Kristle Marshall is a multi-disciplinary lettering artist, illustrator and animator based in Metro, Detroit. After studying photography at the Savannah College of Art and Design, she was initially unclear about her career direction, finding her first creative role as a Graphic Designer. She progressed to working freelance and began developing her drawing and lettering skills, winning a much-coveted scholarship on lettering artist Lauren Hom’s ‘Passion to Paid’ course. This success led to an internship during the summer of 2019 at the end of which Kristle was offered her current position as an in-house designer working with Lauren. She has thrived in this role and believes that working in a supportive and inspirational work environment has enabled her to produce her best work.
Although Kristle enjoys regular routines in her daily life – getting up early to chill, read or sketch before the working day starts – she is constantly trying new things that push her work forward. Continually asking herself, ‘what else?’ has enabled her to develop a unique personal style. She loves using her skills to tell memorable stories, and believes design, creativity and storytelling are important in advocating change: “equality is important and critical for the progress of all people. Design and other creative fields are special in that they… can expand our view of what can be. Before we can achieve something, we have to be able to imagine it.”
Kristle’s portfolio is full of strong concepts and empowering messages, conveyed in thoughtful and playful ways through storytelling. One of the highlights is her ‘This is Not a Bill’ project, which celebrates people’s accomplishments – whether it’s an exciting new job or making the tastiest sandwich ever – by sending them a fun illustrated postcard. The project was planned to launch before the pandemic and really took off when everyone became stuck at home during lockdown, spreading positivity and supporting others when they really needed it.
Having strong women around her who advocate and support others is something Kristle really values. She believes that building coalitions that include all classes, races, and genders can help us progress to a more equal and diverse society. It is important to, “elevate the voices of those who often go unheard”.
We caught up with Kristle to find out more about her typical working day, favourite project working with Lauren Hom and how we can encourage greater diversity and inclusion within the creative industries.
Can you tell us about your career path and how you found your current role as in-house designer for Lauren Hom.
I went to Savannah College of Art and Design in Savannah, GA, where I studied Photography. After I completed the course and went back home to Michigan I was uncertain about what to do next. I hadn’t been able to land an internship in school and I hadn’t landed a job upon graduating. My career path was all but a straight shot. I went back to retail for a little while—something I swore I would NEVER do. The store I worked at eventually closed, and I took a graphic design job at a small marketing agency in Detroit and started learning as much as I could about design. Eventually I worked as a freelance designer for while before getting serious again about my first love, drawing. I was getting back into drawing more and had also formed an interest in lettering. I followed Lauren around 2014. A few years later, I entered a competition for a scholarship on her “Passion to Paid” course and actually got a spot! The course really helped me get out of my own way. I began sharing more by participating in Lauren’s #HOMwork challenge and engaging with other creatives on Instagram. When I got an email from Lauren offering me an internship, it was a no-brainer! I learned so much working with her in summer 2019. I was offered a full-time position at the end of the summer—again, no-brainer. I’m so very fortunate to have this job, one that is incredible nurturing to my creativity. Lauren is always encouraging and really cares about the well-being of others; it always makes you want to do your very best. Also, I get to dust off my photography knowledge on a regular basis. Nothing is wasted.
You work on a wide range of projects from design, illustration and hand lettering to animation. How do you manage this? Do you adapt your approach to each different type of project?
It’s not easy! I used to use a planner and break down projects into bite-sized tasks, but since the pandemic, things have been a bit looser. With all types of project I like to start with writing. Sometimes time doesn’t permit me to write, and I start with moodboards, then thumbnails, sketches, and refined artwork in that order. I like to apply color last after I’ve completed the artwork in grayscale. Depending on what style of animation I want to try, the process can be similar or completely different. I’m still exploring with animation and it’s incredibly exciting.
How have you developed your visual style throughout your career? Have there been any pivotal moments?
It’s my joy to experiment and try new things. The evolution of my personal style is a result of asking: “what else?” Recently, I’ve been exploring how to infuse my work with a sense of narrative. I want to use my skills to tell stories in a memorable way. I’m figuring out how I want to do that, and that’s the best part. My journey hasn’t had many pivotal moments, which sometimes leaves me feeling as though I’m not progressing. The truth is we are always growing, even when we don’t notice it.
Tell us about a standout/favourite project that you’ve worked on and why it’s important to you.
