March 21, 2017

Pride, Work and Necessity of Side Projects: Web Developer Sasha Endoh’s Mentoring of Girls and Ladies to Achieve Digital Skills



What are you working on—on the side?

I have a few side projects.

First, I try to spend some time volunteering my time for Ladies/Girls Learning Code, a Canadian non-profit organization teaching women digital skills. Some folks might not think of volunteering as a side project, but if you’re consistently giving your time to an organization or a cause, I’d say that totally qualifies as a side project.

I started out as a workshop mentor about a year and a half ago, then went on to leading/teaching workshops last winter. It’s really an amazing experience to see women and girls go from feeling unsure and intimidated to coding their own websites within a span of a single day.

Second, I try to give a few talks per year to share my experiences about topics that I'm passionate about. Last year, I spoke about UX design and using WordPress as a flexible storytelling tool. This year, I’m hoping to take a “WordPress for good” talk on the road to a few WordCamps in Canada and Stateside, maybe even overseas.

Another big side project for me this year is organizing a hackathon that will bring together the local WordPress and nonprofit communities in Montreal. Since the focus of my work is creating WordPress websites for nonprofits, this was a no-brainer side project to take on. Follow #DoActionMtl if you want to learn more.

Finally, I also make art on the side. It’s a way to unwind and have fun. I have a little Society6 store and regularly donate 30% of proceeds from sales to organizations doing good, most recently the ACLU.

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

Ha! Well, I'm obsessively organized which helps to keep me on task and also gives me a bird’s eye view of everything that’s on my plate.

I also have no problem saying “No” to projects that would be too much of a commitment or simply aren’t particularly interesting or engaging.

Lastly, I completely go along with the mindset that there’s the same number of hours in the day. It's all about your priorities and making time for what’s important to you.

So, in pragmatic terms: if I have time during work hours—great, but most of this stuff gets done in the evenings and over weekends.

Why have a side project?

Because I've only got one life to live and there’s lots of things to do! When I'm an old lady, I want to look back and feel like I've accomplished something that will live on past my own life.

Also, I have many interests outside of work, and side projects allow me to explore these interests in an organized way.

Really, once you start giving your time to a cause you believe in, start sharing your knowledge and experiences, start giving back in one way or another, it’s hard to stop. These projects give me a purpose, they feel meaningful and satisfying, they’re also extremely enriching. I’ve met many like-minded folks and built great relationships which is why I ultimately keep participating in them.

• • •

Diptych courtesy of Sasha Endoh.

• • •

Read more about the joy of side projects.


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


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March 5, 2017

Pride, Work and Necessity of Side Projects: Jarrett Fuller Podcasts about the Intersection of Criticism & Practice for Graphic Designers



What are you working on—on the side?

I host a weekly interview podcast, Scratching the Surface. Each week, I talk to designers, writers, curators and educators about the intersection of design criticism and practice, and the role of a critical and theoretical discourse within and around the design profession. My hope is to demystify design criticism, and make it something assessable and interesting to all types of designers. (I also keep a continual writing practice where I publish essays about design criticism, visual culture and technology.)

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

I keep a weekly schedule to make sure I’m giving time to these other creative pursuits. I use a lot of spreadsheets to keep scheduling, recording and posting the podcast episodes organized. And in an attempt to become a morning person, I’ve started trying—with mixed success—to get up earlier. When I can do it, I’m able to spend the first few hours of the day without the internet which provides uninterrupted time that has become valuable creative time for me.

Why have a side project?

It’s good to have something adjacent to your day job and daily responsibilities. It’s a way to flex other creative muscles, and it’s a way for me to experiment with intellectual and visual curiosities in a non-judgmental, completely free way. What often happens for me is I discover things—whether it’s a visual gesture, a new process or way of thinking that feeds back into my other, “real” work. It gives me a space to see my work in a new way and always ends up changing how I work. Especially with the podcast, having these conversations each week allows me to talk to people much smarter than I am. Those conversations also spark new modes of thinking and ways of working.

As creative people, it’s good to spend time on nourishing our creative pursuits in ways we can’t always get in our nine-to-five jobs. Side projects are an easy and essential way to feed that craving.

