September 22, 2017

Pride, Work and Necessity of Side Projects: Designer and Educator Jamie Cavanaugh Activates Lifelong Learning for the Global Design Community at Design Higher



What are you working on—on the side?

In March 2017, I started my side project, Design Higher, a website focusing on lifelong learning for designers. For over ten years, as an Interaction Designer and an Associate Professor in the Graphic Design program at Santa Monica College, I’ve witnessed first-hand the need that both students and designers have for information, resources and advice on how to succeed—and thrive!—in design careers.

As the field of design continues to rapidly evolve, multiple challenges arise for both students and designers including: what do you need to know, where to go for the best design education, and most importantly, how to become a self-learner and start practicing lifelong learning.

My goal is to help designers succeed by providing smart learning resources and courses for UX/Interaction Design, including materials for design educators and those who’d like to start teaching design. I’m planning to offer courses on “How to Start a Career in UX/IxD” and “How to Start Teaching in a Design Program.” In the future, I’d like to offer mentoring and coaching to students and designers to provide an individualized, hands-on approach to lifelong learning, design education and career development.

In addition to being an advocate for lifelong learning, I’m a design education innovator and the faculty lead for the first Bachelor’s degree program in Interaction Design at a community college in the United States. I see an important opportunity for community colleges to educate the next generation of UX/IxD designers. Community colleges are uniquely positioned to support non-traditional students, first-generation students and career-changers, and can bring the needed diversity to the design industry. 

How do you manage to work
on your side project(s)?

As a designer and educator, I’m used to working nights and weekends. ツ Before becoming a full-time educator, I designed and built websites, so launching a website for my side project is in my wheelhouse. I’ve created multiple courses for my interaction design students, so developing the resources for Design Higher follows a similar process. I’m passionate about lifelong learning and design education, so I make time to work on this project. I’ve also sought assistance with the site and hired Spruce Rd. to create my branding. More outside help will be necessary as I grow my business.

Why have a side project?

One of the unexpected benefits of a side project is facing the challenges of managing my mindset! Building a new business from scratch has brought up many of my insecurities and bad habits regarding confidence, time management and productivity. I’m learning how to be more results-oriented and more effective with my time. It’s been a great challenge to work within these constraints. I feel the entrepreneurial skills that I’m developing will serve me well as a designer.

I’ve been thinking about this project for a long time, so I’m happy to finally jump in and do it! I’m obsessed with organizing information and resources, and have long been advocating reduction in the duplication of effort for educators and designers. I believe having a side project adds value to my other work, and keeps me better organized and energized within both the teaching and design worlds. I also feel that I’m supporting the design community, designers, educators and the people who are really close to my heart—design students!

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Diptych courtesy of Jamie Cavanaugh.

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Read more about the joy of side projects.


This series, devoted to side projects, is delivered in association with Chicago creative agency 50,000feet—dedicated to helping brands and businesses soar.


Please consider supporting Design Feast
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September 20, 2017

Pride, Work and Necessity of Side Projects: Designers Rashi Birla and Nicklesh Soni share Photo Essays about Their Wanderlust



What are you working on—on the side?

Found Nouns is our discovery of the people, places and things along our travels. We use a combination of photos and words to create photo essays that share those discoveries. Sometimes, they are very specific, about a person or a favorite meal, and other times can be about several days in a region or city.

How do you manage to work
on your side project(s)?

We spend so much our time traveling taking photos and journaling, that focusing our creative energy on Found Nouns allows us to create something more rich and beautiful. During down-time abroad, we begin editing and writing, which forces us to slow down and reflect upon our time in that place. We both take the photographs, but Rashi takes on the heavy lifting of editing, while Nick writes, designs and curates the website. When we are not traveling, we use the time to catch up on the backlog of photos and posts that have piled up.

Why have a side project?

It’s important for both of us to always learn new skills, and Found Nouns is so closely related to our design work—this side project has taught us complimentary skills that we use more and more in our regular jobs. It’s an opportunity for both of us to experiment without worrying about failure or deadlines. Most importantly, it’s a chance for us to work on something together, which we don’t get to do much in our daily lives.

• • •

Diptych courtesy of Rashi Birla and Nicklesh Soni.

• • •

Read more about the joy of side projects.


This series, devoted to side projects, is delivered in association with Chicago creative agency 50,000feet—dedicated to helping brands and businesses soar.


