The Rules of the Challenge

The first 200 people to post video finding and hitting their wall will receive a free limited-edition Soft Hands Lacrosse tee from Boathouse. Participants must tag @BoathouseLAX and @ProjectSoftHands along with the hashtag #FindYourWallChallenge to receive the free tee.

BoathouseLAX will send a message to each participant upon reposting the video on the @BoathouseLAX instagram page with instructions to redeem free shirt and a one-time-use promo code.

Goals and KPI’s – What Measures Success?

The goal of the #FindYourWallChallenge campaign is to post one video per day until the end of spring lacrosse season (April 31st). The campaign will put Boathouse in front of coaches and players when they are most inclined to buy, and keep Boathouse top-of-mind until they are ready to make their purchase.

The secondary goal is to gain new followers and promote our lacrosse instagram page (@BoathouseLAX). Within the first month of the challenge we saw a +500 follower increase, from 1200 to 1700.

Launching the Social Campaign with Video

We launched the #FindYourWallChallenge using a video that was shot on a cold Saturday afternoon in Center City Philadelphia. The video features our lacrosse player, Jake, searching the city for the “perfect” wall to play wallball, only to be followed and harassed by John Strotbeck (founder and CEO of Boathouse). I shot the video using a Canon DSLR and edited using Adobe Premiere CC.

We launched the video and social campaign on Feb 2. It was distributed to all lacrosse coaches and customers via email from Hubspot. It was uploaded to our blog, YouTube, Facebook, Twitter and LinkedIn where it accumulated almost 1k views within the first three weeks.

As the video made its rounds we started receiving submissions for the challenge and began reposting on our @BoathouseLAX page.

(Will continue to update as we enter into months 2 and 3 of this social challenge.)

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I’d Turn Every Freelance Assignment Into A Keyword-Rich Blog Post
If you were to google “Caricaturist”, “philadelphia caricaturist” or “pennsylvania caricaturist” my website was the top organic search result because I’d turn every gig into a blog post and social share. The site hosted hundreds of posts with such keyword rich titles like “Caricatures at Jacobs Bar Mitzvah” and “My Favorite Caricatures From Last Nights Philadelphia Phillies Games”. Flickr galleries and “caricature portfolios” were prevelant throughout. I was also lucky to have been linked to from other blogs, websites and online publications in the party planning industry because I had such engaging content. Backlinks from “5 creative ways to entertain your guests at your next party” and “creative Bar Mitzvah party ideas” enhanced my sites SEO value. Being associated with the Internation Society of Caricature Artists (ISCA) didn’t hurt either, and linking my artist webpage back to sneedesign from a dot-org url sent it through the roof. The more I worked, the more content I created, and the more content I created the more jobs I got offered. And that was the problem…

I was only doing caricatures as a “side-hustle”. It was a summer high school job that I got really, really good at and therefore continued throughout college for extra cash. When I graduated I had worked enough and met enough people I was getting regular work in Bucks County, New Jersey and Philadelphia area through word-of-mouth. No advertising…just satisfied customers that liked what I did and excitedly told their friends. I was very fortunate.

I challenged myself to launch a website with this work and see what it could do. I was working a 9 to five job with a 45 minute lunchbreak (remember lunch breaks?). It was the perfect culture to launch a passion project, so I purchased a simple WordPress blog and domain name and started generating content. It didn’t take long to gain traction.

Organic Search Sent Me So Many Quality Leads, I Didn’t Even Have To Consider PPC
I began receiving daily email inquiries from people who found my site through Google search. They all pretty much requested the same information: how much would I charge, do I have a date available, how many can I draw per hour, etc. In order to reduce the time spent answering these questions I created a super-detailed Caricature FAQ page (which had even more rich content that Google loved). This page sent EVEN more people to my Contact page and I got even more leads. I would reply to emails on my lunch break, and make phone calls after work. On weekends I would do the caricature jobs that people booked me during the week. It was not uncommon for me to work multiple gigs over an entire weekend. My record was three four-hour caricature gigs in a row on one exhausting Saturday in June. The money was good and the work was rolling in; I was building a great business. I would even joke around that I was too busy drawing and needed an assistant. I was burning myself out.