• • •

Diptych courtesy of Jarrett Fuller.

• • •

Read more about the joy of side projects.


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


Please consider supporting Design Feast
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February 21, 2017

Foresight Design Initiative’s Lyndon Valicenti on the Inspired Practice of Design Methods, Systems Thinking and Inclusion


Lyndon Valicenti is Principal of Foresight Design Initiative, a multidisciplinary non-profit studio that collaborates to make sense and tackle tough challenges, such as “building climate change resilience and realizing Illinois’ smart grid-enabled energy future.” Here, she shares her perspective on intellectual rigor and mindfulness in designing, through design methods, systems thinking and giving a damn.

I’ve been curious about the term “design methods.” I was struck by your use of it in your Twitter profile. Though practiced a lot, it’s not popular to say, even claim, such as “innovation.” What do you mean by stating design methods?
The studio I am apart of, Foresight Design Initiative, conceptually defines its work as “bringing systems thinking and design methods to complex sustainability challenges.” What we mean by that is that we are leveraging the problem-solving principles, perspectives, approaches and tools of two disciplines—systems thinking and human-centered design—to think anew about how we tackle complex sustainability challenges, from climate change to natural resource depletion.

Sustainability issues have attracted many disciplines over the last few decades, each bringing their respective skills and perspectives. Lawyers at the Natural Resource Defense Council, for example, who have dedicated their talents and careers to environmental issues, bring legal and policy levers to the cause. Engineers bring infrastructural solutions. Ecologists and natural resource managers bring conservation land use strategies. Government officials bring regulations and enforcement. You get the picture, but silos are often to blame for our collective inability to respond at the scale of the challenges we face.



Foresight believes that, in order to drive bigger, better and faster impact on these intractable challenges, we need to redesign the processes, systems, interactions, conversations and collaborations that shape and govern the status quo. More specifically, we need an integrated, multidisciplinary approach to understanding root causes, aligning diverse perspectives and intervening in strategic ways.

Systems thinking and human-centered design offer fresh strategies, iterative practices and insightful research methods that can be leveraged to tackle the messy social and environmental issues of our time. Tim Brown, in his pitch book for design thinking, “Change by Design,” introduces its potential by saying:
“It is hard to imagine a time when the challenges faced so vastly exceeded the creative resources we have brought to bear on them…What we need is an approach to innovation that is powerful, effective, and broadly accessible, that can be integrated into all aspects of business and society, and that individuals and teams can use to generate breakthrough ideas that are implemented and therefore have an impact. Design thinking offers just such an approach.”
How did you discover “design methods”?
A handful of years ago, I had the honor of working as the first Environmental Strategist in Skidmore, Owings & Merrill’s global urban design practice under the visionary, Phil Enquist. It was there that I realized designers, in the broadest sense of the word, are the great inventors of our time. Those, like Phil, are not burdened by what is possible today, but focus their sights 100 years out and work backwards. I realized that it will not be the fields tinkering at the edges of our status quo for incremental change that are going to imagine, let alone drive, the transformative changes needed today. It is the long-viewed, big-idea designers that are going to lead us to a more prosperous, sustainable and equitable future.

Since that revelation, I have sought to better understand the emerging fields of design thinking, systemic design and transition design.

Your company works on “wicked problems,” for example, from your website, “climate change and natural resource depletion.” How do you cope with the constant of complexity? What’s your mindset in facing complexity? And how does design methods play a role in dealing with complexity?
I have a background in ecology and spent a few years studying the biogeochemical processes induced by earlier and earlier spring ice melts each year in the vulnerable ecosystems of the Arctic and Antarctic. Understanding and intervening in complex adaptive systems, be it an Arctic lake or city, has been a common thread throughout my career.

Dealing with complexity requires, first and foremost, eliminating the idea of "finding a/the solution.” The concept is too definitive, too stayed. It is hard to solve for something that is constantly evolving. We must instead adopt an adaptive approach and consider our work as interventions that should be tested, evaluated and revised as conditions change over time.

Design promotes rapid prototyping and iteration as a way to anticipate the risk and reduce the impact of failing, as products or services are introduced in context. This practice, done at scale and over longer time horizons, is the type of adaptive change management approach needed in dealing with wicked problems.

