reference. :)
McCuller
I know you currently work at Who is Owen
Jones, but are there any other companies you
work for or do you have your own personal
studio/company?
Although I am technically available for freelance
opportunites, my job at Owen takes up a healthy
chunk of my time.
What was your first job as a designer and
how did you get it?
My first job as a designer was wedding invitations for
my buddy, my first studio gig was at a studio called
MANA media that I was referred to by Lis Charman!
What are your biggest motivators?
Norm McCuller 69
Graphic Designer
Happiness is something that has always been a huge
motivator for me. What is the point of doing anything
if it doesn’t make you happy on some level? Also, the
ability to pay bills and eat food is good, too.
Can I know a little bit about your process
when working? Is there anything special you
do to get the creative juices flowing?
Giving myself time to think and letting ideas develop
organically is huge for me. I find that forcing ideas
or not thinking them through enough can be a huge
hindrance to my creativity and productivity. Clearing
my head and really focusing on the problem at
hand are things that are important for me to “get the
creative juices flowing”. I clear my head by taking
a walk, putting on some good tunes, or even just
taking a shower, are some of the things I do to help
get myself in the right head space.
Do you feel successful is an effective way
to collaborate?
I collaborate everyday in some way. I never like to
work on something beginning to end or design in
a “vacuum” as they say. Collaboration is often key
to pushing your design work to unexpected places
and I work in a very collaborative environment at
Owen Jones.
What are the proudest accomplishments
of your career?
Finding my “niche” as a designer.
What have been the biggest struggles of
your career?
Finding my “niche” as a designer.
What do you love most about working in
Graphic Design?
Freedom to be creative everyday like it’s my job.
 Norm McCuller 71
Graphic Designer

What is a skill/talent/trait that you have similar backgrounds who are in design or
that you feel really proud of? hoping to get into it?

My thinking. My unique background gives me a unique Don’t give up. You are good enough.
perspectives and thought processes.

Where do you see yourself in 5—10 years?Do

you think you will still be working as an
Illustrator?

I’d like to be art director or a similar position that

allows me to make even more of the design decisions.

As a black design student going to a

predominantly white school, sometimes
it’s hard for me to connect with my peers or
not feel “other” when working with them. I'd
like to know if you have ever felt something
Don’t give up. You are good enough.
similar?

I’ve always tried to look for ways to connect with

people beyond the surface level to combat the
feeling of “other”. Growing up in this area, youre “other”
a lot and having the ability to find common ground
beyond outward characteristics has been key for
me in eliminating this feeling of “other”. Design, I’ve
found, is great common ground and I can always
connect with folks by starting a conversations about
design and/or art.

Why do you think there is a lack of diversity

(especially black people) in design? How do
you think we can solve this problem? ( or at
least start to solve/address it)

I think a lot of the lack of diversity is the lack of

knowledge and access. For me personally I didn’t
really know about specifically what design was until
later in my educational career. I think exposure and
access to design and design related career paths
at an earlier age/stage in education, can definitely
help solve the problems of diversity and access
within the design field.

What advice would you give to folks from

 Norm McCuller 73
Graphic Designer
 Norm McCuller 75
Graphic Designer

Happiness is something that has always

been a huge motivator for me. What is
the point of doing anything if it doesn’t
make you happy on some level? Also,
the ability to pay bills and eat food is
good, too.

—Norm McCuller
 Norm McCuller 77
Graphic Designer

Loveis Wise
Tell me about yourself, early years and
where you come from.
I was born and raised in Washington,DC and then
moved to Prince George's County as I got a bit
older. I had always had great interested in art and
design as a kid and mostly fed that interested by
getting involved in photography and drawing.
How did you first get interested in design/
illustration?
I got into illustration through a presentation that I
attended while declaring my major in art school
and knew that it was what I was meant to do.
I understand that you are currently working
as a freelance illustrator, but are there any
other companies you work for or do you
have your own personal studio/company?
I run my own studio/company through my freelance
work and I’m often subcontracted by other companies
for various projects such as NPR, The New Yorker,
The New York Times, Cartoon Network, and REI.
What was your first job as an Illustrator
and how did you get it?
I was first hired by Refinery29, as a junior in undergrad,
and I received this job by frequently posting my
work on Instagram and tagging so I’d be easier to
find but an art director there had been following
my work for a while and reached out to me.
Can I know a little bit about your process
when working? Is there anything special
you do to get the creative juices flowing?
In illustration, alot of my projects move fairly
quickly so I often my process lately has been
about drawing back to nostalgia. I often listen to
music or look at photos that help to to visualize
what I want to create and I love being able to take
inspiration from everywhere, meaning all art forms
whether it’s a film or a moment I’ve experienced.
Loveis Wise 79
Illustrator
What has been some of the biggest struggles school that I attended and when folks aren’t being
of your career? taught about these things, it becomes forgotten
history. There’s a huge need for professors or
Because my career started pretty early, I had to schools to include illustrators/designers of color
learn about how to maneuver quickly on my own into their curriculum because representation is
and it was a ton of just figuring out how to make so important. Lack of representation discourages
the right decisions but a lot of those struggles young artists of color from even feeling like they can
became lessons that I’m grateful for. even have a seat at the table in these communities
which also increases the lack.
Where do you see yourself in 5—10 years?Do
you think you will still be working as an What advice would you give to folks
Illustrator? from similar backgrounds who are in the
Illustration field or hoping to get into it?
I see myself expanding my business as an illustrator
and hopefully much more. I plan to continue working My advice would be to put yourself out there no
as an Illustrator for the rest of my life because it’s matter what! Persistence and patience with yourself
what I love but I hope to branch out and experience is very important to a thriving and happy career.
other artistic mediums such as animation, fine art
and painting or even playing music.
As a black design student going to a
predominantly white school, sometimes
it’s hard for me to connect with my peers
or not feel other when working with them.
I'd like to know if you've ever felt something
similar?
Most definitely! I also attended a PWI and a lot of
my peers or professors, mostly white males, did not
understand where I was coming from in my work
or overlooked me as a student. It often felt hard
to explain this to my peers or professors in fear of
not being heard. I even experienced racism in the
classroom at the hands of a professor and I feel
like these experiences need to be discussed more.
Why do you think there is a lack of diversity
(especially black people) in creative fields?
How do you think we can solve this problem?
( or at least start to solve/address it)
I feel that there is a huge number of people of color
in design, they just aren’t talked about or discussed
in academia. There were so many black and brown
illustrators being left out the conversation in the art
 Loveis Wise 81
Illustrator

There’s a huge need for professors or

schools to include illustrators/designers
of color into their curriculum because
representation is so important. Lack
of representation discourages young
artists of color from even feeling like
they can even have a seat at the table in
these communities which also increases
the lack.

—Loveis Wise
Loveis Wise 83
Illustrator
Loveis Wise 85
Illustrator
 Rob Lewis 87
Art Director

