MooreRyan_2026SpringA01_Chapter 1-5_Final_v5

Bridging the Gap to Creative Success

Thesis Manuscript / Ryan Moore

Master of Fine Arts / Graphic Design

Department of Studio and Digital Arts

School of Communication and the Arts

Liberty University

Artrepreneurs & Business Survival

MFA Committee Acknowledgements

David W. Meyer / Thesis Committee Chair

I am grateful for the support and assistance from “Team Ryan,” without whom this whirlwind Masters program study would not have been successful. Additionally, to my tireless editor, springboard and supporter Jennifer, thank you for that “one more round” of edits.

Audra L. Rygh / Thesis First Reader

Joshua E. Wilson / Thesis Second Reader

Abstract

Artrepreneurs — freelance artists and small studio owners within creative industries — frequently lack training in essential business management skills in financial management, client pipeline development, and business sustainability. These factors exacerbate already statistically high business failure rates, adding to the burdens experienced by creative entrepreneurs.

Conventional wisdom and guidance for entrepreneurs is found in experience-based advice from books, blogs and business mentors. While these offer valuable insights, the lack of data-driven advice highlights an opportunity to close the knowledge gap.

This research investigates visually engaging educational systems to guide the creation of new visual solutions which address these challenges. Through creative, visually compelling, and engaging tools, Artrepreneurs will strengthen their financial management, client development and business planning skills while cultivating an entrepreneurial mindset of adaptability and resilience beneficial to long-term success. The desired outcome, beyond teaching skills, is to inspire Artrepreneurs to fuel sustainable creative careers.

Chapter 1 Introduction

Artrepreneurs

— freelance artists and small studio owners — frequently lack training in essential business management skills. “ ”

Problem Statement

Artrepreneurs — freelance artists and small studio owners within creative industries — frequently lack training in essential business management skills of financial management, client pipeline development, and business sustainability. These factors exacerbate already statistically high business failure rates within the first five years of operation.

Creative artist entrepreneurs, or Artrepreneurs, most often struggle with three areas of business practice which are critical to the establishment and future growth of a stable creative business practice. As creatives they have experience with their skill sets for applied art, however characteristically struggle with:

/ Financial Management – including pricing evaluation, invoicing cash flow, and managing tax obligations

/ Client Pipeline Development – building and sustaining a consistent flow of paying work

/ Growth and Sustainability Decisions – such as whether to remain independent or to scale and manage employees, how to address technology or industry changes, and how to sustain resilience over time

Personal Motivation

As a graphic designer working in the industry for more than 28 years, I have seen the ending stages of many of the businesses of my colleagues. For my own company, we have reinvented what we do two or three times and have endured several business-shaking events. Where so many talented and creative people have been involved, why do so many of these businesses fail? In training the next generation of designers and creative arts entrepreneurs, what can be done to further prepare them for success in their endeavors?

Research Problem

Much of the existing information about business failure and survival is not recorded or shared in a meaningful way which helps educators or business owners. Creative professionals who find themselves in entrepreneurial roles can be unprepared due to a lack of information, training and, often, a creative approach to the world which may not focus on the practical realities of business ownership. Furthermore, available business literacy training which exists may not be presented in a format readily consumable by creative, visually-oriented entrepreneurs.

Objectives

The primary goal for this research is to present an introduction to business-critical skills training in a visually engaging format. The objective of further topic research is to gain knowledge of the resources available today, further definition of the challenges facing creative entrepreneurs, and an understanding of a model for successful approach.

To achieve these goals, research sources will be reviewed to identify points of success and failure among professional artists and small creative studios. This will include the review and creation of case studies to analyze educators who present examples of artist and entrepreneur training, and the evaluation of existing educational materials which are designed to teach business management skills and creative entrepreneurship topics.

Research Questions

The questions for research help guide the direction of study and direct research points. Sources for research include education journals and studies, national directories of business data, and writings from the organizations supporting both business entrepreneurs and the creative industry.

Example questions include:

/ 1 What are the primary causes of early business failures among freelance artists and small creative studios?

/ 2 How do these business issues compare to national averages, within the first five to ten years of operation?

/ 3 Do business-specific issues affect creative businesses disproportionately?

/ 4 What educational or training resources currently address issues of training and business literacy for creative professionals?

/ 5 How have established creative entrepreneurs managed early successes to continue business operations?

Bias Acknowledgment & Mitigation

Acknowledging that a long-term, established professional career within the industry as a designer and business-owner shapes my perspective on the issue, this background is also a primary motivation to create a reliable source of quality information to assist creative professionals.

Recognizing and challenging these biases is a critical step in the research and review process. I began this research with preconceived beliefs about why the businesses of creatives fail, based largely on observations of those around me. Because I have observed repeating patterns in the issues experienced in other businesses, naturally my initial research focused on the underlying causes which I suspected contributed to these business failings.

Owning and operating a business which has survived 28 years, I recognize multiple potential biases based on lived experience may influence interpretation of the data.

These can include:

/ Having practiced, observed and improved habits which have sustained a business may lead to a survivor bias.

/ Insider practices and terminology familiarity may obscure how complex or confusing these concepts are to beginners.

/ Strong opinions and experiences may lead to a bias of professional expertise in assuming that common struggles are universal and can lead to overestimating the importance of certain ideas or challenges while also overlooking ones which were overcome long ago.

These tendencies illustrate how a confirmation bias may manifest. One risk can be seeking information to support a preconceived theory, which can lead to selective attention and choosing data which supports specifically that theory. To prevent this, within scientific method and analytical research, the best practice is to gather information and to absorb and review the research data available apart from and before formulating a theory. Acknowledging the potential for confirmation bias and perspectives from experience underscores a need for mitigation through research practice and procedure.

To counter these potential biases, this research relies on peerreviewed data from educators, business analysts, and financial institutions to avoid emotional or sensationalized business advice.

By comparing this information with statistical sources such as the BLS, the SBA and industry academic journals, a balanced view is sought. Additionally, seeking and including data and opinions which disconfirm or point to other conclusions, a balance for research direction and conclusion objectivity has been the goal.

While I did find common themes in the business advice given across multiple types of sources and did find a common set of struggles to address with education and training, I did not find one strong, clear consensus for the reasons that creative businesses commonly fail. Instead, through the review of research and the gathering of multiple sources of information, a more apparent conclusion emerged. This conclusion ultimately reframed the research and has led to an outcome more pertinent to the business education for all creative entrepreneurs.

Purpose Statement

Artrepreneurs may be naturally talented in their field and capable of delivering professional creative services, yet they are often underprepared for the practical realities of managing themselves or their fledgling businesses during the first critical years. This gap in knowledge appears in three primary areas: financial management, client pipeline development, and growth and sustainability decisions.

Often working as independent contractors, freelancers or smallbusiness owners, a lack of exposure to best business practices in these areas can create obstacles for new business endeavors, leading to financial hardship, instability of paying work, and struggles in business opportunity decisions. There is a need to help sustain these creative careers long-term by equipping them with skills to avoid pitfalls of the business-side of their careers.

Defining the Target Audience Artrepreneurs

Defining the target research population, Artrepreneurs are creative professionals such as designers, illustrators, animators, and other applied-arts creatives who practice their trade as freelance individuals, or by managing small creative businesses.

To define further, this group does not include all artists who produce artwork for sale or as a means of a fine arts career. This selection emphasizes professionals who often bill for services hourly or by project.

Additionally, the classifications of business types from the North American Industry Classification System (NAICS) can help further define the group. Where present within research from the U.S. Bureau of Labor Statistics and the U.S. Census Bureau, a representative selection of artistic creative service classifications is the focus for study.

Today’s creative professionals must deliver quality artistic output while managing pricing, nurturing a stream of client projects, all while making critical growth decisions. Without exposure to skills in these disciplines, the new business ventures of Artrepreneurs encounter a high failure rate, especially within the first five years. The combined weight of artistic and entrepreneurial demands stresses the research population and underscores the importance of business survival data discussed in the following sections.

NAICS Classifications for the Target Audience

541430 / Graphic Design Services Branding, layout, illustration, production files, packaging

541490 / Other Specialized Design Services Exhibit, environmental, signage, experiential

541420 / Industrial Design Services Product form development, CMF, CAD concepting

541410 / Interior Design Services Residential and small commercial interiors, finishes, space plans

541921 / Photography Studios, Portrait Headshots, family, school, event portraits

541922 / Commercial Photography Product, food, architecture, marketing shoots, retouching

541613 / Marketing Consulting Services, Creative-led Brand strategy, content planning, creative direction tied to deliverables

541810 / Advertising Agencies Creating advertising campaigns and placing advertising in newspapers, television, or other media

512110 / Motion Picture and Video Production Small shops creating promos, explainers, documentaries

512120 / Post-Production Services Editing, color, motion graphics, sound for hire

711510 / Independent Artists, Writers, and Performers Freelance illustrators, fine artists on commission, storyboard artists, voice and performance talent working project to project

541810 & 541890 / Advertising and Related Services Small creative studios handling concepts, campaigns, and production as well as modern types which don’t fall into older descriptions such as “Search Engine Advertising”

541511 & 541512 / Web Design and Custom Web Development Sites, UX/UI, front-end buildouts, small custom apps, CMS work, general website development and website design

Fig. 1. Chart listing industry classification codes. NAICS Codes & Descriptions.

Stakeholders

Individual People Groups

Impacting around 3% of the national workforce, this group includes freelance designers, illustrators, animators, photographers, web designers, video and media producers, and small creative studio owners who operate as self-employed entrepreneurs at some time in their career. These Artrepreneurs are the foundation of the creative service economy. The opportunity to increase business confidence and long-term mental health for this group improves the lives of more than just business owners.

Institutional Research Bodies, Government Agencies, Businesses

Providing a structure for additional, more granular research data can help provide a model for government organizations and industries seeking to better inform businesses in data-based decision making. Key stakeholders include the U.S. Bureau of Labor Statistics, U.S. Small Business Administration, small business incubators and economic development centers, state-level arts commissions such as the N.C. Arts Council, and business-focused services such as Guru, Fiverr and Upwork.

Societal National & Global Impact

Organizations which advocate for creative professionals to promote industry health such as the Freelancers Union, Graphic Artists Guild, AIGA, and the National Association of Independent Artists can use this research to inform public education, industry training and creative support initiatives.

There is a need to help sustain these creative careers long-term... to avoid pitfalls of the business-side of their careers. “ ”

Chapter 2 Research

Research Rationale

Whether working for a company, owning a business, or freelancing, every creative professional must navigate the world of business and thrive against hardships which are often beyond the scope of business practices. A better understanding of the elements of business helps demystify the process and builds self-confidence for the entrepreneur building a stable creative career path.

Conventional wisdom states that 50% of businesses fail within their first year. While national business survival statistics provide concurring direction, the difference in empirical data is that of a nuanced, different projected outcome. Ultimately, though the initial first few years have a higher survival rate, the data regarding long-term survival describes an increasingly difficult journey. 2023 data shows that, actually, only 24.4% of businesses fail within the first year and it is by the fifth year

when the number increases to 48% failure rate. Beyond this, 65.3% of businesses report closing their doors after their tenth year in business (U.S. Bureau of Labor Statistics). These details reinforce the idea that the initial several years of business are critical to business owners for creating a repeatable formula in which they manage their business in a sustainable way for survival, however also reinforces that different skill sets supporting flexibility and resilience are crucial to long-term success (Long; Helquist).

Research Methods

Literature Review

This research started with specific guiding questions and an initial theory for why creative entrepreneurs may be predisposed to fail in business endeavors. This led to in-depth research to understand the current state of data and writing on the topic while further defining both the problem and recommendations.

Sources of content and data research were selected to define topics, challenge assumptions, and to further contextualize the issues within established academic and industry knowledge. The literature review includes academic, peer-reviewed journal articles and statistical data from sources such as JSTOR, the U.S. Bureau of Labor Statistics and the Small Business Administration.

Industry reports and analysis from organizations focused on financial and business success such as JPMorgan Chase and the Freelancers Union were reviewed in combination with sources for artist-focused perspectives such as Artivate: A Journal of Entrepreneurship in the Arts.

Within the introduction to the Literature Review, an overview and assessment of the existing research available in the field summarizes current understandings and identifies a knowledge gap requiring more focused future research. Ultimately, the findings from the literature and data reviewed served to refine and support the subsequent case studies and visual analysis research.

Case Studies

The research includes case studies of educational systems which present business

and management improvement concepts to both group and individual audiences. These examples include programs from business and professional training schools outside of creative industries such as The Wharton School for executive business training, as well as creative education organizations who encourage creative solutions through engaging, innovative training tools.

Visual Analysis

Similarly, visual analysis of successfully marketed tools and visual solutions further evaluate existing educational and promotional materials designed to teach business and creative entrepreneurship principles. Visual analysis focuses on communication effectiveness, design approach, and the teaching value of visual materials.

The materials reviewed include promotional websites, instructional videos, online teaching and training tools, as well as physical products such as training cards and unusually creative and engaging print pieces which deliver tips and training in novel ways. Subjects of visual analysis have been identified from online research, industry and guild organizations, and educational resources.

The case studies reveal real-world challenges faced by Artrepreneurs, providing authentic insights which will shape and inform the creation of the proposed visual solution. The visual analysis will inform the final designs by identifying effective approaches which capture attention, present information, and encourage engagement supporting education and understanding.

Established Research Summary

The difficulties of sustaining a successful business are recognized and well-documented. The statistics vary by factors such as location and industry and are most useful when examined at a detailed level which includes the target research industries.

The U.S. Bureau of Labor Statistics provides survival data for businesses and is widely cited regarding industry trends, job growth, and more. Data regarding the survival rate of businesses provides support to the common assertion that half of new business ventures do not make it past their first year but differs in detail. The BLS statistics provide a more hopeful short-term outcome for new businesses, but the numbers remain low for long-term survival and worsen the longer a business stays open. While data shows that only a fourth of businesses have failed at year one, this could

imply encouraging statistical outcome once surviving past year five.

However, those survival rates continue to worsen by year ten, at which approximately two-thirds of businesses report closing their doors. These survival rates worsen and continue to decrease the longer a business is open (U.S. Bureau of Labor Statistics). These details show that while the initial years of business are critical for creating a repeatable, practical formula for sustainable operation (Long; Helquist), adding flexibility and adaptability training may be most effective in stabilizing long-term business survival (Tripsas; Vakharia).

...without exposure to skills for these issues, Artrepreneurs encounter a high failure rate, especially within the first five years of business. “ ”

Unfortunately, the national data sources do not present information specific to business types which are granular to the six-digit NAICS detail for survival data specific to a code such as 541430 for Graphic Design.

This U.S. BLS data gathered ends at the level of major industry in broad categories such as “Information Technology,” “Arts, Entertainment and Recreation,” and “Professional, Scientific and Technical Services.” At these levels, the information is too broad and may correlate or confuse data between businesses of unrelated purpose and target audience. Regardless of this lack of granular data, statistics do indicate that survival patterns differ for artistic entrepreneurs, whose failure rates trend higher than average in industries such as graphic design, interior design, fashion, and computer graphics services.

Additional pressures for the Artrepreneur in 2025 and beyond come from increasing industry and technology upheaval. Market projections from different organizations vary and while one forecasts a small 2% growth for graphic design, the World Economic Forum’s Future of Jobs Report 2025 lists graphic design among the top fastest-declining jobs over the next five years (World Economic Forum 25).

As this future pressure increases, existing business challenges will be compounded by greater market competition and shrinking employment opportunities. This makes applicable research and solutions especially timely for Artrepreneurs working to strengthen essential survival skills when establishing new businesses.

Financial administration skills for new business owners are shown to be a key factor with example issues of managing cash-flow and reserves as critical to survival (JPMorgan Chase Institute). At the same time a new business is managing cash flow, tax obligations can add additional strain which can surprise first-time

freelancers, further reducing cash availability. Following financial complications, clientrelated issues further affect long-term stability. Research from the Freelancers Union reports that more than 50% reported issues with payment and more than 70% reported complete nonpayment for work performed (Freelancers Union Nonpayment Report 2–3).

Knowledge Gap

While the general survival rates are regularly updated by the National Bureau of Labor Statistics and the Small Business Administration, these sources of data

Business by the

Numbers...

99% Of All Businesses

Are Small Businesses

Small Businesses Employ

46% of the U.S. Workforce

Only 20% of Small Businesses

Have Employees

80% of Small Businesses

Are Solo Entrepreneurs

inconsistently specify data levels granular to the point of creative-industry NAICS codes. Additionally, these long-established code groups do not always accurately represent modern creative professions and may group them with dissimilar industries. For example, modern distinctions such as web or socialmedia designer can be included within an Information Technology assignment. The result is that the classifications are too broad and do not include always applicable cohort groupings. Regardless of industry detail level, however, those classifications still do not share the volume of data recorded at the more general levels.

Beyond nonspecific classifications, issues with data also include missing information as there is a gap in the research regarding “why” creative businesses close. This gap in research includes the specific factors which contribute to smallbusiness closure, particularly for Artrepreneurs within creative industries, are not well documented in existing literature and research. There is a more significant gap in understanding the reasons for closure. While openings and

Fig. 2. Chart of business statistics. U.S. Bureau of Labor Statistics, “34.7 Percent” Artwork created by author.

closings and employee count are recorded, national data does not record the specific factors which contribute to closure. More specific information gleaned from the issues and conditions of business failure could play a pivotal role in educating entrepreneurs and improving survival outcomes. Currently, national data does not record the causal factors behind business failure, whether financial, managerial, or marketbased, which could inform education and policy. New and more specific information gleaned from patterns of business failure and survival would be far more valuable for training and prevention.

Additionally, it is important to acknowledge that the impact of business closure is more than just the loss of ability to support employees and job retention. Beyond the end of operations or the end of providing a specific business service, the failure of an enterprise can create lasting consequences such as financial loss for the parties involved and long-impacting repercussions which

affect an entrepreneur’s confidence and mental well-being.

In the absence of data-supported information, common-sense, experience-based advice is shared in hopes of improving business survival and improve outcomes for Artrepreneurs.

The literature identifies common themes such as the importance of business management and leadership skills (Long), taking action and identifying opportunities (Thom; Patten), and resilience through improvisation and application of complementary and tangential skills (Herzig; Tripsas; Eggers and Kaplan). However, the studies lack a direct connection to how such skills or capacities affect the failure scenarios of businesses that did not survive the first one to five years (U.S. Bureau of Labor Statistics; Sadeghi; U.S. Small Business Administration, Office of Advocacy). At this time there appears to be little concrete, specific data that connects these recommendations to measured survival results or documented failure details. While broad-level data for small businesses exists, it does not capture the specific events

and pressures faced disproportionately by freelance artists and creative business entrepreneurs for whom self-employment and new business creation are common and sometimes serial experiences.

Acknowledging there is a volume of general data and a wealth of anecdotal advice, there remains a lack of small-business, arts-specific, survival-focused data that could be used to evaluate entrepreneurial skill sets, business training, and financial education needed to improve outcomes for this target audience.