One of my favorite quotes is by the novelist Kurt Vonnegut: “Another flaw in the human character is that everybody wants to build and nobody wants to do maintenance.” What are key things that you and your team do to maintain the relationship with clients after findings are shared?
What a truthful quote! At the end of the day, my colleagues and I are capacity builders. We help our partners from civic, philanthropic, governmental, private, academic and non-profit institutions better innovate to address complex sustainability challenges; helping leaders lead, as we often say. The end goal in building the capacity of others is to, one day, no longer be needed (think Mr. Miyagi); so there is an inherent exit strategy in all of our projects.

However, capacity building work is very personal and requires immense trust. In most cases, we become great friends along the way. Being a small shop, these close and positive partner relationships are essential to our own sustainability (using it in a different context here); where reputation and trust are our greatest assets. To stay connected, we host a monthly morning networking event for our partners and friends. Catching up over muffins and coffee is the best way to start the day.



What is design?
I am most certainly not the best person to answer the question of “what is design?” But, I did recently have the pleasure of hearing Paul Pangaro give a keynote address on the subject. In which, he posited: “design = conversations for action,” going on to say that “designing conversations is the heart of (the) 21st Century design practice.” With that concept of design in mind, the importance of language becomes paramount, and the co-evolution of language to be inclusive and expansive is essential in revealing new frames and possibilities.

Given our current national (and international, for that matter) political climate, as well as the intractable issues humanity faces, I need to believe in the power of design to facilitate inclusive conversations for action.

How would you describe “good design?”
This question has been on my mind since reading the “New York Times Magazine” article (November 2016), “Look Again: Six Designers Take on Some of the World’s Toughest Challenges.” The title waaayyyyyyy overpromised. The featured designs explored topics like bicycle lock technology, airport baggage claim systems and smart toilets to analyze excrement. The world’s toughest challenges!?!?!

I think good design, in the context of our toughest challenges, must take on a systems perspective and seek interventions on root causes, not symptoms. Good design solves for the 5th or 6th answer to the question: Why?



At Foresight, when analyzing a system to identify impactful intervention points, we ask the question “Why?” over and over again to unpack root causes of the existing conditions. For instance, on the issue of widespread basement sewer backups in Chicago, you can ask a number of whys to get to a range of viable intervention points. Basements back up largely because the 100-year old combined sewer system in Chicago is overwhelmed during heavy and fast rain events. The sewer system is more insufficient now than it was when first built because of urban development, specifically the buildup of large swaths of impervious pavement (green spaces getting paved over). It is also increasingly insufficient because climate change is bringing more intense and frequent storm events to the city. Certainly, in this example, there is a need for interventions that reduce the immediate discomfort of having your basement flood. But, taking a systems view opens up a wider range of possibilities, like ensuring our existing green space is designed to take on more stormwater, building green roofs and replacing impervious pavement with that that is permeable. Not to mention strategies to directly mitigate climate change.

Designing with a holistic systems view of the problem you are trying to address is good design.

In doing the deliberative, research-intensive, collaborative and expansive work you do, how do you maintain your creativity, critical thinking, heck, your sanity too?
My team and I at Foresight are very emotionally invested in our work. As much as it is exhilarating, it can be utterly exhausting. And, honestly, I crash hard and often. Personal resilience is a big focus of mine in 2017 and (unplugging and) spending time in nature has always been an important respite for me.

What’s your media diet like? Who and what do you recommend to help be aware of current affairs/culture/your neighborhood and the world?
I really appreciate this prompt for framing media in the context of food, or any other consumable. Moderation is key, eh? To that end, I have recently cut way back on my Facebook usage to just occasionally on weekends. That has felt great! Another recent shift has been towards podcasts. The podcast conversation feels so much more rich, honest and unfiltered than other media outlets. Lately, I have been consuming those related to issues of racial justice, “About Race” and “Code Switch,” being two I would highly recommend. In terms of brain food: “Stanford Social Innovation Review,” Curtis Ogden on the Interaction Institute for Social Change’s blog, and Alex Ryan on Medium. And on the salty craving side of things: Samantha Bee.