Rob
A conversations with

Lewis

deidra: Ok, so a lot of my questions are going to
be just about you, your background, and if any of
them you don't feel comfortable answering, just
let me know and we'll move on.
rob: Ok
deidra: cool, first i’d like to hear about
yourself, your early years, where you
come from, just your background in
general.
rob: I come from Cincinnati, Ohio, and I grew up
in the early 90s, was a kid in the early 90s, and
that's when I started to discover that I liked to draw.
I would just draw Ninja Turtles and I would draw
sports logos and video game characters. That
was pretty much the extent of it. I wasn't really
aware that there was anything more outside of
just enjoying it. Then, when I got to high school, I
discovered graffiti and that is kind of what drew me
in to, "Oh, there's this thing called painting." And
then seeing all these different graffiti writers and
painters and some of which who had transitioned
to becoming fine artists. I was like, "Oh, that's cool."
rob: It's the only thing I like to do, but when you're
growing up in the black household, you can't really
just say, "Hey, I just want to be a painter." *laughs*
They[my parents] didn't really dig that, so then I
did some more research and discovered that one
of these graffiti writers, or people that I was into,
was a professional illustrator and graphic designer.
It seemed like he made a good living, and I was
like, "Oh, that's cool. That's a more stable version
of this." But for whatever reason, they [my parents]
didn't understand that.
rob: Because my dad's a scientist, so context: My
dad is a chemical engineer, brilliant man.
deidra: Whoa!
rob: My mom, she worked in insurance for her
whole career, but she was always active in ... She's
in Delta Sigma Theta sorority and all these different
women advocacy groups and was always doing
activism work around AIDS awareness and all these
different things. My mom is extremely creative, can
cook, can sew, she can make things. So I saw that,
and even though I didn't really realize that that's
what it was ... Like, that's how I like the cook, and
I think that's where me liking to really work with
my hands probably comes from.
rob: My dad, he was creative, but just in a different
I always loved art, was always making it.
I started to get my first inklings of what a
creative industry was, maybe right before
I went to college, but didn’t have any idea
how to access it.
—Rob Lewis
way. He's a process person, so he can analyze Jamaica, and he immigrated here when he was 13.
things to get to a place that feels creative. If that He was one of the first people to go to college, but
makes sense? he didn't stay long because he was like, "Oh, I'm
just going to do it in one shot," and didn't realize
deidra: Yes. the actual struggle of being a black person in
New York at the time, trying to go to college. So
rob: So that's kind of ... But still, they weren't he ended up joining the military. But he really
artists, they weren't graphic designers, and they
likes RC airplanes and cars and things. He would
were the first people, I think, from their families to
draw 3Ds of them or 3D buildings. Then, my mom
go to college, so it was like, "What!?" You know?
immigrated from Guyana when she was like seven
to New York. They met in that first year of college
deidra: Yea.
and ended up both joining the military. My mom's
a creative person because she cooks, and she
rob: I ended up studying history, and stop me if
can cook from just watching other people cook.
this is way over what you asked me.
She also will draw stuff. She just finds things to
deidra: No no, you're good. do. She'll crochet, she'll knit, she'll make waist
beads for people.
rob: I studied history, which allowed me to just
understand a little about a lot of different things. deidra: She just finds things to do. Like any school
Which is cool, I'm a curious person, so that was project I had as a kid and my mom helped out on,
fine, it wasn't boring. But I knew that that wasn't the there was always a little moment where she took
thing. So, yeah, that's my early situation. I always over. *both laugh* It was like: "Just sit and let me
loved art, was always making it. I started to get make this perfect for you." Because she never really
my first inklings of what a creative industry was, got to express that in her own household. But still,
maybe right before I went to college, but didn't neither of them went into a creative field. So, I think
have any idea how to access it. that's why they're a bit more open with me wanting
to do something creative. But they're still just like
deidra: Awesome. Yeah, I think I told Joy yesterday. about “How are you paying for school” and “What
I was like, "I kind of had similar experiences between you going to do after?”.*laughs* And they're still
the both of you, where I like to draw and I love to asking now, since I'm about to graduate, they're
paint and I knew these things." like, "Do you know where you want to work? Do
you know what your one niche thing is going to
deidra: My dad is in the military, but he's from
be." Like: "What's your plan?" And I'm like, I have
eight months left, give me a moment." *laughs*
rob: Well, also, it's a different job market, you know
what I mean. It's you don't have to necessarily land
your first job after you graduate. You just need
maybe a freelance gig for a couple of months until
you figure it out. So, it's different now.
deidra: Yeah, and I guess trying to explain that
to them is hard for them to understand, 'cause
they're so used to this: "No, you have to have a
job, and you have to be constantly stable. Where
are you going to live, and how you going to pay
for it?" They're also just worried of I'm the only kid
that's up north here. Everyone else is down south.
rob: After we're done talking, I have a good
resource for you.
deidra: Okay, cool, awesome. So yea , it's been
really great to hear that other people also didn't
really know what design was, but still found a way
to get into it. So, that's what bumped me through.
rob: Yeah.
deidra: all right so, you kind of already
talked about it, but in those stages of
college and after college, how did
you first get interested in design and
illustration and start your career as
an art director?
rob: I mean, after college I went to law school,
which was terrible. I learned pretty quickly that that
wasn't where I belonged, but I didn't know what
else to do. So, while I was in law school, one of my
fraternity brothers named Kinaata. He worked at
Procter & Gamble and he worked on Old Spice.
And I was just telling him one day, and we would
have these conversations. I would go down ... Did
he live in Cincinnati at that point? Yeah he did ...
So, I would go down and talk to him and we'd just
have dinner or whatever. And he was like: "Well, if
you're looking for something a bit more creative to
do, then you might like the agency that does our
communication work called Wieden+Kennedy.
And I was like: "Hmm, Interesting."
rob: I had a friend in New York named Kenji,rhe's
like one of my closest friends. He was a strategist
at and agency called BBH. And so, he was kind
of giving me what agency culture was like in New
York city. And I was like: "Oh, this sounds really
cool." And the Kinaata was like: "Oh, you might
want to try advertising." I was like: "Oh, okay, let
me really do some research now." So, I start doing
some research, watching anything and everything
I could about Wieden+Kennedy, and discovered
that they had this program called WK12.
rob: WK12 was a school within Wieden+Kennedy
where people would come from all over the country
and they didn't take ad kids, they took kids like me
who were just creative, but didn't really know how
to get into this field, but where really motivated to
do so. So, I was like: "This sounds perfect." So I had
Kinaata put me in contact with a person that he
knew at Wieden, who then put me in contact with
a person who ran 12. The person who ran 12, his
name is Byron Oshiro, he ran Nike for a long time
in the Tokyo office. He was not only an educator,
but he was also a very seasoned professional. We
talked for a while and developed a relationship, and
ultimately, he was just like, "Hey, I know you said
that you're interested in 12, but we're in the middle
of the school year, and I think you understand
enough about the culture, and you're smart enough
and curious enough to where you could probably
get an internship."
rob: So I was like, "Oh, yeah that sounds fun." And
I literally did not have anything to lose. You know
what I mean?
deidra: Mm-hmm (affirmative).
rob: I'd say, also, at the time, I was working at a
sneaker and lifestyle shop in Cincinnati. That was
really another way I was accessing what art direction,
and learning about product lines, and how brands
will roll things out and retail environment and
concepting different things. You know what I mean?
deidra: Yea yea.
rob: It was a creative education that I kind of knew
that I was getting, but I didn't realize how much I was
learning until much later. That was another thing
that was propelling me towards just taking the leap
and going: “You know what, I've tried everything
else, I'm going to actually try doing what I want
to do." And so, I ended up in Portland, as an intern
at Wieden community, but I was in account and
would later become account and strategy intern.
But I was on Nike, so I was learning so much and
interacting with the creatives and creative directors
and seeing how that process worked. So that was
... I just knew that I needed to get in the door and
then I could figure it out.
Rob Lewis 89
Art Director
deidra: got, it, that's cool. that's a dope
way to start! okay, i want to know if
there is anything creative you do that's
not necessarily design or illustration
based or anything like that?
rob: I cook a lot and I'm learning very slowly to
DJ, which is fun. It's about hand eye coordination.
So, that part I get, but thinking in terms of music is
really difficult for me. You know what i mean? It's
just not something that I even ... it's like a different
language.
deidra: Yeah, I was a flutist for four years in middle
school high school and it was funny because I was
second chair for my first year and then first chair.
So, it's just like the better you are at playing, the
higher the chair you are. So, I was first chair for four
years and basically how you beat me is you have
to play a series of notes and if you beat me, you
beat me, but I would always win. But the funny
thing is my whole four years I never knew how to
read music, like sheet music, because I was just
like, I just do not understand it.
deidra: And so, I’d just wait until we go to class
and my professor would hum the notes and I would
know which keys to play or I would see other people
playing the keys when they would practice and
I would just mimic them and I did it that way for
four years straight. And I don't know how I did it,
I really don't know how I made it. And then at the
end of it, my teacher was like, "I'm really sad you're
going," and yada, yada, yada. And I was like, I know
and I'm sad too, but I've gotta be honest with you,
I never knew how to read sheet music. So, if you
could next time make sure all your students can
read, because I think that will be way helpful and
I probably would've stuck it out longer, but I also
moved a whole lot. And so, I was like, I had to stop
eventually. Yeah, music is tough, but it's fun.
rob: It is, it's a lot of fun.
deidra: And then I know you do collage work
as well on the Instagram, so that’s cool. And then
you came a collage club and you made some
really dope stuff.
rob: Yeah, I started getting into collage while I was
at, I think it was when I moved here, but it was while
I was at Wieden's. And I was really fortunate to get
a ... like how advertising agencies where you know
like there's copywriter, art director partners. So, I
was a copywriter at the time. And which that is a