In 2011 my wife told me she was pregnant as I was leaving to sketch at a first birthday party in Levittown. My wife gave me the news on the steps, somewhere between the first and second floor with my french easel in hand and 9 months later my free time vanished. Shortly thereafter I started a new job at an apparel start-up running their Magento eCommerce site and digital marketing program. I was always on the clock. Work/life balance was not in the company’s vernacular, and I began to realize my days as an entreprenuer were coming to an end. Although I wasn’t creating any new web content, Google still loved me and was continuing to send qualified leads into my inbox day after day. I thank God that I didn’t invest in PPC…I didn’t have to. Organic was difficult enough to manage. PPC probably would’ve killed me.

The post This Digital Marketing Strategy Was So Effective I Had No Choice But Take it Offline first appeared on Chris Snee Creative.

Defined by the American Marketing Association as “the activity, set of institutions, and processes for creating, communicating, delivering, and exchanging offerings that have value for customers, clients, partners, and society at large” the launching point towards my adult career came unknowingly from the rich music scene of the Philadelphia suburbs in the late 90s Neshaminy School District. Neshaminy in-particular because I was a part of an amazing local music scene that cultivated an environment that produced insane talent and creativity in kids that would later grow up to become professional, well-known musicians and artists.

If I were to ask 90’s punk rock me what I’d be when I grew up, I’d say play in a rock band, or be an artist–definately not a Digital Marketer. I didn’t even know what marketing was back then. But I’m glad I got here, however it happened. And although becoming a “professional marketer” wasn’t in the original plan, its a skillset that I’ve been developing and enjoying since I designed my first punk rock show flyer back in 1997.

Classic Communication Using Printed Show Flyers

At the risk of dating myself, when I was playing in bands the internet was new and social media didn’t exist. So if you wanted people to see you play, you had to get the word out in print. Designing Show Flyers in Philly back in the 90’s was truly an art form. Bands would design their own logos, and using illustration, art, mixed-media collages, typography or all of the above to create some very interesting and unique flyers. My friends and I still have many of these show flyers, proving that they were more than just a valuable piece of marketing communication, they should also be considered art because that Xerox’d piece of paper holds meaning.

With the exception of a just a few, I was usually the guy in the band designing the flyers. I loved  designing flyers. But what came next was the real fun — handing the flyers out at shows to raise awareness, grow our brand, and get people to act.

Getting The Word Out Before Social Media Existed

Once designed, the band would take the original flyer to Staples or Officemax to make copies. $0.05 a copy was a fortune to spend on marketing for a 14 year old. We’d take the copies to  whatever show for whatever band was playing to hand out. Before Facebook Ads and their precise targeting, this was the closest we could get. We knew that if people were going to see this band play then its likely they’d dig our band; old school version of a lookalike audience. And even if they didn’t end up attending the show at least now they’ve heard of us.

We’d leave the show before the last song to get a good spot outside the exit to spread our message to all the punks and hardcore kids that would follow. This sort of face-to-face interaction is the true “social media” of yesteryear, allowing advertisers to engage with consumers directly and receive feedback…even if that feedback was “I heard you guys suck”.

One of my bands did a reunion show in the age of Facebook and we did a Facebook Event Invite. It was so impersonal, so boring. I felt bad for the kids today that use social to promote events and will never understand the art of old-school printed flyers, which inspired me to design my first show flyer in at least 10 years, using the same method I’d perfected in 1997.

Web Design Using The Hilariously Awful Geocities Platform

It must’ve been sometime around 1999 when one of our friends helped us with a website. The URL was something horrendous like www.geocities.com/99723/bandname/myband.com – there was definately no consideration for SEO in those days. What’s worse is that URL is what we would advertise in our demo tapes and CD’s, and was even printed in some fanzines. Complete with horrendous RGB colors, blinking fonts, and probably a twinkling star background, I’m glad that I couldn’t find any record of this site being live anymore.

The Major Benefit Of Applying A Punk Rock Mentality To Brand Marketing

I recently stumbled across a blog post over at brixtoncreative.com where the author uniquely related Punk to the business world.

“Think back to your high school days. Remember that group of hardcore Punk Rock kids that always roamed the halls, seemingly not caring about a thing except how many band patches they could have safety pinned to their tattered denim vests? The ones who made sure they always had enough hair gel on hand for any type of mohawk malfunction? In fact, I bet you can even remember most of their names to this day too.”