How did you arrive at doing the kind 
of multidisciplinary work you do?
I spent nearly 4 years working for the City of Chicago’s Department of Environment. Nothing like working in the context of a highly siloed government to make you appreciate the need for more coordination and collaboration across disciplines.

That is not to say that the City of Chicago was more siloed than any other local government. I recently learned that every U.S. city has a charter which serves as the blueprint for its bureaucratic structure. Most were written over a hundred years ago and most were based on the same 2–3 early examples. This is to say (IMHO) the outdated way in which our local governments are structured is antithetical to our ability to holistically address interrelated urban challenges. Now more than ever, we must bring multidisciplinary teams, collaboratives and task forces together to address issues that are beyond any one sector or discipline’s ability to do so on their own.

I am fortunate today because many of Foresight’s projects involve cross-sector coalition building. So, to bring it full circle, we are essentially in the business of designing conversations for action.

How does Chicago contribute to your work? And what makes it special for startups/business/creativity-at-large?
Chicago’s tight-knit design and sustainability communities are unmatched elsewhere. The shared hard work ethic, sense of community and love for the city contributes to feeling apart of something bigger than yourself or your studio. There is, on the whole, more camaraderie than competition across these communities in Chicago, which makes it a great place to build a practice and pursue your mission.

• • •

All images courtesy of Lyndon Valicenti.

• • •

With Valicenti’s championing of design methods in mind, designer John Christopher Jones wrote “Design Methods,” published by John Wiley & Sons in 1970. It’s deemed a major work on the topic, in addition to supporting ergonomics and multidisciplinary collaboration. View my video-short about this seminal publication—part of my ongoing series Rare Book Feast.

• • •

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


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February 14, 2017

Pride, Work and Necessity of Side Projects: Product Designer Elayna Spratley’s Balance in Mind, Body, Style and Spirit



What are you working on—on the side?

“Balance: Mind, Body, Style, Spirit” (#BalanceMBSS) is a lifestyle project that focuses on promoting higher mental, physical, fashion and spiritual well-being. After years of going in and out of depression, anxiety, worry and self-hate, I found a book that helped me learn how to tune in and train my emotions to a place of peace. In February 2016, my best friend Missy Yarbrough introduced me to the book “The Inner Matrix: A Guide to Transforming Your Life and Awakening Your Spirit” by Joey Klein. I had the pleasure of reading this book with a meditation group at my IBM job. After several weeks in the group, I started noticing things in my life I never noticed before. I could feel when I was going into a lower emotion (like fear) and I began to recognize my actions, words and thoughts when I was in this state. I soon learned that my fear-based states were not serving me well. With the assistance of guided meditations provided for free from Joey Klein through the Inner Matrix Groups, I was able to train myself to shift my emotions at any time. THIS CHANGED MY LIFE! I discovered that I can choose the emotional state that I want to be in! So I chose joy!

As I began practicing joy and Klein’s teachings in my life, I decided to use social media (Facebook, Twitter, Snapchat: askmisse, Instagram and YouTube) to start documenting the progress I am making in my life. Joy motivated me to make positive habit changes and stick to them. The core changes I made in my life are the following:
Mind: I meditate daily, tell myself stories that are grounded in love and check in with my state every hour. 
Body: I stretch daily and eat a plant-based diet. 
Style: I focus on wearing the clothes that bring me the most joy and confidence. 
Spirit: I pray, read the Bible daily, contribute to my journal and do activities that give my spirit life!
How do you manage to work
on your side project(s)?

I try to integrate my core content around my lifestyle. One of my biggest pillars is my plant-based diet. I do a 3-hour meal prep every Sunday, and I use Snapchat and Instagram while I’m cooking. These platforms have been the easiest for in-the-moment documentation. By linking accounts, I have been able to push the content onto more channels. So my Instagram is connected to my Twitter and personal Facebook. I just wish there was a way to connect Instagram to my AskMissE Facebook page. Currently, that process is quite manual. (Dear Reader, if you have any suggestions, please let me know. 😄) The platform that is most behind chronologically is my YouTube channel. Recording, editing and uploading video is a long task compared to Snapchat. So now that YouTube has live broadcasting, I may start going live there, so that the content builds up more on that platform (Reader, if you like live video, please tell me on which platform you like them).