Addressing the knowledge gap via the creation of new data points for analysis will enhance the academic discussion of the issues, moving the conversation from anecdote and well-intentioned advice to evidence-based strategies for training, support and improved education in this space.

Literature Review Refining the Artrepreneur Definition

Further defining the traits of the Artrepreneur as the focus group for this research requires additionally a distinction of the entrepreneur from a small business owner. Within similar study applying to fine-arts businesses, the entrepreneur’s endeavor is defined as, “individuals exploiting market opportunities through technical and/or organizational innovation” and an entrepreneur as, “a person habitually creating and innovating in order to build something of recognized value around perceived opportunities, […] someone demonstrating initiative, creative thinking, risk taking, and being able to exploit opportunities, the entrepreneur can be defined as an individual either having a pre-existing business idea and actively seeking appropriate chances (‘opportunities’) to realize them on the market with an existent demand or recognizing new chances on the market by intuition and creativity and changing them into a business idea to realize them on the

market by means of business activities. In this context, the entrepreneur organizes, invests and coordinates resources, and brings them to a productive process by which new market requirements and demands are generated and satisfied. The entrepreneur undertakes risk in the creation of new market demand” (Thom 5).

Another factor which differentiates the Artrepreneur group from the statistical average of the working public is that most will be selfemployed at some point within their career.

2010 studies state that up to 90% of artists are currently self-employed or have worked during their careers as one-person businesses (Thom 3). Matching with this percentage, surveys of resource IBIS World reported that 90% of graphic designers in the U.S. prefer working freelance as compared to full-time salaried job positions. Reasons cited suggest that professionals prefer the flexibility and creative independence allowed by freelance

work in which they can choose which projects they prefer, while maintaining control over their schedules. This need to provide for one’s own employment and career can be a daunting concern when balanced with a roughly 50% survival rate at the 5-year mark for business ventures. The implication is that 90% of graphic design professionals could have experienced a failed start-up or freelance independent contractor venture within one to five years of attempt (Govdysh).

Within a 2016 journal article for Artivate, researcher Marco Thom sought to further define the creative entrepreneurs because, as a group, artists and creatives were more often found working within independent contractor and sole proprietor roles for their careers.

“Artistic talent therefore seems not to be enough on its own to guarantee a professional career, […] working fine artists need to develop entrepreneurial skills and operate

like entrepreneurs to successfully meet multifaceted economic and opportunity-driven challenges” (Thom 2). Within this research and definitions, we can find further community and audience definitions which apply to the aim of this thesis research.

Artrepreneurs face business challenges common to all small enterprises, along with additional pressures unique to creative industries. “ ”

Meanwhile, to help clarify the entrepreneur as compared to an average small business owner, the intent for the business operations and specifically the sale of services can be reviewed. An Artrepreneur is an artist professional who creates unique work with artistic characteristics for sale, and who intends to earn a living through providing innovative art solutions or services. Restricting the definition of Artrepreneur helps clarify the type of artist or art endeavor included within this target audience. We can specifically exclude artists who create art which is not intended for sale and which is intended primarily for artistic display as opposed to creation which solves a problem or meets a need in services provided.

Furthermore, “in contrast to entrepreneurs, small business owners are people whose businesses are seldom engaged in innovative practices and visions. Their business idea is already existent on the market […], not unique or innovative, and do not require the creation of new market demand” (Thom 4).

Businesses which do not engage in innovative creative practices can be excluded as they may offer products or services for sale, but for which there is not an element that includes uniqueness or creative, applied-arts problemsolving as distinguished from manufacturing, production or reproduction.

Artrepreneurs may also be attributed an additional quality which may be unique to the group to further differentiate them from fine-artists and small business owners. “The motivation for the entrepreneur is not profit but rather the successful change to make better products and/or production processes… Profits may be a compensatory measure of success after an innovation, but they do not constitute a motivation toward innovation for the entrepreneur. This sociologically distinct individual is selfmotivated by a desire to innovate in order to make a change… and not by the capitalist profit motive” (McDaniel 497-498).

The motivation and creative drive of the Artrepreneur can be a balance between the practical need to generate income within a stable career, and the origin point of an artistic skill applied to the production of art-as-a-service. There is a need to satisfy the creative output of the artist which drives first the processes of the creative individual. In answering the question, “Why do we create art?,” graphic designer Leo Lionni famously

described that there is powerful, driving motivation, “an irresistible urge to make things. […] Were I forbitten to paint and sculpt and draw I would be content to make bricks or tiles or boxes or any object I could make with my hands” (Lionni). This description highlights the nature of a creative person’s internal drive to create, the satisfaction of a desire for creative, artistic output. Different from a small business owner, this creative output is what drives an Artrepreneur into business to utilize their skills in a manner central to their career. The research of Tena Patten seeks to explain the creative industries entrepreneur by describing that, for the artist entrepreneur, “The need to express their creativity through products, experiences, and services is balanced against the need to generate income, and varying strategies are employed to do so. Research findings have implications for the education and support of creative industry entrepreneurs, and for policymakers” (Patten 23). Within this research there are a collection of interviews and case studies which define both the creative enterprise and creative businessperson’s endeavor to manage a for-profit-business as the defining part of their financial livelihood. Finding a balance between

supporting profit and supporting creative output can be challenging for the Artrepreneur.

An additional difficulty for the artist entrepreneur is that they may reject labels of traditional business identity, not recognizing their efforts as part of conventional business or entrepreneur endeavors. As such, they may avoid the available guidance and assistance traditional businesses may seek. Patten points out that the artist entrepreneur may reject traditional labels while still performing under the same requirements to succeed in business endeavors (Patten 2, 12).

This is not to say, however, that artists find themselves uncomfortable with being entrepreneurs, on the contrary, it seems that the creative nature of artist entrepreneurs is well suited to the needs for business and may be why artists can be found easily starting new business endeavors. “…Results demonstrate that artists engage in entrepreneurial behavior by deploying creativity in multiple domains, including art, business, and the social, with their skills in each being important in preserving the motives of their artistic practice.

The findings highlight artists as multifaceted creatives capable of transforming their practices through entrepreneurial pursuits” (Robinson 1).

Understanding Business Survival Statistics

Existing research and literature provide essential context for understanding the survival struggles faced by all newly established businesses. Nationwide tracking for the survival rate statistics for businesses, year-over-year, has been recorded since 1994 by the U.S. Bureau of Labor Statistics. Before that, information was gathered regarding business closings, however it was not a granular set of data, and it was only enhancements after 1997 which added the type of business to those records. Since then, it has provided valuable information regarding industry type, business size and most importantly for this study, data regarding openings and closings of businesses on which we can determine patterns and similarities

48% Of Businesses Fail By Year 5

24% Year One

Year

Fig. 3. Chart depicting spread of failure rates by year of operation. U.S. Bureau of Labor Statistics, Business Employment Dynamics, “Table 7. Survival rates of private sector establishments by year started, 1994–2023,” released 2024. Artwork created by author.

and also review the changing survival rates of cohorts across decades.

The data provides empirical support to the anecdotal knowledge which business owners have shared long before the data was tracked. Conventional wisdom and business advice has long held that 50% of businesses fail within their first year. While the statistics provide a more hopeful projection for new businesses, the numbers remain fairly grim for long-term survival as they decrease the longer a business stays open.

As indicated in Figure 3, the general consensus for 2023 data shows that 24.4% of businesses fail within the first year and by the fifth year the number increases to 48%. Surviving to the tenth year of operations, 65.3% of businesses report closing their doors (U.S. Bureau of Labor Statistics). Data beyond the ten-year mark is limited, but the BLS notes that the drop in survival rates is largest within the first five years and toward the ten-year mark shows a continuing decline which though increasing, drops at a slowing rate. The persistence of this pattern implies that beyond the first five

years, when most business operations are established, continued survival depends increasingly on an additional factor — that of the entrepreneur’s resilience. Literature suggests that long-term survival depends on an adaptive and determined mindset.

Before further evaluating the data, it is important to acknowledge that business failure is defined by a few key factors which are useful to define for this discussion. Within the data of the Small Business Administration and the Bureau of Labor Statistics, the change recorded within the Business Employment Dynamics data in level of employees is the defining factor.

Note that while this also includes some variance in data for seasonal businesses or employment, this data will be reviewed as a whole for the closing or failure rates of businesses. Ultimately, within the evaluation of data, a business is defined as closing when a positive count of employees is recorded within the third month of the previous quarter, and zero employees are recorded in a current quarter (Sadeghi 4).

The assessment of business closure data should also be taken as a general benchmark and not

as a fully accurate set of precise data. Events which also report as business closure can also include temporary triggers such as the failure to file an annual report for the previous year, or the failure to file and pay taxes for a previous term (quarter or year). Depending on the literature being discussed and the intent of the data provided within statistics, one or more of these classifications can be involved in the description of the failure of a business to continue operations and should be kept in mind during discussions.

Regarding the survival rates of businesses, it is important to acknowledge that, depending on the data source and variables included, the numbers for survival can vary. Even within statistics cited by the same studies updated in 2012 and again after 2020, the numbers for the failure rate of businesses at year one can vary from 40% to 60% and are also documented as varying between geographic region and by industry (Radipere and Van Scheers; U.S. Bureau of Labor Statistics). These variations reinforce the need to review survival data within context and an understanding of focus. For the purpose of this research, the data for

the United States from the Bureau of Labor Statistics and national sources is the focus.

“New data […] shows the first-year survival rate of businesses ranges from 74.9% to 87.5%, depending on the industry. By the 10th year, this gap widens further. The 10-year average survival rate of a business ranges from 24.5% all the way up to 50.5% depending on the segment or industry” (Commerce Institute). Perhaps encouraging to the target audience for their types of businesses, there is an increase in the survival rate of service-based industries which shows that it is slightly higher than the national general average with year-one survival at 82.5% and 56.9% at year-five survival.

Unfortunately, national data sources do not present survival tables at the 6-digit NAICS detail such as 541430 for Graphic Design. Instead, the survival data collected for the larger parent category of “Professional, Scientific, and Technical Services” provides data for a broad range of disparate service industries.

Within the U.S. BLS data of the BED “Establishment Age and Survival” content is

presented at a broad level for the “survival of private-sector establishments by opening year for each major industry.” For the major industry groupings which include our target services and generally include our NAICS codes, such as “Information,” “Arts, Entertainment, and Recreation,” and “Professional, Scientific, and Technical Services,” the data remains under the national averages with, for example, 44% to 50% for the 5-year survival rate (U.S. Bureau of Labor Statistics).

Financial & Business Management Challenges

There is a wealth of advice available for struggling business owners provided by financial advisors, business coaches, mentors and educators. Consolidating and evaluating information across multiple sources, key themes are commonly seen. Though often not tied to empirical data regarding business failures, these common business stressors are

cited as detrimental to business success:

/ Market Troubles – Reduced or disrupted market for services or products

/ Financial Troubles – Cash flow or availability

/ Employment Troubles – Wrong team or wrong skills

/ Competition Troubles – Failed against a competitor

/ Business Structure – Business model, product, pricing, cost, logistics issues (Commerce Institute)

Within these critical issues, Financial Administration, is recognized as a key differentiator for survival as decision-making regarding finances and cash flow management struggles have been linked to early business closure (Long). Specifically, within newly established businesses, early and persistent troubles with cash flow management and tax responsibilities are routinely cited as issues.

unexpected shortfalls in revenues or increases in expenses. 50 percent of small businesses hold fewer than [around] 15 cash-buffer days, meaning they could cover typical outflows for only about two weeks if income stopped. This highlights why basic cash-flow planning and reserves are critical for survival” (JPMorgan Chase Institute).

Meanwhile, at the same time as a new business is managing financial and cash flow issues, pressure from tax obligations can be an extra burden. IRS publications instruct that selfemployed creatives must report business income and pay expected taxes quarterly through the year, which often surprises firsttime freelancers and further affects cash flow availability (Internal Revenue Service Publication 334; Internal Revenue Service Publication 505).

in the businesses and lives of these creatives.

Regarding cash flow, JPMorgan Chase reports that, “cash liquidity is a critical predictor of small business survival and growth. Cash balances held by a business provide a buffer to absorb

An education which helps creatives improve financial literacy and practical application ultimately helps improve business outcomes and early exposure to the concepts and training, whether through mentoring experience, education or training from supporting organizations can make a difference

Laura Zabel, Executive Director for Springboard For The Arts, an organization which helps entrepreneurs in the arts with programs and training, describes that a larger, more holistic view for improving the state of artists in business is necessary. She describes that the organization works towards exactly that type of educational support for creatives. “Springboard’s mission is to support artists with the tools to make a living and a life,” and that financial training for artist entrepreneurs plays a key role as they help, “[…] artists define success for themselves and then gather the tools and resources they need to work towards that success – financial success, recognition, a supportive community, respect, cultural preservation, conversation, and social change, these are all equally valid goals for an artist. What this means practically is that we try to see the full spectrum of artist needs and work to create a system that is open and as accessible as possible. It means we teach business skills and provide healthcare and legal services and we build mechanisms that connect artists with the other sectors of their community and demonstrate their value as creative thinkers and doers around community issues” (Vakharia 6).

Freelance Competition & Uncertainty

Financial challenges can be further compounded by inconsistent acquisition and payment for projects. Research from the Freelancers Union outlines that the stability of new work sources and trouble with nonpayment or delayed payment can further exacerbate business operations. “Late payment and nonpayment affects freelancers at alarmingly high rates: half of freelancers had trouble getting paid last year,” and furthermore that, 50% experienced trouble collecting payment in the prior year and 71% had experienced nonpayment at some point (Freelancers Union Nonpayment Report 2–3). Furthermore, with millions of creatives participating within freelance and small studio businesses, competition for projects and acquisition of new clients provide consistent business pressures (Upwork Research Institute).

That stable flow of client projects, whether within a business or considered by the individual as freelance, is a crucial point for long-term business survival. While marketing and sales skills may be part of many creative services, the building of a self-managing client acquisition pipeline is listed by Thom as one of the crucial points for business survival.

Industry articles describe the volatility of the freelance market which affects creatives of all types, and irregular work, late payments and fragile client pipelines are major issues for creative studios. Vogue Business reports business stressors such as, “six- or seven-day working weeks… time wasted chasing invoices… a race to the bottom on fees… clients canceling jobs with no notice or compensation….”

Describing the harsh realities, one freelancer describes that, “Month to month or week to week, nothing is guaranteed… For the first two years of freelancing, I was living hand to mouth” (Vogue Business). The constant need to manage the client pipeline and relationships takes tolls on the mental health of the Artrepreneur and the bottom-line of the business.

Managing Growth & Opportunities

New client acquisition and business growth are the results of opportunity well managed. Opportunity requires recognition and action to move from intangible concept to successful execution. In this transition, tolerance for risk and determination can be limiting factors. However, within business education and management training, calculated and evaluated taking risks to meet new opportunities can be taught and practiced!

Within the case study research and interviews of Patten, a graphic designer by trade, she sees opportunities everywhere and that the first hurdle to “take action” might be the biggest which most people do not overcome. “I see opportunities right there in front of me. Opportunities are simply there, and the fact that others don’t see them is because they [might not] be looking for the same thing.”

Patten describes that while most people

are looking for opportunities, because they are looking for something specific or preconceived, they may miss opportunities which are present and yet different from expectation. “One person might notice one thing and another a different thing, and some people then don’t act…they don’t want to. Opportunities are emphatically ‘out there’ and discovering or creating opportunities are ‘inextricably bound’” (Patten 29).

Patten continues to describe that, “The process of identifying opportunities is more than an exploration of the ‘individual-opportunity nexus’ it involves investigation of other relational factors between the entrepreneur and their various social, cultural, and economic situations such as opportunity sources, knowledge, the dimension of time, insight, action, and factors of particular relevance in the creative industries. Entrepreneurs make the most of opportunities related to their previous experience. They must have prior knowledge to be able to identify opportunities. Individuals draw on prior knowledge within the opportunity domain and develop skills and

competencies to realize opportunities. Individuals have different stocks of knowledge based on their life experiences and each person’s prior knowledge creates a ‘knowledge corridor’ that allows them to recognize certain opportunities but not others. The knowledge corridor for individuals are personal, socially constructed phenomena and creative entrepreneurs display differences in knowledge depth and quantity not only with other entrepreneurs, but with each other” (Patten 27).

This may, however, also be where artists as entrepreneurs have an intrinsic advantage. Artists already engage within creation and uncertainty as the process of creation involves experimentation and risk. Through the practice of creation, artists become experienced in risk tolerance and management. “Most actual definitions of entrepreneur don’t start with the business-minded, tech-start-up-in-a-hoodie, capital driven picture that is commonly imagined; most definitions start with opportunity, and risk, and initiative. That more elemental definition suits most artists perfectly” (Vakharia 6).

Stressors, Adaptation & Resilience

In addition to the traditional business challenges, new technology disruptions are reshaping modern business practices for creative agencies. Additional pressures upon the Artrepreneur and the establishment of new business endeavors in 2025 and beyond come from the added industry pressures and technology upheaval caused by AI within the industry. Although the U.S. BLS forecasts a small 2% growth ahead for graphic design, the World Economic Forum’s Future of Jobs Report 2025 lists graphic design among the top fastestdeclining jobs over the next five years (World Economic Forum 25). As this future pressure increases, existing business challenges will be compounded by greater market competition and shrinking employment opportunities.

Stated simply, increased business pressures emerge when new technology disrupts the marketplace. This provides both pressures

which close some businesses while providing new opportunities for others. Within The Wharton School, in the Department of Management, Mary Tripsas has researched these pressures and opportunities. “When radical technological change transforms an industry, established firms sometimes fail drastically and are displaced by new entrants, yet other times survive and prosper.” The work of Tripsas shows a clear example of this within recent history in the graphic design industry and the pressures and changes seen with the typesetter. “Drawing upon an unusually rich data set that covers the technological and competitive history of typesetter industry from 1886 to 1990, […] a combination of quantitative and qualitative analysis unravel[s] this process of creative destruction. It argues that the ultimate commercial performance of incumbents vs. new entrants is driven by the balance and interaction of three factors: investment, technical capabilities, and appropriability through specialized complimentary assets” (Tripsas Unraveling the Process 119). Against these industry changes and technology

pressures, preparation, flexibility and the adaptability of the Artrepreneur’s mindset may ultimately be the best contributions to the resilience of a business. Vakharia encourages a determined, entrepreneurial mindset in stating that, “[…] economic growth will continue to be driven by organizations and people that are able to create and use knowledge to advance their goals. Because artists are individuals that must adopt ‘entrepreneurial habits of mind in their practice,’ […] knowledge centricity could play a key role for artists seeking to advance their careers.” (3–4). Developing an entrepreneurial mindset, which is creative in application of skills and services in new and adaptive ways, enables businesses to maintain market relevance and grow amid change.