But trying to remember the name of the person 2 lockers down wasn’t as easy. Why? Because the Punk Rockers were doing something different. They stood out. While most kids were following the norms, the punks went in the exact opposite direction of the crowd which is what makes them so memorable.

This is the approach you should be taking with your business. You need to be doing something that sets you apart from your competitors. Something that makes you memorable. Something that makes you Punk Rock.

The post How Playing in a Garage Band Made Me a Better Marketer first appeared on Chris Snee Creative.

In the days leading up to the Eagles Epic Super Bowl win, Underdog fever had spread to every corner of this city. It’s even reached our actual underdogs. In a combined effort to raise awareness and combat animal cruelty, Boathouse partnered with the Pennsylvania SPCA to rally in support of Philly’s real underdogs. Supported by our PR agency, Braithewaite Communications, we designed and manufactured Philadelphia Eagles inspired fleece doggie jackets and held a doggie fashion show for the media at the PSPCA’s Erie Avenue headquarters. These Eagles “Underdogs” doggie jackets were in such high demand after the broadcast that we announced we would provide a limited run and make them available FOR FREE to anyone making a donation of $75 or more to the Pennsylvania SPCA.

This event was a tremendous success that raised awareness for a worthy cause, funds to support the PSPCA, and brand awareness in the media for Boathouse Sports Outerwear. Here are some highlights of the campaign:

• 1.5 million print and television media impressions including Philadelphia Magazine, CBS, Fox, 6ABC, NBC10, KYW3, and WHYY, which is the equivalent of about $78,000 dollars in paid advertising.
• Our Instagram account benefited from a very healthy jump in followers from 17,394 to 20,400 (+3,000) in only 3 days.

Most importantly, however, we helped 24 pups find loving homes and the demand for our handcrafted doggie jackets have produced almost $5000 in donations to the PSPCA.

The post Underdogs Supporting Underdogs: Raising Brand Awareness And Combating Animal Cruelty first appeared on Chris Snee Creative.

Facebook video ads receive 10 to 30 percent more views, and populate up to 11 times larger in news feeds. A short and sweet, yet relevant video is more impactful and more memorable. Video is also more likely to be shared, which is why my social media strategy revolves around this short & concise Boathouse Customs video.

This 40 second spot explaining the complex customization process, from design to delivery lives on our website and social media where it runs as a Facebook ad, and on the Google Display Network as a paid video ad.

Results to follow soon.

The post The Power of Video in Social Media Advertising first appeared on Chris Snee Creative.

Why I’m Sharing What I Have Learned

As a graphic designer during a corporate rebrand, there are many responsibilities—most of which are not even remotely related to design. You have to be well organized and an efficient project manager. You need certain skill sets that you may not have going in, but will develop to survive. The ETC corporate rebrand was comprised of an often overwhelming amount of little tasks that needed to be resolved before moving on to the big picture. Little tasks like taking inventory and budgeting the replacement of soon-to-be-outdated literature. Getting all the necessary approvals and signatures. Putting together presentations, style guides and emails outlining the changes. Making people in the company aware that this was going to happen, and calmly diffusing voices of dissent. All this while still doing the day-to-day design tasks that land on your desk. It is only through living this experience can I appreciate the enormous accomplishment that was rebranding ETC.

A graphic designer in a corporate rebranding campaign plays many different roles:

• Salesman: Being able to sell your idea and get decision-maker buy-in. Convincing superiors that their logo is in trustworthy hands.
• Human Resources: How to involve  employees and create unity in the workplace; rather than impose change.
• Marketing Strategist: Conducting Focus Groups and doing market research.
• Zen Master: How to stay calm, positive, proactive and handle the criticism and comments you will undoubtedly hear from every co-worker with an opinion.

The Number One Challenge

Designing a logo for a start-up company is not simple, but far less involved than redesigning a recognizable mark. My biggest challenge was the 43 years of equity invested in the existing ETC logo. Many employees saw this mark as their sales companion, and presumed any deviation from what they were comfortable with will negatively affect business. This road block manifested every step of the way, causing me to frequently question the integrity and necessity of this entire endeavor.

Learning From Other Rebranding Fails

I began researching some Corporate Rebrands and Logo Redesigns that had negative effects. This was beneficial to the process and gave me a greater understanding of what NOT to do. However, this is not recommended for those easily spooked. Tropicana Sales dropped by 20 percent when the new design rolled out, returning to the old packaging only 2 months later. After only a few days of online logo bashing, The GAP reverted back to the classic logo. It wasn’t long until the GAP executive who oversaw the rebrand “departed” the company.

