Small Talks: Sarah Bassett

Sarah “Bassy” Bassett is a graphic designer, illustrator, and animator based in Los Angeles, California. A true renaissance woman, you may recognize Sarah’s creative influence from her art direction work for Converse, designs for Hello Sunshine, and so, so much more! She continues to work on client projects as a freelance designer and art director. When she’s not crafting vibrant visuals, Sarah is also one half of the At Your Own Risk podcast, a hilarious show about surviving dangerous situations. You can keep up with her latest projects on Instagram and check out her website. 

On May 27, 2PM EST, Sarah will lead a sketchbook rebinding workshop as part of our Small Talks series.

I was hoping we could begin by talking about your Volume 14 sketchbook, “Rituals: Hoarding.” What inspired you to create this sketchbook? What was the process like?

As a graphic designer, I find myself collecting items that inspire me ritualistically. I really wanted this sketchbook to be a reflection of order and disorder—the process by which I hoard and create. It serves as a collection of some of my favorite bits I've gathered and created over the years: from favorite printed pieces, silkscreen tests, marks, tapes, papers and stickers. I have a trunk of all of the bits I’ve collected over the years, and it was so validating and exciting to put those bits to use.

Do you continue to keep a sketchbook in your daily practice?

I still keep a sketchbook and a daily planner, but it mainly serves as a place to keep notes for projects or quick logistical doodles for proof-of-concept before I head to the screen. I really need to get back into keeping a sketchbook on a regular basis. I love a deadline, so The Sketchbook Project was a great source of inspiration and motivation in that space.

As a graphic designer and illustrator, a lot of your work is created digitally. Do you find that physically making helps fuel your creativity?

In short, yes! I think that is why I was so drawn to printmaking in college. It has this really tactile way of working in layers, which is exactly what you’re doing on the computer in Photoshop. I think, as a graphic designer, it is so easy to dive right into the digital because it is so immediate and flexible. But it is so incredibly important to slow down and think about how these layers build upon each other to construct your final composition. I think collage and printmaking were imperative to my development and learning in graphic design, and would recommend it to anyone looking to loosen up, slow down, and expand their visual thinking.

Could you speak more about your path to becoming a graphic designer?

Graphic design was actually something I was told to stay away from by an art teacher in high school—he told me it was “selling out” as an artist. So, I originally went into college as a Fine Arts major, focusing on painting and sculpture. While I was there, I was accidentally enrolled in a Typography class, and absolutely fell in love with it. I didn’t realize that my natural tendency to move letters around to balance a page, or look at a sign on the street and wish there was more negative space around the borders, was actually a job—this was graphic design. My mom worked for a newspaper while I was growing up and whenever I would go to work with her, she always set me up with Adobe Suite, learning these programs from a very young age. I didn’t realize that playing around in Photoshop was something I could do for the rest of my life, and I’m so glad I was able to fall backwards into graphic design.

Along with working on design, illustration, and animation projects, you also work as an art director. For those who may not be familiar with or are interested in pursuing art direction, what does this role entail?

Art direction was definitely something I learned on the job and thankful to have been exposed to. I started my career as a junior graphic designer at Converse HQ and was fortunate to work there for long enough, that I was able to get on-set experience. I played sports my entire life, and soccer throughout college, so I’ve always been drawn to the idea of working with and leading a team. An art director is able to curate and create the overarching creative direction for a given campaign, shoot, branding project, etc. A huge part of the role is mood-boarding, collaborating with the client and creative partners to come up with a creative solution that best serves the brief. As an art director, I prefer a hands-off approach where I hire the right people and get out of their way. I like to do a ton of research about stylists, set designers, photographers, directors, etc, and once we move forward with the team, it’s my job to let them do their thing. I try to put myself in their position, and ask what would they want out of this experience. It’s so important to me that I communicate the goals of the shoot and expectations of a given project to the team, but that I also empower them to bring their vision and expertise to the table.

What’s the best piece of art-making advice you have ever received?

