Q&A w/ Sade Robinson
Hand Drawn Representation
Sade is an Art Director, Graphic Designer, and Illustrator whose work is grounded in creating art that speaks to audiences authentically and provides cultural relevancy to communities from different backgrounds. Many of her designs include hand-drawn elements as a central point of communication, allowing her to create one-of-a-kind visual representations unique to each individual project she touches. In this brief conversation, we chat about Sade's unique creative journey, life experiences, and approach to creativity that inform her process of creating ideas that connect with vastly different audiences.
There are very few Black women in graphic design. How do you attempt to show up authentically and bring ideas born out of your unique perspective when the overwhelming majority of your collaborators and colleagues have little insight into your personal experience?
I just try to push that envelope as much as I can when I'm in spaces with people that don't look like me or talk like me or don't have the same background or things that I can relate with. When it comes to a visual representation of that, you see that in the hand-drawn elements.Â
My ultimate goal is to bring something that's authentic to whatever it is that we're doing. How can I create a design that will just be rooted in and speak in that art direction? We can add something that feels more authentic by adding an illustrative element, whether it's hand-drawn type or it's just like these cool icons, whatever it is, I feel like we can make something that's unique and own-able, and that's the approach that I like to take.Â
I noticed a lot of hand-drawn elements across your designs. Where does that influence come from?
I've been drawing since I was three years old. I always would draw facial features, I think it's something very beautiful about the expressions that people can make and the stories people can tell with just any aspect of their face. Whether it's their mouth, just like the jaw drop or widened eyes showing surprise. It just always felt like a very deep connection to people in a way, being able to capture expression. Drawing just made me feel in tune with myself and with other people.
What guides your choices in where, why, and how to integrate your hand-drawn elements into your work?
Man, that was always my biggest struggle. I don't know when I can or when I'm supposed to, especially when I'm in a space that is corporate or for a particular brand because we have to stay on brand guidelines to some capacity. I'll throw it in there, and if my art director or my creative director is just like, no, then it's like, okay, or I'll do another iteration of it. In my own work I always do it, but when I'm doing it for a job, I have no idea how to gauge that. It's really guesstimating.
Across your work, you have created designs each speaking to a specific but very different cultural audience project by project. How do you go about finding and developing ideas that communicate to communities much different from your own?
Trying to find something within that culture that I relate to. It's always just pulling from whatever the topic may be and seeing where that connected thread is between me and whatever I'm going to be taking on and then just putting both of us inside of it.
What’s one tool, lesson, philosophy, you think every creative person should have?
Don't take everything so seriously, whether it's taking yourself too seriously or your work. I know we can get tied in and make work our lives, but there comes a point where it's just like the best creativity for me comes when I'm just like, this is silly, this may be dumb, but let's give it a go. Let's see where it takes me.  Once it starts forming or shaping, you know, you can really start being serious about it and being like, I got to work out whatever kinks you have or I want to apply this type tool set to it, but don't be too serious.
Sade Robinson is an Art Director at Spring Hill Company and lives in NYC. You can find more of her work at www.saderobinson.com
.