whole different story that I can tell you some other
day, but ... shout out to Jim Riswald and Melanie
Myers. They are awesome. And probably... they
are like two of the biggest reasons I got to stay
in Portland. So, I'm a copywriter and somebody
lets me know that a new art director is going to
be starting and I'm going to work with him and
his name is Brandon Viney and I was like: "Great."
Then he not only turned out to be black, but he
turned out to be one of the coolest people I have
ever met still to this day.
deidra: Dope.
rob: We're still very good friends, and just cheer
each other on even though we work in different
places. But that's my dude. He would become more
than a mentor, more like a big brother to me. He
could see that ... Okay, copywriting is a good fit for
me, but he could see that I was after something else.
He told he me, even before I could really wrap my
mind around it and give myself permission to say
it. He was like: "You're going to be an art director.
I can tell." I was like: "Well, you're crazy. There's
no way that could ever happen. I didn't go to art
school. I didn't go to design school." And he was
like: "It doesn't matter."
deidra: It's just going to happen.
rob: Yeah. I was like: "You're crazy." But, eventually,
I annoyed him to teach me things, and did a lot of
trying to learn on my own, and eventually, just kind
of willed it to happen.
deidra: Yeah. Speaking it into existence!That's
been like a big hashtag this year to speak things
into existence.
rob: Ya! So, there are a lot of people, too many to
name, that have given me really good advice and
accepted that I was still figuring things out, even
though I was working, and gave me that freedom
to do so. Without that, you know... We're not sitting
here having this conversation, you know what I
mean? That is why I am particularly always willing
to help someone who wants to know something.
That's because if somebody didn't do that for me,
I would literally not be here.
deidra: I feel that. I respect that a lot because I've
met a lot of people who are like: "No, I figured it
out, you can do it too." I'm really grateful that so far
the people I'm interviewing aren't like, "Here's an
invoice for our interview." So, much respect to you.
deidra: so i know you currently work
at kamp grizzly and you obviously have
your own studio space [we’re sitting in
it], but are there any other companies you
work for or do you have your own side
thing that you do or anything like that?
rob: Between Wieden and Kamp, I spend a couple
months freelancing at the official manufacturing
company, OMFGCO, and that was such an amazing
experience, just because they do really beautiful
work, but also it feels almost like an artist community.
Everybody's really free with each other and kind.
It's cool. And then other than that, I guess I'm
starting to kind of examine what having an art
practice for myself looks like. That is like a more
tangible thing. I've been doing a lot of writing and
thinking and kind of pinning of ideas in place, but I
haven't really assembled them yet or even know
if I have the right combination yet, so it's just kind
of an ongoing process but it's fun. I feel like I at
least have a direction.
deidra: You kind of did mention this already, so
we can skip this question. It was what was your
first job, was it design, and how did you get it; so
we did that one. So what are some of your biggest
motivators?
rob: I would definitely say my wife, Joy. Just in the
sense that she's so prolific that I just don't want to
look like trash.*both laugh* And she's just gonna
keep getting better and better, because she's
brilliant. But also, I would probably say just this
idea that you know my goal is really just to kind
of make these things that will serve as signals, or
something, to someone later, and contribute to
this cannon of black artists in some kind of way.
However small doesn't really matter, just to know
that was my goal, is just to create this body of work
and to leave it here.
deidra: I will say it is working. For me personally,
so I saw this commercial on Netflix with all the black
actors and actresses, and I was like "I gotta know
who made this freaking commercial. “It was my first
time actually being like, "Okay, I now understand
that there's an art director and a creative director
that does these things and works on these things."
So I'm like, I'm gonna just look it up and find out.
As I was researching questions for my thesis and
doing all this brainstorming, that's when I found
out that you and Justin Morris have both worked
on that, and then I was like, I'm not even gonna
lie, it was like fangirling a little bit, because I was
like, people who are down the street worked on
this commercial. A lot of my friends or even my
Rob Lewis 91
Art Director
boyfriend, I talked about that commercial a lot,
because it was my first time in a long time seeing a
just whole body of melanin. And it's such a powerful
statement, just how it was filmed, and everything
was just really great about it, and that's when I was
like, "No, I definitely have to do the thesis that I'm
going to do." So yea, thank you for that.
rob: Yeah, so me and Justin, and then a really
talented writer named Amiri Rose--who is also
a fantastic photographer--and then Dushane
Ramsay who kind of led the creative strategy and
positioning, and can really do everything, you know
what I mean? I think we all kind of understand
where each other's strengths are, and we just let
each other do that. And then we just kind of try to
critically think and examine things and then ya,
just see where things fall.
deidra: It was great, it was amazing. I loved it. I
still love it. I have it on a playlist, I show people,
I'm like, "Y'all need to see this shit." *both laugh*
rob: Thank you! Sometimes it gets kind of difficult
to really understand what doing this stuff even is
accomplishing sometimes, and so to hear out of the
mouth of someone that I'm sitting and talking to,
it just kind of reinforces and gives you that energy
to keep going, keep making, and keep putting the
amount of thought into things.
deidra: Yes, please. Because it is inspiring a lot
of us out here. There's very few students of color
in the design program, and I know the majority of
us have seen that commercial whereas a lot of
our white peers have not. And I mean to me, that
says something; but it's also like, it's kind of cool
that the people who need to see it are seeing it.
So that's really cool.
rob: why do you think there are still
so few design students of color? I kind
of understand, like in my generation of
folks, why that is, but why do you think it
still is, even though a lot of people have
grown up with creative parents now?
deidra: I was actually gonna ask you a similar
thing, so I can get your perspective for your
generation too. So For me, I guess I'll talk about me
personally and then what I think about in general.
For me personally, it was more of a thing where
like because I moved so often and then both my
parents tried to go to college but weren't necessarily
successful in doing it, it was a thing where they let
us be creative and things like that because they

were creative too, but there still was this hidden
elephant in the room of, "Can you really do that
as a job in the future?" Or it was just like a hobby,
it wasn't really seen as a job. It was like, "Oh, that's
something you can do on the side and maybe
make a little bit of money, but what's gonna be
your main thing to do?"
deidra: I think for me as a young black student,
just having the access to even the terms. So in all
the schools that I've moved to, there would be jobs
where my friends would kind of know the name,
but didn't really know. I had never heard the name
of these jobs before. I didn't know you could be
an artist and have... When I was a kid seeing art
in the museum, I was like "Oh, these are people
who have died and their art was famous and now
it's in a museum." I wasn't thinking, "Oh, no, there's
living people who have this job and their art is in the
museum, and they're making money." Everything
in the museum, I was like, "This is old." *both laugh*
But as I got older, I was like, "No, some of this stuff
was made in the same year."
deidra: And so then learning about graphic
design, I had never heard about that term until
I got to my junior year of high school. I’ve lived
in about 9 states. So I was in Kansas, we moved
to Washington State, and I was miserable. I was
told we weren't going to move anymore, when
we moved to Kansas, and then we did, and I was
like "I'm so tired of being the new kid. I'm also so
tired of being the one black kid in the classroom"
And everyone just asked me questions about my
hair or the food we eat, I was just so done. And
just one day I kinda just had a little meltdown in
class where I was crying and I was just like, "I don't
wanna be here, I don't wanna make new friends. I
just wanna get my degree and go."
deidra: And I had a social studies teacher who was
like, "Hey, have you ever done an extracurricular
activity?" And I was like, "Nah." *both laugh* He was
like, "Well, is there anything you like to do?" And I
was like, "I mean I draw and I doodle and I like art
and I'll watch other people do art," and he was like,
"Well, I think something that might be creative you
can put into practice and do as an activity after
school would be yearbook." And I was like, "Alright,
cool, whatever." I did it, and then I loved it. It started
out as just ten kids meeting two days out of the
week, making the yearbook for 400+ students,
and then the next year we got a full classroom. I
became editor-in-chief. And then I was thinking,
because I was always thinking ahead, I was like,
"Alright, I'm gonna be a senior next year and then
Rob Lewis 93
Art Director
I gotta go to college. What am I gonna do?"
deidra: So I sat down with my yearbook advisor
and I was like, "I really like yearbook, I really like
playing with our different layouts and our typefaces
and making graphics and things like that, and going
to take photos of everyone and picking the right
photos with the right text and things like that, and
how everything should be sized, and hierarchy
and color theory. I'm using the terms now only
because I know them now, but back then I didn't
know these terms.
rob: Right.
deidra: She said, "Oh, you might like graphic
design." I was like, "What's that?" She was like,
"You've never heard of that?" And I was like, "No.
What the hell is that?" And she was like, "Oh, it
can be lots of things, maybe go home and look it
up." And I did, then I started watching videos and
I was like "Oh shit, this is like being an artist but
with money." Which is kinda rude to say to artists,
because some of them make money. But that
whole stereotype, you know.
deidra: She was just like, "Yeah, just keep checking
it out." And so I did and I was like, "Alright, this is
what I want to do." And everyone was like, "Oh,
you're gonna change your mind," or like "Oh, are
you sure? Are you gonna make money doing
that?" And then I got scared, because I was always
looking for colleges and not many of them have
that as a major. They only have it as a minor or it
doesn't even exist,
rob: Mm-hmm (affirmative).
deidra: and I was just like, "Oof." But my yearbook
advisor, Sabrina Schongalla is one of the best people
on this planet, and she's from Portland, she was
like "Oh, check out PSU. I know they have a great
GD program." I looked it up, I saw that they actually
were high in the ranks for the GD program. A lot
of the professors are actual graphic designers.
deidra: So I came here with my mom on Labor
Day weekend, and I really just, at the time, vibed
with the city and was like, "Alright, cool, I'm gonna
just do it." And then once I started school, that's
when I really started to do more research and just
learn, because we don't actually start getting into
working with Adobe or anything until our sophomore
year. So that's how I learned, but those were my
struggles, just not really knowing that it existed at
all, or my parents being like, "Yeah, we want you