Additionally, another common thread seen within the advice for business success is that the use of a business’s existing resources in novel and problem-solving ways can be the difference between success in opportunity, and failure to meet new and unexpected needs during industry change. It is inevitable that the businesses will face challenges from a range of factors, whether disruption through

economic changes, shifts in consumer needs, heightened competition or technological upheaval. Studies suggest that resilience and survival ability comes not from avoiding the challenge of disruption but from recognition of the challenge and applying complementary, sometimes tangential assets such as underutilized employee skill sets, relationships within customer, industry and distribution channels, technical diversity and the ability to apply them in novel ways which allow businesses to adapt and survive when others fail. Ultimately, as business advising literature suggests, resiliency comes from the ability to leverage existing resources and cross-disciplinary capabilities to endure these changes.

“[…] Scholars have proposed models of technological evolution in which long eras of incremental innovation based upon a particular set of technologies are punctuated by periods of radical discontinuous change. During eras of incremental change, firms engage in local search resulting in exploitative, competenceenhancing improvements that build on a core of scientific knowledge. Discontinuous shifts occur

when products that draw upon fundamentally different science invade the industry, eventually displacing products based on the prior technology” (Tripsas Customer Preference Discontinuities 79). Once a disruptive change is observed, applying existing skill sets to new and lateral markets or applications can help build new connections and solidify a position within a changing industry.

It is the strength and resilience at-theready which is found in knowledge-centric organizations which pays off regardless of the direction of application of stressors from the market troubles referenced earlier. For example, the extensive research found within the “Perspectives on Arts Entrepreneurship” by Vakharia and team serves to highlight that resourcefulness and seeking to maximize the value of knowledge found within existing, untapped employee resources is a growing factor in modern business success. “As the United States continues its evolution to a postindustrial knowledge society, economic growth will continue to be driven by organizations and people that are able to create and use knowledge to advance their goals. Knowledge

is now both an economic variable and an economic activity. Knowledge workers, who work with their heads – not their hands – to produce ideas and information, are driving innovation and growth. Because artists are individuals that must adopt ‘entrepreneurial habits of mind in their practice’ […] knowledge centricity could play a key role for artists seeking to advance their careers. Since so many artists work with their hands to realize their artistic vision, how could they play a stronger role in our knowledge society?” (Vakharia 3–4).

Education & Entrepreneurial Training

When creativity and design thinking is presented within business educational courses, it is presented as a critical ingredient to success. Conversely, when entrepreneurship is introduced within training for the creative arts community, it is taught as a mindset for arts practice which includes creativity, collaboration and innovation as an approach

for business solutions. The teaching focus is rarely on the practical requirements of business management which are critical to the survival of that business.

This is not to say that the encouragement of entrepreneurial approach and mindset is not important! The encouragement of an application of applied arts to industry services is an important factor in the development of a creative arts service business. Within an article for Artivate, the Journal of Entrepreneurship in the Arts regarding the teaching of an arts entrepreneurial mindset at university level, author Sarah Archino shared that, “Arts entrepreneurship is an established and rapidly growing field, however the dominance of New Venture Creation (NVC) and Skills for Transitioning (SFT) models has led to a scholarly focus on the impact of entrepreneurial pedagogy on graduates who pursue careers within the arts.” However, Archino, explains that Furman University’s drive is to instead, “cultivate an entrepreneurial mindset (rather than more traditional integration of business curriculum or arts-focused entrepreneurial training), we have created an alternative

approach that can serve those who wish to become professional artists, but also provides value for the majority of our students who will not remain in the arts. […] we encourage students to think of entrepreneurial skills as more than professional development, but as a mindset of “being enterprising” (Archino 5-6).

improve the direction of the student and, if practiced holistically, can benefit them in all activities which they pursue.

This research study and solutions are both timely and important for the startup business who needs to strengthen critical skills during a time of increased pressure from industry changes, technology upheaval and societal change. “ ”

Rather than focusing on teaching business principles alone, there is a drive to teach an artistic creativity mindset in connection to business practices. Archino describes their department’s learning objectives focus on empowering entrepreneurial skills such as design thinking to approach and analyze problems creatively, strategically and analytically, to build confidence in students’ abilities to apply their art to industry, and to develop collaboration and communication skills to improve the students’ understanding of the context of their art within industry needs and applications. A goal of this training is that an entrepreneurial mindset can

For the Artrepreneur, it is this entrepreneurial mindset which is increasingly the core of small design studios and creative groups and has been a new focus for education within the

field. “Arts entrepreneurship is an emerging discipline in postsecondary education. This field responds to the needs of student artists by extending beyond the studio art model of arts education and aims to help students understand how they might create value in society with their art. For the artist in this discipline, entrepreneurship extends far beyond the ideas of for-profit enterprise. We refer to entrepreneurship in this content more broadly a ‘seeing the potential for something to exist in the future that does not exist in the present.’ This definition is critical because it establishes that at the core of entrepreneurial activities lies the spirit of creativity and vision. The domain of entrepreneurship in this sense is very much also the domain of the artist” (Benzenberg 2-3).

Understanding the relationship between artistic focus and business outcomes, this education emphasizes that there are many points of overlap between artists and successful

entrepreneurs including creativity, resilience, persistence and the ability to identify and take action for new opportunities.

Determination, Persistence & Timing

As an interesting example at the crossroads for business entrepreneurship and artistic drive for artistic expression, the research of Joeb Cornelissen compares the highly creative and yet business-focused efforts of vanguard Impressionist painter Vincent van Gogh with that of co-founder and CEO of Apple, Steve Jobs. Within a discussion of the value of entrepreneurial imagination, Cornelissen presents case study evaluation of both artist creatives which have famously succeeded in realizing their dreams but which experienced different levels of success within their lifetimes.

showcase modern art and a new Impressionist movement within a way that was well-received within his lifetime. His exhibition in 1887 failed to receive positive reception, and it was not until more than twenty years later, through the continued efforts of his sister-inlaw, that his artwork and movement finally gained appreciation. Conversely, within a similar struggle for recognition and success within a new marketplace, Steve Jobs worked to introduce the Apple computer in 1976 at a time in which there was little public concept of a “home computer.” Ultimately, his was a story of a successful journey which led to the long-term successes of the Apple corporation. Both men are portrayed within this research as passionate entrepreneurs who strove to become established within new and burgeoning markets.

“ Persistence and determination are vital... but they are not always enough.”

Vincent van Gogh, painter of many worldrenowned paintings such as The Starry Night was ahead of his time and struggled to

“While the time periods and circumstances of their enterprises obviously vary, both men […] were in their own right, devoted and passionate entrepreneurs, even though commercial success in life eluded the one but befell the other. In their own ways Van Gogh and Jobs broke new ground in art and design, and both also vigorously pursued a new vision and new ways of doing things. By the sheer force of their imagination, Van Gogh and Jobs created groundbreaking innovations in art and consumer technology. The mentioned episodes of their creative breakthroughs illustrate that, rather than having a single all-defining thought or flash of insight, their imagination rested on a combination of inferences and on a culmination of ideas and insights they had built up over time” (Cornelissen 700-707). Both sought to achieve something new within a market which did not yet exist, and though similarly striving to create opportunities for success, Van Gogh’s lack of commercial success within his lifetime is a

permanent footnote to his creative story.

A key takeaway from this study is that persistence in tracking and pursuing a dream, and creative direction achieves successful results due to persistence over time, rather than from a flash of sudden insight during one defining moment. Although the other makes for better stories, it is not often the path to actual success as compared to determination and persistence. Additionally, the comparisons outlined that the luck of timing in regard to external supporting factors played a significant role in the outcomes for Jobs and Van Gogh. To address these issues for market timing, as entrepreneurs each worked to overcome or create situations for success.

Ultimately, opportunities are only valuable when action is effectively taken to secure them. The differences within the outcomes for Jobs and Van Gogh speak to persistence and determination. Within the comparison of these visionary, creative entrepreneurs, there are teachable lessons for Artrepreneurs regarding timing, persistence and choices which impact outcome. A willingness and ability to identify new opportunities,

especially ones which may be tangential to the initial focus for the endeavor is a critical lesson of these success stories.

Seeking Further Details

The personal stories of Jobs and Van Gogh are high-profile success stories which demonstrate different outcomes and the realities challenging creative enterprises. Unfortunately, regarding business survival, persistence and determination are vital but may not always be enough. As discussed earlier, though there are decades of small business statistics available for review, the data for survival rates does not adequately record the reason for the closing of a business.

This lack of information is surprising given the vast number of working individuals and small businesses which are affected. According to the U.S. Small Business Administration’s Office of Advocacy , the approximately 28 million small businesses in operation in the U.S. employ 45.9% of the general working public, or about 59 million people annually.

Furthermore, these small businesses make up 99.9% of all companies and the combined total revenue of small businesses generate 43.5% of the gross domestic product of the U.S. (U.S. Small Business Administration). This insight is of vital importance to the health of business and national economic welfare as it affects widely almost half of the working public and almost half of the revenue of the U.S.

Any possible improvement to the success rates for these businesses can have a major impact on the lives of millions of people.

Seeking to understand how management and leadership skills affect small business survival, but struggling to find detailed, centralized information, researcher Jamey Long created his own study. Discussing the challenges, Long shared that, “I thought about the struggles and how I could not find any books or resources that provided a ‘one- stop shop’ with detailed information on how to succeed in small business management and leadership.” Long’s research presents that the survival of a business venture can be tied to certain management and leadership skills including

communication, interpersonal skills, and goal setting skills, but it is also keenly connected to the opportunity-focused actions taken by the business owner.

Additionally, beyond the closure of a business venture, Long points out that there can be other long-term effects felt by workers and business owners. Long stressed that, “…many costs are associated with small business failure. These include financial, social and psychological costs of failure, as well as social and personal stigmas. Moreover, researchers found entrepreneurs who attributed previous business failure to an internal cause, such as low ability, as less successful in subsequent business startups.”

Recognizing the impact on businesses and individuals, Long created resources intended to support entrepreneurs in building stronger business practices. Encouraging to the efforts for education and training, Long’s research and the resulting “Guide for Businesses Everywhere” resources have been shown to improve success. Long asserts that, “entrepreneurs can better learn from previous

failures when they have a cognitive toolset that allows them to analyze their previous shortcomings” (Long 16). The results show that the knowledge, skills and experiences necessary to improve business success can be taught, practiced, and improved.

Training & Educational Resources

Training and educational resources already exist at a broad scale for business education, as well as for specific audiences such as creative and service industries. Examples include business and creative entrepreneur content found within industry journals such as Artivate, business education schools like The Wharton School, and business self-help materials. Collectively, these resources demonstrate both the market demand for this information and the value placed on improving entrepreneurial skills.

For the entrepreneur, individual traits of persistence and opportunity-recognition

make a difference in their ability to sustain businesses through personal determination. Successfully navigating financial and client management improves business wellbeing. Industry expertise and experience are crucial to determining direction and success. Together these traits, management abilities and professional experiences create a skill set which can be strengthened through focused entrepreneurial education and training, especially when tailored to creative practices.

Artrepreneurs face business challenges common to all small businesses and also face pressures unique to the creative industry which require information which is tailored to their experiences. These creative business entrepreneurs can be trained to strengthen their management skills, financial literacy, opportunity recognition, and resilience skills to improve business success outcomes.

Guidance for topics of artistic services competition, freelance troubles, and changes in technology can further support the needs of creative services, strengthening decisionmaking skills.

Towards this goal of education to empower Artrepreneurs, existing programs and resources which already teach elements of these skills offer excellent examples of valuable content and effective presentation. In the following additional research sources, case studies of communication strategies and visual presentation of promising educational materials are reviewed for such guidance.

Additional Research Methods

This section includes case studies and visual analysis conducted to further evaluate existing educational and promotional materials which are designed to teach business and creative entrepreneurship principles. Analysis focuses on communication effectiveness, design effectiveness, and pedagogical approach within the solutions reviewed.

The proposed visual solution will transform complex business topics into engaging, accessible learning resources for creatives. “ ”

Materials include marketing materials, instructional videos, online teaching and training tools, as well as physical elements such as training cards and unusually creative or engaging print pieces which deliver training, tips and education in novel, creative ways.

Insights gained from this additional research directly guide the creation of similar creative teaching solutions to address real-world challenges faced by Artrepreneurs, shaping the cards and question content within the visual solution. The visual analyses will inform the final designs by identifying effective approaches which present information and pique interest and encourage user engagement.

MethodKit.com

Training, Collaboration & Card System Case Study

This case study evaluates the usefulness and accessibility of the resources provided in card-based education and ideation kits from MethodKit.com. These tools have relevance as creative, educational tools presented in a unique and engaging method. The evaluation methods include a review of content provided by the Kits, MethodKit website, and qualitative evaluation of the recommended usage methods for the tools.

MethodKit produces visual card-based education and workshop toolkits intended to present topic information, guide discussion and planning within group collaboration and individual-use settings. MethodKit is an information organization concept which has grown from ideas and a collection of tips in 2012 to more than 60 different topic-focused kits of cards, surveys, webpage content and more. The system includes cards as a starting point for discussion and collaboration but has grown to include website content, presentations and more. Topics range from professional development to team building, branding, and marketing.

The founder of MethodKit, Ola Moller, wanted to create a collection of knowledge which could be shared with groups for education from workshops to individual use. He was looking for something unique that in his words was, “…a tool that didn’t exist. Not an app. Not a canvas. Something physical. Something you could point at. Move around. Think with” (MethodKit). The collection of educators and experts creating new kits has culminated in a wide range of information topics presented in a variety of mediums but with the card deck as the core starter of discussion.

There are several card deck kits which are applicable for the creative entrepreneur and freelance or small studio business owner. The personal development kit and analysis of the structure of the cards and website and presentation elements has direct correlation to the intended final solution for resources to assist Artrepreneurs.

The decks are used as prompts for thought, discussion and planning. The tips and details presented on the cards are used for brainstorming, discussions, data mapping, visual sorting, ordering and prioritizing, idea generation and more. In descriptions for usage, MethodKit describes that, “Each card is designed to trigger questions, not give answers. You bring the content, the cards help you structure, challenge, and build on it.” Within each deck, categories organize discussion into subtopics such as Users, Organization, Journey, Logistics and there

may be several cards for each sub-topic. Each card includes a simple illustration, a sub-topic icon, title statement and thoughtprovoking question.

From a pedagogical standpoint, the organized uses for the card prompts involve learning design methods such as:

/ Guided inquiry and constructive learning where users build meaning and importance themselves through prompts, ordering and stacking

/ Cognition which encourages reflective thinking about decisions and impacts

/ Scaffolding of smaller points to build an understanding of complex topic structure

/ Chunking of information by breaking down topics into groups and parts

/ Sequencing and information pathways of organized sequence and exploration of the organization of points

Deck topics for entrepreneurs range from Professional Development, Business Startups, Partnerships, and Business Models while inspirational deck topics for work range from Projects, Campaigns, Branding to App Development and AI Planning.

While the efforts of MethodKit appear to continue branching out into new deck topics from collaboration with new educators and industries, there is also an effort to prepare existing decks in digital format for use within digital mapping and discussion tools such

as Notion, Mural and Miro. This provides additional benefit to past resources and new expanded use in digital tools.

Much of the use documented appears to be preparing for workshop group usage and the promotion of MethodKit’s scheduled events. However, the tips for usage also cover instructions for personal use, small group discussions, and inspiration boards. With comments online such as “Wow, this is an amazing incredible idea” and “I’m sharing this with everyone I know!” There are excited proponents for the use of the system of cards to promote critical thinking and purpose-driven planning and discussions.

Research into the effectiveness of card-based instruction and education tools supports the idea that topically organized card decks enhance learning engagement, facilitate reflection, reasoning and collaborative discussion. Regarding a similar card system used for educational training, Gutiérrez notes that the use of an, “…educational card game revealed improved engagement, critical thinking and collaborative discourse among learners.” This is seen within MethodKit’s design of cards with titles and prompts rather than providing answers. This structure promotes reflection and encouragement to seek answers, further inspiring and engaging the user. The structure of these decks and their usage in self-driven education potential for entrepreneurs demonstrates the desired education model for experiential learning, creative interaction and self-directed inquiry.

MethodKit.com

Card Deck System

Visual Analysis

The visual analysis evaluates the visual design elements, userinteraction features and informational content structure found within the system of educational card decks of the MethodKit system. This study evaluates the card deck’s support of structured thinking, cognitive scaffolding and collaborative discussion. The evaluation methods include a visual review of card content, deck system and graphic design utilized in the Kits, and MethodKit website.

These card deck tools have relevance to this research as creative, educational tools presented in a unique and engaging method. These can be studied for comparisons and guidance for

building a similar system design for the presentation of tips and advice for Artrepreneurs.

MethodKit produces visual card-based education and workshop toolkits intended to present topic information, guide discussion and planning within group collaboration and individual-use settings. Topics range from professional development and team building to branding, marketing and more. The decks are presented in physical card form and in downloadable, selfprinting form as well as in digital use within platforms such as Miro.

Formal Qualities – Object Details

The MethodKit card decks are available in two physical sizes, an A8 which is approximately 3 inches by 2 inches, and a larger A6 postcard size. The cards are also available in digital format for selfprinting and on-screen usage.

Additional materials within kits include organization mats, discussion prompts, stickers and cue cards for moderators.

The color palette used across all decks is an earthy collection of monochromatic colors utilized as a solid color background for lighter, calming usage. These solid fields of color with either printed or paper texture visible are most often printed with the text and icons in white knockout or white color tints. There is no dark color or black text utilized.

Information organization on the card is a simple centering of information in three rows, the card icon visual is presented largest for visual hierarchy, followed by the card title (often single word), and smallest of all, in thin type, the question or challenge.

education or card-type purpose, it appears that these differences are unintentional design deviations.

Semiotics & Communication

The icons illustrate or represent abstract concepts and strategic themes visually. As successful icons, they are interpreted quickly and visually identify the topic and enhance the meaning implied. Used in different contexts of card game sorting and organization, the icon groups can help quickly display the groupings of importance, especially when multiple different cards with the same topic and icon appear in groupings.

The MethodKit cards... are intentionally open-ended, designed to trigger questions, not give answers.

(MethodKit) “ ”

In most cases the primary card icon is a simple icon illustration with either flat design or limited shape and shadow details in solid (white) or two- or three-tone illustrations. These have large, simple shapes and the few which do not follow these styles stand out as visually different from the rest. While this could be used for

The card designs, the icons and simple presentation of text are crafted to create a visually simple presentation. This minimalism reduces distraction and helps reduce cognitive load, assisting with memorization, understanding, and sets the mental mood for reflection and consideration of the prompts. With the minimal design, the simple clean text prompt is the main message, allowing the cards to be a simple vector to deliver the information or concept without introducing additional meaning or connotation.

Pedagogical Function Through Usage

As described by MethodKit, “The cards are intentionally openended, designed to ‘trigger questions, not give answers’” (MethodKit).

The visually clean text, short titles, with simple wording in prompts is designed to reduce cognitive burden, promote reflection and generate discussion and interpretation. The methods of use suggested involve educational processes such as categorization and scaffolding for thinking about complex topics, prioritization of cards for time or procedure-based ordering, compare and contrast evaluations, brainstorming, workflow processing and more.