Please consider supporting Design Feast
If you liked this lovingly-made interview, show your appreciation by helping to support my labor of love—Design Feast, which proudly includes this blog. Learn more.

September 15, 2017

Pride, Work and Necessity of Side Projects: Stationery Enthusiast April Wu Explores the World through Urban Journaling



What are you working on—on the side?

My side project, Penguins Creative, evolved from my doodling habit since high school. I was always drawing little illustrations of penguins and my daily life. In 2014, I committed to a one-day-a-page journal since 2014 called the Hobonichi Techo. In this journal, I would doodle, sketch, paint and utilize crafting materials to document adventures and explorations from my daily life. From this process, I’ve cultivated a formidable following of friends and audience that like to see my daily scrapbooking, sketches and journal entries in my diary. Penguins Creative became my platform to showcase my passion for urban sketching and creative journaling—together I dubbed it Urban Journaling—exploring the world through writing and art.

At Instagram, I realized that there are many people who are interested in the same thing as I do all over the world. I decided to see if I could meet people offline to share this passion. Soon, I began reaching out on the internet and hosted many meetups around the world to engage and play with like-minded stationery addicts, including Taipei, Tokyo, Boston, New York, Seattle and Chicago.

How do you manage to work
on your side project(s)?

Just like people who would find jogging or other activities therapeutic, my meditation lies in art and crafting. The creative flow I get from each session of journaling or urban sketching is profound and energizing. I make time to go out and sketch with friends each weekend at different parts of the city, making it a social event as well as an art break. Every night, before I sleep, I dedicate at least an hour to write in my journal, dressing up the day with little quotes and interesting tidbits I found. In my travels, I try to incorporate my passion for stationery into my itinerary and share it with my followers at Instagram.

Why have a side project?

The fun thing about a side project is that it is not serious as work. Just like what people say about work-life balance, a side project is something that you do for fun, that you play with. Through Penguins Creative, I discovered that being passionate about something also makes you bold and adventurous. In my meetup experiences, I learned to chat with strangers and share new ideas. Engaging with friends around the world is my biggest takeaway from this side project.

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Diptych courtesy of April Wu.

• • •

Read more about the joy of side projects.


This series, devoted to side projects, is delivered in association with Chicago creative agency 50,000feet—dedicated to helping brands and businesses soar.


Please consider supporting Design Feast
If you liked this lovingly-made interview, show your appreciation by helping to support my labor of love—Design Feast, which proudly includes this blog. Learn more.

September 14, 2017

Graphic Novelist Meags Fitzgerald is Building a Self-Fulfilling Career from Scratch


Illustrator and Art Director Meags Fitzgerald’s output in drawing and publishing is tremendous, including the nonfiction graphic novel “Photobooth: A Biography” and a fantastic series showcasing her ambidrawing talents. Here, she tells more about carving her creative work lifestyle—her way.

How did you arrive at desiring to become an artist
who makes her art her life’s work?

This was always the dream for me, and I never seriously considered doing anything else. Everyone else in my family were employed in conventional, 9-to-5 type jobs. They were supportive of me but also afraid, because they really couldn’t see the path I was on. I sought out advice from role models and mentors, who led me to believe that I could make it in this tricky industry. The early years were really difficult, for a long time I made essentially no money and the stress that causes affects your health in real ways. I could see that my friends and family doubted my career choice, but I had to keep believing that I was the exception to the rule. I stubbornly believed that I was “going to make it.” (Whatever that really means.)

It wasn’t until my first graphic novel was released (below) that I could detect that people’s attitudes towards me had changed, and though I was never after their approval, everything does become easier when you don’t believe there is resistance all around you. I’ve been self-employed for eight years now, it gets easier every year in that I don’t have to hustle for work like I did, but more difficult too in that there’s more expected of me, the jobs are for higher-profile clients, and I have to continually find ways to keep myself feeling challenged and excited by what I’m doing.



What methods/activities did you activate to help you actually start working and living your passion? Because “Just do it” is easier said than done.