I think there’s a lot of high schools where they
don’t have a strong art program, or they don’t
have a digital tools class. I’m one of the few
students where I didn’t know how to use the
Adobe programs until I got to college.
to be creative. We're a family where we're in the
means and times where we can allow you to be
creative and not really shut down what you want to
do, but still confidently talking about what is your
job going to be and where are you going to go to
school and how are you going to learn all this stuff?"
Even me getting a computer was a struggle. They
were especially worried once...So my senior year,
two months before I graduated, my house caught
on fire and I lost everything. And so they were like,
"Are you sure you want to do graphic design?" And
I was like, "I'm going, sorry." *both Laugh*
deidra: I would say in general for students of
color, I do think it's just an access thing. I think
there's a lot of high schools where they don't have
a strong art program, or they don't have a digital
tools class. I'm one of the few students where I
didn't know how to use the Adobe programs until
I got to college. There were a lot of people who
were like, "Oh yeah, I've played with Photoshop
as a kid in high school," or "I've played with video
editing and make YouTube videos," and I'm like,
how? Where did you even get those programs?
And that's been something that, with talking with
peers who are also of color, that's been a common
thing where they're like "Yeah, I didn't know any of
that existed, or even if I did I didn't know where to
get it," or "Yeah, my school didn't have it."
deidra: So I think it starts with that, education. Art
and design especially--I do think there's more art
—Deidra McKnight
classes versus design classes. So yea design's not
really talked about, even though it's everywhere
around us. Everything has some type of design
to it. So I think it's that, and then once you get to
college, it's kind of like if you're not going to a school
where there's other people who look like you and
can understand you, you feel this pressure of like,
at least for me, "Is my work on the same level? Am
I producing the same great content? Because you
feel this pressure of competition, like is my work
even making an impact or is it gonna matter, or
what's gonna happen?" I think a lot of people may
succumb to that pressure, and then they're like "I
can't do this, this life isn't for me" or "I don't belong
in these spaces." And they're like, "Imma just dip."
rob: *laughs* Yea
deidra: And it sucks because I've had a lot of
people who are, I feel like, with more honing of
their skills and learning they could have been
great designers, but just couldn't handle being
the one black kid in their design class. Or the fact
that we don't really see any designers of color
in our classrooms. I haven't been taught about
designers of color. Not to say that there's a type
of style designers of color do, but just a lot of the
work we look at are by white people. And I'm like,
"Dope, cool, Milton Glaser, made that the most
beautiful, iconic thing. Paula Scher, love you too.
rob: Mm-hmm (affirmative).
Deidra: But where my black people at? Just to be
like, there's professionals that look like me and just
to see that I can look up to this person and have that
angle to where I can be in their position or similar.
deidra: I think also there's not enough black
graphic design teachers teaching. So I think an
accumulation of all of that is why people today still
don't. I also think it's just that school's expensive
now, and I was told you have to go to school to
get a job. And I'm realizing after that there's a lot
of people who have been finding ways to not do
that, but they also have to grind hard every single
day, waking up early to do everything, and I think
some people are just like, "Well, college is a bit
more structured, maybe, so I'm gonna do that."
But, yeah, that tuition rate is high. *laughs* So I
think that too, just the cost of education hinders
a lot of people nowadays. I mentor freshman and
so many of them are leaving literally just for the
cost of school.
rob: man...
deidra: And they were like "Yeah, I wanna stay,
I like learning, but I literally can't pay for this, my
parents can't pay for this;
rob: Sheesh
deidra: and it'd just be best if I live my life and
then hopefully come back later."
rob: wow!
deidra: Yea, So that sucks.
deidra: but why do you think your
generation has a lack...i know there's
some, obviously; you, joy, justin, all these
people, but...
rob: I would say, pretty much, for all the reasons
that you said, plus the fact that the Internet wasn't
quite as accessible then, you know what I mean?
Wi-fi wasn't everywhere, you literally had to plug
into something, and you couldn't just type into
Google, "Hey, tell me everything about this." You
know? So I think the information's a little bit more
freely now, and plus all those things that you said.
I think they were true then, too.
deidra: Yeah. It's a struggle, but we try.
deidra: alright, so i'd like to know a little
bit about your process when working, or
is there anything special you do to get
your ideas flowing, the creative juices
going, anything like that?
rob: (pauses to think) Not really. I don't think it's
special, anyway. But I like to take a lot of walks,
so I'm constantly getting up from my desk, going
outside, walking around, either listening to music
or an interview or podcast or whatever. And just
giving my brain time to decompress and process
whatever it is, whether it's feedback or a new brief or
just had a check-in with a creative director, whatever
just happened, I always like to move around and
get out of the workspace for 10 minutes. It just
helps reach that a little bit. And then I always like
to have books within arms reach wherever I am. I
love that the Internet is what it is, but, I don't know.
There's something about having books within reach,
because it's like you know you chose this book for
a certain reason, and so there's no searching. It's
like, "Oh, I'm just going straight here." You know?
deidra: Yea, no I get that. do you feel design is
an effective way to collaborate, and then
how do you use design to collaborate?
rob: Yes, I think it definitely is. I think just the process
of making creative work in an agency setting is
designed to be collaborative, and so we use it in
pretty much every facet of things.
deidra: Ya. I was talking to my peers, I also talked
to Joy the other day about how I realize now and
while I was making these questions, I've never
collaborated with anyone on anything. And talking
with Joy about working with people to build these
spaces for everyone, and I was like, "Yeah, if we're
gonna design for a diverse country and all these
diverse places, then we definitely need diverse
people and to collaborate with people and to
work with people." Or if you know your team isn't
diverse, then you definitely need to be talking to
the people you're designing these things FOR so
that the design is stronger, and that's most of an
interesting thing that's been going on so far.
rob: Mm-hmm (affirmative).
deidra: So, do you have any past projects or
current and upcoming projects that you can talk
about or are really excited about that you did? If
they're top secret, that's okay.*both laugh*
rob: We all get really good projects at Kamp. It's
kind of silly, nobody's working on anything wack,
really. So really, I feel really fortunate about that.
But I think, kind of outside of Kamp, but not really.
Kamp has a studio, started an apparel brand called
Last Heavy and we're about to start production
in season 3.
deidra: oh cool.
rob: And it's been a really cool experience.
Because it's technically under the Kamp umbrella,
but Kamp's name isn't on it anywhere, but we have
everybody in the studio can help make stuff, so it's
this really ideal situation, and it's creative directed
by a friend of mine named Casey Oni, and I first
met him freelancing at OMFGCO and gotten to
know him over the past few years, and he's one of
the most talented and driven but also cares about
everybody he works with and he's one of those
people who, even though he isn't in a position of
setting the vision and stuff like that, he's the biggest
chill, you know what I mean? *both laugh* He wants
everybody to get their ideas and to contribute
them and for everybody to collaborate and to
have fun and to be proud of the work that we're
making. That's been a really cool thing to do. It's a
nice shift from doing more traditional client work
to have this kind of outlet to just be weird and silly
and loose, but still have a direction and wanting to
make really good stuff.
deidra: That's dope.
deidra: so far in your career, what have
been your proudest moments, and what
have been some of your biggest struggles?
Rob Lewis 95
Art Director
rob: I think biggest moments are definitely things
like the strong black lead commercial, that was just
a perfect storm of a lot of things. And when I was
at Weiden, we made a commercial where we got
to use the voice of Tupac Shakur and we worked
with his family and his estate to do that. It was the
first time his voice had ever appeared in a piece
of communication. It was purely off the strength,
that they heard our idea and understood it and
understood what it could be, and they were gracious
enough to allow us to do that, and we just tried to
do it justice. So definitely moments like that, and
even just like things that aren't necessarily things
that people see, but just giving myself the space
and freedom to really feel like I'm doing this, you
know what I mean? That's been really cool, to sort
of slowly start to break that wall down of "I don't
really belong." You know?
rob: So that's been cool, but it's also been probably
the biggest challenge as well. Just because even
though I am really familiar with how common it is
for people to be self taught in this industry, there's
something that will still kind of eat at you, like,
"Well, if you would've just went to school, maybe
you would've figured this out faster." You know
what I mean?
deidra: Mm yea
rob: But that's not even necessarily true. So just
kind of discerning between those moments of,
okay, this is coming from a different place and
you need to just kind of put it to the side, or this is
your subconscious telling you you need to learn
something. And you just dive into it.
deidra: Ignoring that inner critic, and letting your
inner cheerleader…*laughs*
rob: Ya, taking the message out of it.
deidra: Yeah.
deidra: what do you love most about
working in design?
rob: I mean, I think for me, I'm a pretty quiet person
unless I know you and we're friends, but I think
design and art allow me to develop a language, or
at least that's what I'm trying to do, and I can sort
of speak these things that I feel or communicate
these things that I feel or think about in a way that
feels more natural than writing it. So that's probably
the biggest thing, is just that it's giving me the
vocabulary to say these things that I would never
write or maybe say to someone else.

