“I’ve always had a passion for welding… I’ve always been the kind of person who likes to work with his hands. The more you do, the more you try, the better you get.”
Daniel Dorriety is a welder by trade and works at General Electric building gas turbines. He is part of a special process team for repair engineering, focusing on joining development, handling the welding on every part of the gas turbines that get fixed.
About
Daniel Dorriety is a seasoned welder at General Electric, repairing massive turbines with laser precision. His path began in high school, where he took welding at the Golden Strip Career Center and discovered the satisfaction of building something with his own two hands. That experience, paired with an associate’s degree from Greenville Tech, launched a lifelong career in the trades.
Today, Dorriety specializes in special process welding a technically demanding role that involves everything from torch repair to laser applications. Off the clock, he runs his own small welding shop and dreams of full-time self-employment. What drives him isn’t just the metal it’s learning. “The more you do, the better you get,” he says.
He encourages students interested in trades to explore short-term training programs like Arc labs, and to stay open-minded about alternative paths. Welding isn’t just about physical skill, he says it requires patience, communication, and constant adaptation. Whether it’s collaborating with engineers or mentoring newcomers, Dorriety takes pride in the craft and the community behind it.
Matteo Miles is a professional muralist based in Greenville, SC. Known for large-scale, hyper-realistic public art, he blends creative talent with a strong business sense. Miles believes in creating work that speaks for itself and builds community along the way.
About
Matteo Miles built a career from scratch literally by picking up a paintbrush and offering to finish a mural that had been abandoned at the hotel where he bartended. That spark ignited a career now filled with large-scale murals across the region for clients like Starbucks and local businesses.
A graduate of Greenville Tech and the Fine Arts Center, Miles knew from a young age that art was his calling. “I always wanted to do something creative,” he says. But the transition from sketchbook to scaffolding wasn’t easy. He learned to price his work fairly, navigate contracts, and build stamina for long painting days. His advice? “Take yourself seriously, and others will too.”
Miles now completes multiple mural projects a month and approaches each one with both artistic vision and professional discipline. His work is deeply tied to place celebrating community stories, local icons, and shared identity. “You’re creating something that lives in people’s everyday world,” he says.
For young artists, he recommends gaining both technical and physical readiness. “You’ll be on your knees, on ladders, in heat or cold,” he says with a laugh. But the results? They’re unforgettable.
“You have to be very, very comfortable with making mistakes.”
Laura Ybarra-Kane, a native of Columbia, South Carolina, services as the Manager of Education and Interpretation Planning at the South Carolina State Museum. She holds an Anthropology of Education in Museum Studies degree from the University of South Carolina.
About
Laura Ybarra-Kane discovered her passion and career path at a young age. When visiting family in San Antonio at age four, Kane remembered walking into the planetarium and hearing Star Trek’s Captain Picard speak to her. She was in awe. She remembered, “I went into this planetarium and was like this is it! This is what I want to do, this is amazing.”
From then on, Kane kept her passion throughout her school journey to follow the path that would lead her to a career in museums. When transitioning to college, Kane went with the mindset of wanting to be able to work in museums, but she didn’t have a clear understanding of the field. “I went into college with many different majors, but I ended up landing on the Anthropology of Education and Museum Studies,” said Kane.
After receiving her degree from the University of South Carolina, Kane began volunteering at her current job, the South Carolina State Museum in Columbia. As a volunteer, Kane gave tours and worked with the curating team for six months before being hired part-time. For five years, Kane traveled with a portable planetarium, teaching students the wonders of astrology, before transitioning to the EdVenture Children’s Museum, also in Columbia. After five years with EdVenture, learning and working within schools, Kane returned to the South Carolina State Museum as Manager of Education and Interpretation Planning.
As Manager, Kane has many different duties and responsibilities, and so her typical workday includes wearing many different hats. As an interpreter, she observes how individuals interact with each exhibit within the museum and how they interpret the space they are in. As management of education, Kane assists with all things that involve teaching. “We do all things education and inspiring wonder,” said Kane. Additionally, Kane oversees all accessibility efforts at the museum and serves as the liaison for South Carolina on education resources.
Among all her work and experience, the project she is most proud of at EdVenture was opening the first Makerspace in South Carolina. “That one stands out with me as the first time I got to do a lot of experience and a lot of mistakes,” said Kane. She also offers advice to upcoming creatives interested in a career within the museum field: “Just try it, see what you like because you never know what you might find.”
“The more you push yourself out of your comfort zone and out of the box you’re used to, the more confident you get.”
Tori Hord is an Associate Professor of Graphic Design at Methodist University in Fayetteville, N.C. She grew up in Loris, S.C., and earned her bachelors in graphic design at Coastal Carolina University. She continued her graphic design with a Master of Graphic Design M.G.D. at North Carolina State University.
About
Tori Hord’s path to graphic design was not always clear. She began her studies at Coastal Carolina University as a biology major with thoughts of pursuing a medical career, her family remarked that she would make an excellent doctor. After a couple of semesters, she changed majors without telling anyone, giving them “small heart attacks” when they found out.