I left my house and met real people. It seems like a silly thing to say, but these days, I think we expect everything to take place online—we forget the value of in-person connections. I would never have got my first chances, if it weren’t for friends and acquaintances thinking to hire me for some small poster or t-shirt gig. All my early jobs were based on being a present member of my community (like attending tons of comedy, theatre and music shows), and therefore, being at the front of people’s brains when opportunities came up. I’ve had very little success with ‘cold-calling’ art directors by sending them a link to my portfolio. It’s true when they say “it’s all about who you know.” I think a lot of artists coming straight out of school think that your portfolio is the only thing that matters, but clients and art directors can choose to work or not work with you for a multitude of reasons. It’s important to let your personality shine through!



With “Art is long, life is short” in mind, how do you keep yourself to task in productively honing your craft and getting things done?

My greatest struggle is balancing my time between the client work that pays my bills and the work I’m doing for myself. My own projects will ultimately do a lot more for my career than the client projects, but the pay-off for them can be years down the road. It’s so hard to prioritize my own work when a fun, paid project is waiting right there to be worked on.

I hope to always be advancing my skills, if I wasn’t, I think I’d lose interest in illustration work pretty quickly. One trick I have is to set a personal challenge for every client project. Whether it be a technique I’m rusty at or taking an unconventional approach to the composition, I want to take all the opportunities I can to keep improving.

What experiences do you carry with you that empower
your work moving forward?

Firstly, I try to pat myself on the back every once in a while. It’s so easy to take a rejection letter too much to heart or scrutinize your own work and compare it to the work of artists who’ve been at it for ten years longer than you. If you’re attempting to be a self-employed creative professional, you’re in a perpetual state of risk-taking and that ain’t easy. I heard something once, (I don’t think it’s an attributed quote, just a nugget of wisdom) that goes “I’m willing to risk the usual so I don’t have to settle for the ordinary.” I’ve always known that I didn’t want an ordinary life so that notion helps drive me. I believe I’m worth investing in and that my career/life is worth taking some risks for. Inevitably that path will be bumpy and uncomfortable at times, but that’s when you summon all your grit and remind yourself why you’re doing this.



What is your vision of satisfaction and growth,
as it relates to your livelihood?

I’m pretty fortunate right now in that I can be selective about the projects I can engage. I choose to only work on things that really interest me or are for cool clients whom I have shared values with. Professionally speaking, I’d like to do more art direction and eventually phase out most of my illustration work. Personally, I’d like to own either my home or studio space. As both an artist and as a single woman, it can be so difficult to buy your first place. I’ve always wanted a space that was really all my own, and I think it would feel like an amazing accomplishment to pay for it with a career I built from scratch.



What is the one tool that helps make your work more accomplished and pleasant, as a result, making your life good?

These Pilot Japanese brush pens are my secret weapon. They’re so helpful when I’m on the road or need to knock out an illustration really quickly. I buy them in bulk from Japan about twice a year!

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All images, including photography by Alex Tran, courtesy of Meags Fitzgerald.

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Check out Meags Fitzgerald on Patreon to support her work.

• • •

Read more from Design Feast Series of 90+ Interviews
with people who love making things.


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September 12, 2017

Pride, Work and Necessity of Side Projects: Product Designer Avalon Hu Reunites with the Art of Illustration



What are you working on—on the side?

I liked doing illustrations since I was a kid, and picked it back up as a hobby from time to time. But, life happens, and my attention was needed elsewhere as an adult—I was never able to fully dedicate time to illustrating and push this hobby forward. At the beginning of this year, I decided to set a goal to invest in my illustration skills and be more serious about it.

I heard about the 100-day project created by Elle Luna a while ago, but never did it. When I saw that this year’s project was launching soon, I decided to pursue it as my side project to explore and express myself with illustrations.

At first, I didn’t have a clear idea of what I’d like to draw, so I was like, “why not something easy and fun for me to ease into the experience?” And that’s how I started to draw anthropomorphic animals. I usually picked an animal first, and then thought about what that animal would do if it turned into a human, or what it would look like in the human world. To give you some examples, I did a hipster lion inspired by my life in Brooklyn, a chicken ninja inspired by a catchy and viral “chicken attack” YouTube video, and a farmer duck lady inspired by the Union Square farmer’s market.

After continuing this theme for 20 days, I reached my creative limit and decided to pivot my project’s theme to exploring humans and nature, using more basic shapes and colors to construct simple and peaceful-looking illustrations. During this process, I noticed tremendous improvement in my drawings, and it’s really interesting so see how each time I pivoted my style, I struggled for a few days at the beginning, and then that style eventually matured and became stable.