deidra: That's cool. Yeah, I think I've had a few
instances where I've made something and the
few people that do get it I'm like, glad they do.
Because I can't explain it to you.
rob: Yeah!
deidra: So that has also been a struggle with me,
and the few projects that I have done that dealt
with my identity or with being black or being black
in Portland, being in a school as predominantly
white sometimes is really tough during critique day,
because I feel like I have to do extra explaining of
stuff for people to get it, versus when I show one
of my black or brown friends, they're like, "Oh yeah,
that makes sense."
rob: Mm-hmm (affirmative), yea.
deidra: Or sometimes people don't realize their
critiques are actually hurtful in a way, because
they're not really understanding of the whole
meaning behind the piece or why I put said imagery
with said typography and things like that, so that's
kind of been a little rough. Also, the learning curve
of just getting better at explaining things, I guess.
rob: Yea
Deidra: But ya, Let's see... i think you touched
on this a little bit, but what is a skill or
a talent or a trait that you have that
you feel really proud of?
rob: Oh, man.(thinking)
deidra: It could also be something that, you're
working on it and you feel like you've been working
on it pretty good.
rob: I feel like maybe I'm becoming a better
listener. I think when you're an introvert and used
to kind of being by yourself, you can just kind of
exist there in your own head and not realize how
maybe you're taking up space or how what you're
doing is affecting what's happening around you.
So just really trying to do the work to be more
mindful. Because, I mean, I'm a gentle person, so
if I'm doing something where you're like, "What are
you doing?" It's probably because I literally don't
know. I'm just a weird kid. But yeah, that and just I
feel like I'm getting a lot better at distinguishing,
like we talked about earlier, distinguishing between
something I'm telling myself as a critique versus,
"Oh, this is a real thing you need to pay attention
to." You know what I mean?
deidra: Mm, yea
rob: So, getting better at doing that and kind of
combating it with being able to shift my perspective
in the moment as opposed to letting a thought
kind of cripple me for the day.
deidra: Yea. Alright. So, these are a little bit of
tougher questions we're gonna get into, but hopefully
not too tough. Again, if you're uncomfortable with
any of them, you don't have to answer. where do
you see yourself in 5 or 10 years? do you
think you'll stay in design in some shape
or capacity?
rob: Yeah, I would hope so. I mean, my goal is to
do this until my hands don't work. So I feel like I'm
really just getting started, so 5, 10 years, I would
like to still be at Kamp doing cool stuff. But I guess,
you know, life also has its own plan, so I guess you
just have to be ready to pivot. But in an ideal world,
yeah. I'd be here, with Kamp still making cool stuff.
deidra: Yea, making cool stuff! Awesome. what
would you like to see change about the
design field?
rob: Man, that's like a big question. *both laugh* I
mean, the main thing is I wish some of the people
we're trying to reach had started younger, you
know? Because it's one thing for a person like
me who's already out of college to discover it and
try to figure out how to get into it, but I just think
about if at 15-16 I would've had, to your point, the
vocabulary to express what this was and how big
of an industry that it already is, and that it's just as
stable as being in marketing or being in finance or
whatever. I wish there were things that equipped
kids with those tools.
deidra: Same *laughs* how can design be
more accommodating to underrepresented
populations of people in your opinion?
rob: in what way?
deidra: I guess in a way of education or in a way
of as a designer, servicing people or servicing
your community.
rob: I think one is if you call yourself doing
something that is gonna affect a community of
people, then you need to at least hear them. So
that's one. You know, don't do any projects in
communities of color without understanding the
history, the context, the trauma. All of that very,
very important information needs to be very clear
Rob Lewis 97
Art Director
and needs to be at the forefront of anybody's mind
who is designing for those communities. Sorry,
what was the other part of the question?
deidra: just in your opinion, how can
design be more accommodating to
underrepresented populations?
rob: Oh okay then I think also to your point,
incorporating the accomplishments of designers
and artists of color more into the mainstream
curriculum. That also can make all the difference,
just seeing that somebody, like you said--the
whole reason you're doing this, seeing someone
that you can see yourself in that already got there.
deidra: Ya its like I wanna see if some of them
has a presentation of iconic things, that's like okay,
Milton Glaser, I love New York, Paula Scher with
that whole project with..why am I blanking
rob: The theater?
deidra: Yeah, the theater. Rob Lewis, Strong
black lead commercial *both laugh* All these
things I wanna see, all of them. Or even like, one
of my peers is doing their thesis on Puerto Rican
designers because his wife is Puerto Rican. He is
white, but he is recognizing that there's actually a
lot of ways that Puerto Rican designers influenced
graphic designers that we never hear about.
rob: Oh, 100%!
deidra: And he was telling me that there is this
whole essential movement that no one is being
taught about. And I was like, "Bro, me and you, let's
hook up."*both laugh*
rob: You ever heard of Archie Boston?
deidra: No.
rob: He... really, really beautiful work was one
of the earlier black graphic design professors,
teaches a school out in California but I think he was
born and raised in Florida, and his older brother
is also a graphic designer and they started their
own studio together.
deidra: I'll have to look him up.
rob: Yeah. You'll look him up and be like, "Whoa.
There's somebody doing this in the 70s?" You know?
deidra: Cool. Will do.
deidra: Alright next, so, for me as a black

design student going to a predominantly
white school, sometimes it's been hard
for me to connect with my peers or not
feel “other” when working with them.
so I'd like to know if you've ever felt
something similar.?
rob: Wait, can you repeat that?
deidra: So for me as a black design student,
going to a school that's very white, sometimes it's
hard for me to not feel “other” or like I don't belong
when I'm working with them, so I just want to know
if you've ever felt something similar or sometimes
you do feel something similar.
rob: Ah! Gotcha. Umm yes, in the sense that, you
know, sometimes when you're the only black kid
in class, whenever there is a topic that concerns
black people, all of a sudden you're kind of the
expert on it.
deidra: Right, you're the token.
rob: And it's not even in the sense that I think
anybody means to be tokenizing, but it's like if
you're in the room and they legitimately don't
understand something, then you're probably the
closest person... You know what I mean?
deidra: Yeah
rob: And it's like, I get that, but at the same time,
you know, there is many ways to be black as there
are black people, so I can only tell you what I think
about something from my perspective, you know?
deidra: I have to say that a lot in class when
that happens, where I'm like, "Well, this is just my
opinion, as a black person, I do not speak for the
whole black community." That's something that is
kinda within the culture at PSU. Like lots of people
of color have to make that statement before they
speak in class. And it's like I understand it, but I do
heavily wish it wasn't a thing.
deidra: We already touched on this, it was just why
do you think there's a lack of diversity, especially
black people, in design?; so my second part of
that question is how do you think we can
solve this problem or at least start to
solve or address it?
rob: I think in a lot of ways we are already starting
to address it and think of ways to solve it. I think it's
just gonna take more people with resources sharing
Rob Lewis 99
Art Director
those resources with people trying to accomplish willing to just sit down and talk and bring me into
this, and I think that will happen. Just gotta... It their spaces and just be like, "Yeah, let's have this
reminds me of I was listening to an interview of conversation," so thank you.
one of the co-founders of Roc-A-Fella Records,
Kareem 'Biggs' Burke, and he literally said "The rob: Yeah, of course.
genius thing about us is that we didn't give up."
And I'm like, so all the things you've accomplished deidra: So, this part of the interview is kind of just
if you have any other questions for me, any advice
and the big takeaway that you want people to get
you'd like to give to me that I can share with other
is just to keep going? *both laugh* But then I was
thinking about it, and I was like, "Yeah, that's kind people, stuff like that.
of what it is." You just have to keep going, and
rob: I feel like you're already doing everything
when you have the power of right or trying to do
that you need to do. You just gotta keep doing that
something good on your side, it kind of liberates
self examination and figuring out what a career in
you to really go hard with it.
design looks like for you. Once that answer is really
crystallized in your head, then just make a plan.
deidra: Dope! And then last question, actually,
is what advice would you five to folks
deidra: Alright cool, then ya we got them all.
from similar backgrounds as yourself
Thank you!
who are in design or hoping to get into it?
rob: I would definitely say if you want to do that,
don't lose the filter of things that are interesting to
you outside of design, because you can learn all
the rules and who the pioneers and the visionaries
are and all that stuff, but if you're not contributing
any of your cultural, spiritual, you know, emotional
information to it, then it's just kind of devoid of
anything; so you have to find ways for your references
and influences to remain intact as you're going
through your education. And then other than that,
I would say if you wanna know something or learn
something, reach out to someone. You know?
More than likely, especially with creators of color,
I feel like we're more likely to get back to you and
to help if we can because we understand that's
where you're coming from.
deidra: That's good. Yeah, actually we had a
classmate, she went to interview someone for
her thesis and they had already met previously
at an event, and she was like "Yeah, hit me up
anytime," and then they finalized their date for the
meeting and the time, and then she was like "oh,
by the way I'll be sending you an email soon of
an invoice of $150 for my time." She was like, "Oh,
I'm sorry, like I want to support you and support
your business, but I was under the impression that
you were volunteering for the interview and just
accepting of this. Yeah, I'm sorry, but I can't pay
this," and then the lady never responded to her,
to that email. And she was like, "I mean, if she had
told me from the beginning I would've probably
been able to, but this just came out of left field. I
was just like, wow." Yeah, so that's why again I've
been really grateful that everyone has been so
 Rob Lewis 101
Art Director
Kayla
Bronson