Upon switching to graphic design, she went all in, joining the American Institute of Graphic Arts (AIGA) and working at The Athenaeum Press, Coastal’s student-driven publishing lab. Specifically, she worked on the Gullah: The Voice of an Island with the Athenaeum Press and recalls the joy and excitement of getting recognition for work that she and her friends poured their hearts into — work for which they earned an national American Advertising Award, or ADDY.
Working as a professor is a career path that has allowed Hord to pursue the “best of both worlds.” She enjoys sharing her graphic design expertise with college students as she continues cultivating her own artistic skill. “I didn’t want to stop my design career to allow me to teach,” Hord said, so she leads two to three studio classes per day while carving out time to focus on her own projects as a freelance designer and consultant.
Professor Hord encourages other aspiring graphic designers to join professional groups like AIGA (American Institute for Graphic Arts) and to get some pre-professional experience. Her essential advice for college students is, “Listen to that little voice and go after what you do want, regardless of what other people might think.”
“Try to get as many different kinds of experiences as possible. I think a wealth of experiences is really valuable.”
Theresa Marchi was the Director of Strategic Marketing at the charity United Way of Greenville County. She takes a holistic approach to marketing, working to engage the community in different ways.
About
“When I was growing up and realizing I sucked at biology, I was just like, ‘What am I going to do with my life? I want to make something matter… I want to have a purpose, and I’m good at art,’” Theresa Marchi says. Now, as the Director of Strategic Marketing at United Way in Greenville, she’s found a way to use her artistic skills to help her community. Marchi graduated from Coastal Carolina University in 2017 with a degree in graphic design. She worked at an ad agency in Myrtle Beach and went from there to a company in Greenville that designed college athletic spaces. “At the time, that was my dream job,” she says, describing how enthusiastic she was about integrating brands into physical spaces. Her experience designing a museum exhibit with The Athenaeum Press, the student-driven publishing lab at Coastal, helped her get the job. “They saw that on my resume, and they were like, ‘You already have some of these skills that a lot of students don’t,’” she says. She went from there to United Way to try to help her community.
Marchi started as a graphic designer, but her current role involves planning out her whole year. She collects data about what marketing approaches are reaching donors and community members, and which ones aren’t. “A lot of the time we see that there’s a very high alignment that community members have with our work, they just don’t know it. They just don’t know what we do,” Marchi says. “So part of my role is really figuring out what’s the best avenue to reach them.” She says that marketing for a nonprofit is more difficult than marketing a product or service. “What we’re selling is not tangible,” she says. “So, it’s really laying into the storytelling, the impact, the strategy of how we’re doing this work that is most important in this space.” She says that seeing successful community events is the most rewarding part of her job. “The lives that are changed and the other resources that they’re connected to, that has been really special and really fulfilling.”
Marchi recommends that students who are interested in her role should diversify their educational and work experiences. “I think a wealth of experiences is really valuable,” she says, and describes that working in customer service helped her learn the lingo necessary for successful marketing. She says that the connections she made by being an active volunteer with the Rotary Club helped her get further than she would have otherwise. She also tells students to be curious. “It sounds overused, but I think curiosity, trying to understand why we’re doing these things that we’re doing, how is it going to further the mission, that is something that is really hard to find in others,” she says. “If you really want to be a standout, for me it’s that attitude.”
Lauren Rose is a publication designer and the Design Editor at North State Media in Raleigh, NC. With roots in student journalism, she now brings clarity and creativity to print layouts in a fast-paced newsroom environment.
About
Lauren Rose’s love of design began with school projects and scrapbooks, but it took off in the newsroom. As art director for The Chanticleer, the student newspaper at Coastal Carolina University, she found herself juggling creativity with tight deadlines skills she now uses daily as Design Editor at The North State Journal.
Based in Raleigh, NC, Rose handles the design of a weekly print newspaper. Her Sundays are devoted to page layout and collaboration with editors, while the rest of the week focuses on refining and preparing content. “The design changes constantly between issues, and I love that.”
Though her career evolved organically, Rose credits her growth to patience and openness. “Let your ego go and be willing to learn,” she advises. She views design not just as an art, but as a way of organizing information to serve the reader.
Rose encourages other creatives to take chances, embrace mistakes, and explore different media before settling on a path. For her, the magic of design is in the details and the opportunity to keep learning every week.
“Stay true to your creative path—there are remarkable opportunities waiting for those who persevere.”
Kathy Phillips is the Chief Curator at Baxter Mill Archive. She holds an MFA in Theatre Design with a concentration in costumes.
About
Kathy Phillips is an accomplished Creative Director, Chief Curator, and textile expert with over 25 years of experience in the home, apparel, and quilting/craft industries. Currently serving as the Chief Curator at Springs Creative’s Baxter Mill Archives, Kathy leads the creative development of a vast collection of over 1 million antique documents, textiles, hand-painted artwork, and rare European textile books.
Throughout her career, Kathy has worked with esteemed home furnishing companies, curating artwork and inspiration that reflect evolving consumer trends and uphold brand integrity. She has successfully directed high-profile brand launches, including the Springmaid rebrand in collaboration with Target and Genevieve Gorder, and has expanded product lines at JLA Home, overseeing collections for prominent brands like Natori and Woolrich.