“Be like a duck.” – Laura Grey, Professor at Boston University

When I first heard this, I had come to her saying how overwhelmed I was with my senior thesis. I was working full-time at Converse HQ, commuting in and out of the city to work and take classes to finish-up my degree, while running our Boston University chapter of AIGA. Laura, being the type of graphic designer involved in everything under the sun, urged me to picture a duck. When ducks are on the water, what you see on the top is a calm and collected bird. What’s happening under the water, is pure chaos, their legs working hard to propel themselves forward. As a leader, and as a creative that wears multiple hats, it’s so important to have a calm and collected demeanor, but work your tail off in the process.

What is your studio space like? Do you have a designated place where you work on your projects or do you prefer to take your creative work with you?

I am really fortunate to be able to work from home in a space that I love. I recently redesigned my workspace to have a double desk and gallery wall that provides a ton of inspiration to me. In addition to that, I love taking my computer, iPad, or cross stitches outside. I’ve been so fortunate to have outdoor space in Los Angeles during quarantine, and working outside is something that really helps my mind feel free, open and creative.

I was hoping you could also speak about your experience as a freelancer. Had you always intended to freelance? How has it impacted the way you think about your creative practice?

I’m currently about a month into the freelance world and absolutely love it. I think the flexibility of schedule and ability to curate the types of clients you are collaborating with is such a privilege. I love being able to take on as much or as little as I can handle, to make time for side hustles and personal projects. Variety is something that has been incredibly important to me in my career, and doing freelance has really allowed me the ability to create a work-week for myself where I am meeting tons of new clients, problem-solving for a variety of brands, and doing a bunch of side projects in various mediums to keep me engaged and excited. I won’t lie, there are moments that are horrifying and scary (especially when you are waiting to get paid!) but it’s all part of the process, and trusting yourself that you have the tools and talent to succeed.

Do you have any tips for those making the switch to freelancing or those at the beginning of their creative career?

If you’re considering going freelance—do it! If you have time and the financial flexibility, I would develop an exit plan and save some money. I worked about a month in advance of going freelance, working late into the evening doing soft outreach and taking on small projects here and there to build up a small clientele. I spoke with other freelancers to learn about their experiences, and focused on the logistical side: saving money, developing a solid contract, and learning more about managing cashflow, and taxes (BO-RING, but so incredibly important).

So many people I’ve talked to dive into freelance at the start of their career, or are forced into it by circumstance. My advice to anyone in a similar boat would be to network. I was fortunate enough to work in-house at a few companies and have a pool of people all over the country that I can contact and ask if they are in need of services. If you’re fresh out of school or starting your creative career, I would send outreach emails and messages to companies that interest you offering your services—you’d be surprised how many people want to collaborate and uplift up and coming creatives. Lastly, don’t be afraid to say “no” and price yourself for your full worth.

Who are some designers and illustrators inspiring you today?

My biggest inspiration currently is Dani of Dazey LA. She is multi-faceted creative who is a self-taught graphic designer, artist, muralist, interior designer, photographer, and fashion designer. She truly does it all and is a huge inspiration to me in the entrepreneurial space. Her sensibilities surrounding color, pattern, and texture never cease to inspire me, and I want to live in her Dazey Desert House until the day I die. In addition to the lovely Dani, I look up to Dominique Pétrin, Dani Roche, Pandr, Chrissie Abbott, and Rachel Burke.

What are some projects you’re working on now? Do you have any goals for this year or future work you’re looking forward to?

I’m working with some bread-and-butter graphic design clients currently, which allows me the flexibility to work on passion projects and side hustles. I’m currently playing in mixed media, working on mini canvases, collaging together embroidery I’ve done and simple geometric paintings. I’ve also started making nostalgic 90’s jewelry and working with kitschy objects to create elevated “bad art” which just brings me so much joy. I’m also really excited about a podcast I’ve been working on with my dear friend, Dana Drew. The podcast is called At Your Own Risk, and it is a survival comedy podcast that dips its toes into true crime and self-help. I think it’s so important to create outside of your standard medium, to walk away from your regular process, and be able to return to it with a fresh perspective and newfound energy.

How can people support your work?

Let’s collaborate! My list of services include (but are not limited to): art direction, branding, graphic design, set design, event design and planning, social media content creation, motion and animation, illustration, lettering, packaging and custom pieces available upon request. Email me to initiate a creative dialogue and learn more about my full list of services. I am also working towards launching an online store, so keep your eyes peeled for that and on social. If you’d like to support the podcast: follow along, join our Patreon, and rate, review, and subscribe!