Tell me about yourself, early years and
where you come from.
My name is Kayla Bronson, I’m 24 years old, a
Leo, and I’ve been told I’m the human version of
Spongebob Squarepants.
I like…manga (especially horror and especially
Ito Junji), illustration, beetles (well, animals in
general), soundcloud music, having way too many
friends, scary movies, fashion, being a personal
cheerleader, fungi, K-Pop, greek mythology, and
getting complimented.
I don’t like… smelly vegetables, math, wasps, being
told what to do, all kinds of nuts, institutionalized
oppression, most spiders, and expensive things.
My history is all over the place haha. I was born in
Cincinnati, Ohio but I’ve also lived in Houston, Texas
and New Orleans, Louisiana (where my mom’s
side is from). I moved back to Cincinnati up until
I was in 8th grade then ended up in Clearwater,
FL through high school and community college. I
made the solo decision to come to the west coast
for a Japanese major and now I’m finally wrapping
up my time at PSU!
How did you first get interested in illustration?
My mom said she bought me my first sketchbook
at 2 years old and at first it was scribbles but I
remember being heavily influenced by Georgia
O'Keeffe and drawing flowers like her all the time. I
also had a huuuuge illustration book by Ed Emberley
and I took it everywhere with me and would draw
from a different section everyday. As I got older
I had more television and computer access so I
learned about manga and anime and drew from
that nonstop for years on end. After I found other
websites for artists, (ie. Deviantart, Pixiv, Drawr)
I started drawing up more of my own ideas and
characters and such and I haven’t stopped since!
I understand that you’re currently a graphic
design student, but are you working
anywhere else?
So, I major in Japanese but almost everyone I meet
assumes I major in some kind of art since I draw
ALL the time so it’s very understandable. I’m so
passionate about both that I actually had a hard
time deciding what I wanted to go to school for.
In the end, I determined my art was something I
needed to polish instead of “learn”, plus Japanese
would be so more difficult to do without proper
schooling, so it became my minor. For a long
time I was confused about where I belonged in
the art program but while I was studying abroad
in Japan, I switched my minor to graphic design
with the encouragement of my friends who were
already involved with illustration. My dream is to
teach english in Japan but illustration is always do
whether it’s professionally or not.
What was your first job as an designer and
how did you get it?
Aside from the occasional commission, I have yet
to do any professional design work but I would
love to illustrate a book someday! Idk, casual
commissions can count right? Sometimes I don’t
give myself enough credit haha. So far, all of my
commissions have been done for friends and I’m
lucky they are so supportive of me!
What kind of work do you like to create?
I like to illustrate with people as my usual subjects.
I have the OCs (original characters) I work with and
draw occasional fanart. I want to get more into
making my own zines!
Can I know a little bit about your process
when working? Is there anything special
you do to get the creative juices (ideas)
flowing?
Kayla Bronson 105
Illustrator
Well, I do have a soundcloud that is perfect when it
comes to background music. It acts as my starting
point and then once I get more focused I might
switch to some of my favorite songs in itunes. When
I don’t have a strong direction in mind as I start
drawing, I open my sketchbook, scroll through one
of my many reference picture folders, then jump
into it after I find something that really sparks my
interest. On the other hand, when I suddenly get
inspired I instantly go into artist mode and draw
out my ideas until I’m satisfied with my results.
What have been your biggest struggles
being a design student? Being a Black
design student?
Mainly not feeling like I’m qualified or good enough
to do any kind of professional work. Also struggling
with not seeing myself surrounded by people like
me. Finding black designers takes more effort and
searching (so to speak).
Where do you see yourself in 5—10 years?Do
you think you will still be working as an
Illustrator?
I’ve never considered illustration as a profession
but I will never stop doing it whether it’s for fun or
not. In 5 or 10 years I see myself being settled into
life in Japan as a teacher. In an ideal world, I would
illustrate on the side but I have no plans for that yet.
As a black design student going to a
predominantly white school, sometimes
it’s hard for me to connect with my peers
or not feel other when working with them.
I'd like to know if you've ever felt something
similar.
Yes absolutely. Going into a beginners class with
multiple people who have used photoshop since
middle school is actually terrifying!! As you can
imagine, being put into a group with those people
is equally as horrific… but there’s always someone
 Kayla Bronson 107
Illustrator

else on the same page as me which is always a relief.

Why do you think there is a lack of diversity

(especially black people) in creative fields?
How do you think we can solve this problem?
( or at least start to solve/address it)

I think there’s a lack of diversity because often
times the message we receive is that we cannot
do something instead of telling us to do what we
want. Maybe if representation was more prevalent
in the fields (ie. more famous POC artists/designers
& publicising their artwork)
What advice would you give to folks from
similar backgrounds who are also wanting
to get into the design field?
Focus on you and your goals and try to not compare
yourself to others. You CAN do it!
For a long time I was confused about
where I belonged in the art program but
while I was studying abroad in Japan, I
switched my minor to graphic design with
the encouragement of my friends who
were already involved with illustration.
My dream is to teach english in Japan
but illustration is always do whether it’s
professionally or not.
Kayla Bronson 109
Illustrator

Erika Nathanielsz
Tell me about yourself, early years and
where you come from.
Hello! My name is Erika. I’m a graphic designer,
and student at Portland State University.
I was raised in Beaverton, Oregon. I moved from
Los Angeles when I was 4 years old. My early
years had a lot of beautiful moments and some
that were very difficult. An aspect of my childhood
that I just am starting to process within the last
two years is, there weren’t a lot of people who
looked like me where I grew up. I was raised in a
very white suburban neighborhood. I remember
always wanting to ‘fit in’ but couldn’t quite pinpoint
what that really meant.
As a child I was always someone who wanted
to try EVERYTHING. I grew up having dreams of
being a fashion designer, an astronaut, an artist, a
professional soccer player. That trait of wanting to
try everything still sticks with me today.
How did you first get interested in design?
This came to me much later in my college career.
I always knew I wanted to do something creative
but wasn’t quite sure what. It wasn’t until I met my
boyfriend, Gabriel (he’s a footwear designer) that
I realized you could make a living as a designer. I
figured Graphic Design would be my bridge into
a creative career.
I understand that you’re currently a graphic
design student, but are you working
anywhere else?
I work on campus for the Center for Retail Leadership
as their graphic designer + art director. Previously
I was a technician at the Apple Store.
What was your first job as an designer and
how did you get it?
My very first job as a designer, I want to say was
to create a flyer for my friend’s show. I started off
doing a lot of work for musicians (album covers
etc.) because I used to be a background singer
myself. I just kind of naturally met other musicians
who’d needed design work.
What kind of work do you like to create?
Right now I’m really loving page layout, as well as
starting to explore Art Direction.
Can I know a little bit about your process
when working? Is there anything special
you do to get the creative juices (ideas)
flowing.
Finding inspiration is always the start for me. For Art
Direction, there is always a story that I’m trying to
tell. Moodboards and gathering physical materials/
textures is usually a good place to start.
What have been your biggest struggles
being a design student? Being a Black
design student?
Erika Nathanielsz 111
Graphic Designer | Art Director
Being a design student in general, I think we all
at some point question our talent, and compare
ourselves to others. Exercising self worth and
trusting your talent has been a difficult task for me,
but one that I am slowly overcoming.
Being a Black design student at Portland State,
I’ve realized there’s a lot of the similar issues that
have come up in my childhood as far as looking
around and realizing there aren’t other people
who look like me. A lot of my work stems around
representing women of color. Sometimes I wish
we had more black/brown students and teachers
to this kind of representation. It wasn’t until my
Junior year in the program that I had a class with
other black girls.
Where do you see yourself in 5 or 10 years?Do
you think you'll stay being a designer?
In this time, I’d like to see myself working towards
being a Creative Director. Hopefully I’m living in a
luscious and diverse city (maybe NYC?) but who
knows!
As a black design student going to a
predominantly white school, sometimes it’s
hard for me to connect with my peers or
not feel other when working with them. I'd
like to know if you've ever felt something
similar.
Absolutely! For the first two years, I really didn’t
connect with any of my classmates beyond a
 Erika Nathanielsz 113
Graphic Designer | Art Director

classroom setting. Nothing against them, there just

wasn’t a natural connection.