Additionally, the physical handling and ordering of the cards in relationship to their attached concept and meaning allows for a tactile learning and processing of a concept. Physically moving and grouping cards can inform the mental organizational process as well.

The cards can be used in group settings for moderator-led game play focusing on individuals, problems, concepts and methods for evaluation. These can be organized into workshops for use and reuse of the same cards in different games and methods of organization. The cards can be used by individuals in similar selfguided scenarios of reflection.

Successes, Strengths & Limitations

The successful application of a minimalist design to a product or website is a challenging endeavor. MethodKit’s application of that formula consistently across more than 60 decks of cards and materials is an astounding feat of design guidelines and methodology. Across all decks, website and promotional materials, there is a clear and simple visual hierarchy and a consistent application of the MethodKit design theme.

The gamification of learning and topic education promotes structured reflection, and the collection of deck topics allows for a range of educational opportunities. The modular design allows for multiple uses of the same cards and topic points within new meaning and scenario-focused context, promoting endless combinations of conceptual thinking.

The structure for leading discussions and card organization can be overwhelming to new users and may be best intended for moderators to facilitate. Use of video training and online group-led introductions to card use could help facilitate learning for new users.

Ultimately, as a system of cards to deliver educational tips, thoughts and topics, the MethodKit card decks meet the objectives for a visually engaging and creative education system with which to teach creative entrepreneurs.

Freelancer 101 Resources & Website

Case Study

This case study evaluates the usefulness and accessibility of the resources provided by the Freelancers Union within the Freelancer 101 tools. The evaluation methods include a review of content provided by the Freelancers Union website and included tools, documents and decks, as well as a data review of the website and search traffic to assess website popularity, and a qualitative sentiment analysis regarding the Freelancers Union from public discussion boards and social platforms.

The Freelancer 101 section of the Freelancers Union website is designed as an entry point for freelancers to learn more about the wide variety of services and benefits of being a Union member, while still delivering ready-to-use advice and information. There is a balance of material presented on these introduction pages:

/ There is self-promotion information, perhaps 5% of the information on the page which describes the activities of the Union, the events, and their menu structure and headlines, and understanding of the other benefits that the Union provides.

/ Within the Freelancer 101, there are five primary category sections which group together advice tips and tools into topics including Client Issues, Financial Resources, Tax Advice, Legal Advice & Services.

/ The majority of the content on the Freelancer 101 pages are links to the most popular articles of tips and advice. These are within categories that peak interest as they are the most common hardships felt by self-proprietors, namely advice for tax issues, payment issues, and client contract and negotiations advice.

/ There are also links to services provided by businesses in-line with the primary goals of the Union including tax preparation, legal services, and business mentoring which have expressed a focus on the special nature of freelance entrepreneurs.

As a self-supporting system to present content and grow members and contributions, the website encourages people with opinions and advice to give to get involved with producing new blog articles. It encourages professionals who provide support to learn about becoming sponsors or advertisers, and it involves the end users by encouraging them to join the Union for free, learning more about events and activities, and learning about benefits through advocacy.

Fig. 5. Example tips of the Freelancers Union. FreelancersUnion.org.

Established in 1995, the Freelancers Union should expect increased activity, increased participation, and increased relevance given the state of increased freelance work in the U.S. The importance of the Freelancers Union website and tools has increased as they state that, “One-Third of America is Freelancing,” as they document that, “The pandemic fueled a greater desire for flexibility and freedom when it comes to work, which led to ‘The Great Resignation’ and then, ultimately, a massive rise in freelancing over the last few years” (Freelancers Union Advocacy).

However, the traffic to the website and tools may have been either falling slightly or stable since early 2020. Understanding that free, third-party traffic analytics tools do not always provide fully accurate reports, the traffic reported by tools such as SimilarWeb. com and SERanking.com and Semrush show for the last year a general reduction of traffic around 18% from the previous year. The site traffic and keyword search relevance reached 34K-per-month visitors in 2019, and was strong during the start of the pandemic period of 2020, however traffic has been 4 – 5,000 per month for the past two years (Semrush). This may be due to establishment of information within the industry as similar providers of information have seen a drop in searches and traffic after 2020.

User sentiment may provide further context on the long-term usage and benefit of the Freelancers Union and tools. Because the Union website does not include public comments in articles and blog posts, user feedback has been collected from online social

media sources such as the Freelancers Union Facebook page and Reddit forum pages. Discussions reflect both general appreciation for the services and information and yet also critique of the platform and frustration at the limit of involvement and activity possible.

One freelancer in 2022 summed up criticisms with the response, “I recently became a member of the Freelancers Union … and so far I haven’t found much value in it. […] all I’ve gotten from them so far is a lot of promotional emails” (u/creativegrit). Others express positive impressions, noting that the organization works to improve legislation and helping members source legal and medical care plans.

Ultimately it was not possible to assess success rates of the use of tools and content provided within the website. Additionally, the membership levels, rates of activities and national local chapters was not possible to determine from information online. Overall, an assessment of the website model and system, is that the Freelancers Union website likely does not retain repeat visits from established freelancers and may over-advertise the services of partners.

Regardless, the collection of tools found in articles of advice, tips and example documents and forms provides meaningful value to new freelancers and is focused within the primary pain points experienced by new sole-proprietors including taxation, contracts and client payment issues. The strengths of the tools and information offered helps illustrate the value of presenting educational information to a target audience of individuals who must selfeducate on topics of taxes, client contracts and financial planning.

The Tintstitute

Card Deck & Website

Visual Analysis

As described by entrepreneur Austin Cook, “The Tintstitute was created to provide a professional training platform for business owners and installers in the window film, paint protection and vinyl wrap industries,” most importantly, Cook has created a website with resources and training-aids which far exceed expectation. “The Tintstitute uses online videos, hands on training, and consulting to improve the skills and knowledge of its clients” (The Tintstitute).

Formal Qualities – Object Details

The 25 Leadership Hacks card game features several points of education and interaction which encourage repeat usage for

long-term memory of information and business-improving encouragement.

/ Each deck includes 25 sets of information referred to as “hacks” or “leadership hacks” comprising business tips, management and leadership lessons, communications messages and encouragement for small teams.

/ Each card presents one title or instructional “hack” educational statement accompanied by a short description of the advice. It also encourages experiential learning through the two included actionable activities related to the card topic. Each card provides a blend of microlearning topic concepts combined with action items and further learning online. This provides cognitive chunking and reflective learning principles which are then reinforced with experiential learning activities.

/ Each card features bold, solid colors and simple text graphics. The back of the cards and outer packaging feature bright blue and white text and pattern illustration which stand out against the dark black background. The face of the cards features clean white and blue backgrounds allowing for prominent and clean legibility of the training text. Each card face prominently displays a numbering such as, “Hack #14” and bold suggestion title such as “Remove the Word Employees.”

/ With motivational phrases such as “Want to learn more?” and “Make Improvement a Priority” found on card backs and in the box packaging, the packaging promotes the overall Fig. 6. Integration of the Leadership Hack cards with an overall training approach. theTintstitute.com.

illustration pattern evocative of traditional playing card patterns, however unique and custom for this box art. The curls, vine shapes and accents blend from the blue pattern into the white surrounding the Tintstitute.com logo, centrally and prominently featured.

Leadership Training & Business Growth Encouragement

The deck of cards serves as a hands-on training aid to support steps of incremental learning and training to support entrepreneurs. Beyond the cards, there is a connection to website services for further supporting tinting and wrap industry business owners. Though this content is written for a specific and different industry, the intent of the collection of interrelated training elements deserves study as a successful service and visual training solution.

usage of the card deck and encourages learner behavior.

/ Additionally the back of the card includes a QR Code which directs the user to the website which provides further training and support resources. However, all cards appear to display the same single URL address within the same QR Code and does not appear to be customized per card or topic.

/ The text found in the packaging, card backs and card faces is a uniform sans-serif with appropriately thin readable text for the main sentences and paragraphs, and a bold condensed font such as Impact for titles. The effect is a relaxed, yet strong business education presentation.

/ The card deck box packaging features a bright blue swirl

Services presented in the website include a Mentorship Program which trains through personalized Strategy Sessions, Business Consultation and direct “Emergency Support” as well as online materials such as training videos, course content, and an invitation to in-person training at their facility in San Luis Obispo, California.

The website has bold black, red, and white color aesthetics for a clean, modern web look. The design style, however is different from that of the card set graphics and especially the outer casing of the card deck. Both are successful and well-designed, however they appear as either different marketing efforts or the

result of campaign changes over time. Although the graphics and style presentation are different between the set of cards and the website, it is the connection between the cards, the website, the email newsletter list, the online videos, and the in-person and online mentoring system which is most impressive as a system of training tools encouraging business and leadership education. This interconnected system of content is accessed from and referenced within the individual cards, driving traffic to the website, however there is less promotion within the site which overtly promotes the card deck.

Training Success & Strengths

The feeling created through the materials and message statements is one which encourages self-improvement and enthusiastic, confident direction towards training and tips to improve one’s business. Considering accessibility and application, the card deck can be utilized in an in-person group training or workshop environment, further referencing or supporting the rest of the online and personal mentoring

training content. Additionally used alone before and after training and as reinforcement of completed courses, the cards can serve as a physical reminder and practice tool which reinforces education retention through reflective practices.

The interrelated system of self-paced training materials which includes the bold “25 Leadership Hacks Card Game” and spans online courses, training videos, mentorship and in-person training events create a successful multi-modal learning experience which reinforces entrepreneur training goals.

Figs. 8-9. Marketing promotions and example content from The Tintstitute which illustrate integration of physical training cards with online and in-person training. theTintstitute.com.

Scaffold

Entrepreneurship Competencies Teaching Card Game Case Study

This case study evaluates the Scaffold card game teaching system as a model for how a visual presentation of topics in a modular, game play experience can be used to present entrepreneurship and competence education. The European Training Foundation (ETF) has created Scaffold, a card game system used as a tool by educators to facilitate education teaching plans and activities. The ETF is an EU agency which helps train developing countries to “harness their human capital through reform of education, training and labor market systems” (European Training Foundation Scaffold: A Card Game).

Evaluation methods have included a review of the ETF Scaffold publications and materials, analysis of the Scaffold Guide, and a review of reports and documentation from in-field usage of Scaffold within national program education settings.

How does the game play within Scaffold help educators structure learning plans and activities to teach topics such as

The tool is designed to stimulate creativity and awareness in the instructional design process , providing a blueprint for educators to incorporate key competences into their teaching practice. “ ”

entrepreneurship? Selections from the deck of 102 cards can be combined in customizable order to create instructional and assessment lesson plans. “The cards represent competences, instructional design principles, assessment methods, and prompts for educational activities which are combined as a structure for educational game play. The concept of Scaffold is presented as a portable, user-friendly tool that helps educators combine competences in meaningful ways. The tool is designed to stimulate creativity and awareness in the instructional design process, providing a blueprint for educators to incorporate key competences into their teaching practice” (Bacigalupo 3).

Though involving a Europe-focused set of instructions and information for encouraging personal learning of core competencies, the training system presented in the Scaffold card game teaching system successfully addresses many of the organizational issues which will be addressed within this research project.

This card deck system is used for class-based training of groups who utilize the system to continue conversation, education and training throughout events. It is also used for individual selfassessment and in teacher training. The Scaffold deck exists as physical printed card sets and through the digital tools available for download for self-printing card sets, PowerPoint introduction slides, and Scaffold Guide pdfs.

The core content of the cards include learning theory-based and topic-based actions such as “Managing Learning” and “Solving Technical Problems” and is derived from a set of European Competence Frameworks for:

/ LifeComp - social and learning competence

/ DigComp - for digital competence

/ EntreComp - for entrepreneurship competence

/ GreenComp - sustainability competence

By combining concepts and learnings from multiple different competencies, a more rich approach for learning can be

accomplished than would have been possible with only one focus. “Scaffold shows how key competences can be combined by educators in meaningful teaching, learning and assessment contexts” (Bacigalupo 6).

Described as “Seriously Playful Learning” in one of the assessment sections, critical elements of learning through game play are exhibited. Educational elements of peer feedback, self-reflection, observation and assessment and questions for learning are combined to engage students through simple gamification techniques.

The organization and usage of the Scaffold card set is explained through supporting documents in the Scaffold Guide PDF, PowerPoint presentation and introduction video. These materials help train the educator on how to work with the cards to create an education plan and then how to facilitate usage of the cards within group education events.

Scaffold is a newly created educational tool which is now being applied by the ETF as part of its Creating New Learning initiative and efforts for education supporting competence-based training in Central Asian countries. The ETF has utilized the Scaffold card system in pilot programs from April 2024 through 2025. Utilized in “Train the Trainer” type events, the card system has played a role in introducing innovative new education methods to educators. “The cards act as ‘building blocks’ to help educators creatively

design learning experiences according to their goals and the needs of their learners. As a set of cards, it is portable and easy to use collaboratively. It has a fluid structure to encourage creativity and can be scaled according to user needs. Above all, it is suitable for any subject area and can be used at any level of the education system or for any type of non-formal learning” (European Training Foundation 30 Years, 30+ Stories).

Limitations of the system are found in the level of training and guidance needed to utilize the system. Training required from documents and video guides prepares an educator to build their combinations and prepare to implement the system with a group of students, however additional pre-made example sets would serve to lower the bar to entry and review of successful examples.

Compared to other researched card-based education systems such as MethodKit, which focused on either individual use or private workshop use, the Scaffold system is intended for large-scale, formal education or institutional-level usage of a visually-focused, game play learning tool within education. As the program continues usage in pilot programs, the system will bear study for the success rate, outcomes of usage, and for the documented usage of this visual solution. Demonstrating how learning through game play can encourage lifelong learning of complex topics and can assist with group education, the Scaffold card game teaching tool can assist educators in creating challenging, engaging and memorable learning experiences.

Scaffold Learning System Card Deck, Video & PPT Visual Analysis

This visual analysis case study examines the design system and visual solutions of the educational card game, Scaffold, which was developed by the European Training Foundation as a structure to enable educators to teach core competencies. Within group-based educational game play, fundamental pedagogical strategies such as scaffolding, chunking, and sorting are utilized across a combination of different topics, training methods and assessments to support and engage learning. This research includes a visual study of the graphic design of the cards and supporting materials with an examination of the

information hierarchy, structure, color coding, iconography and intended use of the support materials.

Formal Qualities – Object Details

Scaffold game cards have a few category and usage elements which are expressed visually within the system including color coding and icons.

/ Card faces include a topic title, a primary iconographic image, a set of element icons, short description paragraph and example or quote phrase.

/ Card designs utilize a primary, monochromatic color with slight gradient, different for each category and also include contrasting icon colors to stand out from the card’s base color. The icons are simple, in the style of hand-drawn sketches and have an informal, quick-sketch feeling.

/ Cards fall into multiple types and include horizontal “structure cards” which provide the setting and set up for the game play, and vertical “library cards” which include educational concepts and content.

/ Topics of competencies are color-coded with the back of cards prominently displaying the topics of DigComp in orange, GreenComp in green, EntreComp in purple and LifeComp in lime green.

Training instructions direct the educator to select the teaching method, establish the desired output, pick the assessment method and then to draft the lesson plan around the created game structure. An understandable criticism of the educational tool is that the setup and facilitation of usage requires teacher training and may serve as a bar to entry. By reviewing the provided usage Guide PDF, Guideline tips PDF, Videos and PowerPoint presentations, an educator is introduced to the methods of game play and steps for creating a lesson plan with Scaffold.

/ The additional instructional materials exhibit a cohesive design style which helps identify all Scaffold marketing and information materials as following a consistent graphic standard.

/ The Scaffold Online Guidelines PDF is 22 pages of instructions which is described as a “quick reference guide” for how to use the Scaffold card system. The guide provides a full list of all cards and their different competencies, a

cross-reference list for which combine well together, icon symbol guide, and the details for a 9-step guide for building an education plan and event using Scaffold card game play.

/ The Scaffold “Creating New Learning” PowerPoint presentation is 10 colorful slides which display key factors of the Scaffold system structure and explain points of usage. The most important slide in the presentation displays an image showing a teacher laying out the structure of the Scaffold card game usage, complete with setting card, library

card and then a collection of different competency cards organized by color-coded group. This visual, more than the text descriptions, helps explain the proper usage of the system. At the end of the presentation, possibly useful to promote the Scaffold system at conferences and teaching events, the presentation ends with a set of QR Codes which direct the user to related materials including the Guidelines PDF and the training Video.

/ The short introduction video on YouTube is a brief oneminute visual presentation of the cards and advertisement for usage of the system. With a primary audience of educators, the video gets attention and then begins quick, simple introduction to the cards, their usage and values. A surprising element is that the video has no sound, but does display bold text (white on color background) with simple short sentences to drive the message through several scene

changes which are focused on presenting the cards, the materials booklet and presenting the Scaffold and ETF and European Commission logos.

Successes, Strengths & Limitations

An additional in-depth review of the EntreComp cards and content provided an appreciation for the specialization of content cards and for the entrepreneur-focused content. This section of cards presented valuable skills for training and education for creative business entrepreneurs such as the importance of Spotting Opportunities,

Scaffold System EntreComp Card Topics

/ Spotting Opportunities

/ Valuing Ideas

/ Taking Initiative

/ Financial and Economic Literacy

/ Motivation and Perseverance

/ Coping with Uncertainty, Ambiguity and Risk

Valuing Ideas, Taking Initiative, Financial and Economic Literacy, Motivation and Perseverance, and Coping with Uncertainty, Ambiguity and Risk. This section of information can serve as model and inspiration for similar training important to Artreprenuers.

The consistency of the visual brand standards and application through the cards, instructions and marketing materials is a strength

of the graphic design for Scaffold. The simple artwork and organization of the card elements into simple concepts which scaffold to build towards more complex solutions and concepts helps engage in learning practices of building meaning, scaffolding, and guided experiential learning. However, though providing a wide range of useful topics and well-structured presentation of information for training of groups, the end result seems to be an education system which may be more complicated than would be beneficial to selfguided training and self-education of entrepreneurs.

Nano Tools for Leaders

Executive Training Tools Case Study

The Wharton School presents a range of training topics from entrepreneur leadership and business growth management to innovation within the short-form education resources found within The Nano Tools for Leaders. Created by Wharton Executive Education, a division within the Wharton School of the University of Pennsylvania, these executive training courses are meant to be digested quickly and used to improve business immediately.

“Nano Tools for Leaders are fast, effective leadership tools that you can learn and start using in less than 15 minutes—with the potential to significantly impact your success as a leader and the engagement and productivity of the people you lead” (The Wharton School After-Action Reviews).

The organization and format of these actionable, short-form training articles has a direct correlation to the type of training and material to produce to assist creative entrepreneurs. This case study reviews the format of article content, reviews the presentation within website links and Nano Tools materials, and evaluates an initial review of the effectiveness of the Nano Tools training based on third-party reviews, criticisms and published

results statements.