A passionate educator, Kathy has taught textile design at Winthrop University and the Art Institute of Charlotte and holds creative workshops for local fabric stores and quilt guilds. She holds an MFA in Theatre Design, with a concentration in costumes, from the University of Connecticut. With a keen eye for design and a commitment to preserving and advancing textile arts, Kathy continues to shape the industry through innovative brand strategies and creative vision.
Eddie Howard, from Greenville, South Carolina, is the Director of the Recording Arts Program at the Fine Arts Center. Establishing the program in 2007, Eddie Howard teaches both younger and older students how to record music.
Interview
Transcript
Edward Howard 00:00
I am from Greenville, South Carolina. I teach the Recording Arts program at the Fine Art Center in Greenville.
Haley Hansen 00:07
How long have you been working there?
Edward Howard 00:08
Well, I started the Recording Arts program in 2007 as an afternoon class, teaching high school students- the art of recording. It’s like a recording studio. And that’s what we have. And so, I’ve been teaching afternoon classes since then. But we just added a morning class, so, that is it is doing I’m doing that full time now.
Haley Hansen 00:28
What is your official job title at the Fine Arts Center?
Edward Howard 00:31
It is the Director of Recording Arts.
Haley Hansen 00:33
Can you walk me through a typical workday there?
Edward Howard 00:36
Okay. Yeah, we have a morning class of younger students who are more on an entry level, just learning how to record the very, very basics. So, I walk through and demonstrate different things they have, they do some book work, but it’s mostly hands-on.
Edward Howard 00:53
And then my afternoon class has little older students. They are typically 11th and 12th graders, sometimes 10th graders. And most of those students are already recording when they come into that class. They have figured out ways to do it at home, and so they have some experience going in. So, they just kind of come in and take it to the next level.
Haley Hansen 01:16
How did you end up in this field?
Edward Howard 01:18
My uncles, my mother’s three- four brothers built the first recording studio in Greenville, South Carolina, in 1958. And so, my dad used to love to go hang out in the studio when I was five or six years old. So, we, for years, really all my life, would go hang out at the studio, sometimes at nights and on weekends when they were doing sessions. So, I kind of got the studio bug from that.
And then later, for the last couple of years in high school, I was a guitar player. And that was involved in a couple of bands between 1971 and ’74. We finished high school in ’72 and hit the road, and the band got very, very busy. And we were staying gone so much, I just did not like traveling that much.
And so, I decided to come back to Greenville, and wanted to get into the studio business. And so, that is what I did, I came back to Greenville in ’74, started hanging out at the studio, and went to work there in ’77, spring of ’77.
So, I worked in the studio ever since I’ve been in the recording business; I have owned three different studios, been part owners/partners, in three different studios. And I’ve built several studios for people as well. So, that’s what I’ve done.
Haley Hansen 02:34
How did you wind up at the Fine Arts Center?
Edward Howard 02:36
Well, a friend of mine, Steve Watson, who is retiring this year, has been directing a jazz program at the Fine Art Center for 27 years. He and I met in 1985 when he first moved back here from L.A., and he and I worked. We did a number of jazz records together, and a number of albums together in the studio. Became friends and just have ever since.
And so when they built the new Fine Arts Center in 2006, I believe it’s when they were it was under construction, he called, and he said, “I think I can get the budget to put a recording rig in my jazz class, I just won’t be able to record my kids.” And so, we met, and I consulted with some folks there about what kind of equipment to put in, and you know, everything had gone Pro tools and computers and stuff by then. So, he did that. And they installed all the equipment.
And every couple of weeks or so he would call and say, “Can you come by on Thursday afternoon or something and record the kids?” And so, I’d go over and do that every couple of weeks or so. And I will say recording one day in 2007, I believe it was, and Dr. Flour, the director at the time walked in, and he said, “Oh my gosh, we’ve got $80,000 worth of equipment in this room, and we’re not doing a recording program.” And so, I said, “I’ll help you start it. And I give you the afternoons, that’s all I can give you: two-hour afternoons.”
And so, we did that and started our first semester, which began in 2008. I think it was fall of 2008, and that has a two-hour afternoon class. And then we just added this past year, added the morning class. So doing a morning and afternoon class. And I have about 20 students now.
Haley Hansen 04:16
Are you still teaching out of the first studio you helped design there?
Edward Howard 04:19
Where?
Haley Hansen 04:20
At the Fine Arts Center, like the one that you were hired as a consultant for?
Edward Howard 04:24
Yes, that’s our main control room. And since then, since we started the program, we’ve added two spaces. There are two rounds that are about 12 by 12 spaces. One of them has three workstations in it, the other one has four workstations.
Haley Hansen 04:39
Do you have a defining moment in your creative journey that made you realize this was what you wanted to do with your life like a particular project that you worked on?
Edward Howard 04:48
No, really, I had always loved the recording process. And even when I was traveling on the road before I always had in the back of my mind that “You know one day I need to get into the studio that’s what I need to do.” And I really just kind of knew that. I had grown up around it and had seen enough of it to know that that’s what I want to do. And so, I did that and started in ’77. And I have been doing it ever since.
Haley Hansen 05:14
What was the biggest adjustment or challenge that you faced when you started your current role at the Fine Arts Center?
Edward Howard 05:20
Well, when Dr. Fluhrer, Roy, is what we always called him. When Roy asked me to start the program, I said, “Roy, I’m not the teacher. That is not something I feel like I do.”