Why do you think there is a lack of diversity

(especially black people) in creative fields?
How do you think we can solve this problem?
( or at least start to solve/address it)
Don’t be afraid to reach out to other
I think that accessibility and visibility has a lot to do
designers of color and to look for a mentor.
with it. Sometimes it’s easier to pursue something
when you see other people who look like you, doing I guarantee you, they’ve probably had
that thing. I’d like to see more black/brown artists similar struggles breaking into this field
going into high schools and just simply talk about
what they do. You never know what kind of spark
and would be glad to give you advice,
you can give someone. This is something I’d like and/or mentor you!
to do (hopefully I can take Friendtorship next year)

What advice would you give to folks from

similar backgrounds who are also wanting
to get into the design field?

I would say, don’t be afraid to reach out to other

designers of color and to look for a mentor. I guarantee
you, they’ve probably had similar struggles breaking
into this field and would be glad to give you advice,
and/or mentor you!

Also, just start creating! Use whatever resources

you have whether it’s pen or paper, your school’s
computer, an app on your phone. Just start making.

And PLEASE, do not give up.

 Erika Nathanielsz 115
Graphic Designer | Art Director
 Erika Nathanielsz 117
Graphic Designer | Art Director

Corey Vasquez
How did you first get interested in design?
I was a computer science major, and I didn't really
like how the major was setting me up. I saw a video
about the development of Firewatch, and how the
main design director was a graphic design major. So
I decided to do a graphic design minor, and I started
taking classes. A professor talked to me about it, and
convinced me to become a full time major.
I understand that you’re currently a graphic
design student, but are you working anywhere
else?
I mostly do community work. Right now I work with
CHNW. It's a Portland-based non-profit housing
company that caters exclusively to college students.
I work for them as a Resident Ambassador.
What was your first job as an designer and
how did you get it?
I don't know if I have a "first job" yet. I've done a lot
of community poster type work for CHNW. I also do
some jobs for a local lottery company.
What kind of work do you like to create?
I think I like creating backgrounds, anything to do
with layers, like layered backgrounds. I don't think
it's exactly graphic design work, to be honest. But
I like doing it.
Corey Vasquez 119
Graphic Designer
Can I know a little bit about your process
when working? Is there anything special you
do to get the creative juices (ideas) flowing
That's a tough one. After I failed my portfolio review,
it got a lot harder for me to get started on design
work. I usually listen to music, or have some video
playing on the side. Anything that gets me happy.
What have been your biggest struggles
being a design student? Being a Black design
student?
I feel that I get a lot of personal attacks at PSU. There
is a lot of that.
As a person of color, I feel that a lot of people don't
trust me on my process work, and feel like I'm being
lazy. Another issue I have is that I'm Dyslexic and the
GD program has a style that I have trouble following.
I usually have to do hand-lettering and illustration,
which I'm not really good at.
The graphic design program has a style that I can't
follow. And I feel like a lot of new students to this
program can't follow it either.
Where do you see yourself in 5 or 10 years?Do
you think you'll stay being a designer?
I think I want to eventually be a teacher. But at the
same time, I think I want to make something, like my
own company. Maybe a design firm? I don't know
 Corey Vasquez 121
Graphic Designer

As a black design student going to a similar backgrounds who are also wanting
predominantly white school, sometimes it’s to get into the design field?
hard for me to connect with my peers or not
feel other when working with them. I'd like to A lot of people are going to tell you what to do when
know if you've ever felt something similar. it comes to a career as a graphic designer. Trust your
own advice. Also It's important to understand that
Yeah, I've felt similarities. And maybe this is wrong you will fail and it's okay to fail. Grow from it.
thinking, but I feel like people don't trust me because
of my skin color. Or that they think I'm not qualified.
And sometimes, I feel like people won’t be friends
with me because of it.

Why do you think there is a lack of diversity

(especially black people) in creative fields?
How do you think we can solve this problem?
( or at least start to solve/address it)

First, a lot of the time, black students don't make it

past high school. Which immediately reduces their
chances of making it into a college oriented graphic Graphic design can pay just as well
design program. as a STEM career.
Second, the family of these students think the student
should not be a graphic designer. They think the
student should be something else, like a lawyer, or an
engineer, or something that pays more than graphic
design. This is an incorrect bias. Graphic design can
pay just as well as a STEM career.

Third, I think that black students aren't aware that

this is even a career option.

What advice would you give to folks from

 Corey Vasquez 123
Graphic Designer
 Corey Vasquez 125
Graphic Designer
 Rheagan Dukes 127
Graphic Designer | Photographer

Rheagan
Dukes

Tell me about yourself, early years and
where you come from.
I was born under the sun, in LOUISIANA ,Bbaton
Rouge 1995, January 28th, #AQURIOUSGANG.
Grew up in Mississippi where my mom and most
of her immediate family was born and raised. At 6
years old my mom moved us to Seattle, WA . Still
spent almost every holiday , summer vacation and
spring break all in Mississippi. I traveled back and
forth a lot still keeping close to home. I still hate
the cold and I miss the stars at night. As a child
I loved organizing and creating fun projects for
anything I was doing. Every summer from the time
I was 12 years old I designed my own babysitting
fliers and hung them up every summer. I created
pamphlets at school and in my moms office at work
after watching Cats vs Dogs the movie .There was
a scene in the movie where the cats handed the
mice pamphlets explaining their evil game plan.
I loved it and thought every game plan needed a
pamphlet !*laughs*
How did you first get interested in design?
I didn't know what design was until I was a
sophomore in college. Growing up I drew a lot on
my own, focused on fine art practices and thought
I wanted to be an animator. After sitting down on
my ass for 12 hours everyday doing nothing but
stacks of illustrations that only moved less than
a quarter of an inch , I was no longer interested .
Although I appreciate the art of animation , it is not
for me . Fortunately, the entire time I attended the art
institute of Portland , everyone down to professors
confused me with the other design students. So I
left and ended up at PSU in the design program.
As a kid I learned how to draw through various
times in my life, from my mom in church keeping
me preoccupied and by watching my favorite
cartoons shows as a child. FLCL ,Courage the
Cowardly Dog, CatDog , Rin and Stimpy and the
Boondocks! Every Sunday we went to church,but
it was hard for me to focus. So to keep me busy
my mom taught me how to draw different parts of
the face .I think the best thing she ever taught me
was how to draw lips .drawing lips are my favorite
part. I take it pretty serious.*laughs*
This was the only way I could make it through
church ! ( excuse me lord Jesus) She taught me
how to draw hair , lips and eyes. I don’t have the
drawings today , except for one in my bible at
home . Ever since then my lip game has been A1.
Adult swim late at night was my thing before bed.
Although I wasn’t supposed to be awake at 10pm ,I
watched it before bed all the time . Everyone knows
the best cartoons came on at night especially
anime . I’m an anime nerd . Am I ashamed ?? No
. Anime still to this day is my heart and soul. The
Japanese animation story lines and illustrations
styles broke so many barriers within animation.
Where American cartoons had four fingers anime
had all five. The story lines were incredibly detailed
and challenging.One of the most influential anime
cartoons that had an influence in my own style
is The Boondocks and Spirited Away. By the time
I was about 12 I believe , I started downloading
free programs in order to draw and digitally paint. I
believe my love of art and appreciation for helping
others through my creativity is what helped cater
me to getting into design.
I understand that you’re currently a graphic
design student, but are you working
anywhere else?
Currently I am working within my own creative
studio with other artists of color and aspiring
creative models . I’m also a creative merchandiser
for Forever 21. Them discounts be hittin!
What was your first job as an designer and
how did you get it?
My first job as a designer I don’t believe has
happened just yet, but when it does you will be
the first to know! *laughs*
Rheagan Dukes 129
Graphic Designer | Photographer
What kind of work do you like to create?
I would say the work I love to create is work that
helps other people become better in whatever it
is they are trying to accomplish creatively. I love
seeing a models confidence build and creativity
shine after shooting together or pairing up with
another artist and creating something new while
building a new skill set.
Can I know a little bit about your process
when working? Is there anything special
you do to get the creative juices (ideas)
flowing.
Great energy and lots of tree. Once I get negative
vibes I loose all interest in what I’m doing and move
on to the next idea.
What have been your biggest struggles
being a design student? Being a Black
design student?
Having a voice and feeling like what you have to
say matters or is valid. Even though everyone tries
to make it seem as if everything is all good , the
passive energy is still there. I still feel like people
over all have a long way to go as far accepting my
presence as a black female creative. I don’t mean
playing the role of trying to accept other black
people weather it be in a creative space or not ,
racism is still present in others actions, lack of action
and vibes. I can definitely feel when people try too
hard to accept my presence or when it’s actually
genuine. There are very few people, that I;ve met,
of the opposite race where it’s genuine. Almost
everyone who is not black always subconsciously
feels like they need to validate themselves and
make sure I understand they aren’t racist or are
capable of accepting me in some way. Genuine
people are cool with me . Being genuine doesn’t
mean saying your not racist , or mentioning the
three black friends you have or turning every
conversation we have into race and why they may
feel it’s[racism] wrong , trying to relate on some
 Rheagan Dukes 131
Graphic Designer | Photographer