With the momentum of the 100-day project, I continue producing more illustrations and push myself to try out different techniques at a sustainable speed so that I don’t burn out. You can follow my Instagram to see what I have been thinking and working on!

How do you manage to work
on your side project(s)?

Since I have a day job, the only time I can work on my side project is during the early mornings before work and evenings after work. I realized that my creative process mostly consists of brainstorming and sketching. I make sure that when I have a good chunk of time, I use it to roughly sketch out ideas and then do the coloring here and there when I’m free. I think having a side project really taught me how to prioritize and be efficient about my time. It also helps me to be present and squeeze more time out of my day to strike a balanced schedule—one that allows me to focus on both work and my side project, avoiding creative burnout.

Why have a side project?

There are so many good reasons to have a side project. First of all, my side project helped me see how transferable the design process is across different forms and media. As a product designer at Adobe, my job is to solve problems and provide design solutions that fit user and business needs, and storytelling is very important in this process to make sure that we present a cohesive product experience. Illustration shares the same elements. Each detail—like shape or color—has its own purpose as part of the bigger picture, and as an artist, my job is to guide viewers’ eyes within the picture to tell the story plus spark new thoughts and emotions.

My side project also serves as a creative outlet that I have more control over. Since the nature of my day job is more team-based, there are many layers of ownership to my design projects, and I don’t necessarily have control over the outcome. With personal side projects, it is quite satisfying to make and execute a vision exactly the way I want.

Lastly, you never know where your side project will lead you. Since I started my 100-day challenge, I have had the honor and opportunity to appear at an Adobe Live show during the 99U conference this year, and a few of my drawings have been featured and used in the Adobe Illustrator Draw app. If I didn’t pursue my side project, I might not have encountered these opportunities. Getting back into illustration has been an amazing journey full of surprises, and I can’t wait to see what comes next!

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Diptych courtesy of Avalon Hu.

• • •

Read more about the joy of side projects.


This series, devoted to side projects, is delivered in association with Chicago creative agency 50,000feet—dedicated to helping brands and businesses soar.


Please consider supporting Design Feast
If you liked this lovingly-made interview, show your appreciation by helping to support my labor of love—Design Feast, which proudly includes this blog. Learn more.

September 10, 2017

Eager to Make Ideas Happen: Rachel Happen Brings Her Dancer’s Sensibilities to Business


Rachel Happen built a professional bridge from her roots in dancing to the domain of business. Here, she elaborates on the choreography of her multidisciplinary career that carries two distinctive skill sets.

From ballet to modern dancing, wow! How did you become passionate about dancing?

I started dancing at such a young age that can’t really remember the process of falling in love with moving. It’s been a constant for me. I would say, more than moving to music, I’ve always been fascinated with how we move our bodies to express. Observing how people move is like listening to a language everyone can speak.



Do you still practice dancing? How do you keep this up?

I do! I now train in Hip Hop and attend a circus school. I take two Hip Hop classes every week and have been for the past two years. Unlike ballet and modern, Hip Hop is learned through imitation. Instead of doing a series of exercises to learn a movement pattern or body isolation, we just learn choreography, and pick up on the moves that make up the bigger piece simply by doing them. It’s a cool experience because my brain already knows how to learn choreography, but I have to consciously re-learn a bunch of details, like how to hold my hands, and that’s a challenge.

Circus school is an even bigger challenge! I train hand-balancing and fixed trapeze at Night Flight Aerial in Portland. I’m slowly building up my upper body strength to be able to do more tricks. I like how different “mastery” looks in circus than in dance, and how anything that amazes or awes is excellent, regardless of what other tricks other performers are doing or have historically done.

From dancing to business, double wow! What nudged you to go beyond the world of dance into the business world? Was there an experience that compelled you to start your path in business?

Creative frustration pushed me to dive into business. I was tired of performing in theaters for groups of my peers and other dance-insiders. I felt like my work would never reach a larger audience, or touch anyone who didn’t already consider themselves a part of the dance world. Creating products that anyone could buy felt freeing, like an opportunity to shed a lot of insular trappings of dance and make art and put it out into the world.

The debate persists on the MBA degree and its programs, 
its status, value, et al. Having an MBA, what are your thoughts on getting business-schooled?