The work that I do with Hom Sweet Hom is always a blast. One project that sticks out for me is Lauren’s piece for Adobe, which combined the baking process with the quote “If you want to rise, you need to rest.” The day was fun because it was a change from a mostly digital process. The magic came from everything that was done by hand and required both patience and precision. There was also the unexpected element of the rising dough, which made it really fun. It was great to be the camera operator and see it come to life.
What does your typical working day look like?
I get up early, between 5:30am and 6am. It allows me to spend a little time reading and easing into the day. I try to start off the day as calm and collected as possible, so it’s essential that I’m not in rush. I feel best when I’m able to read and do some sketching before the workday starts at 9:30. After work, I have a bit of time to relax, practice my bass guitar, or work on any freelance projects. I try and get to bed by 9:30pm and will put my tech away and read an hour before. I’m a very regimented person and it’s just me, so my days don’t stray too much from this routine. I used to be a night owl, but I’ve come to appreciate rising early. My mornings are super flexible, and I can take appointments or make store trips at times that nobody really wants to.
How has being a woman impacted your career?
I’m fortunate enough to have been in places where I’ve felt seen and heard. I attribute this to having strong women around who would advocate for me and ask what I thought. As a person who will quickly make herself small, I’ve appreciated those who’ve refused to let me do that. It’s something that I want to do for others.
Recently, there has been lots of discussion in the design industry around the gender pay gap and how few women progress into senior positions. Do you have any thoughts on how we can counteract this imbalance?
With all movements for change, I think it will come down to building coalitions that include all classes, races, and genders. Our strength is unmistakable as a collective, but first we have to align on the fact that progress on this issue benefits all of us. Then, we can unpack what needs to happen to close that gap and develop tactics to put pressure on the powers that be.
How do you think we can encourage greater diversity and inclusion across the creative industries?
We can do so collectively with our actions: show support for underrepresented groups with our attention and money; p advance creatives from marginalized communities for opportunities whenever possible; make our own spaces as inclusive as possible; elevate the voices of those who often go unheard.
Since the Covid-19 pandemic started there seems to be a positive shift in people’s attitudes towards community and a greater willingness to challenge inequality and the lack of diversity. What do you hope to see in the future in terms of the role design can play in influencing societal change?
I’m optimistic because so many individuals are making clear that equity is important and critical for the progress of all people. Design and other creative fields are special in that they can show us what the future look like and expand our view of what can be. Before we can achieve something, we have to be able to imagine it; I hope that design can help us do that. It can be in small ways such as by depicting all kinds of folx, or in more complex ways, through education or narrative.
Can you tell us a bit about your project This is Not a Bill, the ethos behind it and why you set it up?
I developed ‘This is Not a Bill’ during and after Lauren’s Passion to Paid course. I wanted to acknowledge more moments of celebration and gratitude in my life and invite others to do the same. Creating the postcards allows me to slow down and honor each win, big or small, that is shared with me. It’s a way to acknowledge experiences outside of my own. The postcards are free for everyone too!
I planned to launch the project before I knew we’d be stuck at home; so, it has been a bright spot for me in the past year. It’s allowed me to reach beyond my silo. I chose the mail, not only because I love it, but it is a form of communication that is primarily used by companies to bill us or market to us. It’s always nice to get something personal, especially something handmade. I think so anyway. I hope that people feel seen through this project and that it will make them smile when they need it most. I’ve gotten mail from people who follow the project and it has certainly cheered me up!
What are your plans for the future and where do you see yourself in five years?
I’d love to slow down and develop my skills while taking more of a narrative approach to my work. I’d like to tell great stories and am unpacking what that means for my process. I see myself doing more work where I contribute to larger projects that involve collaboration with creatives who are experts in different disciplines. That may mean animated films, interactive exhibits, or publications. I’m open to where the craft takes me.
Do you have any words of advice for women considering a career in the design industry today?
Don’t be afraid to be seen and heard. Make time to rest and have fun; out of that balance, you’ll find inspiration and remain in touch with the purpose and goals behind your work.
Name three other female creatives/role models that you admire.
There are many, but Carrie Mae Weems, Kara Walker, and Cymone Wilder come to mind. Weems and Walker both have unique approaches to portraying the black experience. I learned of their work in college, and I love how they leverage different mediums to present their work in the most potent forms available. More recently, I’ve found that Cymone Wilder’s approach to lettering is unique in a way that is similar to the above mentioned. Her work goes beyond simply color and style, once again pushing against the boundaries of what form can do to elevate the message in the work.
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Article by Rebecca Burrows
2020 Leeds University graduate rebeccaburrowsdesign is one of our amazing DesignbyWomen collaborators.