We caught up with the brilliant and insightful Alex Shammami a few weeks ago and have shared our conversation below.

Alright, Alex thanks for taking the time to share your stories and insights with us today. Can you talk to us about a project that’s meant a lot to you?

Note: This writing is about the criteria for making a project meaningful, rather than about something that’s meaningful to me. I think it’s more valuable to talk about it this way!

I get this kind of question from students a lot, teaching design as a practice at a college in Detroit. “If it’s not real, or for a client, can it even go in my portfolio?”. “What is the point of this project? What do I need to do to get a good grade?”. They’re really straightforward questions, but there’s a secret motivator that always changes the context. The real question is “If someone doesn’t find my work commercially valuable or worthy of a job, is it even good? I’m afraid that I’m not going to be able to make a career out of this”. I have very few rules in my classes, but the biggest one is that you need to try and you need to care.

I really believe that you can make a living doing whatever it is you want creatively, as long as you’re honest with yourself and good at it. That doesn’t mean you’re going to get it right the first, or second time. That doesn’t mean that everyone is going to appreciate your work immediately and that you won’t have critics — What this means is that if you put in the time, and effort, take feedback, and really try, eventually your talent will become valuable and you can earn a living doing what you love. I am living proof that it’s possible. The trick is finding what’s meaningful to you, outside of your creativity, and letting your creativity be a catalyst for that purpose. That’s what creates meaning. Design and art serve other narratives.

If you’re extremely passionate about social justice, then work on design and art projects that bring attention to and solve problems in that space, that’s meaningful. Creating something without engaging in a conversation about what it is you’re trying to say, how you’re trying to say it, and what you want out of it is a waste of time. It’s thoughtless.

The formula I like to follow for my own work, the way that I determine if something is meaningful is as follows:

1) Is this something I wish I had, or had access to when I needed it most? Is there an impact on the work that makes the world a better place?

2) Am I passionate about the material? Am I willing to educate myself on the context surrounding the thing I want to make work for? Am I willing to diligently make sure that I am factual and reliable when making this work?

3) Am I willing to make space for this work in a way that allows these projects to be felt and seen by other people, and if not do I have a good reason for keeping it to myself?

4) Am I teaching or learning? Am I making something that points to better resources than me, or am I willing to become a source for the life after my project has after it is done? How do I make this knowledge equitable?

The center of all of these requirements is finding out why the work matters in the first place.

To derive meaning from work means to do something that isn’t just for fun, it’s impactful. Emotionally, or strictly as utility, meaning isn’t derived from the deliverable itself, it’s derived from the journey. If you’re not willing to have that level of engagement then projects will always remain unfinished and shallow.

I mean, why else be creative if you don’t care about the work you’re doing? It’s not an easy industry to be in, it often is underpaid and you’re beholden to a boss that may not know what they’re doing. Meaning has to be a part of the work if you’re going to be fulfilled and able to make a living.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I am a queer first-generation Assyrian-American who works as a brand designer and educator in the city of Detroit. My parents came to this country with nothing, neither of them have GEDs even, and through hard work and patience put 3 kids through college. I was always told that being a designer was going to mean that I would be poor and starving forever, but 8 years into my career I now make more than my engineer brother by a large margin, and I love going to work every day. It didn’t start out great, my first salary after college was only 32K! I was the first member of my family to graduate from college, and finally as of last year I can say the first member of my family to buy a house!

I solve human problems for my clients. Figuring out how and why people think, what we need to do to keep them engaged, and how design as a creative function can bring human-centered thinking to a business are my specialties. Keeping users engaged with a product, or designing a brand that meets expectations, I work for others.

The first time I opened Illustrator was in college. I was actually in the electrical engineering program before switching to design because that’s what was expected from me.

The thing that brings me the most pride is when I see something click for someone who isn’t a creator. It means that I’ve done my job and now we’re collaborating, where the real work begins.

What do you think helped you build your reputation within your market?

Consistency and honesty. I don’t use advertising lingo to embellish my skills or accomplishments, I don’t use design words to confuse clients. I work with people like they are people and educate them along the way. If someone doesn’t see the value of design and they choose to work with me, it’s my job to make sure they understand I’m not just guessing and doing things because “I feel like it, or I’m inspired”. From the moment we shake hands I lift up the curtain and let you in on the entire process.

If you want to be successful, don’t lie about your capabilities. Don’t lie about what design and marketing can do to secure a contract. Be honest, and remember the person you’re working with is a person. If you meet them where they are at and are willing to guide them earnestly, they will happily follow you.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

The jack of all trades lie! This is such a huge provider of imposter syndrome for so many creatives it’s crazy. You don’t have to be good at everything. You don’t have to be good at a lot of things. You don’t have to be good!

What you have to be, is great. Pick something, or a few things, and become the obvious choice for those things in your market. The idea that your business has to have 100 options is crazy and impossible, it’s better to have a guarantee of $5000 a month than an unknown commitment of $1,000,o00.

That million isn’t loyal to you, and you likely don’t have the capital to ensure it, unless you’re hiding millionaire money in your pants already. Find your audience, cater to them, build loyalty, thrive, learn to live well, and then you can think about expanding. By taking on too much scope at once you guarantee yourself failure. Be humble, and move slowly and intentionally.

Contact Info:

• Instagram: baba.khamima
• Linkedin: https://www.linkedin.com/in/alexshammami/

Image Credits
Alexis Backus, Kailey Howell