I think getting an MBA is exactly as useful as going to art school. It’s an investment in yourself. As a creative person, business school was an opportunity to swim in an intellectually challenging environment, surrounded by people with very different world views and career aspirations, and see if I could be who I was and be valued. It was a chance for me to find my footing as a “creative person” who lives in business world, instead of becoming a “business person” in business world. Business school is like art school in that it gives you time and space to figure out what matters to you and how you want to make a life of that passion.

What from the dance-world remains a regular, 
even frequent, influence on your life and work?

More than any one luminary, I would say the constant pulse of newness that comes from the dance community, and particularly from Hip Hop, is an inspiration for me. When I shifted my professional world to be more business-focused, dance became less of a conceptual output and more of a conceptual input. It has become a place I go to get ideas and have experiences, instead of a medium I use to make a point. So it’s the dancers that I dance next to every week that keep me grounded, that inspire me with the ways they make the choreography their own, that show me how emotion and meaning can come—wordless, but still nuanced—from the way we move ourselves. Dance is how I stay present.

Was there an empowering concept from the business-world 
that’s becoming an influence on your life and work?

I was quickly drawn to Design Thinking and Human-Centered Design when I started researching how creativity was cultivated and applied in business. The principle of leading with empathy and appealing to people’s people-sides felt so intuitive and natural. I’ve coached Design Thinking for my alma mater, Cornell, and continue to draw on the practice of beginning by seeking to understand the people behind the business, opportunity, challenge or whatever you’re trying to get a handle on.



How do the disciplines of dance and business 
mesh to your advantage?

Knowing that I will always stand out (as I now do in both business and dance settings) makes me unafraid of looking foolish.

While getting your MBA, you worked at SYPartners. Fan of them and their work. Can you elaborate on this work experience? What qualities of their work culture did you cherish, even admire?

Interning with SYP was a fantastic experience. That was a formative summer for me; I met so many amazingly intelligent and empathetic people, and had the chance to practice voicing the softer notes of empathy, aspiration and emotional intelligence in unfamiliar business contexts. The biggest lesson I learned from SYP is to take the time to say what you mean. Be patient and persistent until everyone reaches understanding.


Paper prototype by jigsaw puzzle start-up Baffledazzle


Plywood version by jigsaw puzzle start-up Baffledazzle


Final design by jigsaw puzzle start-up Baffledazzle

Then after business school, you founded jigsaw puzzle start-up Baffledazzle. Wow-to-the-nth-power. When you “decided to start 
a jigsaw puzzle company to make the puzzles that dedicated puzzlers deserved,” how did you capture your vision of a jigsaw puzzle company and visualize it—Did you maintain a journal/log of thoughts, sketchnote, et al.? If Kickstarter didn’t exist, would you have still chased this ambition?

When undertaking a new project, I find that I make better progress if I just start! So, I don’t actually remember the moment that I decided to start a puzzle company, I just remember starting to design puzzles! My first puzzles were really horrible. The scale of the pieces was wrong; they were extremely fragile when cut, and the designs had a Frankenstein’s monster quality to them. That gave me a starting place. I could see what was wrong. As I worked to redo those initial designs, I started to think about how I could bring these puzzles to life, and why I had wanted to create them. I do keep a journal of ideas, though most of them are conceptual starting places more than visual puzzle ideas. I do a lot of research before I begin to design a puzzle. Since Baffledazzle puzzles are about discovering something new (maybe a rare species of animal, maybe an influential moment in art history, maybe a very old game from Jordan that you play with raw eggs, etc.), I believe every aspect of the puzzle should lead you in the direction of that discovery. So I’ve gone from act-first → think-later, to think-first → act-with-intention!

I do think I would have created puzzles with or without Kickstarter, but I certainly wouldn’t have been able to do it as quickly, or to the same high quality. I would have had to contract the laser work out (personal laser-cutter below) and wouldn’t have had the same opportunities to experiment and dial in the manufacturing process.



All your pursuits and activities in dance and business easily paint the picture of tirelessness. How do you self-care?

I had to think about this one! My mental model for self-care is different from how I usually see that phrase used. I guess I think of self-care as how I prioritize my time, and I usually care for myself by cutting things out, not adding things in. I’m diligent about weeding out pursuits, jobs, relationships and circumstances that drain my energy. Though that felt ruthless at first, I was much happier and more at peace without those stressful influences.