My biggest challenge was learning how to teach, learning how to develop curriculum. I have done some workshops. Me and a friend of mine used to do some workshops in the studios, but it was mostly for adults, producers, and arrangers and musicians who wanted to learn how to record. They wanted to learn the technical side of the recording.
So, I’ve never been in a position to teach kids, you know, students. So that was probably the biggest challenge. Learning that, but the faculty, the other teachers, these guys are just incredible people. And they were so helpful to help me to learn how to do stuff like that, how to develop a curriculum, how to teach, you know, how to teach a class. Yeah, it’s a whole different thing than recording with a bunch of professional musicians.
Haley Hansen 06:24
Do you recommend any specific skills that someone aspiring toward you, toward your field or position like yours should try to develop?
Edward Howard 06:32
Just learn, learn how to do it yourself. You know, most of my best students come in, and they’ve found free software programs at home. And they found out ways to do it. And a lot of them are just doing stuff on their phones nowadays. And they come in with these demos, impressive demos that they’ve done with them, on their phone, with free software. And that’s, that just seems to be the best way to get started with it.
And a lot of times when I am interviewing students, one of the first questions I ask is, “Are you already recording?” And if they say, “No, I’ve not done anything yet.” So, I’ll tell them, “Then find a way. Go out and find your way. There’s free software all over the internet, you could do it on your phone, you can do it on iPads, if you have the luxury of having a good computer available, you know, even better. But find a way to do it.” And that’s really the best way for them to learn the basics, to start learning the basics.
Haley Hansen 07:31
What’s something that you want your students specifically to learn about pursuing a career in a creative field?
Edward Howard 07:39
The biggest thing you know, some of the biggest things I have tried to do with them is to teach them how to be self-disciplined. Teach them how to manage projects, manage their time and do their best, you know, never settle for seconds, go in for the best sounds. And because if they go out in this business as a recording engineer, or producer, or composer, that’s what the challenge is going to be in the real world.
Haley Hansen 08:02
What would you say is the hardest part of advising students for college and for career-readiness?
Edward Howard 08:08
In this kind of work, in the recording work, the college of choice has more to do with where do you want to be when you come out on the other side? Because they’re their universities around the country. Almost all universities have great recording programs now. Unlike when I came along, there were no educational, no colleges, were offering any kind of training in recording field, and audio or video. And so now just about every university has serious recording programs.
But each university tends to steer students in a particular direction. So, if you go to Nashville and Belmont, you are probably going to end up in Nashville, you know. So, different universities and different programs tend to guide students in different areas into different parts of the country. So, you have to kind of look at their programs, and look at their internship programs, and see where do they push students at the other end? You know, and where do you want to be? You want to be in New York, you want to be in Dallas, LA, you know, or in a small town somewhere, like Greenville?
Haley Hansen 09:13
What part of that process of preparing students for college and career readiness would you say that you’re very successful at?
Edward Howard 09:20
Just teaching at a commercial-level, recording. Teaching them how to how to record music, you know, live music and digital music. And how to produce music. How to work with people, you know. I really encourage my kids to collaborate on projects because they will learn 10 times more collaborating with someone else than they will if they just sit down at their computer and work in a bubble. The progress they make will be very slow for most students, generally, but they will progress much faster if they work with other students creating music projects. And that prepares them for university level.
Most of the college programs, that are doing recording programs, I constantly get feedback from people from the universities, that will tell me that my, my students that go into those programs, they’ll tell the students, you’re going to be bored for the first semester or maybe for two semesters, because it takes that long for, for my students to catch up with where you are. So, they’re getting a real boost ahead in the recording program, you know, if they decide to enter a four-year program of recording.
Haley Hansen 10:31
I know that some of the colleges in South Carolina have an arrangement with the Fine Arts Center, that the classes there count as college-level courses. I took creative writing there, and I got credit for a creative writing class at Coastal [Carolina University. Does your program have anything set up with colleges like that?
Edward Howard 10:51
Yeah, we try to get colleges to do as much of that possible. We have actually had a contract with Clemson for a number of our programs, with Clemson University. Were with Recording Arts, they can test out of a semester, or they might test out of two semesters.
So, if they decided to go into the Recording Arts program, depending on what level that they’ve learned in my program, they might be able to skip a semester at Clemson, for instance. And we’re working on more universities that do that there. A lot of universities will talk about that. And they’ll say, oh, yeah, that’s a great idea. But it is a very time-consuming thing to put together an agreement like that. It’s a very complex agreement.
Haley Hansen 11:33
Are there any organizations or programs, or events that you recommend for folks in South Carolina who are interested in your field?
Edward Howard 11:41
For universities?
Haley Hansen 11:43
Universities, or summer camps, like getting involved in the community, or anything like that?
Edward Howard 11:49
Well, I encourage them to get involved in the community, all they can. They can go to other studios and hang out, or they go hang out at some live concerts and just kind of get the feel of live music as well. But there’s not a lot of programs, summer camps, for that kind of thing.
We are actually doing a thing this summer, called Summer Intensive, where a number of our programs at the Fine Arts Center are doing one week, three hours a day for a week. Four days, it’s just four days, not a week. And so, it’s kind of like an icebreaker for a student that would be coming into my program. And I’ve got several students that have enrolled in my program next Fall that are coming to the Summer Intensive thing, just to kind of get a leg up on it, you know, get ahead of the game. So that’s a particular thing.
