Advertise on podcast: Creative Legends

This week, we’re asking each other the awkward questions others might not usually answer, from money and self-worth to creative process, client mistakes and whether either of us could actually be replaced on Sticky Notes.

Do you actually need a degree to become a good designer? Or can you teach yourself everything you need to know? We get into: 0:00, Introduction05:42, Do you need a degree to become a designer?14:52, Was university actually worth it?18:23, Can you work at a top agency without a degree?25:29, Can taste actually be taught?32:38, AI, education and the future of learning design42:10, Are designers taking too many courses?57:32, Should you charge friends and family for design?

This week, we’re doing something a little different. No big topic or case study. Just an honest conversation about why running a creative business feels really hard sometimes. We’ve both had a few turbulent weeks recently, so we wanted to go properly behind the curtain and talk about the stuff that doesn’t normally make it onto Instagram: unpaid invoices, difficult client conversations, financial pressure, changing expectations around AI, slower leads and the constant pressure of having to go out and earn every single pound again next month.

This week, we’re going behind the scenes of one of CJ’s favourite brand identity projects to date: the complete rebrand of Mike Lane. Mike has spent the last 10 years building an incredible business creating highly detailed modifications for scale models inspired by films like Back to the Future, Batman, Jaws, Terminator and Fast & Furious. But after a decade of growth, the brand had outgrown the handwritten signature logo Mike had created himself.The challenge was to take something incredibly personal, handmade and full of passion, and evolve it into a brand that felt more established, engineered and trustworthy, without losing the personality that made people love Mike Lane in the first place.

This week, we’re doing something a little different and playing a game of Would You Rather: graphic design edition. Some of the questions are stupid. Some get surprisingly deep. And a few reveal far more about how we think as designers than either of us probably expected.

This week, we're getting into the uncomfortable conversation you have to have with yourself when promoting your business on social media. The line between marketing yourself as a designer and becoming a design influencer.

This week, we’re talking about the red flags we look for before agreeing to work with a new design client. Finding clients is one thing. Finding the right clients... well that's a whole other story. After years of working freelance, running our own studios and making plenty of mistakes along the way, we’ve both developed a pretty good radar for the little signs that can tell you whether a project is going to be brilliant… or an absolute nightmare.

This week, we’re talking about everything it takes to run a successful creative business that has absolutely nothing to do with being good at design. We share the skills, traits and ugly lessons we’ve picked up while building our own independent studios. We get into: 👉 Why being a great designer doesn’t automatically mean you’ll run a great design business 👉 The sacrifices we’ve made to build our studios 👉 Why sometimes you have to put the pencil down and think like a business owner 👉 How your ego can damage otherwise healthy client relationships 👉 Why marketing yourself isn’t optional when you work for yourself 👉 The importance of ambition, hunger and continuing to push yourself forward 👉 Why resilience matters when your work, content and ideas are constantly being judged

This week, we’re continuing the case study series with a look behind the scenes of Jack’s latest brand identity project for Verdex - a premium all-wheel-drive robotic mower.Rather than leaning into the same overly technical, futuristic visual language used by much of the industry, Jack took a completely different approach: retrofuturism.We get into:👉 How retrofuturism became the central creative direction for Verdex👉 How Jack developed a logo around slopes, freshly mown grass and the letter V👉 The small optical adjustments that make simple logo marks actually work👉 How tone of voice can make highly technical products feel more human👉 Why one strong creative lens makes every design decision easier👉 How finding the right client can lead to some of your best creative work

This week, we’re doing something a little different and taking you properly behind the scenes of a real brand identity project.CJ breaks down the identity he created for Anti-Boring Content Club, a Berlin-based influencer marketing agency built around one very simple belief: most branded content is boring, predictable and completely forgettable.We get into:👉 How CJ approached designing for a brand with an extremely long name👉 Why the logo was deliberately designed to feel boring at first👉 How the idea of hijacking and hostile takeover shaped the entire visual identity👉 How to know when a creative concept is being pushed too far👉 Why clarity should always win over cleverness👉 Why even something as small as a business card can become part of the brand story

Using the recent Allan Peters and A$AP Rocky situation as a case study, we're taking a look at social media, self-promotion, and what it actually takes to market yourself as a designer in 2026.We get into the fine line between creating content that gets attention and creating content that actually builds the kind of reputation, audience and client base you want long term.We also talk honestly about our own relationship with social media, why millions of views don’t necessarily equal better clients, and why both of us are starting to rethink what successful creative marketing actually looks like.We get into:👉 What creatives can learn from the Allan Peters and A$AP Rocky situation👉 Why controversial and divisive content performs so well online👉 The difference between getting attention and building trust👉 Whether “fixing” other designers’ work is good marketing or damaging to the industry👉 Why millions of views don’t automatically lead to the right clients👉 How to build a social media strategy that actually reflects the creative career you want

This week, we’re talking about the projects that never saw the light of day. We're talking rejected ideas and identities that were maybe signed off but never launched. We share the stories behind some of our biggest creative disappointments, including Jack’s rejected Six Nations identity and the moment CJ decided to walk away from one of the largest and most meaningful projects of his career. We get into:👉 Why even your best design work might never make it into the world👉 How too many stakeholders can derail an otherwise brilliant creative project👉 Why a rejected idea doesn’t automatically mean the work was bad👉 What happens when the brief and creative direction suddenly change👉 How to recognise when you’re no longer the right designer for a client👉 What to do with unused, rejected or unfinished creative work

This week, we’re talking about how to protect yourself as a freelance designer.We're talking contracts, payment terms, scope creep, unlimited revisions and difficult clients. We get into the business side of creativity that most designers are never taught.We also share some of the biggest mistakes we made early in our careers, including the project that grew into nearly a year of work for just £4,000, and the systems and boundaries we now use to protect our time, money and creative energy.We get into:👉 Why every designer needs a proper contract👉 What should be included in your scope of work👉 How to stop clients adding “just one more thing” to a project👉 Why you should never begin work before receiving a deposit👉 How to avoid chasing unpaid invoices👉 How to handle clients who ask for discounts👉 The red flags that can reveal a nightmare clients👉 Why saying yes to everything can cost you time, money and better opportunities

This week, we’re finally talking about AI... but not as a hypothetical debate about what might happen to the creative industry one day.We’re talking about something that has already happened.After discovering that his original artwork had been used without permission to promote a generative AI product, CJ takes us through the full story: how he found it, how closely the generated imagery copied his work, what happened when he publicly challenged the company responsible, and the conversations that followed behind closed doors.We get into:👉 How CJ discovered his artwork being used to advertise a generative AI product👉 What happened when CJ publicly challenged the company responsible👉 The reality of protecting your intellectual property as an independent designer👉 Why so many creatives are too frightened or under-resourced to defend their own work👉 The responsibility design influencers have when promoting generative AI products👉 How creative communities can use their collective voice to demand better👉 Why protecting human-made work is about more than saving our own jobs👉 What we might be able to do next to stand up for the future of creativity

This week, we're back after a short break, catching up on everything that's happened.Jack opens up about losing confidence in his studio, comparing himself to other designers, and the difficult decision to walk away from the work and content that had made him successful. We also talk about why changing direction isn't failing, why your business should evolve as you do, and why sometimes you have to burn down what got you here to build what comes next.We get into:👉 Why comparing yourself to other designers can kill your creativity👉 The moment Jack realised his business no longer reflected who he was👉 Why changing direction in your freelance career is often the right move👉 How social media validation can stop you building the business you actually want👉 The importance of backing yourself instead of chasing what works for everyone else👉 Why the thing that got you here won't always get you where you want to go next👉 How to know when it's time to start again