Setting Goals

Before beginning, you need to set goals. Meet with decision-makers and pick their brain. Ask them what they want to accomplish from the rebrand. Sometimes the decison-makers don’t even know, but having this open dialogue will help them figure it out. No matter how good the new logo is, you will inevitably fail if the needs of the Corporation are not met. The following  goals were set before thinking of design:

The corporate logo rebrand is enacted to better reflect the high-quality and high-tech company that is ETC. It is intended to improve the reception and perceived value of our brand by our customers, existing and potential; our partners, from vendors to supporters and shareholders; and current employees and potential new hires. ETC also wishes to emphasize the relationship between individual business units and the bona fides provided by ETC’s 43 years of history and reputation.

Establish a Strategy

In March 2011, The CEO requested the plan from creative. Some of the major items addressed included:

1. Investigate ways to refresh the corporate logo without losing the well established identity.
2. Modernize and enhance the corporate literature (business cards, letterheads, envelopes, forms, email signatures).
3. Implement the new literature and Corporate Rebrand over the course of 1 year.
4. Have a consistent corporate stamp on all materials. Move away from segregated business units and toward a more unified corporate culture.

Preliminary Research

We researched other companies and discussed how they updated their logos successfully. After the research phase, we began discussing a VERY BROAD range of logo explorations. These early discussions helped to conclude:

• Reinventing the ETC logo is no longer an option. We want to still be identifiable to our existing customers, as we have already invested 40 years of equity in the logo. We also want to consider the original designer, Mel Richman, whom helped launch the company in 1969 by continuing to use his graphic in a repackaged and evolved format.
• The full company name “Environmental Tectonics Corporation” is more problematic than beneficial. When explaining the name it confuses customers and often leads them to misinterpret what ETC does (no…we’re not an earthquake company or environmentalist corporation…)
• Additionally, the name is not ideal for branding purposes. It is long and horsey when spelled out on sales materials. We will no longer be using the full name in conjunction with the mark—this is called a Trade Name. Click to read my post regarding the use of corporate trade names.

Narrowing Our Options

The committee narrowed 20 logos down to 3 diverse directions we felt had promise.

1. Negative Space: Use the classic ETC logo in the negative space of a rounded shape. Rounded shape should help modernize the bulky logo and off centered treatment will help convey “forward-thinking”.
2. Arrow: Arrow pointing up symbolizes aviation, altitude, environment, oxygen, increased temperatures, atmosphere, space—all markets that ETC serves.
3. ETC deals with the Space and Aviation Industry. We felt an Abstraction of Earths curvature would add some nice curves to the treatment and communicate this relationship

Seeing the Logo Concepts in Context

Over the next week, many instances of each logo were created to visualize how the logo would affect the overall image of the company and how it would look in different formats. This is the only time that the use of Photoshop in logo design is appropriate. It was only after seeing the big picture that a decision could be made as to the most appropriate direction. The refresh committee and the Creative Department unanimously agreed that option 1—if developed further—could be a good candidate for the ETC refreshed look.

Pitching The New Logo To The CEO

I’ll be honest—I lost a little bit of sleep the night before we pitched our concept to the CEO. I was nervous that it would be dismissed instantly, and the 4 months of preparation and planning would be in vain. However, it was very well received. In fact, he was surprised that we didn’t change it more! It was at this time that I got the approval to pull the trigger on the Global Corporate Rebrand of ETC.

Time to Refine the Logo

Over the next week, hundreds of logo variations were created and we began thinking about color. Towards the end of this experimentation we found that enclosing the shape within the confines of a border enhanced the readability of the logo. The line helped cap the top of the “T” which can be misinterpreted as an Arrow and helped better define the edge of the “E”.

The next step is presenting this logo in front of ETC employee’s for feedback from an outsider’s perspective.

Conducting Logo Redesign Focus Groups

Until now, the new design has been seen by a very select group of people, in an effort to avoid “too many hands in the pot”. The time has come to consider how the rest of the company—the salesmen, engineers, the maintenance guys—would view this mark. This valuable insight into how “non-creatives” perceive the logo will either destroy or validate this initiative.