The Nano Tools format was developed by Deb Giffen, the Director of Innovative Learning Solutions at Wharton and has been present online within website articles on the ExecutiveEducation.Wharton.

UPenn.edu site, within printable PDF versions of the same

Wharton @ Work - Nano Tools Categories

/ Business Trends

/ Customized Learning

/ Entrepreneurs

/ Finance

/ Innovation

/ Leadership

/ Management

/ Marketing

/ Senior Leadership

/ Strategy

/ Wealth Management

content, and has been extended to delivery within a mobile app. One of the main focuses present in material content and within promotional descriptions is that the ideas and concepts presented are available immediately for positive action to improve your business, your leadership and your strategy.

With the release of the mobile app, Mike Useem, Director of the Wharton Center for Leadership & Change Management applauded the utility and enabling information of Nano Tools in your pocket.

“With the Nano Tools now as an app, they are readily retrievable and thus provide an instant and indelible platform to remind yourself of what you need to do in your everyday leadership

journey.” Useem promoted an expanding range of topics of most interest to experienced executives, stating that, “that there is no “silver bullet” for ongoing leadership development. Rather, it requires many skills and ways of thinking, covering a host of areas from finance and operations to the ethical climate” (The Wharton School Wharton’s New App).

The Nano Tools are organized into categories for presentation within the Wharton At Work website and each are primarily displayed within only one primary category.

An analysis of the structure common to the Nano Tools information format shows the content is primed for quick reading, rapid understanding and finishes with action items and additional references to promote further study. Each Nano Tool begins with an explanation of the Nano Tools short format of educational topics and then presents the core sections of:

/ The Goal – A one sentence mission statement and introduction for that Nano Tool

/ Nano Tool – A four or five paragraph description of the problem or challenge, data to support it, and finishes with an introduction to the action items

/ How Companies Use It – A section of short testimonials or case study examples of success from implementing the suggestions

/ Action Steps – The training concludes with the Action Steps which are a set of actionable instructions for your business or team

/ Sharing & Additional Resources – The Nano Tool concludes with an opportunity to share your stories at the Wharton blog, and a set of additional resources for further research and expanded, in-depth training on the topic

Described by DigitalDefynd, an aggregator of professional programs and executive education, “Wharton Executive Education stands at the forefront of global business learning, offering a suite of dynamic programs designed to empower leaders, innovators, and professionals with future-ready skills” (DigitalDefynd).

While promoted as one of the most successful schools of business with established programs online and in-person, there are a few criticisms for Wharton and for the Nano Tools present within a cursory search. There are older or out-of-date links present within content such as the reference to the website www. nanotoolsforleaders.com which was established in 2011 and according to the Internet Archive had somewhat regular updates annually through 2019, was last indexed in December 2021 and is now fully offline. The Wharton Nano Tools app for iPhone was released in 2016 and has received an average 3.5 out of 5-star rating on the Apple App Store, however is at only app version 1.2 in 2025, almost 10 years later.

Are these elements signs of a previously successful system which is in decline or of a university-level entity changing over time and simply not updating older ventures? It appears that modern Nano Tools are being created and are shared on the primary Wharton At Work section of the Wharton Executive Education website, with the newest Nano Tools posted in September 2025. Additionally Nano Tools content is found in external website locations and on satellite efforts from Wharton such as the Knowledge at Wharton online business analysis journal. The self-stated mission of the journal is to share the intellectual capital of The Wharton School including articles, podcasts, videos, and the Nano Tools (The Wharton School Nano Tools for Leaders).

It is clear that the content is still utilized as a successful educational tool format and is counted within the valuable intellectual capital of the Wharton School for distribution through many online platforms from the university. In the modern age of TL:DR (Too Long, Didn’t Read) media consumption, the short-form educational tips and topic introductions found within the Nano Tools is a perfect tool. The quick presentation of ideas and tips followed by action steps pairs new learning reinforcement through immediate action. Success and experiential learning from these actions further reinforces the message and encourages repeat usage and practices of the Nano Tools training system.

Brainstorm Card Deck

System & Website

Visual Analysis

The Board of Innovation (BOI) website and card system is a collection of elements which are intended to help jumpstart business creation through cards and game play which generates new ideas. Connected to the BOI business model is a service of creating customized AI tools in a software-as-a-service model. While this relationship between cards and a BOI product or service is not immediately clear, the images, website for information and download of digital tools is an excellent

BoardOfInnovation.com.

example of creating education and concept generation through innovative game-play activities. Within this visual analysis the cards and game system mechanics will be studied in a review of design, aesthetics, and utilization. Additionally, the website delivery process and communication elements are reviewed to analyze integration methods and marketing message.

The BOI describes the Brainstorm Cards as a, “corporate ideation game, with 52 triggers to generate new business ideas” (Board of Innovation Brainstorm Cards). This system of Brainstorm Cards is a collection of 52 cards which are used in combination with a mat of sections in which the cards are placed in combinations to then guide and inspire brainstorming tasks focused on business innovation. The designed elements of the BOI Brainstorm Cards include a connection to the information website, digital downloads for the materials including printable cards, organization mat, PDF and a digital MIRO version of the tools.

A remarkable aspect to the review and request of these cards comes from the simple and personal connection to receive the digital materials. This personal touch is seen in a corporate website which displays the names and email contact information for all of their team members and from a download request process which moves from the completion of an online form to the end result of receiving a personal email from Signe

Damgaard, the Head of Global Marketing with BOI in which they send you links and attachments for the digital downloads.

The process for reviewing and requesting the Brainstorm Cards is as follows:

Step 1 - Register to download

Step 2 - Get the tool - You’ve got mail!

The simple process completes with a personal email and friendly message from the BOI team. Perhaps the very personal connection is present as a balance to the heavily AI focused work performed by the BOI?

In their introduction packet and instructions to the Brainstorm Cards, the BOI describes that, “Board of Innovation makes corporates innovate like startups. We mix proven methods from Design Thinking and Lean Startup to empower corporate teams to move faster from concept to market success,” and the cards are described as, “valuable insider wisdom and tricks of the trade. These cards are coveted by many who have taken our workshops, coaching, sprints and accelerator programs. Consider them Tarot for professionals.” (Board of Innovation Brainstorm Cards: Instruction Guide).

Formal Qualities – Object Details

Visually, the cards present a simple, clean design style with solid, high contrast primary colors with white text on saturated,

flood color backgrounds. Each card back features a short title in large type and an indication of the application within the four card topic categories. Each category is represented by an icon of medium visual complexity, and the applicable category icon is white, while the non-applicable categories are “dimmed” at around 70% opacity. The four card topic categories include Market Trends, Technological Trends, Customer Trends and Regulation Trends.

The face side of the cards presents a clean, simple design with ample open space. The elements of the card include a corporate company logo at the top center, followed by the “What If” prompt question or challenge. This challenge is the primary

element of the brainstorming card. This question is presented in larger type and in a color matching the category (and back of the card color). The question is followed by two key elements which reinforce the learning or insight from the challenge question. The first is the short one or two sentence elaboration or explanation of the challenge question.

The second text paragraph is a real-world example of that challenge being answered by a corporation (whose logo is displayed at the top of the card). This example is a short case study of success which exemplifies the challenge and solution or is a description of how that company has addressed that challenge.

The hierarchy of layout moves from the logo mark or illustration as a header to the primary question in larger, bold font. The next items on the card reduce in size and finish with the BOI logo small in the bottom left. The typography is a successful mix of serif and sans-serif typefaces, with the supporting text in a sans-serif with tall x-height with solid black color. The primary “What If…” question is in a larger type size, perhaps twice the size

of the paragraph and is in a bold, serif in the strong primary color of the category.

Divergent Thinking Prompts

The presentation in this format of short, engaging challenge, followed by a simple, brief description and example, presents new learning in a simple, easy to absorb chunk of information. The simplicity of the challenge and the accompanying text content encourages the user to expand their thinking and brainstorm further with new ideas and insights.

The directions for usage, which are direct and simple enough to be printed on the back of one of the cards, states, “Start with a challenge or problem. Use the cards to find inspiration. If a certain card doesn’t generate any ideas within 30 seconds, feel free to switch!” (Board of Innovation Brainstorm Cards: Instruction Guide). This easy usage requires no training, no demonstration to follow and no video instructions for administering a brainstorming session. As one of the cards describes within the Customer Trends topic, “What If… Your product was so simple, a child could use it?” The answer? A business-focused and entrepreneur inspiring brainstorming card system so simple that it appreciably requires no instructions is destined to create success!

design elements are not fully consistent or have not addressed printing issues for press or desktop printing. The logo for the Board of Innovation is displayed at an impossibly small size at the bottom left of the card. To describe the scale, the BOI logo is almost twice period height in the card title text! Additionally, the icons are not well matched in terms of visual complexity within the icon elements. The icon of the gear is a simple shape, while the icon for the Regulation Trends category is a complex grouping of smaller shapes and lines forming a light bulb icon, paper icon, writing and the “no” circle and cross symbol. The visual complexity of this icon is not matched evenly across the other icons. Again, these are minor elements in an otherwise successful design execution and feel like elements which would be revised within a round or two of version updates.

Prompts for Creative Business Inspiration

While the structure and implementation of the BOI design is well executed, a few minor critiques of the card designs are that the

The beauty of the simple card prompting system is that it allows an entrepreneur to self-identify problem areas for reflection and growth. These problems are challenged not by shovel-ready solutions, but instead by challenges to the creative nature of the entrepreneur. The “What If…” question becomes an invitation to dream, to imagine and to think creatively. The Brainstorm Cards from the Board of Innovation are a natural extension of creative entrepreneur’s drive to create new businesses and opportunities, while the structure of these prompts easily inspire a dreamer of big ideas to answer these questions in new ways.

School of Thought

Card Deck System

Visual Analysis

“Critical Thinking” and “Creative Thinking” Card Systems from the School of Thought are an excellent example for the study of the successful creation of a deck of cards which impart information AND the successful production and execution of a Kickstarter campaign to fund the physical production of the card decks! The purpose of this visual analysis is to provide additional research for comparison and direction for similar creative educational presentation systems. This includes a review of the information and marketing within the initial Kickstarter campaign pages and subsequent information presented on the School of Thought product webpages, as well as a visual study of the cards and system of information and interaction found within the educational cards.

The drive behind these systems of cards is the desire to teach people how to think and to impart critical thinking skills through educational game play. The School of Thought describes themselves as an

international, “nonprofit organization dedicated to promoting critical thinking, reason, and understanding. Our free resources, published under Creative Commons licenses, have reached over 30 million people in seven languages. We believe that in order to rise to the challenges of the 21st century, we need to teach the next generation how to think, rather than what to think; and that we can do so by using world-class design, code and creative, making it freely available for everyone” (The School of Thought International).

Formal Qualities – Object Details

Each of the example card decks is part of a system of educational content which inspire thought, guide brainstorming and can be used to lead training workshops. Each card contains a concept title or phrase, followed by a short paragraph introduction. At the bottom of the card is a short website URL to a page of further details and examples regarding the concept. Both card deck sets and systems include a free downloadable poster containing many Figs. 18–19. Promotional images depicting card faces with icons, categories and prompts for the Critical Thinking and Creative Thinking cards. The School of Thought.

of the card elements and promotion for purchase of the full deck.

A technical review shows that the card deck is printed on a standard poker-size deck and the 24x36 inch large-format wall poster. The typography across sets features sans-serif and simple slab-serif type faces in clear legible type (apart from one set’s issue with thin white text on a dark textured background). The color palettes include strong, vibrant colors and often utilize photographic, texture-rich patterns and backgrounds. The color palettes have been used to complement the card set topic, with the Critical Thinking set utilizing sky blues, whites and golden yellow colors, and the Creative Thinking set featuring a modern, exuberant neon and dark background color set. Overall, the card element layout utilizes a centered grid structure with an organized descending visual hierarchy from topic icon to title, down to paragraph and information URL.

Within the Creative Thinking card set, the topics include well-known concepts such as Mind Map, Mental Models, and Journey Map, but also include clever twists on common topics such as the Premortem and the Reverse Brainstorming concepts. As a description for the use of the card set, the SoT describes that, “Whether you’re coming up with concepts for a marketing campaign, teaching kids how to think independently, brainstorming ideas for your business, or anything else, these cards have been designed to stimulate divergent thinking & unleash your creative potential” (The School of Thought International Creative Thinking Cards).

Successes, Strengths & Limitations

While the cards are graphically appealing and the humor, wit and intelligence of the card content shines through, there are some notable issues with the design approach for these sets. If other creative educational card systems are designed to lower the cognitive load by having simplicity and austere graphics as a method, the School of Thought designers have not absorbed that lesson. The cards are visually rich with robust colors and graphics including dark textured background images, colorful title text with one and two-color gradient fills, multicolor icon illustrations, and thin white text on a dark background. Though highly visually appealing, the card and material designs may serve to overshadow or at least compete with the highly intelligent concepts presented and thus may possibly encourage engagement but may hinder readability.

The creation of these card decks have each been showcased as success stories for the crowd-funding movement. Each set of cards has been proposed via a Kickstarter funding project for the creation of the physical cards with sets of materials including stretch goals for posters,

packaging upgrades and connected online content. The 2020 campaign for the Creative Thinking Cards had an initial goal of $5,417 for completion and achieved $25,139 in support pledges. Within the first campaign created for the Critical Thinking Card set, the goal of $5,500 was far exceeded with a result in $78,888 in pledged support from 1,912 Kickstarter backers. Reviews in the organization’s social media and Facebook posts regularly show praise and thanks from educators who use the cards as part of

course activities as well as coaches and therapists who use the cards as self-reflection and discussion tools. The successes of the subsequent card series and promotions including one Ted X talk from the creator, Jesse Richardson on the topic of “teaching how to think rather than what to think,” have led to a successful business model and website system and ecommerce support for the endeavors.

Pedagogical Principles within Self-Guided Learning

As a model for a system to deliver educational tips and concept challenges for personal growth, the card deck systems from The School of Thought exemplify the model of presenting educational information in a creative, visually appealing interactive experience. Any issues of visual complexity or over-stimulating graphics which may compete with message presentation in cognitive overload are reminders to the caution of balancing design aesthetics with the educational importance of visual hierarchy. The design of the system of decks has a pedagogical approach which encourages self-guided discovery, reflection, and the training of creative thinking. The use of humor, visual appeal and presentation of concepts which has the selfguided potential to grow from bite-sized information to in-depth guided learning is a recipe for educational success. The approach creates an entertaining, guided activity which can be used by a single person or within the creative collaboration of groups during interactive educational experiences.

Research Conclusion Implications

Finding data-driven documentation for the hardships faced by creative entrepreneurs has been difficult. Beginning the research with a desire to find documented cases and support for preconceived reasons for business survival and failures, the results have been an education in the current state of data collected. Conventional wisdom and guidance for entrepreneurs is found in experience-based advice from books, blogs and business mentors. While these offer valuable insights, the lack of data-driven advice highlights an opportunity to close the knowledge gap.

By identifying measurable causes of business failure, future research can provide empirically supported, evidencebased strategies to help Artrepreneurs face the challenges commonly encountered.

Meanwhile, examination of the current data has revealed a new truth which becomes evident based even on data of limited scope. While the initial years of business are shown as critical to survival, the odds for survival continue to drop and longterm survival beyond ten years is uncommon.

With the statistical rise in the number of business-ending events which would be endured over time, it also becomes clear that adaptability, resilience and stubborn fortitude are as valuable a skill set as any formal business skill.

This project addresses these challenges by developing actionable items based on research insights. Through creative, visually compelling, and engaging tools, Artrepreneurs will strengthen their financial management, client development and business planning skills while cultivating an entrepreneurial mindset of adaptability and resilience beneficial to long-term success. The desired outcome, beyond teaching skills, is to inspire Artrepreneurs to fuel sustainable creative careers.

“ ”

...it also becomes clear that adaptability, resilience and stubborn fortitude are as valuable a skill set as any formal business skill.

Chapter 3 Design & Production Process Creating Content

Mission Focus

A concern for the educational materials is to ensure that they are useful as tools for the creative entrepreneur audience. In research, many types of systems for creative inspiration and idea direction have been identified and occur in a variety of presentation mediums from calendars and card decks to systems with matrix wheels and complex rules for usage. The primary focus for these materials is to provide a source of smart, engaging ideas which encourage a budding entrepreneur to continue improving their business processes.

Decades ago in the beginning of my own business endeavors, I looked to the bookshelves of the creative directors and business owners where I worked. I observed books of accounting, trade practices, the Graphic Artists Guild Handbook, and issues of creative journal magazines. Among similar books across each of their shelves, I noticed the one single book consistent to each of their collections, The Business of Graphic Design by Ed Gold. These physical books, utilized as resources in-hand helped guide my own first steps to establish a business and to practice the skills needed to continue managing that business long-term.

Many of the lessons learned in these resources have been refined and reinforced through decades of practice, forming a

foundation for the content of these new materials. Additionally, topic-focused research and a collection of modern business advice resources further inform the content presented within these materials. The intent is to provide, to a next generation of creatives, these artists who are driven by industry need and personal motivation to create their own business endeavors, those same tools of advice and guidance.

Begin with the First Step

Another concern at the start of the process is, “where to begin?” The first step is to identify the problems and solution elements necessary. In this scenario, the specific problem, restrictions and direction have already been outlined. Regarding the design involved, guidance for the direction, the educational content, and branding message are all present within the results of the completed research. When encountering any questions regarding the direction or design approach, the research, industry examples, competitors, and audience information will all inform direction.

Production Begins with Writing

While organizing tasks into a production schedule, it was clear that, though starting several items at nearly the same time, it would be of primary importance to begin by writing an initial set of advice and educational concepts. Having a preliminary set of these was necessary to early design steps regarding icon, imagery and layout needs. For this step of writing, organizational

experience with website development and database records was the model for content organization. This work to create an initial set of tips began with the setup of a spreadsheet to organize the content elements for easy review, categorization and planning. The primary header row organized the types of information from card content columns such as TitleShort, TitleLong, DescriptionShort, ChallengePrompt, Quote and similar categorization columns such as PillarTopic, Keywords, Related and also organizational columns such as IsSelected, IsFeatured, DeckSuite, DeckColor, and DeckOrderNumber.

The list of records begins with a spreadsheet row ID number and with a SystemNumber. These two fields help organize if reordering records. The format of the SystemNumber was designed to allow users who did not want to scan a QR Code to look up related cards (relationships between the small and the large cards of the same SystemNumber) but also for quick lookup in list view and search within the website. These SystemNumbers were “organized by hundreds” to allow for one category to be 000-099, the next 100-199, continuing for the four main category groups. The 900-999 block of numbers was reserved for system information such as Game Play Instructions and System Information, which could be stored in the same format and could appear in the same type of card and web page.