I used to manage social media platforms for hair-care companies, so I give a lot of thought to this. I have got to set aside enough time to formalize this plan of pushing content. More than anything, I try to focus my day on pushing as much positive content (if not more) than what I actually consume. This is balance for me.

Why have a side project?

Documenting this journey has assisted me in being consistently being consistent. 😄 The side project has become a practice that holds me accountable for the actions I take in my life. For me, living this transparently is freeing. I don’t have to explain myself to anyone, they already get me.

In addition to my own personal benefits, my practice has been a positive influence on my family and friends. My Dad now eats vegetables in every meal! My friends are eating smoothies regularly now and actually care if certain foods are organic! This is big deal! Everyone in my circle, myself included, were living an unconscious life before I began my journey. Now we are all making better, informed and conscious choices about what we do in life. This level of awareness has helped in how I relate to others. I do not feel “out of the norm” or “strange.” Daily, I feel understood, loved and accepted.

I truly hope that my personal outlet helps others realize that the joy they are searching for in life already lives inside of themselves. To the reader of this interview, I am grateful for the opportunity to share my experiences and I love to hear about the transformation of others. Feel free to drop me a line on any of my socials. Become my friend, join @AskMissE. I look forward to connecting with you.

Peace. Love. Balance.

• • •

Diptych courtesy of Elayna Spratley.

• • •

Read more about the joy of side projects.


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


Please consider supporting Design Feast
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February 13, 2017

Pride, Work and Necessity of Side Projects: Indie rock band Sunjacket’s Garret Bodette



What are you working on—on the side?

My side project is a band called Sunjacket. I play drums and electronic percussion in the band, and our music is a blend of dark, synth-driven pop and layered, experimental indie rock. The elevator pitch usually boils down to “dark, synthy indie rock.”

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

Since I’m a full-time graphic designer, a fair amount of evening and weekend time is reserved for my side project, as I’m sure many other folks in the creative industry have experience with. Whether we’re writing music, rehearsing for shows, or conceptualizing and designing album artwork, we all spend a fair amount of our free time working on band-related projects. We’re not on a label, so we have to be quite self-motivated in order to make things like releasing records happen. It’s challenging, but also really rewarding when we’re able to reach those goals on our own terms.



Why have a side project?

For me, having a side project is necessary to feeling creatively balanced. There’s certainly some crossover in terms of the headspace that design and music occupy, but they’re also very different, so I think I would feel a bit lopsided if I didn’t do both. Graphic design tends to scratch a more analytical itch for me, while music is a visceral outlet. Somewhere in the middle of that range is where I’m happiest.

• • •

Diptych courtesy of Garret Bodette: portrait—Charlie Simokaitis, performance—Carl Hauck. Video by Ben Derico.

• • •

Read more about the joy of side projects.


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


Please consider supporting Design Feast
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February 10, 2017

Pride, Work and Necessity of Side Projects: Esther Fan & Olivia Park—Sad Asian Girls



What are you working on—on the side?

Esther & Olivia: Our side project is Sad Asian Girls, where we make activism-based projects about our experiences as East Asian femmes living in Western spaces.

Olivia: I am also working on a photo series in which I’m documenting Asian art school students who clearly use clothes and styling as an integral tool to express themselves and how that could relate to their artistic practice and upbringing.

Esther: I haven’t been working on any personal projects aside from SAG for a couple months now. I had an ongoing photography project in which I featured artists and musicians from the local Providence creative community which was neat, and allowed me to grow familiar with the creatives outside of our college campus. I turned some of the photos into photo books that I would give back to the artist shown in the books.

If it counts, at this moment, I occasionally do some freelance work for the collective Get Artists Paid, who aim to do exactly what their name suggests, and I am also a social media contributor for Philadelphia Printworks, a print shop/blog that is also activism-based.

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

Olivia: I associate side projects with socializing. The chance that my collaborator is someone I want to hang out with is ~99%. I definitely see work as mostly play. If it’s too stressful, I’d rather just not do it. Collaborators who work well with me on something we care deeply about, and also get tacos afterwards, make my time worth it.