But you got universities, like in this area, immediate area, you’ve got UNC Charlotte, you’ve got Francis Marion, I think Coastal Carolina has a program, Clemson has an incredible program, the USC [University of South Carolina] has a program. And so, most of the universities nowadays are doing really good Recording Arts programs.
Haley Hansen 12:57
Before we end the interview, do you have any advice for current students or young adults who are pursuing a creative career?
Edward Howard 13:05
You know, Dr. Fluhrer, the guy who started the Fine Arts Center and ran the Fine Arts Center for years, always had this whole thing…. All the time I’ve worked around him, he had this little saying, and he would say he would just say, “Do the work.” You know, just a simple thing. And that’s coming to school every day, doing the work, you know, not lollygag, not hanging out, just talking.
But you know, I think for the Recording Arts Program, I tell parents and students, this is not if you’re not a very self-disciplined program, this is not for you. Because we don’t have a class where I gather everybody up every day. And today’s students, this is what we’re going to never happen. Everybody works at their own pace at their own level. And that’s the way the real world works. In the recording business.
You know, nobody in the recording world wants to be paying a studio musician or a recording engineer or producer and has to say, “Come on, guys, let’s go for it. Let’s get this done. You know, they don’t want to be pushing people. You know, they want people to work there because they love what they do, and they do it well. And that’s what I try to get my students to learn, learn how to do the work and do it well.
Haley Hansen 14:20
Is there anything else you think it’s important to say before we end the interview?
Edward Howard 14:24
No, just self-discipline and do what you love. My dad used to tell me, “Whatever you decide to do, make sure it’s what you love to do.” There’s no reason why anybody should hate their job or their career. And so, when you choose students when they choose, we just try to encourage them to choose the right career for the right reason. And choose something that you love to do.
You know, not something that your parents want you to do, or somebody else is pushing you to do it. Or not because you think, “Oh, I’ll look at that career because you can make a lot of money.” You know, you can’t do it for the money. You know, the recording business is a very lucrative business for people who are very self-disciplined and determined. It makes a great career. And if you do that for the right reason, the money is always there.
Haley Hansen 15:17
Well, thank you for taking the time to speak with me.
“Try to get as many different kinds of experiences as possible. I think a wealth of experiences is really valuable.”
Theresa Marchi was the Director of Strategic Marketing at the charity United Way of Greenville County. She takes a holistic approach to marketing, working to engage the community in different ways.
Interview
Transcript
Theresa Marchi My name is Theresa Marchi, originally from Connecticut.
Emma Plutnicki Perfect. And can you tell us what you do for work, and where you’re currently working from?
Theresa Marchi Yeah, I am the Director of Strategic Marketing here at United Way of Greenville County. So located in the upstate of South Carolina, Greenville.
Emma Plutnicki Perfect! How long have you been working there?
Theresa Marchi Yeah. I’ve been here two years.
Emma Plutnicki Okay. And your official job title is…
Theresa Marchi Director of Strategic Marketing.
Emma Plutnicki Perfect. Well, how did you end up in the job that you have today?
Theresa Marchi
Yeah, so I got my degree from Coastal [Carolina University] in graphic design, in 2017. And then from there, I had been working at an ad agency in Myrtle Beach, which was a fantastic opportunity. But at the time, my dream job was to create college athletic spaces. And there was a company in Greenville, South Carolina that was doing that, and I was just obsessed. And so at the time, that was my dream job. And I wanted to go into that field, because it kind of blew my mind that there are designers that design beyond this flat surface of logos and videography and pieces like that, elements of advertising like that. And they really are almost like engineers and architects where they design a whole facility, and they help tell a brand’s story, an athletic’s story about what makes their space special, and why athletes should be part of their program and the history and the legacy that they get to be a part of. And so that was really intriguing to me, that kind of storytelling.
Theresa Marchi
And I had moved up to Greenville to accept a role there as a designer and learned a lot. What helped me at the time was, the Athenaeum Press program at Coastal Carolina had, I had been part of helping develop a museum exhibit. And so this company in Greenville, they’re called Jack Porter, they saw that on my resume, and they were like, “you already have, like some of these skills that a lot of students don’t.” So that really helped me start thinking about design differently and storytelling, a lot different than, I think, a lot of other designers at the time. And from there, I just got really interested in marketing as a whole, how we’re telling stories and this holistic piece of the journey that people learn about a brand and get engaged in it. And so I had an opportunity to work at United Way of Greenville County, I started as a graphic designer here, and just asked a lot of questions, and then kind of seeing that potential and that, like, quality in me, and poking holes in things and trying to understand and build something really meaningful and intentional with our community, they asked me to take this role, which is, takes a holistic approach to that to our marketing efforts. And we just figure out how to engage the community in different ways. So kind of how I got to this role.
Emma Plutnicki
Nice, amazing. So nowadays, what do your day to days look like? What are you responsible for? And what are you working on?