While writing the advice tips into the spreadsheet, it became clear that there would need to be limits for the length of content for each spot. While the website can have an unlimited amount of text in each field, the playing card size smaller cards and the larger format cards would have specifically limited space for a Title and Description blocks of text. A rough version of these were organized on the target card sizes within InDesign to create content length guidelines such as roughly 30-40 characters for a TitleShort and 40-50 characters for a TitleLong. These ranges were built into color-coding conditional formatting within Excel to, at a glance, show which fields are nearing the limit and which are beyond limits, requiring revision.

from experience and have guided my business practices. Subsequently, the salient points which were raised within the thesis research easily became supporting content. Beyond this initial set of tips, the additional content to complete the needed 52 total tips came from further research and inspiration gathered from business resources, artistic and freelance sources, and financial resources which presented information to entrepreneurs to help improve their businesses. These sources suggested ideas which I then wrote to expound upon.

Gathering Quotes

Research and Write What You Know

Writing the first fifteen to twenty-five advice tips was quick and easy. These were points of information which I already knew from more than twenty-seven years of running a graphic design studio. These initial tips are aphorisms and observations learned

While the first tab in the spreadsheet contained the information for the cards, an additional tab was created to organize the options for quotes for the back of the large cards. These quotes required additional research and documentation which involved searching online sources for potential quotes based on topic, keyword and subject. First, prospective quotes were recorded in the spreadsheet and then a second and third search were performed to validate quote and attribution. Quotes for which a second source could be confirmed were further documented including MLA citation. Organizing these within

the spreadsheet allowed for easy connection to the advice records.

Academic or Informal Tone?

An early decision regarded the writing character and whether that tone would be modified to fit the format of the medium differently between card and website. Whether the writing would be relaxed in a personal tone or reserved and business-professional was considered. Additionally, whether the presentation of more research, statistics and educational content on the website might benefit from a more education and clinical descriptive tone was also considered. After a review of similar training card systems, it was decided that a more informal, quirky advice tone would be chosen for the smaller playing cards, and the detailed message in the website and jumbo training cards would have a technical and business-like a tone as needed to support the level of details within the content.

the target audience. In addition to considering the different types of artists there is a desire to be universal for all creative types who are starting their own businesses. This led to further research with the SBA and BLS regarding the average age of someone starting a business or becoming a freelancer. An initial assumption was that this might be an average age in the late 20s to early 30s, however, research highlighted that the age may be different based on type of endeavor between freelance and starting a business.

Average Age of People Starting Businesses

Additional Research

Target Audience Research

While deciding the tone of the content, it was useful to envision

The Kauffman Foundation reports show that the strongest growth of new businesses are established by people in their 40s, 50s and early 60s (Kauffman Foundation 4). This number was mirrored by a research summary from the Harvard Business Review who reported that the average age of founders for a successful startup is 45 (Azoulay et al. Average Age of a Successful Startup Founder).

The Kauffman Foundation report showed that, out of every 1,000 adults, about 2.4 women and 4.1 men started a new business in 2018. And, regarding their age, the report outlined ages which were older than expected. “The rate of new entrepreneurs was highest among Americans aged 45–54 (0.38 percent) and 55–64 (0.37 percent), and lowest among Americans aged 20–34 (0.23 percent)” (Kauffman Foundation 4).

Looking at another large-scale study to compare results, the MIT Sloan research from 2007 through 2014 of businesses with at least one employee showed that the average founder’s age was 41.9 years old (Azoulay et al. Age and High-Growth Entrepreneurship). While excellent data for the business owner data, it appears that this MIT Sloan study, does not include freelance and independent work as compared to incorporated business ventures. Many creative artists in younger generations, operating as one-person companies, independent contractors, or freelancers within the “gig economy” would not be included in these results.

Tracking down more specific stats for these freelancers and part-time workers, within a Carry report citing the BLS data for 2025, the largest share of freelance workers were Millennials between the ages of 28 and 43 at 34% and Gen Z between the ages of 18 and 27 at 28% (Carry).

It is reasonable to conclude that the large groups of freelancers have been reported between their mid-20s to early 40s and that a sizable group of new business owners will be between their 40s and 50s. These groupings of ages span two different generations and will have impacts on the design directions.

Reviewing Gen Z & Millennial Design Styles

Regarding the card artwork style, the color palette and approach are again guided by the research. With target audiences within both Millennial and Gen Z generations, further research into the style trends popular with these generations was conducted. Additionally, annual trends for 2024 and 2025 were considered for guidance on packaging and card styles.

“Gen Z design […] focuses on bold visuals, emotional expression, and authenticity instead of perfect, polished looks. They love bold colors, layered graphics, and strong contrast. Design today feels louder, brighter, and more energetic. Clear icons, short text, and simple layouts dominate. Everything is designed for quick understanding” (Ochwani). Within these palettes, colors are strong, bright and have been referred to as vibrant “dopamine colors” which trigger happiness and excitement.

By contrast, the preceding decade of design by and for the Millennial generation often focused on clean layouts and minimalism. Gen Z designs have been a reaction and response to that, switching from minimalism to maximalism. Finding a common design direction has been the goal of agencies which market to these generational differences. A panel of advertising and design agencies weighed in with an observation that the next Gen Alpha may be returning to

the more minimal styles preferred earlier, “Millennial design was characterized by minimalism, pink shades and […] Gen Z design is characterized by in-your-face bright colors, bold typography and imperfections. As [the next] Gen Alpha becomes a major base of purchasing power […] we were wondering about the design motifs that will typify this next generation of consumers. […] So far, we’ve seen gen alpha attracted to the restrained aesthetic that millennials made famous but infused with range of bold expressive colors indicating their confidence and ambition” (Trinidad). To satisfy the aesthetic of both audiences, the design direction will proceed with an approach of minimalism mixed with bright and vibrant colors and bold design.

Fortunately, regardless of different design aesthetics, both groups appreciate digital, short-form content. While, “… Millennials appreciate both long-form and short-form content. They are more likely to engage with in-depth articles, podcasts, and video content that align with their interests.” Meanwhile, “Gen Z prefers highly visual and concise formats, such as TikTok videos or Instagram Stories. However, when the content resonates, they are willing to invest time in documentaries, tutorials, or thought-provoking content” (Campbell). The form factor for the set of cards and connection to the website perfectly complement the two groups, providing a bite-sized entry point to this educational information.

Visual Research & Production Sizes

Additional research was performed to gather a collection of visual examples which focus on educational training systems with gameplay. The desire was to create a mood board of inspiration and ideas for methods of gameplay and game structure. More than inspiration for the designs of card layout, this gallery was also a means to review creative ways to display pictures of the cards within marketing and advertising images. These would further support the promotional images to produce for the website and for presentation within Chapter 4.

An additional benefit during this research is that a collection of playing card printing vendors provided both marketing examples but also provided sources for card size research in both pricing and production options. Working with the file templates of these printers gave additional information for the required card sizes and technical specifications necessary for bleed and margins.

The selection of printing vendor and selected production sizes were determined based on best total price to produce six

Fig. 26. Preliminary logo concept exploration begins with typeface options and creating vector artwork from early sketches. The central panel of final round logo concepts provided several options for solid logo designs. Meanwhile, card layout and content limits explore available space.

complete sets of cards to include:

/ 1 – “Standard Size” US Poker Playing Card Deck with a total of 55 cards (52 suit cards, 2 Jokers, and 1 information card)

/ 1 – “Standard Size” Tuck Box

/ 1 – “Jumbo Size” 4x6 Card Deck with a total of 52 cards

/ 1 – “Large Size” Booklet (3.75x5.75 cross fold sheet)

/ 1 – “Jumbo Size” 4x6 Tuck Box

Design Concepts

Sketches, Concepts & Content Development

As design concepts continue, there are three primary directions which are developed. In one, simple shapes, icons, and blocks of color are themed for an Artrepreneur Deck. Another direction includes more illustration and has a jungle wayfinding concept. Meanwhile, a third is mascot-themed and focuses on the Artistic Monkey or Wise Owl in rounds of sketches and revisions.

During the concept phase, writing continues on the advice and challenge content. Salient points of information from the previous phases of research help supply content and inspiration for new writing, especially for the financial and business process content. The process of mining content further expanded to review information from my business library including design guideline and business books, and additional books from within the Liberty University Online course curriculum.

A key observation is that this design process from research to concept revisions is the same client project process followed within The Moore Creative Company. When creating a new concept for a logo, packaging design, or website design, the process begins by creating three initial concepts for the first round of review. The first concept is normally a close interpretation of the client’s main goal or target. The third concept is something which is trendsetting or pushes the boundaries of expectation for the audience. The second concept is a blend between those

two. This exercise of creating three different types of concepts helps you refine the direction for initial presentation to the client. Within the next rounds of review with the client, edits and project changes continue. By the end of the design project, the process has included multiple rounds of edits and has included client input and suggestions. The end result is a project in which the client and designers are equally satisfied.

With the guidance of example educational, training and leadership card decks, the direction is refined for the gameplay and educational training structure. The system plan includes two decks with a relationship of connected content. The smaller deck would introduce ideas with a title and short description while the larger deck presents a longer title, description, a challenge prompt and inspirational quotation. Both will feature the system number and QR Code to link to each other and to the website. Additionally, the option for the smaller sized deck to also include standard playing card suits and colors was developed. This feature will create an additional method of play, thought and conversation for the user.

Working With Data

Continuing Data Revisions & Import

Utilizing spreadsheet features such as filtering allowed for quick review of incomplete records, ordering of finished records and for exporting scripts of the final data. Ultimately the spreadsheet data is used with concatenation and Excel logic to create SQL database scripts for inserting the records into the online database for the website. At this stage in the project, however, the data export of the spreadsheet to CSV format was a critical next step in the production within Adobe InDesign.

Data Import & Automation

It can be difficult to work within long-form and multi-page documents, creating multiple rounds of proofs while the text is still undergoing major content revisions! Often options in this scenario are to either build the pages manually, spending time in repeatedly placing new updated content, or an option is to create a mockup or proof-of-concept with placeholder text and then rush to apply the finished text when content is finalized. However, with the features within InDesign for automation and scripting, a more streamlined process is possible!

InDesign has a level of content import which can produce multiple pages of content from a data merge. Utilizing this feature was the ultimate use for this spreadsheet of data,

beyond organizing and containing all of the educational content, as a comma-separated value sheet (CSV file) can allow for robust data merge within the various Adobe InDesign documents of the project.

Within InDesign there are two primary systems of automation critical to creating 52+ cards quickly and through repeated rounds of content and layout revisions, the Data Merge and Adobe’s Extend Script.

Adobe InDesign Data Merge

The Data Merge feature creates a CSV file connection to the InDesign interface, allowing each column of data to become a variable within the document. These variables can be inserted as data placeholders within text boxes and image frames. Although clearly developed for the intent of basic data automation of short, simple content such as names and addresses, the data merge feature does allow for the import of longer format text content such as the 400–500-character DescriptionLong fields as well as the automation of image import such as the QRCode, SuiteIcon, and allows for variable values such as the SuiteColor and PillarColor. Though these last two cannot be utilized by InDesign directly, they are one of the elements possible with the next item, the JSX scripts.

Adobe Extend Script JSX

The Data Merge process allows for the insertion of specific text and images into specific content frames. The Data Merge function does not have other automation features such as an ability to change colors, fonts or other properties of items based on data. For that functionality, Adobe’s ExtendScript, a JavaScriptlike conditional scripting logic, allows you to create powerful automation scripts to change elements in the document such as the color of content text and backgrounds, change font styles based on content, and to move and rearrange elements.

Within the production of the card pages, the JSX script actions, though taking hours to code and troubleshoot, saved a vast amount of time in the production of the InDesign documents. Examples of useful script actions which made edits to each card individually based on the content in the data included:

/ Changing the SuiteColor of the numbers in the playing cards based on the SuiteIcon image in the spreadsheet data

/ Changing the text color for the SystemNumber from white to blue if it was on top of a yellow background

/ Changing the text colors for the PillarText categories such as Market to blue and Method to yellow

/ Changing the background shape colors to the appropriate sequence to set each Pillar category to the matching color based on the PillarText

Additionally, the JSX scripts were invaluable for working around restrictions and limitations of Adobe’s Data Merge abilities. For example, the Data Merge CSV would not import correctly if line breaks were present, therefore as a workaround HTML code <br><br> was used as a placeholder within the content. The JSX scripts could easily scan the merged data generated document of 52 pages to quickly find and replace the placeholders with proper line breaks. This type of workaround replaced other trouble characters such as typographic quote marks, single quotes and special characters such as the Not Equal Sign, ≠.

Working with these two powerful processes together allowed for the design processes to proceed from concepts to rough drafts while concurrently revising the text content of the spreadsheet data. It was possible to quickly begin setup within InDesign of a starter example set of cards for the design and layout of elements and to then prepare that approved design as a template with data tokens.

Careful Print Planning Involving QR Codes

Fig. 30. Data Merge within InDesign files generates pages of cards from spreasheet data allowing for design revisions while text content is finalized.

Since production will take the longest for the printed cards and boxes, the initial focus prioritized completing the card designs first. The printing and transit time for the printed materials provides additional time to work on the website design, wizard and features. However, the QR Codes must take design and testing priority since they must be fully tested and validated against working URLs before print production can proceed. This requires planning very carefully the URL which will be used, proceeding with initial steps to purchase the domain name, and creating the code for initial page handlers for the QR Codes for thorough testing.

Technical research regarding QR Code parameters helped determine optimal dimensions and provided suggestions for several new style options. Although a minimum size of one inch square is generally recommended, testing a QR Code’s practical minimum showed that in practice a smaller range between 0.8

inches square and as small as 0.512 inches worked successfully depending on QR Code color contrast, margin space and code error allowance level.

Additionally, new styles for presenting QR Codes in vastly colorful mixtures and within more complex presentations such as within pictures and illustrations were uncovered during visual research. Many of these examples utilize a format of blending white pixel space and black pixel space to help reinforce the reading level. This combination provided improved scanning success at small sizes. Testing combinations of sizes, colors and presentation lead to a highly successful multi-color design which could utilize the red, blue and green colors of the designs while scanning successfully at small sizes.

Mockups Within Illustrator & InDesign

Logo Concepts

Two primary directions for the logo concepts emerged with one featuring the Artrepreneur term and which would work well with a minimal, clean design style. The other is for Gen-Z design focus with a Smart Monkey character mascot approach.

As the logo concepts refined through rounds of revisions, a strong, simple graphic emerged from a concept which illustrated

simple card shape rectangles arranged at angles to form the letter shapes for an A and an M as one might build a house of cards. This could work well with the Artrepreneur logo and when paired it with the word Mindset, created both an A and an M with card theme connections in simple bright colors. This concept was chosen based on graphic strength and an ability to pair with a wide range of minimal and colorful bold design styles.

Card Concepts

Working through paper sketches and initial mockups within InDesign, the favorite designs continue revisions and improve to

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Fig. 32. Playing card layout versions test sizing and placement of elements such as QR Code, Topic Pillar text as well as the limits for paragraph text character counts.

presentation was a deciding factor in the final choice. The selection of the Artrepreneur Mindset logo establishes a structure for the system and can be later explored and expanded in the future to create additional, more varying card deck content.

Designing Icons & Patterns

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a final two or three different concepts for consideration.

One takeaway from early sketches and tests with printed mockups has been that, to accommodate the text necessary, the size of fonts must be smaller than standard paragraph reading guidelines. Additionally, the constraint for space means that the smaller cards may not have as much room for a QR Code and a large amount of text. Both must be kept to their minimums.

Although continuing through initial concept rounds in which both the Artrepreneur Deck and the Smart Monkey concepts were refined, the benefits of having a clean and reserved

Continuing work with the card designs, the smallest cards required more work to accommodate the required elements. Design styles for the iconography of the four different topic pillars of Market, Method, Money and Mindset involved illustration of simple symbols to represent each. Additional illustration work included the creation of the four card suits for hearts, diamonds, clubs, and spades in a clean and simple design which would match the card styles and not distract from the educational content in the card.

An early experiment with creating the shapes of the suits with the four card elements from the AM logo were attractive but too ornate to use within the individual card suit icons. Instead, they have been saved for use within card art or as the Jokers of the deck.

Additionally, for playing cards, the back is typically a pattern or solid cover to help make the cards less see-through, hiding marks on card backs. These card backs are often highly illustrative, especially with Bicycle decks and other modern card sets from

companies like Theory11, but can also include photos or intricate or colorful patterns. In this direction, different types of patterns were explored which were created from the logo for use on the back of the playing cards. Working with the triangular shapes of the logo, many different patterns are possible with simple step and repeat changes as well as with step and rotate changes. This was a thoroughly enjoyable exercise and similar patterns may be used on the website and other print materials for the enjoyment of sharing beautiful pattern designs!

Production

Card Designs & Large Card Format

Once the primary design elements for the standard size poker deck cards were established, it was time to move on to designing the matching elements for the Jumbo Training Cards in the 4x6 size format. These larger cards are intended to have more deepdive information for each topic, and while having the same features such as the first set of cards, these can support larger QR

Codes for more safe scanning, and the system’s other elements such as the challenge prompt and industry quote.

Rounds of Printing, Edits & Revisions

At this point in printing out the cards, reviewing them in hand and comparing them to other example card sets, it is clear that the text is legible on the large cards and that the text size could be further reduced by a point size in smaller paragraphs and several points smaller in titles and quote text.

Now that the primary design for the cards is complete, the blueprint set by the initial design simply needs to be expressed in other similar applicable items. This helped make the design for the large cards quick to produce as it was a task of applying the design concepts from the smaller card size to the larger format elements. One of my logo and design professors gave the adage that we should always start with the smallest, most difficult piece, the business card, when designing letterhead sets. Once the business card is designed, you’ve already designed the hardest

piece. After that, the larger letter sheet and envelope simply follow those rules. This is why design concepts for this project began with the smallest playing card size.

The next design challenge for the large cards was creating a design for the back of the card with an interesting quote visual worthy of display on a desk for inspiration. There’s a balance between artwork, design, and boring. There’s also a balance between something you would want to have on your desk versus something you glance at only once.

Website Home Page & Card Detail Mockups

As the card designs reached completion, attention could now turn to the initial website design mockups. These began with a simple wireframe structure to establish the colors and primary elements such as main menu, header, footer and body content space. Decisions for Home Page design addressed the core content to

and blocking of page sections.

present and organize elements including space for promotion of the system of cards, a Call To Action spot, and at the top of the Home page, a location for a header rotator “Tip of the Day.”

The initial design was then applied to create the interior detail page for one of the card’s landing pages. This detail page will be shown when a user scans a QR Code or enters the System Number directly. This detail page presents all of the written information and resources regarding the topic including the Short and Long Titles, the Long Description, Challenge, and within the Research section, additional references, documents and links to further educational information.

To continue to promote the card set, there is a representation of the physical cards to the right edge of the page. Hovering over the cards would produce motion and clicking on one would present it in the center of the screen, within a Lightbox Gallery popup.