Good Logo Design Checklist


Since this post focuses primarily on The Politics and Processes of a Corporate Re-branding Campaign, I decided to create a separate post focusing on the actual art of logo design. Click for Tips on Successful Logo Design, and how these tips were applied to the updated  ETC logo.

A Precision Engineering Company Requires A Precisely Engineered Logo.


The original ETC logo was drafted by hand by Mel Richman in 1969—leaving us no digital file. Over the years, this logo was recreated as needed, by numerous people, with varying degrees of accuracy. Since the integrity of the original logo has been repeatedly compromised over the past 40 years, the corporate refresh gave us the opportunity to perfect the form once again.

The final step of the design process was handing the Illustrator file over to Industrial Designer Bradford Waugh to mechanically ensure absolute perfection of line measurement, angle and consistency using Autodesk Inventor. ABOVE: Original ETC logo brought into CAD and examined. The circles denote inconsistent angles, tangency, or lack of parallel constraint. The yellow lines indicate points or angles that fail to fall on the same horizontal or perpendicular vector. Dimensions were pulled but there’s no consistency to them. ABOVE: New logo, redrawn in CAD to perfection. Dimensions were given to each segment to ensure security of geometry as well as to establish a standard in case logo becomes compromised.

The post The Process and the Politics: Logo Redesign and Rebrand in a Corporate Environment first appeared on Chris Snee Creative.

“As I examined Chris Snee’s artwork, I looked back at my journey as an artist. I too had fine art beginnings before I pursued a career in graphic design. I remember working tirelessly with graphite, pen and ink, charcoal, and other fine art mediums as an illustrator. I have a portfolio full of illustrations that were rendered in past years. I believe that having a lust to create something from nothing, and possessing a true passion for art/expression, is what ultimately drove me to seek a career as a graphic designer. So what exactly is the difference between Art and Design? The subject of what separates art and design is convoluted and has been debated for a long time. Good Art Inspires. Good Design Motivates. Good Art Is Interpreted. Good Design Is Understood. Good Art Is a Talent. Good Design Is a Skill. Good Art Sends a Different Message to Everyone. Good Design Sends the Same Message to Everyone. Depending on how you look at it, the difference between art and design can be clear-cut or hazy. The two certainly overlap, but art is more personal, evoking strong reactions in those who connect with the subject. — Chris James, QDLAB “

Reading his post excited me. This subject matter never gets discussed (at least in my circles), but should—especially because I have made my career out of being able to juggle the two. The feeling of flattery was quickly replaced with excitement, and I continued the conversation.

“Chris, I’ve researched this topic extensively, trying to find where myself as an artist and my oddly diverse body of work fit within the art community. I finally found it in the book Art As Experience by John Dewey, and you really hit the nail on the head with “Good Art Is Interpreted. Good Design Is Understood.” Dewey says that art is open to interpretation, that the viewer injects his own life experiences, biases and emotions on to the work of art to have an “experience”. It’s purely subjective, and one’s experience can vary from another’s experience. But Design is the opposite, and totally objective. The success of good design is measured by how clear the message is to your audience, and if your message is universally understood regardless of the viewer’s life experiences, emotions, and biases. After reading that book, and understanding that for me to be successful in both Fine Art and Design, I have to “flip a switch” so to speak. When I’m designing for a client, I communicate ideas clearly. But when I’m painting or illustrating, I just follow my gut and listen to my heart (pretty lame analogy but you get the point). I love the clarity, stability and cleanliness of design, but on the other hand, I love to create artwork that is expressive and open to interpretation. Sorry for the lengthy post, but I just had to continue this conversation. This subject is just too good, and too often overlooked. Thanks for sharing my work and letting me share my thoughts! – Chris Snee”

I began reading Art as Experience because Paul Rand repeatedly refers to it in his biography Paul Rand by Stephen Heller and in Paul Rand: Conversations with Students by Michael Kroeger.

[. . . Art as Experience] deals with everything — there is no subject he does not deal with. That is why it will take you one hundred years to read this book. Even today’s philosophers talk about it[.] [E]very time you open this book you find good things. I mean the philosophers say this, not just me. You read this, then when you open this up next year, that you read something new.  -Paul Rand

If the great Paul Rand admits “it will take you one hundred years to read this book”, I shouldn’t be embarrassed to say that I still have not yet finished . It is an incredibly difficult read, that is so rich in art philosophy and design theory that I find myself rereading the same passages over and over in order to absorb what Dewey is saying.