Theresa Marchi
Yeah, so, day to day looks a lot different than it did when I first started. So as a designer, I used to be in the art aspect of things and making sure that the art pieces kind of resonate and tell the story that way. And now my role is a lot more different, and it’s a lot more planning, and it’s fighting for the whole year of all of these touchpoints that we’re going to have with community members, special segments, doing a lot of data interpretation. So collecting all the data, what’s reaching our donors, what’s, what’s not, what’s reaching our community, what’s not. Figuring out what’s working, a lot of A/B testing, and just trying to figure out the best messaging positioning for different groups to try to engage them in the work. And a lot of the times we see that there’s a very high alignment that community members have with our work, they just don’t know it, they just don’t know we do. And so part of my role is really figuring out what’s the best avenue to reach them, and to get them plugged into our work.
Emma Plutnicki
Nice, that’s awesome. So you mentioned the project at the Atheneum Press. And is there any other like defining moment in your journey so far, whether it’s at your job now, or just a project that you’ve worked on, that kind of sticks with you as something like meaningful to you?
Theresa Marchi
Yeah, I think there are a lot. I work in a nonprofit space. And so, truly, what’s been special is seeing pieces come to life and see– it sounds cheesy, but the lives that are being changed because of it. So one of the projects that we have here at United Way is this event called School Tools. And it’s hundreds of people lined up starting at four in the morning, and they will line up and get a backpack full of school supplies. And it’s not just school supplies that are just from all over the place. We work with Greenville County schools to make sure that these backpacks are full of items that the students are actually going to need. They’re organized by elementary school, high school, middle school and families who come and get backpacks they need. And I think you know, there are a lot of really great pieces of my job, but the moments where I get to go to School Tools and see the work really play out and people that have been waiting there since 4am to get a backpack and the lives that are changed and the other resources that they’re connected to, that has been really special and really fulfilling in my work. Because when I was growing up and realizing I sucked at biology, I just was like, “What am I going to do with my life? I want to make something matter in our community, in this world, I want to have a purpose. And I’m good at art. And so, how does that translate into the work?” And I think I’ve really found that here working in the nonprofit space and using the skills that I do have to help change lives. So that’s been really special to me.
Emma Plutnicki
Amazing. So working in the nonprofit, is it challenging? Like, what challenges do you face that you might not see in other areas?
Theresa Marchi
Yeah, I think what’s so challenging being in marketing in a nonprofit space, compared to the for-profit, is usually there’s a product in the for-profit. You are selling, you know, a better experience or something. And in the nonprofit space, what we’re selling is not tangible. So it’s really laying into the storytelling, the impact, the strategy of how we’re doing this work that is most important in this space. Whereas with the for-profit side, you can use a lot of different marketing tactics to sell a product, and its physical, and someone’s going to get it. And then the other side of it in the nonprofit space is, it’s just a lot more complex, and trying to find these allies and cheerleaders for your work, and really figure out how to engage them, it just really feels like a completely different ballgame. You use different kinds of tools. Some things are very similar from a marketing perspective, but I think it’s, to me a lot more challenging, in a good way.
Emma Plutnicki
Yeah, that makes sense. So you also mentioned that one reason that kind of helped you in the job process was having that real world experience. Are there any other skills that an applicant should have that would increase their chances of getting a job in a field similar to yours?
Theresa Marchi
Yeah, I think, you know, in the marketing field, one of the skills, traits, that I find most valuable, especially where I’m at in my career is curiosity. And it sounds, I think, overused, but truly, when you’re in marketing, I really feel that everything needs to have a reason, especially in the nonprofit space, when you’re having to utilize resources very intentionally, I think curiosity, trying to understand why we’re doing these things that we’re doing, how is it going to further the mission, what is that experience that people are going to get when they interact with our brand, with our work? That is something that is really hard to find in others, in candidates? And if you really want to be a standout, for me, it’s it’s that attitude, that, you know, always striving for more. Asking questions. And I think as you get into adulthood, and the space is is different from college, it’s not as like, safe, still keeping curious. And asking the questions and trying to make the work better, is really something that I second guessed a lot early in my career that I just at this point, I just am who I am. I’m going to ask the questions. And that’s how I think you can make the most difference in your your work.
Emma Plutnicki
Yeah, perfect. And within South Carolina, have there been any programs or organizations or events that you’ve gone to that have helped like progress your career, either that’s like through making connections, through specific clubs or groups or organizations? Can you think of any events like that?
Theresa Marchi
Yeah, I think there are a lot. So to begin with, rotary was a very pivotal organization that I was involved with in college and transitioned into, you know, my adulthood and real girl career. And that had really helped me network with a lot of people that got me into the rooms where I had a lot more options than I probably normally would have. And I just think taking the leadership opportunities in rotary helped me work through managerial challenges and working with others that kind of helped push my work forward some more. Another one is the association, or American Marketers Association, that one is full of resources and tools that has really helped me and kind of shaped my strategy process and what those materials look like, and the training opportunities. That’s been huge. And then, recently, I’ve started working on my MBA, and that’s kind of furthered a lot of my thinking, as far as marketing goes, and kind of the business end of things. So those are a few areas that have worked really well for me. I’m a big learner. So I’m game for all of it.
Emma Plutnicki
Yeah. Perfect. So just as we wrap up, do you have any advice for people who are trying to get into your field?