The next elements to complete are the project goals for product packaging and for the initial Brand Style Guide. Although early work through design concepts included the creation of rules and guidelines for usage, creating a more official set of rules helps protect the usage of the logo and makes its usage consistent across elements. During the creation of the rules within the Brand Style Guide, one set of rules regarding placement of the full-color logo on white background only, caused a design correction in the packaging design to be compliant with those rules!

Continuing work within the packaging, the design of the packaging “tuck boxes” involved working within the PDF file templates provided by the MPC printing company. Used as an overlay, the line art provided guides for positioning of elements within the unfolded package shape. An element of complexity regarding the front-to-back alignment of the lid and a diagonal yellow and blue section has been arranged and will be checked closely within initial test printing.

Within the instructions booklet and the guide card, instructions, bullet points and suggestions are delivered in short format for the use of that specific card deck. They explain the numbering system, the QR Code connection to the website and suggested uses such as playing a game of business-owner solitaire or choosing one of the larger cards to display within the office for reflection during the week.

Color Corrections for QR Codes

Further testing was performed to scan the different pillar colors as they were applied to the QR Code. While the bright vibrant colors of red, green and blue, were legible and scanned successfully, the yellow, encountered scanning issues as the bright, pure yellow color never achieved enough contrast from the white paper background to read successfully. Several test rounds of variations led to overlaying a percentage of the red color to create an slight orange shade which achieved enough contrast for reliable scanning. Having around 20% red mixed with the yellow gave enough contrast from the background for proper scanning to occur. Ultimately, to help ensure visibility, especially through the printing process where colors during the press run may shift, the color mix was set to 40% red mixing with the yellow, giving that yellow Method topic pillar QR Code much higher readability even at small sizes.

In this phase of the production process, creating all of the files for print production, there are increasing steps of fine detail to complete. For example, testing all the QR Codes to make sure that they read and are clear even with slightly blurry inkjet printing should help confirm that they are fully scannable when printed at high-quality press resolution. Revisions continue to address any remaining text issues from data import such as stray character artifacts, issues with incorrect quotation marks, or symbols interpreted incorrectly such as the “not equal to” symbol. There were also dozens of other small details which

came up for review, editing, and correction due to working with production preparation for this volume of pages.

Website Link & Print Testing

To continue with production testing and editing, it was necessary to further build out the functionality within the website to support a unique page of content loading after the testing of the printed QR Codes. The website, built within the DNN content management system, utilizes the database and development tools of the system as an application development platform for rapid prototyping and development. Initial website design, data import, and coding brought the site to a point of basic design style presentation and the functionality of a database manager allowing for easy editing of content and for the display on the card detail page via a URL format of /Card/t/###.

Production testing rounds continued with each major set of revisions complete resulting in a new printing of all 52 cards for both deck sets. Proceeding from printing round one through to the final seventh proofing round of printouts, additional sections of content and materials had designs finalized and were added to the design proofing rounds. These included the Brand Style Guide, Instruction Card and the Instruction Booklet.

Final Print-Ready Files

After a series of reviews, edits and revisions, the seventh round achieved a level of completion for the card artwork in which it was ready for test printing. While the final printing documents for most professional printing companies are now a press-ready high-resolution PDF, the card system printers at the Make Playing Cards (MPC) company have a fully automated delivery system for card artwork which incorporates high-resolution JPG files. These can be uploaded in CMYK format with a minimum resolution of 300 DPI however, 600 DPI is recommended.

Due to the speed of printing and the accessible cost for smallbatch printing offered by MPC, it was determined that there would be time and budget to perform a test printing of the full set of materials. This allows for a final round of review before the final printing items to further adjust any press-related issues such as resolution, color, cropping or content issues uncovered within the test print set.

Final preparation included working within the Illustrator vector files to convert text to outlines, and within each of the InDesign files, removing the proofing layers which included the box shape or rounded corner outlines. Each card face was generated as a single JPG image directly from within InDesign, allowing for easy batch export and consistent file generation including bleed space.

Modifications for Production

After a review of the submitted files, the MPC artwork support team asked for a revision in the files for the Jumbo 4x6 Card Tuck Box. Based on the count of cards, they suggested that the cards would be better housed within a slightly larger box size which was 20mm in depth rather than the 18mm depth suggested by the online system. This minor change required modification of the Illustrator file for the box art to introduce additional space into the spine of the box shapes.

Beyond Production

Outside of the printing production for the visual solution, an additional volume of content will live online, continuing to grow as new features are added to the website for the Artrepreneur Mindset card system at www.Artrepreneur.Cards. Ongoing development tasks include adding to the topic content to create additional tips, advice, and challenges beyond those presented within the physical cards. Additionally, the self-assessment wizard of questions which helps suggest a set of study topics based on the user’s responses will be a helpful tool for curious entrepreneurs. Planned future additions include creating a library of links to external documents, articles and statistics research, and creating a robust search which cross-connects topics and includes related cards and keyword references to further crossconnect card contents, improving both usefulness to humans and search engine crawlers alike.

Design & Production Conclusion

The preparation of the print production files marks the conclusion of the design phase of this project. As revisions are necessary based on feedback received, further review, and if printing issues are identified, they will be incorporated into updated files for the final printing of six copies of the card deck sets.

The next chapter presents the finished visual solution and reviews the completed elements of the paired card decks and supporting materials.

Chapter 4 Visual Solution

Artrepreneur Mindset Cards For Creative Business Success

The core element of the visual solution is the creation of cards as a delivery system for small chunks of advice, tips, industry information and insight regarding enhancing the business practices of creative entrepreneurs. Once introduced to these concepts, they become part of the entrepreneur’s business education.

Consisting of a paired set of card decks and associated materials, printing production through the Make Playing Cards (MPC) printing company provides complete production services of four-color process printing on premium playing card stock for decks of cards in a variety of sizes and finishing features. Additional printing materials include deck packaging and information insert materials.

Supporting visual elements within the sets of cards and website design create a lively grouping of primary colors in simple shape and page elements. This set of vibrant, primary colors, established within the logo and utilized across the system of design, help visually stimulate the viewer and establish visual interest and a sense of primary education and fun.

Each of the four education categories, Market, Method, Money and Mindset are the topic pillars which group the information and are connected to a pillar topic icon, and one of the primary colors. The color combination of background elements in the shapes maintains the same order of insertion, shifting position of order as the topic pillar changes or they shift to match the color topic signified on the cards and within the pages of the website. This consistent color matching helps establish visual cues for category, reinforcing education and lowering cognitive load through framing within color cues.

Training Cards Playing Card Training Deck Jumbo Training Deck

Within the connected system of information, both of the card decks and the website utilize a common organization and numbering system which allows the user to seek further information from each of the other pieces.

The Artrepreneur.Cards website provides the technical components of the card system for sharing further information and research, community conversation and will be the location to enhance for future added functionality. Additionally, the website supports marketing for the cards and the information system to prospect clients and entrepreneurs. Future improvements can include video blogs, additional resources and social interaction opportunities. The website also serves as the repository for the thesis information and contact details for lectures and presentations on this topic.

The card deck system is created as a paired set in which the smaller, US standard playing card size deck is the Playing Card Training Deck. This deck provides a topic introduction through a title and short paragraph of advice. Due to the small size, this

location has limited capacity for information and is the perfect delivery method for a brief, informal introduction to the topic.

The informal nature of the advice tip in this small format leads perfectly to a more detailed version found within the other resources. The user may utilize the QR Code to directly visit the extended information on the website, or they can choose to visit the website and use the card sequence number to quickly look up that topic manually.

Within the card face, the hierarchy of information moves from the engaging short title to the brief description paragraph text below. Additional text on the card including the topic pillar, and the card sequence number are similar to the primary title, however, are lowered in opacity and position on the card to make their visual importance secondary. Once perceived across the number of cards, these, along with other common elements such as the QR Code and playing card elements, are perceived as background information as compared to the primary focus of title and topic paragraph.

The reverse side of the Playing Card Training Deck features a repeating pattern which blocks light and diminishes marks. This design is created from the step and repeat pattern of the Artrepreneur Mindset logo. Careful adjustment of the repeat variation creates elements of large and small white triangles, creating a visual rhythm and interesting texture within the pattern.

The same pattern is found on the inside of the playing card box while the larger jumbo card box contains an alternate logo pattern created from a “Work & Turn” repeating pattern.

The playing elements within the cards are custom-made to blend with the simple line and shape aesthetic of the set design. To simplify shapes and levels of detail within them, the suitmark icons are a more simple shape and detail size than those commonly found within card sets. Within the pair of Jokers an illustration comprised of card shape elements from the logo are combined with the icons.

The cards of the Jumbo Training Deck include a longer version of the title, more in-depth description text and feature a challenge prompt designed to inspire the user to short-form immediate action. The back of the card presents a memorable or inspiring quote related to the topic. These quotes have been sourced from industry leaders, financial advisors, entrepreneur coaches, and successful business creatives. These quotes are intended for display on a desktop or within an office environment, promoting extended reflection on the topic and shared conversation within the office.

Additional Materials Card Deck Packaging

The packaging designed for these card decks is a traditional “tuck box” sized to house either the 55 playing cards, or 52 jumbo training cards and instruction booklet.

The front of the packaging primarily presents the logo and tagline for the product. The tagline “Cards For Creative Business Success” catches entrepreneur attention. Within the large box, additional space allows for the inclusion of a visualization of the deck of cards which provides card examples and introduces a fine level of detail for visual interest.

The top closing flap of the packaging contained the label for the type of deck, serving as the naming point for the deck as well as convenience of shelf-visible labeling.

The bottom closing flap of the boxes contains a QR Code which is tied to a promotional information page for the Artrepreneur Mindset card system. Utilized as the footer information for the box and card deck, the bottom flap also includes copyright and print-run information.

The back of the deck box presents an introduction to the purpose of the Artrepreneur Mindset card system and bullet points specific to each deck. These bullets include a brief description of the educational elements found within the deck and a mixture of suggested usage and gameplay notes. Additionally, the back of the large box includes small illustrations of the cards with bullet points to primary information elements.

Instruction Card, Booklet & Poster

An instruction card or booklet are included with each deck. The Playing Card Training Deck includes one title and instruction card as a 55th card within the deck. The Jumbo Training Card Deck includes an information booklet which is a 3.75 x 5.75 cross-fold pamphlet which provides similar information.

The title card for the Playing Card Training Deck features prominently the Artrepreneur Mindset logo, topic pillar icons, and website address. The reverse of this title card provides brief suggestions for learning gameplay use of the deck. These suggestions include brief descriptions of pedagogical learning concepts and learning through gameplay concepts such as stacking, sorting, self-reflection and chunking activities presented in simple game suggestions.

Within the Jumbo Training Deck instruction booklet, these usage instructions are accompanied by simple illustrations which visually support card sorting, selection, stacking and display concepts. These illustrations feature representative icons simplified in line structure, intended to serve as quick visuals to support the instruction text.

Both sets of instructions include a specific QR tag which take the user to a matching instruction page on the website, providing more in-depth information and suggestions for further types of gameplay, individual and group use, educational concepts, and more ideas on how to get the most out of using the educational prompts.

Website Design & Functions

www.Artrepreneur.Cards

The website is the central hub for sales information regarding the cards, website community information and marketing to encourage user registration, activity within the website, and return visits to support further education and sharing experiences with fellow creatives in the community.

The design of the site utilizes the popular ribbon format in which rows of information are divided or signified by solid color shapes and background images, grouping the content into easy to parse sections of information.

The home page presents a clean header location with simple main menu options designed to direct interest deeper into the website and to provide quick access directly to tip information and search. The top of the home page includes a header carousel slideshow which presents a collection of the most popular or featured Tips.

The next sections on the page introduce a high-level description of the Artrepreneur Mindset card system and feature an invitation for the user to learn more by going to a detail page about the system and card decks.

The next section further describes the created term Artrepreneur and encourages the user to self-identify as an Artrepreneur, asking the user to mentally assign themselves as a part of this group. The link for more information connects to a page of more detailed information on the topic and from the thesis manuscript and research.

The footer menu of the website provides direct links deeper into the website for supporting pages of content. The three columns group these menu items into additional topic content, business or procedural information about the website, e-commerce store, community membership and system, and the third column represents links to thesis information and general contact.

The card detail page is the most important page in the website.

The core functionality of the website is the data structure which allows for individual card pages which include the full set of content information for that specific card. The detail page for this information can be accessed manually through menu systems and standard navigation wayfinding from home to topic to card detail, or can be accessed by quick search by title, keyword or text.

The detail page is the central repository for all information pertaining to that card topic. The top of the page presents the short title as seen in the Playing Card Training Deck, the long title and text version from the Jumbo Training Deck, and in some cases an expanded DescriptionExtraLong section from original revisions of the card content. The bottom half of the page contains the challenge prompt and an additional section of research and statistics connected with the card topic. This section is a presentation of a growing list of references to

additional external articles, blogs, videos and resource materials suited to the topic.

The right side of the detail page contains a presentation of the three primary faces of card graphics as images. When clicked, these operate as an image gallery with gray box pop-up. A gray box layer overlays the background content, hiding and blurring the rest of the website. Meanwhile, the card image is centered on the screen and is enlarged for clear visibility.

Social sharing and bookmark functions are presented at the top of the detail page, allowing users to share that page of content with others with social media such as Twitter and Facebook. The favorite heart icon allows a logged-in user the ability to create a grouping of their favorite tips for easy return access.

Future enhancements can include related card suggestions, search engine optimized listings of keywords, and potential new features such as book resource tool recommendations.

Beyond the card detail page, additional functionality in the website provides support for user searching and self-based learning, as well as a location to present the most popular tips and featured new additions in locations such as the home page slider rotator and interior satellite modules.

Artrepreneur Mindset Brand Style Guide

The branding style guide presents information for the proper consistent usage of the logo and color and style usage guidelines.

Instructions for the logo are intended to preserve the visual autonomy of the logo and direct designers to appropriate usage in full color, or in cases which require limited color, one color, Two color, three color and full color five spot process uses. Technical details present guidelines for clear space surrounding the logo, limited color usage, establish typography guidelines and more. Future expansion of this information can be enhanced to include usage guidelines for print, advertising and website instructions.

Logo Colors & Usage

The logo has been designed for use across a range of color and background needs whether in print, on screen or expressed in other processes.

- The “full color” version is preferred in all use cases. Depending on production method, this may be CMYK Four Color Process, Pantone or Spot Color process (total of 5 colors)

- Primarily use either the Full Color version or the Black & White one color version. Additional options are provided for limited-use cases.

- As needed for use in printing applications with limited inks or combinations, these one color, two color or three color variation are acceptable.

- If necessary to reverse the logo for use on a dark background, use the one color black logo to reverse as white. Care should be taken to maintain the darker “shadow” side of the card as consistent to the one color design.

Maintain Clear Space

The logo may be used in many conditions and protecting boundary space for the margins around the shape of the logo is critical to maintaining clean visibility.

- Always maintain clear space around the Artrepreneur Mindset logo, whether as the entire logo (Mark & Logotype), or with the use of the Mark alone.

- This protects the logo from distracting graphics or typography and protects the logo from being crowded or inappropriately sized for a space.

- Measure clear space by the width of the “card shape” interior shape (borders not considered).

- The width of this shape can serve as a self-adjusting size for the margin space surrounding the edges of the logo.

- Never allow typography or other elements to invade the space of the logo.

Chapter 5 Conclusion Artrepreneur Mindset Visual Solution

/ Card Deck System - The paired set of standard-size playing cards and large-format (4x6) cards feature 52 points of advice, challenges and quotes. Additional materials for the decks include instruction guides and branded packaging.

“ ”

As an artist you know your craft and you’re excited about your new business, but are you ready for it? How about taxes, invoices, and keeping the lights on? These resources help guide you, presenting tips and information for your business success.

/ Educational Website - The Artrepreneur.Cards website features online access to detailed advice content from each card. Additional features include Tip of the Day, social sharing and additional resource features. Resource links from QR codes direct users to topic details for deeper learning.

/ Design and Branding Guide - Guiding the design styles of the physical and digital materials for the Artrepreneur Mindset brand, this cohesive visual identity system including logo, typography, color and style guides is intended to inform and encourage consistent usage.

Experiential learning and education through game play are recognized, effective methods for introducing new topics, especially to an audience who are motivated and creatively-driven.

The visual solution translates the research findings into accessible

educational tools which are designed to engage, educate, and promote self-paced training for the Artrepreneur.

This content will benefit creative businesses of any kind. The same core content would assist illustrators in creating a freelance career, would assist a digital photographer in managing their business, and would support a game designer, graphic designer, experience designer, or any other creative artist who desires to turn their creative drive into a thriving business.

By presenting complex business concepts through creative, visually engaging formats, from tactile card interactions to guided online wizards, these resources meet Artrepreneurs where they are: as visual thinkers who respond to design.

The card deck provides quick, tactile and memorable tips for daily reference, while the website and wizard offer deeper exploration when needed. Within each section of content, advice and challenges help frame the topic and key points. These elements are present within the smaller Playing Card Training Deck and connect to correlating topics in the Jumbo Training Deck and within the website’s online resources.

This layered approach transforms intimidating business topics into accessible, actionable knowledge which Artrepreneurs can apply immediately to strengthen their financial management, client development, and strategic decision-making skills.

Measuring Success

Utilizing these creative, engaging tools, Artrepreneurs will strengthen their financial management, client development and business planning skills while cultivating an entrepreneurial mindset of adaptability and resilience which is beneficial to longterm success. The desired outcome, beyond teaching skills, is to inspire Artrepreneurs, fueling sustainable creative careers.

Based on the research conducted, the best solution is one which will engage the curiosity and self-reflection of the Artrepreneur to consider advice and suggestions. Through creative game play and integrated educational concepts, the naturally inquisitive artists will be encouraged to challenge themselves in self-directed education. The design solution must be engaging and visually appealing, however subdued enough to not interfere with the educational content and absorption.

The effectiveness of the tools and resources can be evaluated through testing with students and freelance creatives through surveys and self-assessments. A change in confidence, business topic literacy, and self-evaluated preparedness for sustaining their career can be indicators for success and feedback for adjustments to the material. Long-term follow-up studies can further validate

whether early exposure to these resources contributes to career stability and successful business venture survival.

These creative business entrepreneurs can be trained to strengthen their management skills, financial literacy, opportunity recognition, and resilience skills to improve business success outcomes. Through the visual solution, an encouraging, optimistic and supportive message will be delivered. Supported by examples and research, the knowledge, skills and experiences necessary to improve business success can be taught, practiced, and improved.

Next Steps

The completion of this thesis dissertation is not the final state of completion for the Artrepreneur Mindset program. As the cards move through stages of initial test printing and production they will be refined and revised. As information continues to gather for

the website, new advice, resources and features will be added to increase the educational value of the website content.

These will serve as a launching point for a Kickstarter crowdfunding campaign which will be promoted in the same marketing circles as the resources which supported the thesis research such as the Freelancers Union, Wharton School, and within the artistic outlets popular to the target audience of artistic, creative entrepreneurs.