level. Genuine is just being present , living in the
moment , and having conversations between two
people , two creative people. Beyond that I do me
and have always done me and if you don’t like me
then , oh well. *laughs* Start a club about it. Either
way I’m always going to enjoy what I do weather
my presence is welcomed or not . I love being a
black female creative , I have so much flavor to offer!
Where do you see yourself in 5 or 10 years?
Do you think you'll stay being a designer?
Running shit , the right way. And most importantly
the best way I can for myself and other black
creatives. I’ve had so many bad experiences that
I believe have taught me what I won’t do or what I
will do to help create a better creative community
for myself and my people. We deserve that voice
, and running my own studio will give others like
me a better chance earlier on within their creative
journey. I want everyone to be better than who they
were yesterday and to always strive to become
the best. I’ll always be in design.
my people don’t always value art or see value in
creative skills. How could you when your fighting
for your life in the streets everyday or worried about
making ends meet? Certain lifestyles don’t cater
to creative opportunities and in turn it’s normal to
not see the value or really pay attention. We need
parents teaching their kids about the arts, maybe
even teaching the parents so that it stays within
the everyday home.
What advice would you give to folks from
similar backgrounds who are also wanting
to get into the design field?
Show love , always even to the ugliest soul. But be
smart about your circle and who you keep around
you. Most importantly, Just do you and crush ‘em.
By any means necessary.

As a black design student going to a

predominantly white school, sometimes
it’s hard for me to connect with my peers
or not feel “other” when working with
them. I'd like to know if you've ever felt
something similar?

All the time. I call myself the black sheep. Literally I want everyone to be better than who
Why do you think there is a lack of diversity they were yesterday and to always
(especially black people) in creative fields? strive to become the best. I’ll always
How do you think we can solve this problem?
( Or at least start to solve/address it)
be in design.

Opportunity, money and nurture. To solve this we

should go to inner city schools and the hood and
get younger creatives excited about refining their
craft. Showing them another lifestyle and mindset
they don’t see everyday at home and fundraising
programs to offer such creative opportunities .
Nurture is all about your environment and as a whole
 Rheagan Dukes 133
Graphic Designer | Photographer
 Rheagan Dukes 135
Graphic Designer | Photographer
 Jamila Carter 137
Graphic Designer

Jamila
Carter
 Jamila Carter 139
Graphic Designer

My biggest struggle being a design student

of color is probably that some people
don’t take my ideas seriously.

Tell me about yourself, early years and
where you come from.
I’ve been in the program for the past 4 years. But
before I was a military brat born in virginia. I’ve
live in Connecticut, Hawaii, Nebraska, and in high
school my family and I moved to Oregon.
How did you first get interested in design?
I had taken an art and technology class in high
school and that was basically my first introduction
to photoshop. We had to make magazine covers
and posters and I realized I really enjoyed the
layout aspect of the projects. And from then I did
more research about art and technology and fell
in love with graphic design.
I understand that you’re currently a graphic
design student, but are you working
anywhere else?
What kind of work do you like to create?
I tried to keep all my work clean, focused and
experimental. I love branding and page layout.
Can I know a little bit about your process
when working? Is there anything special
you do to get the creative juices (ideas)
flowing.
I put in my earpods, blast my favorite tunes and get
to sketching. As well as I look up some inspiration
from a variety of sources (IG, Pinterest, etc.)
What have been your biggest struggles
being a design student? Being a Black
design student?
My biggest struggle being a design student of
color is probably that some people don’t take my
ideas seriously.
Honestly I didn’t feel connected to the program
until Junior/Senior year.
Why do you think there is a lack of diversity
(especially black people) in creative fields?
How do you think we can solve this problem?
( or at least start to solve/address it)
I feel like there is a plethora of reasons there is
a lack of people of color in design fields. Money,
opportunities, and overall exposure.
What advice would you give to folks from
similar backgrounds who are also wanting
to get into the design field?
DO YOU BOO. Go for it, take a risk. I like to call
myself a creative risk taker, but I am just a risk
taker in general! Also do NOT let anyone tell you
you can’t do something because of the color of
your skin. Make cool shit!

Right now I am a part timer sever and part time Where do you see yourself in 5 or 10 years?Do
drafter. you think you'll stay being a designer?

What was your first job as an designer and
how did you get it?
Studio5 was my first time I had a job as a designer.
Basically I “won” the job haha. The client liked my
logo the most and said it fit with their business the
best, so I did a rebrand for them and worked with
them for 3 months
5 years is so close yet so far away. I hope to making
cool shit, maybe own a business, and making A LOT
of $$$. Definitely will always be a designer at heart.
As a black design student going to a
predominantly white school, sometimes
it’s hard for me to connect with my peers
or not feel other when working with them.
I'd like to know if you've ever felt something
similar
 Jamila Carter 141
Graphic Designer

sigourney jon patricia

weaver voight arquette

walt disney pictures presents

the award winning novel comes to life

can you dig it?

WALT DISNEY PICTURES PRESENTS “HOLES”IN ASSOCIATION WITH WALDEN MEDIA A CHICAGO PACIFIC ENTERTAINMENT/PHOENIX PICTURES PRODUCTION AN ANDREW DAVIS FILM TIMBLAKE NELSON AND SHIA LEBOUF
KARYN RACHTMAN MAKEUP JOEL MCNEELY COSTUME DESIGNER AGGIE GUERARD ROGERS MUSIC BY TOM NOROBRG AND JEFFERY WORK, ACE PRODUCTION DESIGN MAHER AHMAD EXECUTIVE PRODUCERS STEPHEN ST. JOHN
SET SUPERVISOR

HOLES.COM MARTY EWING LOUIS PHILIPS WRITTEN BY LOUIS SACHAR PRODUCED BY MIKE MEDAVOY ANDREW DAVIS TERESA TUCKER-DAVIES LOWELL BLANK DIRECTED BY ANDREW DAVIS
 Jamila Carter 143
Graphic Designer
Contributors References
Corey Vasquez Glenford laughton
@ corey.dev glenfordlaughton.com/13-african-american-graphic-design-
corey4.cargo.site ers-know-part-1/
glenfordlaughton.com/13-african-american-graphic-designers-part-2/
Erika Nathanielsz
@erikasaidhello AIGA Design Journeys essays
www.erikasaidhello.com www.aiga.org/design-journeys

Jamila Carter Creative Pro

@jamilaycarter https://creativepro.com/the-creative-world-of-gail-anderson/
jamilaycarter.com
africanah.org
Kayla Bronson https://africanah.org/emory-douglas/
@orsokiiro
Chicago Tribune
Loveis Wise https://www.chicagotribune.com/entertainment/museums/ct-ent-af-
@loveiswiseillu rican-american-design-chicago-1206-story.html
loveiswiseillustration.myportfolio.com/projects
Design Observer
Norm Mcculler https://designobserver.com/feature/emmett-mcbain-art-direc-
@ st0rm1n tion-as-social-equity/39565

Rheagan Dukes
@___maed___
www.maedstudio.com

Rob Lewis
@trillmurray