Theresa Marchi
Yeah, I think try to get as many different kinds of experiences as possible. I think, you know, one thing that, silly in hindsight, that has actually helped me a lot because it was just a different experience, was I spent the summer working for Chant 411 [the university’s information desk] on campus. And it was an opportunity where I learned all about customer service and, that you don’t use the words “I don’t know” you just kind of use other language to kind of work through it. And I think I use that all the time. And I think about that training and really just kind of diversifying your experience in that way is really helpful. Because then when you step into a situation, especially a work situation, you can see different perspectives and new things that you wouldn’t have brought to the table, had you just solely focused on one thing. So I think a wealth of experiences is really valuable.
Emma Plutnicki
That’s great advice. And is there just anything else you’d like to add about anything?
Lauren Rose is a publication designer and the Design Editor at North State Media in Raleigh, NC. With roots in student journalism, she now brings clarity and creativity to print layouts in a fast-paced newsroom environment.
Interview
Transcript
Lauren Rose
My name is Lauren Rose. Currently I am a publication designer, and I’m from Longs, South Carolina. I’m right outside Loris, a small unincorporated area. So I usually say Loris so people know.
Emma Plutnicki
And you’re, you’re from there? Or are you currently working there?
Lauren Rose
Oh, yeah, yeah. So yep, I was born and raised in that area and lived there until I was 22. And then I got, I graduated college and got my job. Pretty much three months out of college, I was very lucky and just moved to Raleigh, North Carolina. So I’m just up the state a little bit ahead, or above. But yeah.
Emma Plutnicki
Okay, so what exactly do you do for work? What’s your official title? And how long have you been working there?
Lauren Rose
So my official title today is Design Editor. I am basically in charge of all the design at a publishing company in North Carolina, North State Media, I’ve worked with them for, oof, 2016. So going on eight years, actually, March 1 will be eight years, I joined. So when I started, it was just one newspaper, I joined from the second issue. And I’ve been on every single issue since. Now, we have grown from one newspaper to seven newspapers. We do a statewide paper, and then we do local county papers. So when I was hired, I was just hired as a graphic designer, one of a few people, just putting words on the page. And since then, it has evolved into being in charge of the design and the direction of that for the paper. So it’s been, it’s been a lot, a lot of growth, but I’m very grateful for where I’m at right now.
Emma Plutnicki
Yeah. So you started as a graphic designer. How did you end up in that field? And how did you end up with your job now and kind of transition from graphic designer to now?
Lauren Rose
Yeah, so the field, it really started in high school, funny enough. I’ve always been into art. And even before high school, like as a kid, like, I love the art sets and just being creative. And going into high school, I was introduced to graphic design, digital photography, and for me that, like, it really combined my artistic side with, I also am a more analytical person. I like numbers, you know, very logic based. So graphic design to me was like a perfect mix. It was important to me if I was going to pursue this as a career that I do have some element of passion in it, I want to enjoy it. So through high school, I would do little, like, side gigs for people, flyers and all that. And then going into school, I didn’t really know what type of design I wanted to do. You know, there’s publication, there’s logo, branding, all of that. I think it was just kind of a series of events, I ended up applying to be the art director of the Chanticleer [the school newspaper]. And I was the art director for a year and a half. I was very proud. It really solidified my love of design, but then, newspaper, which is very interesting, because we think of paper newspapers, very dated and dying, like print instead. But it’s just, it’s been very interesting working in the industry, and just kind of, just kind of a series of events happened. And I happened to enjoy the journey along the way.
Emma Plutnicki
Yeah, I love that. So right now, what does your typical workday look like? What’s expected of you? What do you work on on a daily basis? What’s kind of your process?
Lauren Rose
So this is, this is gonna be fun to talk about, because my work week is not a typical nine to five at all. A lot of creative careers will probably, some won’t be like that, you know, I’m sure there are plenty of design firms with a nine to five, but a lot of my like, co workers and my peers, they’re up at all hours of the night. They work, they don’t work during the week, and then they work on the weekend, you know. So right now we’re weekly, we publish weekly. So the majority of my work happens Sunday through Tuesday on any given week. So I’ve really learned to be like flexible and it’s difficult to describe because it is so like fast pace, kind of like so during the week it, like, slows down and then I’ll do like your basic housekeeping, make new templates, maybe explore new design ideas. And then once Sunday hits, and I do work on the weekend, which is fine, but just on Sunday, but around Sunday is when I start getting all the content and the writers get their stuff in, the photographers get their stuff in. So I need to start formulating how I’m gonna lay this paper out. I, along with being the designer, I also work very closely with editors. They appreciate my input not only artistically, but with an editorial work, the design is as important as the content a lot of times so. So yeah, it is, it’s kind of like, it’s hard to describe, because it’s just so up and down. But we get it done every week somehow. And I think a lot of people can relate in this industry.
Emma Plutnicki
Yeah. On a specific project that you worked on, that you were like extremely passionate about, or like a defining moment in your creative journey, it could be a specific project that had a significant impact on you, or just something that really showcased your creativity?