Do you use any software/Web-based tools to help get 
organized and get things done? If so, what digital tools do you highly recommend?

Actually, I prefer to make paper charts to stay organized. I like the tactile pleasure of using a sticker to mark something as complete. So much of my work is screen-dependent that I like to keep things analog when I can!

How would you describe success?

It’s a balance point, not a destination. Success is being confident enough to value your own work, but hungry enough to continue to make yourself and everyone around you uncomfortable. That’s where the good work gets done.

How does the city of Portland, Oregon, contribute to your work? What makes it special for startups/business/creative community?

Portland is an incredible place to live and work. I’d say its urban planning is probably what makes it so loveable! It’s easy to walk where you want to go and passing things on foot is the primary way that I discover new creative happenings, businesses and events. It feels like the city was built at a human scale. But moreover, people who come to Portland come for its personality, which makes for a really cool community.

Must say: Fascinated with your last name. You make ideas Happen. Ta-da! Recalling Scott Belsky’s book “Making Ideas Happen.” You should write a book with a more proactive title: Make Ideas Happen. Any memorable story regarding your last name? Has it benefitted job interviews?

I love this idea! I also love last name jokes. I encourage them! I do think it makes my name more memorable as people tend to call me by both my first and last name. I like hearing the different slogans that people come up with for me, too. I’m fascinated by how the word “happen” can be either active or passive—you can make something happen, or it can just happen—but everyone always interprets my last name to be active. I like that!

• • •

All images courtesy of Rachel Happen.

• • •

Read more from Design Feast Series of 90+ Interviews
with people who love making things.


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If you liked this lovingly-made interview in this sustained series celebrating Makers, show your appreciation by supporting my labor of love—Design Feast, which proudly includes this blog. Learn how you can help.

September 7, 2017

Pride, Work and Necessity of Side Projects: Illustrator Liz Fosslien and Designer Mollie West Duffy Advocate Emotion at Work



What are you working on—on the side?

Our side project is an illustrated book (working title: No Hard Feelings) that aims to make it OK to acknowledge emotion at work. The problem with the idea that emotion does not exist at work is that humans experience emotion constantly, independent of time, location or task. Of course, there are large differences in how individuals react to emotion, but emotion itself cannot be turned off. More importantly, emotions can serve as valuable guideposts for decision-making. We should not want to turn our emotions off.

Our goal is take an affectionate but deeply researched look at how emotions profoundly affect key aspects of our professional lives and gives readers a framework for better understanding and embracing emotions at work. Each chapter focuses on how emotions impact a different part of work: from teams to health to communication to motivation. Every chapter includes a combination of business case studies, personal narratives, research studies and illustrations, and shows readers how to become more effective by improving their workplace emotional fluency. At its core, No Hard Feelings argues that if employers and employees can become comfortable communicating emotions and acknowledging the emotions of others, we can all be more authentic, productive and fulfilled in the workplace.

How do you manage to work
on your side project(s)?

Mollie: I get up around 6 or 6:30 most mornings to write, and then work on the weekends. It takes a lot of discipline, but it’s fun work, so I enjoy making time for it.

Liz: I have a more flexible schedule (I usually work from home and take on a variety of freelance projects), so finding time throughout the week is easier. But generally, I strongly believe that we make time for what matters to us. So the best way to find time is to pick a side project you deeply love. If you’re obsessed with the thing, you’ll go to bed thinking about and wake up excited to work on it. It’ll become less “how do I find time” and more “how do I stop myself from working on this so much!”

Why have a side project?

We both find it to be incredibly rewarding and fun. It engages a different set of muscles than we use in our other jobs. It’s also something that is uniquely ours—we aren’t doing it for anyone else. We are writing the book that we want to read!

A side project also acts as job therapy. When work is frustrating or hard or simply dreary (which even the best jobs are at times), burrowing yourself in your side project is a lovely outlet and escape. It's a BEAUTIFUL and cathartic thing to want and work on something for yourself that originates from you.

• • •

Diptych courtesy of Liz Fosslien and Mollie West Duffy.

• • •

Read more about the joy of side projects.


This series, devoted to side projects, is delivered in association with Chicago creative agency 50,000feet—dedicated to helping brands and businesses soar.


Please consider supporting Design Feast
If you liked this lovingly-made interview, show your appreciation by helping to support my labor of love—Design Feast, which proudly includes this blog. Learn more.