Future work to educate and inspire the next generation of creative businesspeople can take many forms. The educational materials, research and card content can further serve as the basis for a book, a lecture series, or additional online content such as a podcast or video series. The ultimate goal is to help others so that they may become successful Artrepreneurs.

Utilizing these creative, engaging tools, Artrepreneurs will strengthen their financial management, client development and business planning skills while cultivating an entrepreneurial mindset of adaptability and resilience...

Appendix A: Content Spreadsheet

Appendix B: Playing Card Training Deck

Learning Through Gameplay

Suggestions For Use

- Reflection: Draw a card at random for that week’s focus.

- Stacking: Make stacks of “done” and “needs work” to review.

- Sorting & Priority: Rank the cards from highest to lowest priority.

- Games: Play cards with your team. What are their thoughts?

- Explore: Use the QR Codes or Card Numbers to find more topic details on the Jumbo Training Cards and online.

Find Specifiers

Specifiers are industry relationships who send clients to you! Often these companies have the same clients as you but are not competitors to your services. Cultivating these beneficial relationships further connects you to the industry and provides a new client pipeline.

Stay visible in the spaces your clients use for networking, learning, and professional growth. Becoming part of their ecosystem builds trust, keeps you visible, and leads to stronger relationships and referrals!

Every business benefits from trusted professional guidance. A banker, an accountant, and a lawyer provide stability, protection, and perspective. Build these relationships at the beginning of your business!

Learn from the mistakes, celebrate the wins, and improve your process! The Army’s leadership training presents an AAR as the process to learn from an experience and systematically improve over time. Review the outcome of completed projects regularly as part of your process.

How you price work influences whether clients

or creative, strategic problem solving. There is higher

for creative thinking.

are

You are only finished if you decide to stop trying.

Resilience can be practiced and strengthened by learning from setbacks, adjusting your approach, and starting again with revised purpose and new direction.

Don’t go it alone! Whether seeking advice for your whole business practice or only a corner of your services, having a mentor or business coach provides valuable perspective for your growing business.

Appendix C: Jumbo Training Deck

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The Wharton School. “Nano Tools for Leaders®.” Wharton Executive Education, University of Pennsylvania, 2025, executiveeducation.wharton.upenn. edu/thought-leadership/wharton-at-work/nano-tools.

The Wharton School. “Wharton’s New App: Nano Tools for Leaders.” Wharton@ Work, Wharton Executive Education, 13 Apr. 2016, executiveeducation. wharton.upenn.edu/thought-leadership/wharton-at-work/2016/04/ whartons-new-ap.

Works Cited - Board of Innovation

Board of Innovation. “Brainstorm Cards.” Board of Innovation Tools, 2025, www.

boardofinnovation.com/tools/brainstorm-cards.

Board of Innovation. Brainstorm Cards: Instruction Guide. Board of Innovation, 2025. PDF.

Works Cited - School of Thought

“Creative Thinking Cards.” The School of Thought International, Kickstarter, 13 Dec. 2020, www.kickstarter.com/projects/schoolofthought/creativethinking-cards.

“Critical Thinking Cards.” The School of Thought International, Kickstarter, 24 Feb. 2018, www.kickstarter.com/projects/schoolofthought/critical-thinkingcards.

“The School of Thought.” The School of Thought International, www. schoolofthought.org.

Works Cited - Design Process Additional Research

Azoulay, Pierre, et al. Age and High-Growth Entrepreneurship. MIT Sloan School of Management and National Bureau of Economic Research, Apr. 2019, mitsloan.mit.edu/shared/ods/documents?PublicationDocumentID=6212.

Azoulay, Pierre, Benjamin F. Jones, J. Daniel Kim, and Javier Miranda. “Research: The Average Age of a Successful Startup Founder Is 45.” Harvard Business Review, 11 July 2018, hbr.org/2018/07/research-the-average-age-of-asuccessful-startup-founder-is-45.

Campbell, Petra. “Designing for Millennials and Gen Z: Understanding two generational mindsets.” ArtVersion, 12 Jan. 2025, artversion.com/blog/ designing-for-millennials-and-gen-z-understanding-two-generationalmindsets.

COAX Team. “Design hacks for Gen Z: Fonts, captions, and color palette.” Medium, 20 Dec. 2025, medium.com/coax-software-blog/design-hacksfor-gen-z-fonts-captions-and-color-palette-5242ef6a8dd0.

Fairlie, Robert, Sameeksha Desai, and A.J. Herrmann. 2018 National Report on Early-Stage Entrepreneurship. Ewing Marion Kauffman Foundation, Sept. 2019, indicators.kauffman.org/wp-content/uploads/sites/2/2019/09/ National_Report_Sept_2019.pdf.

Hennequin, D. “Best design items to appeal to the Millennial generation.” Envato Elements, 1 Oct. 2025, elements.envato.com/learn/best-designitems-millennials?srsltid=AfmBOordB5yYcYGboAk-nEA-7eZAqpRoYAaoS JoSh0KDPo60mofKypgV.

Ochwani, J. “Gen Z design trends dominating modern design.” Octet Design, 9 Jan. 2026, octet.design/journal/gen-z-design-trends.

Trinidad, C. “Bye-bye Gen Z neon: These design elements are catching Gen Alpha’s eye.” Beauty Independent, 5 Mar. 2024, www.beautyindependent. com/bye-bye-gen-z-neons-these-design-elements-are-catching-genalphas-eye.

Works Cited - 3D Mockup Stock Illustrations, Modified By Author ET-ARTWORKS. “Mobile Phone Templates Similar to iPhone Mockup.” iStock, Getty Images, 26 Nov. 2023, istockphoto.com/vector/mobile-phonetemplates-similar-to-iphone-mockup-gm1813501582-549480733. fad1986. “Realistic Computer Screen Mockup: Computer Display on Four Sides with Blank Screen.” iStock, Getty Images, 24 Oct. 2024, istockphoto.com/ vector/realistic-computer-screen-mockup-computer-display-on-foursides-with-blank-screen-gm2180578642-599668665.

Perevertailo, Margarita. “Playing Cards with Box Mockup.” iStock, Getty Images, 20 Aug. 2025, istockphoto.com/vector/playing-cards-with-box-mockupgm2231069291-646692025.

SARMDY. “Box Mock Up Isolated on White Background: Cosmetics or Medicine Box Mock Up, 3D Illustration.” iStock, Getty Images, 4 Apr. 2024, istockphoto.com/photo/box-mock-up-isolated-on-white-backgroundcosmetics-or-medicine-box-mock-up-3d-gm2131916550-568026746.

Research Bibliography

This bibliography includes sources consulted during design-phase research and used within the Artrepreneur Mindset card system and website content.

Works Cited - Design & Content Research

Barrett-Forrest, Ben. “The Design Deck: Graphic Design Playing Cards.” Kickstarter, kickstarter.com/projects/benbf/the-design-deck-graphic-design-playing-cards.

Barrett-Forrest, Ben. “The Design Deck – Kickstarter Project by Ben Barrett-Forrest.” YouTube, 4 Apr. 2014, youtube.com/watch?v=5xUq559YmKM.

Beyond Sticky Notes. “Model of Care for Co-Design Cards.” Beyond Sticky Notes,

beyondstickynotes.com/store/model-of-care-for-co-design-cards.

BISPublishers. “Don’t/Do This – Game.” BIS Publishers, bispublishers.com/dont-dothis-game.html.

Brennan, Niamh M. “100 PhD Rules of the Game to Successfully Complete a Doctoral Dissertation.” Accounting, Auditing & Accountability Journal, vol. 32, no. 1, 2019, pp. 364–376.

Canva Team. “The Design Trends You Need to Know About for 2024.” Canva Newsroom, 2024, www.canva.com/newsroom/news/design-trends-2024.

TheCard Inn. “GUIDE – How to Create Your Own Deck of Cards on Kickstarter.” YouTube, 21 July 2023, youtube.com/watch?v=y0TjDiBW8RI.

TheGame Crafter. “Surviving Design Projects.” The Game Crafter, 16 Oct. 2013, thegamecrafter.com/games/surviving-design-projects.

Jess3. “QR Code Art.” Jess3, jess3.com/projects/qr-code-art.

Importer UK. “Stormdeck: Sparking Inspiration for Graphic Designers.” Kickstarter, kickstarter.com/projects/timporteruk/stormdeck-sparking-inspiration-forgraphic-designe.

Inhabitat. “Eco Innovators Design Play Cards.” Inhabitat, inhabitat.com/?attachment_ id=491758.

Knowhow Studio. “Font Deck.” Knowhow Studio, knowhow.studio/shop/p/ fontdeck.

Learning Design Tools. “Learning Design Tools.” Learning Design Tools, learningdesign.tools.

Lemonayd. “Pitch Deck Cards.” Lemonayd, lemonayd.co/products/pitch Picsart. “QR Code Generator.” Picsart, picsart.com/qr-code-generator.

QRCode AI. “QR Code AI.” QR Code AI, app.qrcode-ai.com.

TEC-IT. “QR Code Generator.” TEC-IT, qrcode.tec-it.com/en/Url.

Trainers Warehouse. “We Connect Cards.” Trainers Warehouse, trainerswarehouse. com/products/we-connect-cards.

Works Cited - Quotes Sources & Documentation

Armstrong, Gary, Kotler, Philip, and Opresnik, Marc Oliver. Marketing: An Introduction. 15th global ed., Pearson, 2022.

Basu, Arjun. “Without strategy, content is just stuff, and the world has enough stuff.” Salesforce: 40 Marketing Quotes To Inspire You and Your Team, Salesforce. com, 29 July 2024, www.salesforce.com/blog/marketing-quotes.

Beckett, Samuel. Worstward Ho. Grove Press, 1983.

Blank, Steve. “Startups don’t fail because they lack a product; they fail because they

lack customers and a profitable business model.” AZQuotes, www.azquotes. com/quote/717530.

Brock University. “Role of Reflection.” Centre for Pedagogical Innovation, Brock University, 2025, brocku.ca/pedagogical-innovation/resources/experientialeducation/role-of-reflection.

Buffett, Warren E. “Chairman’s Letter.” Berkshire Hathaway Inc. 2001 Annual Report, Berkshire Hathaway, 2001, www.berkshirehathaway.com/2001ar/2001letter. html.

Buffett, Warren E. The Essays of Warren Buffett: Lessons for Corporate America. Edited by Lawrence A. Cunningham, Carolina Academic Press, 2015.

Calaprice, Alice. The Ultimate Quotable Einstein. Princeton University Press, 2010. Carnegie, Dale. How to Win Friends and Influence People. Simon & Schuster, 1936. Carnegie, Dale. “Most of the important things in the world…” BrainyQuote, www. brainyquote.com/quotes/dale_carnegie_100661.

Cockerell, Lee. “Build Relationships Before You Need Them.” Lee Cockerell, 25 June 2024, www.leecockerell.com/build-relationships-before-you-need-them.

Cockerell, Lee. Creating Magic: 10 Common Sense Leadership Strategies from a Life at Disney. Doubleday, 2008.

Cohen, William A. Drucker on Marketing: Lessons from the World’s Most Influential Business Thinker. McGraw-Hill Education, 2012.

Collier, Robert. Riches Within Your Reach. Simon & Schuster, 2013. Collins, Jim. “Great vision without great people is irrelevant.” AZQuotes, www. azquotes.com/author/3121-James_C_Collins.

Dewey, John. Experience and Education. Macmillan, 1938.

Dike, Stanley. “Keeping Personal and Business Finances Separate: Why It Matters.” LinkedIn, 13 Nov. 2024, www.linkedin.com/pulse/keeping-personal-businessfinances-separate-why-matters-stanley-dike-ebnsc.

Douglas, Archer Wall. “Any man can sell goods by cutting prices…” Quotes on Sales Discounting and Sales Negotiations, toddcaponi.com/quotes-on-salesdiscounting-and-sales-negotiations.

Drucker, Peter F. The Effective Executive. Harper & Row, 1967.

Drucker, Peter F. Managing in Turbulent Times. Harper & Row, 1980.

Duke, Mac. “Don’t fall into the irresponsible trap of setting low prices…” Goodreads, www.goodreads.com/quotes/tag/pricing-strategy.

Edison, Thomas A. “Opportunity is missed by most people because it is dressed in overalls and looks like work.” Wikiquote, en.wikiquote.org/wiki/Thomas_Edison.

“Entrepreneur Quotes for Risk and Reward.” Keep Inspiring Me, www.keepinspiring. me/entrepreneur-quotes.

Feynman, Richard P. The Pleasure of Finding Things Out. Perseus Publishing, 1999. Franklin, Benjamin. Poor Richard’s Almanack. Dover Publications, 1996.

Fripp, Patricia. “To build a long-term, successful enterprise, when you don’t close a sale, open a relationship.” LifeHack Quotes, www.goodreads.com/ quotes/10348407-to-build-a-long-term-successful-enterprise-when-you-dont-close.

Ghosn, Caroline. “I live my life as an entrepreneur in every possible way I can…” BrainyQuote, www.brainyquote.com/quotes/caroline_ghosn_910804.

Gibbs, Joe. “The key to being a good manager or a good entrepreneur is to pick the right people.” BrainyQuote, www.brainyquote.com/quotes/joe_gibbs_746592.

Gitomer, Jeffrey. “Great salespeople are relationship builders who provide value and help their customers win.” BrainyQuote, www.brainyquote.com/quotes/ jeffrey_gitomer_678894.

Gold, Ed. The Business of Graphic Design: A Sensible Approach to Marketing and Managing a Graphic Design Firm. Watson-Guptill Publications, 1995.

Godin, Seth. All Marketers Are Liars: The Power of Telling Authentic Stories in a LowTrust World. Portfolio, 2005.

Grant, Adam, and Reb Rebele. “Beat Generosity Burnout.” Wharton Nano Tools for Leaders and Teams, University of Pennsylvania, wpa.wharton.upenn.edu/ content/popular-press/generosity-burnout-adam-grant-reb-rebele.

Hoffman, Reid. “Opportunities do not float like clouds in the sky. They’re attached to people. If you’re looking for an opportunity, you’re really looking for a person.” QuoteFancy, quotefancy.com/quote/1241081/Reid-Hoffman-Opportunitiesdo-not-float-like-clouds-in-the-sky-They-re-attached-to-people.”

Housel, Morgan. The Psychology of Money: Timeless Lessons on Wealth, Greed, and Happiness. Harriman House, 2020.

“How To Do Customer Research: Types, Examples & Best Practices.” Marcus Lemonis, marcuslemonis.com, marcuslemonis.com/business/customerresearch.

“Inspirational Quotes About Mentors.” Together Platform, www.togetherplatform. com/blog/inspirational-quotes-about-mentors.

“Integrity Is Doing the Right Thing Even When No One Is Watching.” Quote Investigator, 10 Feb. 2013, quoteinvestigator.com/2013/02/10/integrity.

Kim,Larry. “16 Quotes About Happiness From Entrepreneurial Superstars.” Medium,

14 Feb. 2017, medium.com/the-mission/16-quotes-about-happiness-fromentrepreneurial-superstars-3e4551601cea.

Kleon, Austin. Show Your Work!: 10 Ways to Share Your Creativity and Get Discovered. Workman Publishing, 2014.

Koyenikan, Idowu. Wealth for All: Living a Life of Success at the Edge of Your Ability. Dream with Destiny LLC, 2019.

“Motto Origin: Good, Fast, Cheap — Pick Any Two.” Quote Investigator, 2 June 2023, quoteinvestigator.com/2023/06/02/good-fast-cheap.

Munger, Charlie. “Acknowledging what you don’t know is the dawning of wisdom.”, www.azquotes.com/quote/823129.

“Never depend on a single income. Make an investment to create a second source.” AZQuotes, www.azquotes.com/quote/1269140.

O’Brien, Soledad. “Being an entrepreneur is a mindset. You have to see things as opportunities all the time.” BrainyQuote, www.brainyquote.com/quotes/ soledad_obrien_648638.

O’Toole, Garson. “Quote Origin: If Your Only Tool Is a Hammer Then Every Problem Looks Like a Nail.” Quote Investigator, 8 May 2014, quoteinvestigator. com/2014/05/08/hammer-nail.

Powell, Colin. “There are no secrets to success. It is the result of preparation, hard work, and learning from failure.” BrainyQuote, www.brainyquote.com/ quotes/colin_powell_121363.

“Quote Origin: Plans Are Worthless, But Planning Is Everything.” Quote Investigator, 18 Nov. 2017, quoteinvestigator.com/2017/11/18/planning.

Ramsey, Dave. “A budget is telling your money where to go instead of wondering where it went.” OneUpNetworks: Top 100 Motivational Finance Quotes, oneupnetworks.com/post/best-100-motivational-finance-quotes.

Ravikant, Naval. The Almanack of Naval Ravikant. Compiled by Eric Jorgenson, Magrathea Publishing, 2020.

Ravikant, Naval. “Profit is not an event — it’s a habit.” RossZeigler, blog.rosszeiger. com/48992/naval-ravikant-quotes.

Ries, Al, and Jack Trout. Positioning: The Battle for Your Mind. McGraw-Hill, 1981.

Rodgers, Carol. “Defining Reflection: Another Look at John Dewey and Reflective Thinking.” Teachers College Record, vol. 104, no. 4, 2002, pp. 842–866. Shaw, George Bernard. “The single biggest problem in communication is the illusion that it has taken place.” BrainyQuote, www.brainyquote.com/quotes/george_ bernard_shaw_385438.

Simmons, Gene. “Nobody does just one thing. But the real difference between being an entrepreneur…” BrainyQuote, www.brainyquote.com/quotes/gene_ simmons_463766.

Sivers, Derek. Anything You Want. Penguin Portfolio, 2011.

“TOP 25 QUOTES BY WILLIAM BERNBACH.” AZQuotes, www.azquotes.com/ author/1307-William_Bernbach.

“TOP QUOTES BY BETH COMSTOCK.” AZQuotes, www.azquotes.com/ author/41252-Beth_Comstock.

“TOP QUOTES BY SCOTT D. COOK.” AZQuotes, www.azquotes.com/ author/32827-Scott_D_Cook.

Wallace, Paula. “The Golden Trinity of SCAD.” Medium, 9 Oct. 2018, paulawallacesocial.medium.com/the-golden-trinity-of-scad-d367f4b2d4be.

Walton, Sam. “There is only one boss. The customer…” BrainyQuote, www. brainyquote.com/quotes/sam_walton_146810.

Warhol, Andy. The Philosophy of Andy Warhol (From A to B and Back Again). Harcourt Brace Jovanovich, 1975.

Weiss, Alan. Value-Based Fees: How to Charge — and Get — What You’re Worth. Wiley, 2008.

Ziglar, Zig. “Honesty and integrity are by far the most important assets of an entrepreneur.” BrainyQuote, www.brainyquote.com/quotes/zig_ ziglar_617803.

Ziglar, Zig. Secrets of Closing the Sale. Revell, 1975.

Ziglar, Zig. See You at the Top. Pelican Publishing, 1975.