Lauren Rose
So, probably when I was at Coastal [Carolina University], my favorite part about Coastal’s design department was the freedom you had. Like, of course, they had projects and guidelines, but they really encouraged you to do what you want, like, take this theory and make it work for you. So I did a few projects there that I was super proud of with the Athenaeum Press. I worked on Gullah: The Voice of an Island. I was very, very excited to work on that. We went to St. Helena, I did photography, I did some web design, even though it’s not necessarily my forte now, but very, very proud of that one. And I’m still good friends with Jen and Alli, and I see all the updates. And it just makes me happy to kind of see that as just kind of still existing. But that’s the one I tell everyone about I think kind of both in my professional career and just my colleagues, I always bring that up because it was like my first big project, but also one I had a lot of passion for. So.
Emma Plutnicki
I love that. Just in general, do you find your career challenging? How do you kind of bridge the challenges that you face, especially in a creative career?
Lauren Rose
Yes. I think in any career where you are engaged and growing, it’s going to be challenging at points. And I think that’s how I get through those challenging points. I really try to frame it as, you know, this isn’t a problem. This isn’t a struggle. It’s a way to test myself and adapt myself. I’m going to use last year as an example. We probably doubled company size last year alone, and we went from a small company to a midsize one. And that doesn’t sound like a lot. But you know, when you’re in a small startup, it’s changes. And there were some times last year I was like, “I’m quitting, I’m living in the woods. I’m not doing this, like it’s done, I’m done.” And, you know, what really just pushed me through was, let’s be realistic, we have bills, we have bills to pay, but again, like coming out with more knowledge. And I told myself today, like, if I had to redo it, I would be able to do it 10 times better, I would, I would have a better system. So the challenges aren’t there to keep you down. I kind of look at it as a way to grow. And I know that might sound a little cliche, but it is so applicable. And I find myself like thinking about these cliches that I’ve heard and I’m like, “You know what, they’re cliches, they’re for a reason, you know, like, they’re applicable. So.
Emma Plutnicki
Yeah. And in your work, are there any specific skills that you have that you find particularly important to have? Or can you recommend any special skills that someone applying for a job should have in their kind of toolbox to increase their chances of landing a field, er, landing a role in a creative field?
Lauren Rose
I think one of the biggest things that you can showcase to make yourself solidify your part at a company or within your coworkers, is going to be adaptability. Definitely being adaptable, and being open to different perceptions of things, especially in a creative field because you’re going to meet with clients who you’re like, “This is, my design, professors would kill me if they saw, like, what these people want,” you know, but you’re, it’s kind of like, that adaptability, that overcoming those challenges and letting them help you grow. And just being kind of, letting the ego go, like go into a job, willing to learn, willing to mess up and know that like you’re not being judged. I think more employers and co-workers appreciate someone who can say, “Yeah, you know what, I’m wrong. You’re right. Let’s go this direction.” And then, you know, you learn something along the way.
Lauren Rose
A few weeks ago, I had, I was designing an ad for an advertiser, and they were being very, very specific with their instructions. And it almost felt overbearing, and you know, I let myself, I was getting frustrated. I was like, oh, like, “design it yourself, blah, blah” in my head. And at the end of it, all their suggestions looked great and I was like, “You know what? They were right,” you know. I, learned something today, and I can implement it now. So, a lot of just being humble, kind of.
Emma Plutnicki
Yeah, that makes sense.
Lauren Rose
And I guess that’s more of a soft skill. I mean, obviously, you want to have technical skills, but I think that’s maybe not so much a skill, but a mindset also.
Emma Plutnicki
Yeah. And so you grew up in South Carolina, but you are now in North Carolina. Do you have any, like local organizations, programs or events that are either in South Carolina or North Carolina that have kind of helped you grow, either network or just helped inform you about creative fields?
Lauren Rose
This one was very specific to me. My high school art teacher, of course, you know. She was kind of my first line, to finding out about these things, being aware of these things, even knowing to look for these things. And just the fact that, you know, as my teacher, she was so accessible. And, you know, when she found out how passionate I was about things, and how serious I was about art, and pursuing it, like, you know, that gave her a directive to help me and, you know, really utilizing people and counselors at my high school. So that was probably my first way in. I definitely also entered a few small like little county fairs just to kind of get experience getting work out there, and just networking. And honestly, also in high school, I won the congressional art award for my district. And so my art like was in Washington DC for a while. And I just think little things like that helped, obviously, kind of get my name, get some stuff behind my name, but also, like, helped me realize, like, “Yeah, I’m an artist,” like people are looking at my work.
Lauren Rose
So there’s really not like one organization I can suggest. I think I would honestly suggest, especially in today’s age, it’s so different, because like, you can go on Facebook and Google or search like anything, and there’s groups for anything. So some of my advice might be a little outdated, but I just think like, the importance of kind of starting small, and not like shooting for the biggest, like the country wide competition, do your county, you know, do little things and, and then expose yourself. And then yeah, I think it’s all about growth.
Emma Plutnicki
Yeah, yeah, that makes sense. And so, just as we wrap up, do you have any advice for someone who is looking to break into a field, whether it’s a current college student or high school student who’s looking to get into a creative field, any advice?
Lauren Rose
It’s so hard, because there’s so many different types of creative fields. So I think if I had to just, like, generally approach it, I would just say, you know, you know, it is a job, it’s a means to an end, but you need to have some passionate about it, and you need to be interested in it. And you also need to think about, do I want to do this every day for 50 years? Like, is this something like, you know, there’s a lot of factors to that and it’s very individualized.