…But I really think that unless you have read “Art as Experience”, you have not been educated in design. -Paul Rand

If the great Rand is correct, when I finish this book in one hundred years, I may finally be truly educated in design. Fingers crossed! This is all very subjective, and I’d like to know your opinion. Leave a comment below and let me know your thoughts on the difference between art and design.

The post What Is The Difference Between Art and Design? first appeared on Chris Snee Creative.

The Starbellied Snee

In January of 2011, I explored the idea that I could brand myself in the style of Dr. Seuss. His book called The Starbellied Sneeteches gave me a plethora of ideas and design elements to play with. It was a stretch, but I knew if I executed it perfectly it could be a huge design success. The playful nature of the hand-drawn typography and vibrant palette would also work well for my illustration business.

After only scratching the surface, I started to think that branding myself in someone elses intellectual property and style could lead to lots of trouble down the road. Plus, if I’m going to brand myself, I want it to be a fresh and new idea. Sadly, I scratched the Starbellied Snee idea.

Next, I started exploring the use of metaphors and icons in my logo, which were horrific. I had this idea that I could somehow combine a marker and an arrow, tech with tradition, a paintbrush and a mouse, you get the point. But that just felt hokey, forced and uninspired.

Helvetica – The Yoga Pants Of Typefaces

After beating my head against a wall and getting nowhere, I decided to walk away for a while, hoping that the solution would come to me in a dream or appear out of thin air. In the meantime, I created a temporary place saver logo out of a simple “Sn” set in Helvetica. It doesn’t get more minimalist (a.k.a. bland) than that. In hindsight, I don’t know why I chose the letters “Sn” instead of my initials “CS”, or just using my full last name “Snee”. Anyway, I had every intention of this being a temporary solution and put little thought into it. Then I became very busy and paying clients took priority over my self-imposed, self-branding designer identity project. No solution magically appeared in my dreams, and my “temporary” place saver became my social media favicon, then my letterhead, then proposals and invoices. I knew it was horrible…but I needed something and had nothing better.

I’ve read Paul Rand’s strategy for successfully solving design-related problems is to think about it incessantly, then walk away and let it incubate in your head. This allows your subconscious to pull resources you didn’t even know you had, and in many instances solve it for you. This strategy works, and my logo is the proof. Here is an excerpt for Paul Rand: Conversations With Students by Michael Kroeger:

The second part of the process is incubation. You forget about it, and let it incubate. Let it simmer in your mind. This is not anything I invented. This is some very bright guy discovering how these things work. I know that it works in my case, that if I do something and I am having problems with it, I forget and come back to it the next week or the next day and something happens. The incubation period is very important, to forget for a week, or a day, or whatever. You take the time so you can decide.

Prior to leaving for a four-day Ocean City, Maryland vacation, I started thinking about my designer identity problem again. I tried to force a few unsuccessful ideas, and was now playing around with anagrams. I put this challenge away once again, packed my suitcase and went to the beach for a long weekend of relaxation and sun.

The “A-Ha” Moment

On my way home, we hit a nasty storm. It was one of those storms where one minute it’s beautiful out, the next there’s no setting fast enough on your wipers to enable seeing out the window. This was the A-HA moment. I GOT IT! Perhaps it was my relaxed and reinvigorated state-of-mind, or maybe Mr. Rand was right and during vacation my subconscious continued working to solve this design problem. It doesn’t matter how I got there; all that does matter is that while sitting in the car in the midst of a sudden storm, I began picturing my initials forming a storm, swirling together with a vortex in the middle that would destroy everything in its path.

As soon as I walked in the door from vacation, I started sketching my new graphic designer logo. Crudely at first, but after drawing and redrawing it a few times, I was getting close. During the design I paid particular attention to considering all David Aireys logo design principals from his fantastic book Logo Design Love. Read the post about these principles from Logo Design Love.

Now I have a graphic designer logo that’s not specific to any industry–it’s specific to me. I can use this to brand myself as a designer, as an artist, as a musician or even as a shoe salesman and it would still be appropriate. It took a long time, but good things come to those who wait.

The post Creating My Own Graphic Designer Identity (And Why It Took So Frickin’ Long) first appeared on Chris Snee Creative.