Esther: For some time, we were able to use assignments given to us in class as opportunities to work on SAG; we’d bend the objective so that it stayed relevant to both SAG and whatever it was the professor required. I think one also has to be deeply invested in a project to keep it ongoing; it started off as something that was important for us as an outlet for our frustrations, and later on, our increasing number of followers and supporters also helped motivate us to keep working on SAG.

Why have a side project?

Olivia: For me, side projects are an outlet to transform my greatest concerns or interests into form in a productive way.

Esther: If anything, I consider my side project to be my main work, and everything else that I need to do to live or to survive I consider to be “on the side.” I will always fully invest myself in any work that liberates me.

• • •

Diptych courtesy of Sad Asian Girls.

• • •

Read more about the joy of side projects.


This series, devoted to side projects, is delivered in association with 50,000feet, an independent creative agency 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.

February 6, 2017

Keep it Weird: Creative Director Michael Freimuth at the 59th monthly CreativeMornings gathering in Chicago


During Michael Freimuth’s talk at the 59th gathering of the Chicago chapter of CreativeMornings, the Eagles 1975 hit song “Take It to the Limit” looped in my head:
“…Take it to the limit, take it to the limit
Take it to the limit one more time…”
The refrain of Freimuth’s presentation was “balancing convention and fantasy.” He described the former as “good solid design.” The latter, “interesting and weird.” Together, they make “pure imagination”—compelling me to recall the 1971 movie “Willy Wonka & the Chocolate Factory” with Gene Wilder, who crooned:
“Come with me and you’ll be
In a world of pure imagination
Take a look and you’ll see
Into your imagination 
We’ll begin with a spin
Traveling in the world of my creation
What we’ll see will defy
Explanation…”
I pictured Freimuth with a mad hat, as Willy Wonka, giving a tour of his version of the Chocolate Factory—the Brooklyn-based design studio Franklyn he co-founded with collaborator and life partner Patrick Richardson. This is his lab, where he and his colleagues, “take it the limit” with client projects. Design is a process of iteration and the creative folks at Franklyn iterate a lot. Asking themselves: How can the work be more interesting, a la more weird, while still maintaining a solid design grounding, a la convention?

Freimuth shared the story behind his team’s identity design work for the Nike Tennis brand. A refreshing demonstration of stirring the graphic design brew and playing with visual matter: colors and shapes, lines and letterforms. Gauging the threshold of designerly exploration and client reception. Though this project transpired without realization, no reason given by Freimuth except that they had “gone too far” with their iterating, I appreciated Franklyn’s daring work in this case, albeit having the appearance of vector-graphic sludge.

Striking harmony between the conventional and the fantastical is, of course, highly subjective. When Freimuth displayed his slide, showing a montage composed of sample art and collectibles portraying his client Sotheby’s, he described the world’s largest broker of culture as “a little bit stodgy.” The montage was visibly eclectic, from Cubist art by Picasso to dazzling labrador-retriever-inspired jewelry. Bowie was also a part of this Sotheby’s-centric montage. “A little bit stodgy”? WTF?

There was an undercurrent of making weird design for weird’s sake throughout Freimuth’s talk. A precedence-is-automatically-judged-as-dull vibe. What’s conventional and what’s not is open to interpretation. But it can lead to a dismissive attitude. When it comes to creativity and design, work from the past shouldn’t be passed as passé.

In keeping to strike that balance where conventions and weirdness are married blissfully, Freimuth provided a combined best practice: Keep being mindful of the tried and true ← Keep it weird.

• • •


Portland, Oregon—“PDX”—proudly shares the “Keep It Weird” decree. View my travel photos.

• • •

Big thanks: to Braintree (who also hosted), Savage SmythGreen SheepLyft Chicago, for being Partners of monthly Chicago CreativeMornings #59; to new organizer Jen Marquez who took over the chapter’s management from Kim Knoll and Kyle Eertmoed who both spoke at Chicago CreativeMornings #7; to the team of volunteers for greatly helping to have CreativeMornings happen monthly in Chicago.

Especially big thanks: to Tina Roth Eisenberg—Swissmiss—for inventing CreativeMornings in 2008.

• • •

Read more CreativeMornings coverage.


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